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14-Channel Mic/Line Mixer: Owner'S Manual
14-Channel Mic/Line Mixer: Owner'S Manual
14-Channel Mic/Line Mixer: Owner'S Manual
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
MIC 6
MIC PRE
XDR
LEFT/MONO
RIGHT
ALL BAL/UNBAL
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
OO
AUX
OO
+15
U
OO
EQ
+15
U
-15
+15
U
-15
-15
-15
+15
-15
-15
-15
AUX
OO
OO
EQ
-15
+15
U
-15
-15
-15
-15
MAIN OUT
-15
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
AUX
OO
OO
EQ
-15
OO
OO
EQ
-15
-15
-15
+15
U
-15
OO
EQ
-15
-15
-15
-15
+15
PAN
-15
OO
+20
RIGHT
0dB=0dBu
20
10
MAIN MIX
+15
U
7
4
ALT 34
+15
U
0
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
2
4
+15
PAN
+20
U
LEFT
C-R/SOURCE
MID
2.5kHz
+15
U
+10
OO
EQ
HI
12kHz
+15
U
OO
+15
U
LOW
80Hz
+15
AUX
+15
U
MID
2.5kHz
+15
U
PAN
OO
HI
12kHz
LOW
80Hz
+15
AUX
+15
U
MID
2.5kHz
+15
U
LINE IN 13-14
+15
U
HI
12kHz
+15
U
PAN
AUX
+15
U
LOW
80Hz
+15
LINE IN 11-12
+15
U
MID
2.5kHz
-15
MONO
MONO
HI
12kHz
+15
U
PAN
+15
U
LOW
80Hz
+15
MONO
+15
U
MID
2.5kHz
+15
U
PAN
OO
EQ
+15
U
LOW
80Hz
+15
OO
HI
12kHz
MID
2.5kHz
-15
AUX
+15
U
LINE IN 7-8
+15
U
HI
12kHz
+15
U
PAN
GAIN
+15
U
LOW
80Hz
-15
0
60
+15dB -45dB
+15
U
MID
2.5kHz
+15
PAN
OO
EQ
+15
U
LOW
80Hz
+15
PAN
-15
+15
U
LOW
80Hz
OO
HI
12kHz
MID
2.5kHz
+15
U
AUX
+15
U
+15
U
MID
2.5kHz
+15
U
OO
EQ
-10dBV
C GAIN
MI
GAIN
+15
U
HI
12kHz
+15
U
LOW
80Hz
-15
OO
EQ
OO
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 6
-10dBV
C GAIN
MI
BAL/UNBAL
AUX SEND
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
+15
U
HI
12kHz
-15
AUX
LINE IN 5
-10dBV
C GAIN
MI
GAIN
+15
U
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
+15
U
LINE IN 4
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
BAL
OR
UNBAL
TAPE
TAPE
INPUT OUTPUT
7
10
20
L R
L R
dB
10
L R
MUTE
dB
10
dB
10
dB
10
MUTE
ALT 34
SOLO
L R
MUTE
ALT 34
SOLO
L R
MUTE
ALT 34
SOLO
L R
MUTE
ALT 34
MUTE
ALT 34
SOLO
dB
10
SOLO
dB
10
L R
L R
L R
L R
7-8
9-10
11-12
13-14
ALT 34
ALT 34
ALT 34
ALT 34
MUTE
ALT 34
SOLO
dB
10
MUTE
SOLO
dB
10
dB
10
SOLO
MODE
MUTE
MUTE
SOLO
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
dB
10
48V
SOLO
RUDE
SOLO
LIGHT
POWER
30
dB
10
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
MAIN MIX
LEVEL
SET
1402-VLZ3
AVIS
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
A LA PLUIE OU A L'HUMIDITE
20. NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and the
receiver.
Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21. 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 prsent appareil numrique nmet pas de bruits
radiolectriques dpassant las limites applicables aux appareils
numriques de class A/de class B (selon le cas) prescrites dans le
rglement sur le brouillage radiolectrique dict par les ministere des
communications du Canada.
22. 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. Governments
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 permanent hearing
loss if exposure is in excess of the limits set forth here:
Duration,
per day in
hours
8
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Dave screaming at Steve about
deadlines
Loudest parts at a rock concert
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
1402-VLZ3
Level-Setting Procedure
Message to seasoned pros: do not set levels using the
old Turn the GAIN up until the clip light comes on,
then back off a hair trick. When a Mackie mixer clip
light comes on, you really are about to clip. We worked
and slaved to come up with a better system, one that
provides low noise and high headroom.
Instant Mixing
Heres how to get going right away, assuming you have
a microphone and a keyboard:
1. Plug your microphone into channel 1s MIC
input.
2. Turn on the 1402-VLZ3.
3. Perform the Level-Setting Procedure.
5. Engage the AFL/PFL switch in the master section. A green LEVEL SET light will turn on.
6. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume
of the input is the same as it would be during
normal use. If it isnt, you may have to readjust
these levels during the middle of the set.
7. Adjust the channels GAIN control so that the
display on the LED meters stays around 0 and
never goes higher than +7.
Owners Manual
Purchased at:
Date of purchase:
Owners Manual
1402-VLZ3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 1402-VLZ3 is equipped with our precision-engineered XDRTM Extended Dynamic Range
premium studio-grade mic preamp.
Now that you have your 1402-VLZ3, find out how to get
the most from it. Thats where this manual comes in.
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.
