1402-VLZ PRO 14-CHANNEL MIC/LINE MIXER OWNERS MANUAL

POWER ON

PHANTOM ON

MONO PLUG

STEREO PLUG

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN

1402-VLZPRO

14-CHANNEL MIC/LINE MIXER WITH PREMIUM XDR TM MIC PREAMPLIFIERS
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.

WARNING:

SERIAL NUMBER

MANUFACTURING DATE

INSERT ALL THE WAY IN TO THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP (TIP = SEND, RING = RETURN)
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

MAIN RIGHT

BALANCED

MAIN LEFT

BALANCED +4 MIC

CONTROL ROOM

BAL/UNBAL

ALT OUTPUT

CHANNEL INSERT
( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) )
120 VAC 50/60 Hz 25W 500mA/250V SLO-BLO

CAUTION:

TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING
MAIN OUTPUT LEVEL DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA COPYRIGHT 1998 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE PATENT PENDING

MIC PR XDR E

LEFT/MONO

ALL BAL/UNBAL

TAPE INPUT

TAPE OUTPUT

L 14-CHANNEL MIC/ LINE MIXER WITH PREMIUM XDRTM MIC PREAMPLIFIERS

1402-VLZ PRO

BAL OR UNBAL

STEREO AUX RETURN

AUX SEND

MONO MONO

MAIN OUT

L LINE IN 1

LOW CUT 75 Hz 18dB/OCT

LINE IN 2

LINE IN 3

LINE IN 4

LINE IN 5

LINE IN 6

-10dBV GA MIC IN

LEVEL +4 -10

PHONES

+15dB -45dB

LINE IN 78

LINE IN 910

LINE IN 1112

LINE IN 1314

MON/ EFX +15

AUX 1 MASTER

+20 U NORMALLED
PRE POST AUX 1 SELECT EFX TO MONITOR

AUX RETURN

C-R/SOURCE

MAIN MIX

0dB=0dBu

2.5kHz -12

ALT 34

80Hz -15 +15 -15 +15

80Hz -15 +15
ASSIGN TO MAIN MIX NORMAL (AFL) LEVEL SET (PFL) SOLO MODE PHANTOM POWER CTL ROOM /SUBMIX

LEVEL SET

30 RUDE SOLO LIGHT
12. Damage Requiring Service This Mackie product should be serviced only by qualified service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this Mackie product; or C. This Mackie product has been exposed to rain; or D. This Mackie product does not appear to operate normally or exhibits a marked change in performance; or E. This Mackie product has been dropped, or its chassis damaged. 13. Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department. 14. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.

Triggered Lights Multi Effect Processor out

Stereo EQ

in out

2-track Deck in (record)

Left PA Speaker

Right PA Speaker

People dancing on the floor
1402-VLZ PRO Disc Jockey Setup

Vocal Mics

in out in out

in Mono Compressor out

Bass Preamp

Stereo Guitar Effects

L 1 R L R
Drum Machine Keyboard or other line-level input

Multi Effect Processor

L R L R

Power Amp

Mono EQ out

Stage Monitors

This setup can be easily reconfigured to become a Mono PA setup. A. Stereo sources should feed the left mono side of channel input only. B. Pan each channel hard left. C. Connect Mono PA system to Left PA Speaker Left main output.

1402-VLZ PRO Stereo PA

1402-VLZ PRO PATCHBAY DESCRIPTION
At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, headphones, and the ultimate destination for your sound: a tape recorder, PA system, etc. Professional ribbon, dynamic and condenser mics will all sound excellent through these inputs. The 1402-VLZ PROs mic inputs will handle any kind of mic level you can toss at them, without overloading. Be sure to perform the Level Setting Procedure:.

MIC INPUTS (Channels 16)

We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. To learn how signals are routed from these inputs:. If you wire your own, connect them like this:

SHIELD HOT

PHANTOM POWER
Most modern professional condenser mics are equipped for Phantom Power, which lets the mixer send low-current DC voltage to the mics electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) Phantom owes its name to an ability to be unseen by dynamic mics (Shure SM57/SM58, for instance), which dont need external power and arent affected by it anyway. The 1402-VLZ PROs phantom power is globally controlled by the PHANTOM switch on the rear panel. Never plug single-ended (unbalanced) microphones or instruments into the 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.

