Mackie M1402-VLZ User Guide

1402-VLZ PRO 14-CHANNEL MIC/LINE MIXER OWNER’S MANUAL

PHANTOM

120 VAC 50/60 Hz 25W

500mA/250V SLO-BLO

CAUTION:

TO REDUCE THE RISK OF

FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

POWER

ON

14-CHANNEL MIC/LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

MAIN

RIGHT

BALANCED BAL ANCED

1402-VLZ PRO

MAIN LEFT

INSERT ALL THE WAY IN TO

THE "SECOND CLICK"

DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER

STEREO

MONO PLUG

PLUG

TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS

FOR USE AS AN EFFECTS LOOP

(TIP = SEND, RING = RETURN)

CONTROL

ROOM

BAL/UNBAL

R

+4 MIC

MAIN

OUTPUT

LEVEL

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

ALT

OUTPUT

BAL/UNBAL

R/4

L

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

CHANNEL INSERT

(

PRE-FADER / PRE EQ TIP SEND / RING RETURN

4

5

6

L/3

SERIAL NUMBER

3

)

MANUFACTURING DATE

)

2

1

MIC

1

MIC

M

I

C

R

P

D

R

X

E

BAL OR

UNBAL

LINE IN 2

LINE IN 1

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U U

60

0

+15dB

TRIM

U

OO

+15

U

OO

+15

U

+15-15

U

+12-12

U

+15-15

1

MUTE

–

ALT 3

dB

10

5

U

5

10

20

30

40 50 60

OO

-45dB

AUX

1

MON/

EFX

2

EFX

EQ

HI

12kHz

MID

2.5kHz

LOW

80Hz

PANLRPAN

4

dB

10

5

U

5

10

20

30

40 50 60

OO

MUTE

ALT 3

-45dB

+15dB

TRIM

U

OO

+15

U

OO

+15

U

+15-15

U

+12-12

U

+15-15

LR

2

–

4

2

LOW CUT

18dB/OCT

I

N

60

LEFT/

MONO

MIC

4

MIC

3

M

I

C

R

P

D

R

X

E

MIC 5MIC

M

I

C

R

P

D

R

X

E

6

M

I

C

R

P

D

R

X

E

RIGHT

1

E

2

BAL

LOW CUT

18dB/OCT

V

I

N

60

OR

UNBAL

75 Hz

AUX

1

MON/

EFX

2

EFX

EQ

HI

12kHz

MID

2.5kHz

LOW

80Hz

BAL OR

UNBAL

LINE IN 5

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

60

0

-45dB

+15dB

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12-12

U

LOW

80Hz

+15-15

PANLRPAN

5

MUTE6MUTE

ALT 3–4

dB

10

5

U

5

10

20

30

40 50 60

OO

BAL

OR

UNBAL

75 Hz

AUX

1

MON/

EFX

2

EFX

EQ

HI

12kHz

MID

2.5kHz

LOW

80Hz

LINE IN 3

dB

10

5

U

5

10

20

30

40 50 60

OO

MUTE

ALT 3

+15dB

OO

3

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

0

60

-45dB

TRIM

U

AUX

1

MON/

EFX

+15

U

2

EFX

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12-12

U

LOW

80Hz

+15-15

PANLRPAN

–

4

LINE IN 4

dB

10

5

U

5

10

20

30

40 50 60

OO

MUTE

ALT 3

d

B

0

1

-

G

A

C

I

M

U

0

-45dB

+15dB

TRIM TRIM TRIM

U

OO

+15

U

OO

+15

U

+15-15

U

+12-12

U

+15-15

LR

4

–

4

STEREO AUX RETURN

BAL

MONO

OR

UNBAL

LINE IN 6

dB

10

5

U

5

10

20

30

40 50 60

OO

LOW CUT

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

60

0

-45dB

+15dB

U

OO

+15

U

OO

+15

U

+15-15

U

+12-12

U

+15-15

LR

–

ALT 3

4

L

BAL OR

75 Hz

UNBAL

RR

LEVEL +4

-10 -10 -10 -10

LINE IN 7–8

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12-12

U

LOW

80Hz

+15-15

PANLRPANLRPANLRPAN

7–89–10 11–12 13–14

MUTE

–

4

ALT 3

dB

10

5

U

5

10

20

30

40 50 60

OO

dB

10

5

U

5

10

20

30

40 50 60

OO

ALL BAL/UNBAL

AUX SEND

LINE IN 9–10

U

OO

+15

U

OO

+15

U

+15-15

U

+12-12

U

+15-15

MUTE

–

4

ALT 3

TAPE

OUTPUT

INPUT

1

L

2

R

MONOLMONO

MONO

L

BAL

OR

UNBAL

LEVEL

+4

LINE IN 11–12

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12-12

U

LOW

80Hz

+15-15

MUTE

–

4

ALT 3

dB

10

5

U

5

10

20

30

40 50 60

OO

L

1402-VL ZPRO

14-CHANNEL MIC/ LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

R

MAIN OUT

L

BAL

OR

UNBAL

R

LEVEL

PHONES

+4

LINE IN 13–14

U

1

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

+15-15

U

MID

+12-12

U

80Hz

+15-15

LR

MUTE

ALT 3–4

dB

10

5

U

5

10

20

30

40 50 60

OO

U

AUX

1

MON/

EFX

OO

+10

AUX 1 MASTER

PRE

2

POST

EFX

AUX 1

SELECT

EQ

C-R/SOURCE

HI

12kHz

MAIN MIX

MID

2.5kHz

ALT 3–4

TAPE

LOW

80Hz

ASSIGN

TO MAIN MIX

SOLO

MODE

PHANTOM

POWER

CTL ROOM

/SUBMIX

dB

10

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

5

U

5

10

20

30

40 50 60

OO

EFX TO

MONITOR

NORMAL (AFL) LEVEL SET (PFL)

LEFT RIGHT

0dB=0dBu

RUDE SOLO LIGHT

MAIN MIX

dB

10

5

U

5

10

20

30

40 50 60

OO

O

U

+20

U

O

+20

28

10

7

4

2

0

2

4

7

10

20

30

NORMALLED

RETURN

1

2

AUX

LEVEL

SET

BAL/UNBAL

TAPE

CAUTION AVIS

RISK OF ELECTRIC

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

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

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

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.

DO NOT OPEN

CHOC

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L'HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

1. Read Instructions — All the safety and operation instructions should be read before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be kept for future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed.

4. Follow Instructions — All operating and other instructions should be followed.

5. Water and Moisture — This Mackie product should not be used near water – for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet

basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.

6. Cleaning — Clean only with a dry cloth.

7. Ventilation — This Mackie product should be situated so that its

location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings.

8. Heat — This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat.

9. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product.

10 . Power Cord Protection — Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product.

11 . Object and Liquid Entry — Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.

12 . Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into this Mackie

product; or

C. This Mackie product has been exposed to rain; or

D. This Mackie product does not appear to operate normally or

exhibits a marked change in performance; or

E. This Mackie product has been dropped, or its chassis damaged.

13 . Servicing — The user should not attempt to service this Mackie product

beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department.

14 . To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

15 . Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated.

16 . Power Precautions — Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position.

17 . This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

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 règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

18 .

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 sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified 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 a 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 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Tami screaming at Adrian about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

2

READ THIS PAGE!!!

We realize that you must be dying to try out your new Mackie 1402-VLZ one of those people that never read manuals. Either way, all we ask is that you read this page NOW, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did.

PRO. Or you might be

LEVEL-SETTING PROCEDURE

Message to seasoned pros: do not set levels using the old “Turn the trim up until the clip light comes on, then back off a hair” trick. When a Mackie Designs 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 (Channels 1–6 only)

On the first 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

CTL ROOM/SUBMIX

the quarter of the way up.

The following steps must be performed one channel at a time:

1. Turn the controls fully down.

2. Set the

3. Connect the signal source to the input.

4. Engage (push in) the

5. Engage the

master section. A green light will congratulate you.

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 might have to readjust these levels during the middle of the set.

7. Adjust the channel’s that the display on the LED meters stays around “0” and never goes higher than “+7.”

8. If you’d like to apply some EQ, do so now and return to step 7.

9. Disengage that channel’s

10. Repeat for each of Channels 1–6.

TRIM, AUX SEND

EQ

PHONES

knobs at the center detent.

AFL/PFL

jack, then set

fader about one

and

FADER

SOLO

switch.

switch in the

LEVEL SET

TRIM

control so

SOLO

switch.

Other Nuggets of Wisdom

For optimum sonic performance, the channel and the “

ROOM/SUBMIX connections to and from your 1402-VLZ

your amplifier(s) first. When powering up, turn on your amplifier(s) last.

someday, and you don’t want to have to pay for another one.

MAIN MIX FADERS

U

” (unity gain) markings.

Always turn the

If you shut down your equipment, turn off

Save the shipping box! You may need it

MAIN MIX

faders down before making

should be set near

and

CTL

PRO.

INSTANT MIXING

Here’s how to get going right away, assuming you own a microphone and a keyboard:

1. Plug your microphone into Channel 1’s

MIC IN

.

2. Turn on the 1402-VLZ

3. Perform the Level Setting Procedure .

4. Connect cords from the

(XLR, 1⁄4" or RCA, your choice) to your amplifier.

5. Hook up speakers to the amp and turn it on.

6. Turn up the 1402-VLZ

FADER

to the “U” marking and the

fader one quarter of the way up.

MIX

7. Sing like a canary!

8. Plug your keyboard into stereo channel 7–8.

9. Slide that channel’s

marking.

10. Play like a madman and sing like a canary! It’s your first mix!

PRO.

MAIN OUTPUTS

PRO’s Channel 1

FADER

to the “U”

MAIN

Please write your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.):

Purchased at:

Date of purchase:

Part No. 0006981-90 Rev. A1 06/03

3

INTRODUCTION

Thank you for choosing a Mackie Designs professional compact mixer. The 1402-VLZ PRO is equipped with our new precision-engineered

TM

Extended Dynamic Range premium

XDR studio-grade mic preamp featuring:

• Full gain range from 0 to 60dB

• +22 dBu line signal handling capability

• 130 dB dynamic range

• Distortion less than 0.0007%, 20Hz to 20kHz

• Bullet-proof RF rejection using DC pulse transformer circuitry

Now that you have your 1402-VLZ PRO, find out how to get the most from it. That’s where this manual comes in.

HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1402-VLZ you will encounter after the table of contents are the everpopular hookup diagrams. These show typical mixer setups for Record/Mixdown, Video, Disc Jockey and Stereo PA. After this section is a detailed tour of the entire mixer.

Every feature of the 1402-VLZ “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 first three manual chapters, just as your mixer is organized into three distinct zones:

PATCHBAY: Along the top and back.

1.

2. CHANNEL STRIP: The ten channel strips

on the left.

3. OUTPUT SECTION: The section on the right.

PRO immediately, the first pages

PRO is described

Throughout these chapters you’ll find 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 find that number in the nearby paragraphs.

You’ll also find cross-references to these numbered features within a paragraph. For instance, if you see “To wire your own

cables:

,” simply find that number in the

manual and you’ve found your answer.

Finally, you’ll notice feature numbers like

. These numbers direct you to relevant

this: information.

This icon marks information that is critically important or unique to the 1402-VLZ

PRO. For your

own good, read them and

remember them. They will be on the final test. And the final test score will go down on your Permanent Record.

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.

A PLUG FOR THE CONNECTORS SECTION

Appendix is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, special hybrid connectors.

