The ultra-compact 402-VLZ3 4-channel Mic/Line mixer offers two studio-grade XDR2 (Extended Dynamic Range) mic preamps and proprietary Active EQ for superb high-headroom, low-noise functionality. Its sleek, extra-rugged steel chassis is packed with useful
Part Numbers: 0027489-00, 402-VLZ3, 402VLZ3, VDMA402VLZ3
UPC: 0663961016123, 663961016123
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Mackie 402 VLZ3 & 802 VLZ3 Ultra Compact Mixers
User reviews and opinions
|Hairstyle||1:52pm on Wednesday, June 2nd, 2010|
|"Great compact mixing board. I use this for my mobile gigs to my powered Mackie speakers. If your looking for a compact mixing board this is it.|
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4-Channel Premium Mic/Line Mixer OWNERS MANUAL
1. 2. 3. 4. 5. 6. 7. 8.
Important Safety Instructions
Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Use only with a cart, stand, tri- PORTABLE CART WARNING pod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. This apparatus shall not be exposed to dripping or splashing, and no object filled with liquids, such as vases or beer glasses, shall be placed on the apparatus. This apparatus has been equipped with a rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user.
18.The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable. 19. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. CAUTION: Changes or modifications to this device not expressly approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.
WARNING To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
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.
20. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. ATTENTION Le 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. 21. 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 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 Loudest parts at a rock concert Dave screaming at Steve about deadlines Very loud classical music Subway Train Typical Example
IMPORTANT SAFETY INSTRUCTIONS..2 READ THIS PAGE!..4 INTRODUCTION..5 HOOKUP DIAGRAMS..6 FEATURES..12 1. POWER SWITCH..13 2. POWER CONNECTION.13 3. MIC INPUTS (CH.12).13 4. LINE INPUTS (CH.12)..13 5. LOW CUT (CH.12)..13 6. INSTRUMENT SWITCH (CH.12)..14 7. GAIN (CH.12)..14 8. HI EQ..14 9. LOW EQ...14 10. STEREO PAN SWITCH (CH.12).15 11. LEVEL..15 12. OL LED..15 13. MAIN OUTS.15 14. STEREO LINE INPUTS (CH.34).15 15. TAPE ASSIGN TO MAIN.16 16. TAPE LEVEL..16 17. TAPE INPUT.16 18. TAPE OUTPUT..16 19. PHONES...16 20. PHANTOM POWER SWITCH.16. 21. PHONES LEVEL.17. 22. MAIN MIX..17 23. POWER LED.17 24. METERS..17 APPENDIX A: SERVICE INFORMATION.18 APPENDIX B: CONNECTIONS.19 APPENDIX C: TECHNICAL INFORMATION.20 402-VLZ3 LIMITED WARRANTY.23.
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)
Duo in small club
Date of purchase:
Part No. SW0634 Rev. C 01/09 2007-2009 LOUD Technologies Inc. All Rights Reserved.
Read This Page!
We realize that you must be anxious to try out your new 402-VLZ3. 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.
Heres how to get going right away, assuming you have a microphone and a keyboard: 1. Plug your microphone into channel 1s mic input. 2. Turn on the 402-VLZ3. 3. Adjust the input levels. 4. Connect cords from the main outputs to the inputs of your amplifier. 5. Hook up speakers to the amplifier and turn it on. 6. Turn up the channel 1 level knob to the center and the main mix knob one quarter of the way up. 7. Sing like a canary! 8. Turn down the channel 3-4 level knob. 9. Plug your keyboard into stereo channel 3-4. 10.Play the keyboards and sing a little, and adjust the channel 3-4 level knob to add the keyboard to the vocals. 11.Play like a madman and sing like a canary! Its your first mix!
How To Use This Manual
Since many of you folks will want to hook up your 402-VLZ3 immediately, the first pages you will encounter after this introduction are the ever-popular hookup diagrams. These show typical mixer setups for various applications. After this section is a detailed tour of the entire mixer, where you will find illustrations with each feature numbered. If youre curious about a feature, simply locate it on the a ppropriate illustration, notice the number a ttached to it, and find that number in the nearby paragraphs. This icon marks information that is critically important or unique to the 402-VLZ3. This icon will lead you to in-depth explanations of features and some practical tips. Appendix A is a section on troubleshooting and service information. Appendix B is a section on connectors. Appendix C shows the technical specifications, and a block diagram.
