2

CAUTION AVISRISK OF ELECTRIC SHOCK

DO NOT OPENRISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIERL'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'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 éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

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 à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

Duration Per Day Sound Level dBA, Typical In Hours Slow Response Example

8 90 Duo in small club6 924 95 Subway Train3 972 100 Very loud classical music

1.5 1021 105 Tami screaming at Adrian about deadlines

0.5 110 0.25 or less 115 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.

12. Damage Requiring Service — This Mackie product should be servicedonly 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 Mackieproduct; or

C. This Mackie product has been exposed to rain; or

D. This Mackie product does not appear to operate normally orexhibits 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 productbeyond those means described in this operating manual. All other servicingshould be referred to the Mackie Service Department.

14. To prevent electric shock, do not use this polarized plug with anextension cord, receptacle or other outlet unless the blades can be fullyinserted to prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec unprolongateur, un prise de courant ou une autre sortie de courant, sauf si leslames peuvent être insérées à fond sans laisser aucune pariie à découvert.

15. Grounding or Polarization — Precautions should be taken so that thegrounding or polarization means of this Mackie product is not defeated.

16. Power Precautions — Unplug this Mackie product during lightning stormsor when unused for long periods of time. Note that this Mackie product is notcompletely disconnected from the AC mains service when the power switch isin the OFF position.

17. This apparatus does not exceed the Class A/Class B (whichever isapplicable) limits for radio noise emissions from digital apparatus as set out in theradio interference regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruitsradioélectriques dépassant las limites applicables aux appareils numériques declass A/de class B (selon le cas) prescrites dans le règlement sur le brouillageradioélectrique édicté par les ministere des communications du Canada.

18. Exposure to extremely high noise levels may cause permanent hearingloss. Individuals vary considerably in susceptibility to noise-induced hearing loss,but nearly everyone will lose some hearing if exposed to sufficiently intensenoise for a period of time. The U.S. Government’s Occupational Safety andHealth Administration (OSHA) has specified the permissible noise level exposuresshown in the following chart.

According to OSHA, any exposure in excess of these permissible limits couldresult in some hearing loss. To ensure against potentially dangerous exposure tohigh sound pressure levels, it is recommended that all persons exposed to equip-ment capable of producing high sound pressure levels use hearing protectorswhile the equipment is in operation. Ear plugs or protectors in the ear canals orover the ears must be worn when operating the equipment in order to preventa permanent hearing loss if exposure is in excess of the limits set forth here.

SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructions should beread before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be keptfor future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operatinginstructions should be followed.

4. Follow Instructions — All operating and other instructions should befollowed.

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 wetbasement, 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 itslocation or position does not interfere with its proper ventilation. Forexample, the Component should not be situated on a bed, sofa, rug, orsimilar surface that may block any ventilation openings, or placed in abuilt-in installation such as a bookcase or cabinet that may impede theflow of air through ventilation openings.

8. Heat — This Mackie product should be situated away from heat sourcessuch as radiators, or other devices which produce heat.

9. Power Sources — This Mackie product should be connected to a powersupply only of the type described in these operation instructions or as markedon this Mackie product.

10. Power Cord Protection — Power supply cords should be routed so thatthey are not likely to be walked upon or pinched by items placed upon oragainst them, paying particular attention to cords at plugs, conveniencereceptacles, and the point where they exit this Mackie product.

11. Object and Liquid Entry — Care should be taken so that objects do notfall on, and liquids are not spilled into, this Mackie product.

3Part No. 0006981-90 Rev. A1 06/03©2003 Mackie Designs Inc. All Rights Reserved.

We realize that you must be dying to try outyour new Mackie 1402-VLZ PRO. Or you might beone of those people that never read manuals.Either way, all we ask is that you read this pageNOW, and the rest can wait until you’re good andready. But do read it — you’ll be glad you did.

READ THIS PAGE!!!

LEVEL-SETTING PROCEDUREMessage to seasoned pros: do not set lev-

els using the old “Turn the trim up until theclip light comes on, then back off a hair”trick. When a Mackie Designs mixer cliplight comes on, you really are about to clip.We worked and slaved to come up with abetter system, one that provides low noiseand high headroom.

Adjusting input levels (Channels 1–6only)

On the first six channels, it’s not evennecessary to hear what you’re doing to setoptimal levels. But if you’d like to: Plugheadphones into the PHONES jack, then setthe CTL ROOM/SUBMIX fader about onequarter of the way up.

The following steps must be performedone 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 SETlight will congratulate you.

6. Play something into the selected input.This could be an instrument, a singingor speaking voice, or a line input such asa CD player or tape recorder output. Besure that the volume of the input is thesame as it would be during normal use.If it isn’t, you might have to readjustthese levels during the middle of the set.

7. Adjust the channel’s TRIM control sothat the display on the LED metersstays around “0” and never goes higherthan “+7.”

8. If you’d like to apply some EQ, do so nowand return to step 7.

9. Disengage that channel’s SOLO switch.10. Repeat for each of Channels 1–6.

Other Nuggets of WisdomFor optimum sonic performance, the chan-

nel and MAIN MIX FADERS should be set nearthe “U” (unity gain) markings.

Always turn the MAIN MIX and CTLROOM/SUBMIX faders down before makingconnections to and from your 1402-VLZ PRO.

If you shut down your equipment, turn offyour amplifier(s) first. When powering up,turn on your amplifier(s) last.

Save the shipping box! You may need itsomeday, and you don’t want to have to pay foranother one.

INSTANT MIXINGHere’s how to get going

right away, assuming youown a microphone and akeyboard:

1. Plug your microphone into Channel 1’sMIC IN.

2. Turn on the 1402-VLZ PRO.

3. Perform the Level Setting Procedure .4. Connect cords from the MAIN OUTPUTS

(XLR, 1⁄4" or RCA, your choice) to youramplifier.

5. Hook up speakers to the amp and turn it on.6. Turn up the 1402-VLZ PRO’s Channel 1

FADER to the “U” marking and the MAINMIX fader one quarter of the way up.

7. Sing like a canary!8. Plug your keyboard into stereo channel 7–8.9. Slide that channel’s FADER to the “U”

marking.10. Play like a madman and sing like a

canary! It’s your first mix!

Please write your serial number here forfuture reference (i.e. insurance claims,tech support, return authorization, etc.):

Purchased at:

Date of purchase:

4

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7–8

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL


U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

AUX1

2

MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX


PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

MUTEMUTEMUTE7–8 9–10 11–12 13–14MUTE

4MUTE

3MUTE

2MUTE

1MUTE

ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4ALT 3–4

5MUTE

6MUTE

LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

dB

30

20

10

OO

4050

5

5

U

60

10

30

20

OO

405060

30

20

OO

405060

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

ALT 3–4 ALT 3–4

TAPEINPUT

TAPEOUTPUT

L

R

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

dB10

5

5

U

10

dB10

5

5

U

10

U

OO+10

U

UOO+20

OO+20

PHONES

28

10

7

4

2

0

2

4

7

10

20

30

LEVELSET

LEFT RIGHT

MAIN MIX

SOLOMODE


C-R/SOURCE

POWERPHANTOM

RUDESOLOLIGHT

AUX 1SELECT

EFX TOMONITOR

AUX 1 MASTER

AUXRETURN

1

2PRE

POST


NORMALLED

0dB=0dBu

ALT 3–4

TAPE

ASSIGNTO MAIN MIX




U U U U U UPATCHBAY

CHANNEL STRIPS OUTPUT SECTION

Thank you for choosing a Mackie Designsprofessional compact mixer. The 1402-VLZ PROis equipped with our new precision-engineeredXDRTM Extended Dynamic Range premiumstudio-grade mic preamp featuring:

• Full gain range from 0 to 60dB• +22 dBu line signal handling capability• 130 dB dynamic range• Distortion less than 0.0007%, 20Hz to 20kHz• Bullet-proof RF rejection using DC pulse

transformer circuitryNow that you have your 1402-VLZ PRO, find

out how to get the most from it. That’s wherethis manual comes in.