LEFT/

MONO

ALL BAL/UNBAL

MIC

1

MIC

2

M

I

C

R

P

D

R

X

E

BAL OR

UNBAL

LINE IN 2

LINE IN 1

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U U

60

0

-45dB

+15dB

TRIM

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

PANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPAN

CHANNEL STRIPS

2

1

MUTE

–

ALT 3

4

ALT 3

dB

10

5

U

5

10

20

30

40

50

60

OO

MIC

4

MIC

3

M

I

C

R

P

R

UNBAL

75 Hz

AUX

MON/

12kHz

2.5kHz

LOW

R

P

D

R

X

E

BAL

OR

UNBAL

LINE IN 4

LINE IN 3

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

PATCHBAY

G

A

C

I

N

I

M

U

60

0

-45dB

+15dB

TRIM TRIM TRIM

TRIM

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

4

3

MUTE

–

ALT 3

4

ALT 3

dB

10

5

U

5

10

20

30

40

50

60

OO

P

R

E

BAL OR

UNBAL

75 Hz

AUX

1

MON/

EFX

2

EFX

EQ

HI

12kHz

MID

2.5kHz

LOW

80Hz

MIC 5MIC

M

I

C

R

P

D

R

X

E

BAL OR

UNBAL

LINE IN 5

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

60

0

-45dB

+15dB

U

AUX

1

MON/ EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

5

MUTE6MUTE

ALT 3–4

dB

10

5

U

5

10

20

30

40 50 60

OO

LINE IN 6

dB

10

5

U

5

10

20

30

40 50 60

OO

RIGHT

6

M

I

C

R

P

D

R

1

X

E

2

STEREO AUX RETURN

BAL

MONO

OR

UNBAL

L

BAL

LOW CUT

OR

75 Hz

UNBAL

18dB/OCT

d

B

0

V

1

-

RR

G

A

C

I

N

I

M

LEVEL +4

60

0

-10 -10 -10 -10

-45dB

+15dB

LINE IN 7–8

U

AUX

1

MON/

EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

7–89–10 11–12 13–14

MUTE

–

4

ALT 3

4

dB

10

5

U

5

10

20

30

40

50

60

OO

INPUT

1

L

2

R

AUX SEND

MONO

L

BAL

OR

UNBAL

LEVEL+4LEVEL+4LEVEL

LINE IN 11–12

LINE IN 9–10

U

AUX

1

MON/ EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

MUTE

–

ALT 3

4

ALT 3

dB

10

5

U

5

10

20

30

40 50 60

OO

4

TAPE

U

+15

U

+15

U

+15-15

U

+12

U

+15-15

–

4

BAL/UNBAL

TAPE

OUTPUT

MAIN OUT

MONOLMONO

L

BAL

OR

UNBAL

R

LINE IN 13–14

U

AUX

1

MON/ EFX

OO

+15

U

2

EFX

OO

+15

U

EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+12

-12

U

LOW

80Hz

+15-15

LR

MUTE

ALT 3–4

dB

10

5

U

5

10

20

30

40 50 60

OO

L

1402-VLZ PRO

14-CHANNEL MIC/LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

R

BAL OR

UNBAL

R

PHONES

+4

U

AUX

1

MON/

EFX

AUX 1 MASTER

PRE

2

POST

EFX

EQ

HI

12kHz

MID

2.5kHz

LOW

80Hz

OUTPUT SECTION

PHANTOM

CTL ROOM

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

AUX 1

SELECT

C-R/SOURCE

MAIN MIX

ALT 3–4

TAPE

ASSIGN

TO MAIN MIX

SOLO MODE

dB

10

5

U

5

10

20

30

40 50 60

OO

+20

+10

NORMALLED

U

EFX TO

OO

+20

MONITOR

LEFT RIGHT

0dB=0dBu

28

10

7

4

2

0

2

4

7

10

20

NORMAL (AFL)

30

LEVEL SET (PFL)

RUDE SOLO LIGHT

POWER

MAIN MIX

/SUBMIX

dB

10

5

U

5

10

20

30

40 50 60

OO

More resources on our website @ www.mackie.com

THE GLOSSARY: A Haven of Non-Techiness For The Neophyte

The "Glossary of Terms" is a fairly comprehensive dictionary of pro-audio terms. If terms like “clipping,” “noise floor,” or “unbalanced”

1

leave you blank, refer to this glossary for a

2

AUX

RETURN

quick explanation.

ARCANE MYSTERIES ILLUMINATED

LEVEL

SET

"Arcane Mysteries" discusses some of the down ’n’ dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines. It’s a goldmine for the neophyte and even the seasoned pro might learn a thing or two.

CONTENTS

LEVEL-SETTING PROCEDURE ............................ 3

HOOKUP DIAGRAMS ....................................... 6

1402-VLZ PRO PATCHBAY DESCRIPTION ....... 10

MIC INPUTS ............................................ 10

PHANTOM POWER .................................. 10

LINE INPUTS ........................................... 11

LOW CUT ................................................ 11

TRIM ...................................................... 11

+

4 / –10................................................ 11

STEREO LINE INPUTS ............................... 12

EFFECTS: SERIAL OR PARALLEL? ............... 12

INSERT ................................................... 13

AUX RETURNS ........................................ 13

TAPE IN .................................................. 14

XLR MAIN OUTPUTS ............................... 14

MAIN OUTPUT LEVEL............................... 15

1⁄4" MAIN OUTPUTS ................................ 15

TAPE OUTPUT ......................................... 15

PHONES ................................................. 16

ALT 3–4 OUTPUT .................................... 16

CONTROL ROOM ..................................... 16

AUX SEND 1 & 2 ..................................... 16

POWER CONNECTION .............................. 17

FUSE....................................................... 17

POWER SWITCH...................................... 17

PHANTOM SWITCH ................................. 17

CHANNEL STRIP DESCRIPTION ....................... 18

“U” LIKE UNITY GAIN ............................. 18

FADER .................................................... 18

SOLO ...................................................... 18

MUTE/ALT 3–4 ....................................... 18

PAN ....................................................... 19

CONSTANT LOUDNESS ! ! !....................... 19

3-BAND EQ ............................................. 19

AUX SEND .............................................. 20

OUTPUT SECTION DESCRIPTION ..................... 21

MAIN MIX .............................................. 21

VLZ MIX ARCHITECTURE ......................... 21

SOURCE MATRIX..................................... 21

CONTROL ROOM / SUBMIX .................... 22

SOLO MODE: AFL / PFL ........................... 22

RUDE SOLO LED ...................................... 22

ASSIGN TO MAIN MIX ............................. 23

METERS .................................................. 23

AUX TALK ............................................... 24

AUX 1 SELECT ......................................... 24

AUX 1 MASTER ....................................... 24

AUX RETURNS ........................................ 24

EFX TO MONITOR ................................... 25

JACK NORMALLING................................. 25

MODIFICATIONS.......................................... 25

14 02 - V L Z PRO BLOCK DIAGRAM .................... 26

GAIN STRUCTURE DIAGRAM .......................... 27

SPECIFICATIONS............................................ 28

SERVICE INFO ............................................... 29

APPENDIX A: CONNECTIONS ................................. 30

TRACK SHEET ....................................................... 33

COLOPHON .......................................................... 34

1402-VLZ PRO LIMITED WARRANTY..................... 35

5

HOOKUP DIAGRAMS

4-track Recorder

in (record)out (play)

IMPORTANT: ALL Channel Insert plugs are inserted to the SECOND click.

Guitar Effects

Keyboard or other line-level input

2-track Mixdown Deck2-track Mixdown Deck

(record)

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

out

(play)

in

R

L

R

OUT

OUTPUTS

CHANNEL INSERTSAUX RETURNS

CHANNEL

1

INPUTS

2

OUT

AUX

OUT

ALT 3/4

IN-TAPE-OUT

OUT

MAIN

PHONES

CNTRL ROOM

OUT

MAIN

1

2

3

4

5

6

L

R

out

in

out

Mono in / stereo out Reverb

L

R

in

out

1

2

L

R

L

R

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

in

out

in

out

Mono Processor

Digital Delay

Power

Amplifier

CH

2

Stereo Compressor

in

OL

PWR

ON

HIGH RESOLUTION STUDIO MONITOR

OFF

OL

PWR

ON

HIGH RESOLUTION STUDIO MONITOR

OFF

Studio Monitors

1402-VLZ PRO 4-Track Record / 2-Track Mix

6

Keyboard or other line-level input

Video Deck #3

SMPTE Control

Time code DAT

Video Deck #2

L

R

L

R

Video Deck #1

L

Audio out

R

Audio out

CD Player

out

L

R

in

V/O Mic

L

Audio out

R

L

R

1

2

3

4

5

6

7

8

9

10

11

12

13

14

L

1

L

MONO

CHANNEL

R

L

MONO

INPUTS

R

L

MONO

R

L

MONO

R

IN-TAPE-OUT

R

PHONES

OUT

CNTRL ROOM

OUTPUTS

1

2

3

4

CHANNEL INSERTSAUX RETURNS

5

6

L

1

R

L

2

R

1

OUT

AUX

2

L

OUT

R

ALT 3/4

L

OUT

MAIN

R

OUT

MAIN

in

Compressor

out

Note: Aux Return #2

can be used as an extra stereo input

Multi Effect Processor

in

Power

Amplifier

FULL SYMMETRY DUAL DIFFERENTI AL HIGH CURR ENT DESIGN

CH

1

2

out

Mackie Designs: Video Setup scene #1 _ 23:94:10

Time Base

Multi - VCR Video Switcher with time code Interface (optional)

Master Video Deck

1402-VLZ PRO Video Setup

OL

PWR

ON

HIGH RESOLUTION STUDIO MONITOR

OFF

Studio Monitors

7

OL

PWR

ON

OFF

org

red

Turntable

2-track Deck

CD Player

Sampler

L

R

in

(record)

Phono Preamps

RIAA

(play)

in

out

in

1

2

3

1

4

5

3

6

4

L

7

MONO

R

8

L

9

L

out

R

L

out

R

out

MONO

R

10

L

11

MONO

R

12

L

13

MONO

R

14

R

L

R

OUT

OUTPUTS

CHANNEL INSERTSAUX RETURNS

CHANNEL

1

INPUTS

2

OUT

AUX

OUT

ALT 3/4

IN-TAPE-OUT

OUT

MAIN

PHONES

CNTRL ROOM

OUT

MAIN

1

2

3

4

5

*Note: Aux Return #2 can

6

be used as an extra stereo input

L

R

L

R

1

2

L

R

L

R

in

out

in

out

in

out

in

out

Triggered Lights

Multi Effect Processor

Stereo Compressor

out

Stereo EQ

Power

Amplifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

in

out

Left PA Speaker

Right PA Speaker

People dancing on the floor

1402-VLZ PRO Disc Jockey Setup

8

org

red

Vocal Mics

Stereo Guitar Effects

Keyboard or other line-level input

2-track Deck

(record)

Bass Preamp

Drum Machine

in

out

(play)

1

4

5

6

7

8

9

10

11

12

13

14

L

1

2

3

4

5

L

MONO

CHANNEL

R

L

MONO

INPUTS

R

L

MONO

R

L

MONO

R

IN-TAPE-OUT

R

PHONES

OUT

CNTRL ROOM

OUTPUTS

1

2

3

4

CHANNEL INSERTS

5

6

L

1

R

L

2

AUX RETURNS

R

1

OUT

AUX

2

L

OUT

R

ALT 3/4

L

OUT

MAIN

R

OUT

MAIN

Mono EQ

in

out

in

CH

1

Stereo EQ

FULL SYMMETRY DUAL DIFFERENTI AL HIGH CURR ENT DESIGN

CH

1

in out in out

Mono Compressor

in out

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

2

Power

Amplifier

CH

2

Stereo Compressor

out

Multi Effect Processor

Power Amp

in

out

Stage Monitors

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.

1402-VLZ PRO Stereo PA

Left PA Speaker

Right PA Speaker

9

1402-VLZ PRO PATCHBAY DESCRIPTION

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.

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-type male mic connector. To learn how signals are

routed from these inputs:

own, connect them like this:

Pin 1 = Ground or shield Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

. If you wire your

SHIELD

COLD

SHIELD

COLD

2

HOT

1

3

1

3

2

HOT

1

3

2

SHIELD

COLD

HOT

Professional ribbon, dynamic and condenser mics will all sound excellent through these inputs. The 1402-VLZ

PRO’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:

.

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 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-VLZ bally controlled by the the rear panel

Do not plug instrument outputs into the

MIC IN

jacks with

you know for certain it is safe to do so.

PRO’s phantom power is glo-

PHANTOM

switch on

.

Never plug single-ended (unbalanced) microphones or instruments into the

MIC IN

jacks if the

PHANTOM power is on.