1402-VLZ3
OUTPUT SECTION................................................... 16
32. MAIN MIX FADERS.................................... 16
33. CONTROL ROOM SOURCE MATRIX............. 16
34. CONTROL ROOM/SUBMIX........................ 16
35. SOLO MODE (AFL/PFL) .......................... 17
36. RUDE SOLO LIGHT................................... 17
37. ASSIGN TO MAIN MIX............................. 17
38. METERS MANY DISPLAYS IN ONE!........ 17
A WORD ABOUT AUX.............................. 18
39. PRE/POST (AUX 1) ................................ 18
40. AUX 1 MASTER....................................... 18
41. STEREO RETURNS.................................... 18
42. RETURN TO AUX 1.................................. 19
JACK NORMALLING................................. 19
APPENDIX A: SERVICE INFORMATION..................... 20
APPENDIX B: CONNECTIONS.................................. 21
APPENDIX C: TECHNICAL INFORMATION................. 24
SPECIFICATIONS.............................................. 24
BLOCK DIAGRAM............................................. 25
TRACK SHEET.................................................. 26
1402-VLZ3 LIMITED WARRANTY............................ 27
Owners Manual
Owners Manual
Contents
2
3
MONO
10 R
L
11 MONO
12 R
L
13 MONO
14 R
In
(record)
Out
(play)
STEREO RETURNS
In
Out Stereo Compressor
In
Out
AUX
SEND
Drum
Machine
Keyboard or other
line level input
MONO
In Mono Compressor
Out
CHANNEL INPUTS
CHANNEL INSERTS
ALT 3/4
OUT
Direct
Boxes
MAIN
OUT
Vocal Mics
L
R
Digital Delay
L
R
Multi Effect
Processor
1
2
L
R
L
R
MAIN
OUT
1402-VLZ3
HOOKUP DIAGRAMS
Headphones
for Studio
Powered
Studio Monitors
Recording System
1402-VLZ3
Powered
Studio Monitors
for Studio
2
3
10 R
L
11 MONO
12 R
L
13 MONO
14 R
In
(record)
Out
(play)
STEREO RETURNS
MONO
L
R
L
R
AUX
SEND
ALT 3/4
OUT
MONO
8 R
Drum
Machine
Keyboard or other
line level input
L
R
MAIN
OUT
In
Out Stereo Compressor
In
Out
CHANNEL INPUTS
In Mono Compressor
Out
CHANNEL INSERTS
Multi Effect
Processor
Stage Monitors
Mono EQ
Mono Power
Amplifier
MAIN
OUT
Direct
Boxes
Owners Manual
Vocal Mics
Stereo
EQ
Headphones
SRM450
Powered
Speaker
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.
SWA1501
Powered
Subwoofer
SRM450
Powered
Speaker
SWA1501
Powered
Subwoofer
1402-VLZ3
Patchbay Description
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
MIC 6
MIC PRE
XDR
2
3
4
RIGHT
ALL BAL/UNBAL
1
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
AUX
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
AUX
OO
OO
+15
U
OO
+15
OO
+15
U
OO
+15
OO
HI
12kHz
+15
U
OO
+15
OO
HI
12kHz
+15
U
OO
+15
OO
HI
12kHz
+15
U
OO
+15
OO
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
+15
U
MID
2.5kHz
+15
U
-15
-15
-15
-15
-15
+15
U
-15
-15
+15
U
+15
U
-15
-15
+15
PAN
-15
AUX
OO
+15
U
OO
EQ
-15
-15
-15
+15
L R
L R
L R
L R
7-8
ALT 34
ALT 34
ALT 34
ALT 34
ALT 34
ALT 34
MUTE
ALT 34
SOLO
dB
10
10
10
10
10
10
10
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
PHANTOM POWER
Most modern professional condenser mics are
equipped for Phantom Power, which lets the mixer
send low-current DC voltage to the mics 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
1402-VLZ3
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
AUX
LINE IN 11-12
AUX
LINE IN 13-14
AUX
AUX
OO
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
OO
+10
+15
U
EQ
HI
12kHz
-15
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
HI
12kHz
-15
MID
2.5kHz
+15
U
-15
MID
2.5kHz
+15
U
LOW
80Hz
-15
ALT 34
+15
U
LOW
80Hz
+15
-15
+15
-15
+15
L R
L R
L R
9-10
11-12
13-14
ALT 34
ALT 34
ALT 34
MUTE
MUTE
MUTE
OO
+20
RIGHT
20
10
7
4
2
0
2
TAPE
LOW
80Hz
+20
U
0dB=0dBu
MAIN MIX
+15
U
OO
LEFT
C-R/SOURCE
ASSIGN
TO MAIN MIX
PAN
dB
10
BAL
OR
UNBAL
LOW
80Hz
L R
dB
10
BAL
OR
UNBAL
+15
U
dB
10
MID
2.5kHz
L R
dB
10
+15
U
dB
10
MONO
HI
12kHz
L R
dB
10
MAIN OUT
+15
We use phantom-powered,
balanced microphone
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
inputs just like the big studio mega-consoles, for exactly
SOLO
SOLO
SOLO
SOLO
the same reason:
This kind
of circuit
is excellent
atSOLO
rejecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
MONO
+15
U
LOW
80Hz
PAN
MONO
+15
U
MID
2.5kHz
LOW
80Hz
+15
PAN
-15
MID
2.5kHz
LOW
80Hz
+15
PAN
-15
+15
U
LOW
80Hz
+15
PAN
+15
U
LINE IN 7-8
+15
HI
12kHz
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MID
2.5kHz
+15
U
LOW
80Hz
-15
-15
+15
U
GAIN
AUX
MONO
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL/UNBAL
AUX SEND
BAL
OR
UNBAL
LINE IN 5
-10dBV
C GAIN
MI
GAIN
AUX
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 4
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
BAL
OR
UNBAL
TAPE
TAPE
INPUT OUTPUT
LEFT/MONO
MIC PRE
XDR
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
4
7
10
20
30
RUDE
SOLO
LIGHT
dB
10
dB
10
48V
POWER
CTL ROOM
dB
10
dB
10
10
10
10
10
10
10
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 youll
come across, from instrument levels as low as 40 dB to
operating levels of 10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 714.
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
LEVEL
SET
+15
+10
+10
MIC 1
+5
MIC 2
MIC 3
+5
MIC PRE
XDR
MIC PRE
XDR
0 IC PR
M
E
XDR
10
10
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut
20Hz
100Hz
1kHz
UNBAL
UNBALof the mic and line
UNBAL
GAIN adjusts
the input sensitivity
inputs connected to channels 1 through 6. This allows
LINE
INfrom
1 the outside
LINEworld
IN 2 to be adjusted
LINEto
INoptimal
3
signals
LOW CUT
LOW CUT
LOW CUT
internal operating
levels.