HOW TO USE THIS MANUALSince many of you folks will want to hook up

your 1402-VLZ PRO immediately, the first pagesyou will encounter after the table of contentsare the everpopular hookup diagrams. Theseshow typical mixer setups for Record/Mixdown,Video, Disc Jockey and Stereo PA. After thissection is a detailed tour of the entire mixer.

Every feature of the 1402-VLZ PRO is described“geographically;” in other words, in order of whereit is physically placed on the mixer’s top or rearpanel. These descriptions are divided into the firstthree manual chapters, just as your mixer isorganized 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.

Throughout these chapters you’ll find illus-trations, with each feature numbered. If you’recurious about a feature, simply locate it on theappropriate illustration, notice the number at-tached to it, and find that number in thenearby paragraphs.

You’ll also find cross-references to thesenumbered features within a paragraph. Forinstance, if you see “To wire your owncables: ,” simply find that number in themanual and you’ve found your answer.

Finally, you’ll notice feature numbers likethis: . These numbers direct you to relevantinformation.

This icon marks informa-tion that is criticallyimportant or unique to the1402-VLZ PRO. For yourown good, read them and

remember them. They will be on the final test.And the final test score will go down on yourPermanent Record.

This icon will lead youto in-depth explanations offeatures and practical tips.While not mandatory, theyusually have some valuablenuggets of information.

A PLUG FOR THE CONNECTORS SECTIONAppendix is a section on connectors:

XLR connectors, balanced connectors, unbal-anced connectors, special hybrid connectors.

More resources on our website @www.mackie.com

THE GLOSSARY: A Haven of Non-Techiness ForThe Neophyte

The "Glossary of Terms" is a fairly compre-hensive dictionary of pro-audio terms. If termslike “clipping,” “noise floor,” or “unbalanced”leave you blank, refer to this glossary for aquick explanation.

ARCANE MYSTERIES ILLUMINATED

"Arcane Mysteries" discusses some of thedown ’n’ dirty practical realities ofmicrophones, fixed installations, grounding,and balanced versus unbalanced lines. It’s agoldmine for the neophyte and even the sea-soned pro might learn a thing or two.

INTRODUCTION

5

LEVEL-SETTING PROCEDURE ............................ 3HOOKUP DIAGRAMS ....................................... 61402-VLZ PRO PATCHBAY DESCRIPTION ....... 10

MIC INPUTS ............................................ 10PHANTOM POWER .................................. 10

LINE INPUTS ........................................... 11LOW CUT ................................................ 11TRIM ...................................................... 11+4 / –10 ................................................ 11 STEREO LINE INPUTS ............................... 12 EFFECTS: SERIAL OR PARALLEL? ............... 12INSERT ................................................... 13

AUX RETURNS ........................................ 13 TAPE IN .................................................. 14XLR MAIN OUTPUTS ............................... 14

MAIN OUTPUT LEVEL ............................... 15 1⁄4" MAIN OUTPUTS ................................ 15 TAPE OUTPUT ......................................... 15 PHONES ................................................. 16 ALT 3–4 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 3–4 ....................................... 18 PAN ....................................................... 19CONSTANT LOUDNESS ! ! ! ....................... 19

3-BAND EQ ............................................. 19 AUX SEND .............................................. 20

OUTPUT SECTION DESCRIPTION ..................... 21MAIN MIX .............................................. 21VLZ MIX ARCHITECTURE ......................... 21SOURCE MATRIX ..................................... 21CONTROL ROOM / SUBMIX .................... 22SOLO MODE: AFL / PFL ........................... 22RUDE SOLO LED ...................................... 22ASSIGN TO MAIN MIX ............................. 23METERS .................................................. 23AUX TALK ............................................... 24AUX 1 SELECT ......................................... 24AUX 1 MASTER ....................................... 24AUX RETURNS ........................................ 24EFX TO MONITOR ................................... 25JACK NORMALLING ................................. 25

MODIFICATIONS .......................................... 25

1402-VLZ PRO BLOCK DIAGRAM .................... 26GAIN STRUCTURE DIAGRAM .......................... 27SPECIFICATIONS ............................................ 28SERVICE INFO ............................................... 29

APPENDIX A: CONNECTIONS ................................. 30TRACK SHEET ....................................................... 33COLOPHON .......................................................... 341402-VLZ PRO LIMITED WARRANTY..................... 35

CONTENTS

6

HOOKUP DIAGRAMS

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

5

6

4

14

13

12

11

10

9

6

5

4

3 3

2

1

2

1 1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTSL

MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUTM

AIN

OUT

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

out

in

out

in

Mono in / stereo outReverb

Digital Delay

out(play)

in(record)

Keyboard or other line-level input

4-track Recorder

in (record)out (play)

in

inout

out

IMPORTANT:ALL Channel Insertplugs are insertedto the SECOND click.

Mono Processorout

in

Guitar Effects

2-track Mixdown Deck2-track Mixdown Deck

Power Amplifier

Stereo Compressor

CH

1CH

2

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Studio Monitors

OL

PWR

HIGH RESOLUTIONSTUDIO MONITOR

ON

OFF

�OL

PWR


ON

OFF

�

7

1402-VLZ PRO Video Setup

Compressor

Multi Effect Processor

in

in

L

R

L

R

L

R

L

LR

R

L

R

V/O Mic

Audio out

Audio out

Audio out out

out

Video Deck #3

Master Video Deck

Video Deck #2

Video Deck #1

Mackie Designs: Video Setupscene #1 _ 23:94:10 Time Base

Note: Aux Return #2 can be used as anextra stereo input

Multi - VCR Video Switcherwith time code Interface(optional)


out

in

5

6

4

14

13

12

11

10

9

6

5

4

3 3

2

1

2

1 1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

Time code DAT

CD Player

SMPT

E Co

ntro

l

Power Amplifier

CH

1CH

2


Studio Monitors

OL

PWR


ON

OFF

�OL

PWR


ON

OFF

��

8

1402-VLZ PRO Disc Jockey Setup

org

red

red

out(play)

in(record)

Stereo Compressor

Stereo Compressor


Left PA Speaker Right PA Speaker

2-track Deck

Triggered Lights

Stereo EQ

*Note: Aux Return #2 can be used as an extra stereo input

People dancing on the floor

4

3

1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

1

2

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

CD Player

CD Player

Sampler

Turntable

Phono Preamps

out

in

out

in

out

in

out

in

out

out

out

out

out

in

in

in

L

R

L

R

L

R

RIAA

RIAA

5

6

4

14

13

12

11

10

9

5

6

4

3 3

2

1

2

1 1

7

8

Power Amplifier

CH

1CH

2


9

1402-VLZ PRO Stereo PA

org

org

red

red


Stereo Guitar Effects

out(play)

in(record)

Drum Machine

Stereo Compressor

Mono Compressor

Vocal Mics


Power Amp Stage Monitors

Left PA Speaker Right PA Speaker

2-track Deck

Stereo EQ

This setup can be easily reconfigured to become a Mono PA setup.

A. Stereo sources should feed the left mono side of channel input only.

B. Pan each channel hard left.C. Connect Mono PA system to

Left main output.