PHANTOM

power on unless

MIC

1

M

I

C

R

P

D

X

LINE IN 1

LOW CUT

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U U

60

0

-45dB

+15dB

TRIM

R

E

BAL OR

UNBAL

75 Hz

MIC

D

X

LINE IN 2

-

M

0

+15dB

TRIM

R

0

1

C

I

M

I

C

d

B

G

A

-45dB

2

P

R

E

BAL OR

UNBAL

LOW CUT

75 Hz

18dB/OCT

V

I

N

60

10

MIC

D

X

LINE IN 3

M

0

+15dB

TRIM

R

1

-

C

I

M

d

0

G

3

I

C

P

R

UNBAL

LOW CUT

75 Hz

18dB/OCT

B

V

A

I

N

60

-45dB

TAPE

LEFT/

MIC

4

M

I

C

R

P

D

R

X

E

MIC

5

M

I

C

R

P

D

R

X

E

MIC

6

M

I

C

R

P

D

R

X

E

MONO

E

1

RIGHT

ALL BAL/UNBAL

TAPE

OUTPUT

INPUT

1

BAL/UNBAL

L

2

R

BAL

OR

BAL OR

UNBAL

LINE IN 4

-

M

U

0

+15dB

TRIM TRIM TRIM

0

1

C

I

LOW CUT

18dB/OCT

d

B

V

G

A

I

N

60

-45dB

LINE IN 5

75 Hz

BAL OR

UNBAL

LINE IN 6

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

60

0

-45dB

+15dB

STEREO AUX RETURN

BAL

OR

UNBAL

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

60

0

-45dB

MONO

UNBAL

LEVEL

+4

-10 -10 -10 -10

LINE IN 7–8

AUX SEND

MONO

L

BAL OR

UNBAL

L

RR

LEVEL

+4

LINE IN 9–10

LINE IN 11–12

MONO

UNBAL

LEVEL

+4

L

BAL OR

R

MAIN OUT

LEVEL

LINE IN 13–14

MONO

BAL

OR

UNBAL

+4

L

R

LINE INPUTS (Channels 1–6)

20Hz100

Hz

1k

Hz

10kHz20k

Hz

–15

–10

–5

0

+5

+10

+15

20Hz100

Hz

1k

Hz

10kHz20k

Hz

–15

–10

–5

0

+5

+10

+15

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 –40dB to operating levels of –10dBV to +4dBu, since there is 40dB more gain available than on Channels 7–14. To learn how signals are routed from these inputs:

.

To connect balanced lines to these inputs,

1

⁄4" Tip-Ring-Sleeve (TRS) plug, the type

use a found on stereo headphones:

SLEEVERING

TIP

RING

TIP

SLEEVE

Tip = Positive (+ or hot) Ring = Negative (– or cold) Sleeve = Shield or ground

To connect unbalanced lines to these in-

1

puts, use a

⁄4" mono (TS) phone plug or

standard instrument cable:

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

Tip = Signal Sleeve = Ground

Line inputs 1–6 are a good place to connect older instruments that need more gain. You can correct weak levels by adjusting the corre-

TRIM

sponding channel’s

control .

LOW CUT (Channels 1–6)

The

LOW CUT switch, often referred to as a

High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave.

We recommend

that you use

on every micro-

CUT

phone application except kick drum, bass guitar, bassy

Low Cut

synth patches, or re-

cordings of earthquakes. These aside, there isn’t much down there that you want to hear, and filtering

LOW

it out makes the low stuff you do want much more crisp and tasty. Not only that, but

can help reduce the possibility of feed-

CUT

back in live situations and it helps to conserve the amplifier power.

Another way to consider

LOW CUT

tion is that it actually adds flexibility during live performances. With the addition of

, you can safely use

CUT

vocals

. Many times, bass shelving EQ can

LOW

equalization on

really benefit voices. Trouble is, adding

EQ

also boosts stage rumble, mic handling clunks and breath pops. moves all those problems so

TIPSLEEVE

you can add low

LOW CUT

EQ

re-

without

losing a woofer.

Here’s what the combina-

LOW EQ

tion of

looks like in terms of

CUT

and

LOW

frequency curves.

TRIM (Channels 1–6)

If you haven’t already, please read the Level

Setting Procedure

TRIM

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.

If the signal originates through the XLR jack, there will be 0dB of gain with the knob fully down, ramping to 60dB of gain fully up.

1

Through the

⁄4" input, there is 15dB of attenuation fully down and 45dB of gain fully up, with a “U” (unity gain) mark at 10:00.

This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or when you want to add a lot of both. Without this “virtual pad,” a scenario like that might lead to channel clipping.

+4 / –10 (Channels 7–14)

This switch adjusts the input sensitivity of the line inputs on channels 7–14. 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 then setting the switch to the appropriate gain setting.

LOW

’s func-

LOW

Low Cut with Low EQ

EQ

gain, or

,

TRIM

knob and

11

MIC

1

M

I

C

R

D

X

LINE IN 1

LOW CUT

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U U

60

0

-45dB

+15dB

TRIM

P

R

UNBAL

75 Hz

MIC

2

M

I

C

R

P

D

R

X

E

BAL OR

LINE IN 2

-

M

0

+15dB

TRIM

1

C

I

d

0

G

UNBAL

LOW CUT

75 Hz

18dB/OCT

B

V

A

I

N

60

-45dB

E

BAL OR

MIC

D

X

LINE IN 3

M

0

+15dB

TRIM

R

-

1

I

M

d

0

G

C

3

I

C

P

R

UNBAL

LOW CUT

75 Hz

18dB/OCT

B

V

A

I

N

60

-45dB

MIC

4

M

I

C

R

P

D

R

X

E

BAL OR

E

BAL

OR

UNBAL

LINE IN 4

M

U

0

+15dB

TRIM TRIM TRIM

-

1

C

I

d

B

0

G

LOW CUT

75 Hz

18dB/OCT

V

A

I

N

60

-45dB

LINE IN 5

MIC

5

M

I

C

R

P

D

R

X

E

BAL OR

UNBAL

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

60

0

-45dB

+15dB

MIC

D

X

LINE IN 6

-

M

0

+15dB

6

M

I

C

R

LOW CUT

18dB/OCT

d

B

0

V

1

G

A

C

I

N

I

60

-45dB

P

75 Hz

R

E

UNBAL

BAL OR

LEFT/

MONO

ALL BAL/UNBAL

RIGHT

1

TAPE

INPUT

1

L

2

R

STEREO AUX RETURN

MONO

BAL

UNBAL

AUX SEND

MONO

L

OR

UNBAL

L

BAL OR

RR

LEVEL

+4

-10 -10 -10 -10

LINE IN 7–8

LEVEL

LINE IN 9–10

+4

LINE IN 11–12

TAPE

OUTPUT

MONO

L

BAL OR

UNBAL

R

LEVEL +4

BAL/UNBAL

MAIN OUT

LINE IN 13–14

MONO

UNBAL

LEVEL +4

L

R

L

BAL

OR

R

STEREO LINE INPUTS (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 –10dBV to +4dBu. They can be used with just about any professional or semi-pro instrument, effect or tape player. To learn how

signals are routed from these inputs: wire your own cables:

.

In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For example, you would feed the 1402-VLZ 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.

When connecting a mono device (just one cord), always use the Left (

MONO

plug nothing into the Right input — this way the signal will appear on both sides. This trick is called “jack normalling”

.

. To

PRO’s

) input and

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. Linelevel sources can be patched through a serial effects device before or after the mixer or, more conveniently, through the channel insert jacks located on the rear of the mixer (

SEND/RETURN

) .

“Parallel” means that a portion of the signal

in the mixer is tapped off to the device (

), processed and returned to the mixer

SEND

AUX 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. (See diagrams below.)

INSERT

AUX

Serial

Parallel

Dry Signal(s)

12

Dry Signal

Aux Send

Insert Send Insert Return

Signal Processor

Serial Device

(e.g. Compressor)

Signal Processor

Aux Return

Parallel Device

(e.g. Reverb)

Wet Signal

Channel Path

Dry Signal(s)

Processed

Signal

Output Section

Processed

Signal

Mix Stage

I F

INSERT (Channels 1–6)

These jacks, on the back of the 1402-VLZ PRO, are where you connect serial effects such as compressors, equalizers, de-essers, or filters

. Since most people don’t have more than a few of these gadgets, we’ve included inserts for just the first six channels. If you want to use this kind of processing on Channels 7–14, simply patch through the processor before you plug into the 1402-VLZ

INSERT

The

LOW CUT EQ

and

FADER

low-impedance (120 ohms), capable of driving any device. The return (ring) is highimpedance (over 2.5k ohms) and can be driven by almost any device.

INSERT

ring

tip

sleeve

this plug connects to one of the mixer’s Channel Insert jacks.

Tip = Send (output to effects device) Ring = Return (input from effects device) Sleeve = Common ground (connect shield to

all three sleeves)

Besides being used for inserting external

devices, these jacks can also be used as channel direct outputs; postand pre gram

INSERT

EQ

. Here’s three ways you can use the

jacks:

Direct out with no signal interruption to master.

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

PRO.

points are after the

TRIM

controls, but before the channel’s

controls. The send (tip) is

cables must be wired thusly:

TRIM

SEND to processor

RETURN from processor

, post-

LOW CUT

(TRS plug)

. Check out the 4-track hookup dia-

MONO PLUG

Channel Insert jack

Insert only to first “click.”

MONO PLUG

Channel Insert jack

and

“tip”

“ring”

)

2

MANUFACTURING DATE

)

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

NG. USE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

CHANNEL INSERT

(

PRE-FADER / PRE EQ TIP SEND / RING RETURN

5

6

N INC.: "MACKIE", "VLZ", "XDR", AND THE "RU NNING MAN" FIGURE • PATENT PENDING

SERIAL NUMBER

3

4

AUX RETURNS

This is where you connect the outputs of your parallel effects devices (or extra audio sources). These balanced inputs are similar to the stereo line inputs Sends, Pan, Mute, and Solo. The circuits will handle stereo or mono, balanced or unbalanced signals, either instrument level, –10dBV or +4dBu. They can be used with just about any pro or semi-pro effects device on the market. To learn how signals are routed from

these inputs, see

That way, the unused

control can be used to feed

LEVEL RETURN 1

,

the

to your stage monitors, via

EFX TO MONITOR

Mono Device: If you have an effects de-

vice with a mono output (1 cord), plug that

AUX RETURN 1 LEFT

into

RETURN 1 RIGHT

signal will be sent to both sides, magically appearing in the center as a mono signal. This won’t work with you’ll need a Y-cord to feed the L/R bus. In

AUX RETURN 1

short,

AUX RETURN 2

does not use jack normalling.

without EQ, Aux

.

One Device: If you have just one parallel effects device, use

and leave

1 RETURN 2

AUX RETURN

AUX

unplugged.

AUX RETURN 2

switch .

and leave

unplugged. That way the

AUX RETURN 2

uses jack normalling.

1

AUX

—

STEREO

PLUG

(TIP = SEND to effect, RING = RETURN from effect)

For use as an effects loop.

Channel Insert jack

13

MIC

1

M

I

C

R

D

X

LINE IN 1

LOW CUT

18dB/OCT

d

B

0

V

1

-

G

A

C

I

M

U U U

060

-45dB

+15dB

TRIM

MIC

2

M

I

C

P

R

UNBAL

75 Hz

N

R

P

D

R

X

E

BAL

OR

LINE IN 2

-

M

060

+15dB

TRIM

1

C

I

d

B

0

G

UNBAL

LOW CUT

75 Hz

18dB/OCT

V

A

I

N

-45dB

E

BAL

OR

MIC

D

X

LINE IN 3

M

060

+15dB

R

0

1

-

C

I

TRIM

M

I

d

B

G

A

3

C

LOW CUT

18dB/OCT

V

I

N

-45dB

P

75 Hz

MIC

4

M

I

C

R

P

D

R

X

E

BAL OR

UNBAL

LINE IN 4

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U

060

-45dB

+15dB

TRIM TRIM TRIM

TAPE IN

These RCA jacks are designed to work with semi-pro as well as pro recorders. To compensate for typically low levels, signals coming in here will be automatically boosted by 6dB.

Connect your tape recorder’s outputs here, using standard hi-fi (RCA) cables. To learn how signals are routed from these inputs, see

Use these jacks for convenient tape playback of your mixes. You’ll be able to review a mix, and then rewind and try another pass, without repatching or disturbing the mixer levels. You can also use these jacks with a portable tape or CD player to feed music to a PA system between sets.

