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.
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.
Pour prvenir 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 insres fond sans laisser aucune pariie dcouvert.
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.

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 All 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 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.

ATTENTION Le prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada.
18. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent a permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day In Hours 2 1.0.5 0.25 or less Sound Level dBA, Slow Response 115 Typical Example Duo in small club Subway Train Very loud classical music Tami screaming at Adrian about deadlines 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 PAGE!!!

We realize that you must be dying to try out your new Mackie 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 youre good and ready. But do read it youll be glad you did.

Other Nuggets of Wisdom

For optimum sonic performance, the channel 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 dont want to have to pay for another one.

LEVEL-SETTING PROCEDURE

Message to seasoned pros: do not set levels 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.

INSTANT MIXING

Heres how to get going right away, assuming you own a microphone and a keyboard: Plug your microphone into Channel 1s MIC IN. Turn on the 1402-VLZ PRO. Perform the Level Setting Procedure. Connect cords from the MAIN OUTPUTS (XLR, 14" or RCA, your choice) to your amplifier. Hook up speakers to the amp and turn it on. Turn up the 1402-VLZ PROs Channel 1 FADER to the U marking and the MAIN MIX fader one quarter of the way up. Sing like a canary! Plug your keyboard into stereo channel 78. Slide that channels FADER to the U marking. Play like a madman and sing like a canary! Its your first mix!
Adjusting input levels (Channels 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 set 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 EQ 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 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 might have to readjust these levels during the middle of the set. 7. Adjust the channels TRIM control so that the display on the LED meters stays around 0 and never goes higher than +7. 8. If youd like to apply some EQ, do so now and return to step 7. 9. Disengage that channels SOLO switch. 10. Repeat for each of Channels 16.
Part No. 0006981-90 Rev. A1 06/Mackie Designs Inc. All Rights Reserved.

1. 2. 3. 4.

7. 8. 9. 10.
Please write your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.):

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.

COLD SHIELD

COLD 3 HOT

SHIELD COLD

Pin 1 = Ground or shield Pin 2 = Positive (+ or hot) Pin 3 = Negative ( or cold)

LINE IN 13 14

LINE INPUTS (Channels 16)
These six line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal youll come across, from instrument levels as low as 40dB to operating levels of 10dBV to +4dBu, since there is 40dB more gain available than on Channels 714. To learn how signals are routed from these inputs:. To connect balanced lines to these inputs, use a 14" Tip-Ring-Sleeve (TRS) plug, the type found on stereo headphones:

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.
MID EQ Short for midrange, this knob provides 12dB of boost or cut, centered at 2.5kHz, also flat at the center detent. Midrange EQ is often thought of as the most dynamic, because the frequencies that define any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down as well as up. HI EQ
15 20Hz 100Hz 1kHz 10kHz 20kHz

Low EQ with Low Cut

+15 +10 +5

CONSTANT LOUDNESS ! ! !

The 1402-VLZ PROs 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 0dB, it must dip down about 4dB on the left (or right) when panned

Mid EQ

+15 +10
This control gives you up to +5 15dB boost or cut at 12kHz, and it 0 is also flat at the detent. Use it to 5 add sizzle to cymbals, and an over- 10 all sense of transparency or edge to keyboards, vocals, guitar and Hi EQ bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.
Moderation during EQ With EQ, you can also screw things up royally. Weve designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, youll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few gold-record-album engineers ever use more than about 3dB of EQ. If you need more than that, theres usually a better way to get it, such as placing a mic differently (or using a different kind of mic entirely).
These tap a portion of each channel signal out to another source for parallel effects processing or stage monitoring. AUX send levels are controlled by the channels AUX 1 and AUX 2 knobs and by the AUX 1 MASTER. These are more than just effects and monitor sends. They can be used to generate separate mixes for recording or mix-minuses for broadcast. By using AUX 1 in the PRE mode , these mix levels can be obtained independently of the channels GAIN control.
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.

