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Mackie 1402-VLZPRO Musical Instrument User Manual

1. 5 ENSE 5 8 divs baa dna N o Why iiri bora Dona Hirer luni Uiii dias 1 dona 8 1 8 i d i li d T di 19 CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK NOT REMOVE COVER OR 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 A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de
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3. 0 10 O 7 a Q 2 Q 0 6 2 6 i 4 O o5 PES 20 Q VIVE Ser PHL Q 3 O SOLO RUDE 50 LIGHT C R SOURCE MAIN MIX ASSIGN TO MAIN MIX PHANTOM POWER CTL ROOM SUBMIX MAIN MIX 1 Nus pes 2 tete ettet E BEEN 191119 N 191119 w 22 Whatever your selection you can also use the CONTROL ROOM OUTPUTS for other applications It s sound quality is just as im peccable as the MAIN MIX outputs It can be used as additional MAIN MIX 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 you never engage a SOLO switch as that will interrupt your SOURCE selection 6 SOLO MODE AFL PFL Engaging a channel s SOLO switch will cause this dramatic turn of events Any exist ing SOURCE matrix selections will be replaced by the SOLO signal appearing at the CONTROL ROOM OUTPUTS PHONES OUTPUTS and at the METERS The audible SOLO levels are then controlled by the CTL ROOM SUBMIX fader The SOLO levels ap pearing on the METERS are not controlled by anything
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5. 19 AUX 20 69 OUTPUT SECTION DESCRIPTION 21 KT MAIN 21 VLZ MIX ARCHITECTURE 21 SOURCE 21 CONTROL ROOM SUBMIX 22 SOLO MODE AFL PFL 22 1 RUDE SOLO 1 22 9 ASSIGN TO MAIN 23 METERS 23 Rd an 24 E AUX 1 SELECT 24 T AUX 1 24 AUX 24 T3 EFX TO MONITOR 25 7 JACK 25 25 M02 VLZ PRO BLOCK DIAGRAM 26 C GAIN STRUCTURE DIAGRAM 27 C 28 SERVICE INFO 29 APPENDIX A CONNECTIONS 30 TRACK SHEET 33 34 1402 VLZ PRO LIMITED 35 HO
6. Tip hot Ring Sleeve Ground RING TIP SLEEVE For most music recording and PA applica tions unbalanced lines are perfectly acceptable To use these outputs to drive un balanced inputs connect 4 TS Tip Sleeve phone plugs like this i hot Sleeve Ground SLEEVE D TAPE OUTPUT These unbalanced RCA connections tap the MAIN OUTPUTS to make simultaneous record ing and PA work more convenient Connect these to your recorder s inputs 7b learn how signals are routed to these outputs MONO OUT If you want to feed a mono signal to your tape deck or other device simply use an RCA Y cord to combine these outputs Radio Shack 274 511 for instance Do not attempt this with any other outputs on the 1402 VLZ PRO SLEEVE TIP SLEEVE TIP qiu LISTED COMMERCIAL AUDIO SOME 120 VAC 50 60 Hz 25W 500mA 250V SLO BLO CAUTION TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING MAC KC 14 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS DIRECT OUT WITH SIGNAL RIGHT BALANCED FOR USE AS AN EFFECTS LOOP INTERRUPTION TO MASTER TIP SEND RING RETURN S Mag 825 RANGED QUTPUT ARE TRADEMARKS OR REG 15 LINE IN 1
7. 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 switch you can e boost the LOW EQ without inject Tow EQ ing a ton of subsonic debris into thie 10 20 the mix MID EQ Short for midrange this knob provides 12dB of boost or cut cen tered at 2 5kHz also flat at the center detent Midrange is often thought of as the most dy 201 1002 Ike Low EQ with Low Cut 1 20k namic because the frequencies that define any particular sound are almost always found in this range You can create many inter esting and useful EQ changes by turning this knob down as wellas s up Mid EQ tie 10 20k 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 over all sense of transparency or edge to keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilanc
8. 11 D TRIM 11 4 11 C STEREO 1 12 EFFECTS SERIAL OR PARALLEL 12 O 1 13 D AUX RETURNS 13 D 1 14 D XLR MAIN 14 D OUTPUT 1 15 D MAIN 15 D 15 D PHONES 16 D ALT 3 4 16 61 CONTROL 00 16 CI AUX SEND 1 amp 2 16 62 POWER 17 CB FUSE 17 CL POWER 17 62 PHANTOM SWITCH 17 CHANNEL STRIP 18 CI U LIKE UNITY 18 T 5 18 CD SOLO RERO TERRE 18 MUTE ALT 3 4 18 E PAN RR 19 CONSTANT LOUDNESS 111 19 69 3 BAND
9. 2 IH 2 2 gt gt gt WAL L Eine anh Nyd yay 5 gt LYASNI 11103491 SQar Fam gt HOLIMS 1 4019 33404 WOLNVHd 55 3 26 Naniaa ANAS 13 31 214110 XINXNY ANAS 2 01 y vi NI ANIT 2 04 04 dn apor ul xeu ngpzz 4no ngpzz ui ngpzz SANOHd WOO3 105105 9 ejeuueu 3NI1 204000 S3NOHd 3 O XIN S3NOHd 3 2 323106 TENURE 4800g NI 34V 04 t e LIV XIN NIVIA dn NI xeu Ed 4no ngpzz ui ngpzz 9 ejeuueu NI JIN dn Wr ue XIN 2 6114110 wav XIN waav4 pabebua qva LNO AIX aPoc 4nQ ede you pue 4nQ 04 AIX 9 dn gpol 727 9 ano 22 41x 4no umop apai umop apal o deus umop WIL 2 2 91 OF dn gpoi ENS dn dn ui ngpzz 27 69 SPECIFICATIONS Main Mix Noise 20Hz 20kHz bandwidth 1 4 Main out channels 1 6 Trim unity gain channel EQs flat all channels assig
10. 1 NI ci il NI ANI 01 6 8 WIL WIL A 0L AOL AOL A OL 9 9 9 9 T T e vit viv vit vt mun un LENSI An Mya NS Myo oN Myo oN mo w w o w gt S wv Naga 120 8P8l 190 8P8l 120O 8P8L 120 8P8l 120 8P8l 100 9 ven bw Rn GEL ELO ELO ELO LO eL 9 NI INN S NI NI INN NI3NIT L NI 1 1 1 1 ONOW ONOW ONOW ONOW ava Wa GP qi uoiesac 33 OIN wi dX WNINGYd 3NET 2IIN TJNNVHO TL 2 SIN 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 rinky dink PC using a low bud get word processor then converted to this amazing piece of work using a 18 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 para graph 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
11. 1402 VLZ PRO 14 CHANNEL MIC LINE MIXER OWNER S MANUAL WARNING oF ane or rectae shock po nor SERIAL NUMBER MANUFACTURING DATE EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE DO NOT REMOVE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL POWER PHANTOM MACKIE RISK OF ELECTRIC SHOCK 1402 VLZPRO 20 os AVIS ne cnoc icm ne Pas 14 CHANNEL MIC LINE MIXER THE SECOND CLICK WITH PREMIUM XDR MIC PREAMPLIFIERS REPLACE WITH THE SAME TYPE FUSE AND RATING UTILISE UN FUSIBLE DE RECHANGE DE MEME TYPE Sen CAUTION set com neronecuaneme ruse TENTION vir tc euet XDR EXTENDED DYNAMIC RANGE PREAMPLIFIERS ARE PROPRIETARY DESIGNS INC MAIN MAIN CONTROL ALT RIGHT LEFT ROOM OUTPUT CHANNEL INSERT BALANCED BALANCED BAL UNBAL BAL UNBAL PRE FADER PREEQ TIP SEND RING RETURN R L R 4 L 3 6 5 4 3 2 1 3120 VAC 50 60 Hz 25W LISTED COMMERCIAL zs lim A ins ZNA 500mA 250V SLO BLO AUDIO EQUIPMENT f N ES 72 L D ES King CAUTION 5 NZ WW w NZ TO REDUCE THE RISK OF WH NG 2 s 22 WZ lt 22 FIRE REPLACE WITH SAME DESIGNED BY MACKOIDS IN WOODINVILLE WA USA COPYRIGHT 1998 3 THE FOLLOWI
12. 10 107 10 esi IN An LINE IN 9 10 LINE IN 11 12 LINE IN 13 14 D ALT 3 4 OUTPUT These jacks are balanced outputs ca pable of delivering 22dBu into a balanced or unbalanced load 10 learn how signals are routed to these outputs To wire your own cables 6 CONTROL ROOM These 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 To wire your own cables AUX SEND 1 amp 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 wire your own cables 60 POWER CONNECTION POWER SWITCH Just in case you lose the cord provided with If this one isn t self explanatory we give up the 1402 VLZ PRO its power jack accepts a You can leave this switch on all the time the standard 3 prong cord like those found 1402 VLZ PRO is conservatively designed so most professional recorders musical instru heat buildup isn t a problem even in 24 hour a ments and computers day operation There s nothing that will burn out At the other end of our cord is get this or get used up Or just plug everything into a plug Not a black cube or as fond of good quality power strip for one button turn on calling them a wall wart We did this for You may