WARNING: Pushing

TAPE

in the

matrix and

MAIN MIX

feedback path between

TAPE IN

tape deck is not in record, record-pause or input monitor mode when you engage these switches, or make sure the

SUBMIX

and

TAPE OUT

. Make sure your

CTL ROOM /

fader is fully down (off).

MIC

5

M

I

C

R

P

D

R

E

UNBAL

BAL OR

R

X

E

UNBAL

LINE IN 5

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

060

-45dB

+15dB

TIPSLEEVETIPSLEEVE

SOURCE

ASSIGN TO

can create a

MIC

D

X

LEFT/

6

M

I

C

R

MONO

P

R

E

ALL BAL/UNBAL

RIGHT

1

TAPE

INPUT

1

OUTPUT

BAL/UNBAL

L

TAPE

L

2

R

LOW CUT

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

-45dB

STEREO AUX RETURN

BAL

OR

UNBAL

75 Hz

LEVEL

-10 -10 -10 -10

LINE IN 7–8

BAL OR

LINE IN 6

M

060

+15dB

Outputs? The 1402-VLZ

’em: XLR

MAIN

CONTROL ROOM

AUX SEND

MONO

BAL

OR

UNBAL

L

MONO

BAL OR

UNBAL

L

RR

+4

LEVEL

+4

LINE IN 9–10

, 1⁄4"

LINE IN 11–12

PRO has plenty of

MAIN, TAPE, PHONES

and

AUX SENDS

LEVEL

+4

MONO

BAL

UNBAL

L

OR

R

MAIN OUT

LINE IN 13–14

. Let’s

MONO

UNBAL

LEVEL

+4

L

BAL

OR

R

,

take a peek.

XLR MAIN OUTPUTS

These low-impedance outputs are fully bal-

anced and capable of driving +4dBu lines with

.

up to 28dB of headroom. This output is 6dB hotter than other outputs. To learn how sig-

nals are routed to these outputs:

To use these outputs, wire the XLR (bal-

anced only) connectors like this:

SHIELD

COLD

SHIELD

COLD

Pin 1 = Ground Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

.

2

HOT

1

3

1

3

2

HOT

1

3

2

SHIELD

COLD

HOT

14

MAIN OUTPUT LEVEL

Engaging this switch pads the balanced

XLR

MAIN OUTPUTS

by 30dB, so you can feed the microphone input of, say, another mixer. Perfect for sending a submix to another mic level input in boardroom or conference room applications.

You can safely plug this output into an input

that provides 48V phantom power.

1⁄4" MAIN OUTPUTS

These 1⁄4" jacks are balanced outputs capable of delivering 22dBu into a 600 ohm balanced or unbalanced load. (Okay, we admit it, that was a pretty technical sentence. See the Glossary and Connections appendices if you want to decode it.)

To learn how signals are routed to these outputs:

To use these outputs to drive balanced inputs, connect phone plugs like this:

.

1

⁄4" TRS (Tip-Ring-Sleeve)

SLEEVERING

RING

TIPSLEEVE

For most music recording and PA applications, unbalanced lines are perfectly acceptable. To use these outputs to drive un-

1

balanced inputs, connect

⁄4" TS (Tip-Sleeve)

phone plugs like this:

SLEEVE

TIP

Tip = + (hot) Sleeve = Ground

TAPE OUTPUT

These unbalanced RCA connections tap the

MAIN OUTPUTS

ing and PA work more convenient. Connect these to your recorder’s inputs. To learn how

signals are routed to these outputs:

1

⁄4"

MONO OUT

signal to your tape deck or other device, simply use an RCA Y-cord to combine these outputs (Radio Shack

attempt this with any other outputs on the 1402-VLZ

to make simultaneous record-

: If you want to feed a mono

®

#274-511, for instance). Do not

PRO.

TIPSLEEVE

TIP

SLEEVE

.

TIPSLEEVETIPSLEEVE

Tip = + (hot) Ring = – (cold) Sleeve = Ground

FIRE REPLACE WITH SAME

120 VAC 50/60 Hz 25W

500mA/250V SLO -BLO

CAUTION:

TO REDUCE THE RISK OF

TYPE FUSE AND RATING

TIP

RING

TIP

SLEEVE

PHANTOM

POWER

ON

1402-VL ZPRO

14-CHANNEL MIC/LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

MAIN

RIGHT

BALANCED BALANCED

MAIN LEFT

MONO PLUG

INSERT ALL THE WAY IN TO

THE "SECOND CLICK"

DIRECT OUT WIT H SIGNAL

INTERRUPTION TO MASTER

+4 MIC

MAIN

OUTPUT

LEVEL

THE FOLLOWING ARE TRADEMARKS OR REG

STEREO

PLUG

TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS

FOR USE AS AN EFFECTS LOOP

(TIP = SEND, RING = RETURN)

CONTROL

ROOM

BAL/UNBAL

R

L

15

MIC

1

MIC

M

I

C

R

P

D

R

X

E

BAL

OR

UNBAL

LINE IN 1

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U U

60

0

-45dB

+15dB

TRIM

D

X

LINE IN 2

0

+15dB

R

1

-

C

I

M

TRIM

M

0

I

C

LOW CUT

18dB/OCT

d

B

V

G

A

I

-45dB

2

P

R

E

BAL OR

UNBAL

75 Hz

N

60

MIC

D

X

LINE IN 3

0

+15dB

R

1

-

C

I

M

TRIM

M

0

I

C

LOW CUT

18dB/OCT

d

B

V

G

A

I

-45dB

TAPE

MIC

4

MIC

5

3

P

R

M

I

C

R

P

D

R

X

E

M

I

C

R

D

X

MIC

P

R

X

E

LEFT/MONO

6

M

I

C

R

P

D

R

E

ALL BAL/UNBAL

RIGHT

1

TAPE

INPUT

1

OUTPUT

BAL/UNBAL

L

2

R

d

B

0

1

-

G

C

I

M

0

UNBAL

LOW CUT

75 Hz

18dB/OCT

V

A

I

N

60

-45dB

BAL OR

STEREO AUX RETURN

LINE IN 7–8

BAL OR

UNBAL

75 Hz

N

60

BAL OR

UNBAL

LINE IN 4

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U

60

0

-45dB

+15dB

TRIM TRIM TRIM

BAL OR

UNBAL

LINE IN 5

LOW CUT

75 Hz

18dB/OCT

d

B

0

V

1

-

G

A

C

I

N

I

M

U U

60

0

-45dB

+15dB

LINE IN 6

+15dB

AUX SEND

MONO

BAL

UNBAL

L

OR

MONO

UNBAL

L

BAL

OR

RR

LEVEL

+4

-10 -10 -10 -10

LINE IN 9–10

LEVEL

+4

LINE IN 11–12

MONO

UNBAL

LEVEL +4

L

BAL

OR

R

MAIN OUT

LINE IN 13–14

MONO

UNBAL

LEVEL +4

L

BAL

OR

R

PHONES

The 1402-VLZ PRO’s stereo will drive any standard headphone to very loud levels. Walkperson-type phones can also be used with an appropriate adapter. To learn

how signals are routed to these outputs:

you’re wiring your own cable for the output, follow standard conventions:

Tip = Left channel Ring = Right channel Sleeve = Common ground

WARNING: When we say the headphone amp is loud, we’re not kidding. It can cause permanent

ear damage. Even intermediate levels may be painfully loud with some earphones. BE CAREFUL!

Always turn the

CTL ROOM/SUBMIX

all the way down before connecting headphones. Keep it down until you’ve put the phones on. Then turn it up slowly. Why? “Engi-

neers who fry their ears find themselves with short careers.”

SLEEVERING

TIP

PHONES

jack

RIGHT

fader

. If

LEFTSLEEVE

RIGHT

LEFT

SLEEVE

ALT 3–4 OUTPUT

These 1⁄4" jacks are balanced outputs ca-

pable of delivering 22dBu into a balanced or unbalanced load. To learn how signals are

routed to these outputs: cables:

.

. To wire your own

CONTROL ROOM

These 1⁄4" jacks are balanced outputs ca-

pable of delivering 22dBu into a 600 ohm balanced or unbalanced load. To learn how

signals are routed to these outputs: wire your own cables:

.

. To

AUX SEND 1&2

These 1⁄4" jacks are also balanced outputs

capable of delivering 22dBu into a 600 ohm balanced or unbalanced load. To learn how

signals are routed to these outputs: your own cables:

.

. To wi re

16

POWER CONNECTION

Just in case you lose the cord provided with the 1402-VLZ standard 3-prong IEC cord like those found on most professional recorders, musical instruments, and computers.

At the other end of our cord is — get this — a plug! Not a black cube or, as we’re fond of calling them, a “wall wart.” We did this for some very good reasons:

The 1402-VLZ requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, you’re in trouble, but if you lose the 1402-VLZ one at any electronics, music, or computer store. You can even buy them at Radio Shack (part # 287-1257). Can you tell that we hate wall warts?

Plug the 1402-VLZ grounded AC outlet or into a power strip of proper voltage.

PRO, its power jack accepts a

PRO has sophisticated power

PRO’s power cord, you can get a new

PRO into any standard

WARNING: Disconnecting the plug’s ground pin can be dangerous. Please don’t do it.

POWER SWITCH

If this one isn’t self-explanatory, we give up. You can leave this switch on all the time; the 1402-VLZ

PRO is conservatively designed, so heat buildup isn’t a problem even in 24-hour-aday operation. There’s nothing that will burn out or get used up. Or, just plug everything into a good quality power strip for one-button turn-on.

You may notice that the 1402-VLZ quite warm in the upperright corner. This is perfectly normal.

(Perfectly normal. Is that redundant?) In the output section there is a

LED. If the power is on, so is the LED.

PHANTOM SWITCH

®

The Phantom Power Switch controls the phantom power supply for condenser microphones plugged into channels 1-6 mic inputs as discussed at the start of this section When turned on (or off), the phantom power circuitry takes a few moments for voltage to ramp up (or down). This is also perfectly normal.

In the output section, next to the LED, is the

PHANTOM

LED. If the phantom

power is on, so is the LED.

PRO feels

POWER

.

FUSE

The 1402-VLZ PRO is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the cord, pull the fuse drawer out (located just below the cord receptacle) and replace the fuse with a 500mA (0.5 amps) SLO BLO, 5x20mm, available at electronics stores or your dealer (or a 250mA SLO BLO 5x20mm if your 1402-VLZ PRO is a 220V–240V unit).

If two fuses blow in a row, something is very wrong. Please call our toll-free number (or the distributor in your country) and find out what to do.

PHANTOM

120 VAC 50/60 Hz 25W

500mA/250V SLO-BLO

CAUTION:

TO REDUCE THE RISK OF

FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

POWER

ON

1402-VLZ PRO

14-CHANNEL MIC/LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

MAIN

RIGHT

BALANCED BALANCED

MONO PLUG

INSERT ALL THE WAY IN TO

THE "SECOND CLICK"

DIRECT OUT WITH SIGNAL

INTERRUPTION TO MASTER

MAIN LEFT

+4 MIC

MAIN

OUTPUT

LEVEL

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING

STEREO

PLUG

TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS

FOR USE AS AN EFFECTS LOOP

(TIP = SEND, RING = RETURN)

CONTROL

ROOM

BAL/UNBAL

R

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

ALT

OUTPUT

BAL/UNBAL

R/4

L

WARNING:

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

L/3

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

(

PRE-FADER / PRE EQ TIP SEND / RING RETURN

5

6

SERIAL NUMBER

CHANNEL INSERT

4

MANUFACTURING DATE

)

1

2

3

17

dB

10

5

U

5

10

20

30

40 50 60

OO

MUTE

ALT 3–4

OO

U

LR

1

AUX

1

MON/

EFX

+15

2

EFX

+15

EQ

HI

12kHz

+15-15

MID

2.5kHz

+12-12

LOW

80Hz

+15-15

PAN

SOLO

CHANNEL STRIP DESCRIPTION

The ten channel strips look alike, and function identically. The only difference is that the six on the left are for individual mics or mono instruments and have more gain available, while the next four are for either stereo or mono line-level sources. (Each of the stereo channel strips is actually two complete circuits. The controls are linked together to preserve stereo.) We’ll start at the bottom and work our way up…

“U” LIKE UNITY GAIN

Mackie mixers have a “U”

symbol on almost every level

U

control. This “ “unity gain,” meaning no change in signal level. Once you have adjusted the input signal to line-

, you can set every control at “U” and your

level signals will travel through the mixer at optimal levels. What’s more, all the labels on our level controls are measured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

You won’t have to check it here and check it there, as you would with some other mixers. In fact, some don’t even have any reference to actual dB levels at all! Ever seen those “0–10” fader markings? We call these AUMs (Arbitrary Units of Measurement), and they mean nothing in the real world. You were smart — you bought a Mackie.

