Duration, per day in hours 2 1.Sound Level dBA, Slow Response 105 Typical Example Duo in small club Subway Train Very loud classical music Dave screaming at Steve about deadlines Loudest parts at a rock concert
RISK OF ELECTRIC SHOCK. DO NOT OPEN RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) 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 flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. 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'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

0.0.25 or less 115

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

Read This Page!

We realize that you must be wanting to try out your new 1402-VLZ3. All we ask is that you read this page NOW, and the rest later youll be glad you did. WARNING: Before you plug the AC power cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage as your local AC mains supply (see page 12).

Other Nuggets of Wisdom

For optimum sonic performance, the channel faders and MAIN MIX faders should be set near the U (unity gain) markings. Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX faders down before making connections to and from your 1402-VLZ3. If you shut down your equipment, turn off your amplifier first. When powering up, turn on your amplifier last. Save the shipping box! You may need it someday.

Owners Manual

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. 4. Connect cords from the MAIN OUTS (XLR, 14" or RCA, your choice) to your amplifier. 5. Hook up speakers to the amp and turn it on. 6. Turn up the 1402-VLZ3s channel 1 fader to the U mark, and the MAIN MIX fader one quarter of the way up. 7. Sing like a canary! 8. Plug your keyboard into stereo channel 7-8. 9. Turn that channels fader to the U mark. 10. Play like a madman and sing like a canary! Its your first mix!
Adjusting input levels (Chs. 16 only)
On the first six channels, its not even necessary to hear what youre doing to set optimal levels. But if youd like to: Plug headphones into the PHONES jack, then move the CONTROL ROOM/SUBMIX fader up a little. The following steps must be performed one channel at a time: 1. Turn the GAIN, AUX SEND knobs and FADERS fully down. 2. Set the EQ knobs at the center detent. 3. Connect the signal source to the input. 4. Engage (push in) the channel's SOLO switch. 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. 8. If you apply some EQ, repeat step 7. 9. Disengage that channels SOLO switch. 10. Repeat for channels 1 through 6.

Part No. SW0544 Rev. C 01/09 2006-2009 LOUD Technologies Inc. All Rights Reserved.
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

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 marks information that is critically i mportant or unique to the 1402-VLZ3. For your own good, read them and remember them. They will be on the final test. 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. Appendix A is a section on troubleshooting and repair information. Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors. Appendix C shows the technical specifications, and a block diagram showing the internal signal path and general goings-on within the mixer. Appendix D was removed after it became bloated and painful.

How To Use This Manual

Since many of you folks will want to hook up your 1402-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular hookup diagrams. These show typical mixer setups for Recording and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the 1402-VLZ3 is described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the first three sections, just as your mixer is organized into three distinct zones: Patchbay: The patchbay along the top and back, where you connect things. Channel Strip: The eight channel strips on the left where you adjust each channel. Output Section: The output section on the right. Throughout these sections youll find illustrations, with each feature numbered. If youre curious about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that number in the nearby paragraphs.

Insert SendLOW CUT

4.GAIN (Channels 16)
If you havent already, please read the Level-Setting Procedure. BAL BAL BAL
UNBAL UNBAL UNBAL GAIN adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 6. This allows LINE INfrom the outside world to be adjusted to optimal LINE IN 2 LINE IN 3 signals 1 LOW CUT LOW CUT LOW CUT internal operating levels. 75 Hz 75 Hz 75 Hz 18dB/OCT
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 AUX U U U are inserting a very hot signal, or when you want to add a lot of EQ gain, or both. Without this virtual pad, this s cenario might lead to channel clipping.
-10 the -10d V If the signalBoriginates through dBV IC GAIN IC GAIN U M there will be 0 dB of gain U M XLR jack, with the knob fully down, ramping to 60 dB of0gain60 up. fully 0 60

18dB/OCT

Dry Signal -10dBV IC GAIN U M
75 Hz 18dB/OCT Processor Signal

Insert LOW CUT Return

(e.g., Compressor)