Channel Path Dry Signal(s)
Processed Signal Dry Signal(s) Mix Stage

INSERT (Channels 16)

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 dont have more than a few of these gadgets, weve included inserts for just the first six channels. If you want to use this kind of processing on Channels 714, 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 channels EQ and FADER controls. The send (tip) is low-impedance (120 ohms), capable of driving any device. The return (ring) is highimpedance (over 2.5k ohms) and can be driven by almost any device. INSERT cables must be wired thusly:
tip ring sleeve SEND to processor (TRS plug)

ING. FUSE

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
DINVILLE, WA, USA COPYRIGHT 1998 GN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE PATENT PENDING
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 without EQ, Aux Sends, Pan, Mute, and Solo. The circuits will handle stereo or mono, balanced or unbalanced signals, either instrument level, 10dBV or +4dBu. They can be used with just about any pro or semi-pro effects device on the market. To learn how signals are routed from these inputs, see. 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 to your stage monitors, via the EFX TO MONITOR switch. Mono Device: If you have an effects device 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 the center as a mono signal. This wont work with AUX RETURN 2 youll need a Y-cord to feed the L/R bus. In short, AUX RETURN 1 uses jack normalling. AUX RETURN 2 does not use jack normalling.
this plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor
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 channel direct outputs; post-TRIM, post-LOW CUT, and pre EQ. Check out the 4-track hookup diagram. Heres three ways you can use the INSERT jacks:

Channel Insert jack

Direct out with no signal interruption to master. Insert only to first click.

Direct out with signal interruption to master. Insert all the way in to the second click.
For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect)

TAPE IN

These RCA jacks are designed to work with semi-pro as well as pro recorders. To compensate for typically low levels, signals coming in here will be automatically boosted by 6dB. Connect your tape recorders outputs here, using standard hi-fi (RCA) cables. To learn how signals are routed from these inputs, see.

SLEEVE TIP SLEEVE TIP

Outputs? The 1402-VLZ PRO has plenty of em: XLR MAIN, 14" MAIN, TAPE, PHONES, CONTROL ROOM and AUX SENDS. Lets take a peek.

XLR MAIN OUTPUTS

These low-impedance outputs are fully balanced and capable of driving +4dBu lines with up to 28dB of headroom. This output is 6dB hotter than other outputs. To learn how signals are routed to these outputs:. To use these outputs, wire the XLR (balanced only) connectors like this:
Use these jacks for convenient tape playback of your mixes. Youll 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 portable tape or CD player to feed music to a PA system between sets. WARNING: Pushing TAPE 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 is 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).
Pin 1 = Ground Pin 2 = Positive (+ or hot) Pin 3 = Negative ( or cold)

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.

1 4"

For most music recording and PA applications, unbalanced lines are perfectly acceptable. To use these outputs to drive unbalanced inputs, connect 14" TS (Tip-Sleeve) phone plugs like this:

These 14" 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:. To wire your own cables:.

POWER CONNECTION

Just in case you lose the cord provided with the 1402-VLZ PRO, its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders, musical instruments, and computers. At the other end of our cord is get this a plug! Not a black cube or, as were fond of calling them, a wall wart. We did this for some very good reasons: The 1402-VLZ PRO has sophisticated power requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, youre in trouble, but if you lose the 1402-VLZ PROs power cord, you can get a new one at any electronics, music, or computer store. You can even buy them at Radio Shack (part # 287-1257). Can you tell that we hate wall warts? Plug the 1402-VLZ PRO into any standard grounded AC outlet or into a power strip of proper voltage. WARNING: Disconnecting the plugs ground pin can be dangerous. Please dont do it.

