Mackie 1402-VLZ3 User Manual
1402-VLZ3
14-Channel Mic/Line Mixer
OWNER’S MANUAL
ALL BAL/UNBAL
MONO
LEFT/
MIC
MIC
MIC
MIC
MIC
M
R
D
X
LINE IN 1 LINE IN 2
d
0
1
-
G
C
I
M
0U60
+15dB -45dB
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
U
+15
-15
LR
1
MUTE
ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4
dB
10
5
U
5
10
20
30
40
50
60
OO
2
1
I
I
C
C
P
R
D
E
X
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
B
V
A
I
N
M
0U60
+15dB -45dB
GAINGAIN GAIN GAIN GAIN GAIN
AUX
U
OO
U
OO
U
EQ
HI
12kHz
U
MID
2.5kHz
U
LOW
80Hz
-15
PAN
LR
2
MUTE
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
M
M
P
R
R
R
D
E
X
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
d
d
B
0
0
V
1
1
-
-
G
G
A
C
C
I
I
I
N
M
0U60
+15dB -45dB
AUX
U
OO
+15
+15
U
OO
+15
+15
U
EQ
HI
12kHz
+15-15
+15-15
U
MID
2.5kHz
+15-15
+15-15
U
LOW
80Hz
+15
+15
-15
PAN
LR
3
MUTE
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
3
I
C
P
LOW CUT
18dB/OCT
B
V
A
I
N
R
75 Hz
SOLO
UNBAL
AUX
12kHz
2.5kHz
PAN
4
I
C
M
P
R
R
D
E
E
X
BAL
BAL
OR
OR
UNBAL
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
I
N
M
0U60
+15dB -45dB
AUX
U
OO
+15
U
OO
+15
U
EQ
EQ
HI
HI
12kHz
+15-15
U
MID
MID
2.5kHz
+15-15
U
LOW
LOW
80Hz
80Hz
+15
-15
PAN
LR
4
MUTE
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
LINE IN 5 LINE IN 6
OO
OO
-15
MUTE
dB
10
5
U
5
10
20
30
40
50
60
OO
M
R
D
X
0
1
-
C
I
M
0U60
+15dB -45dB
U
+15
U
+15
U
+15-15
U
+15-15
U
+15
LR
5
I
C
LOW CUT
18dB/OCT
d
B
G
A
MIC
5
6
I
C
M
P
P
R
R
R
D
E
E
X
BAL
BAL
OR
OR
UNBAL
UNBAL
LOW CUT
75 Hz
75 Hz
18dB/OCT
d
B
0
V
V
1
-
G
A
C
I
I
I
N
N
M
0U60
+15dB -45dB
AUX
AUX
U
OO
+15
U
OO
+15
U
EQ
HI
12kHz
12kHz
+15-15
U
MID
MID
2.5kHz
2.5kHz
+15-15
U
LOW
LOW
80Hz
80Hz
+15
-15
PAN
PAN
LR
6
MUTE
dB
10
SOLO
SOLO
5
U
5
10
20
30
40
50
60
OO
RIGHT
1
2
MONO MONO MONO MONO
L
BAL
OR
UNBAL
R
LEVEL
+4
10
-
LINE IN 7-8
AUX
U
OO
+15
U
OO
+15
U
EQ
EQ
HI
HI
12kHz
+15-15
U
MID
2.5kHz
+15-15
U
LOW
80Hz
+15
-15
PAN
LR
7-8
MUTE
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
1
2
AUX SEND
L
BAL
OR
UNBAL
R
+4
10
-
LINE IN 9-10 LINE IN 11-12 LINE IN 13-14
AUX
U
OO
+15
U
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+15-15
U
LOW
80Hz
+15
-15
PAN
LR
9-10
MUTE
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
L
R
11-12
dB
10
5
U
5
10
20
30
40
50
60
OO
-15
MUTE
TAPE
INPUT
OO
OO
LR
BAL/UNBAL
TAPE
OUTPUT
L
L
R
R
MAIN OUT
L
L
BAL
BAL
OR
OR
UNBAL
UNBAL
R
R
LEVELLEVELLEVEL
+4
+4
10
10
-
-
AUX
AUX
U
U
OO
+15
+15
U
U
OO
+15
+15
U
U
EQ
HI
12kHz
+15-15
+15-15
U
U
MID
2.5kHz
+15-15
+15-15
U
U
LOW
80Hz
+15
+15
-15
PAN
LR
13-14
MUTE
ALT 3–4
dB
10
SOLO
5
U
5
10
20
30
40
50
60
OO
SOLO
U
OO
+10
EQ
C-R/SOURCE
HI
12kHz
MAIN MIX
MID
2.5kHz
ALT 3–4
TAPE
LOW
80Hz
ASSIGN
PAN
TO MAIN MIX
SOLO
MODE
PO48V WER
dB
10
5
U
5
10
20
30
40
50
60
OO
NORMAL (AFL)
LEVEL SET (PFL)
LEFT RIGHT
0dB=0dBu
MAIN MIXCTL ROOM /SUBMIX
dB
10
5
U
5
10
20
30
40
50
60
OO
U
OO
+20
U
OO
+20
20
10
7
4
2
0
2
4
7
LEVEL
10
SET
20
30
RUDE
SOLO
LIGHT
Important Safety Instructions
13.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
1402-VLZ3
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifi ers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fi t into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specifi ed by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or table specifi ed by the
manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
2
1402-VLZ3
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
Unplug this apparatus during lightning storms or when unused for long