13. AUX 1 in PRE mode follows the EO and LOW CUT settings only PAN and FADER have no ef fect on the PRE send see diagram below 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 Channel 7 14 AUX 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 up an extra AUX 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 all the way through use AUX 1 to feed its LEFT input and AUX 2 to feed the RIGHT input POST SIGNAL OBEYS X a MUTE STATUS AUX SEND 2 KNOB gt TO AUX SEND 2 OUTPUT LL POST SIGNAL PRE SIGNAL AUX SEND 1 KNOB g grt NN TO AUX SEND 1 OUTPUT 20 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 15 really done MAIN MIX As the name implies this fader controls the levels of sign
14. TRIM Channels 1 6 If you haven t already please read the Level Setting Procedure O 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 oper ating 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 Through the 4 input there is 15dB of at tenuation fully down and 45dB of gain fully up with 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 EQ gain or 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 10 device engage this switch If you are unsure leave the switch up and per form the Level Setting Procedure 0 substituting this switch for the TRIM knob and then setting the switch to the appropriate gain setting 11 LINE IN 1 5 5 LOW ell 1 8dB OCT BAL BAL OR OR UNBAL UNBAL LINE IN 2 LINE IN 3 LINE IN 4 _ 75 2 75 2 18dB OCT 18dB OCT 18dB OCT e 4 lt 60 60 1598 45dB 1598 4598 TRIM TRIM 5 STEREO LINE INPUTS Channels 7 8 9
15. AUX RETURN 2 does not use jack normalling 52 E gt 18 LEFT MONO RIGHT ALL BAL UNBAL STEREO AUX RETU eu MONO MONO EIN B BAL AL LOW CUT R R R 75H E 18dB OCT 18dB OCT 18dB OCT 18dB OCT GORAL 2 5 0dBy OdBy OdBy A0dBy OdBy OdBy ANC GA D ANC D ANC U ANC GA ANC ANC Gay R 077 077 077 0776 26 60 cae 41588 4598 1598 45d 1598 45d 41548 4598 41548 4598 TRIM 10 v TRIM TRIM TRIM TRIM LINE IN 7 8 LINE IN 9 10 LINE IN 11 12 LINE IN 13 14 D TAPE IN Outputs The 1402 VLZ PRO has plenty of XLR MAIN MAIN PHONES These RCA jacks are designed to work with CONTROL ROOM and AUX SENDS Let s semi pro as well as pro recorders compen Ca aped sate for typically low levels signals coming in here will be automatically boosted by 6dB D XLR MAIN OUTPUTS Connect your tape recorder s outputs here using standard hi fi RCA cables 70 learn how fully Pa signals are routed from these inputs see anced and capable of driving 4dBu lines with up to 28dB of headroom This output is 6dB hotter than other outputs 70 learn how sig SLEEVE TIP SLEEVE TIP nals are routed to these outputs To use these outputs wire the XLR bal anced only connectors like this Use these jacks for conveni
16. LINE IN 2 3 INE IN 4 LOW CUT LOW CUT LOW CUT CUT LOW CUT 75 Hz 75 Hz 75 Hz Lo Hz 75 Hz 18dB OCT 18dB OCT 18dB OCT 0dBy D A 60 0 1598 45dB 1598 45dB TRI M D PHONES The 1402 VLZ PRO s stereo PHONES jack 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 If you re wiring your own cable for the PHONES output follow standard conventions SLEEVE SLEEVE RIGHT LEFT RIGHT Tip Left channel SLEEVE 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 inter mediate levels may be painfully loud with some earphones BE CAREFUL Always turn the CTL ROOM SUBMIX fader all the way down before connecting head phones Keep it down until you ve put the VERY IMPORTANT phones on Then turn it up slowly Why Engi neers who fry their ears find themselves with short careers 16 OR OR OR UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL LINE IN e NE IN OO ALL BAL UN E INPUT OUTPUT J RETURN e MAIN OUT MONO MONO MONO MONO BAL BAL S OR NB UNBAL NGA R R LEVEL LEVEL LEVEL 4 4 4
17. and as we ve cov ered the engineer 15 listening either to the CONTROL ROOM outputs or the PHONES outputs The only difference is that while the listening levels are controlled by the CTL ROOM SUBMIX fader the METERS read the SOURCE mix before that control giving you the real facts at all times even if you re not lis tening at all You may already be an expert at the world of 4 4dBu 1 238V and 10 10dBV 0 32V operating levels Basically what makes a mixer one or the other is the relative 0dB VU or OVU chosen for the meters 4 mixer with a 4dBu signal pouring out the back will actually read OVU on its meters 10 mixer with a 10dBV signal trickling out will read you guessed it 0VU on its meters So when is OVU 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 OdBu 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 flash ing 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
18. help assure you that your levels are in the ballpark You don t have to stare at them unless you want to 28 0 AUX TALK First of all there is no par ticular alliance between AUX SEND 1 or 2 and AUX RETURN 1 or 2 Theyre 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 SENDS tap signals off the channels via their AUX knobs mix these signals then send them out via the AUX SEND jacks 6 These outputs are fed to the inputs of a re verb or other device From there the outputs of this external device are fed back to the mixer s AUX RETURN jacks D Then these signals are sent through the AUX RETURN level controls and finally delivered to the 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 0 D 5 1 10 20 AUX 1 MASTER u 2 0405 AUX 1 EFX AUX SELECT MONITOR co 20 RETURN LEFT RIGHT 0 C R SOURCE 2 MAIN MIX 6 e ALT 3 4 0 2 Q0 L 2 ee ASSIGN 29 7 9 TO MAIN
19. voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution 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 l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil 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 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
20. 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 switch in the up position you re in AFL mode meaning After Fader Listen You ll hear the output of the soloed channel it will follow the channel s TRIM EQ FADER and PAN set 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 EQ This 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 SOLO will not be affected by channel s MUTE ALT switch position RUDE SOLO LIGHT This flashing Light Emitting Diode serves two purposes to remind you that at least one channel is in SOLO and to let you know that you re mixing on a Mackie No other com pany is so concerned about your level of SOLO 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 RUDE SOLO LIGHT It s especially handy at about 9AM when no sound is coming out of your monitors but your multitrack is playing back like mad 0 ASSIGN TO MAIN MIX Let s say you re doing a live show Intermis sion is nearing and