” stands for

which mode you’ll be hearing. With the switch up, you’ll get “AFL” (After Fader Listen), which is post-FADER and post-PAN, making it ideal for mixdown soloing. With the switch down, you’re in “PFL” (pre-fader listen) mode. This is the required mode for the Level Setting Procedure

Soloed channels are sent to the

mix , which ultimately feeds your

ROOM SOLO

MAIN MIX, ALT 3–4

( to allow the soloed signal to do just that — solo!

MUTE/ALT 3–4

The dual-purpose a Mackie signature. When Greg was designing our first product, he had to include a mute switch for each channel. Mute switches do just what they sound like they do. They turn off the signal by “routing” it into oblivion. “Gee, what a

waste,” Greg reasoned. “Why not have the mute button route the signal somewhere else useful…like a separate stereo bus?” So

MUTE/ALT 3–4

muting (often used during a mixdown or live show), and signal routing (for multi-track and live work) where it acts as an extra stereo bus.

To use this as a do is not use the ever you assign a channel to these unused

,

PHONES

and

is engaged, all

really serves two functions —

ALT 3–4

.

METERS

SOURCE

and

. Whenever

selections

TAPE

) are defeated,

MUTE/ALT 3–4

MUTE

switch, all you have to outputs. Then, when-

SOURCE

CONTROL

switch is

outputs, you’ll also be disconnecting it from the

FADER

The

FADER

controls the channel’s level… from off to unity gain at the “U” marking, on up to 10dB of additional gain. Channels 1–6 use mono controls, and channels 7–14 use stereo controls.

SOLO

This lovable switch allows you to hear signals through your headphones or control room without having to route them to the

ALT 3–4

mixes. Folks use solo in live work to preview channels before they are let into the mix, or to just check out what a particular channel is up to anytime during a session. You can solo as many channels at a time as you like.

Solo is also the key player in the Level

Setting Procedure

Your 1402-VLZ

.

PRO has “Dual-Mode Solo.”

A switch in the master section

18

MAIN

or

determines

MAIN MIX

To use this as an

have to do is connect the

, effectively muting the channel.

ALT 3–4

switch, all you

ALT 3–4

outputs to whatever destination you desire. Two popular examples:

When doing multitrack recording, use the

ALT 3–4

most decks, you can mult the

outputs to feed your multitrack. With

ALT 3–4

outputs, using Y-cords or mults, to feed multiple tracks. So, take

ALT OUT LEFT

3, 5 and 7, and

ALT OUT RIGHT

and send it to tracks 1,

and send it to tracks 2, 4, 6 and 8. Now, tracks that are in Record or Input modes will hear the

ALT 3–4

signals, and tracks in Playback or Safe modes will ignore them.

When doing live sound or mixdown, it’s often handy to control the level of several channels with one knob. That’s called Subgrouping. Simply assign these channels to the engage

ALT 3–4

signals will appear at the

in the

SOURCE

CONTROL ROOM

ALT 3–4

matrix, and the

mix,

and

20Hz100

Hz

1k

Hz

10kHz20k

Hz

–15

–10

–5

0

+5

+10

+15

20Hz100

Hz

1k

Hz

10kHz20k

Hz

–15

–10

–5

0

+5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

0

+5

+10

+15

signals to go back into the the

CTL ROOM/SUBMIX

fader to control the levels of all channels assigned to

sign the channels to the patch out of the back into an unused stereo channel (7–8, 9–10 or 11–12 or 13–14). If that’s your choice, don’t ever engage the stereo channel, or you’ll have every dog in the neighborhood howling at your feedback loop.

that it can act as a “AFL” (After Fader Listen): just engage a channel's and the

the

can bewilder newcomers, so take your time and play around with it. Once you’ve got it down, you’ll probably think of a hundred uses for it!

sent to the left versus the right outputs. On mono channels (ch. 1–6 or 7–14 with connections to the as pan pots. On stereo channels (7–14) with stereo connections to the pan knob works like the balance control on your home stereo.

(1–2) and hard left, the signal will feed either

LEFT

on the position of the knob hard right, the signal feeds (bus 2) or cover that maybe we should’ve called this an 1404-VLZ

It has nothing to do with living next to a freeway. As you turn the (thereby causing the sound to move from the left to the center to the right), the sound will appear to remain at the same volume (or loudness).

right) and reading 0dB, it must dip down about 4dB on the left (or right) when panned

PHONES

ASSIGN TO MAIN MIX

outputs. If you want the

MAIN MIX

switch , and the

ALT 3–4

, engage

fader becomes the one

ALT 3–4

.

Another way to do the same thing is to as-

ALT OUT LEFT

MUTE/ALT 3–4

Another benefit of the

ALT 3–4

switch in the

ALT 3–4

MUTE/ALT 3–4

mix, then

and

RIGHT

switch on that

feature is

switch

SOURCE

matrix

and you’ll get that channel, all by itself, in

CONTROL ROOM

MUTE/ALT 3–4

and

PHONES

.

is one of those controls that

PAN

adjusts the amount of channel signal

LEFT

input only) these controls act

LEFT

and

RIGHT

inputs,

PAN

determines the fate of the

ALT 3–4

mix. With the

MAIN MIX

PAN

knob

MAIN

(bus 1) or

ALT LEFT

ALT 3–4

(bus 3), depending

switch. With the

MAIN RIGHT

ALT RIGHT

2

, since it really is a 4-bus mixer.

(bus 4). You’ll soon dis-

CONSTANT

LOUDNESS ! ! !

The 1402-VLZ PRO’s controls employ a design called “Constant Loudness.”

PAN

knob from left to right

If you have a channel panned hard left (or

PAN

center. To do otherwise (the way Brand X compact mixers do) would make the sound appear much louder when panned center.

3-BAND EQ

The 1402-VLZ PRO has 3-band equalization at carefully selected points

LOW

—

MID

peaking at 2.5kHz, and 12kHz. “Shelving” means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, rotating the 1402-VLZ PRO’s

LOW EQ

right boosts bass starting at 80Hz and continuing down to the lowest note you never heard. “Peaking” means that certain frequencies form a “hill” around the center frequency — 2.5kHz in the case of the

MID EQ

LOW EQ

This control gives you up to 15dB boost or cut at 80Hz. The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers.

Used in conjunction with the

LOW CUT

boost the

switch , you can

LOW EQ

without injecting a ton of subsonic debris into the mix.

MID EQ

Short for “midrange,” this knob provides 12dB of boost or cut, centered at 2.5kHz, also flat at the center detent. Midrange often thought of as the most dynamic, because the frequencies that define any particular sound are almost always found in this range. You can create many interesting and useful

EQ

turning this knob down as well as up.

HI EQ

This control gives you up to 15dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, and an overall sense of transparency or edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.

shelving at 80Hz,

HI

shelving at

knob 15dB to the

.

EQ

is

changes by

Low EQ

+15

+10

+5

0

–5

–10

–15

20Hz 100Hz 1kHz 10kHz 20kHz

Low EQ with Low Cut

Mid EQ

Hi EQ

19

dB

10

5

U

5

10

20

30

40 50 60

OO

-15

MUTE

ALT 3–4

OO

U

LR

1

AUX

MON/

EFX

+15

EFX

+15

EQ

12kHz

+15

MID

2.5kHz

+12-12

LOW

80Hz

+15-15

PAN

SOLO

Moderation during EQ

1

With EQ, you can also screw things up roy-

ally. We’ve designed a lot of boost and cut into

2

each equalizer circuit, because we know everyone will occasionally need that. But if you

EQ

max the

HI

s on every channel, you’ll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few gold-record-album engineers ever use

EQ

more than about 3dB of

. If you need more than that, there’s usually a better way to get it, such as placing a mic differently (or using a different kind of mic entirely).

AUX SEND

These tap a portion of each channel signal out to another source for parallel effects processing or stage monitoring. are controlled by the channel’s

knobs and by the

2

These are more than just effects and monitor sends. They can be used to generate separate mixes for recording or “mix-minuses” for broadcast. By using mode , these mix levels can be obtained independently of the channel’s

AUX

AUX 1 MASTER

AUX 1

send levels

AUX 1

in the

GAIN

and

.

PRE

control.

AUX

AUX 1

in

POST

post-

LOW CUT

-mode and

, post-

EQ

and post-

AUX 2

FADER

are

. That

is, the sends obey the settings of these controls.

AUX 1

in

PRE

settings only.

CUT

fect on the

mode follows the

PAN

and

PRE

send (see diagram below).

EQ

FADER

and

LOW

have no ef-

All AUX send levels range from off through unity (with their channel gain controls at the center detent position) on up to 15dB of extra gain (when turned fully clockwise). Chances are you’ll never need this extra gain, but it’s nice to know it’s there if you do.

AUX

Channel 7–14

pots control the mono

sum of the channel’s stereo signals for each

AUX

send. For instance, Channel 7 (left) and

8 (right) mix together to feed that channel’s

AUX

send knobs.

We recommend going into a stereo reverb in mono and returning in stereo. We have found that most “stereo” reverbs’ second input just ties

AUX

up an extra

send and adds nothing to the sound. There are exceptions, so feel free to try it both ways. If your effects device is true stereo

AUX 1

all the way through, use input and

AUX 2

to feed the

to feed its

RIGHT

LEFT

input.

TRIM INSERTLOW CUT EQ

INPUT

“Pre vs. Post” Signal Flow Diagram

20

"PRE" SIGNAL

FADER

"POST" SIGNAL

PAN

MUTE / ALT

"POST" SIGNAL OBEYS MUTE STATUS

AUX SEND 2 KNOB

AUX SEND 1 KNOB

TO AUX SEND 2 OUTPUT

TO AUX SEND 1 OUTPUT

AUX SEND 1 PRE/POST SWITCH (IN MASTER SECTION)

OUTPUT SECTION DESCRIPTION

Still with us? Good for you. Here come the

tricky parts, where the mixing is really done.

MAIN MIX

As the name implies, this fader controls the

levels of signals sent to the

, 1⁄4" and RCA

XLR channels and

AUX RETURNS

TAPE OUT

MAIN OUTPUTS

that are not

:

. All

muted or turned fully down will wind up in the

MAIN MIX

.

Fully down is off, the “U” marking is unity gain, and fully up provides 10dB additional gain. This additional gain will typically never be needed, but once again, it’s nice to know it’s there. These are the faders to pull down at the end of the song when you want The Great Fade-Out.

VLZ MIX

ARCHITECTURE

When designing a mixing

circuit, the lowest noise and best crosstalk specs are achieved by using Very Low Impedance (VLZ). To implement VLZ in a mixer, the power supply must be able to deliver plenty of current to the circuitry. That’s why those “wall wart” mixers are often noisy – they can’t power a VLZ circuit.

At Mackie, audio quality is much more important than the price of wall warts. All of our mixers employ VLZ and built-in power supplies that deliver more than enough current, resulting in sonic specifications that rival consoles upwards of $50,000!

SOURCE MATRIX

Typically, the engineer sends the to an audience (if live) or a mixdown deck (if recording). But what if the engineer needs to hear something other than the With the 1402-VLZ PRO, the engineer has several choices of what to listen to. This is one of those tricky parts, so buckle up.

Via the

SOURCE

switches, you can choose

to listen to any combination of

3-4

and

TAPE

. By now, you probably know

what the

MAIN MIX

tional stereo mix bus. coming in from the

is.

ALT 3-4

TAPE

TAPE IN

is the stereo signal

MAIN MIX

MAIN MIX, ALT

is that addi-

RCA jacks .

?

Selections made in the

liver stereo signals to the

PHONES

and

METERS

SOURCE

CONTROL ROOM

. With no switches en-

matrix de-

gaged, there will be no signal at these outputs and no meter indication.