Not only do you get a shiny new 402-VLZ3 mixer, you also get Tracktion software added for good measure. This wonderful software is not required to run the 402-VLZ3 mixer, but once you start using it, you will just love it. Tracktion is a powerful audio production and MIDI sequencing application, designed with simplicity and ease of use in mind. It can be easily loaded onto your PC or Mac, and configured for your system. It is capable of delivering professional results that only a few years ago would have required a significant investment in expensive hardware. When you open Tracktion, you have at your disposal all of the tools necessary to turn your musical ideas into great mixes. You will need a computer with a highspeed internet connection to download the Tracktion Basic Bundle. The authorization code is supplied with your 402-VLZ3. See www.mackie.com for system requirements and more Tracktion details. Entire audio civilizations have grown up around Tracktion, so we hope that you will enjoy it and your new 402-VLZ3 mixer.
Condenser microphone Acoustic Guitar SRM150 powered personal monitor
SRM350v2 Powered Speaker
iPodTM Docking Station
This diagram shows a microphone connected to channel 1's mic input, with the phantom power switch pressed in. A guitar is attached to the instrument input of channel 2, with the instrument switch pressed in. An iPodTM docking station is connected to the line-level inputs of channels 3 and 4, so you can play to a pre-recorded backing track, or play music during the breaks caused by drinking too many free latts. You may need two 1/4" to RCA adapters to make these connections. The tape outputs are connected to the line-level stereo inputs of a laptop's sound card. This allows you to record the entire performance with Tracktion software. The mic and guitar are panned mono, so the same mix is coming out of the main left and right outputs, and each can be used for a monitor or a front-of-house loudspeaker as follows: The left main mix output connects to an SRM150 powered personal monitor. This is pointed at the performer (the fabulous you). The right main mix output feeds the input of an SRM350v2 powered loudspeaker playing to your appreciative, jittery, hepped-up-on-the-bean audience. Jump quickly from one song to another, and keep the poetry about the Washington State Rain Festival (Jan 1stDec 31st) to a minimum.
Seattle Coffeehouse Gig
Electric Guitar Amplifier modeler
HR624mkII Studio Monitors
Main Mix Level
Laptop running Tracktion
Tape input Tape Level
Assign to Main
This diagram shows a condenser microphone connected to channel 1's mic input, with the phantom power switch pressed in. The line-level output from a popular guitar amplifier modeler feeds the line input of channel 2. A stereo synth connects to the line inputs of channels 3 and 4. A laptop computer running Tracktion is connected to the tape input and output. A pair of headphones allows you to hear the main mix as you play. A pair of studio reference monitors is connected to the main mix outputs. For a recording session example, you can record the vocals, guitar and keyboards using Tracktion. These can be recorded as individual tracks, and you can listen directly through the headphones. Tracktion can be set so there is no playback of the track as you record. If you are recording through the mic, listen through the headphones only, and turn off power to your loudspeakers. (The main mix level still needs to be up, so you can record the tape out.) For overdubbing, you will be playing live, and recording a new track onto the computer through the tape outputs. You can listen to the pre-recorded tracks and your live playing at the same time in the headphones. Adjust the tape level to find a nice mix of the playback compared to your playing. If the "assign to main" is out, then the pre-recorded tracks will not appear in the tape out or main mix, so only your new playing is recorded. To playback the recording, adjust the tape level control to hear it in the headphones. Press "assign to main" in, and slowly bring up the main mix level to hear the results of all your efforts in the studio monitors.
Recording with a Computer
This diagram shows the outputs of a stereo microphone connected to the mic inputs of channels 1 and 2. The stereo pan switch is pressed in, so channel 1 goes only to the left of the main mix, and channel 2 goes to the right. The tape output is connected to a location recording device, with a set of headphones attached. It is best to keep the headphones on the last device in your recording chain (the recording device). Many flash-based digital devices are available. Set the main mix output level control to unity (U) and use the recorder's own level control to adjust the levels going to the recorder. Each channel from your microphone can be adjusted with the channel level controls. Keep them at the same level to retain the true balance from your microphone.