21. 1402 VLZ PRO Or you might be 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 LEVEL SETTING PROCEDURE Message to seasoned pros do not set lev els 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 PHONES jack then se the CTL ROOM SUBMIX fader about one quarter of the way up The following steps must be performed one channel at a time 1 Turn the TRIM AUX SEND and FADER controls fully down 2 Set the EO knobs at the center detent 3 Connect the signal source to the input 4 Engage push in the SOLO switch 5 Engage the AFL PFL switch in the master section A green LEVEL SET 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 a 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 y
22. 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 e 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 spe 1 adapters to interconnect your equipment For example you may need a balanced XLR fe male 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 jacks A TS plug inserted into a TRS bal anced input for example will automatically unbalance the input and make all the right con nections Conversely a l4 TRS plug inserted into a unbalanced input will automatically tie the ring low or cold to ground earth TRS Send Receive Insert Jacks Mackie s single jack inserts the three conductor TRS type phone They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See Figure
23. feeds MAIN RIGHT bus 2 or ALT RIGHT bus 4 You ll soon dis cover that maybe we should ve called this an 1404 VLZ2 since it really is a 4 bus mixer CONSTANT LOUDNESS 11 The 1402 VLZ PRO s PAN controls employ a design called Constant Loudness It has nothing to do with living next to a freeway As you turn the PAN knob from left to right 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 If you have a channel panned hard left or right and reading it must dip down about 4dB on the left or right when panned center To do otherwise the way Brand X com pact mixers do would make the sound appear much louder when panned center 69 3 BAND EQ The 1402 VLZ PRO has 9 band equalization at carefully selected points LOW shelving at 80Hz MID peaking at 2 5kHz and HI shelving at 12kHz Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example rotating the 1402 VLZ PRO s LOW knob 15dB to the right boosts bass starting at 80Hz and continu ing 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
24. has a standard XLR type male mic connector 10 learn how signals are routed from these inputs If you wire your own connect them like this ee Pin I Ground or shield Pin 2 Positive or hot Pin 3 Negative or cold BAL B OR q UNBAL LINE IN 3 LINE IN 5 LINE IN 6 2 1848 OCT 18dB OCT 0 60 15dB 45dB 10 LOW CUT 75 Hz 18dB OCT gt 0 60 1598 45dB 1402 VLZPRO DESCRIPTION Professional ribbon dynamic and condenser mics will all sound excellent through these in puts 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 O 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 PRO s phantom power is glo bally controlled by the PHANTOM switch on the rear panel 65 Never plug single ended unbalanced micro phones or instruments into th
25. notice that some very good reasons the 1402 VLZ feels The 1402 VLZ PRO has sophisticated power quite warm in the upper requirements that a wall wart cannot provide gt right corner This is Wall warts are inconvenient fragile radiate gt perfectly normal huge hum fields hog extra jacks on your Perfectly normal Is that redundant power strip and get in the way If you lose a In the output section there is a POWER wall wart you re in trouble but if you lose the LED If the power is on so is the LED 1402 VLZ PRO s power cord you can get a new one at any electronics music or computer PHANTOM SWITCH store You can even buy them at Radio Shack The Phantom Power Switch controls the part 287 1257 Can you tell that we hate phantom power supply for condenser micro wall warts phones plugged into channels 1 6 mic inputs Plug the 1402 VLZ PRO into any standard as discussed at the start of this section grounded AC outlet or into a power strip of When turned on or off the phantom power proper voltage circuitry takes a few moments for voltage to WARNING Disconnect ramp up or down This is also perfectly normal ing the plug s ground In the output section next to the POWER E pin can be dangerous LED is the PHANTOM LED If the phantom Please don t do it power is on 50 15 the LED 69 FUSE The 1402 VLZ is fused for your and its own protection If you suspect a blown fuse
26. of Mackie Designs Inc Other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged 2003 Mackie Designs Inc Rights Reserved 94 1402 VLZ 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 de fects are found in the materials or workmanship or if the product fails to function properly during the ap plicable 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 cover age 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 th
27. of MAIN MIX ALT 3 4 and TAPE By now you probably know what the MIX is ALT 3 4 is that addi tional stereo mix bus TAPE is the stereo signal coming in from the TAPE IN RCA jacks Q 25 5 Selections made the SOURCE matrix liver stereo signals to the CONTROL ROOM PHONES and METERS With no switches en gaged there will be no signal at these outputs and no meter indication The exception to that is the SOLO function Regardless of the SOURCE matrix selec tion engaging a channel s SOLO switch will replace that selection with the SOLO signal also sent to the CONTROL ROOM PHONES and METERS This is what makes the Level Setting Procedure 6 so easy to do WARNING Pushing in both the TAPE button in the SOURCE matrix and ASSIGN TO MAIN MIX can create a feedback path between TAPE IN and TAPE OUT Make sure your tape deck ts not in record record pause or input monitor mode when you engage these switches or make sure the CONTROL ROOM PHONES fader is fully down off 2 gt Or AUX 1 MAST U NORMALLED PRE POST Y AUX 1 EFX TO AUX SELECT MONITOR co 20 RETURN LEFT RIGHT OdB OdBu 28 Q 10 O O O 4 Q 2 Q 0 0 O0 e o 4 e e e 2 NORMAL AF FLEVELSET PRL 30 Q SOLO RUDE SOLO O L
28. 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 INSERT SEND RETURN Q Parallel means that a portion of the signal in the mixer is tapped off to the device AUX SEND processed and returned to the mixer 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 Signal Processor 5555 HHHH 0 0 0 Serial insert Return P Processed Signal _ Aux Return Output Section Wet Signal gt Processed Signal 4 Insert Send Dry Signal Serial Device e g Compressor Aux Send _ Signal Processor gt 558588 9 0 0 Parallel Device Parallel e g Reverb Channel Path Dry Signal s Dry Signal s Mix Stage 12 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 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 PRO The INSERT points are after the TRIM and LOW CUT controls but before the channel s EO and FADER controls The send tip is lo