Mono EQ

Bass Preamp5

6

4

14

13

12

11

10

9

6

4

5

4

5

1 33

2

11

2

1

2

L

R

L

R

L

R

AUX

RETU

RNS

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R ��

�

outin

outin

out

out

out

out

in

in

in

in

CHAN

NEL

INSE

RTS

ALT

3/4

OUT

CH

1CH

2


Power Amplifier

CH

1CH

2


10

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7–8

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL



LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60


U U U U U U

1402-VLZ PRO PATCHBAY DESCRIPTIONAt the risk of stating the obvious, this is

where you plug everything in: microphones,line-level instruments and effects, head-phones, and the ultimate destination for yoursound: a tape recorder, PA system, etc.

MIC INPUTS (Channels 1–6)We use phantom-powered, balanced micro-

phone inputs just like the big studiomega-consoles, for exactly the same reason:This kind of circuit is excellent at rejectinghum and noise. You can plug in almost anykind of mic that has a standard XLR-type malemic connector. To learn how signals arerouted from these inputs: . If you wire yourown, connect them like this:

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

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

Professional ribbon, dynamic and condensermics will all sound excellent through these in-puts. The 1402-VLZ PRO’s mic inputs willhandle any kind of mic level you can toss atthem, without overloading. Be sure to performthe Level Setting Procedure: .

PHANTOM POWERMost modern professional condenser mics

are equipped for Phantom Power, which letsthe mixer send low-current DC voltage to themic’s electronics through the same wires thatcarry audio. (Semi-pro condenser mics oftenhave 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 don’t need external powerand aren’t affected by it anyway.

The 1402-VLZ PRO’s phantom power is glo-bally controlled by the PHANTOM switch onthe rear panel .

Never plug single-ended(unbalanced) micro-phones or instrumentsinto the MIC IN jacks if thePHANTOM power is on.

Do not plug instrument outputs into theMIC IN jacks with PHANTOM power on unlessyou know for certain it is safe to do so.

11

it out makes the low stuff you do want muchmore crisp and tasty. Not only that, but LOWCUT can help reduce the possibility of feed-back in live situations and it helps to conservethe amplifier power.

Another way to consider LOW CUT’s func-tion is that it actually adds flexibility duringlive performances. With the addition of LOWCUT, you can safely use LOW equalization onvocals . Many times, bass shelving EQ canreally benefit voices. Trouble is, adding LOWEQ also boosts stage rumble,mic handling clunks andbreath pops. LOW CUT re-moves all those problems soyou can add low EQ withoutlosing a woofer.

Here’s what the combina-tion of LOW EQ and LOWCUT looks like in terms offrequency curves.

TRIM (Channels 1–6)If you haven’t already, please read the Level

Setting Procedure .TRIM adjusts the input sensitivity of the mic

and line inputs connected to Channels 1through 6. This allows signals from the outsideworld to be adjusted to optimal internal oper-ating levels.

If the signal originates through the XLRjack, there will be 0dB of gain with the knobfully down, ramping to 60dB of gain fully up.

Through the 1⁄4" input, there is 15dB of at-tenuation fully down and 45dB of gain fully up,with a “U” (unity gain) mark at 10:00.

This 15dB of attenuation can be very handywhen you are inserting a signal that is very hot,or when you want to add a lot of EQ gain, orboth. Without this “virtual pad,” a scenario likethat might lead to channel clipping.

+4 / –10 (Channels 7–14)This switch adjusts the input sensitivity of

the line inputs on channels 7–14. If the soundsource is a “–10” device, engage this switch. Ifyou are unsure, leave the switch up and per-form the Level Setting Procedure ,substituting this switch for the TRIM knob andthen setting the switch to the appropriate gainsetting.

LINE INPUTS (Channels 1–6)These six line inputs share circuitry (but

not phantom power) with the mic preamps,and can be driven by balanced or unbalancedsources at almost any level. You can use theseinputs for virtually any signal you’ll comeacross, from instrument levels as low as –40dBto operating levels of –10dBV to +4dBu, sincethere is 40dB more gain available than onChannels 7–14. To learn how signals arerouted from these inputs: .

To connect balanced lines to these inputs,use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the typefound on stereo headphones:

Tip = Positive (+ or hot)Ring = Negative (– or cold)Sleeve = Shield or ground

To connect unbalanced lines to these in-puts, use a 1⁄4" mono (TS) phone plug orstandard instrument cable:

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

Tip = SignalSleeve = Ground

Line inputs 1–6 are a good place to connectolder instruments that need more gain. Youcan correct weak levels by adjusting the corre-sponding channel’s TRIM control .

LOW CUT (Channels 1–6)The LOW CUT switch, often referred to as a

High Pass Filter (all depends on how you lookat it), cuts bass frequencies below 75Hz at arate of 18dB per octave.

We recommendthat you use LOWCUT on every micro-phone applicationexcept kick drum,bass guitar, bassysynth patches, or re-cordings of

earthquakes. These aside, there isn’t muchdown there that you want to hear, and filtering

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

0

+5

+10

+15

Low Cut


–15

–10

–5

0

+5

+10

+15

Low Cut with Low EQ

12

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7–8

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL



LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60


U U U U U U

STEREO LINE INPUTS (Channels 7–8,9–10, 11–12 and 13–14)

These fully balanced inputs are designed forstereo or mono, balanced or unbalanced sig-nals, from –10dBV to +4dBu. They can be usedwith just about any professional or semi-pro in-strument, effect or tape player. To learn howsignals are routed from these inputs: . Towire your own cables: .

In the stereo audio world, an odd-numberedchannel usually receives the “left signal.” Forexample, you would feed the 1402-VLZ PRO’sline inputs 7–8 a stereo signal by inserting thedevice’s left output plug into the Channel 7jack, and its right output plug into the Chan-nel 8 jack.

When connecting a mono device (just onecord), always use the Left (MONO) input andplug nothing into the Right input — this waythe signal will appear on both sides. This trickis called “jack normalling” .

EFFECTS: SERIAL ORPARALLEL?

The next two sections tossthe terms “serial” and “paral-lel” around like hacky sacks.

Here’s what we mean by them.“Serial” means that the entire signal is

routed through the effects device. Examples:compressor/limiters, graphic equalizers. Line-level sources can be patched through a serialeffects device before or after the mixer or,more conveniently, through the channel insertjacks located on the rear of the mixer (INSERTSEND/RETURN) .

“Parallel” means that a portion of the signalin the mixer is tapped off to the device (AUXSEND), processed and returned to the mixer(AUX RETURN) to be mixed with the original“dry” signal. This way, multiple channels can allmake use of the same effects device. Examples:reverb, digital delay. (See diagrams below.)

Dry SignalSerial Device

(e.g. Compressor) ProcessedSignal

Insert Send Insert ReturnSerial

Parallel

Dry Signal(s) Dry Signal(s)

Parallel Device(e.g. Reverb)

Aux Send Aux Return

Wet Signal

Channel PathMix Stage

Output Section

ProcessedSignal

Signal Processor

Signal Processor

13

)


ING.FUSE




456 3 2 1

CHANNEL INSERT( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

DINVILLE, WA, USA • COPYRIGHT ©1998GN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING


INSERT (Channels 1–6)These jacks, on the back of the 1402-VLZ

PRO, are where you connect serial effects suchas compressors, equalizers, de-essers, or filters

. Since most people don’t have more than afew of these gadgets, we’ve included inserts forjust the first six channels. If you want to use thiskind of processing on Channels 7–14, simplypatch through the processor before you pluginto the 1402-VLZ PRO.

The INSERT points are after the TRIM andLOW CUT controls, but before the channel’sEQ and FADER controls. The send (tip) islow-impedance (120 ohms), capable ofdriving any device. The return (ring) is high-impedance (over 2.5k ohms) and can bedriven by almost any device.

