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.

HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1402-VLZ PRO immediately, the first pages you will encounter after the table of contents are the everpopular hookup diagrams. These show typical mixer setups for Record/Mixdown, Video, Disc Jockey and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the 1402-VLZ PRO is described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the first three manual chapters, just as your mixer is organized into three distinct zones: 1. PATCHBAY: Along the top and back. 2. CHANNEL STRIP: The ten channel strips on the left. 3. OUTPUT SECTION: The section on the right.
A PLUG FOR THE CONNECTORS SECTION
Appendix is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, special hybrid connectors.
More resources on our website @ www.mackie.com
THE GLOSSARY: A Haven of Non-Techiness For The Neophyte The "Glossary of Terms" is a fairly comprehensive dictionary of pro-audio terms. If terms like clipping, noise floor, or unbalanced leave you blank, refer to this glossary for a quick explanation. ARCANE MYSTERIES ILLUMINATED "Arcane Mysteries" discusses some of the down n dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines. Its a goldmine for the neophyte and even the seasoned pro might learn a thing or two.

LINE IN 1

-10dBV C GA

PATCHBAY

LINE IN 4 LINE IN 5 LINE IN 6

CHANNEL STRIPS

80Hz 80Hz 80Hz 80Hz 80Hz 80Hz -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

OUTPUT SECTION

7 ASSIGN TO MAIN MIX 30 RUDE SOLO LIGHT NORMAL (AFL) LEVEL SET (PFL) SOLO MODE PHANTOM POWER CTL ROOM /SUBMIX

CONTENTS

LEVEL-SETTING PROCEDURE.. 3 HOOKUP DIAGRAMS.. 6 1402-VLZ PRO PATCHBAY DESCRIPTION. 10 MIC INPUTS.. 10 PHANTOM POWER.. 10 LINE INPUTS.. 11 LOW CUT.. 11 TRIM.. 11 +4 / 10.. 11 STEREO LINE INPUTS. 12 EFFECTS: SERIAL OR PARALLEL?.. 12 INSERT... 13 AUX RETURNS.. 13 TAPE IN.. 14 XLR MAIN OUTPUTS. 14

14"

OUTPUT SECTION DESCRIPTION. 21 MAIN MIX... 21 VLZ MIX ARCHITECTURE.. 21 SOURCE MATRIX.. 21 CONTROL ROOM / SUBMIX.. 22 SOLO MODE: AFL / PFL.. 22 RUDE SOLO LED.. 22 ASSIGN TO MAIN MIX.. 23 METERS.. 23 AUX TALK.. 24 AUX 1 SELECT... 24 AUX 1 MASTER.. 24 AUX RETURNS.. 24 EFX TO MONITOR.. 25 JACK NORMALLING.. 25 MODIFICATIONS.. 25 1402-VLZ PRO BLOCK DIAGRAM.. 26 GAIN STRUCTURE DIAGRAM. 27 SPECIFICATIONS.. 28 SERVICE INFO.. 29 APPENDIX A: CONNECTIONS.. 30 TRACK SHEET.. 33 COLOPHON... 34 1402-VLZ PRO LIMITED WARRANTY. 35

MAIN OUTPUT LEVEL. 15 MAIN OUTPUTS.. 15 TAPE OUTPUT... 15 PHONES.. 16 ALT 34 OUTPUT. 16 CONTROL ROOM.. 16 AUX SEND 1 & 2.. 16 POWER CONNECTION.. 17
FUSE.. 17 POWER SWITCH.. 17 PHANTOM SWITCH.. 17 CHANNEL STRIP DESCRIPTION.. 18 U LIKE UNITY GAIN.. 18 FADER.. 18 SOLO.. 18 MUTE/ALT 34.. 18 PAN.. 19 CONSTANT LOUDNESS ! ! !.. 19 3-BAND EQ.. 19 AUX SEND... 20

HOOKUP DIAGRAMS

4-track Recorder out (play) in (record) IMPORTANT: ALL Channel Insert plugs are inserted to the SECOND click.

out in

out in out

Stereo Compressor

Guitar Effects

CHANNEL INSERTS

Mono Processor
Keyboard or other line-level input

AUX RETURNS

L 1 R L R L R L R

CHANNEL

Mono in / stereo out Reverb

L 13 MONO

2-track Mixdown Deck in (record)

out (play)

ALT 3/4 OUT

AUX OUT

L 11 MONO

INPUTS IN-TAPE-OUT

Digital Delay
1402-VLZ PRO 4-Track Record / 2-Track Mix

Power Amplifier

CNTRL ROOM OUTPUTS
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
HIGH RESOLUTION STUDIO MONITOR

Studio Monitors

V/O Mic

in Compressor

CHANNEL INSERTS AUX RETURNS

Video Deck #1

Video Deck #2

Audio out

Video Deck #3
Note: Aux Return #2 can be used as an extra stereo input

Audio out CD Player

INPUTS

Time code DAT

L out R L R
Mackie Designs: Video Setup scene #1 _ 23:94:10 Time Base
Multi - VCR Video Switcher with time code Interface (optional)