periods of time.
14.
Refer all servicing to qualifi ed service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
This apparatus shall not be exposed to dripping or splashing, and no
object fi lled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16.
This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
17.
This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
18. This apparatus does not exceed the Class A/Class B (whichever is
applicable)
set out in the radio interference regulations of the Canadian Department
of Com mu ni ca tions.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
radioélectrique édicté par les ministere des com mu ni ca tions du Canada.
19.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
suffi ciently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specifi ed
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Very loud classical music
1.5 102
1 105 Dave screaming at Steve about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fi re or
electric shock, do not expose this apparatus
limits for radio noise emissions from digital apparatus as
to rain or moisture.
Read This Page!
We realize that you must be dying to
try out your new 1402-VLZ3. All we ask
is that you read this page NOW, and the
rest later — you’ll be glad you did.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 12).
Level-Setting Procedure
Message to seasoned pros: do not set levels using the
old “Turn the GAIN up until the clip light comes on,
then back off a hair” trick. When a Mackie mixer clip
light comes on, you really are about to clip. We worked
and slaved to come up with a better system, one that
provides low noise and high headroom.
Adjusting input levels (Chs. 1–6 only)
On the fi rst six channels, it’s not even necessary to
hear what you’re doing to set optimal levels. But if you’d
like to: Plug headphones into the PHONES jack, then
move the CONTROL ROOM/SUBMIX fader up a little.
Owner’s Manual
Other Nuggets of Wisdom
For optimum sonic performance, the channel faders
and MAIN MIX faders should be set near the “U” (unity
gain) markings.
Always turn the MAIN MIX and CONTROL ROOM/
SUBMIX faders down before making connections to and
from your 1402-VLZ3.
If you shut down your equipment, turn off your amplifi er fi rst. When powering up, turn on your amplifi er last.
Save the shipping box! You may need it someday.
Instant Mixing
Here’s how to get going right away, assuming you have
a microphone and a keyboard:
1. Plug your microphone into channel 1’s MIC
input.
2. Turn on the 1402-VLZ3.
3. Perform the Level-Setting Procedure.
4. Connect cords from the MAIN OUTS (XLR, 1⁄4"
or RCA, your choice) to your amplifi er.
5. Hook up speakers to the amp and turn it on.
The following steps must be performed one channel at
a time:
1. Turn the GAIN, AUX SEND knobs and FADERS
fully down.
2. Set the EQ knobs at the center detent.
3. Connect the signal source to the input.
4. Engage (push in) the channel's SOLO switch.
5. Engage the AFL/PFL switch in the master section. A green LEVEL SET light will turn on.
6. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume
of the input is the same as it would be during
normal use. If it isn’t, you may have to readjust
these levels during the middle of the set.
7. Adjust the channel’s GAIN control so that the
display on the LED meters stays around “0” and
never goes higher than “+7.”
6. Turn up the 1402-VLZ3’s channel 1 fader to the
U mark, and the MAIN MIX fader one quarter of
the way up.