29. 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 This Mackie product has been exposed to rain D This Mackie product does not appear to operate normally or exhibits a marked change in performance or This Mackie product has been dropped or its chassis damaged 13 Servicing The user s
30. to Unity gain at the center detent with 10dB of extra gain turned fully 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 STEREO AUX RETURN in puts 1 and 2 These controls are designed to 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 ef fects device s outputs not the mixer That way the mixer s knobs are easy to relocate at the center detent Signals passing through the AUX RETURN level controls will proceed directly to MAIN with one exception see next para graph The AUX RETURNS do not have MUTE ALT 3 4 switches so if you want these signals to get to the ALT 3 4 mix you ll have to patch the effects device s outputs into one of the stereo channels and MUTE ALT that ch
31. with signal interruption to master Insert all the way in to the second click RT Insert jack v use ae an effecte loop SEND to effect RING RETURN from effect Figure E 92 affect the internal signal 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 as signed to or it can be panned with the balance control 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 func tion and the signals will show up in stereo 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 mult or 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 sev eral inputs If you need to combine several out puts into one input you must use mixer not a mult or a Y gt E gt SEND to processor ring tip
32. 10 11 12 and 13 14 These fully balanced inputs are designed for stereo or mono balanced or unbalanced sig nals from 10dBV to 4dBu They can be used with just about any professional or semi pro in strument effect or tape player 10 learn how signals are routed from these inputs 69 To 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 PRO s line inputs 7 8 a stereo signal by inserting the device s left output plug into the Channel 7 jack and its right output plug into the Chan nel 8 jack When connecting a mono device just one cord always use the Left MONO input and plug nothing into the Right input this way the signal will appear on both sides This trick is called jack normalling BAL OR OR UNBAL UNBAL Low SU UNGAL RIGHT ALL BAL UNBAL e INPUT OUTPUT 922 _STEREO AUXRETURN AUXSEND 1 i MONO R OR OR LEVEL 4 m IN i LINE IN 9 10 LINE IN 11 12 LINE IN 13 14 EFFECTS SERIAL OR PARALLEL The next two sections toss the terms serial and paral lel around like hacky sacks Here s what we mean by them Serial means that the entire signal is routed through the effects device Examples compressor limiters graphic equalizers Line level sources can be
33. F The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the re turn from the unit to the mixer is on the ring 81 Using the Send Only on an Insert Jack If you insert 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 If you push the 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 over load or short circuit the signal you are tapping from the mixer That will 2 gt 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 Flex ibility with Minimum Headache The inputs and returns will automatically be mono or ste reo depending upon how you use the Jacks Here s how it works MONO PLUG is Channel Insert jack Direct out with no signal interruption to master Insert only to first click MONO PLUG Channel Insert jack Direct out
34. IGHT C R SOURCE m 2 TO MAIN MODE O O PHANTOM POWER CTL ROOM SUBMIX d MAIN MIX 554 lial atatea Ce POSS IiI Iii cA 8 N aiU rrr rr ettet EE w w 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 reo CONTROL ROOM OUTPUTS and 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 SOURCE selec tion those signals will pass through two level controls on the way to your control room amp and phones the MAIN MIX fader and this CTL ROOM SUBMIX fader This way you can send a nice healthy level to the MAIN OUTPUTS MAIN fader at U and 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 SOLO is engaged this fader will be the only one con trolling these levels channel controls not withstanding C U NORMALLED 10 AUX 1 MASTER PRE O E AUX 1 FX AUX SELECT 20 RETURN MONITOR
35. IN Mic in to Insert Send out max gain Fuse Rating 150 ohm termination 129 5 unweighted 129 500mA slo blo 5 x 20mm 220 240V 250mA slo blo 5 x 20mm ELS gt E NE Lg N 1 3 9 00 000000 14 35 6cm 29 7 4cm LL OE pu 4 4 000000 9 D AA O IO IO IO JIO IO IO 1O IO 1O O TY O IO IO IO JIO IO IO IO JO IO 9 210101010702 5 5 ae Jo jo 5 ii ij IO JO c 9 ag fo fo 8 WEIGHT P t D 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 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 PRO has a prob 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 suf
36. MIX Q VODE RUDE SOLO OS LIGHT CROON SUBMIX MAIN MIX U B OV t BB CM 1 1 l dici I atetetetete E 8 LL w w Pyle 24 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 50 musicians can hear what theyre doing On the 1402 VLZ PRO AUX SEND 1 can play ei ther role depending on the position of this switch With the AUX 1 SELECT switch up disen gaged AUX SEND 1 will tap a channel pre FADER and pre MUTE ALT 3 4 meaning that no matter how you manipulate those con trols as they feed the MAIN MIX the AUX SEND will continue to belt out a constant sig nal level This is the preferred method for setting up stage monitor feeds settings will affect all AUX SENDS With the switch down AUX SEND 1 be comes an ordinary effects send post FADER and post MUTE ALT 3 4 This is a must for ef fects sends since you want the levels of your wet signals to follow the level of the dry 1 AUX 1 MASTER The AUX 1 MASTER provides overall level control of AUX SEND 1 just before it s deliv ered to the AUX 1 OUTPUT AUX SEND 2 has no such control This knob goes from off turned fully down
37. NDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC SERIAL NUMBER MANUFACTURING DATE CHANNEL INSERT PRE FADER n PREEQ RING RETURN P DINVILLE WA USA COPYRIGHT 1998 S 3N INC VLZ XDR AND THE MAN FIGURE PATENT PENDING 579 D 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 Q without EQ Aux Sends Pan Mute and Solo The circuits will handle stereo or mono balanced or unbal anced signals either instrument level 10 or 4dBu They can be used with just about any pro or semi pro effects device on the mar ket 10 learn how signals are routed from these inputs see 1 One Device If you have Just one parallel effects device use AUX RETURN 1 and leave AUX RETURN 2 unplugged That way the unused AUX RETURN 2 LEVEL control can be used to feed AUX RETURN 1 your stage monitors via the TO MONITOR switch Mono Device If you have an effects de vice with a mono output 1 cord plug that into AUX RETURN 1 LEFT and leave AUX RETURN 1 RIGHT unplugged That way the signal will be sent to both sides magically appearing in center as mono signal This won t work with AUX RETURN 2 you ll need a Y cord to feed the bus In short AUX RETURN 1 uses jack normalling