75 Hz
75 Hz
75 Hz
18dB/OCT
0
60
+15dB -45dB
+15dB -45dB
OO
+15
U
OO
+15
U
+15dB -45dB
OO
MIC PRE
XDR
LINE IN 4
InsertLOW CUT
Send
+15
U
LINE IN 5
75 Hz
18dB/OCT
Signal Processor
(e.g., Compressor)
Insert
LOW CUT
Return
+15
U
OO
EQ
HI
12kHz
+15
U
OO
EQ
Dry Signal(s)
U Aux
Send
-10dBV
C GAIN
MI
AUX
U Aux
Return
Signal Processor
(e.g., Reverb)
HI
12kHz
OO
EQ
HI
12kHz
LOW CUT
75 Hz
18dB/OCT
U
0dBV
-1Processed
Signal
AIN
CG
MI
OO
+15
U
LINE IN 6
75 Hz
18dB/OCT
+15
U
OO
Channel Path
OutputU
Section
AUX
+15
U
O +15
O
Mix
Processed
Stage U Signal
OO
+1
U
Dry Signal(s)
+15
U
AUX
Dry Signal(s)
LINE I
Wet Signal
Dry Signal(s)
OO
LEFT/MO
MIC PRE
XDR
Through
the 14" input, there
is 15
GAIN
GAIN
dB of attenuation fully down and 45 dB
of gain fully up, with a U (unity gain) mark at 10:00.
This 15 dB of attenuation can be very handy when you
AUX
AUX
U
U
U to add
are inserting
a very hot signal,
orAUX
when you want
a lot of EQ gain, or both. Without this virtual pad, this
scenario might lead to channel clipping.
GAIN
18dB/OCT
BV
V
-10dthe
-10dBoriginates
If the signal
through
IC GAIN
IC GAIN
M
M
U
U
XLR jack, there will be 0 dB of gain
with the knob fully down, ramping to
60 dB of0gain60fully up.
0
60
-10dBV
C GAIN
MI
18dB/OCT
When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 7, 9, 11, or 13)
and plug nothing into the RIGHT input (jacks 8, 10, 12
or 14) this way the signal will appear on both sides.
This trick is called jack normalling.
10kHz 20kHz
OR
In the stereo audio world, an odd-numbered channel usually receives the left signal. For example, you
would feed the 1402-VLZ3s line inputs 7-8 a stereo
signal by inserting the devices left output plug into the
channel 7 jack, and its right output plug into the channel 8 jack.
OR
MIC PRE
XDR
15
15
Owners Manual
OO
EQ
HI
12kHz
+15
U
OO
+15
EQ Manual
Owners
U
HI
12kHz
OO
EQ
HI
12kHz
+1
U
1402-VLZ3
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
MIC 6
MIC PRE
XDR
LEFT/MONO
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
AUX
OO
+15
U
OO
+15
OO
+15
U
OO
+15
OO
LINE IN 5
0
60
+15dB -45dB
+15
U
OO
+15
OO
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
AUX
LINE IN 6
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
AUX
+15
U
OO
+15
OO
GAIN
AUX
+15
U
OO
HI
12kHz
-15
HI
12kHz
+15
U
-15
-15
+15
OO
-15
-15
LOW
80Hz
-15
AUX
-15
L R
dB
10
+15
-15
+15
-15
OO
+15
OO
+15
U
-15
+15
U
-15
-15
+15
-15
+15
U
+15
U
-15
L R
SOLO
SOLO
SOLO
dB
10
SOLO
-15
10
10
10
10
10
10
10
20
20
20
20
20
20
20
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
MAIN OUT
OO
9. TAPE INPUT
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
Connect your tape recorders outputs here, using good
quality hi-fi (RCA) cables.
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
LINE IN 11-12
AUX
12
LINE IN 13-14
AUX
AUX
+15
OO
+15
U
OO
+15
OO
+15
U
OO
+15
OO
HI
12kHz
+15
U
-15
+15
U
-15
+10
+15
HI
12kHz
+15
U
OO
OO
+20
U
OO
+20
0dB=0dBu
HI
12kHz
+15
U
-15
MID
2.5kHz
20
10
MAIN MIX
+15
U
+15
U
-15
MID
2.5kHz
+15
U
-15
LOW
80Hz
+15
-15
-15
-15
ALT 34
-15
TAPE
LOW
80Hz
+15
+15
U
LOW
80Hz
+15
MID
2.5kHz
+15
U
+15
ASSIGN
TO MAIN MIX
10
LEVEL
SET
20
L R
L R
ALT 34
ALT 34
dB
10
5
L R
L R
ALT 34
ALT 34
dB
10
5
U
5
dB
10
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
48V
CTL ROOM
dB
10
dB
10
30
RUDE
SOLO
LIGHT
POWER
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
1402-VLZ3
MONO
LOW
80Hz
dB
10
OO
-15
ALT 34
SOLO
MID
2.5kHz
L R
ALT 34
dB
10
+15
One Device: If you have just one parallel effects device (two cords), use STEREO RETURN 1 left and right,
and leave RETURN 2 unplugged. That way, the unused
RETURN 2 level control can be used to feed RETURN 1
to your stage monitors, via the RETURN TO AUX 1 [42]
switch.
SOLO
-15
LOW
80Hz
+15
MONO
HI
12kHz
MID
2.5kHz
+15
U
MONO
+15
U
HI
12kHz
LOW
80Hz
ALT 34
dB
10
MID
2.5kHz
L R
ALT 34
dB
10
-15
LOW
80Hz
L R
ALT 34
dB
10
-15
LOW
80Hz
L R
ALT 34
+15
U
MONO
AUX
+15
U
HI
12kHz
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MID
2.5kHz
+15
U
HI
12kHz
+15
U
MID
2.5kHz
+15
U
HI
12kHz
+15
U
MID
2.5kHz
-15
BAL/UNBAL
LINE IN 7-8
This is where you connect the outputs of your parallel effects devices (or extra audio sources). These
EQ
EQ
EQ
EQ
EQ
EQ
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, 10 dBV
or +4 dBu. They can be used with just about any pro or
semipro effects device
on PAN
the market.
comPAN
PAN
PAN The signals
PAN
PAN
ing into these inputs can be adjusted using the STEREO
RETURN
[41]2 knobs before
passing
onto5 the main6 mix
1
3
4
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
bus (see page 18).