POWER SWITCH

If this one isnt self-explanatory, we give up. You can leave this switch on all the time; the 1402-VLZ PRO is conservatively designed, so heat buildup isnt a problem even in 24-hour-aday operation. Theres nothing that will burn out or get used up. Or, just plug everything into a good quality power strip for one-button turn-on. You may notice that the 1402-VLZ PRO feels quite warm in the upperright corner. This is perfectly normal. (Perfectly normal. Is that redundant?) In the output section there is a POWER LED. If the power is on, so is the LED.

PHANTOM SWITCH

The Phantom Power Switch controls the phantom power supply for condenser microphones plugged into channels 1-6 mic inputs as discussed at the start of this section. When turned on (or off), the phantom power circuitry takes a few moments for voltage to ramp up (or down). This is also perfectly normal. In the output section, next to the POWER LED, is the PHANTOM LED. If the phantom power is on, so is the LED.
The 1402-VLZ PRO is fused for your (and its own) protection. If you suspect a blown fuse, 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 220V240V 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.

CHANNEL STRIP DESCRIPTION
The ten channel strips look alike, and function identically. The only difference is that the six on the left are for individual mics or mono instruments and have more gain available, while the next four are for either stereo or mono line-level sources. (Each of the stereo channel strips is actually two complete circuits. The controls are linked together to preserve stereo.) Well start at the bottom and work our way up which mode youll be hearing. With the switch up, youll get AFL (After Fader Listen), which is post-FADER and post-PAN, making it ideal for mixdown soloing. With the switch down, youre in PFL (pre-fader listen) mode. This is the required mode for the Level Setting Procedure. 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 34 and TAPE) are defeated, to allow the soloed signal to do just that solo!

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 linelevel , you can set every control at U and your signals will travel through the mixer at optimal levels. Whats more, all the labels on our level controls are measured in decibels (dB), so youll know what youre doing level-wise if you choose to change a controls settings. You wont have to check it here and check it there, as you would with some other mixers. In fact, some dont even have any reference to actual dB levels at all! Ever seen those 010 fader markings? We call these AUMs (Arbitrary Units of Measurement), and they mean nothing in the real world. You were smart you bought a Mackie.

MUTE/ALT 34

The dual-purpose MUTE/ALT 34 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 usefullike a separate stereo bus? So MUTE/ALT 34 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 34 outputs. Then, whenever you assign a channel to these unused outputs, youll also be disconnecting it from the MAIN MIX, effectively muting the channel. To use this as an ALT 34 switch, all you have to do is connect the ALT 34 outputs to whatever destination you desire. Two popular examples: When doing multitrack recording, use the ALT 34 outputs to feed your multitrack. With most decks, you can mult the ALT 34 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 34 signals, and tracks in Playback or Safe modes will ignore them. When doing live sound or mixdown, its often handy to control the level of several channels with one knob. Thats called Subgrouping. Simply assign these channels to the ALT 34 mix, engage ALT 34 in the SOURCE matrix, and the signals will appear at the CONTROL ROOM

The FADER controls the channels level from off to unity gain at the U marking, on up to 10dB of additional gain. Channels 16 use mono controls, and channels 714 use stereo controls.
This lovable switch allows you to hear signals through your headphones or control room without having to route them to the MAIN or ALT 34 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 channel is up to anytime during a session. You can solo as many channels at a time as you like. Solo 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
and PHONES outputs. If you want the ALT 34 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 the levels of all channels assigned to ALT 34. Another way to do the same thing is to assign the channels to the ALT 34 mix, then patch out of the ALT OUT LEFT and RIGHT back into an unused stereo channel (78, 910 or 1112 or 1314). If thats your choice, dont ever engage the MUTE/ALT 34 switch on that stereo channel, or youll have every dog in the neighborhood howling at your feedback loop. Another benefit of the ALT 34 feature is that it can act as a AFL (After Fader Listen): just engage a channel's MUTE/ALT 34 switch and the ALT 34 switch in the SOURCE matrix and youll get that channel, all by itself, in the CONTROL ROOM and PHONES. MUTE/ALT 34 is one of those controls that can bewilder newcomers, so take your time and play around with it. Once youve got it down, youll probably think of a hundred uses for it!
center. To do otherwise (the way Brand X compact mixers do) would make the sound appear much louder when panned center.