Master Video Deck

Multi Effect Processor in out Power Amplifier

SMPTE Control

1402-VLZ PRO Video Setup

IN-TAPE-OUT

out in out in out in out

Turntable

Phono Preamps
*Note: Aux Return #2 can be used as an extra stereo input
CD Player L out CD Player R L out L Sampler R in R
Triggered Lights Multi Effect Processor out

Stereo EQ

in out

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:
RING SLEEVE SLEEVE RING TIP

RING TIP SLEEVE

Tip = Positive (+ or hot) Ring = Negative ( or cold) Sleeve = Shield or ground To connect unbalanced lines to these inputs, use a 14" mono (TS) phone plug or standard instrument cable:

SLEEVE SLEEVE TIP

it out makes the low stuff you do want much more crisp and tasty. Not only that, but LOW CUT can help reduce the possibility of feedback in live situations and it helps to conserve the amplifier power. Another way to consider LOW CUTs function is that it actually adds flexibility during live performances. With the addition of LOW CUT, you can safely use LOW equalization on vocals. Many times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks and breath pops. LOW CUT removes all those problems so 0 you can add low EQ without losing a woofer. Heres what the combination of LOW EQ and LOW Low Cut with Low EQ CUT looks like in terms of frequency curves.

+15 +10 +20Hz 100Hz 1kHz

10kHz 20kHz

TRIM (Channels 16)

If you havent already, please read the Level Setting Procedure. TRIM adjusts the input sensitivity of the mic and line inputs connected to Channels 1 through 6. This allows signals from the outside world to be adjusted to optimal internal operating levels. If the signal originates through the XLR jack, there will be 0dB of gain with the knob fully down, ramping to 60dB of gain fully up. Through the 14" input, there is 15dB of attenuation fully down and 45dB of gain fully up, with a U (unity gain) mark at 10:00. This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or when you want to add a lot of EQ gain, or both. Without this virtual pad, a scenario like that might lead to channel clipping.

TIP SLEEVE

Tip = Signal Sleeve = Ground Line inputs 16 are a good place to connect older instruments that need more gain. You can correct weak levels by adjusting the corresponding channels TRIM control.

LOW CUT (Channels 16)

The LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave. We recommend that you use LOW CUT on every micro0 phone application except kick drum, bass guitar, bassy synth patches, or reLow Cut cordings of earthquakes. These aside, there isnt much down there that you want to hear, and filtering
+15 +10 +20Hz 100Hz 1kHz 10kHz 20kHz

+4 / 10 (Channels 714)

This switch adjusts the input sensitivity of the line inputs on channels 714. If the sound source is a 10 device, engage this switch. If you are unsure, leave the switch up and perform the Level Setting Procedure , substituting this switch for the TRIM knob and then setting the switch to the appropriate gain setting.
STEREO LINE INPUTS (Channels 78, 910, 1112 and 1314)
These fully balanced inputs are designed for stereo or mono, balanced or unbalanced signals, from 10dBV to +4dBu. They can be used with just about any professional or semi-pro instrument, effect or tape player. To learn how signals are routed from these inputs:. To wire your own cables:. In the stereo audio world, an odd-numbered channel usually receives the left signal. For example, you would feed the 1402-VLZ PROs line inputs 78 a stereo signal by inserting the devices left output plug into the Channel 7 jack, and its right output plug into the Channel 8 jack. When connecting a mono device (just one cord), always use the Left (MONO) input and plug nothing into the Right input this way the signal will appear on both sides. This trick is called jack normalling.
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms serial and parallel around like hacky sacks. Heres what we mean by them. Serial means that the entire signal is routed through the effects device. Examples: compressor/limiters, graphic equalizers. Linelevel sources can be patched through a serial effects device before or after the mixer or, more conveniently, through the channel insert jacks located on the rear of the mixer (INSERT SEND/RETURN). Parallel means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (AUX RETURN) to be mixed with the original dry signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay. (See diagrams below.)

Serial

Insert Send Dry Signal

Signal Processor

Insert Return Processed Signal
Serial Device (e.g. Compressor)

Aux Send

Aux Return Wet Signal

Output Section

Parallel
Parallel Device (e.g. Reverb)
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:

SLEEVE SLEEVE TIP TIP

Tip = + (hot) Sleeve = Ground

MAIN OUTPUTS

These unbalanced RCA connections tap the MAIN OUTPUTS to make simultaneous recording and PA work more convenient. Connect these to your recorders inputs. To learn how signals are routed to these outputs:. MONO OUT: If you want to feed a mono signal to your tape deck or other device, simply use an RCA Y-cord to combine these outputs (Radio Shack #274-511, for instance). Do not attempt this with any other outputs on the 1402-VLZ PRO.

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!