Dual DI Box Synth 2 Synth 1
Headphones Effects/ Sampler
Stage Snake Keyboard submix to front-of-house mixer
This diagram shows the stereo outputs of a synth connected to the line inputs of channels 1 and 2. The stereo pan switch is pressed in, so channel 1 only goes to the left of the main mix, and channel 2 only goes to the right. Another stereo synth is connected to the line-level inputs of channels 3 and 4. An effects/sampler is connected to the tape input and tape output. The "assign to main" switch is pressed in during playback, so the output from the effects/sampler will appear in the main mix. Leave the switch out when capturing sounds. The line-level main mix output connects to the inputs of a dual DI box. This converts the output so it is suitable for connecting to the inputs of a stage snake connected to the inputs of the front of house mixer. A pair of headphones allows you to hear the main mix as you play. Between songs, you can turn down the main output to the FOH mixer, and experiment with sounds and new patches and still listen in the headphones without upsetting your audience.
Desktop computer running Final CutTM
Laptop running sound effects software Video out DV Player Video Monitor
This diagram shows two voice-over microphones connected to the mic inputs of channels 1 and 2. The stereo line-level output from a digital video player connects to the line inputs of channels 3 and 4. A laptop running sound effect software is connected to the tape input. The "assign to main" switch is pressed in, so the sound effects can be added to the main mix. The tape output connects to the line-level audio input of a desktop computer running Final Cut software. The main outputs feed a pair of powered studio reference monitors.
Video Editing/Production Bay
HR624mkII Studio Monitors Condenser microphone Amplifier modeler Electric Guitar TV Set
4. LINE INPUTS (Ch.12)
These 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 audio signal youll come across. To connect balanced lines to these inputs, use a 14" Tip-Ring-Sleeve (TRS) plug. To connect unbalanced lines to these i nputs, use a 14" mono (TS) phone plug or standard instrument cable. These two line inputs are a good place to connect older instruments that need more gain. You can correct weak levels by adjusting the channels gain control .
2. POWER CONNECTION
This is where you plug in the connector from the AC adapter supplied with your mixer. Only use the AC adapter that came with your mixer, or a factory-authorized power supply.
3. MIC INPUTS (Ch.12)
We use phantom-powered, balanced m icrophone 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 male mic connector. Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 402-VLZ3s mic inputs will handle any kind of mic level you can toss at them, without overloading.
5. LOW CUT (Ch.12)
Each low-cut switch, often referred to as a high-pass filter (all depends on how you look at it), cuts bass frequencies below 100 Hz at a rate of 18 dB per octave. We recommend that you use low-cut on e very microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isnt much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve 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. Applying low-cut removes all those problems, so you can add low EQ without losing a woofer.
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 e xternal power and arent affected by it anyway. The phantom power for both channels 1 and 2 is turned on and off together using the phantom  switch.
6. INSTRUMENT SWITCH (Ch.12)
When this switch is pressed in, channel 1 or 2's line input can accept direct instrument-level signals from guitars or other instruments. They will be impedancematched to the line input, without the need for a DI box. When this switch is out, you can connect line-level sources such as CD players, MP3 players, keyboards, drum machines, and tape players. You will need a DI box if connecting instrument-level signals to the inputs of channel 3 and 4. Direct-In (DI) boxes are commonly available from most music stores. They provide signal and impedance matching for the direct connection of guitars and other instruments to amplifiers and mixers. They convert unbalanced instrument-level signals to a balanced mic-level output. Normally, they just look like a funny little box with a 1/4" TS input at one end, and an XLR output at the other. The good thing is that you do not need them with the 402-VLZ3.
for unity gain, meaning no change in signal level. Once you have adjusted the input signal to line-level, you can set every control at U and your signals will travel through the mixer at optimal levels. Whats more, all the labels on our level controls are measured in decibels (dB), so youll know what youre doing level-wise if you choose to change a controls settings.