3-BAND EQ

The 1402-VLZ PRO has 3-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 PROs LOW EQ knob 15dB to the right boosts bass starting at 80Hz and continuing 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. +15 This frequency represents the +10 punch in bass drums, bass guitar, +5 fat synth patches, and some really 0 serious male singers. 5 Used in conjunction with the 10 LOW CUT switch , you can boost the LOW EQ without inject- 20Low EQ ing a ton of subsonic debris into +15 the mix. +10
PAN adjusts the amount of channel signal sent to the left versus the right outputs. On mono channels (ch. 16 or 714 with connections to the LEFT input only) these controls act as pan pots. On stereo channels (714) 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 (12) and ALT 34 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 34 switch. With the knob hard right, the signal feeds MAIN RIGHT (bus 2) or ALT RIGHT (bus 4). Youll soon discover that maybe we shouldve called this an 1404-VLZ2, since it really is a 4-bus mixer.

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. AUX 1 in PRE mode follows the EQ and LOW CUT settings only. PAN and FADER have no effect 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 youll never need this extra gain, but its nice to know its there if you do. Channel 714 AUX pots control the mono sum of the channels stereo signals for each AUX send. For instance, Channel 7 (left) and 8 (right) mix together to feed that channels 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.
FADER INPUT TRIM LOW CUT INSERT EQ
MUTE / ALT "POST" SIGNAL OBEYS MUTE STATUS
AUX SEND 2 KNOB TO AUX SEND 2 OUTPUT
Pre vs. Post Signal Flow Diagram
"POST" SIGNAL "PRE" SIGNAL
AUX SEND 1 KNOB TO AUX SEND 1 OUTPUT
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 is really done. Selections made in the SOURCE matrix deliver stereo signals to the CONTROL ROOM, PHONES and METERS. With no switches engaged, 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 selection, engaging a channels 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 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 is 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).

As the name implies, this fader controls the levels of signals sent to the MAIN OUTPUTS: XLR , 14" 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, its nice to know its 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 deliver plenty of current to the circuitry. Thats why those wall wart mixers are often noisy they cant power a VLZ circuit. At Mackie, audio quality is much more important than the price of wall warts. All of our mixers employ VLZ and built-in power supplies that deliver more than enough current, resulting in sonic specifications that rival consoles upwards of $50,000!

ALT 3 4

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 several 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 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 IN RCA jacks.
Now you know how to select the signals you want to send to the engineers 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 stereo 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 selection, 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 MIX fader at U), and a 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 controlling these levels (channel controls not withstanding).

METERS MANY DISPLAYS IN ONE!
The 1402-VLZ PROs peak metering system is made up of two columns of twelve LEDs. Deceptively 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, and as weve covered, the engineer is 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 youre not listening at all. You may already be an expert at the world of +4 (+4dBu=1.23V) and 10 (10dBV=0.32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meters. A +4 mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meters. A 10 mixer, with a 10dBV signal trickling out, will read, you guessed it, 0VU on its meters. So when is 0VU actually 0dBu? Right now! At the risk of creating another standard, Mackies compact mixers address the need of both crowds by calling things as they are 0dBu (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 PROs wide dynamic range, you can get a good mix with peaks flashing anywhere between 20 and +10dB on the METERS. Most amplifiers clip at about +10dB, and some recorders arent so forgiving either. For best real-world results, try to keep your peaks between 0 and +7. Remember, audio meters are just tools to help assure you that your levels are in the ballpark. You dont have to stare at them (unless you want to).

AUX TALK

First of all, there is no particular alliance between AUX SEND 1 (or 2) and AUX RETURN 1 (or 2). Theyre just numbers. Theyre like two complete strangers, both named Fred. Heres the whole idea behind sends and returns: 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. These outputs are fed to the inputs of a reverb or other device. From there, the outputs of this external device are fed back to the mixers AUX RETURN jacks. 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, lets visit the Auxiliary World:

REPAIR

Service for the U.S. version of the 1402-VLZ PRO is available only from Mackie Designs, located in sunny Woodinville, 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 RA number. Have your mixers serial number ready. You must have a Return Authorization number, or we may refuse the delivery. 3. Set aside the power cord, owners manual, or anything else that youll ever want to see again. We are responsible for the return of the mixer only. 4. Pack the 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 responsible 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, RA number and a detailed description of the problem, including how we can duplicate it. 6. Write the RA 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 RA number. We normally send everything back prepaid using three-day shipping. However, if you rush your mixer to us by next-day air, well 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.