SOLO

The exception to that is the

. Regardless of the

tion, engaging a channel’s

SOURCE

SOLO

replace that selection with the also sent to the and

METERS

Setting Procedure

CONTROL ROOM, PHONES

. This is what makes the Level

so easy to do.

function

matrix selec-

switch will

SOLO

signal,

WARNING: Pushing in

TAPE

both the

SOURCE

the

button (in

matrix) and

ASSIGN TO MAIN MIX

can create a feedback

path between

TAPE IN

and

TAPE OUT

.

Make sure your tape deck is not in record, record-pause or input monitor mode when you engage these switches, or make sure

CONTROL ROOM / PHONES

the

fader is

fully down (off).

U

OO

AUX 1 MASTER

PRE

POST

AUX 1

SELECT

C-R/SOURCE

MAIN MIX

ALT 3–4

TAPE

ASSIGN

TO MAIN MIX

SOLO

MODE

PHANTOM

CTL ROOM

dB

10

5

U

5

10

20

30

40 50 60

OO

+10

NORMAL (AFL)

LEVEL SET (PFL)

POWER

/SUBMIX

EFX TO

MONITOR

U

OO

U

O

LEFT RIGHT

0dB=0dBu

28

10

7

4

2

0

2

4

7

10

20

30

RUDE SOLO LIGHT

MAIN MIX

dB

10

5

U

5

10

20

30

40 50 60

OO

+20

NORMALLED

+20

RETURN

1

2

AUX

LEVEL

SET

,

21

Now you know how to select the signals you want to send to the engineer’s control room or phones. From there, these signals all pass through the same level control:

CTL ROOM / SUBMIX

This fader controls the levels of both the ste-

CONTROL ROOM OUTPUTS

reo

PHONES OUTPUTS

. The control range is from off through unity gain at the “U” marking, with 10dB of extra gain fully up.

When

MAIN MIX

is your tion, those signals will pass through two level controls on the way to your control room amp and phones — the

CTL ROOM / SUBMIX

MAIN MIX

fader. This way, you

can send a nice healthy level to the

OUTPUTS

(

MAIN MIX

fader at “U”), and a

quiet level to the control room or phones

CTL ROOM / SUBMIX

(

fader wherever you

like it).

When

ALT 3-4

or

TAPE

is selected, or is engaged, this fader will be the only one controlling these levels (channel controls not withstanding).

U

OO

+10

AUX 1 MASTER

PRE

POST

AUX 1

SELECT

C-R/SOURCE

MAIN MIX

ALT 3–4

TAPE

ASSIGN

TO MAIN MIX

SOLO

MODE

PHANTOM

CTL ROOM

dB

10

5

U

5

10

20

30

40 50 60

OO

22

NORMAL (AFL) LEVEL SET (PFL)

POWER

/SUBMIX

EFX TO

MONITOR

LEFT RIGHT

0dB=0dBu

MAIN MIX

dB

10

5

U

5

10

20

30

40 50 60

OO

and

SOURCE

fader and this

U

1

OO

+20

NORMALLED

U

2

AUX

O

+20

RETURN

28

10

7

4

2

0

2

4

7

LEVEL

10

SET

20

30

RUDE SOLO LIGHT

selec-

MAIN

SOLO

Whatever your selection, you can also use

CONTROL ROOM OUTPUTS

the

for other applications. It's sound quality is just as impeccable as the used as additional

MAIN MIX

outputs. It can be

output, which may sound silly since there are already three, but this one has its own level control. However, should you do something like this, be sure that

SOLO

you never engage a interrupt your

SOURCE

switch, as that will

selection.

SOLO MODE: AFL/PFL

Engaging a channel’s

cause this dramatic turn of events: Any exist-

SOURCE

ing replaced by the

CONTROL ROOM OUTPUTS, PHONES

the

OUTPUTS SOLO

matrix selections will be

SOLO

and at the

levels are then controlled by the

ROOM / SUBMIX

pearing on the

METERS

by anything — you wouldn’t want that. You want to see the actual channel level on the

METERS

regardless of how loud you’re listen-

ing.

With the

SOLO MODE

position, you’re in AFL mode, meaning AfterFader Listen. You’ll hear the output of the soloed channel — it will follow the channel’s

TRIM, EQ, FADER

tings. It’s similar to muting all the other channels, but without the hassle. Use AFL mode during mixdown.

With the switch down, you’re in PFL mode, meaning Pre-Fader Listen (post mode is required for the Level Setting Proce- dure and is handy for quick spot-checks of channels, especially ones that have their faders turned down.

In either mode, by a channel’s

MUTE/ALT

SOLO

signal, appearing at

METERS

fader. The

. The audible

SOLO

are not controlled

switch in the up

and

SOLO

will not be affected

switch position.

switch will

CTL

levels ap-

PAN

set-

EQ

). This

RUDE SOLO LIGHT

This flashing Light Emitting Diode serves two purposes — to remind you that at least

SOLO

one channel is in that you’re mixing on a Mackie. No other company is so concerned about your level of awareness. If you work on a mixer that has a solo function with no indicator lights, and you happen to forget you’re in solo, you can easily be tricked into thinking that something is wrong with your mixer. Hence the

SOLO LIGHT

. It’s especially handy at about 3AM when no sound is coming out of your monitors but your multitrack is playing back like mad.

, and to let you know

SOLO

RUDE

ASSIGN TO MAIN MIX

Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd to prevent them from becoming antsy. Then you think, “But I

have the CD player plugged into the TAPE inputs, and that never gets to the MAIN OUTPUTS!” Oh, but it does. Simply engage this

switch and your

SOURCE

after going through the fader, will feed into the

matrix selection,

CTL ROOM / SUBMIX

MAIN MIX

, just as if it

were another stereo channel.

Another handy use for this switch is to enable the

MAIN MIX

the

SUBMIX

ALT 3-4

fader as its level control.

mix to become a submix of

, using the

CTL ROOM /

Side effects: (1) Engaging this switch will also feed any soloed channels into the

MIX

, which may be the last thing you want. (2)

If you have

MAIN MIX

selection and then engage

, the

MIX

MAIN MIX

as your

SOURCE

ASSIGN TO MAIN

lines to the

MAIN

matrix

SOURCE

matrix will be interrupted, to prevent feedback. Then again, why on earth would anyone want to assign the

MAIN MIX

to the

MAIN MIX

?

METERS – MANY DISPLAYS IN ONE!

The 1402-VLZ PRO’s peak metering system is made up of two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by it.

If nothing is selected in the

and no channels are in

SOURCE

SOLO

, the will just sit there and look stupid. To put them to work, you must make a selection in the

SOURCE

matrix (or engage a

SOLO

matrix

METERS

switch).

Why? You want the

METERS

to reflect what the engineer is listening to, and as we’ve covered, the engineer is listening either to the

CONTROL ROOM

outputs or the

PHONES

outputs. The only difference is that while the listening levels are controlled by the

ROOM / SUBMIX SOURCE

mix before that control, giving you

fader, the

METERS

CTL

read the

the real facts at all times, even if you’re not listening at all.

You may already be an expert at the world of “+4” (+4dBu=1.23V) and “–10” (–10dBV=0.32V) operating levels. Basically, what makes

a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meters. A “+4” mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meters. A “–10” mixer, with a –10dBV signal trickling out, will read, you guessed it, 0VU on its meters. So when is 0VU actually 0dBu? Right now!

At the risk of creating another standard, Mackie’s compact mixers address the need of both crowds by calling things as they are — 0dBu (0.775V) at the output shows as 0dB VU on the

METERS

. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from.

Thanks to the 1402-VLZ

PRO’s wide dynamic range, you can get a good mix with peaks flashing anywhere between –20 and +10dB on the

METERS

. Most amplifiers clip at about +10dB, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+7.”

Remember, audio meters are just tools to help assure you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to).

23

AUX TALK

First of all, there is no par-

AUX

jacks .

1

2

AUX

RETURN

LEVEL

SET

AUX

ticular alliance between

SEND 1 RETURN 1

(or 2) and

(or 2). They’re just numbers. They’re like two complete strangers, both named Fred.

Here’s the whole idea behind sends and re-

turns: sends are outputs, returns are inputs.

AUX SEND

their send them out via the

s tap signals off the channels, via

AUX

knobs , mix these signals, then

AUX SEND

These outputs are fed to the inputs of a reverb or other device. From there, the outputs of this external device are fed back to the mixer’s

AUX RETURN

sent through the and finally delivered to the

jacks . Then these signals are

AUX RETURN

level controls,

MAIN MIX.

So, the original “dry” signals go from the channels to the

MAIN MIX

and the affected

“wet” signals go from the Aux Returns to the

MAIN MIX

, and once mixed together, the dry and wet signals combine to create a glorious sound. So, armed with this knowledge, let’s visit the Auxiliary World:

U

OO

AUX 1 MASTER

PRE

POST

AUX 1

SELECT

C-R/SOURCE

MAIN MIX

ALT 3–4

TAPE

ASSIGN

TO MAIN MIX

SOLO

MODE

PHANTOM

CTL ROOM

dB

10

5

U

5

10

20

30

40 50 60

OO

+10

NORMAL (AFL) LEVEL SET (PFL)

POWER

/SUBMIX

EFX TO

MONITOR

U

OO

U

OO

LEFT RIGHT

0dB=0dBu

28

10

2

10

20

30

RUDE SOLO LIGHT

MAIN MIX

dB

10

5

U

5

10

20

30

40 50 60

OO

+20

NORMALLED

+20

7

4

2

0

4

7

AUX 1 SELECT

Besides being used to work effects into your mix, Aux Sends serve another critical role — that of delivering cue mixes to stage monitors, so musicians can hear what they’re doing. On the 1402-VLZ

AUX SEND 1

can play ei-

PRO, ther role, depending on the position of this switch.

With the

gaged),

FADER

pre-

AUX 1 SELECT

AUX SEND 1

and pre-

MUTE/ALT 3-4

switch up (disen-

will tap a channel

, meaning that no matter how you manipulate those controls as they feed the

will continue to belt out a constant sig-

SEND

MAIN MIX

, the

AUX

nal level. This is the preferred method for

EQ

setting up stage monitor feeds. will affect all

AUX SENDS

With the switch down,

.

AUX SEND 1

comes an ordinary effects send — post- and post-

MUTE/ALT 3-4

. This is a must for ef-

settings

be-

FADER

fects sends, since you want the levels of your “wet” signals to follow the level of the “dry.”

AUX 1 MASTER

The

AUX 1 MASTER

control of ered to the

AUX SEND 1

AUX 1 OUTPUT

provides overall level

, just before it’s deliv-

. (

AUX SEND 2

has no such control.) This knob goes from off (turned fully down), to Unity gain at the center detent, with 10dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, you’ll be glad you bought a Mackie.

This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (It would follow suit that if the singer stuck his thumb down, you’d turn the knob down, but that never happens.)

AUX RETURNS

These two controls set the overall level of effects received from

1

and 2 . These controls are designed to

puts handle a wide range of signal levels, from off, to unity gain at the detent, with 20dB gain fully clockwise, to compensate for low-level effects.

Typically, these knobs can just live at the center detent, and the effects device’s output control should be set at whatever they call Unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects device’s outputs, not the mixer. That way, the mixer’s knobs are easy to relocate at the center detent.

STEREO AUX RETURN

in-

24

Signals passing through the

level controls will proceed directly to

MIX

, with one exception (see next para-

graph). The

MUTE/ALT 3-4

AUX RETURNS

switches, so if you want

these signals to get to the

AUX RETURN

do not have

ALT 3-4

mix, you’ll

MAIN

have to patch the effects device’s outputs into one of the stereo channels, and

that channel .

ALT

MUTE/

EFX TO MONITOR

The idea behind this great feature is simple: If you want to add reverb or delay to the stage monitor mixes, this is the switch for you. The implementation leading up to the switch is the tricky part:

With the switch up,

AUX RETURN 1

and

2

behave normally — they deliver their signals into the

AUX RETURN 1 AUX RETURN 2

SEND

MAIN MIX

1

instead of the

. With the switch down,

still behaves normally, but

’s level control will feed

MAIN MIX

.

AUX

Still with us? Good. So far, with the switch down, we have

MAIN MIX SEND 1

and

. Now, suppose you only have one ef-

AUX RETURN 1

AUX RETURN 2

feeding the

feeding

AUX

fects device, and you want it to feed both the

MAIN MIX

and

AUX SEND 1

. That’s where

“jack normalling” comes in.