The 402-VLZ3 has 2-band equalization at carefully selected points low shelving at 80 Hz, and hi shelving at 12 kHz. Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, rotating the low EQ knob 15 dB to the right boosts bass starting at 80 Hz and continuing down to the lowest note you never heard. 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 3 dB 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).
7. LET'S TWIST A GAIN (Ch.12)
If you havent already, please read the input level adjustment procedure on page 4. Gain adjusts the input sensitivity of the mic and line inputs connected to channels 1 and 2. This allows signals from the outside world to be adjusted to optimal internal operating levels. If the signal comes through the XLR jack, there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully up. Through the 14" input, there is 15 dB of a ttenuation fully down and 45 dB of gain fully up, with a U (unity gain) mark at 10:00. This 15 dB of attenuation can be very handy when you are inserting a very hot signal, or when you want to add a lot of EQ gain, or both. Without this virtual pad, this s cenario might lead to channel clipping.
8. HI EQ
+15 This control +10 gives you up to +dB boost or 0 cut above 12 kHz, 5 and it is also flat 10 at the center. Use 1k 10k 20k it to add sizzle High EQ to cymbals, and an overall sense of transparency, or edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.
Hz Hz Hz Hz
9. LOW EQ
This control gives you up to 15 dB boost or cut below 80 Hz. The circuit is flat (no boost or cut) at the center position. This frequency
U LIKE UNITY GAIN
Mackie mixers have a U symbol on almost every level control. This U stands
range represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers. Used in conjunction with the low cut  switch, you can boost the low EQ without injecting a ton of subsonic debris into the mix.
+15 +10 +5
12. OL LED
This overload LED will come on if the input signal is too high. The signal level is measured just before the level control, but after the gain control and EQ. If the OL LED does come on, turn down the gain and/or the EQ controls until this will only come on occasionally when the input source is running high. Turning the level control will not affect the OL LED.
15 20Hz 100Hz 1kHz 10kHz 20kHz
Low EQ with Low Cut
13. MAIN OUTS
These outputs feed the main mix out into the waiting world. They can be connected to the line-level inputs of power amplifiers, powered speakers, or to the line inputs of another mixer. To use these outputs to drive balanced inputs, connect 14" TRS (TipRingSleeve) phone plugs like this: Tip = + (hot) Ring = (cold) Sleeve = Ground For most music recording and PA applications, unbalanced lines are fine. To drive unbalanced inputs, connect 14" TS (TipSleeve) phone plugs like this: Tip = + (hot) Sleeve = Ground
10. STEREO PAN SWITCH (Ch. 12)
With this switch out, each mono channel feeds both the left and right sides of the main mix equally. For example: Playing a mono source: If you talk into a microphone connected to input 1, your sweet tones will be heard in both the left and right loudspeakers. Overdubbing a mono source: if you are monitoring directly through the headphones, you can hear the overdub signal in both ears while you are playing. With this switch pressed in, channel 1 will play only in the left side of the main mix, and channel 2 will play in the right side. For example: Recording a stereo source: If you have a stereo microphone connected to the mic inputs, or if you are playing a stereo source into the line inputs, each side of the source can be recorded discretely onto a recorder connected to the main or tape outputs. The pan switch does not affect channels 3 or 4, or the tape inputs.
14. STEREO LINE INPUTS (Ch.34)
These fully-balanced inputs are designed for stereo or mono, balanced or unbalanced signals. They can be used with just about any professional or semi-pro instrument, effect or tape player. Signals entering channel 3 are added to the left side of the main mix only. Signals entering channel 4 are added to the right. When connecting a mono device, always use the left (mono) input (ch. 3) and plug nothing into the right input (ch. 4) this way the signal will appear on both sides. This trick is called jack normalling.
This adjusts the channels level from off, to unity gain at the center, on up to 12 dB of additional gain. Once the gain  has been adjusted for each channel, use the level to adjust how much of each channel appears in the main mix. Channels 1 and 2 use mono level controls, and channels 3 and 4 uses a stereo control.
15. TAPE ASSIGN to MAIN
Press this switch in to add the tape input to the main mix. Press it out if you do not want the tape input to play in the main mix. This allows DJ-style cueing of the tape input in your headphones before it is added to the main mix for your audience.