INSERT cables must be wired thusly:

“tip”

this plug connects to one of the mixer’s Channel Insert jacks. “ring”

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

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 chan-nel direct outputs; post-TRIM, post-LOW CUT,and pre EQ. Check out the 4-track hookup dia-gram . Here’s three ways you can use theINSERT jacks:

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

Channel Insert jack

Channel Insert jack

Channel Insert jack

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)

MONO PLUG

MONO PLUG

STEREO PLUG

AUX RETURNSThis is where you connect the outputs of

your parallel effects devices (or extra audiosources). These balanced inputs are similar tothe stereo line inputs without EQ, AuxSends, Pan, Mute, and Solo. The circuits willhandle stereo or mono, balanced or unbal-anced signals, either instrument level, –10dBVor +4dBu. They can be used with just aboutany pro or semi-pro effects device on the mar-ket. To learn how signals are routed fromthese inputs, see .

One Device: If you havejust one parallel effectsdevice, use AUX RETURN1 and leave AUXRETURN 2 unplugged.

That way, the unused AUX RETURN 2LEVEL control can be used to feed AUXRETURN 1 to your stage monitors, viathe EFX TO MONITOR switch .

Mono Device: If you have an effects de-vice with a mono output (1 cord), plug thatinto AUX RETURN 1 LEFT and leave AUXRETURN 1 RIGHT unplugged. That way thesignal will be sent to both sides, magicallyappearing in the center as a mono signal.This won’t work with AUX RETURN 2 —you’ll need a Y-cord to feed the L/R bus. Inshort, AUX RETURN 1 uses jack normalling.AUX RETURN 2 does not use jack normalling.

14

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7–8

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL



LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60


U U U U U U

TAPE INThese RCA jacks are designed to work with

semi-pro as well as pro recorders. To compen-sate for typically low levels, signals coming inhere will be automatically boosted by 6dB.

Connect your tape recorder’s outputs here,using standard hi-fi (RCA) cables. To learn howsignals are routed from these inputs, see .

TIPSLEEVETIPSLEEVE

Use these jacks for convenient tape play-back of your mixes. You’ll be able to review amix, and then rewind and try another pass,without repatching or disturbing the mixerlevels. You can also use these jacks with a por-table tape or CD player to feed music to a PAsystem between sets.

WARNING: PushingTAPE in the SOURCEmatrix and ASSIGN TOMAIN MIX can create afeedback path between

TAPE IN and TAPE OUT. Make sure yourtape deck is not in record, record-pause orinput monitor mode when you engage theseswitches, or make sure the CTL ROOM /SUBMIX fader is fully down (off).

Pin 1 = GroundPin 2 = Positive (+ or hot)Pin 3 = Negative (– or cold)

Outputs? The 1402-VLZ PRO has plenty of’em: XLR MAIN, 1⁄4" MAIN, TAPE, PHONES,CONTROL ROOM and AUX SENDS. Let’stake a peek.

XLR MAIN OUTPUTSThese low-impedance outputs are fully bal-

anced and capable of driving +4dBu lines withup to 28dB of headroom. This output is 6dBhotter than other outputs. To learn how sig-nals are routed to these outputs: .

To use these outputs, wire the XLR (bal-anced only) connectors like this:

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

15



MONO PLUG


STEREO PLUG


R L

CONTROLROOM

MIC+4

BAL/UNBAL

MAINOUTPUTLEVEL

MAINLEFT

MAINRIGHT

POWERON

PHANTOMON




CAUTION:

BALANCED BALANCED

THE FOLLOWING ARE TRADEMARKS OR REG



MAIN OUTPUT LEVELEngaging this switch pads the balanced

XLR MAIN OUTPUTS by 30dB, so you can feedthe microphone input of, say, another mixer.Perfect for sending a submix to another miclevel input in boardroom or conference roomapplications.

You can safely plug this output into an inputthat provides 48V phantom power.

1⁄4" MAIN OUTPUTSThese 1⁄4" jacks are balanced outputs ca-

pable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. (Okay, we admitit, that was a pretty technical sentence. Seethe Glossary and Connections appendices ifyou want to decode it.)

To learn how signals are routed to these 1⁄4"outputs: .

To use these outputs to drive balanced in-puts, connect 1⁄4" TRS (Tip-Ring-Sleeve)phone plugs like this:

For most music recording and PA applica-tions, unbalanced lines are perfectlyacceptable. To use these outputs to drive un-balanced inputs, connect 1⁄4" TS (Tip-Sleeve)phone plugs like this:

Tip = + (hot)Sleeve = Ground

TAPE OUTPUTThese unbalanced RCA connections tap the

MAIN OUTPUTS to make simultaneous record-ing and PA work more convenient. Connectthese to your recorder’s inputs. To learn howsignals are routed to these outputs: .

MONO OUT: If you want to feed a monosignal to your tape deck or other device, simplyuse an RCA Y-cord to combine these outputs(Radio Shack® #274-511, for instance). Do notattempt this with any other outputs on the1402-VLZ PRO.

Tip = + (hot)Ring = – (cold)Sleeve = Ground

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVETIPSLEEVE

16

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 7–8

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL



LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60

MIC GAIN

+15dB -45dB

-10dBV

0 60


U U U U U U

ALT 3–4 OUTPUTThese 1⁄4" jacks are balanced outputs ca-

pable of delivering 22dBu into a balanced orunbalanced load. To learn how signals arerouted to these outputs: . To wire your owncables: .

CONTROL ROOMThese 1⁄4" jacks are balanced outputs ca-

pable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. To learn howsignals are routed to these outputs: . Towire your own cables: .

AUX SEND 1&2These 1⁄4" jacks are also balanced outputs

capable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. To learn howsignals are routed to these outputs: . To wireyour own cables: .

PHONESThe 1402-VLZ PRO’s stereo PHONES jack

will drive any standard headphone to very loudlevels. Walkperson-type phones can also beused with an appropriate adapter. To learnhow signals are routed to these outputs: . Ifyou’re wiring your own cable for the PHONESoutput, follow standard conventions:

SLEEVE

LEFTSLEEVE

LEFT

RIGHT

RIGHT

TIP

SLEEVERING

Tip = Left channelRing = Right channelSleeve = Common ground

WARNING: When we saythe headphone amp isloud, we’re not kidding.It can cause permanentear damage. Even inter-

mediate levels may be painfully loud withsome earphones. BE CAREFUL!

Always turn the CTL ROOM/SUBMIX faderall the way down before connecting head-phones. Keep it down until you’ve put thephones on. Then turn it up slowly. Why? “Engi-neers who fry their ears find themselves withshort careers.”

17

)



MONO PLUG


STEREO PLUG



RISK OF ELECTRIC SHOCKDO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE



CAUTION


R L

CONTROLROOM

MIC+4

BAL/UNBAL

MAINOUTPUTLEVEL

456 3R/4 L/3 2 1

CHANNEL INSERTBAL/UNBAL

ALT OUTPUT

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

MAINLEFT

MAINRIGHT

POWERON

PHANTOMON




CAUTION:

BALANCED BALANCED

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING




POWER CONNECTIONJust in case you lose the cord provided with

the 1402-VLZ PRO, its power jack accepts astandard 3-prong IEC cord like those found onmost professional recorders, musical instru-ments, and computers.

At the other end of our cord is — get this— a plug! Not a black cube or, as we’re fond ofcalling them, a “wall wart.” We did this forsome very good reasons:

The 1402-VLZ PRO has sophisticated powerrequirements that a wall wart cannot provide.Wall warts are inconvenient, fragile, radiatehuge hum fields, hog extra jacks on yourpower strip and get in the way. If you lose awall wart, you’re in trouble, but if you lose the1402-VLZ PRO’s power cord, you can get a newone at any electronics, music, or computerstore. You can even buy them at Radio Shack®

(part # 287-1257). Can you tell that we hatewall warts?