JACK NORMALLING

Jack normalling (not to be confused with Jack Normalling, Chicago Cubs utility infielder, 1952-61, .267 LBA) is a feature found on almost every mixer, keyboard and effects device. These jacks have special spring-loaded pins that connect to the signal pins, but when something is plugged into the jack, that connection is broken.

These normalling pins can be used in all sorts of ways. The ubiquitous phrase “ (

MONO

)” means that if you plug a signal into

the

LEFT

side and have nothing in the

side, that signal is also fed to the right input, courtesy of jack normalling. As soon as you

RIGHT

plug something in the

side, that

normalled connection is broken.

How does all this relate to the

MONITOR

are normalled to

switch?

AUX RETURN 1

AUX RETURN 2

one effects device, plug it into Plug nothing into signals feeding the also be sent to the

AUX RETURN 2

AUX RETURN 1

AUX RETURN 2

LEFT

RIGHT

EFX TO

’s inputs

. If you have

AUX RETURN 1

. Now the

inputs will

inputs.

Engage the now the additional the Once again,

AUX RETURN 2

AUX SEND 1

AUX RETURN 1

EFX TO MONITOR

knob will become an

knob for the signal at

. Say that ten times!

switch, and

will behave nor-

mally, as always.

Congratulations! You’ve just read about all the features of your 1402-VLZ

PRO. You’re probably ready for a cold one. Go ahead. The rest of the manual can wait.

MODIFICATIONS

For most folks, the 1402-VLZ PRO works just fine the way it is. But for special applications, there are three signal routing changes that can be performed easily on the 1402-VLZ PRO. Easy for someone with soldering experience, that is. If you don’t know how to solder, find a technician that can. This is NOT a good place to learn!

• Modification A changes AUX SEND 2 to be

pre-fader, pre-mute instead of post-fader, post-mute.

• Mod B changes AUX SEND 1 (in post

mode) and AUX SEND 2 to receive signal regardless of the channel’s MUTE/ALT switch position, but still be post-fader (GAIN knob).

• Mod C changes the SOURCE matrix’s

MAIN MIX selection to tap the stereo signal before the MAIN MIX level control (pre) instead of after (post).

Instructions for performing these modifications can be found on our website at www.mackie.com (click on Support). Or you can call Tech Support at 1-800-258-6883 for assistance.

.

25

MAIN MIX MAIN FADERS

30dB PAD

TAPE OUT L

LINE OUT L

BAL OUT L

BAL OUT R

LINE OUT R

ALT MIX

ALT OUT L

ALT OUT R

ALT

TAPE

MAIN

SOURCE

CONTROL ROOM &

PHONES FADER

METERING

(0dBu = 0VU)

CONTROL ROOM LEFT

CONTROL ROOM RIGHT

PHONES OUT

AUX 1 MIX

AUX 1 PRE / POST

AUX 2 OUT

AUX 1 OUT

TAPE IN

L

R

CONTROL ROOM &

PHONES MIX

2

3

1

2

3

1

AUX 1 LEVEL

TAPE OUT R

22

10

7

4

2

0

2

4

7

10

20

30

SOLO RELAY

PFL LED

RUDE

SOLO

LED

AFL (AFTER FADER LISTEN)

PFL (PRE-FADER LISTEN)

ASSIGN TO MAIN

AFL L

PFL

AFL R

AUX 2 MIX

SOLO MIX

MID HI

80 2K5 12K

LO

MAIN L

MAIN R

ALT L

ALT R

AUX 1 PRE

AUX 1 POST

AUX 2 POST

SOLO/PFL

AFL L

PHANTOM POWER (GLOBAL SWITCH)

MIC IN

LINE IN

TRIM

INSERT

LOW CUT

3-BAND EQ

FADER

PAN

MUTE / ALT

MONO CHANNEL (1 OF 6)

2

1

3

STEREO CHANNEL (1 OF 4)

LINE IN L

LINE IN R

3-BAND EQ

FADER

PAN

MUTE / ALT

AUX RETURN 1

L IN

R IN

AUX RETURN 2

L IN

(MONO)

R IN

GAIN

EFX TO MONITOR

MACKIE 1402-VLZ PRO

SIGNAL FLOW

1/99

MID HI

80 2K5 12K

LO

MID HI

80 2K5 12K

LO

75Hz

HPF

+4 /-10

AFL R

LOGIC

1

2

3

4

AFL L

AFL R

POST

LOGIC

SOLO

AUX SEND 2

AUX SEND 1PRE

PFL

1

2

3

4

AFL L

AFL R

LOGIC

SOLO

PFL

POST

AUX SEND 2

AUX SEND 1PRE

1402-VLZ PRO BLOCK DIAGRAM

26

GAIN STRUCTURE DIAGRAM

to ‘D’

to ‘C’

0dB

+28dBu max out (XLR)

+22dBu max out (1/4" & RCA)

0dB 1/4" Out and RCA Tape Out

+6dB XLR OUT

+10dB up

C

to ‘C’

–4dB center

‘B’ 0dB

+10dB up

+15db up

+15dB up

+12dB up

HIGH

MID

LOW

–15dB down

–12dB down

–15dB down

–30dB XLR OUT, PAD engaged

OUTPUTS

FADER

MIX

PAN

FADER

CHANNEL MAIN MIX

EQ

0dB

+22dBu max out

+10dB up

MAIN MIX, ALT 3–40dB

+16dBu max TAPE IN

‘D’

OUTPUT

SOURCE Matrix C-R/PHONES MIX C-R/PHONES FADER

TAPE IN 6dB Boost

+20dB up

INPUT

+22dBu max in

0dB

+22dBu max out

+10dB up

CONTROL ROOM / PHONES

From ‘B’

LEVEL

AUX RETURN

OUTPUT

AUX SEND

Channel AUX SEND AUX MIX Master AUX SEND

0dB

+22dBu max in

to ‘A’‘A’

0dB gain, TRIM down

MIC IN, Channels 1–6

60dB gain, TRIM up

+22dBu max in

15dB loss, TRIM down

to ‘A’

45dB gain, TRIM up

LINE IN, Channels 1–6

0dB

+12dB engaged

+22dBu max in

Unity gain

to ‘A’

+4 (dBu) / –10 (dBV)

LINE IN, Channels 7–14

27

SPECIFICATIONS

Main Mix Noise

20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.

Main Mix fader down, channel faders down: –100.0dBu Main Mix fader unity, channel faders down: –86.5dBu (90dB Signal-to-Noise Ratio, ref +4dBu) Main Mix fader @ unity, channel faders @ unity: –84.5dBu

Total Harmonic Distortion (THD)

1kHz @ +14dBu, 20Hz–20kHz

Mic pre @ insert : 0.0007%

Attenuation (Crosstalk)

1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity

Main fader down: –85dBu Channel Alt / Mute switch engaged: –84dBu Channel fader down: –83dBu

Frequency Response

Mic input to any output

20Hz to 60kHz: +0dB/–1dB 20Hz to 100kHz: +0dB/–3dB

Equivalent Input Noise (EIN)

Mic in to Insert Send out, max gain

150 ohm termination: –129.5dBm unweighted

Common Mode Rejection (CMR)

Mic in to Insert Send out, max gain

1kHz: better than –90dB

Maximum Levels

Mic in: +22dBu Tape in: +16dBu All other inputs: +22dBu Main Mix XLR out: +28dBu All other outputs: +22dBu

Impedances

Mic in: 1.3 kilohms Channel Insert return: 2.5 kilohms All other inputs: 10 kilohms or greater Tape out: 1.1 kilohms All other outputs: 120 ohms

EQ

High Shelving: +/–15db @ 12kHz Mid Peaking: +/–12dB @ 2.5kHz Low Shelving: +/–15db @ 80Hz

Power Consumption

120VAC, 50/60Hz, 25 watts

Fuse Rating

120V: 500mA slo blo, 5 x 20mm 220–240V: 250mA slo blo, 5 x 20mm

2.9" (7.4cm)

8 rack spaces

12.9" (32.8cm)

14" (35.6cm)

WEIGHT

9.5 lbs.

(4.5 kg.)

2.9"

(7.4cm)

Mackie Designs is always striving to improve our mixers by incorporating new and improved materials, components and manufacturing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time, without notice.

13.1" (33.27cm)

28

SERVICE INFO

Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer (if it’s missing, let us know and we’ll rush one to you).

If you think your 1402-VLZ lem, please do everything you can to confirm it before calling for service. Doing so might save you from the deprivation of your mixer and the associated suffering.

Of all Mackie products returned for service (which is hardly any at all), roughly 50% are coded “CND” — Could Not Duplicate, which usually means the problem lay somewhere other than the mixer. These may sound obvious to you, but here’s some things you can check:

PRO has a prob-

TROUBLESHOOTING

Bad Channel

• Is the MUTE/ALT 3–4 switch in the

correct position?

• Is the fader turned up?

• Try unplugging any INSERT devices

(Channels 1–6 only).

• Try the same source signal in another

channel, set up exactly like the suspect channel.

Bad Output

• Is the associated level control (if any)

turned up?

• If it’s one of the Main outputs, try unplug-

ging all the others. For example, if it’s the

1

⁄4" Left Main out, unplug the RCA and XLR Left outputs. If the problem goes away its not the mixer.

• If it’s a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem stays on the left it’s not the mixer.

Noise

• Turn the channel fader and AUX RETURN knobs down, one by one. If the sound disappears, it’s either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, it’s from your whatever.

Power

• Our favorite question: Is the POWER switch on?

• Check the fuse

.

REPAIR

Service for the U.S. version of the 1402-VLZ PRO is available only from Mackie Designs, located in sunny Woodinville, Washington. (Service for mixers living outside the United States can be obtained through local dealers or distributors.) If your mixer needs service, follow these instructions:

1. Review the preceding troubleshooting

suggestions. Please.

2. Call Tech Support at 1-800-258-6883, 8am

to 5pm PST, to explain the problem and request an RA number. Have your mixer’s serial number ready. You must have a

Return Authorization number, or we may refuse the delivery.

3. Set aside the power cord, owner’s manual,

or anything else that you’ll ever want to see again. We are responsible for the return of the mixer only.

4. Pack the mixer in its original package,

including endcaps and box. This is VERY IMPORTANT. When you call for the RA number, please let Tech Support know if you need a new box. Mackie is not respon-

sible for any damage that occurs due to non-factory packaging.

5. Include a legible note stating your name,

shipping address (no P.O. boxes), daytime phone number, RA number and a detailed description of the problem, including how we can duplicate it.

6. Write the RA number in BIG PRINT on top

of the box.

7. Ship the mixer to us. We suggest insurance

for all forms of cartage. Ship to this address:

Mackie Designs

SERVICE DEPARTMENT

16220 Wood-Red Rd. NE

Woodinville, WA 98072

8. We’ll try to fix the mixer within five

business days. Ask Tech Support for current turn-around times when you call for your RA number. We normally send everything back prepaid using three-day shipping. However, if you rush your mixer to us by next-day air, we’ll treat it in kind by shipping it back in the same way in which it was received. This paragraph does not necessarily apply to non-warranty service.

29

APPENDIX A: CONNECTIONS

“XLR” CONNECTORS

Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the signal (Figure A). All totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio Engineering Society).

Use a male “XLR”-type connector, usually found on the nether end of what is called a “mic cable,” to connect to a female XLR jack.

SHIELD

COLD

SHIELD

COLD

Figure A: XLR Connectors

1

⁄4" TRS PHONE PLUGS AND JACKS

“TRS” stands for Tip-Ring-Sleeve, the three connections available on a “stereo” “balanced” phone jack or plug. See Figure B. TRS jacks and plugs are used in several different applications:

• Stereo Headphones, and rarely, stereo

microphones and stereo line connections. When wired for stereo, a

2

HOT

1

3

1

3

2

HOT

1

3

2

1

⁄4" TRS jack or

1

⁄4" or

SHIELD

COLD

HOT

plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps.

You can cook up your own adapter for a stereo microphone adapter. “Y” two cables out of a female

1

⁄4" TRS jack to two male XLR plugs, one for the Right signal and one for the Left.