Main Mix Main Mix Level Meters Main out
Use the "assign to main" switch  to add the tape input to the main mix, and use the tape level knob  to adjust its level.
18. TAPE OUTPUT
These unbalanced RCA connections tap the main mix output to make simultaneous recording and PA work more convenient. Connect these to your recorders inputs. The output here is an unbalanced copy of the main mix, and it is affected by the main mix level .
Phones Level Tape input Tape Level
This stereo jack will drive any standard headphone to very loud levels. iPod-type or computer headphones can also be used with an appropriate adapter. If youre wiring your own cable for the headphones output, follow standard conventions: Tip = Left channel Ring = Right channel Sleeve = Common ground In the headphones, you will hear the main mix as well as any source playing in the tape inputs . Adjust the phones level  knob for comfortable and safe listening levels in your headphones. See the warning on the next page before using headphones. Adjusting the main mix level  will not affect the headphone output. Adjusting the tape level  will affect the level of the tape input signal heard in the headphones.
This also allows for overdubbing with the tape inputs/outputs without experiencing feedback, and it maintains isolation of your audio tracks. For example, you could be feeding the pre-recorded tracks from a computer running Tracktion into the tape inputs. Leave "assign to main" out so you can hear the pre-recorded tracks in the headphones, as you play along to them. Only your live performance will be recorded from the tape outputs, not the pre-recorded tracks. Press "assign to main" in if you want to play the completed songs in your main loudspeakers.
16. TAPE LEVEL
Use this to adjust the level of the tape input playing in the main mix and headphones.
17. TAPE INPUT
These dual, unbalanced RCA inputs accept line-level stereo signals. The signals entering the inputs are always routed to the phones output, and can be routed to the main output, depending on the position of the assign to main button. Use these jacks for convenient playback of your mixes. Youll be able to review a mix and then try another pass without repatching or disturbing the mixer levels. You can also use these jacks with an iPod dock, computer line-level audio output, or DVD player to feed music to a PA system between sets.
20. PHANTOM POWER SWITCH
This global switch controls the phantom power supply for condenser microphones plugged into channel 1 and 2 mic  inputs. Press this in if your microphone requires phantom power. (The mixer can supply the microphone's power through the XLR connectors, using the same lines used for the audio.) Check with the microphone manufacturer if you are not sure. See the phantom power discussion on page 13 before using this switch. Press the switch in to engage phantom power to both mic inputs. The phantom LED next to the switch will light when phantom is engaged. Press the switch again to turn it off.
21. PHONES LEVEL
This knob allows you to adjust the level of the signals going to your headphones. WARNING: When we say the headphone amp is loud, were not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some headphones. BE CAREFUL! Always turn the phones knob all the way down before connecting headphones, or making any connections to the mixer. Keep it down until youve put the phones on. Then turn it up slowly.
Is the gain set correctly? Is the level knob turned up? Is the instrument switch set correctly? (Channels 12 only). Try the same source signal in another channel, set up exactly like the suspect channel. Check that the stereo pan switch is set correctly. Check the EQ and the low-cut switch.
Is the associated level knob (if any) turned up? If its a left main out, try unplugging the RCA left tape output. If the problem goes away, its not the mixer. If a left speaker is presumed dead, switch the left and right cords, at the mixer's main outs. If the left speaker is still not working, its not the mixer.
Need help with your new mixer? Visit www.mackie.com and click Support to find: FAQs, manuals, and addendums. Email us at: email@example.com. Telephone 1-800-898-3211 to speak with one of our splendid technical support representatives (Monday-Friday, during normal business hours, PST).
Turn the channel level 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.
Appendix B: Connections
Mackie mixers use 3-pin female XLR connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the high (hot or positive polarity) side of the audio signal and pin 3 wired to the low (cold or negative polarity) side of the signal. See Figure A.
Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps. You can cook up your own adapter for a stereo microphone. Y two cables out of a female 14" TRS jack to two male XLR plugs, one for the right signal and one for the left.