Plug the 1402-VLZ PRO into any standardgrounded AC outlet or into a power strip ofproper voltage.

WARNING: Disconnect-ing the plug’s groundpin can be dangerous.Please don’t do it.

FUSEThe 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) andreplace the fuse with a 500mA (0.5 amps) SLOBLO, 5x20mm, available at electronics storesor your dealer (or a 250mA SLO BLO 5x20mmif your 1402-VLZ PRO is a 220V–240V unit).

If two fuses blow in a row, something isvery wrong. Please call our toll-free number(or the distributor in your country) and findout what to do.

POWER SWITCHIf this one isn’t self-explanatory, we give up.

You can leave this switch on all the time; the1402-VLZ PRO is conservatively designed, soheat buildup isn’t a problem even in 24-hour-a-day operation. There’s nothing that will burn outor get used up. Or, just plug everything into agood quality power strip for one-button turn-on.

You may notice thatthe 1402-VLZ PRO feelsquite warm in the upper-right corner. This isperfectly 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 SWITCHThe Phantom Power Switch controls the

phantom power supply for condenser micro-phones plugged into channels 1-6 mic inputsas discussed at the start of this section .When turned on (or off), the phantom powercircuitry takes a few moments for voltage toramp up (or down). This is also perfectly normal.

In the output section, next to the POWERLED, is the PHANTOM LED. If the phantompower is on, so is the LED.

18

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

AUX1

2

MON/EFX

EFX

PAN

L R

SOLO

1MUTEALT 3–4

dB

30

20

10

OO

4050

5

5

U

60

10

U

OO +15

U

OO +15

CHANNEL STRIP DESCRIPTION

The ten channel strips look alike, andfunction identically. The only difference isthat the six on the left are for individual micsor mono instruments and have more gainavailable, while the next four are for eitherstereo or mono line-level sources. (Each ofthe stereo channel strips is actually two com-plete circuits. The controls are linkedtogether to preserve stereo.) We’ll start at thebottom and work our way up…

“U” LIKE UNITY GAINMackie mixers have a “U”

symbol on almost every levelcontrol. This “U” stands 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 yoursignals will travel through the mixer at optimallevels. What’s more, all the labels on our levelcontrols are measured in decibels (dB), so you’llknow what you’re doing level-wise if you chooseto change a control’s settings.

You won’t have to check it here and check itthere, as you would with some other mixers. Infact, some don’t even have any reference to ac-tual dB levels at all! Ever seen those “0–10”fader markings? We call these AUMs (ArbitraryUnits of Measurement), and they mean noth-ing in the real world. You were smart — youbought a Mackie.

FADERThe FADER controls the channel’s level…

from off to unity gain at the “U” marking, onup to 10dB of additional gain. Channels 1–6use mono controls, and channels 7–14 usestereo controls.

SOLOThis lovable switch allows you to hear signals

through your headphones or control room without having to route them to the MAIN orALT 3–4 mixes. Folks use solo in live work topreview channels before they are let into themix, or to just check out what a particular chan-nel is up to anytime during a session. You cansolo as many channels at a time as you like.

Solo is also the key player in the LevelSetting Procedure .

Your 1402-VLZ PRO has “Dual-Mode Solo.”A switch in the master section determines

which mode you’ll be hearing. With theswitch up, you’ll get “AFL” (After Fader Lis-ten), which is post-FADER and post-PAN,making it ideal for mixdown soloing. With theswitch down, you’re in “PFL” (pre-fader lis-ten) mode. This is the required mode for theLevel Setting Procedure .

Soloed channels are sent to the SOURCEmix , which ultimately feeds your CONTROLROOM, PHONES and METERS. WheneverSOLO is engaged, all SOURCE selections(MAIN MIX, ALT 3–4 and TAPE) are defeated,to allow the soloed signal to do just that — solo!

MUTE/ALT 3–4The dual-purpose MUTE/ALT 3–4 switch is

a Mackie signature. When Greg was designingour first product, he had to include a muteswitch for each channel. Mute switches do justwhat they sound like they do. They turn off thesignal by “routing” it into oblivion. “Gee, what awaste,” Greg reasoned. “Why not have themute button route the signal somewhere elseuseful…like a separate stereo bus?” SoMUTE/ALT 3–4 really serves two functions —muting (often used during a mixdown or liveshow), and signal routing (for multi-track andlive work) where it acts as an extra stereo bus.

To use this as a MUTE switch, all you have todo is not use the ALT 3–4 outputs. Then, when-ever you assign a channel to these unusedoutputs, you’ll also be disconnecting it from theMAIN MIX, effectively muting the channel.

To use this as an ALT 3–4 switch, all youhave to do is connect the ALT 3–4 outputs towhatever destination you desire. Two popularexamples:

When doing multitrack recording, use theALT 3–4 outputs to feed your multitrack. Withmost decks, you can mult the ALT 3–4 outputs,using Y-cords or mults, to feed multiple tracks.So, take ALT OUT LEFT and send it to tracks 1,3, 5 and 7, and ALT OUT RIGHT and send it totracks 2, 4, 6 and 8. Now, tracks that are inRecord or Input modes will hear the ALT 3–4signals, and tracks in Playback or Safe modeswill ignore them.

When doing live sound or mixdown, it’s oftenhandy to control the level of several channelswith one knob. That’s called Subgrouping. Sim-ply assign these channels to the ALT 3–4 mix,engage ALT 3–4 in the SOURCE matrix, and thesignals will appear at the CONTROL ROOM

19

and PHONES outputs. If you want the ALT 3–4signals to go back into the MAIN MIX, engagethe ASSIGN TO MAIN MIX switch , and theCTL ROOM/SUBMIX fader becomes the onefader to control the levels of all channels as-signed to ALT 3–4.

Another way to do the same thing is to as-sign the channels to the ALT 3–4 mix, thenpatch out of the ALT OUT LEFT and RIGHTback into an unused stereo channel (7–8, 9–10or 11–12 or 13–14). If that’s your choice, don’tever engage the MUTE/ALT 3–4 switch on thatstereo channel, or you’ll have every dog in theneighborhood howling at your feedback loop.

Another benefit of the ALT 3–4 feature isthat it can act as a “AFL” (After Fader Listen):just engage a channel's MUTE/ALT 3–4 switchand the ALT 3–4 switch in the SOURCE matrix

and you’ll get that channel, all by itself, inthe CONTROL ROOM and PHONES.

MUTE/ALT 3–4 is one of those controls thatcan bewilder newcomers, so take your time andplay around with it. Once you’ve got it down,you’ll probably think of a hundred uses for it!

PANPAN adjusts the amount of channel signal

sent to the left versus the right outputs. Onmono channels (ch. 1–6 or 7–14 with connec-tions to the LEFT input only) these controls actas pan pots. On stereo channels (7–14) withstereo connections to LEFT and RIGHT inputs,the pan knob works like the balance control onyour home stereo.

PAN determines the fate of the MAIN MIX(1–2) and ALT 3–4 mix. With the PAN knobhard left, the signal will feed either MAINLEFT (bus 1) or ALT LEFT (bus 3), dependingon the position of the ALT 3–4 switch. With theknob hard right, the signal feeds MAIN RIGHT(bus 2) or ALT RIGHT (bus 4). You’ll soon dis-cover that maybe we should’ve called this an1404-VLZ2, since it really is a 4-bus mixer.

CONSTANTLOUDNESS ! ! !