• Balanced mono circuits. When wired as a

1

balanced connector, a

⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth).

• Unbalanced Send/Return circuits. When

1

wired as send/return “Y” connector, a

⁄4" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).

1

⁄4" TS PHONE PLUGS AND JACKS

“TS” stands for Tip-Sleeve, the two connec-

1

tions available on a “mono”

⁄4" phone jack or plug (Figure C). TS jacks and plugs are used in many different applications, always unbalanced. The tip is connected to the audio signal and the sleeve to ground (earth). Some examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

Figure B: 1⁄4" TRS Plugs

30

TIPSLEEVE

SLEEVERING

TIP

RING

TIP

SLEEVE

Figure C: TS Plug

TIP

SLEEVE

TIPSLEEVE

TIP

SLEEVE

SWITCHED 1⁄4" PHONE JACKS

Switches can be incorporated into 1⁄4" phone jacks, which are activated by inserting the plug. These switches may open an insert loop in a circuit, change the input routing of the signal or serve other functions. Mackie uses switches in the channel insert and bus insert jacks, input jacks and AUX returns. We also use these switches to ground the line-level inputs when nothing is plugged into them.

In most cases, the plug must be inserted fully to activate the switch. Mackie takes advantage of this in some circuits, specifying circumstances where you are to insert the plug only partially. See Special Mackie Connections, later in this section.

RCA PLUGS AND JACKS

RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other appli-

cations

TIPSLEEVETIPSLEEVE

(Figure D). They are

Figure D: RCA Plug

cally identical to a

1

⁄4" TS phone plug or jack

unbalanced and electri-

(See Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.”

UNBALANCING A LINE

In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment. This usually will not be a problem in making connections.

• When connecting a balanced output to an

unbalanced input, be sure the signal high (hot) connections are wired to each other, and that the balanced signal low (cold) goes to the ground (earth) connection at the unbalanced input. In most cases, the

balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end.

• When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections of the balanced input. If there are ground-loop problems, try connecting the unbalanced ground (earth) connection only to the input low (cold) connection, and leaving the input ground (earth) connection disconnected.

In some cases, you will have to make up special adapters to interconnect your equipment. For example, you may need a balanced XLR female connected to an unbalanced

1

⁄4" TS

phone plug.

SPECIAL MACKIE CONNECTIONS

The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie

1

jacks. A anced input, for example, will automatically unbalance the input and make all the right connections. Conversely, a into a tie the ring (low or cold) to ground (earth).

TRS Send/Receive Insert Jacks

conductor, TRS-type unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector (See Figure F).

both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring.

⁄4" TS plug inserted into a 1⁄4" TRS bal-

1

⁄4" TRS plug inserted

1

⁄4" unbalanced input will automatically

Mackie’s single-jack inserts are the three-

1

⁄4" phone. They are

The sleeve is the common ground (earth) for

31

Using the Send Only on an Insert Jack

If you insert a TS (mono) 1⁄4" plug only partially (to the first click) into a Mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer).

This allows you to tap out the channel or bus signal at that point in the circuit without interrupting normal operation.

1

If you push the

⁄4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure E.

NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.

MACKIE STEREO INPUTS AND RETURNS: Mono, Stereo, Whatever

Stereo line inputs and stereo AUX returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or stereo, depending upon how you use the jacks. Here’s how it works:

A mono signal should be patched into the input or return jack labeled Left (MONO). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses it’s assigned to, or it can be “panned” with the Balance control.

A stereo signal, having two plugs, should be patched into the LEFT (MONO) and the RIGHT input or return jacks. A jack switch in the RIGHT jack will disable the mono function, and the signals will show up in stereo.

A mono signal connected to the RIGHT jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions (weddings, bar mitzvahs, Rush Limbaugh’s birthday party, etc.)

MULTS AND “Y”s

A mult or “Y” connector allows you to route one output to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the outputs of both unbalanced and balanced circuits.

Remember: Only mult or “Y” an output into several inputs. If you need to combine several outputs into one input, you

must use a mixer, not a mult or a “Y.”

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click.”

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

STEREO

PLUG

Channel Insert jack

For use as an effects loop.

(TIP = SEND to effect, RING = RETURN from effect)

Figure E

32

ring

tip

sleeve

this plug connects to one of the mixer’s Channel Insert jacks.

Figure F

(TRS plug)

SEND to processor

RETURN from processor

“tip”

“ring”

U

OO

+10

U

OO

+20

U

OO

+20

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

(AFL)

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7

–

8

RR

R

LINE IN 9

–

10

LINE IN 11

–

12

LINE IN 13

–

14

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

LINE IN 3

LINE IN 4

L

R

1

2

1

2

RIGHT

AUX SENDSTEREO AUX RETURN MAIN OUT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

OR

UNBAL

BAL

OR

UNBAL

LINE IN 5

LOW CUT

75 Hz

18dB/OCT

BAL

OR

UNBAL

LINE IN 6

LOW CUT

75 Hz

18dB/OCT

BAL

OR

UNBAL

LINE IN 1

LINE IN 2

MIC

1

MIC

2

MIC

3

MIC

4

LEFT/MONO

BAL/UNBAL

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

OR

UNBAL

BAL

OR

UNBAL

ALL BAL/UNBAL

MIC

5

MIC

6

RUDE

SOLO

LIGHT

+28

0dB

=

0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWER

PHANTOM

MAIN MIX

LEVEL

SET

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI

12kHz

MID

2.5kHz

LOW

80Hz

EQ

AUX

1

2

AUX 1 MASTER

MON/

EFX

1

MON/

EFX

1

MON/

EFX

1

MON/

EFX

1

MON/

EFX

1

MON/

EFX

1

MON/

EFX

1

MON/

EFX

AUX

2

EFX

AUX

2

EFX

AUX

2

EFX

1

MON/

EFX

AUX

2

EFX

1

MON/

EFX

AUX

2

EFX

AUX

2

EFX

AUX

2

EFX

AUX

2

EFX

AUX

2

EFX

AUX

RETURN

1

2

TRIM

TRIM TRIM TRIM

NORMALLED

EFX TO

MONITOR

TRIM

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

MUTE

7

–

89

–

10 11

–

12 13

–

14

MUTE

4

MUTE

3

MUTE

2

MUTE

1

MUTE

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

ALT 3

–

4

5

MUTE

6

MUTE

LEVEL

+4

-10 -10 -10 -10

LEVEL

+4

LEVEL

+4

LEVEL

+4

ALT 3

–

4

ASSIGN

TO MAIN MIX

C-R/SOURCE

TAPE

SOLO

MODE

MAIN MIX

TRIM

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

ALT 3

–

4

ALT 3

–

4

CTL ROOM

/SUBMIX

LEVEL SET (PFL)

NORMAL

AUX 1

SELECT

PRE

POST

TAPE

INPUT

TAPE

OUTPUT

L

R

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

0

60

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

0

60

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

0

60

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

0

60

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

060

M

I

C

G

A

I

N

+15dB -45dB

-

1

0

d

B

V

0

60

U

OO

+15

U

OO

+15

U

OO

+15

U

Session:

Date:

NOTES:

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

1402-VL Z PRO

14-CHA NNEL MIC/ LINE MIXER

WITH PREMIUM XDR

TM

MIC PREAMPLIFIERS

33

COLOPHON

(Roll credits please) Manual written by Jeff Gilbert, based on a short story by Ron Koliha, now a major Broadway Musical. Manual then defaced with proofreading pens in the hands of Mackie’s legendary Tech Support staff. Manual composed on a rinky-dink PC using a low-budget word processor, then converted to this amazing piece of work using a 13-story 1000 gigawhopper Macintosh operated by Mackie’s notorious Advertising staff (most notably Becky Priebe). Please, feel free to let us know if you find an error or stumble over a confusing paragraph. Thank you for reading the entire manual (we know you have, or you wouldn’t be here).

Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc. Other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged.

34

1402-VLZ PRO LIMITED WARRANTY

Please keep your sales receipt in a safe place.

A. Mackie warrants all materials, workmanship and proper operation of this product for a period of three years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, Mackie, at its option, will repair or replace the product. Labor for replacing all potentiometers and switches is covered for the first year, after which it is excluded from warranty coverage and may be billed to you. This warranty applies

only to equipment sold and delivered within the U.S. by Mackie or its authorized dealers. B. Failure to register online or return the product

registration card will not void the 3-year warranty. C. Service and repairs of Mackie products are to be performed only at the factory (see D below) OR at an Authorized Mackie Service Center (see E below). Unauthorized service, repairs, or modification will void this warranty.

D. To obtain factory service:

1. Call Mackie at 800/258-6883, 8AM to 5PM

Monday through Friday (Pacific Time) to get a Return Authorization (RA). Products returned without an RA number will be refused.

2. Pack the product in its original shipping carton. If you do not have the carton, just ask for one when you get your RA number, and we’ll send a shipping carton out promptly. More information on packing can be found in the Service section of this manual. Do not use “packing peanuts,” shredded newspapers, or other material with small particles, old underwear, or socks. Please seal the Mackie product in a plastic bag.

3. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem at the Mackie Factory or establish the starting date of your Limited Warranty, we may, at our option, charge for service time.

4. Ship the product in its original shipping carton, freight prepaid to:

Mackie Designs

Service Department

16220 Wood-Red Rd. NE

Woodinville, WA 98072 USA

IMPORTANT: Make sure that the RA number is plainly written on the shipping carton. E. To obtain service from an Authorized Mackie Ser-

vice Center:

1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get:

1) The name and address of your nearest Mackie Authorized Service Center and 2) A return authorization (RA). You must have an RA number before taking your unit to a service center.

2. Make sure that you have a copy of your product’s sales receipt from the store where you bought the product. It is necessary to establish purchase date and thus determine whether or not your product is still under warranty. If you can’t find it, the Authorized Service Center may charge you for repairs even if your product is still covered by Mackie’s 3-Year Limited Warranty.

3. Make sure that the problem can be duplicated. If you bring your product to an Authorized Service Center and they can’t find anything wrong with it, you may be charged a service fee.

4. If the Mackie Authorized Service Center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the Service section of this manual.

5. Contact the Mackie Authorized Service Center to arrange service or bring the product to them.

F. Mackie and Mackie Authorized Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. Mackie and Mackie Authorized Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealer’s invoice or sales receipt. Final determination of warranty coverage lies solely with Mackie Designs Inc. or its Authorized Service Centers. G. Any Mackie product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie. Mackie may use refurbished parts for repair or replacement of any product. Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at Mackie’s factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA. H. Mackie warrants all repairs performed for 90 days or for the remainder of the original warranty period. Mackie assumes no responsibility for the quality or timeliness of repairs performed by Mackie Authorized Service Centers. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. J. This is your sole warranty. Mackie does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs. K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specific legal rights and you may have other rights which vary from state to state.

35

Mackie Designs Inc.

16220 Wood-Red Road NE • Woodinville, WA 98071 • USA

US and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: sales@mackie.com

Mackie M1402-VLZ User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

LEVEL-SETTING PROCEDURE

INTRODUCTION

HOOKUP DIAGRAMS

1402-VLZ PRO PATCHBAY DESCRIPTION

PHANTOM POWER

TRIM

Low Cut

INSERT

AUX RETURNS

TAPE IN

XLR MAIN OUTPUTS

MAIN OUTPUT LEVEL

MAIN OUTPUTS

TAPE OUTPUT

PHONES

CONTROL ROOM

AUX SEND 1&2

POWER CONNECTION

POWER SWITCH

PHANTOM SWITCH

FUSE

SOLO

CHANNEL STRIP DESCRIPTION

FADER

3-BAND EQ

AUX SEND

OUTPUT SECTION DESCRIPTION

MAIN MIX

SOURCE MATRIX

RUDE SOLO LIGHT

SOLO MODE: AFL/PFL

ASSIGN TO MAIN MIX

METERS

AUX TALK

AUX 1 MASTER

AUX 1 SELECT

AUX RETURNS

EFX TO MONITOR

JACK NORMALLING

MODIFICATIONS

1402-VLZ PRO BLOCK DIAGRAM

GAIN STRUCTURE DIAGRAM

SPECIFICATIONS

SERVICE INFO

APPENDIX A: CONNECTIONS

COLOPHON

1402-VLZ PRO LIMITED WARRANTY