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
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
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998
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
M
I
I
C
C
R
R
P
D
D
R
X
X
E
BAL
OR
UNBAL
LINE IN 2
LINE IN 1
LOW CUT
75 Hz
18dB/OCT
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
N
I
I
M
M
U U U
60
0
0
+15dB
TRIM
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
P
D
R
R
X
E
E
MIC 5MIC
M
I
C
R
R
P
D
D
R
X
X
E
6
M
M
I
I
C
C
R
P
P
D
R
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
BAL
OR
OR
UNBAL
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
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
AUX
1
1
MON/
MON/
EFX
EFX
OO
+15
U
2
2
EFX
EFX
OO
+15
U
EQ
EQ
HI
HI
12kHz
12kHz
+15-15
U
MID
MID
2.5kHz
2.5kHz
+12-12
U
LOW
LOW
80Hz
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
UNBAL
LEVEL
LEVEL
+4
+4
LINE IN 11–12
U
AUX
AUX
1
MON/
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
12kHz
+15-15
U
MID
2.5kHz
2.5kHz
+12-12
U
LOW
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
BAL
OR
OR
UNBAL
R
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
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
©2003 Mackie Designs Inc. All Rights Reserved.
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
M
I
I
C
C
R
R
P
D
D
R
X
X
E
BAL
OR
UNBAL
LINE IN 2
LINE IN 1
LOW CUT
LOW CUT
75 Hz
18dB/OCT
18dB/OCT
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
N
N
I
I
M
M
U U U
60
60
0
0
-45dB
-45dB
+15dB
+15dB
TRIM
TRIM
TRIM
U
U
AUX
1
MON/
EFX
OO
OO
+15
+15
U
U
2
EFX
OO
OO
+15
+15
U
U
EQ
HI
12kHz
+15-15
+15-15
U
U
MID
2.5kHz
+12
+12
-12
-12
U
U
LOW
80Hz
+15-15
+15-15
PANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPAN
CHANNEL STRIPS
2
1
MUTE
MUTE
–
–
ALT 3
4
4
ALT 3
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
OO
MIC
4
MIC
3
M
M
I
I
C
C
R
P
R
UNBAL
75 Hz
AUX
MON/
12kHz
2.5kHz
LOW
R
P
D
D
R
X
X
E
E
BAL
BAL
OR
OR
UNBAL
LINE IN 4
LINE IN 3
LOW CUT
LOW CUT
75 Hz
18dB/OCT
18dB/OCT
d
d
B
B
0
0
V
V
1
1
-
-
PATCHBAY
G
G
A
A
C
C
I
I
N
N
I
I
M
M
U
60
60
0
0
-45dB
-45dB
+15dB
+15dB
TRIM TRIM TRIM
TRIM
U
U
AUX
1
1
MON/
EFX
EFX
OO
OO
+15
+15
U
U
2
2
EFX
EFX
OO
OO
+15
+15
U
U
EQ
EQ
HI
HI
12kHz
+15-15
+15-15
U
U
MID
MID
2.5kHz
+12
+12
-12
-12
U
U
LOW
80Hz
80Hz
+15-15
+15-15
4
3
MUTE
MUTE
–
–
ALT 3
4
4
ALT 3
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
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
U
AUX
AUX
1
1
MON/
MON/
EFX
EFX
OO
OO
+15
+15
U
U
2
2
EFX
EFX
OO
OO
+15
+15
U
U
EQ
EQ
HI
HI
12kHz
12kHz
+15-15
+15-15
U
U
MID
MID
2.5kHz
2.5kHz
+12
+12
-12
-12
U
U
LOW
LOW
80Hz
80Hz
+15-15
+15-15
7–89–10 11–12 13–14
MUTE
–
–
4
ALT 3
ALT 3
4
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
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
OO
+15
U
2
EFX
OO
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12
-12
-12
U
LOW
80Hz
+15-15
MUTE
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
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
OO
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
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
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
L
1
L
MONO
CHANNEL
R
L
MONO
INPUTS
R
L
MONO
R
L
MONO
R
IN-TAPE-OUT
R
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
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
HIGH RESOLUTION
STUDIO MONITOR
OFF
Studio Monitors
7
OL
PWR
ON
OFF
org
red
red
Turntable
2-track
Deck
CD Player
CD Player
Sampler
L
R
in
(record)
Phono Preamps
RIAA
RIAA
(play)
in
out
in
1
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
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
Stereo Compressor
out
Stereo EQ
Power
Amplifier
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
CH
1
2
in
out
Left PA Speaker
Right PA Speaker
People dancing
on the floor
1402-VLZ PRO Disc Jockey Setup
8
org
org
red
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
L
1
2
3
4
5
L
MONO
CHANNEL
R
L
MONO
INPUTS
R
L
MONO
R
L
MONO
R
IN-TAPE-OUT
R
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
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
L
2
2
R
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
+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
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
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
Low Cut with Low EQ
EQ
gain, or
,
TRIM
knob and
11
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