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 spring-loaded 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 EFX TO MONITOR switch? AUX RETURN 1s 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.
MAIN L MAIN R ALT L ALT R
TRIM FADER LO MID HI 2K5 12K 3-BAND EQ MAIN MIX MAIN FADERS AFL R SOLO PFL LOGIC AUX SEND 2 POST PRE AUX SEND 1 ALT MIX ALT OUT R AFL L 30dB PAD 1 2

MIC IN

AUX 1 PRE AUX 1 POST AUX 2 POST

MUTE / ALT

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

INSERT

75Hz HPF

BAL OUT L

LOW CUT

LINE IN

ALT OUT L FADER MID HI MUTE / ALT TAPE IN L MID HI MAIN AFL L AFL R SOLO PFL LOGIC AFL L AUX SEND 2 POST PRE AUX SEND 1 PFL SOLO MIX AFL (AFTER FADER LISTEN) PFL (PRE-FADER LISTEN) GAIN PFL LED AFL R SOLO RELAY R TAPE PAN ALT SOURCE L IN (MONO) AUX RETURN 1 R IN ASSIGN TO MAIN L IN AUX 1 PRE / POST AUX RETURN 2 GAIN AUX 1 OUT R IN AUX 1 MIX AUX 1 LEVEL AUX 2 OUT EFX TO MONITOR AUX 2 MIX

BAL OUT R

MONO CHANNEL (1 OF 6)

LINE OUT R

TAPE OUT R

METERING (0dBu = 0VU)

LINE IN L

80 2K5 12K

+4 /-10
CONTROL ROOM & PHONES MIX RUDE SOLO LED

LINE IN R

1402-VLZ PRO BLOCK DIAGRAM

STEREO CHANNEL (1 OF 4)

CONTROL ROOM LEFT

PHONES OUT

CONTROL ROOM & PHONES FADER

CONTROL ROOM RIGHT

MACKIE 1402-VLZ PRO SIGNAL FLOW 1/99
+28dBu max out (XLR) +22dBu max out (1/4" & RCA) +15dB up +12dB up +10dB up +10dB up +6dB XLR OUT 0dB LOW to A A 15dB down 4dB center 30dB XLR OUT, PAD engaged EQ FADER PAN MIX FADER OUTPUTS 12dB down 15dB down 0dB 1/4" Out and RCA Tape Out to C C to D MID HIGH B 0dB +15db up

+22dBu max in

0dB gain, TRIM down

60dB gain, TRIM up

MIC IN, Channels 16
+22dBu max in +16dBu max TAPE IN +10dB up 0dB 0dB to A TAPE IN 6dB Boost D MAIN MIX, ALT 34

+22dBu max out

15dB loss, TRIM down
45dB gain, TRIM up SOURCE Matrix C-R/PHONES MIX C-R/PHONES FADER OUTPUT

GAIN STRUCTURE DIAGRAM

LINE IN, Channels 16 CONTROL ROOM / PHONES
+22dBu max in +12dB engaged +10dB up 0dB to A Channel AUX SEND AUX MIX From B Master AUX SEND

+20dB up

Unity gain

0dB to C OUTPUT LEVEL

LINE IN, Channels 714 +4 (dBu) / 10 (dBV)

SPECIFICATIONS

Main Mix Noise
20Hz20kHz bandwidth, 1/4" Main out, channels 16 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right. Main Mix fader down, channel faders down: 100.0dBu Main Mix fader unity, channel faders down: 86.5dBu (90dB Signal-to-Noise Ratio, ref +4dBu) Main Mix fader @ unity, channel faders @ unity: 84.5dBu
Common Mode Rejection (CMR)
Mic in to Insert Send out, max gain 1kHz: better than 90dB

Maximum Levels

Mic in: Tape in: All other inputs: Main Mix XLR out: All other outputs: +22dBu +16dBu +22dBu +28dBu +22dBu
Total Harmonic Distortion (THD)
1kHz @ +14dBu, 20Hz20kHz Mic pre @ insert : 0.0007%

Impedances

Mic in: Channel Insert return: All other inputs: Tape out: All other outputs: 1.3 kilohms 2.5 kilohms 10 kilohms or greater 1.1 kilohms 120 ohms

Attenuation (Crosstalk)