75 Hz 18dB/OCT

0dBV -1Processed Signal C GAIN MI
Parallel means that a portion of the signal in the Aux Aux Output promixer isSend 60 off to the device (AUX SEND), tapped InsertInsert 0Return Section Send Return +15dB returned to the mixer (STEREO RETURN) +15dB -45dB cessed and-45dB Signal Processor+15dB -45dB Signal Reverb) GAIN (e.g., Compressor) GAIN signal. This way, GAIN (e.g., Processor Wet to be mixed with the original dry Signal Processed Dry Signal Signal multiple channels can all make use of the same effects Mix Processed Signal d evice. Examples: reverb, digital delay. Stage Channel Path

Dry Signal(s)

LINE I

Return

OutputU Section
Signal Processor (e.g., Reverb)

Wet Signal

Channel Path
O +15 O Mix Processed Stage U Signal

EQ Owners Manual

1 L 2 R

TAPE TAPE INPUT OUTPUT

BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL MONO MONO

7.STEREO RETURNS

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 market. The signals comthe PAN PAN PAN PAN PAN ing into these inputs can be adjusted using the STEREO RETURN [41] knobs before passing onto the main mix MUTE MUTE MUTE MUTE MUTE MUTE bus (see page 18).

Use these jacks for convenient tape playback of your mixes. Youll be able to review a mix, then rewind and try another pass, without repatching or disturbing the EQ EQ mixer levels. You canEQ use EQ C-R/SOURCEa tapeLEFT CD also these with or RIGHT player to feed music to a PA system between sets.
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 SOLO SOLO SOLO SOLO SOLO

U 5 U 5 U 5 U 5 U 5 U 60

dB 10 5
WARNING: Engaging both the TAPE and A SSIGN TO MAIN MIX buttons in the CONTROL ROOM SOURCE [33] matrix can create PAN PAN PAN a feedback PAN between TAPE INPUT and TAPE OUTpath PUT. Make sure your tape deck is not in record, recordpause,9-10input11-12 or monitor 13-14 when you engage these mode 7-8 MUTE MUTE MUTE MUTE switches, or make sure the CONTROL ROOM / SUBMIX /SUBMIX MAIN MIX fader [34] SOLOfully down (off). is SOLO SOLO SOLO
MID 2.5kHz MID 2.5kHz MID 2.5kHz MID 2.5kHz 4

ASSIGN TO MAIN MIX

NORMAL (AFL) LEVEL SET (PFL)

RUDE SOLO LIGHT

dB U 5

dB U 5 10

CTL ROOM dB U 5 10

10. TAPE OUTPUT

Mono Device: If you have an effects device with a mono output (one cord), plug that into STEREO RETURN 1 left/mono, and leave the right unplugged. The signal will be sent to both sides, magically appearing in the center as a mono signal. This wont work with STEREO RETURN 2 youll need a Y-cord.
These unbalanced RCA connections tap the main mix output to make simultaneous recording and PA work more convenient. Connect these to your recorders inputs. (See also MAIN MIX [32] on page 16.)

O O O O O O O O O O

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. Do not attempt this with any other outputs on the 1402-VLZ3.

8.AUX SEND 1&2

The AUX SEND [31] knobs in the channel sections tap a portion of each channel's signal to provide an output here to feed external parallel effects processors or stage monitoring. See the AUX SEND details on page 15. These 14" jacks are also balanced outputs capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load.

LEVEL PAN MAIN / ALT "POST" SIGNAL OBEYS MUTE STATUS AUX 2 KNOB TO AUX SEND 2 LEVEL "POST" SIGNAL "PRE" SIGNAL AUX 1 KNOB TO AUX SEND 1 LEVEL AUX SEND 1 PRE/POST SWITCH (IN MASTER SECTION)

LO CUT

INSERT
Pre vs. Post Signal Flow Diagram

OR UNBAL

Output Section
33. CONTROL ROOM SOURCE MATRIX
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. Via these SOURCE switches, you can choose to listen to any combination of main mix, ALT 3-4 and TAPE. By now, you probably know what the main mix is. ALT 3-4 is that additional stereo mix bus. Tape is the stereo signal coming in from the TAPE INPUT [9] jacks. Selections made in the source matrix deliver stereo signals to the control room, phones and meter display. With no switches engaged, there will be no signal at these outputs and no meter indication.
20 NORMAL (AFL) LEVEL SET (PFL) 30 RUDE SOLO LIGHT