TS Phone Plugs
SLEEVE SLEEVE TIP
COLD 3 HOT
TS stands for Tip-Sleeve, the two connections available on a mono 14" phone jack or plug. See Figure C.
Figure A: XLR Connectors
Use a male XLR-type connector, usually found on the nether end of what is called a mic cable, to connect to a female XLR jack.
Figure C: TS Plug
TS jacks and plugs are used in many difRING ferent applications, alwaysSLEEVE SLEEVE RING TIP unbalanced. The tip is connected to the audio signal and the TIP sleeve to ground (earth). Some examples: RING TIP Unbalanced microphones Electric guitars and electronic instruments Unbalanced line-level connections
TRS Phone Plugs
TRS stands for Tip-Ring-Sleeve, the SLEEVE three connections available on a stereo 14" or balanced phone jack or plug. See Figure B.
The 402-VLZ3 is an ultra-compact model in the VLZ3 line of compact mixers, specially designed for applications that require fewer inputs but demand professional sound. The 402-VLZ3 is equipped with two mono mic/line channels and one stereo line-input channel, for a total of four input channels. The mic/line channels feature Mackies XDR2 mic preamps, which deliver pure, clean, studio-grade sound with an incredibly wide frequency range, especially in the low end, and even at extremely high gain settings. They offer incredibly low noise, amazing RFI rejection, and 60dB of available gain per channel. Each mic/line channel also has phantom power, an input Gain control, a Hi-Z instrument switch, a sharp 18 dB/octave, 100 Hz Low Cut filter, 2-band EQ, stereo pan switch and a Level control. The stereo line-input channel simply has a Level control. There is a stereo tape input with its own input Level control, and a stereo tape output for recording. Other features include a 1/4-inch stereo headphone jack with Level control, stereo 8-segment LED meters and TRS stereo output jacks. The 402-VLZ3 is the best sounding, most professional ultra-compact mixer in its class. Thanks to its versatile, professional design, you can now get exceptional sound quality and performance in an amazingly small footprint.
PROFESSIONAL ULTRACOMPACT MIXER
Ultra-compact 4-channel mixer featuring Mackie VLZ3s signature low noise, high-headroom design 2 studio-grade XDR2 Extended Dynamic Range mic preamps with: Ultra-wide 60 dB gain range 130 dB dynamic range +22 dBu line input handling Extended low-frequency response Distortion under 0.0007% (20 Hz - 20 kHz) Phantom power for studio condenser mics Four high-headroom line inputs Two selectable DI inputs 2-band active EQ (80 Hz, 12 kHz) 18 dB/octave, 100 Hz low-cut filter on mic input channels Dedicated Stereo Line Input and Tape Input channels
Live sound mixing, houses of worship, clubs, gymnasiums, banquet halls, conference rooms, boardrooms, studio and field recording, multimedia applications, broadcast, and many, many more.
High-resolution 8-segment stereo meters Sealed rotary controls to resist dust and grime Includes Tracktion 3 Basic Bundle for Mac/PC (download required)
Main Mix Noise
(20 Hz to 20 kHz bandwidth, 1/4 Main Out, channels 1-2 Gain @ unity gain, channel EQs flat, Stereo Pan button in) Main Mix knob down, channel Level knobs down Main Mix knob @ unity, channel Level knobs down Main Mix knob @ unity, channel Level knobs @ unity Signal-to-Noise Ratio, ref. +4 dBu 103 dBu 98 dBu 92 dBu 102 dB
High Shelving Low Shelving 15 dB @ 12 kHz 15 dB @ 80 Hz
AC Power Requirements
Power Consumption US, JP EU, UK, AU, CN External Power Supply AC Connecter Operating Temperature 8 watts VAC, Hz VAC, Hz 2-pin IEC 250 VAC 0 40C 32 104F