38. NG ARE TRADEMARKS OR REGISTERED TRADEMARKS DESIGN INC MACKIE VLZ AND THE RUNNING MAN FIGURE PATENT PENDING m LEFT MONO RIGHT ALL MIC 2 MIC 3 MIC 4 MIC 5 MIC D OR Pre D OR Pe OR Pe 2 Pre gt 1 1402 VLZ PRO 14 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 6 1 LOW CUT LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 75 Hz 18dB OCT 18dB OCT 18dB OCT 18dB OCT 0dBy Ayc 4 j LEVEL LEVEL PH NE 27770 60 60 60 2770 4 4a ONES 15dB 45dB 15dB 45dB 107 107 40v 40 TRIM TRIM LINE IN 7 8 LINE IN 9 10 LINE IN 11 12 LINE IN 13 14 AUX U 15 ee AUX 1 5 NORMALLED C POST Y AUX 1 EFXTO AUX SELECT MONITOR 20 RETURN LEFT RIGHT C R SOURCE OdB 0dBu 0 2 6 MAIN MIX O o e 7 4 O o 0 0 0 4 O 4 ASSIGN 29 7 9 9 MAIN MIX Q 1 Q EVE 0 2 0 NORMA SET PF 1 LR sa MUTE MUTE LIGHT ALT 3 4 PHANTOM POWER CTL ROOM SUBMIX MAIN MIX dB
39. OKUP DIAGRAMS 4 track Recorder out play in record IMPORTANT ALL Channel Insert plugs are inserted e SECOND click 2 omen 027 I Keyboard or other line level input 7 VN 57 MONO Le JA 0 0 0 0 0 0 0 0 0 _ E d in stereo out everb ng o0 0 2 SLNdNI T3NNVH J 5 tc Q gt lt 17 Re et Digital Delay 11 yb RIT 2 AUX 0 2 track Mixdown Deck play ae Oso 6 gt lt _ 007 104110 _ 18109 Studio Monitors 1402 VLZ PRO 4 Track Record 2 Track Mix V O Mic Compressor 4 0 0 0 0 33333333 0 0 0 0 out 2606000 0000000 Ges Video Deck 1 De JQ Audio out 21 Video Deck 2 R E Ww 99 S gt Ome lt Note Aux Return 2 L Audio out can be used as an S Remum extra stereo input Video Deck 5 R e o DT i gt lt 62 8 55 x Multi Effect Processor out Co 60808 0 0 0 CD P
40. Y INCIDENTAL SPECIAL OR CONSE QUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PROD UCT 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 85 MIAEACICE e 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
41. als sent to the MAIN OUTPUTS XLR D and RCA TAPE OUT All channels and AUX RETURNS that are not 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 de liver 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 im portant than the price of wall warts All of our mixers employ VLZ and built in power supplies that deliver more than enough current result ing in sonic specifications that rival consoles upwards of 50 000 SOURCE MATRIX Typically the engineer sends the MAIN MIX to an audience if live or a mixdown deck if recording But what if the engineer needs to hear something other than the MAIN MIX With the 1402 VLZ PRO the engineer has sev eral 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
42. annel 6 D 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 1 the tricky part With the switch up AUX RETURN 1 and 2 behave normally they deliver their signals into the MAIN MIX With the switch down AUX RETURN 1 still behaves normally but AUX RETURN 2 s level control will feed AUX SEND 1 instead of the MAIN Still with us Good So far with the switch down we have AUX RETURN 1 feeding the MAIN MIX and AUX RETURN 2 feeding AUX SEND 1 Now suppose you only have one ef fects device and you want it to feed both the MAIN MIX and AUX SEND 1 That s where Jack normalling comes in 0 JACK NORMALLING Jack normalling not to be confused with Jack Normalling Chicago Cubs utility infielder 1952 61 267 LBA is a feature found on al most 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 con nection 1 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
43. d sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones They must be sepa rated 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 e Balanced mono circuits When wired as a balanced connector a V4 TRS jack or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth e Unbalanced Send Return circuits When wired as send return Y connector a 1 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 V4 TS PHONE PLUGS AND JACKS TS stands for Tip Sleeve the two connec tions available on a mono V4 phone jack or plug Figure C TS jacks and plugs are used in many different applications always unbalanced The tip 15 connected to the audio signal and the sleeve to ground earth Some examples Unbalanced microphones e Electric guitars and electronic instruments e Unbalanced line level connections SLEEVE SLEEVE SLEEVE Figure C TS Plug 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 i
44. 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 or MACKIE ee JC ELECTRI EMIUM XDR MIC PREAMPLIFIERS REPLACE WITH THE SAME TYPE FUSE AND RATING TR UN E RECHANGE DE MEME TYPE DIRECT QUTWITHSIONAL ET CAUTION sco sue nerone noc rust DEBRANCHER AVANT DE REMPLACER LE FUSIBLE XDR EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC OUTPUT CHANNEL INSERT m BALANCED P nca Cr ph 4 5120 50 60Hz 25W LISTED COMMERCIAL MIC 500mA 250V SLO BLO AUDIO EQUIPMENT CAUTION MAIN TO REDUCE THE RISK OF OUTPUT FIRE REPLACE WITH SAME 55 TYPE FUSE AND RATING ot DS IN WOODINVILLE WA USA COPYRIGHT 1998 THE FOLLOWING AR OR DESIGN INC MACKIE VLZ AND THE RUNNING MAN FIGURE PATENT ee 17 eI N CHANNEL STRIP DESCRIPTION The ten channel strips look alike and function identically The only difference is that the six on
45. does all this relate to the EFX TO MONITOR switch AUX RETURN 1 s inputs are normalled to AUX RETURN 2 If you have one effects device plug it into AUX RETURN 1 Plug nothing into AUX RETURN 2 Now the signals feeding the AUX RETURN 1 inputs will also be sent to the AUX RETURN 2 inputs Engage the EFX TO MONITOR switch and now the AUX RETURN 2 knob will become an additional AUX SEND 1 knob for the signal at the AUX RETURN 1 Say that ten times Once again AUX RETURN 1 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 techni cian that can This is NOT a good place to learn e Modification changes AUX SEND 2 to be pre fader pre mute instead of post fader post mute e 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 e 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 I
46. e or to hide tape hiss 20 100 HiEQ 19 5 mii Moderation during EQ With you can also screw things up roy ally We ve designed lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that But if you max the EOs 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 more than about of EQ 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 pro cessing or stage monitoring AUX send levels are controlled by the channel s AUX 1 and AUX 2 knobs and by the AUX 1 MASTER These are more than just effects and moni tor sends They can be used to generate separate mixes for recording or mix minuses for broadcast By using AUX 1 in the PRE mode 5 these mix levels can be obtained in dependently of the channel s GAIN control MUTE ALT FADER INPUT gt TRIM gt LOW CUT M gt INSERT gt EQ Pre vs Post Signal Flow Diagram AUX 1 in POST mode and AUX 2 are post LOW CUT post EQ and post FADER That is the sends obey the settings of these controls