OO
TAPE
TAPE
INPUT OUTPUT
AUX SEND
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
GAIN
7. STEREO RETURNS
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 4
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
BAL
OR
UNBAL
9 10 11
ALL BAL/UNBAL
10
RIGHT
MIC PRE
XDR
14
15
16
12. PHONES
This
stereo
jack will
drive any
standard
headphone
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
to very loud levels. Walkperson-type phones can also be
used with an appropriate adapter. To learn how signals
are routed to these outputs, see SOURCE MATRIX
[33] on page 16. If youre wiring your own cable for the
PHONES output, follow standard conventions:
LEFT/MONO
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 1
MIC PRE
XDR
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 2
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
MIC PRE
XDR
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
MIC PRE
XDR
BAL
OR
UNBAL
-10dBV
C GAIN
MI
ALL BAL/UNBAL
BAL/UNBAL
MONO
MONO
MONO
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
RIGHT
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
17
Owners Manual
13
-10dBV
C GAIN
MI
0
60
+15dB -45dB
0
60
+15dB -45dB
OO
OO
+15
U
OO
+15
OO
+15
-15
-15
+15
+15
-15
-15
+15
LOW
80Hz
+15
+15
U
-15
+15
LOW
80Hz
-15
+15
+15
U
-15
+15
-15
+15
-15
+15
U
-15
+15
-15
+15
LOW
80Hz
PAN
-15
+15
U
-15
+15
OO
+15
-15
-15
+10
+15
-15
+20
U
OO
+20
20
MID
2.5kHz
+15
U
-15
10
MAIN MIX
+15
U
ALT 34
+15
U
LOW
80Hz
TAPE
LOW
80Hz
+15
-15
+15
-15
+15
ASSIGN
TO MAIN MIX
PAN
OO
0dB=0dBu
HI
12kHz
+15
U
LOW
80Hz
OO
MID
2.5kHz
+15
U
LOW
80Hz
OO
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
+15
U
MID
2.5kHz
LOW
80Hz
PAN
+15
+15
U
HI
12kHz
+15
U
-15
OO
HI
12kHz
-15
+15
U
OO
MID
2.5kHz
+15
U
OO
+15
OO
+15
U
-15
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
+15
U
LOW
80Hz
PAN
OO
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
+15
U
LOW
80Hz
PAN
PAN
13. XLR
MAIN
OUTS
OO
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
+15
U
0
60
+15dB -45dB
+15
U
HI
12kHz
MID
2.5kHz
+15
U
OO
+15
U
-15
OO
0
60
+15dB -45dB
+15
U
HI
12kHz
MID
2.5kHz
+15
U
OO
+15
U
-15
OO
0
60
+15dB -45dB
+15
U
HI
12kHz
0
60
+15dB -45dB
-15
10
LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL)
L R
L R
L R
L R
L R
L R
ALT 34
ALT 34
ALT 34
ALT 34
ALT 34
ALT 34
L R
ALT 34
L R
ALT 34
L R
ALT 34
ALT 34
SOLO
MODE
48V
CTL ROOM
dB
10
POWER
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Engaging this switch reduces the level of the balanced XLR main outputs by 40 dB, so you can feed the
microphone input of, say, another mixer. (You can safely
connect the XLR outputs into an input that provides 48V
phantom power.)
tip
sleeve
OO
(TRS plug)
30
RUDE
SOLO
LIGHT
ring
RETURN from processor
11
1402-VLZ3
21 22
18
19
20
MIC 1
MIC
2 loseMIC
4
5
6
3 cordMIC
Just
in caseMICyou
the
provided
with
theMIC1402VLZ3, its power jack accepts a standard 3-prong IEC
cord like those found on most professional recorders,
musical instruments, and computers.
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
BAL
OR
UNBAL
BAL
OR
UNBAL
MIC PRE
XDR
BAL
OR
UNBAL
MIC PRE
XDR
BAL
OR
UNBAL
TAPE
Press the top
of
thisTAPErocker switch
inwards to turn on
1
L
INPUT OUTPUT
the mixer. The Lpower LED
on the top surface of the mixL
er2 will glow with
happiness, or at
least it will if you have
2
R
R
the mixer plugged
in to aR suitable live AC mains supply.
LEFT/MONO
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
OO
0
60
+15dB -45dB
+15
U
OO
+15
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
-10dBV
C GAIN
MI
0
60
+15dB -45dB
0
60
+15dB -45dB
GAIN
GAIN
GAIN
GAIN
WARNING:
Disconnecting
the AC
mainsGAIN
plugs
ground
pin
can
be
dangerous.
Please
dont
do
AUX
AUX
AUX
AUX
AUX
AUX
it.
19. FUSE
OO
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
OO
EQ
+15
U
OO
+15
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
OO
+15
U
OO
EQ
OO
+15
U
OO
EQ
+15
U
OO
EQ
The 1402-VLZ3 is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the AC
mains power cord, pull the fuse drawer out (located just
below the cord receptacle) and replace the fuse with
a 500 mA (0.5 amps) SLO BLO 5x20 mm, available at
electronics
or your PAN
dealer. IfPAN
your local
is
PAN stores
PAN
PANvoltagePAN
220-240 VAC, use a 250 mA fuse.
HI
12kHz
-15
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
-15
+15
U
-15
-15
-15
+15
U
-15
-15
-15
+15
U
-15
-15
+15
U
MID
2.5kHz
+15
U
-15
-15
+15
U
LOW
80Hz
+15
-15
-15
+15
L R
L R
L R
L R
L R
L R
IfMUTE
two fuses
blow inMUTE
a row, something
is very wrong.
MUTE
MUTE
MUTE
MUTE
Please call our toll-free number 1-800-898-3211 from
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
within the
U.S. (or
call the
distributor
in your
country)
and find out what to do.
ALT 34
dB
10
ALT 34
dB
10
ALT 34
dB
10
ALT 34
dB
10
ALT 34
dB
10
20
20.
20
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
OO
OO
EQ
+15
U
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
-15
-15
+15
U
OO
EQ
HI
12kHz
-15
+10
+15
HI
12kHz
+15
U
+15
U
RIGHT
10
MID
2.5kHz
+15
U
-15
MID
2.5kHz
+15
U
-15
+15
U
LOW
80Hz
+15
-15
-15
-15
+15
PAN
-15
ALT 34
+15
U
LOW
80Hz
+15
PAN
MID
2.5kHz
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
+15
PAN
Press the top of the switch inwards to engage phantom power to the six MIC inputs. Press the bottom of
13-14
7-8
9-10
11-12
MUTEthe switch
MUTE to turn
MUTEit off. MUTE
10
LEVEL
SET
20
L R
L R
ALT 34
NORMAL (AFL)
LEVEL SET (PFL)
L R
ALT 34
ALT 34
SOLO
MODE
48V
POWER
30
RUDE
SOLO
LIGHT
MAIN MIX
When turned
on (or
SOLO
SOLO off), the
SOLO phantom power circuitry
takes a few moments for voltage to ramp up (or down).