ALT dB U 60

SOLO MODE POWER dB U 60
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 A SSIGN 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. Now you know how to select the signals to send to the engineers control room or phones. From there, these signals all pass through the same level control:

34. CONTROL ROOM/SUBMIX

This fader controls the levels of both the control room outputs and phones outputs. The fader ranges from off, through unity gain at the "U", to 10 dB of extra gain when fully up. When MAIN MIX is your control room source selection, those signals will now pass through two level controls on the way to your control room amp and phones the MAIN MIX [32] faders and this CONTROL ROOM / SUBMIX fader. This way, you can send a nice healthy level to the main output (MAIN MIX fader at U), and a quiet level to the control room or phones (CONTROL 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 controlling these l evels (channel controls not withstanding).

32. MAIN MIX FADERS

These faders control the levels of signals sent to the main outputs: XLR [13], 14" TRS [11], and TAPE [10]. All channels and STEREO RETURNS that are not muted or turned fully down will end up in the main mix. Fully down is off, the "U" is unity gain, and fully up p rovides 10 dB additional gain. This additional gain will typically never be needed, but once again, its nice to know its there. This is the fader to move down at the end of the song when you want The Great Fade-Out.
Whatever your selection, you can also use the control room outputs for other applications. Its sound quality is just as impeccable as the main 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 do not engage a SOLO switch, as that will interrupt your SOURCE selection.

37. ASSIGN TO MAIN MIX

Lets say youre doing a live show. Intermission is nearing and youll want to play a soothing CD for the crowd to prevent them from becoming antsy. Then you think, But I have the CD player plugged into the TAPE inputs, and that never gets to the main outputs! Oh, but it does. Simply engage this switch and your SOURCE [33] matrix selection, after going through the CONTROL ROOM / SUBMIX [34] fader, will feed into the main mix, just as if it were another stereo channel. Another handy use for this switch is to enable the ALT 3-4 mix to become a submix of the main mix, using the CONTROL 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 [37], the main mix lines to the SOURCE matrix will be interrupted to prevent feedback. Then again, why on earth would anyone want to assign the main mix to the main mix?

35. SOLO MODE (AFL/PFL)

Engaging a channels SOLO [24] switch will cause this dramatic turn of events: Any existing SOURCE [33] matrix selections will be replaced by the SOLO signal, appearing at the control room outputs, phones outputs, and meter. The audible SOLO levels are then controlled by the CONTROL ROOM / SUBMIX [34] fader. The SOLO levels appearing on the right meter display are not controlled by anything you wouldnt want that. You want to see the actual channel level on the meter display regardless of how loud youre listening. With this 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 and it will follow the GAIN, EQ, FADER and PAN settings. It's similar to muting all the other channels, but without the hassle. Use AFL mode during mixdown. With the SOLO MODE switch in the down position, you're in PFL mode, meaning Pre-Fader-Listen (post EQ). This is required for the Level Setting Procedure, 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 a channel's MUTE/ALT [25] switch position.

CTL ROOM /SUBMIX dB U 20

1402-VLZ3 40
Signals passing through these STEREO RETURN level controls will proceed directly to main mix, with one exception (see next paragraph). The STEREO RETURNs do not have MUTE/ALT 3-4 switches, so if you want these signals to get to the ALT 3-4 mix, youll have to patch the effects devices outputs into one of the stereo channels, and MUTE/ALT [25] those channels.

42. RETURN TO AUX 1

If you want to add reverb or delay to the stage monitor mixes, this is the switch for you. The implementation leading up to the switch is the tricky part: With the switch up, STEREO RETURN 1 and 2 behave normally they deliver their signals into the main mix. With the switch down, STEREO RETURN 1 still behaves normally, but STEREO RETURN 2 will feed AUX SEND 1 instead of the main mix. Still with us? Good. So far, with the switch down, we have STEREO RETURN 1 feeding the main mix and STEREO RETURN 2 feeding AUX SEND 1. Now, suppose you only have one effects device, and you want it to feed both the main mix and AUX SEND 1. Thats where jack normalling comes in:

JACK NORMALLING

Jack normalling (not to be confused with Jack Normalling, Chicago Cubs utility infielder, 1952-61,.267 LBA) is a feature found on almost every mixer, keyboard and effects device. These jacks have special 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

MONO PLUG

Channel Insert jack
A stereo signal, having two plugs, should be patched into the LEFT (MONO) and the RIGHT input or return jacks. A jack switch in the RIGHT jack will disable the mono function, and the signals will show up in stereo. A mono signal connected to the RIGHT jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions.
Direct out with no signal interruption to master. Insert only to first click.