Total Harmonic Distortion (THD)
(1 kHz @ 35 dB gain) 20 Hz to 80 kHz bandwidth 20 Hz to 20 kHz bandwidth <0.005% <0.003%
External Power Supply Attenuation / Crosstalk
(1 kHz relative to 0 dBu, 20 Hz to 20 kHz bandwidth, Line In, 1/4 Main Out, Gain @ unity) Main Mix knob down Channel Level knob down 70 dBu 94 dBu US Adapter (18.5 VAC x 2, 350 mA, US) EU Adapter (18.5 VAC x 2, 350 mA, EU) JP Adapter (18.5 VAC x 2, 350 mA, JP) UK Adapter (18.5 VAC x 2, 350 mA, UK) AU Adapter (18.5 VAC x 2, 350 mA, AU) CN Adapter (18.5 VAC x 2, 350 mA, CN) P/N 0028090-00 P/N 0028090-01 P/N 0028090-02 P/N 0028090-03 P/N 0028090-04 P/N 0028090-05
(Mic In to any output) 20 Hz to 50 kHz 20 Hz to 90 kHz +0 dB / 1 dB +0 dB / 3 dB
Physical Properties (packaged product)
Height Width Depth Shipping Weight 12.5 in / 318 mm 8.8 in / 222 mm 4.3 in / 108 mm 3.8 lb / 1.7 kg
Equivalent Input Noise (EIN)
(Mic In to Main Out, max gain) 150 termination, 20 Hz to 20 kHz bandwidth 129.5 dBu
Physical Properties (product)
Height 7.3 in / 186 mm 5.8 in / 147 mm 1.6 in / 41 mm 2.5 lb / 1.1 kg 3.0 lb / 1.4 kg Width
Common Mode Rejection Ratio (CMRR)
Mic In, max gain @ 1 kHz better than 70 dB
Depth Net Weight (without power supply) Net Weight (with power supply)
Mic In Tape In All other inputs All outputs +21 dBu +24 dBu +22 dBu +22 dBu
402-VLZ3 4-Ch. Compact Recording/SR Mixer, US 402-VLZ3 4-Ch. Compact Recording/SR Mixer, EU 402-VLZ3 4-Ch. Compact Recording/SR Mixer, JP 402-VLZ3 4-Ch. Compact Recording/SR Mixer, UK 402-VLZ3 4-Ch. Compact Recording/SR Mixer, AU P/N 0027489-00 P/N 0027489-01 P/N 0027489-02 P/N 0027489-03 P/N 0027489-04 P/N 0027489-05
Mic In Alll other inputs Tape Out Phones Out All other outputs 10 k 3.4 k or greater 1.0 k 60 120
402-VLZ3 4-Ch. Compact Recording/SR Mixer, CN
1.6 in / 40.7 mm
7.3 in / 185.5 mm
5.8 in / 146.9 mm
The bottom panel of the 402-VLZ3 has three non-threaded holes that allow it to be fitted with an optional microphone Holes for stand adapter. This lets you support the mixer on a standard microphone mic stand, and adjust its height and level to whatever suits stand adapter your preferences. The Atlas AD-11B mic stand adapter is available at many music stores. It is made and distributed by Atlas Sound. Use three self-tapping machine screws 6-32 x 1/4" long to secure the adapter to the bottom of the 402-VLZ3. Do not use screws longer than 1/4" as these could damage the circuit boards. Do not use screws shorter than 1/4", or the adapter will not be securely fixed to the mixer.
402-VLZ3 BLOCK DIAGRAM
L Main R
Ch 1 (Mono) Mic
Main level L sum
Mic: 0 ~ +60dB Line: -15 ~ +45dB 48V Phantom Global Phantom Power
R sum Level
Stereo Pan Button
Ch 2 (Mono) Mic
Mic: 0 ~ +60dB Line: -15 ~ +45dB
Tape in Level L Level R tape assign to main
Stereo Channels 3-4 L Level R
NOTE: Switches are shown in their default (out) position.
402-VLZ3 FRONT AND REAR PANELS
Electronic files for this product are available at: www.mackie.com
Specification Sheet Owners Manual 402VLZ3_SS.PDF 402VLZ3_OM.PDF
www.mackie.com 16220 Wood-Red Road NE Woodinville, WA 98072 USA 800-898-3211, Fax 425-487-4337, firstname.lastname@example.org Part No. SW0769 Rev. B 12/10
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice. Mackie and the Running Man figure are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. 2010 LOUD Technologies Inc. All Rights Reserved.
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