This is perfectly normal.
SOLO
dB
10
dB
10
dB
10
dB
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
1402-VLZ3
+20
20
10
OO
0dB=0dBu
10
VOLTAGE SELECTOR
+20
U
LEFT
C-R/SOURCE
MAIN MIX
+15
U
OO
-15
OO
+15
U
MID
2.5kHz
-15
10
12
BAL
OR
UNBAL
ALT 34
10
-15
dB
10
BAL
OR
UNBAL
L R
10
MONO
HI
12kHz
ALT 34
dB
10
MONO
+15
LOW
80Hz
+15
MONO
As a general
you should
AUX
AUX guide,
AUX
AUX turn on your mixer
first, before the power amplifier or powered speakers,
and turn it off last. This will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MAIN OUT
MONO
+15
U
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
+15
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
+15
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
-15
HI
12kHz
OO
+15
U
BAL/UNBAL
Press
theLbottom ofL this switch
to put the mixer into
L
L
standby mode. It will not function, but the circuits are
still
power,R either turn off the AC
R live. ToR remove AC
R
mains supply, or unplug the power cord from the mixer
and
LINE IN
7-8 the
LINE IN 13-14
LINE INsupply.
11-12
LINEAC
IN 9-10mains
+15
U
ALL BAL/UNBAL
AUX SEND
BAL
OR
UNBAL
RIGHT
MIC PRE
XDR
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,
whileMIC
the next four are
for either stereo
MIC 1
MIC 3
MIC 4
2
MIC PRE
MIC PRE
MIC PRE
MIC PRE
R
R
R
D
D
D
or mono
line-level sources.
(Each ofX the stereo channel
XDR
X
X
strips is actually two complete circuits. The controls are
linked together to preserve stereo.) Well start at the
bottom and work our way up
25
24
23
Owners Manual
TAPE
INPU
2
2
Soloed channels are sent to the SOURCE
mix, which
R
ultimately feeds your control room, phones and meters.
U LIKE UNITY GAIN
Whenever SOLO is engaged, all SOURCE selections AUX SEND
BAL
BAL
BAL
BAL
BAL
BAL
MONO to allow MONO
Mackie mixers
have a U
every
ALT 3-4 and TAPE)
are defeated,
OR
ORsymbol on almost
OR
OR (MAIN MIX, OR
OR
UNBAL
UNBAL
UNBAL
UNBAL
UNBAL
UNBAL
level control. This U stands for unity gain, meaning
the soloed signal to do just that solo! L
L
IN 1 in signal
LINElevel.
IN 2 Once you
LINEhave
IN 3 adjusted
LINEthe
IN 4
LINE IN 5
LINE IN 6
noLINE
change
BAL
BAL
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
OR
OR
input signal
to line-level,
you
75 Hz
75
Hz can set every
75 Hzcontrol at
75 Hz 25. MUTE/ALT
75 Hz
75 Hz
34 18dB/OCT
UNBAL
UNBAL
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
U and
signals will
BV
-10dBV
-10dBV
-10dBVthe mixer at-10dBV
-10dyour
-10dBVtravel through
C GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
The
dual-purpose
MUTE/ALT
34 bus is Ra Mackie sig- R
MI
U M
U M
U M
U M
U M
optimal
levels. Whats
more, all the
labels on our Ulevel
nature. When Greg was designing our first product, he
controls are measured in decibels (dB), so youll know
LEVEL
LEVEL
+4
had to 0include
a MUTE0 switch
for each channel.
MUTE +4
0
60
0
60
0
60
0
60
60
60
10
-10
what+15dB
youre
if you +15dB
choose
a -45dB
-45dB doing level-wise
+15dB -45dB
-45dB to change
+15dB
+15dB -45dB
+15dB -45dB
switches
do just whatGAIN
they sound like
they
do. They
turn
LINE
IN
7-8
LINE IN
GAIN
GAIN
GAIN
GAIN
GAIN
LINE
IN
9-10
controls settings.
off the signal by routing it into oblivion. Gee, what a
You wont have to check it here and
waste, Greg reasoned. Why not have the mute button
AUX check
AUX withU someAUXroute the
AUX somewhere
AUX
AUX
AUX
U
U
U
U
U
U
U
itAUX
there, asUyou would
signal
else useful
like a sepaother mixers. In fact, some dont even rate stereo bus? So MUTE/ALT 34 really serves two
have
any reference+15to actual dB levels
functions
muting (often
used during
a mixdown or+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
at Uall! Ever seen those
010 fader
live show),
and signalU routing (for multitrack
and live
markings? We call these AUMs (Arbiwork) where it acts as an extra stereo bus.
trary
Units of Measurement),
and+15
they
+15
+15
+15
+15this as a MUTE
+15 switch, all you
+15 have to do is +15
+15
To use
mean
nothing
in
the
real
world.
You
U
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQnot use
EQ
EQ
EQ
EQ
the ALT 34 [16] outputs. Then, whenever you
were smart
you bought
a Mackie. HI
HI
HI
HI
HI
HI
HI
HI
outputs,12kHz
youll
also be 12kHz
12kHz
12kHz
12kHz
12kHzassign a channel
12kHz to these unused
12kHz
disconnecting
it from
muting
-15 +15
-15 +15
+15
-15 +15
-15 +15
-15 the
+15 main mix,
-15 effectively
+15
-15 +15
-15 +15
23.U CHANNEL-15FADER
U
U
U
U
U
U
U
U
the channel.
MID
MID
MID channels MID
MID
MID
MID
MID
These2.5kHz
faders control2.5kHz
the
2.5kHz
2.5kHz
2.5kHz
To use this
as an ALT 342.5kHz
switch, all you2.5kHz
have to do 2.5kHz
level from off,
to unity gain,-15on +15
up
-15 +15
-15 +15
-15 +15
-15 +15
+15
-15 +15
-15 +15
-15 +15
is connect
the ALT-1534
destination
U
U
U
U
U outputs to whatever
U
U
U
to U10 dB of additional
gain. Channels
1
you
desire.