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. Remember: Only mult or Y one output into several inputs. If you need to combine several outputs into one input, you must use a mixer, not a mult or a Y.
Direct out with signal interruption to master. Insert all the way in to the second click.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)

Figure F

Mackie Stereo Inputs and Returns: Mono, Stereo, Whatever
Stereo line inputs and stereo returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or s tereo, depending upon how you use the jacks. Heres how it works: A mono signal should be patched into the input or return jack labeled Left (MONO). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses its assigned to, or it can be panned with the B alance control.
RING (IN) RING (RETURN) RING (RETURN) TIP (SEND)

TIP (OUT)

FROM PROCESSOR OUTPUT TO PROCESSOR INPUT

TIP (SEND)

TO MIXER CHANNEL INSERT

Y-cord insert cable

Y-cord splitter cable

Appendix C: Technical Information

Specifications

Main Mix Noise
(20 Hz20 kHz bandwidth, 1/4" Main out, channels 16 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right.) Main Mix fader down, channel faders down: 101 dBu Main Mix @ unity, channel faders down: 91 dBu (95 dB Signal to Noise Ratio, ref +4 dBu) Main Mix fader @ unity, channel faders @ unity: 86 dBu

Maximum Levels

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

Impedances

Mic in: Channel Insert return: All other inputs: Tape out: All other outputs: 2.5 kilohms 2.5 kilohms 10 kilohms or greater 1.1 kilohms 120 ohms
Total Harmonic Distortion (THD)
(1 kHz @ +14 dBu, 20 Hz20 kHz bandwidth) Mic pre @ insert: 0.0007%

Attenuation (Crosstalk)

(1 kHz relative to 0 dBu, 20 Hz20 kHz bandwidth, Line in, 14" Main Out, Trim @ unity.) Main Mix fader down: Channel Alt / Mute switch engaged: Channel fader down: 100 dBu 90 dBu 90 dBu
High Shelving Mid Peaking Low Shelving 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz

Power Consumption

25 watts

Frequency Response

(Mic input to any output.) 20 Hz to 60 kHz: 20 Hz to 100 kHz: +0 dB/1 dB +0 dB/3 dB

Fuse Rating

100-120V: 220-240V: 500 mA slo blo, 5 x 20 mm 250 mA slo blo, 5 x 20 mm

Weight

9.5 lb (4.5 kg)
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.) 150 ohm termination: 129.5 dBu, 20 Hz20 kHz

Dimensions (H x W x D)

12.9" x 14.0" x 3.2" (329 mm x 356 mm x 81 mm) 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.
Common Mode Rejection Ratio (CMRR)

(Mic in to Insert Send out, max gain.) 1 kHz: better than 70 dB
MAIN L MAIN R ALT L ALT R
GAIN BAL OUT L 3 MAIN MIX 2 BAL OUT R LINE OUT R MAIN FADERS 30dB PAD 4 AFL L AFL R SOLO PFL LOGIC AUX SEND 2 POST PRE ALT OUT R ALT MIX METERING (0dBu = 0VU) MUTE / ALT TAPE IN L TAPE R CONTROL ROOM & PHONES MIX MAIN AFL L AFL R SOLO PFL LOGIC AFL L AUX SEND 2 POST AUX SEND 1 PFL SOLO MIX AFL (AFTER FADER LISTEN) PFL (PRE-FADER LISTEN) GAIN PFL LED AFL R SOLO RELAY RUDE SOLO LED PAN ALT SOURCE AUX SEND 1 ALT OUT L