TROUBLESHOOTING

Bad Channel
Is the MUTE/ALT 34 switch in the correct position? Is the fader turned up? Try unplugging any INSERT devices (Channels 16 only). Try the same source signal in another channel, set up exactly like the suspect channel. Bad Output Is the associated level control (if any) turned up? If its one of the Main outputs, try unplugging all the others. For example, if its the 14" Left Main out, unplug the RCA and XLR Left outputs. If the problem goes away its not the mixer. If its a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem stays on the left its not the mixer. Noise Turn the channel fader and AUX RETURN knobs down, one by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, its from your whatever. Power Our favorite question: Is the POWER switch on? Check the fuse.

RING SLEEVE

SLEEVE RING TIP

SLEEVE

Figure B: 14" TRS Plugs

Figure C: TS Plug

SWITCHED 14" PHONE JACKS
Switches can be incorporated into 14" phone jacks, which are activated by inserting the plug. These switches may open an insert loop in a circuit, change the input routing of the signal or serve other functions. Mackie uses switches in the channel insert and bus insert 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 applications SLEEVE TIP SLEEVE TIP (Figure D). They are unbalanced Figure D: RCA Plug and electrically identical to a 14" TS phone plug or jack (See Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding basket.
balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end. When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections of the balanced input. If there are ground-loop problems, try connecting the unbalanced ground (earth) connection only to the input low (cold) connection, and leaving the input ground (earth) connection disconnected. In some cases, you will have to make up special adapters to interconnect your equipment. For example, you may need a balanced XLR female connected to an unbalanced 14" TS phone plug.
SPECIAL MACKIE CONNECTIONS
The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks. A 14" TS plug inserted into a 14" TRS balanced input, for example, will automatically unbalance the input and make all the right connections. Conversely, a 14" TRS plug inserted into a 14" unbalanced input will automatically tie the ring (low or cold) to ground (earth).

UNBALANCING A LINE

In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment. This usually will not be a problem in making connections. When connecting a balanced output to an unbalanced input, be sure the signal high (hot) connections are wired to each other, and that the balanced signal low (cold) goes to the ground (earth) connection at the unbalanced input. In most cases, the

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

14 X 2 MICRO SERIES MIC/LINE MIXER

RELATED PRODUCTS

RM1402-VLZ RACK MOUNT BRACKETS ackies MicroSeries 1402-VLZ is a compact mixer that combines the size and durability of the 1202-VLZ with the features and flexibility of the CR1604-VLZ. Like those two mixers, the MS1402-VLZ delivers high headroom and ultra low noise, thanks to its VLZ very low impedance architecture, first introduced on our acclaimed 8Bus consoles. And its just as rugged, with all-steel construction, thru-hole-plated fiberglass circuit boards, gold-plated interconnects and sealed rotary controls. The MS1402-VLZ is a distinguished sibling. Mixing Made Easy One of the first things youll notice is that the 1402-VLZ has faders. Like the faders on our SR Series consoles, these 60mm, log-taper faders provide smooth, consistent fades throughout the faders travel. 3-band EQ at truly useful freqeuncies (80Hz, 2.5kHz and 12kHz) allows for more musical equalization. The six studio-grade