47. e MIC IN jacks if the PHANTOM power is on Do not plug instrument outputs into the MIC IN jacks with PHANTOM power on unless you know for certain it is safe to do so gt RIGHT ALL BAL UNBAL BAL UNBAL m R _STEREO AUXRETURN AUXSEND MAINOUT L LINE IN 7 8 LINE IN 9 10 LINE IN 11 12 LINE IN 13 14 LINE INPUTS Channels 1 6 These six line inputs share circuitry but not phantom power with the mic preamps and can be driven by balanced or unbalanced sources at almost any level You can use these inputs for virtually any signal you ll come across from instrument levels low as 40 to operating levels of 10dBV to 4dBu since there is 40dB more gain available than on Channels 7 14 70 learn how signals are routed from these inputs 69 To connect balanced lines to these inputs use a lA Tip Ring Sleeve TRS plug the type found on stereo headphones RING SLEEVE Tip Positive or hot Ring Negative or cold Sleeve Shield or ground To connect unbalanced lines to these in puts use a V4 mono TS phone plug or standard instrument cable SLEEVE SLEEVE 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 sponding channel
48. e product in its original shipping car ton 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 infor mation on packing can be found in the Service section of this manual Do not use packing pea nuts 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 car ton 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 au thorization 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
49. e stereo bus So MUTE ALT 3 4 really serves two functions 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 MUTE switch all you have to do is not use the ALT 3 4 outputs Then when ever you assign a channel to these unused outputs you ll also be disconnecting it from the MAIN MIX effectively muting the channel To use this as an ALT 3 4 switch all you have to do is connect the ALT 3 4 outputs to whatever destination you desire Two popular examples When doing multitrack recording use the ALT 3 4 outputs to feed your multitrack With most decks you can mult the ALT 3 4 outputs using Y cords or mults to feed multiple tracks So take ALT OUT LEFT and send it to tracks 1 3 5 and 7 and ALT OUT RIGHT 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 Sim ply assign these channels to the ALT 3 4 mix engage ALT 3 4 in the SOURCE matrix and the signals will appear at the CONTROL ROOM and PHONES outputs If you want the ALT 3 4 signals to go back into the MAIN MIX engage the ASSIGN TO MAIN MIX switch and the CTL ROOM SUBMIX fader becomes the one fader to control
50. ent tape play back 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 por table tape or CD player to feed music to a PA system between sets WARNING Pushing TAPE in the SOURCE matrix and ASSIGN TO MAIN can createa Pin 1 Ground feedback path between Pin 2 Positive or hot TAPE IN and TAPE OUT Make sure your Pin 3 Negative or cold tape deck ts not in record record pause or input monitor mode when you engage these switches or make sure the CTL ROOM SUBMIX fader is fully down off gt 14 D 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 D MAIN OUTPUTS These 1 4 jacks are balanced outputs ca pable 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 in puts connect 1 4 TRS Tip Ring Sleeve phone plugs like this
51. fering 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 TROUBLESHOOTING Bad Channel e sthe MUTE ALT 3 4 switch in the correct position e Is the fader turned up e Try unplugging any INSERT devices Channels 1 6 only e the same source signal in another channel set up exactly like the suspect channel Bad Output e 5 the associated level control if any turned up e 105 one of the Main outputs try unplug ging all the others For example if it s the V4 Left Main out unplug the RCA and XLR Left outputs If the problem goes away its not the mixer e fit 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 e Turn the channel fader and AUX RETURN knobs down one by one If the sound disappears it s either that chan nel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power e Qur favorite question Is the POWER switch on e Check the fuse REPAIR Service for the U S version of the 1402 VLZ PRO is available only from Mackie Designs lo cated in sunny Woodin
52. hapters Just as your mixer 15 organized into three distinct zones 1 PATCHBAY Along the top and back 2 CHANNEL STRIP The ten channel strips on the left 3 OUTPUT SECTION The section on the right amp 1402 VLZPRO 14 CHANNEL M REMIUM XDR MIC PREAMPLIFIERS Q2 Q2 62 2 9 03 00 Qo S On Throughout these chapters you ll find illus trations with each feature numbered If you re curious about a feature simply locate it on the appropriate illustration notice the number at tached 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 70 wire your own cables simply find that number in the manual and you ve found your answer Finally you ll notice feature numbers like this These numbers direct you to relevant information This icon marks informa tion that 1s 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 Rec
53. hones or control room without having to route them to the MAIN or 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 chan nel is up to anytime during a session You can solo as many channels at a time as you like 5010 is also the key player in the Level Setting Procedure Your 1402 VLZ PRO has Dual Mode Solo A switch in the master section determines gt E gt 18 which mode you ll be hearing With the switch up you ll get AFL After Fader Lis ten which is post FADER and post PAN making it ideal for mixdown soloing With the switch down you re in pre fader lis ten mode This is the required mode for the Level Setting Procedure 6 Soloed channels are sent to the SOURCE mix which ultimately feeds your CONTROL ROOM PHONES and METERS Whenever SOLO is engaged all SOURCE selections MAIN MIX ALT 3 4 and TAPE are defeated to allow the soloed signal to do just that solo 6 MUTE ALT 3 4 The dual purpose MUTE ALT 3 4 switch is 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 separat
54. hould 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 pr venir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur un prise de courant ou une autre sortie de courant sauf si les lames peuvent tre ins r es fond sans laisser aucune d couvert 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 pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class selon le cas prescrites dans le r glement sur le brouillage rad
55. ight PA Speaker 1402 VLZ PRO Disc Jockey Setup Vocal Mics on 22001 ressor FA a R 999 out a Mono ono Compressor Oe LL See eeu 5 Owes 5 1C emer ine level em EE T e 1 Multi Effect 2 R 55 Processor i 6090060 608 2089990 m P E N m CRE as TR z gi Le 9 TET Tm En 193 Amplifier This setup be easily reconfigured to become a Mono PA setup A Stereo sources should feed the left mono side of channel input only Paneachchannel hard left C Connect Mono PA system to Left main output Left PA Speaker Right PA Speaker 1402 VLZ PRO Stereo LINE IN 2 TRIM TRIM TRIM At the risk of stating the obvious this is where you plug everything in microphones line level instruments and effects head phones and the ultimate destination for your sound a tape recorder PA system etc MIC INPUTS Channels 1 6 We use phantom powered balanced micro phone 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
