Mackie MS1402-VLZ Specification
14 X 2 MICRO SERIES MIC/LINE MIXER
Mackie’s
MicroSeries 1402-VLZ is
a compact mixer that combines the size and durability
of the 12 02-VLZ with the
features and flexibility of the
CR1604-VLZ. Like those two
mixers, the MS1402- VLZ
delivers high headroom and
ultra low noise, thanks to its
VLZ very low impedance
architecture, first introduced
on our acclaimed 8•Bus
consoles. And it’s just as
rugged, with all-steel construction, thru-hole-plated
fiberglass circuit boards,
gold-plated interconnects
and sealed rotary controls.
The MS1402-VLZ is a distinguished sibling.
Mixing Made Easy
One of the first things you’ll
notice is that the 1402- VLZ
has faders. Like the faders
on our SR Series consoles,
these 60mm, log-taper faders provide smooth, consistent fades throughout the
fader’s travel.
3-band EQ at truly useful
freqeuncies (80Hz, 2.5kHz
and 12kHz) allows for
more “musical” equalization. The six studio-grade
1 thru 6) have –12 9.5dBm
E.I.N. And with its integral
48V phantom power supply, the 1402-VLZ is compatible with all of your favorite dynamic and condenser mics. Room rumble,
wind noise and mic
thumps are cut off on
those channels by a Low
Cut Filter (75Hz, 18dB/octave), allowing you to use
Lo Shelving EQ to enhance
the higher end of the bass
frequency range (instead of
using it to get rid of the
aforementioned noises).
Each channel has PFL &
In-Place AFL (globally switchable) for solo and cueing
flexibility. In PFL you can listen to your channels prefade/post-EQ at full level,
before the signal reaches the
fader and pan control. AFL
lets you listen to your channels post-fader/post-EQ. This
is great for hearing where the
signal is in the stereo horizon
(hence the name “Solo InPlace”). Each channel has
PFL and In-Place AFL (globally switchable). PFL Solo
mic preamps
(on channels
RELATED PRODUCTS
RM1402-VLZ RACK
MOUNT BRACKETS
MORE INFORMATION
MS1402-VLZ ARCHITECTS’
& ENGINEERS’
SPECIFICATIONS
“IN YOUR FACE”
ALL-PRODUCT BROCHURE
■
FEATURES
■ 6 low noise/high head-
room XLR mic inputs
(–129.6dBm E.I.N.)
■ 6 balanced/unbalanced
mono line inputs
■ 4 balanced/unbalanced
stereo line inputs
■ 60mm log-taper faders
■ 48V phantom power
■ 3-Band EQ (1 2kHz,
2.5kHz, 80Hz)
■ Low Cut Filter on
channels 1-6
■ PFL/AFL (Solo In-
Place) on every
channel (global)
■ Very Low Impedance
architecture
■ EFX to Monitor switch
■ 2 stereo buses
■ Alt 3-4 for extra bus
■ Balanced inputs and
outputs (except RCAs
and channel inserts)
■ Balanced XLR Main L/R
outputs with mic/line
level switch
■ 1/4” main outputs
■ 60dB Gain on chs. 1-4
®
■ Global Aux 1 Pre/Post
switch
■ Level Setting Marker
®
also makes level setting easy,
especially when used with
the new Level Setting Marker
and the level-set LED.
Mute/Alt 3–4 on each
channel means every channel can be muted. But
that’s only part of it. Alt 3–4
provides an extra stereo
bus for creating two stereo
pairs for 4-track recording,
or for previewing a source
not yet in the main mix.
(An engaged mute button
sends the channel’s signal
to the Alt 3-4 outputs.)
EFX to Monitor lets you
blend reverb or other effects back into a monitor
mix via Aux Send 1, like on
our SR Series. There’s also
an Aux 1 master level control in this section.
Control Room/Phones
has its own level control
and separate outputs, allowing you to select any
combination of Main Mix,
Tape In and Alt 3–4. Y ou
can create custom headphone mixes, monitor tape
levels and more. Plus, a
separate switch routes this
multi-source signal back
into the Main Mix.
Balanced inputs and outputs everywhere (except
RCA tape jacks, phones and
channel inserts) help keep
noise at a minimum, and
there are balanced XLR main
outputs – as well as 1/4”
TRS outs – for direct connections to video post and other
such professional equipment. T o add still more versatility, the signal at the XLR
main outputs is switchable
to mic or line level.
Tough as nails.
The MS1402- VLZ was designed by Greg Mackie, an
audio veteran with over 20
years in the industry. His
designs are intended for
non-stop, 24 hour-a-day
professional duty in broadcast and PA applications,
TV and radio production
studios, and video post
suites — places where
nothing must ever go
wrong. The MS1402- VLZ,
like all of Mackie’s mixers,
lives up to that credo.
It has sealed, co-molded
rotary controls instead of
open-frame phenolic potentiometers that can suffer
from airborne dust and contamination. For the life of an
installation, the 1402- VLZ
provides minimal rotational
contact noise (and if there
ever is a problem, pots are
individually replaceable).
Plus, our combination of
mounting, co-molding and
energy-absorbing knob design helps prevent impact
damage.
Along with its steel chassis and thru-hole-plated
fiberglass circuit boards, the
MicroSeries 1402- VLZ also
features a built-in power
supply instead of a “wall
wart.” Not only does this
eliminate the inevitable
hassles of dealing with external power supplies, but it
also actually reduces hum.
The tiny transformers
inside wall warts are typically driven into non-linear-
ity (in excess of
15 kilo-Gauss)
to provide
enough power
for the mixer.
This creates
stray 25- to
35µV magnetic
fields that are
easily picked up
by shielded audio cables. The
MS1402-VLZ’s
internal transformer loafs
along at under
10 kiloGauss,
reducing stray
fields to less
than 1µV. The
MS1402-VLZ
also uses the
same RF
protection
circuitry and
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