7. Sing like a canary!
8. Plug your keyboard into stereo channel 7-8.
9. Turn that channel’s fader to the U mark.
10. Play like a madman and sing like a canary!
It’s your fi rst mix!
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
8. If you apply some EQ, repeat step 7.
9. Disengage that channel’s SOLO switch.
10. Repeat for channels 1 through 6.
Part No. 0019815 Rev. A
©2006 LOUD Technologies Inc. All Rights Reserved.
Printed on enviro-friendly, self-perpetuating, thinly-sliced sheets of fossilized
Albatross guano, eco-harvested from the wooded slopes of Mount Woodinville.
Date of purchase:
Owner’s Manual
3
Introduction
Thank you for choosing a Mackie professional com-
pact mixer. The 1402-VLZ3 is equipped with our pre-
TM
cision-engineered XDR
premium studio-grade mic preamp.
Now that you have your 1402-VLZ3, fi nd out how to get
1402-VLZ3
the most from it. That’s where this manual comes in.
Extended Dynamic Range
How To Use This Manual
Since many of you folks will want to hook up your
1402-VLZ3 immediately, the fi rst pages you will encounter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Recording and Stereo PA.
After this section is a detailed tour of the entire mixer.
Every feature of the 1402-VLZ3 is described “geographically;” in other words, in order of where it is physically
placed on the mixer’s top or rear panel. These descriptions are divided into the fi rst three sections, just as
your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips on the left
where you adjust each channel.
Output Section: The output section on the right.
Throughout these sections you’ll fi nd illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the appropriate illustration,
notice the number attached to it, and fi nd that number
in the nearby paragraphs.
This icon marks infor mation that is critically
important or unique to the 1402-VLZ3. For your
own good, read them and remember them. They
will be on the fi nal test.
This icon will lead you to in-depth explanations of features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifi cations, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Appendix D was removed after it became bloated and
painful.
Need help with your new mixer?
• Visit www.mackie.com and click Support to fi nd:
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
4
1402-VLZ3
Contents
Owner’s Manual
Important Safety Instructions .................................. 2
Introduction ............................................................ 4
HOOKUP DIAGRAMS............................................... 6
Patchbay Description ............................................... 8
1. MIC INPUTS (Channels 1–6) ...................... 8
PHANTOM POWER ................................... 8
2. LINE INPUTS (Channels 1–6) ..................... 8
3. LOW CUT (Channels 1–6) .......................... 9
4. GAIN (Channels 1–6) ............................... 9
5. STEREO LINE INPUTS ................................ 9
6. +4/–10 LEVEL (Stereo Channels only) ....... 9
EFFECTS: SERIAL OR PARALLEL? ................ 9
7. STEREO RETURNS ................................... 10
8. AUX SEND 1&2 ...................................... 10
9. TAPE INPUT ........................................... 10
10. TAPE OUTPUT ........................................ 10
1
⁄4" MAIN OUTS ..................................... 10
11.