1kHz relative to 0dBu, 20Hz20kHz bandwidth, Line in, 14" Main Out, Trim @ unity Main fader down: Channel Alt / Mute switch engaged: Channel fader down: 85dBu 84dBu 83dBu
High Shelving: Mid Peaking: Low Shelving: +/15db @ 12kHz +/12dB @ 2.5kHz +/15db @ 80Hz

Frequency Response

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

Power Consumption

120VAC, 50/60Hz, 25 watts
Equivalent Input Noise (EIN)
Mic in to Insert Send out, max gain 150 ohm termination: 129.5dBm unweighted

Fuse Rating

120V: 220240V: 500mA slo blo, 5 x 20mm 250mA slo blo, 5 x 20mm

2.9" (7.4cm)

14" (35.6cm)
12.9" (32.8cm) 8 rack spaces
WEIGHT 9.5 lbs. (4.5 kg.)

Mackie Designs is always striving to improve our mixers by incorporating new and improved materials, components and manufacturing methods. Because were always trying to make things better, we reserve the right to change these specifications at any time, without notice.

13.1" (33.27cm)

SERVICE INFO
Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer (if its missing, let us know and well rush one to you). If you think your 1402-VLZ PRO has a problem, 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 suffering. 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 heres some things you can check:

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.

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
TRS Send/Receive Insert Jacks
Mackies single-jack inserts are the threeconductor, TRS-type 14" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector (See Figure 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 return from the unit to the mixer is on the ring.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 14" 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 14" 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 overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.
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 Balance control. 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 (weddings, bar mitzvahs, Rush Limbaughs birthday party, etc.)

Introduction

Mackies 1402-VLZ PRO combines the compact size of the 1202-VLZ PRO with added features and 60mm log-taper faders. Its six new audiophile XDR Extended Dynamic Range mic preamps offer the best RFI rejection of any compact mixer design. Added benets include maximum freedom from ground loops and impeccable sonic performance that meets or exceeds the specs of esoteric, outboard mic preampliers. The XDR design is the only compact mixer mic preamp that is totally impedance independent: frequency response does not change even with extremely long cable runs or exceptionally high-impedance mic inputs. A sharp, 18dB/octave 75Hz Low Cut lter on each mic channel greatly reduces mic thumps, wind noise and stage rumble. Mute/Alt 3-4 effectively creates a second stereo bus. The Mute button on each channel mutes that channel in the Main Mix, while simultaneously placing the signal on the Alt 3-4 stereo bus, greatly increasing signal routing exibility. The EFX to Monitor feature allows routing of reverb or other effects signals back into a monitor mix via Aux Send 1. Aux 1 Masters Pre/Post switch can be set for pre-fader/post-EQ use, which is benecial for stage monitor mixes, or post-fader/post-EQ for use with external effects. It also has a level control for added exibility. Control Room/Phones has its own level control, stereo output pair 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. Because of its many features and durability, the 1402-VLZ PRO can be used for extra studio-grade preamps, as aux inputs for a mixing console, or as an impedance- or level-matching audio toolkit.
14-Channel Mic/Line Mixer

Features

6 low noise/high headroom XDR (Extended Dynamic Range) XLR mic inputs with the best RF rejection of any compact mixer design and maximum freedom from ground loops 6 balanced/unbalanced mono line inputs 4 pairs of balanced/unbalanced stereo line inputs 60mm log-taper faders 48V global phantom power 3-band EQ (12kHz, 2.5kHz, 80Hz) 75Hz, 18dB/octave Low Cut lter on Channels 16 PFL/AFL Solo (in-place) on all channels (global) Very Low Impedance (VLZ) architecture EFX to Monitor switch Alt 3-4 extra stereo bus Balanced inputs and outputs (except RCAs and channel inserts) Balanced XLR Main L/R outputs with mic/line level switch plus 1/4" Main L/R outputs 60dB Gain on Channels 16 Global Aux 1 Pre/Post-Fader switch Level Setting LED and marker

Applications

Live sound mixing for churches, clubs, school auditoriums, school sports centers, hotel conference centers, boardrooms, trade shows, presentations Multitrack studio and eld recording Headphone or cue mixer, impedance or level matching tool kit A/V presentations, video post production, CD authoring, multimedia Live broadcast remotes, ENG, ad production
RM1402-VLZ Rack-Mount Brackets (not included), 1202-VLZ PRO 12-Channel Mic/Line Mixer, 1604-VLZ PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16Channel Mic/Line Mixer, SRM350/SRM450 Active 2-Way SR Loudspeakers, M800/M1400i/M1400 Power Ampliers, C200/C300z passive 2-way SR Loudspeakers