56. io lectrique dict 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 noiseinduced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for 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 10 equip ment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here Duration Per Day Sound Level dBA Slow Response Typical Example Duo in small club Subway Train Very loud classical music Tami screaming at Adrian about deadlines 0 5 0 25 or less 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 READ THIS We realize that you must be dying to try out your new Mackie
57. layer 43 L in 6 R gt D iE 1 e E IE _Time code DAT MC os a Coo Irene O e z 55 23 S2 25 a8 Mackie Designs Video Setup scene 1 _ 23 94 10 ses Multi VCR Video Switcher 0000089000000 with time code Interface 0000600000000 optional Studio Monitors Master Video Deck TOOL H DLL 1402 VLZ Video Setup Stereo Com pressor 70 0 0 0 88888888 0 0 0 0 Turntable Stereo Com pressor FO 0 0 0 88888888 0 0 0 0 Note Aux Return 2 can be used as an extra stereo input gt CD Player m CoC Como MONO 5 C I out 2 gt 10 R 5 Triggered Lights CD Player z y gt meti Multi Effect AUX OUT Processor Sampler MEM c 9 Re gt Stereo EQ in MES un 2 track Deck out Ne ower Amplifier MAIN OUT oie 100 WOOH 1910 S3NOHd 100 14 1 5104100 People dancing on the floor Left Speaker R
58. n a circuit change the input routing of the signal or serve other functions Mackie uses switches in the channel insert and bus in sert 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 Figure D They are unbalanced and electri cally identical to a TS phone plug or jack See Figure C Connect the signal to the cen ter post and the ground earth or shield to the surrounding basket UNBALANCING A LINE In most studio stage and sound reinforce ment situations there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment This usu ally will not be a problem in making connections e 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 n most cases the SLEEVE TIP SLEEVE TIP Figure D RCA Plug balanced ground
59. ned to Common Mode Rejection CMR Mic in to Insert Send out max gain kHz better than 90dB Main Mix channels 1 and 3 Pan left 2 and 4 Pan right Main Mix fader down channel faders down 100 0dBu um Levels Main Mix fader unity channel faders down 86 5dBu a 22dBu 90dB Signal to Noise Ratio ref 4dBu Tape in 16dBu Main Mix fader unity channel faders unity 84 5dBu other inputs 22dBu 5 Main Mix XLR out 28dBu Total Harmonic Distortion THD All other outputs 4399dBu 1kHz 14dBu 20Hz 20kHz Mic insert 0 0007 Mic in 1 3 kilohms Attenuation Crosstalk Channel Insert return 2 5 kilohms IkHz relative to 0dBu 20H2z 20kHz other inputs 10 kilohms or greater bandwidth Line in 4 Main Out Trim unity Tape out 1 1 kilohms Main fader down 85dBu other outputs 120 ohms Channel Alt Mute switch engaged 84dBu EQ Channel fader down 83dBu High Shelving 1 12kHz Frequency Response Mid Peaking 124 2 5kHz Mic input to any output Low Shelving 15db 80Hz 20Hz to 60kHz 0dB 1dB Power Consol 20Hz to 100 2 0dB 34B 120VAC 50 60Hz 25 watts Equivalent Input Noise E
60. nstructions 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 1402 VLZPRO BLOCK DIAGRAM XIN Z YOLINOW OL X44 66 1 lt 15 1VN2IS i Nis O3ld Z1A ZOv1 3P2VIA XIN L XQ V ino Lxnv je x NWO 2 NANLAY 1 913 WOO TOALNOI S3NOHd L XNY i 9 10311NO2 us x JI 1 0 gt 4 7 5 NIVW OLNOISS t D H NI z gt gt 1431 AOO3 10311NO2 Me TU
61. ord Aa gt 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 section on connectors XLR connectors balanced connectors unbal anced connectors special hybrid connectors 25 lt More resources our website www mackie com THE GLOSSARY A Haven of Non Techiness For The Neophyte The Glossary of Terms is a fairly compre hensive dictionary of pro audio terms If terms like clipping noise floor or unbalanced leave you blank refer to this glossary for a quick explanation ARCANE MYSTERIES ILLUMINATED 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 sea soned pro might learn a thing or two 5 LEVEL SETTING PROCEDURE 3 HOOKUP 6 1402 VLZ PRO PATCHBAY DESCRIPTION 10 MIC 1 10 PHANTOM 10 LINE 1 11 LOW
62. ormally 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 po larity side of the audio signal and pin 8 wired to the low cold or negative polar ity side of the signal Figure A All totally aboveboard and in full accord with the hal lowed 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 6 5 2 H Figure A XLR Connectors V4 TRS PHONE PLUGS AND JACKS TRS stands for Tip Ring Sleeve the three connections available on a stereo 1 4 or balanced phone jack or plug See Figure B TRS jacks and plugs are used in several different applications e Stereo Headphones and rarely stereo microphones and stereo line connections When wired for stereo a 1 4 TRS jack or RING SLEEVE N SLEEVE RING TIP SLEEVE Figure 14 TRS Plugs 30 plug is connected tip to left ring to right an
63. ou might have to readjust these levels during the middle of the set 1 Adjust the channel s TRIM control so 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 no and return to step 7 9 Disengage that channel s SOLO switch 10 Repeat for each of Channels 1 6 Part No 0006981 90 Rev 1 06 03 2003 Mackie Designs Inc Rights Reserved Other Nuggets of Wisdom For optimum sonic performance the chan nel and MAIN MIX FADERS should be set near the U unity gain markings Always turn the MAIN MIX and CTL ROOM SUBMIX faders down before making connections to and from your 1402 VLZ PRO If you shut down your equipment turn off your amplifier s first When powering up turn on your amplifier s last Save the shipping box You may need it someday and you don t want to have to pay for another one INSTANT MIXING Here s how to get going right away assuming you own microphone and keyboard 1 Plug your microphone into Channel 1 MIC IN 2 Turn on the 1402 VLZ 3 Perform the Level Setting Procedure 0 4 Connect cords from the MAIN OUTPUTS XLR or RCA your choice to your amplifier 5 Hook up speakers to the amp and turn it on 6 Turn up the 1402 VLZ PRO s Channel 1 FADER to the U marking and the MAIN MIX fader one quarter of the way up 7 Sing like a canary 8 Plug y
64. our keyboard into stereo channel 7 8 9 Slide that channel s FADER to the U marking 10 Play like a madman sing like a canary It s your first mix Please write your serial number here for future reference i e insurance claims tech support return authorization etc Purchased at Date of purchase PO INTRODUCTION Thank you for choosing a Mackie Designs professional compact mixer The 1402 VLZ PRO is equipped with our new precision engineered XDR Extended Dynamic Range premium studio grade mic preamp featuring e Full gain range from 0 to 60dB e 22 dBu line signal handling capability e 130 dB dynamic range e 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 05 where this manual comes in HOW TO USE THIS MANUAL Since many of you folks will want to hook up your 1402 VLZ PRO immediately the first pages 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 PRO is described geographically in other words in order of where it is physically placed on the mixer s top or rear panel These descriptions are divided into the first three manual c