The 1402-VLZ PRO’s PANcontrols employ a designcalled “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 leftto the center to the right), the sound will appearto remain at the same volume (or loudness).

If you have a channel panned hard left (orright) and reading 0dB, it must dip downabout 4dB on the left (or right) when panned

center. To do otherwise (the way Brand X com-pact mixers do) would make the sound appearmuch louder when panned center.

3-BAND EQThe 1402-VLZ PRO has

3-band equalization atcarefully selected points— LOW shelving at 80Hz,

MID peaking at 2.5kHz, and HI shelving at12kHz. “Shelving” means that the circuitryboosts or cuts all frequencies past thespecified frequency. For example, rotating the1402-VLZ PRO’s LOW EQ knob 15dB to theright boosts bass starting at 80Hz and continu-ing down to the lowest note you never heard.“Peaking” means that certain frequencies forma “hill” around the center frequency — 2.5kHzin the case of the MID EQ.

LOW EQ

This control gives you up to 15dB boost orcut at 80Hz. The circuit is flat (no boost orcut) at the center detent position.This frequency represents thepunch in bass drums, bass guitar,fat synth patches, and some reallyserious male singers.

Used in conjunction with theLOW CUT switch , you canboost the LOW EQ without inject-ing a ton of subsonic debris intothe mix.

MID EQ

Short for “midrange,” this knobprovides 12dB of boost or cut, cen-tered at 2.5kHz, also flat at thecenter detent. Midrange EQ isoften thought of as the most dy-namic, because the frequenciesthat define any particular soundare almost always found in thisrange. You can create many inter-esting and useful EQ changes byturning this knob down as well asup.

HI EQ

This control gives you up to15dB boost or cut at 12kHz, and itis also flat at the detent. Use it toadd sizzle to cymbals, and an over-all sense of transparency or edgeto keyboards, vocals, guitar andbacon frying. Turn it down a littleto reduce sibilance, or to hide tape hiss.


–15

–10

–5

0

+5

+10

+15

Low EQ


–15

–10

–5

0

+5

+10

+15

Low EQ with Low Cut


–15

–10

–5

0

+5

+10

+15


–15

–10

–5

0

+5

+10

+15

Hi EQ

Mid EQ

20

AUX 1 in POST-mode and AUX 2 arepost-LOW CUT, post-EQ and post-FADER. Thatis, the sends obey the settings of these controls.AUX 1 in PRE mode follows the EQ and LOWCUT settings only. PAN and FADER have no ef-fect on the PRE send (see diagram below).

All AUX send levels range from off throughunity (with their channel gain controls at thecenter detent position) on up to 15dB of extragain (when turned fully clockwise). Chancesare you’ll never need this extra gain, but it’snice to know it’s there if you do.

Channel 7–14 AUX pots control the monosum of the channel’s stereo signals for eachAUX send. For instance, Channel 7 (left) and8 (right) mix together to feed that channel’sAUX send knobs.

We recommend going into a stereo reverb inmono and returning in stereo. We have foundthat most “stereo” reverbs’ second input just tiesup an extra AUX send and adds nothing to thesound. There are exceptions, so feel free to try itboth ways. If your effects device is true stereoall the way through, use AUX 1 to feed its LEFTinput and AUX 2 to feed the RIGHT input.

“Pre vs. Post”Signal Flow Diagram

Moderation during EQ

With EQ, you can also screw things up roy-ally. We’ve designed a lot of boost and cut intoeach equalizer circuit, because we knoweveryone will occasionally need that. But if youmax the EQs on every channel, you’ll get mixmush. Equalize subtly and use the left sides ofthe knobs (cut), as well as the right (boost).Very few gold-record-album engineers ever usemore than about 3dB of EQ. If you need morethan that, there’s usually a better way to get it,such as placing a mic differently (or using adifferent kind of mic entirely).

AUX SENDThese tap a portion of each channel signal

out to another source for parallel effects pro-cessing or stage monitoring. AUX send levelsare controlled by the channel’s AUX 1 and AUX2 knobs and by the AUX 1 MASTER .

These are more than just effects and moni-tor sends. They can be used to generateseparate mixes for recording or “mix-minuses”for broadcast. By using AUX 1 in the PREmode , these mix levels can be obtained in-dependently of the channel’s GAIN control.

TRIM INSERTLOW CUT EQ

FADER PANMUTE / ALT

AUX SEND 2 KNOB

"POST" SIGNAL

"PRE" SIGNAL

AUX SEND 1 KNOB

"POST" SIGNAL OBEYSMUTE STATUS

INPUT

AUX SEND 1 PRE/POST SWITCH(IN MASTER SECTION)

TO AUX SEND 2 OUTPUT

TO AUX SEND 1 OUTPUT

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

AUX1

2

MON/EFX

EFX

PAN

L R

SOLO

1MUTEALT 3–4

dB

30

20

10

OO

4050

5

5

U

60

10

U

OO +15

U

OO +15

21

30

20

OO

405060

30

20

OO

405060

dB10

5

5

U

10

dB10

5

5

U

10

U

OO+10U

U

OO+20

OO+20

28

10

7

4

2

0

2

4

7

10

20

30

LEVELSET

LEFT RIGHT

MAIN MIX

SOLOMODE


C-R/SOURCE

POWERPHANTOM

RUDESOLOLIGHT

AUX 1SELECT

EFX TOMONITOR

AUX 1 MASTER

AUXRETURN

1

2PRE

POST


NORMALLED

0dB=0dBu

ALT 3–4

TAPE

ASSIGNTO MAIN MIX

Still with us? Good for you. Here come thetricky parts, where the mixing is really done.

MAIN MIXAs the name implies, this fader controls the

levels of signals sent to the MAIN OUTPUTS:XLR , 1⁄4" and RCA TAPE OUT . Allchannels and AUX RETURNS that are notmuted or turned fully down will wind up in theMAIN MIX.

Fully down is off, the “U” marking is unitygain, and fully up provides 10dB additionalgain. This additional gain will typically neverbe needed, but once again, it’s nice to know it’sthere. These are the faders to pull down at theend of the song when you want The GreatFade-Out.

VLZ MIXARCHITECTURE

When designing a mixingcircuit, the lowest noise and

best crosstalk specs are achieved by using VeryLow Impedance (VLZ). To implement VLZ in amixer, the power supply must be able to de-liver plenty of current to the circuitry. That’swhy those “wall wart” mixers are often noisy –they can’t power a VLZ circuit.

At Mackie, audio quality is much more im-portant than the price of wall warts. All of ourmixers employ VLZ and built-in power suppliesthat deliver more than enough current, result-ing in sonic specifications that rival consolesupwards of $50,000!

SOURCE MATRIXTypically, the engineer sends the MAIN MIX

to an audience (if live) or a mixdown deck (ifrecording). But what if the engineer needs tohear something other than the MAIN MIX?With the 1402-VLZ PRO, the engineer has sev-eral choices of what to listen to. This is one ofthose tricky parts, so buckle up.

Via the SOURCE switches, you can chooseto listen to any combination of MAIN MIX, ALT3-4 and TAPE. By now, you probably knowwhat the MAIN MIX is. ALT 3-4 is that addi-tional stereo mix bus. TAPE is the stereo signalcoming in from the TAPE IN RCA jacks .

Selections made in the SOURCE matrix de-liver stereo signals to the CONTROL ROOM,PHONES and METERS. With no switches en-gaged, there will be no signal at these outputsand no meter indication.

The exception to that is the SOLO function. Regardless of the SOURCE matrix selec-

tion, engaging a channel’s SOLO switch willreplace that selection with the SOLO signal,also sent to the CONTROL ROOM, PHONESand METERS. This is what makes the LevelSetting Procedure so easy to do.