Specications

Mic Preamp Equivalent Input Noise (20Hz20kHz): 0 Frequency Response: 1dB 3dB IM Distortion (4 to 1 ratio SMPTE) 35dB gain Harmonic Distortion (20Hz20kHz) 35dB gain Gain Max Min Max Input Input Impedance Common Mode Rejection Common Mode Rejection Ratio 129.5dBu 131.0dBu 134.5dBu 5Hz100kHz 3Hz192kHz 0.0008% 0.0007% +60dB 0dB or Unity +22dB 1.3k > 90dB > 140dB 90.5dB 90.5dB 88.5dB 0.005% Attenuation (Crosstalk)3 Main fader down: Channel Alt 3-4/Mute switch engaged: Channel fader down: Frequency Response4 Mic input to any output 20Hz to 60kHz: 20Hz to 100kHz: Maximum Levels Mic in: Tape in: All other inputs: Main Mix XLR outputs: All other outputs: Impedances Mic in: Channel Insert return: All other inputs: Tape out: All other outputs: 85dBu 84dBu 83dBu EQ High Shelving: Mid Peaking: Low Shelving: Power Consumption 120VAC, 50/60Hz, 25 Watts Physical Weight 9.5 lbs. (4.5 kg) Dimensions 13" x 14" x 2.9" (330mm x 356mm x 74mm)

14" (356mm)

15db @ 12kHz 12dB @ 2.5kHz 15db @ 80Hz
Main Mix Noise1 Main Mix down, ch. faders down: Main Mix @ unity, ch. faders down: Main Mix fader @ unity, channel faders @ unity: Total Harmonic Distortion (THD)2
+0dB/1dB +0dB/3dB +22dBu +16dBu +22dBu +28dBu +22dBu 1.3k 2.5k > 10k 1.1k 120 ohms
19" (483mm) with RM1402-VLZ Rackmount brackets

2.9" (74mm)

12.9" (328mm) 8 rack spaces

13.1" (333mm)

Specications footnotes: 1) 20Hz20kHz bandwidth, 1/4" Main out, channels 16 Trim @ unity gain, channel EQs at, all channels assigned to Main Mix, channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right. Reference +4dBu. 2) 1kHz @ +14dBu, 20Hz20kHz. 3) 1kHz relative to 0dBu, 20Hz20kHz bandwidth, Line in, 14" Main Out, Trim @ unity. 4) Any input to any output. 5) Mic in to Insert Send out, max gain.

MIC PR XDR E

LEFT/MONO

ALL BAL/UNBAL

TAPE INPUT

TAPE OUTPUT

BAL/UNBAL

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

MUTE ALT 34

TAPE OUT L LINE OUT L 2 MAIN MIX MAIN FADERS 3 30dB PAD BAL OUT R 1 LINE OUT R ALT OUT L TAPE OUT R ALT MIX ALT OUT R 1 BAL OUT L

PHANTOM POWER (GLOBAL SWITCH) INSERT FADER LO MID HI 4 AFL L AFL R SOLO PFL LOGIC AUX SEND 2 POST PRE AUX SEND 1 SOURCE CONTROL ROOM & PHONES MIX LO MID HI MUTE / ALT PAN LO MID HI 80 2K5 12K 3-BAND EQ AFL R SOLO PFL LOGIC AFL R PFL SOLO MIX AUX SEND 1 L IN (MONO) AUX RETURN 1 R IN L IN AUX RETURN 2 R IN EFX TO MONITOR AUX 2 MIX GAIN AUX 1 PRE / POST AUX 1 LEVEL AUX 1 OUT AUX 1 MIX AUX 2 OUT CONTROL ROOM & PHONES FADER GAIN SIP (SOLO IN PLACE) / PFL (PRE-FADER LISTEN) CONTROL ROOM LEFT PFL LED AUX SEND 2 PRE POST AFL L AFL L MAIN SOLO RELAY RUDE SOLO LED 80 2K5 12K FADER ALT TAPE IN L TAPE R 75Hz HPF 80 2K5 12K LOW CUT 3-BAND EQ PAN MUTE / ALT 1
LOGIC PFL AFL R AFL L AUX 2 POST AUX 1 POST AUX 1 PRE ALT R ALT L MAIN R MAIN L