12. PHONES ................................................ 11
13. XLR MAIN OUTS ................................... 11
14. XLR MAIN OUTPUT LEVEL SWITCH .......... 11
15. CONTROL ROOM .................................... 11
16. ALT 3–4 OUTPUT ................................... 11
17. CHANNEL INSERT (Channels 1–6 ) ........... 11
18. POWER CONNECTION ............................. 12
19. FUSE ...................................................... 12
20. VOLTAGE SELECTOR ................................ 12
21. POWER SWITCH ..................................... 12
22. PHANTOM SWITCH ................................ 12
Channel Strip Description ....................................... 13
“U” LIKE UNITY GAIN ............................ 13
23. CHANNEL FADER ..................................... 13
24. SOLO ..................................................... 13
25. MUTE/ALT 3–4 ...................................... 13
26. PAN ........................................................ 14
CONSTANT LOUDNESS ! ! ! ...................... 14
3-BAND EQ ............................................ 14
27. LOW EQ ................................................. 14
28. MID EQ .................................................. 14
29. HI EQ ..................................................... 15
MODERATION DURING EQ ...................... 15
31. AUX 1 and 30. AUX 2 SEND ..................... 15
Output Section ...................................................... 16
32. MAIN MIX FADERS ................................... 16
33. CONTROL ROOM SOURCE MATRIX ............ 16
34. CONTROL ROOM/SUBMIX ....................... 16
35. SOLO MODE (AFL/PFL) .......................... 17
36. RUDE SOLO LIGHT .................................. 17
37. ASSIGN TO MAIN MIX ............................ 17
38. METERS – MANY DISPLAYS IN ONE! ....... 17
A WORD ABOUT AUX ............................. 18
39. PRE/POST (AUX 1) ............................... 18
40. AUX 1 MASTER ...................................... 18
41. STEREO RETURNS ................................... 18
42. RETURN TO AUX 1 ................................. 19
JACK NORMALLING ................................ 19
Appendix A: Service Information ............................ 20
Appendix B: Connections ........................................ 21
Appendix C: Technical Information .......................... 24
Specifi cations .................................................. 24
Block Diagram................................................. 25
Track Sheet ..................................................... 26
1402-VLZ3 Limited Warranty ................................ 27
Owner’s Manual
5
HOOKUP DIAGRAMS
1402-VLZ3
Vocal Mics
Direct
Boxes
Stereo Guitar Effects
Drum
(record)
Machine
In
Out
(play)
Keyboard or other
line level input
1
2
3
4
5
6
7
MONO
R
8
9
MONO
R
10
11
MONO
R
12
13
MONO
R
14
R
L
L
R
1
2
3
4
5
6
L
CHANNEL
L
INPUTS
L
AUX
L
ALT 3/4
IN-TAPE-OUT
MAIN
PHONES
OUT
1
2
3
4
5
CHANNEL INSERTSSTEREO RETURNS
6
L
1
R
L
2
R
1
SEND
2
L
OUT
R
L
OUT
R
In
Out
In
Out
In
Out
Digital Delay
Mono Compressor
Stereo Compressor
Multi Effect
Processor
Powered
Studio Monitors
CNTRL ROOM
OUTPUTS
OUT
MAIN
Headphone Distribution Amp
Headphones
for Studio
Powered
Studio Monitors
for Studio
Recording System
6
1402-VLZ3
Vocal Mics
Stereo Guitar Effects
Drum
Machine
Keyboard or other
line level input
Out
(play)
Direct
Boxes
1
2
3
4
5
6
L
7
MONO
R
8
L
9
MONO
R
10
L
11
MONO
R
12
L
13
MONO
R
14
R
L
L
R
1
2
3
4
5
6
CHANNEL
INPUTS
AUX
ALT 3/4
IN-TAPE-OUT
MAIN
PHONES
OUT
1
2
3
4
5
CHANNEL INSERTSSTEREO RETURNS
6
L
1
R
L
2
R
1
SEND
2
L
OUT
OUT
R
L
R
Mono EQ
Mono Compressor
In
Out
In
Stereo Compressor
Out
In
Out
Mono Power
Amplifier
Owner’s Manual
Multi Effect
Processor
Stage Monitors
In
(record)
Headphones
This setup can be easily reconfigured to become
a Mono PA setup.
A. Stereo sources should feed the left mono
side of channel input only.
B. Pan each channel hard left.
C. Connect Mono PA system to
Left main output.
CNTRL ROOM
OUTPUTS
MAIN
OUT
SRM450
Po w e r e d
Speaker
SWA1501
Po w e r e d
Subwoofer
Stereo
EQ
SRM450
Po w e r e d
Speaker
SWA1501
Po w e r e d
Subwoofer
Live Stereo PA System
Owner’s Manual
7
Patchbay Description
X
MIC
R
D
M
P
R
M
R
D
E
X
MIC
1
I
C
MIC
2
I
C
P
R
E
I
M
R
D
X
MIC
3
C
P
R
E
4
I
C
M
P
R
R
D
E
X
1
1402-VLZ3
2
3
4
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
See Appendix B for further details and drawings of
the connectors you can use with the 1402-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
1. MIC INPUTS (Channels 1–6)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1402-VLZ3’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommendations for a good DI box.