MORE INFORMATION

mic preamps (on channels 1 thru 6) have 129.5dBm E.I.N. And with its integral 48V phantom power supply, the 1402-VLZ is compatible with all of your favorite dynamic and condenser mics. Room rumble, wind noise and mic thumps are cut off on those channels by a Low Cut Filter (75Hz, 18dB/octave), allowing you to use Lo Shelving EQ to enhance the higher end of the bass frequency range (instead of using it to get rid of the aforementioned noises). Each channel has PFL & In-Place AFL (globally switchable) for solo and cueing flexibility. In PFL you can listen to your channels prefade/post-EQ at full level, before the signal reaches the fader and pan control. AFL lets you listen to your channels post-fader/post-EQ. This is great for hearing where the signal is in the stereo horizon (hence the name Solo InPlace). Each channel has PFL and In-Place AFL (globally switchable). PFL Solo
MS1402-VLZ ARCHITECTS & ENGINEERS SPECIFICATIONS s IN YOUR FACE ALL-PRODUCT BROCHURE

FEATURES

s 6 low noise/high headroom XLR mic inputs (129.6dBm E.I.N.) s 6 balanced/unbalanced mono line inputs s 4 balanced/unbalanced stereo line inputs s 60mm log-taper faders s 48V phantom power s 3-Band EQ (12kHz, 2.5kHz, 80Hz) s Low Cut Filter on channels 1-6 s PFL/AFL (Solo InPlace) on every channel (global) s Very Low Impedance architecture s EFX to Monitor switch s 2 stereo buses s Alt 3-4 for extra bus s Balanced inputs and outputs (except RCAs and channel inserts) s Balanced XLR Main L/R outputs with mic/line level switch s 1/4 main outputs s 60dB Gain on chs. 1-4 s Global Aux 1 Pre/Post switch s Level Setting Marker
also makes level setting easy, especially when used with the new Level Setting Marker and the level-set LED. Mute/Alt 34 on each channel means every channel can be muted. But thats only part of it. Alt 34 provides an extra stereo bus for creating two stereo pairs for 4-track recording, or for previewing a source not yet in the main mix. (An engaged mute button sends the channels signal to the Alt 3-4 outputs.) EFX to Monitor lets you blend reverb or other effects back into a monitor mix via Aux Send 1, like on our SR Series. Theres also an Aux 1 master level control in this section. Control Room/Phones has its own level control and separate outputs, allowing you to select any combination of Main Mix, Tape In and Alt 34. You can create custom headphone mixes, monitor tape levels and more. Plus, a
separate switch routes this multi-source signal back into the Main Mix. Balanced inputs and outputs everywhere (except RCA tape jacks, phones and channel inserts) help keep noise at a minimum, and there are balanced XLR main outputs as well as 1/4 TRS outs for direct connections to video post and other such professional equipment. To add still more versatility, the signal at the XLR main outputs is switchable to mic or line level. Tough as nails. The MS1402-VLZ was designed by Greg Mackie, an audio veteran with over 20 years in the industry. His designs are intended for non-stop, 24 hour-a-day professional duty in broadcast and PA applications, TV and radio production studios, and video post suites places where nothing must ever go wrong. The MS1402-VLZ,
like all of Mackies mixers, lives up to that credo. It has sealed, co-molded rotary controls instead of open-frame phenolic potentiometers that can suffer from airborne dust and contamination. For the life of an installation, the 1402-VLZ provides minimal rotational contact noise (and if there ever is a problem, pots are individually replaceable). Plus, our combination of mounting, co-molding and energy-absorbing knob design helps prevent impact damage. Along with its steel chassis and thru-hole-plated fiberglass circuit boards, the MicroSeries 1402-VLZ also features a built-in power supply instead of a wall wart. Not only does this eliminate the inevitable hassles of dealing with external power supplies, but it also actually reduces hum. The tiny transformers inside wall warts are typically driven into non-linearity (in excess of 15 kilo-Gauss) to provide enough power for the mixer. This creates stray 25- to 35V magnetic fields that are easily picked up by shielded audio cables. The MS1402-VLZs internal transformer loafs along at under 10 kiloGauss, reducing stray fields to less than 1V. The MS1402-VLZ also uses the same RF protection circuitry and

TAPE OUT L LINE OUT L 2 BAL OUT L 3 1
MAIN L MAIN R ALT L ALT R
AUX 1 PRE AUX 1 POST AUX 2 POST SIP L SIP R PFL LOGIC
PHANTOM POWER (GLOBAL SWITCH) PAN FADER LO 80 2K5 12K 3-BAND EQ SIP R SOLO PFL LOGIC AUX SEND 2 POST PRE ALT MIX AUX SEND 1 ALT OUT R SIP L MAIN MIX MAIN FADERS 30dB PAD 2 MID HI MUTE / ALT