MIC IN

LINE IN

MONO CHANNEL (1 OF 6)

+28 +10 +7 +4 +-2 -4 -7 -10 -20 -30

LINE IN L (MONO)

+4 /-10

METERS dBu= VU

LINE IN R

STEREO CHANNEL (1 OF 4)

PHONES OUT ASSIGN TO MAIN CONTROL ROOM RIGHT
Architects and Engineers Specications 1. GENERAL CONFIGURATION. The mixer shall accommodate 6 microphone signals, mono channels 16; 14 line signals, mono channels 16 and stereo channels 714; 2 stereo pairs of Aux Return inputs; 6 Send/Return channel Inserts; 2 stereo pairs of Main Mix outputs; 1 stereo pair of Control Room outputs; 2 stereo pairs of RCA-type phono Tape outputs and inputs; 1 stereo pair of Alt 3-4 outputs; 2 Aux Send outputs; and 1 stereo headphone output. The mixer shall be capable of placement on a table or installation in a standard 19-inch rack mount (via optional rack rail brackets) and shall be entirely self-contained. 2. MIXER INPUTS. MONO CHANNELS 16: The mixer shall include 6 XDR(tm) (Extended Dynamic Range) electronically balanced mic inputs, using XLR-3-F-type connectors, accepting nominal levels from 60dBu to +4dBu via 6 rotary Trim controls. Phantom power shall be available via a globally-controlled rockertype switch. 6 balanced or unbalanced (bal/unbal) line inputs shall be wired in parallel, using 1/4" TRS phone jacks, accepting nominal levels from 45dBu to +4dBu. The mixer shall include 6 channel Inserts, using 1/4" TRS phone jacks (tip=send, ring=return, sleeve=ground), delivering and accepting nominal levels from 10dBV to +4dBu. STEREO CHANNELS 7/8, 9/10, 11/12 and 13/14: The mixer shall include 8 bal/unbal line inputs, forming 4 stereo input pairs, using 1/4" TRS phone jacks, accepting nominal levels from 10dBV to +4dBu, with +4dBu/10dBV level switches. OTHER INPUTS: The mixer shall include 4 bal/unbal Aux Return inputs, forming two stereo pairs, using 1/4" TRS phone jacks, accepting nominal levels from 10dBV to +4dBu. The mixer shall include 1 stereo pair of Tape In jacks, using unbalanced RCA-type phono jacks, accepting nominal levels from 20dBV to +0dBu. 3. MIXER OUTPUTS. MAIN OUTPUTS: The mixers Main Output stereo pairs shall be tted in three ways: Using balanced XLR-3-M-type connectors, delivering maximum output of +4dBu, including 1 Main Output Level switch to provide 30dB attenuation (XLR outputs only; 26dBu nominal level); using bal/unbal 1/4" TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; and using unbalanced RCA-type phono jacks (labeled TAPE