65. p idis TRS plug um 1n this plug connects to one of the L F9 mixer e Channel Insert jacke RETURN from 8 Figure F Nanay 09 05 0 ol XIIN NIVIA 13S 0 et vt 01 8z ngpo gpo 05 YOLINOW Ps Pe 8 9 XIINS8nS WOOM 119 INOLNVHd 105 135 13 31 av Y XIIN NIVIN OL NDISSV b LIV XIN NIVIN ADYNOS a D 124135 1504 T 05 453159 L Olt CO Q LNO NIVIN TWaNn 1va OO 5 XNV Q 9 1 1 3dVL L LHS L 1134 15 Q Q ONON 1331 3 e 3 e oco 09 _ 09 09 606 606 06 0 0 oz oz S 698 N 1 1 3 E N 0 ap OTOS
66. 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 dupli cated 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 re quire 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 cov erage 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 o
67. r 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 Prod ucts 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 represen tative 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 PUR CHASE FROM AN AUTHORIZED MACKIE DEALER UPON EXPIRATION OF THE APPLI CABLE WARRANTY PERIOD MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND MACKIE SHALL NOT BE LIABLE FOR AN
68. s TRIM 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 6 We recommend that you use LOW CUT on every micro phone application except kick drum 46 bass guitar bassy Toota synth patches re cordings of earthquakes These aside there isn t much down there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that but LOW CUT can help reduce the possibility of feed back in live situations and it helps to conserve the amplifier power Another way to consider LOW func tion 1 that it actually adds flexibility during live performances With the addition of LOW CUT you can safely use LOW equalization on vocals 69 Many times bass shelving can really benefit voices Trouble is adding LOW also boosts stage rumble mic handling clunks and breath pops LOW CUT re moves all those problems so you can add low EQ without losing a woofer Here s what the combina 20 100 Ike tion of LOW and LOW Cut with Low EQ CUT looks like in terms of frequency curves 1Ok 20k
69. 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 15 actually two com plete 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 control This U stands for unity gain meaning no change in signal level Once you have adjusted the input signal to line level you can set every control at U and your 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 ac tual dB levels at all Ever seen those 0 10 fader markings We call these AUMs Arbitrary Units of Measurement and they mean noth ing in the real world You were smart you bought a Mackie FADER The FADER controls the channel s level from off to unity gain at the U marking on up to 104 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 headp
70. the levels of all channels as signed to ALT 3 4 Another way to do the same thing is to as sign the channels to the ALT 3 4 mix then patch out of the ALT OUT LEFT and RIGHT 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 MUTE ALT 3 4 switch on that stereo channel or you ll have every dog in the neighborhood howling at your feedback loop Another benefit of the ALT 3 4 feature is that it can act as a After Listen just engage a channel s MUTE ALT 3 4 switch and the ALT 3 4 switch in the SOURCE matrix and you ll get that channel all by itself in the CONTROL ROOM and PHONES MUTE ALT 3 4 is one of those controls that can bewilder newcomers so take your time and play around with it Once you ve got it down youll probably think of a hundred uses for it PAN PAN adjusts the amount of channel signal sent to the left versus the right outputs On mono channels ch 1 6 or 7 14 with connec tions to the LEFT input only these controls act as pan pots On stereo channels 7 14 with stereo connections to LEFT and RIGHT inputs the pan knob works like the balance control on your home stereo PAN determines the fate of the MAIN MIX 1 2 and ALT 3 4 mix With the PAN knob hard left the signal will feed either MAIN LEFT bus 1 or ALT LEFT bus 3 depending on the position of the ALT 3 4 switch With the knob hard right the signal
71. ville 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 R number Have your mixer s serial number ready You must have a Return Authorization number or we may refuse the delivery 9 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 Packthe 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 number and a detailed description of the problem including how we can duplicate it 6 Write the 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 Well try to fix the mixer within five business days Ask Tech Support for current turn around times when you call for your number We n
72. w impedance 120 ohms capable of driving any device The return ring is high impedance over 2 5k ohms and can be driven by almost any device INSERT cables must be wired thusly SEND to processor gt F this plug connects to one of the mixer s Channel Insert jacks EE from RE 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 chan nel direct outputs post TRIM post LOW CUT and pre EQ Check out the 4 track hookup dia gram Here s three ways you can use the INSERT jacks MONO PLUG N Channel Insert jack Direct out with no signal interruption to master Insert only to first click MONO PLUG ex Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click E E Channel Insert RI T use as an effects loop TIP SEND to effect RING RETURN from effect WARN ING 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 AVI RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR ING UTILISE UN FUSIBLE DE RECHANGE DE MEME TYPE FUSE ATTENTION DEBRANCHER AVANT DE REMPLACER LE FUSIBLE XDR EXTE
73. 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 in puts and that never gets to the MAIN OUTPUTS Oh but it does Simply engage this switch and your SOURCE matrix selection after going through the CTL ROOM SUBMIX fader will feed into the MAIN MIX just as if it were another stereo channel Another handy use for this switch is to en able the ALT 3 4 mix to become a submix of the MAIN using the CTL ROOM SUBMIX fader as its level control Side effects 1 Engaging this switch will also feed any soloed channels into the MAIN MIX which may be the last thing you want 2 If you have MAIN MIX as your SOURCE matrix selection and then engage ASSIGN TO MAIN MIX the MAIN MIX lines to the SOURCE ma trix 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 De ceptively simple considering the multitude of signals that can be monitored by it If nothing is selected in the SOURCE matrix and no channels are in SOLO the METERS 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 switch Why You want the METERS to reflect what the engineer is listening to

Mackie 1402-VLZPRO Musical Instrument User Manual

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