WARNING: Pushing inboth the TAPE button (inthe SOURCE matrix) andASSIGN TO MAIN MIXcan 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 whenyou engage these switches, or make surethe CONTROL ROOM / PHONES fader isfully down (off).

OUTPUT SECTION DESCRIPTION

22

30

20

OO

405060

30

20

OO

405060

dB10

5

5

U

10

dB10

5

5

U

10

U

OO+10U

U

OO+20

OO+20

28

10

7

4

2

0

2

4

7

10

20

30

LEVELSET

LEFT RIGHT

MAIN MIX

SOLOMODE


C-R/SOURCE

POWERPHANTOM

RUDESOLOLIGHT

AUX 1SELECT

EFX TOMONITOR

AUX 1 MASTER

AUXRETURN

1

2PRE

POST


NORMALLED

0dB=0dBu

ALT 3–4

TAPE

ASSIGNTO MAIN MIX

Now you know how to select the signals youwant to send to the engineer’s control room orphones. From there, these signals all passthrough the same level control:

CTL ROOM / SUBMIXThis fader controls the levels of both the ste-

reo CONTROL ROOM OUTPUTS andPHONES OUTPUTS . The control range isfrom off through unity gain at the “U” marking,with 10dB of extra gain fully up.

When MAIN MIX is your SOURCE selec-tion, those signals will pass through two levelcontrols on the way to your control room ampand phones — the MAIN MIX fader and thisCTL ROOM / SUBMIX fader. This way, youcan send a nice healthy level to the MAINOUTPUTS (MAIN MIX fader at “U”), and aquiet level to the control room or phones(CTL ROOM / SUBMIX fader wherever youlike it).

When ALT 3-4 or TAPE is selected, or SOLOis engaged, this fader will be the only one con-trolling these levels (channel controls notwithstanding).

Whatever your selection, you can also usethe CONTROL ROOM OUTPUTS for otherapplications. It's sound quality is just as im-peccable as the MAIN MIX outputs. It can beused as additional MAIN MIX output, whichmay sound silly since there are already three,but this one has its own level control. However,should you do something like this, be sure thatyou never engage a SOLO switch, as that willinterrupt your SOURCE selection.

SOLO MODE: AFL/PFLEngaging a channel’s SOLO switch will

cause this dramatic turn of events: Any exist-ing SOURCE matrix selections will bereplaced by the SOLO signal, appearing atthe CONTROL ROOM OUTPUTS, PHONESOUTPUTS and at the METERS. The audibleSOLO levels are then controlled by the CTLROOM / SUBMIX fader. The SOLO levels ap-pearing on the METERS are not controlledby anything — you wouldn’t want that. Youwant to see the actual channel level on theMETERS regardless of how loud you’re listen-ing.

With the SOLO MODE switch in the upposition, you’re in AFL mode, meaning After-Fader Listen. You’ll hear the output of thesoloed channel — it will follow thechannel’s TRIM, EQ, FADER and PAN set-tings. It’s similar to muting all the otherchannels, but without the hassle. Use AFLmode during mixdown.

With the switch down, you’re in PFL mode,meaning Pre-Fader Listen (post EQ). Thismode is required for the Level Setting Proce-dure and is handy for quick spot-checks ofchannels, especially ones that have theirfaders turned down.

In either mode, SOLO will not be affectedby a channel’s MUTE/ALT switch position.

RUDE SOLO LIGHTThis flashing Light Emitting Diode serves

two purposes — to remind you that at leastone channel is in SOLO, and to let you knowthat you’re mixing on a Mackie. No other com-pany is so concerned about your level of SOLOawareness. If you work on a mixer that has asolo function with no indicator lights, and youhappen to forget you’re in solo, you can easilybe tricked into thinking that something iswrong with your mixer. Hence the RUDESOLO LIGHT. It’s especially handy at about3AM when no sound is coming out of yourmonitors but your multitrack is playing backlike mad.

23

Why? You want the METERS to reflect whatthe engineer is listening to, and as we’ve cov-ered, the engineer is listening either to theCONTROL ROOM outputs or the PHONESoutputs. The only difference is that while thelistening levels are controlled by the CTLROOM / SUBMIX fader, the METERS read theSOURCE mix before that control, giving youthe real facts at all times, even if you’re not lis-tening at all.

You may already be anexpert at the world of “+4”(+4dBu=1.23V) and “–10”(–10dBV=0.32V) operatinglevels. 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 willactually 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 is0VU actually 0dBu? Right now!

At the risk of creating another standard,Mackie’s compact mixers address the need ofboth crowds by calling things as they are —0dBu (0.775V) at the output shows as 0dB VUon the METERS. What could be easier? By theway, the most wonderful thing about standardsis that there are so many to choose from.

Thanks to the 1402-VLZ PRO’s wide dynamicrange, you can get a good mix with peaks flash-ing anywhere between –20 and +10dB on theMETERS. Most amplifiers clip at about +10dB,and some recorders aren’t so forgiving either.For best real-world results, try to keep yourpeaks between “0” and “+7.”

Remember, audio meters are just tools tohelp assure you that your levels are “in theballpark.” You don’t have to stare at them(unless you want to).

ASSIGN TO MAIN MIXLet’s say you’re doing a live show. Intermis-

sion is nearing and you’ll want to play asoothing CD for the crowd to prevent themfrom becoming antsy. Then you think, “But Ihave the CD player plugged into the TAPE in-puts, and that never gets to the MAINOUTPUTS!” Oh, but it does. Simply engage thisswitch and your SOURCE matrix selection,after going through the CTL ROOM / SUBMIXfader, will feed into the MAIN MIX, just as if itwere another stereo channel.

Another handy use for this switch is to en-able the ALT 3-4 mix to become a submix ofthe MAIN MIX , using the CTL ROOM /SUBMIX fader as its level control.

Side effects: (1) Engaging this switch willalso feed any soloed channels into the MAINMIX, which may be the last thing you want. (2)If you have MAIN MIX as your SOURCE matrixselection and then engage ASSIGN TO MAINMIX, the MAIN MIX lines to the SOURCE ma-trix will be interrupted, to prevent feedback.Then again, why on earth would anyone wantto assign the MAIN MIX to the MAIN MIX?

METERS – MANY DISPLAYS IN ONE!The 1402-VLZ PRO’s peak metering system

is made up of two columns of twelve LEDs. De-ceptively simple, considering the multitude ofsignals 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 themto work, you must make a selection in theSOURCE matrix (or engage a SOLO switch).

24

AUX 1 SELECTBesides being used to work effects into your

mix, Aux Sends serve another critical role —that of delivering cue mixes to stage monitors,so musicians can hear what they’re doing. Onthe 1402-VLZ PRO, AUX SEND 1 can play ei-ther role, depending on the position of thisswitch.

With the AUX 1 SELECT switch up (disen-gaged), AUX SEND 1 will tap a channelpre-FADER and pre-MUTE/ALT 3-4, meaningthat no matter how you manipulate those con-trols as they feed the MAIN MIX, the AUXSEND will continue to belt out a constant sig-nal level. This is the preferred method forsetting up stage monitor feeds. EQ settingswill affect all AUX SENDS.

With the switch down, AUX SEND 1 be-comes an ordinary effects send — post-FADERand post-MUTE/ALT 3-4. This is a must for ef-fects sends, since you want the levels of your“wet” signals to follow the level of the “dry.”

AUX 1 MASTERThe AUX 1 MASTER provides overall level

control of AUX SEND 1, just before it’s deliv-ered to the AUX 1 OUTPUT. (AUX SEND 2 hasno such control.) This knob goes from off(turned fully down), to Unity gain at the centerdetent, with 10dB of extra gain (turned fullyup). As with some other level controls, you maynever need the additional gain, but if you everdo, you’ll be glad you bought a Mackie.