MIC IN

75Hz HPF

LOW CUT

80 2K5 12K

LINE IN

3-BAND EQ

BlockDiagram

MONO CHANNEL (1 OF 6)
AUX 1 PRE AUX 1 POST AUX 2 POST

PAN 1 LINE OUT L

MUTE / ALT
AFL L AFL R SOLO/PFL LOGIC
PHANTOM POWER (GLOBAL SWITCH) TAPE OUT L

TAPE OUT R

LINE IN L

+4 /-10

LINE IN R

STEREO CHANNEL (1 OF 4)

L IN (MONO)

STEREO RETURN 1

CONTROL ROOM LEFT ASSIGN TO MAIN PHONES OUT
L IN AUX 1 PRE / POST GAIN AUX 1 OUT AUX 1 MIX AUX 1 LEVEL CONTROL ROOM & PHONES FADER CONTROL ROOM RIGHT

STEREO RETURN 2

RETURN TO AUX 1
MACKIE 1402-VLZ3 SIGNAL FLOW 5/06

AUX 2 OUT AUX 2 MIX

MI C PR E XD R

LEFT/MONO RIGHT

1 L 2 R AUX SEND

MONO MONO MONO MONO

1 L R R MAIN OUT L
BAL OR UNBAL BAL OR UNBAL BAL/UNBAL

SESSION: DATE:

Track Sheet
LEVEL +4 -10 LEVEL +4 -10 LEVEL +4 -10 LEVEL +4 -10
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 LINE IN 13-14

U U U U U U

HI 12kHz +15 U MID 2.5kHz +15 U LOW 80Hz +15 -15 -15 -15 -15 -15 +15 +15 +15 +15 +15 LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U MID 2.5kHz MID 2.5kHz MID 2.5kHz MID 2.5kHz MID 2.5kHz -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U HI 12kHz HI 12kHz HI 12kHz HI 12kHz HI 12kHz

0dB=0dBu 7 4

L R L R L R L R L R
NORMAL (AFL) LEVEL SET (PFL) 30 SOLO MODE
ALT dB 10 dB 10 dB 10 dB U 60

O O O O

ALT ALT ALT 3 4

MUTE MUTE MUTE

ALT 3 4

ALT dB 10

PHAN TOM POWER CTL ROOM /SUBMIX dB 10 dB 10

5 U 60

5 U U 5

MAIN MIX SOLO SOLO

Mackie Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (Product Warranty) is provided by LOUD Technologies Inc. (LOUD) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafter, Customer, you or your). For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find contact information for your local distributor, and information on any warranty coverage provided by the distributor in your local market. 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.
16220 Wood-Red Road NE Woodinville, WA 98072 USA United States 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

1402-VLZ3

The 1402-VLZ3 continues the evolution of the Mackie VLZ mixers. With improved XDR2 mic preamps, a re-designed mix bus, and optimized active EQ on every channel, the 1402-VLZ3 is packed with premium features and maximum flexibility. Plus, it is the smallest mixer in the series to boast channel faders for a decidedly professional look and feel. The 1402-VLZ3 is equipped with six mono mic/line channels and four stereo line-input channels, for a total of 14 input channels. Each channel has a 3-band EQ, Aux 1 and 2 sends, Pan, Mute/Alt, Solo and a 60mm fader. In addition, the mic/line channels have phantom power, an input Gain control with 60 dB of gain, a sharp 18 dB/octave, 75 Hz Low Cut filter and a Channel Insert jack for connecting an external processor. The Mute/Alt 3-4 switch effectively creates a second stereo bus. The Mute button on each channel mutes that channel in the Main Mix, but also acts as a router to the 3-4 stereo bus, greatly increasing signal routing flexibility. The Control Room/Phones section has its own level control, outputs and input matrix for selecting any combination of Main Mix, Tape In and Alt 3-4 to create custom headphone mixes, to monitor tape levels and more. A separate switch routes this multi-source signal back into the Main Mix. Aux Send 1 has a master level control and a switch for selecting pre- or post-fader send, whereas Aux Send 2 is a fixed post-fader send, perfect for effects loops. There are two stereo returns, with a switch to route Stereo Return 2 to Aux Send 1 (to include reverb in the monitors, for example). Other features include a stereo tape input and output, a 1/4-inch stereo headphone jack, stereo 12-segment LED meters, and both TRS and XLR stereo output jacks, with a mic/line level switch on the XLR outs. Because of its many features and versatility, the 1402-VLZ3 may be used for extra studio-grade preamps, as aux inputs for a mixing console, or as an impedance- or level-matching audio toolkit. And the mix will surely benefit from the tactile interaction with the channel faders.
PROFESSIONAL COMPACT MIXER