Two
popular
examples:
LOW
LOW
LOW and chan- LOW
LOW
LOW
LOW
LOW
through80Hz
6 use mono faders,
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
nels 7 through -15
14 use
stereo faders,
When
doing multitrack
34+15
+15
+15 the ALT -15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15 recording,
-15 use
-15 +15
and
may
feel
slightly
different.
Not
a
outputs
to
feed
your
multitrack.
With
most
decks,
you
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
problem.
can mult the ALT 34 outputs, using Y-cords or mults, to
feed multiple tracks. So, take ALT OUTPUT L and send
L R
L R
L R
L R
L R
L R
L R
L R
L R
it to tracks 1, 3, 5 and 7, and ALT OUTPUT R and send it
24. SOLO
1
2
3
4
5 2, 4, 6 and 8.6Now, tracks 7-8
9-10or
11-12
to tracks
that are in Record
MUTE
MUTE
MUTE allows you
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
This
lovable
switch
to
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALTmodes
3 4
ALT 3the
4
3 4
ALT 3 4in
ALT 3 4
Input
will hear
ALT 34ALT
signals,
and tracks
hear signals through your headphones
Playback
or Safe dB
modes will ignore
them.
dB
dB or control room
dB without having
dB to
dB
dB
dB
dB
10
10
10
10
10
10
10
10
10
SOLO
SOLOto the main
SOLO
SOLO
SOLO
SOLO
SOLO
route them
mix or ALT 3-4SOLO When doing
live sound or mixdown, its often handy
5
5 mix. You dont5 even have to have
5
5
5
5
the
to 5control the level
of several channels
with one5knob.
use
Thats
called subgrouping.
SimplyU assign these channels
U
U channels fader
U turned up. Folks
U
U
U
U
U
solo in live work to preview channels
to
the
ALT
34
mix,
engage
ALT
34
in
the
SOURCE
5
5
5
5
5
5
5
5
5
before they are let into the mix, or to
[33] matrix, and the signals will appear in the control
10
10 just check out
10 what a particular
10
10
10
10 the ALT 34 10
10
chan- room
and headphones.
If you want
signals
nel is up to anytime
during a20session.
to20go back into the
the ASSIGN
20
20
20
20 main mix, engage
20
20 TO
20
You can solo as many channels at a
MAIN
MIX
[37]
switch,
and
the CONTROL
ROOM/
30
30
30
30
30
30
30
30
30
time as you like.
SUBMIX fader [34] controls the levels of all channels
40
40
40
40
40
40
40
40
40
assigned
to ALT 34.
50
50
50
50 the
50
50
50
50
50
Solo
is
also
the
key
player
in
60
60
60
60
60
60
60
60
60
Level-Setting Procedure on page 3.
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Owners Manual
OO
13
1402-VLZ3
2.5
kHz
in
the
case
of
to the left input only) these controls
the MID EQ.
act as pan pots. On stereo channels
+15
+15
+15
+15
+15
+15
+15
+15
(714)
with stereo
connections to
U
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
L
and
R inputs,
the
PAN
knob
works
27.
LOW
EQ
HI
HI
HI
HI
HI
HI
HI
HI
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
like the12kHz
balance control12kHz
on your
+15
This
control
gives
you
-15 +15
-15
+15 stereo. -15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
home
+10
U
U
U
U
U
U
U
up to 15UdB boost or cutU
+5
MID
MID
MID of the
MID
MID circuit is
MID
MID
MID
below 80 Hz. The
PAN determines
the 2.5kHz
fate
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
flat (no boost or cut) at the 0
main
mix
and
ALT
34
mix.
With
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
U
U PAN knob hard
U left, the signal
U
U
U
U
U
center detent
position. UThis 5
the
10
frequency
represents
the
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
will feed80Hz
either MAIN OUT
L (bus
15
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
20
100
1k
10k 20k
punch in bass drums, bass
1)
or
ALT
OUTPUT
L
(bus
3),
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
Low EQ
guitar, fat synth patches,
depending
on the position
of the
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
+15
ALT 34 [25] switch. With the knob and some really serious
+10
male
singers.
hard right, the signal feeds MAIN
+5
L R
L R
R
L R
L R
L R
L R
L
OUT
R (bus 2) orL ALT
OUTPUTLRR
Used in conjunction with 0
1
2 4).
3
4
5
6
7-8
9-10
11(bus
5
the LOW
CUT [3] switch,
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MU
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3
you can boost the LOW EQ 10
15
without
injecting a dBton of
dB
dB
dB
dB
dB
dB 100
dB 10k 20k
dB
20
1k
10
10
10
10
10
10
10
10
10
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
subsonic debris
into the
Low EQ with Low
Cut
mix.5
5
5
5
5
5
5
5
5
31
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
30
29
28
27
Hz
Hz
Hz
Hz
Hz
Hz
Hz
Hz
26
Hz
14
10
10
10
10
20
20
20
20
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
1402-VLZ3
28. MID EQ
+15
Hz
OO
OO
Hz
OO
Hz
Hz
OO
Hz
10
20
30
40
50
60
OO
+15
+10
+5
0
5
10
15
20Hz
100Hz
1kHz
10kHz 20kHz
High EQ
MODERATION DURING EQ
With EQ, you can also screw things up royally. Weve
designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need
that. But if you max the EQs on every channel, youll
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 more than about
3dB of EQ. If you need more than that, theres usually a
better way to get it, such as placing a mic differently (or
using a different kind of mic entirely).
Owners Manual
29. HI EQ
Still with us? Good for you. Here come the tricky
parts, the output, or master section where the mixing
is really done. We have even started it on a shiny new
page:
INPUT
GAIN
LO CUT
INSERT
PAN
EQ
MAIN / ALT
"POST" SIGNAL OBEYS
MUTE STATUS
AUX 2 KNOB
AUX 1 KNOB
TO AUX SEND 1 LEVEL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)
Owners Manual
15
OR
UNBAL
1402-VLZ3
Output Section
LEVEL
+4
-10
LINE IN 13-14
OO
OO
+15
U
OO
EQ
HI
12kHz
-15
+15
U
33
OO
+20
RIGHT
20
10
7
4
ALT 34
38
+15
U
+15
PAN
37
13-14
MUTE
ALT 3 4
48V
SOLO
ASSIGN
TO MAIN MIX
35
L R
TAPE
10
LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
POWER
dB
10
10
10
10
20
20
20
30
30
30
40
50
60
40
50
60
40
50
60
OO
OO
OO
34
30
RUDE
SOLO
LIGHT
36
MAIN MIX
32
The exception to that is the SOLO function. Regardless of the source matrix selection, engaging a channels
SOLO [24] switch will replace that selection with the
solo signal, also sent to the control room, phones and
meter. This is what makes the Level-Setting Procedure
so easy to do.