INSERT

MIC IN

75Hz HPF

LOW CUT

LINE IN

BAL OUT R LINE OUT R

MONO CHANNEL (1 OF 6)

ALT OUT L

TAPE OUT R

THICK LINES INDICATE SIGNAL PATH FROM MIC INPUT TO LEFT MAIN OUTPUT.
FADER HI MUTE / ALT PAN R TAPE IN L

SOURCE

+22 +10 +7 +4 +-2 -4 -7 -10 -20 -30
TAPE CONTROL ROOM & PHONES MIX MAIN

LINE IN L (MONO)

80 2K5 12K

METERS dBu= VU

+4 /-10
LINE IN R SIP L SIP R SOLO PFL LOGIC AUX SEND 2 POST PRE AUX SEND 1 SOLO MIX SIP (SOLO IN PLACE) / PFL (PRE-FADER LISTEN) PFL PFL LED SIP L SOLO RELAY

RUDE SOLO LED

3-BAND EQ

STEREO CHANNEL (1 OF 4)

L IN (MONO) AUX RETURN 1 GAIN ASSIGN TO MAIN

CONTROL ROOM LEFT

PHONES OUT R IN AUX 1 PRE / POST AUX 1 LEVEL AUX 1 OUT AUX RETURN 2 GAIN AUX 1 MIX CONTROL ROOM & PHONES FADER CONTROL ROOM RIGHT
MACKIE 1402-VLZ BLOCK DIAGRAM Version 1.0 12/2/95
R IN AUX 2 MIX EFX TO MONITOR

AUX 2 OUT

MS1402-VLZ Block Diagram
construction as the CR1604, making it virtually immune to RF interference in high-energy environments. Multiple applications. Our original MicroSeries 1202 has been used continuously in all kinds of applications; with faders and the aforementioned features, the MS1402-VLZ is even more exciting. Why? Because the MS1402-VLZ like its heralded ancestor is able to perform in applications where other small mixers dont measure up: ENG mixer Sound reinforcement mixer
Audio mixer for video post editing suites Impedance or level matching toolkit Headphone or cue mixer Effects sends sub mixer Remote broadcast mixer 8-track monitor mixer Live film and video sound mixer Aux inputs for a larger console Mackies MS1402-VLZ has much going for it: compact size, major flexibility and durability make it an incredible mixer value. And of course, its price-tofeatures ratio make the MicroSeries 1402-VLZ mixer a solid as well as compact and versatile investment.

19.0"

SPECIFICATIONS
Signal-to-Noise Ratio: 90dB, ref. +4dBu (all channels assigned, panned left/right) Mic preamp equivalent input noise (E.I.N.): 129.5dBm @ 150 ohms Maximum gain (mic in to main out): 86dB (to balanced out) 80dB (to unbalanced out) Frequency response: 20Hz to 60kHz, +0/1dB (mic input to any output) Distortion (THD): Less than.005% (any output, 1kHz @ +14dBu, 20Hz-20kHz, channel input) Equalization: Low: 15dB @ 80Hz Mid: 12dB @ 2.5kHz Hi: 15dB @ 12kHz Maximum output level: +28dBu balanced +22dBu unbalanced Weight: 9.5 lbs. (4.3 kg)

14.0"

13.0"

3.3"

MACKIE DESIGNS INC. 16220 Wood-Red Rd. NE Woodinville, WA 98072 USA Toll-Free 800/258-6883 FAX 425/487-4337 Outside the U.S., Phone 425/487-4333 FAX 425/485-1152 www.mackie.com
Mackie Designs Inc. is engaged in a continuous program of product evaluation and improvement and reserves the right to change product specifications at any time without notice. 1997-1998 Mackie Designs Inc. All rights reserved. Printed in Woodinville USA. Rev. 2/98 Mackie. and VLZ are registered trademarks of Mackie Designs Inc.