FEATURES:

Ultra-compact 14-channel mixer featuring Mackie VLZ3s signature low noise, high-headroom design Six studio-grade XDR2 Extended Dynamic Range mic preamps with: Ultra-wide 60 dB gain range 130 dB dynamic range +22 dBu line input handling Extended low-frequency response Distortion under 0.0007% (20 Hz 20 kHz) Phantom power for studio condenser mics 14 high-headroom line inputs Advanced DC pulse transformer RF rejection Two aux sends, level, pan, and PFL solo on each channel 60mm long-wearing logarithmic taper faders Two stereo aux returns with EFX to Monitor switch 3-band active EQ (80 Hz, 2.5 kHz, 12 kHz) 18 dB/octave, 75 Hz low-cut filter on mic input channels Alt 3-4 stereo bus for added versatility Control room/phones source matrix Rack-mountable design using optional rack ears Sealed rotary controls to resist dust and grime Multi-voltage power supply for worldwide use Rugged steel chassis

1/5 PAGES

APPLICATIONS
Live sound mixing, houses of worship, clubs, gymnasiums, banquet halls, conference rooms, boardrooms, studio and field recording, multimedia applications, broadcast, and many, many more.

1402-VLZ3 SPECIFICATIONS

Noise Characteristics
(Mic in to Insert Send out, max gain) 150 termination 129.5 dBu (20 Hz to 20 kHz bandwidth, 1/4 Main Out, channels 1-6 Gain @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1, 3, and 5 panned left, 2, 4, and 6 panned right) Main Mix fader down, channel faders down Main Mix fader @ unity, channel faders down Main Mix fader @ unity, channel faders @ unity Signal-to-Noise Ratio, ref. +4 dBu 101 dBu 91 dBu 86 dBu 95 dBu
High Shelving Mid Peaking Low Shelving Low Cut Filter 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz 18 dB/octave, 3 dB @ 75 Hz
Input and Output Impedance
Mic In Channel Insert Return Alll other inputs 10 k 2.5 k 2.5 k or greater 1.1 k 120

Frequency Response

(Mic input to any output) 20 Hz to 60 kHz 20 Hz to 200 kHz +0 dB / 1 dB +0 dB / 3 dB
Tape Out All other outputs

AC Power Requirements

Power Consumption 25 watts VAC, Hz 500 mA slo blo, 5 x 20 mm VAC, Hz 250 mA slo blo, 5 x 20 mm 0 40C 32 104F US, JP Fuse rating

Distortion (THD+N)

(1 kHz @ 35 dB gain, 20 Hz to 20 kHz bandwidth) Mic pre @ insert 0.0007%
EU Fuse rating Operating Temperature
Attenuation and Crosstalk
(1 kHz relative to 0 dBu, 20 Hz to 20 kHz bandwidth, Line In, 1/4 Main Out, Gain @ unity) Main Mix fader down Channel Alt/Mute switch engaged Channel fader down 100 dBu 90 dBu 90 dBu
Physical Properties (packaged product)
Height Width Depth Shipping Weight 16.0 in / 406 mm 16.1 in / 410 mm 7.0 in / 178 mm 14.2 lb / 6.4 kg
Physical Properties (product)
Height 12.9 in / 329 mm 14.0 in / 356 mm 3.2 in / 81 mm 9.5 lb / 4.5 kg
Common Mode Rejection Ratio (CMRR)
(Mic In to Insert Send out, max gain) 1 kHz better than 70 dB

Width Depth Net Weight

Options Maximum Levels
Mic In Tape In All other inputs Main Mix XLR Out All other outputs +22 dBu +16 dBu +22 dBu +28 dBu +22 dBu Rackmount Bracket Set Mixer Bag 090-049-90 093-004-01

Ordering Information

1402-VLZ3 14-Ch. Compact Recording/SR Mixer, US 1402-VLZ3 14-Ch. Compact Recording/SR Mixer, EU 1402-VLZ3 14-Ch. Compact Recording/SR Mixer, JP P/N 0018453-00 P/N 0018453-01 P/N 0018453-02

2/5 PAGES

1402-VLZ3 DIMENSIONS
1. WEIGHT APPROX. 9.5 lb [4.5 kg]. 2. SHIPPING WEIGHT APPROX. 14.2 lb [6.4 kg].