WARNING: Engaging both the TAPE and
ASSIGN TO MAIN MIX buttons in the
SOURCE matrix can create a feedback path
between TAPE INPUT and TAPE OUTPUT. Make sure
your tape deck is not in record, record-pause, or input
monitor mode when you engage these switches, or make
sure the CONTROL ROOM / SUBMIX [34] fader is fully
down.
16
dB
10
+20
U
0dB=0dBu
MAIN MIX
LOW
80Hz
-15
OO
LEFT
C-R/SOURCE
MID
2.5kHz
-15
+10
+15
U
Typically, the engineer sends the main mix to an audience (if mixing live) or a mixdown deck (if recording).
But what if the engineer needs to hear something other
than the main mix? With the 1402-VLZ3, the engineer
has several choices of what to listen to. This is one of
those tricky parts, so buckle up.
Owners Manual
17
1402-VLZ3
TAPE
UTPUT
BAL/UNBAL
L
A WORD
ABOUT AUX
BAL
OR
UNBAL
AL
EL
LINE IN 13-14
UX
OO
+15
U
OO
+15
AUX
40
OO
+10
42
I
Hz
EQ
HI
12kHz
-15
D
Hz
-15
RIGHT
ALT 34
2
0
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
7
10
20
L R
SOLO
MODE
13-14
ALT 3 4
dB
10
48V
SOLO
POWER
dB
10
10
10
10
20
20
20
30
30
40
50
60
OO
18
1402-VLZ3
40
30
RUDE
SOLO
LIGHT
30
NORMAL (AFL)
LEVEL SET (PFL)
MUTE
+15
AN
+20
10
+15
U
W
Hz
OO
41
20
MID
2.5kHz
-15
+20
U
0dB=0dBu
MAIN MIX
+15
U
OO
LEFT
C-R/SOURCE
39
EQ
LO
50
60
40
50
60
OO
OO
MAIN MIX
LEVEL
SET
Owners Manual
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 springloaded 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 LEFT (MONO) means that if
you plug a signal into the LEFT side and have nothing in
the RIGHT side, that signal is also fed to the right input,
courtesy of jack normalling. As soon as you plug something in the RIGHT side, that normalled connection is
broken.
How does all this relate to the RETURN TO AUX 1
switch? STEREO RETURN 1s inputs are normalled to
STEREO RETURN 2. If you have one effects device, plug
it into STEREO RETURN 1. Plug nothing into STEREO
RETURN 2. Now the signals feeding the STEREO RETURN 1 inputs will also be sent to the STEREO RETURN
2 inputs.
Engage the RETURN TO AUX 1 switch, and now the
STEREO RETURN 2 knob will become an additional
AUX SEND 1 knob for the signal at STEREO RETURN 1.
Say that ten times! Once again, STEREO RETURN 1 will
behave normally, as always.
Congratulations! Youve just read about all the features of your 1402-VLZ3. Youre probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Owners Manual
19
1402-VLZ3
Repair
Troubleshooting
Bad Channel
Is the MUTE/ALT 34 switch in the correct
position?
Is the fader turned up?
Try unplugging any INSERT devices (Channels
16 only).
Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
Is the associated level knob (if any) turned up?
If its one of the MAIN OUTS, try unplugging
all the others. For example, if its the 14"
Left Main out, unplug the RCA and XLR Left
outputs. If the problem goes away, its not the
mixer.
If its 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 switches sides, its not the
mixer.
Noise
Turn the channel GAIN and STEREO RETURN
knobs down, one by one. If the sound disappears, its either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, its from your whatever.
Power
Unplug the power cord and check the fuse.
20
1402-VLZ3
Non-warranty service for Mackie products is available at a factory-authorized service center. To locate
your nearest service center, visit www.mackie.com, click
Support and select Locate a Service Center. Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
XLR Connectors
SHIELD
HOT
COLD
SHIELD
COLD 3
HOT
1
3
Balanced mono circuits. When wired as a balanced connector, a 14" 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 wired
as send/return Y connector, a 14" 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).
14"
TS stands for Tip-Sleeve, the two connections available on a mono 14" phone jack or plug. See Figure C.
SLEEVE
SLEEVE
TIP
TIP
HOT
SLEEVE
SLEEVE
14"
TIP
SHIELD
COLD
Owners Manual
Appendix B: Connections
SLEEVE
TIP
Figure C: TS Plug
TIP
TIP
SLEEVE
Unbalanced microphones
RING SLEEVE
SLEEVE
TIP
RING
TIP
SLEEVE
Figure B:
14"
TRS Plugs
Owners Manual
21
1402-VLZ3
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 14" TS phone
plug.
22
1402-VLZ3
ring
SEND to processor
sleeve
(TRS plug)
tip
ring
RETURN from processor
Figure E
MONO PLUG
Channel Insert jack
STEREO
PLUG
Channel Insert jack
Mults and Ys
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 Ys and mults for the
outputs of both unbalanced and balanced circuits.
Owners Manual
MONO PLUG
TIP (OUT)
FROM
PROCESSOR
OUTPUT
RING
(RETURN)
TIP
(SEND)
TO MIXER
CHANNEL INSERT
TO
PROCESSOR
INPUT
TIP (SEND)
Owners Manual
23
1402-VLZ3
Maximum Levels
Mic in:
+22 dBu
Tape in:
+16 dBu
+22 dBu
+28 dBu
+22 dBu
0.0007%
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz20 kHz bandwidth,
Line in, 14" Main Out, Trim @ unity.)