PHANTOM POWER
Most modern professional condenser mics are
equipped for Phantom Power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
BAL
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LINE IN 1 LINE IN 2
LOW CUT
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18dB/OCT
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6
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
The 1402-VLZ3’s phantom power is globally controlled
by the PHANTOM switch on the rear panel. (This means
the phantom power for channels 1-6 is turned on and off
together.)
Never plug single-ended (unbalanced)
micro phones or instruments into the MIC
input jacks if the PHANTOM power is on.
Do not plug instrument outputs into the
MIC input jacks with PHANTOM power on
unless you know for certain it is safe to do so.
2. LINE INPUTS (Channels 1–6)
These six line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven
by balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 7–14.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
headphones.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or standard instrument
cable.
LINE IN inputs 1–6 are a good place to connect older
instruments that need more gain. You can correct weak
levels by adjusting the corresponding channel’s GAIN
control.
8
1402-VLZ3
3. LOW CUT (Channels 1–6)
Each LOW CUT switch, often referred to as a High
Pass Filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on every
microphone application except kick drum, bass guitar,
bassy synth patches, or recordings of earthquakes.
These aside, there isn’t much down there that you want
to hear, and fi ltering it out makes the low stuff you do
want much more crisp and tasty. Not only that, but LOW
CUT can help reduce the possibility of feedback in live
situations and it helps to conserve the amplifi er power.
5. STEREO LINE INPUTS
Owner’s Manual
(Channels 7–8, 9–10, 11–12 and 13–14)
These fully balanced inputs are designed for stereo or
mono, balanced or unbalanced signals, from –10 dBV to
+4 dBu. They can be used with just about any professional or semi-pro instrument, effect or tape player.
In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For example, you
would feed the 1402-VLZ3’s line inputs 7-8 a stereo
signal by inserting the device’s left output plug into the
channel 7 jack, and its right output plug into the channel 8 jack.
Another way to consider LOW CUT’s function is that it
actually adds fl exibility during live performances. With
the addition of LOW CUT, you can safely use LOW equalization on vocals. Many times, bass shelving EQ can
really benefi t voices. Trouble is, adding LOW EQ also
boosts stage rumble, mic handling clunks and breath
pops. LOW CUT removes all those problems so you can
add low EQ without losing a woofer.
Here’s what the combination of LOW EQ and LOW
CUT looks like in terms of frequency curves:
+15
+10
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–10
–15
20Hz100
Low Cut
Hz
1k
Hz
+15
+10
+5
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–10
–15
20Hz100
10kHz20k
Hz
Low Cut with Low EQ
Hz
1k
Hz
10kHz20k
Hz
4. GAIN (Channels 1–6)
If you haven’t already, please read the Level-Setting
Procedure.
GAIN adjusts the input sensitivity of the mic and line
inputs connected to channels 1 through 6. This allows
signals from the outside world to be adjusted to optimal
internal operating levels.
d
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GAIN
of gain fully up, with a “U” (unity gain) mark at 10:00.
This 15 dB of attenuation can be very handy when you
are inserting a very hot signal, or when you want to add
a lot of EQ gain, or both. Without this “virtual pad,” this
scenario might lead to channel clipping.
If the signal originates through the
XLR jack, there will be 0 dB of gain
with the knob fully down, ramping to
60 dB of gain fully up.
Through the 1⁄4" input, there is 15
dB of attenuation fully down and 45 dB
When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 7, 9, 11, or 13)
and plug nothing into the RIGHT input (jacks 8, 10, 12
or 14)— this way the signal will appear on both sides.
This trick is called “jack normalling.”
6. +4/–10 LEVEL (Stereo Channels only)
This switch adjusts the input sensitivity of the line
inputs on channels 7 to 14. If the sound source is a "–10"
device, engage this switch. If you are unsure, leave the
switch up, and perform the Level Setting Procedure,
substituting this switch for the GAIN knob to fi nd the
best position for it.
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks located on the
rear panel (CHANNEL INSERT [17] send/return).
Insert
Send
Signal Processor
Dry Signal
(e.g., Compressor)
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO RETURN)
to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
Aux
Send
Signal Processor
(e.g., Reverb)
Insert
Return
Aux
Return
Wet Signal
Output
Section
Processed
Signal
Dry Signal(s)
Channel Path
Mix
Stage
Dry Signal(s)
Owner’s Manual
Processed
Signal
9
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