3/5 PAGES

MAIN L MAIN R ALT L ALT R
GAIN LO MID HI 4 3-BAND EQ MAIN MIX BAL OUT R 1 LINE OUT R MAIN FADERS AFL R SOLO PFL LOGIC AUX SEND 2 POST PRE ALT OUT R ALT MIX FADER MUTE / ALT TAPE IN L TAPE R CONTROL ROOM & PHONES MIX MAIN AFL L AFL R SOLO PFL LOGIC AFL L AUX SEND 2 POST AFL R AUX SEND 1 PFL SOLO MIX AFL (AFTER FADER LISTEN) PFL (PRE-FADER LISTEN) GAIN PFL LED PRE SOLO RELAY RUDE SOLO LED PAN ALT SOURCE METERING (0dBu = 0VU) AUX SEND 1 ALT OUT L AFL L 30dB PAD 3 BAL OUT L 2K5 12K 2

MIC IN

75Hz HPF

LOW CUT

LINE IN

1402-VLZ3 BLOCK DIAGRAM

MONO CHANNEL (1 OF 6)
AUX 1 PRE AUX 1 POST AUX 2 POST

PAN 1 LINE OUT L

MUTE / ALT
AFL L AFL R SOLO/PFL LOGIC
PHANTOM POWER (GLOBAL SWITCH) TAPE OUT L

INSERT

TAPE OUT R

LO MID HI

LINE IN L

80 2K5 12K

+4 /-10

LINE IN R

3-BAND EQ

STEREO CHANNEL (1 OF 4)

L IN (MONO)

STEREO RETURN 1

CONTROL ROOM LEFT ASSIGN TO MAIN PHONES OUT
L IN AUX 1 PRE / POST STEREO RETURN 2 GAIN AUX 1 OUT R IN AUX 1 MIX AUX 1 LEVEL CONTROL ROOM & PHONES FADER CONTROL ROOM RIGHT
MACKIE 1402-VLZ3 SIGNAL FLOW 5/06
RETURN TO AUX 1 AUX 2 MIX

AUX 2 OUT

4/5 PAGES
1402-VLZ3 FRONT AND REAR PANELS

MIC PRE XDR

LEFT/MONO

ALL BAL/UNBAL

TAPE TAPE INPUT OUTPUT L

BAL/UNBAL

2 R AUX SEND R

BAL OR UNBAL

MAIN OUT

MONO MONO

LINE IN 1

LOW CUT 75 Hz 18dB/OCT

-10dBV C GAIN MI

LINE IN 2

LINE IN 3

LINE IN 4

LINE IN 5

LINE IN 6

LEVEL +4 -10

+15dB -45dB

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

HI 12kHz -15 MID 2.5kHz

HI 12kHz

C-R/SOURCE

MAIN MIX

0dB=0dBu 7

+15 U MID 2.5kHz

ALT 34

+15 U LOW 80Hz

L R L R
ASSIGN TO MAIN MIX NORMAL (AFL) LEVEL SET (PFL) SOLO MODE 48V POWER dB U 60
RUDE SOLO LIGHT LEVEL SET

ALT 34 dB U 60

CTL ROOM /SUBMIX dB U 60
Electronic files for this product are available at: www.mackie.com
Specification Sheet Owners Manual 1402VLZ3_SS.PDF 1402VLZ3_OM.PDF
www.mackie.com 16220 Wood-Red Road NE Woodinville, WA 98072 USA 800-898-3211, Fax 425-487-4337, sales@mackie.com Part No. SW0772 Rev. B 12/10
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice. Mackie and the Running Man figure 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. 2010 LOUD Technologies Inc. All Rights Reserved.

5/5 PAGES