Impedances
Mic in:
2.5 kilohms
2.5 kilohms
10 kilohms or greater
Tape out:
1.1 kilohms
120 ohms
EQ
High Shelving
15 dB @ 12 kHz
Mid Peaking
15 dB @ 2.5 kHz
Low Shelving
15 dB @ 80 Hz
100 dBu
90 dBu
Power Consumption
90 dBu
25 watts
Frequency Response
Fuse Rating
100-120V:
20 Hz to 60 kHz:
+0 dB/1 dB
220-240V:
20 Hz to 100 kHz:
+0 dB/3 dB
Weight
Dimensions (H x W x D)
better than 70 dB
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
Mackie, and the Running Man are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
2006-2009 LOUD Technologies Inc. All Rights Reserved.
24
1402-VLZ3
GAIN
MACKIE 1402-VLZ3
SIGNAL FLOW
5/06
STEREO CHANNEL (1 OF 4)
LINE IN R
LINE IN L
MONO CHANNEL (1 OF 6)
LINE IN
MIC IN
+4 /-10
75Hz
HPF
MID
HI
MID
HI
3-BAND EQ
80 2K5 12K
LO
80 2K5 12K
LO
LOW CUT
INSERT
MID
HI
PRE
FADER
R IN
STEREO RETURN 2
L IN
R IN
STEREO RETURN 1
L IN
(MONO)
PRE
FADER
3-BAND EQ
80 2K5 12K
LO
PAN
PAN
MUTE / ALT
POST
SOLO
POST
SOLO
LOGIC
PFL
AFL R
AFL L
GAIN
GAIN
RETURN TO
AUX 1
AUX SEND 1
AUX SEND 2
LOGIC
PFL
AFL R
AFL L
AUX SEND 1
AUX SEND 2
MUTE / ALT
ALT MIX
MAIN MIX
AUX 2 MIX
AUX 1 MIX
SOLO MIX
PFL
AFL R
AFL L
MAIN FADERS
AUX 1 LEVEL
ASSIGN TO MAIN
TAPE IN
AUX 2 OUT
AUX 1 OUT
PFL LED
SOLO RELAY
MAIN
TAPE
ALT
SOURCE
ALT OUT R
ALT OUT L
2
1
RUDE
SOLO
LED
20
10
7
4
2
0
2
4
7
10
20
30
TAPE OUT R
LINE OUT R
BAL OUT R
BAL OUT L
PHONES OUT
METERING
(0dBu = 0VU)
30dB PAD
LINE OUT L
TAPE OUT L
Owners Manual
BlockDiagram
Owners Manual
25
AFL L
AFL R
SOLO/PFL
LOGIC
AUX 1 PRE
AUX 1 POST
AUX 2 POST
MAIN L
MAIN R
ALT L
ALT R
26
1402-VLZ3
-10dBV
C GAIN
MI
+15
+15
-15
MUTE
10
20
30
40
50
60
OO
10
20
30
40
50
60
OO
dB
10
SOLO
+15
+15
+15
U
+15
U
ALT 3 4
MUTE
L R
-15
-15
-15
OO
+15
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
ALT 3 4
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
MIC 2
MI C PR
E
XD R
LINE IN 2
dB
10
+15
U
-15
L R
+15
U
-15
OO
+15
U
GAIN
0
60
+15dB -45dB
OO
LOW CUT
75 Hz
18dB/OCT
LINE IN 1
BAL
OR
UNBAL
MIC 1
MI C PR
E
XD R
OO
40
50
60
30
20
10
dB
10
+15
dB
10
+15
+15
+15
U
+15
U
OO
40
50
60
30
20
10
ALT 3 4
MUTE
MUTE
ALT 3 4
SOLO
-15
-15
-15
OO
+15
U
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
OO
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
0
60
+15dB -45dB
-10dBV
C GAIN
MI
L R
+15
+15
U
+15
U
AUX
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
BAL
OR
UNBAL
MIC 4
MI C PR
E
XD R
L R
-15
-15
-15
OO
+15
U
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
BAL
OR
UNBAL
MIC 3
MI C PR
E
XD R
OO
40
50
60
30
20
10
dB
10
+15
+15
+15
U
+15
U
ALT 3 4
MUTE
L R
-15
-15
-15
OO
+15
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
LOW CUT
75 Hz
18dB/OCT
LINE IN 5
BAL
OR
UNBAL
MIC 5
MI C PR E
XD R
OO
40
50
60
30
20
10
dB
10
+15
+15
+15
U
+15
U
ALT 3 4
MUTE
L R
-15
-15
-15
OO
+15
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
LOW CUT
75 Hz
18dB/OCT
LINE IN 6
BAL
OR
UNBAL
MIC 6
MI C PR E
XD R
OO
40
50
60
30
20
10
dB
10
+15
+15
U
+15
U
+15
+15
U
7-8
ALT 3 4
MUTE
L R
-15
-15
-15
OO
OO
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
OO
40
50
60
30
20
10
MUTE
ALT 3 4
9-10
dB
10
5
+15
+15
U
+15
U
+15
+15
U
L R
-15
-15
-15
OO
OO
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 9-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 7-8
BAL
OR
UNBAL
BAL
OR
UNBAL
AUX SEND
ALL BAL/UNBAL
MONO
RIGHT
MONO
LEFT/MONO
LEVEL
+4
-10
BAL
OR
UNBAL
MONO
+15
+15
U
+15
U
+15
+15
U
OO
40
50
60
30
20
10
dB
10
MUTE
ALT 3 4
11-12
L R
-15
-15
-15
OO
OO
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 11-12
+15
+15
U
+15
U
+15
+15
U
LEVEL
+4
-10
BAL
OR
UNBAL
MONO
OO
40
50
60
30
20
10
dB
10
ALT 3 4
MUTE
13-14
L R
-15
-15
-15
OO
OO
MAIN OUT
BAL/UNBAL
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 13-14
TAPE
TAPE
INPUT OUTPUT
+10
OO
40
50
60
30
20
10
OO
40
50
60
30
20
10
dB
10
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
ASSIGN
TO MAIN MIX
TAPE
ALT 34
MAIN MIX
C-R/SOURCE
OO
SESSION:
DATE:
RIGHT
+20
+20
U
MAIN MIX
RUDE
SOLO
LIGHT
30
20
10
10
20
0dB=0dBu
LEFT
OO
OO
LEVEL
SET
1402-VLZ3
Track Sheet
Owners Manual
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owners Manual
27