OUT), delivering nominal levels from 10dBV to +4dBu. OTHER OUTPUTS: The mixer shall include 1 stereo pair of Alt 3-4 outputs using bal/unbal 1/4" TRS phone jacks, delivering maximum output of +22dBu; 1 stereo pair of Control Room outputs using bal/ unbal 1/4" TRS phone jacks, delivering a maximum output of +22dBu; 2 Aux Send outputs using bal/ unbal 1/4" TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; and 1 stereo Headphone output using an unbalanced 1/4" TRS phone jack (tip=left, ring=right, sleeve=ground). 4. MIXER INPUT SECTION. In addition to the controls listed in section 2 (MIXER INPUTS), each channel shall include 2 rotary Aux Send controls, providing up to 15dB gain; 3 rotary equalization (EQ) controls: 15dB @ 12kHz shelving, 12dB @ 2.5kHz peaking and 15dB @ 80kHz shelving; 1 rotary Pan control, 4dB attenuation panned center; 1 Mute/Alt 3-4 switch, to be used as a channel mute or to route the signal to the alternate stereo bus (Alt 3-4); 1 dual-mode solo switch (AFL or PFL, globally switched); and 1 channel fader, providing up to 10dB above unity gain. 5. MIXER OUTPUT SECTION. The mixer shall have 2 Main Mix faders, providing up to 10dB gain; 1 Control Room/Submix Fader, providing up to 10dB gain; 1 Source Matrix including 3 switches to deliver any combination of stereo signals to the Control Room, Phones and Meters, including Main Mix, Alt 3-4 and Tape, which shall be replaced by any solo signals resulting from the engagement of any channels Solo switch; 1 Assign to Main Mix switch to deliver the Source Matrix signals to the Main Mix; 1 Solo Mode switch to globally determine solo type (pre-fader listen or after-fader listen, in place); 2 rotary Aux Return level controls, providing up to 20dB gain; 1 rotary Aux Send 1 Master control, providing up to 10dB gain; 1 Aux Send global Pre/Post switch; 1 EFX to Monitor switch, allowing Aux Return 1 signals to be delivered to Aux Send 1 via the Aux Return 2 level control; and 1 blinking red Solo LED, to indicate a solo condition. 6. METERING. The mixer shall include 1 stereo 12-segment LED meter with points at 30, 20, 10, 7, 4, 2, 0, +2, +4, +7, +10, and +28dB (clip). The source signals for the meters shall be the same signals selected in the Source Matrix, and a solo condition shall replace the Source selection with the
soloed channel(s). The meters shall be calibrated so that a 0dBu signal at the Control Room output shall be indicated as 0dB on the meters, 1 LED. 7. PHYSICAL CONFIGURATION. The mixer shall be made of steel, painted dark gray with light gray graphics. The mixers dimensions shall be 2.9" (74mm) in height, 14.0" (356mm) in width and 13.0" (330mm) in depth, as viewed horizontally. The mixer shall weigh 9 lbs, 8 oz (4.5 kg). Optional RM1402-VLZ rack-mount brackets shall allow the mixer to be mounted in a rack system, with either the chassis top or the control knobs tops to be ush with the rack rail. 8. SPECIFICATIONS. In addition to specications already cited, the mixer shall meet or exceed the following specications: Frequency response: microphone input to any output, 20Hz to 60kHz, +0dB/1dB; Total Harmonic Distortion (THD): any input to any output, 1kHz @ +14dBu, 0.0007%; Equivalent Input Noise (EIN): microphone input to insert send, 129.5dBu; Common Mode Rejection (CMR): microphone input to insert send, maximum gain, 1kHz, better than 90dB; Typical Main Output noise: all channels assigned, channels 1, 3 and 5 panned left, channels 2, 4 and 6 panned right, 86.5dBu; Signal to Noise ratio: ref +4dBu operating level, 90dB; Attenuation: ref. 0dB @ 1kHz, Main Mix level control down, 85dBu; Channel Mute engaged, 84dBu; Channel Gain control down, 83dBu; Input impedance: microphone inputs, 1.3 k; Channel Insert return, 2.5 k; All other inputs, greater than 10 k; Output impedance: Tape Out, 1.1 k; All other outputs, 120. The mixer shall be a Mackie 1402-VLZ PRO.

FILES FOR DOWNLOADING 1402VLZP.PDF this specication sheet 1402AE.TXT text version of Architects and Engineers Specications for insertion into proposals

www.mackie.com

16220 Wood-Red Road NE, Woodinville, WA 98072 USA 800.898.3211, fax 425.487.4337, sales@mackie.com
UK +44.1268.570.808, fax +44.1268.570.809, uk@mackie.com
LOUD Technologies continually engages in research related to product improvement. New material, production methods, and design renements are introduced into existing products without notice as a routine expression of that philosophy. For this reason, any current LOUD Technologies product may differ in some respect from its published description, but will always equal or exceed the original design specications unless otherwise stated. 1999-2004 LOUD Technologies Inc. All rights reserved. Part No. 091-295-00 Rev. B