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 matrix selection, after going through the CTL ROOM / SUBMIX fader, will feed into the MAIN MIX, just as if it were another stereo channel. Another handy use for this switch is to enable the ALT 3-4 mix to become a submix of the MAIN MIX , using the CTL ROOM / SUBMIX fader as its level control. Side effects: (1) Engaging this switch will also feed any soloed channels into the MAIN MIX, which may be the last thing you want. (2) If you have MAIN MIX as your SOURCE matrix selection and then engage ASSIGN TO MAIN MIX, the MAIN MIX lines to the SOURCE matrix will be interrupted, to prevent feedback. Then again, why on earth would anyone want to assign the MAIN MIX to the MAIN MIX?
METERS MANY DISPLAYS IN ONE!
The 1402-VLZ 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).

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.

+10 +7
MID MID MID MID MID MID MID MID

2.5kHz -12 +12

2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz -12 +12
2.5kHz -12 +12 -12 +12 -12 +12 -12 +12 -12 +12

2.5kHz

LOW LOW LOW LOW LOW LOW LOW
80Hz -15 +15 -15 80Hz -15 +15 80Hz -15 +15 80Hz -15 +15 80Hz -15 +15 80Hz -15 +15

80Hz +15 -15 +15

-2 -4 -7

PAN PAN PAN PAN PAN PAN

-10 -20

L L R L R L R L R L R L

NORMAL (AFL) LEVEL SET (PFL)

ALT 34 ALT 34 ALT 34

MUTE MUTE MUTE MUTE

dB dB dB dB dB dB

RUDE SOLO LIGHT PHANTOM POWER

CTL ROOM/SUBMIX

dB dB dB dB

SOLO SOLO SOLO SOLO SOLO

5 U 60

U U 60

U 10 20

COLOPHON

(Roll credits please) Manual written by Jeff Gilbert, based on a short story by Ron Koliha, now a major Broadway Musical. Manual then defaced with proofreading pens in the hands of Mackies legendary Tech Support staff. Manual composed on a rinky-dink PC using a low-budget word processor, then converted to this amazing piece of work using a 13-story 1000 gigawhopper Macintosh operated by Mackies notorious Advertising staff (most notably Becky Priebe). Please, feel free to let us know if you find an error or stumble over a confusing paragraph. Thank you for reading the entire manual (we know you have, or you wouldnt be here).
Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc. Other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged. 2003 Mackie Designs Inc. All Rights Reserved.
1402-VLZ PRO LIMITED WARRANTY
Please keep your sales receipt in a safe place.
A. Mackie warrants all materials, workmanship and proper operation of this product for a period of three years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, Mackie, at its option, will repair or replace the product. Labor for replacing all potentiometers and switches is covered for the first year, after which it is excluded from warranty coverage and may be billed to you. This warranty applies only to equipment sold and delivered within the U.S. by Mackie or its authorized dealers. B. Failure to register online or return the product registration card will not void the 3-year warranty. C. Service and repairs of Mackie products are to be performed only at the factory (see D below) OR at an Authorized Mackie Service Center (see E below). Unauthorized service, repairs, or modification will void this warranty. D. To obtain factory service: 1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get a Return Authorization (RA). Products returned without an RA number will be refused. 2. Pack the product in its original shipping carton. If you do not have the carton, just ask for one when you get your RA number, and well send a shipping carton out promptly. More information on packing can be found in the Service section of this manual. Do not use packing peanuts, shredded newspapers, or other material with small particles, old underwear, or socks. Please seal the Mackie product in a plastic bag. 3. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem at the Mackie Factory or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. 4. Ship the product in its original shipping carton, freight prepaid to: Mackie Designs Service Department 16220 Wood-Red Rd. NE Woodinville, WA 98072 USA IMPORTANT: Make sure that the RA number is plainly written on the shipping carton. E. To obtain service from an Authorized Mackie Service Center: 1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get: 1) The name and address of your nearest Mackie Authorized Service Center and 2) A return authorization (RA). You must have an RA number before taking your unit to a service center. 2. Make sure that you have a copy of your products sales receipt from the store where you bought the product. It is necessary to establish purchase date and thus determine whether or not your product is still under warranty. If you cant find it, the Authorized Service Center may charge you for repairs even if your product is still covered by Mackies 3-Year Limited Warranty. 3. Make sure that the problem can be duplicated. If you bring your product to an Authorized Service Center and they cant find anything wrong with it, you may be charged a service fee. 4. If the Mackie Authorized Service Center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the Service section of this manual. 5. Contact the Mackie Authorized Service Center to arrange service or bring the product to them. F. Mackie and Mackie Authorized Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. Mackie and Mackie Authorized Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealers invoice or sales receipt. Final determination of warranty coverage lies solely with Mackie Designs Inc. or its Authorized Service Centers. G. Any Mackie product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie. Mackie may use refurbished parts for repair or replacement of any product. Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at Mackies factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA. H. Mackie warrants all repairs performed for 90 days or for the remainder of the original warranty period. Mackie assumes no responsibility for the quality or timeliness of repairs performed by Mackie Authorized Service Centers. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. J. This is your sole warranty. Mackie does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs. K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specific legal rights and you may have other rights which vary from state to state.

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

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