This is usually the knob you turn up whenthe lead singer glares at you, points at hisstage monitor, and sticks his thumb up in theair. (It would follow suit that if the singerstuck his thumb down, you’d turn the knobdown, but that never happens.)

AUX RETURNSThese two controls set the overall level of

effects received from STEREO AUX RETURN in-puts 1 and 2 . These controls are designed tohandle a wide range of signal levels, from off, tounity gain at the detent, with 20dB gain fullyclockwise, to compensate for low-level effects.

Typically, these knobs can just live at thecenter detent, and the effects device’s outputcontrol should be set at whatever they callUnity gain (check their manual). If that turnsout to be too loud or too quiet, adjust the ef-fects device’s outputs, not the mixer. That way,the mixer’s knobs are easy to relocate at thecenter detent.

AUX TALKFirst of all, there is no par-

ticular alliance between AUXSEND 1 (or 2) and AUXRETURN 1 (or 2). They’re

just numbers. They’re like two completestrangers, both named Fred.

Here’s the whole idea behind sends and re-turns: sends are outputs, returns are inputs.AUX SENDs tap signals off the channels, viatheir AUX knobs , mix these signals, thensend them out via the AUX SEND jacks .

These outputs are fed to the inputs of a re-verb or other device. From there, the outputs ofthis external device are fed back to the mixer’sAUX RETURN jacks . Then these signals aresent through the AUX RETURN level controls,and finally delivered to the MAIN MIX.

So, the original “dry” signals go from thechannels to the MAIN MIX and the affected“wet” signals go from the Aux Returns to theMAIN MIX, and once mixed together, the dryand wet signals combine to create a glorioussound. So, armed with this knowledge, let’svisit the Auxiliary World:

30

20

OO

405060

30

20

OO

405060

dB10

5

5

U

10

dB10

5

5

U

10

U

OO+10U

U

OO+20

OO+20

28

10

7

4

2

0

2

4

7

10

20

30

LEVELSET

LEFT RIGHT

MAIN MIX

SOLOMODE


C-R/SOURCE

POWERPHANTOM

RUDESOLOLIGHT

AUX 1SELECT

EFX TOMONITOR

AUX 1 MASTER

AUXRETURN

1

2PRE

POST


NORMALLED

0dB=0dBu

ALT 3–4

TAPE

ASSIGNTO MAIN MIX

25

Signals passing through the AUX RETURNlevel controls will proceed directly to MAINMIX , with one exception (see next para-graph). The AUX RETURNS do not haveMUTE/ALT 3-4 switches, so if you wantthese signals to get to the ALT 3-4 mix, you’llhave to patch the effects device’s outputsinto one of the stereo channels, and MUTE/ALT that channel .

EFX TO MONITORThe idea behind this great feature is simple:

If you want to add reverb or delay to the stagemonitor mixes, this is the switch for you. Theimplementation leading up to the switch is thetricky part:

With the switch up, AUX RETURN 1 and 2behave normally — they deliver their signalsinto the MAIN MIX. With the switch down,AUX RETURN 1 still behaves normally, butAUX RETURN 2’s level control will feed AUXSEND 1 instead of the MAIN MIX.

Still with us? Good. So far, with the switchdown, we have AUX RETURN 1 feeding theMAIN MIX and AUX RETURN 2 feeding AUXSEND 1. Now, suppose you only have one ef-fects device, and you want it to feed both theMAIN MIX and AUX SEND 1. That’s where“jack normalling” comes in.

JACK NORMALLINGJack normalling (not to be confused with

Jack Normalling, Chicago Cubs utility infielder,1952-61, .267 LBA) is a feature found on al-most every mixer, keyboard and effects device.These jacks have special spring-loaded pinsthat connect to the signal pins, but whensomething is plugged into the jack, that con-nection is broken.

These normalling pins can be used in allsorts of ways. The ubiquitous phrase “LEFT(MONO)” means that if you plug a signal intothe LEFT side and have nothing in the RIGHTside, that signal is also fed to the right input,courtesy of jack normalling. As soon as youplug something in the RIGHT side, thatnormalled connection is broken.

How does all this relate to the EFX TOMONITOR switch? AUX RETURN 1’s inputsare normalled to AUX RETURN 2. If you haveone effects device, plug it into AUX RETURN 1.Plug nothing into AUX RETURN 2. Now thesignals feeding the AUX RETURN 1 inputs willalso be sent to the AUX RETURN 2 inputs.

Engage the EFX TO MONITOR switch, andnow the AUX RETURN 2 knob will become anadditional AUX SEND 1 knob for the signal atthe AUX RETURN 1 . Say that ten times!Once again, AUX RETURN 1 will behave nor-mally, as always.

Congratulations! You’ve just read about allthe features of your 1402-VLZ PRO. You’reprobably ready for a cold one. Go ahead. Therest of the manual can wait.

MODIFICATIONSFor most folks, the 1402-VLZ PRO works just

fine the way it is. But for special applications,there are three signal routing changes that canbe performed easily on the 1402-VLZ PRO. Easyfor someone with soldering experience, that is.If you don’t know how to solder, find a techni-cian that can. This is NOT a good place to learn!• Modification A changes AUX SEND 2 to be

pre-fader, pre-mute instead of post-fader,post-mute.

• Mod B changes AUX SEND 1 (in postmode) and AUX SEND 2 to receive signalregardless of the channel’s MUTE/ALTswitch position, but still be post-fader(GAIN knob).

• Mod C changes the SOURCE matrix’sMAIN MIX selection to tap the stereosignal before the MAIN MIX level control(pre) instead of after (post).

Instructions for performing these modificationscan be found on our website at www.mackie.com(click on Support). Or you can call Tech Supportat 1-800-258-6883 for assistance.

26

1402-VLZ PRO BLOCK DIAGRAM

MA

IN M

IXM

AIN

FA

DERS

30dB

PA

D

TAPE

OUT

L

LIN

E O

UT L

BAL

OUT

L

BAL

OUT

R

LIN

E O

UT R

ALT

MIX

ALT

OUT

L

ALT

OUT

R

ALT

TAPE

MA

IN

SOUR

CE

CON

TRO

L RO

OM

&PH

ON

ES F

ADE

R

MET

ERIN

G(0

dBu

= 0V

U) CON

TRO

L RO

OM

LEF

T

CON

TRO

L RO

OM

RIG

HT

PHO

NES

OUT

AUX

1 M

IX

AUX

1 PR

E / P

OST

AUX

2 O

UT

AUX

1 O

UT

TAPE

IN

L RCO

NTR

OL

ROO

M &

PHO

NES

MIX

2 31

2 31

AUX

1 LE

VEL

TAPE

OUT

R

22 10 7 4 2 0 2 4 7 10 20 30

SOLO

REL

AY

PFL

LED

RUDE

SOLO

LED

AFL

(A

FTER

FA

DER

LIST

EN)

PFL

(PRE

-FA

DER

LIST

EN)

ASS

IGN

TO

MA

IN

AFL

L

PFL

AFL

R

AUX

2 M

IX

SOLO

MIX

MID

HI

80

2K5

12K

LO

MAIN LMAIN RALT LALT R

AUX 1 PREAUX 1 POSTAUX 2 POST

SOLO/PFL

AFL L

PHA

NTO

M P

OW

ER (G

LOBA

L SW

ITCH

)

MIC

IN

LIN

E IN

TRIM

INSE

RT

LOW

CUT

3-BA

ND

EQ

FADE

RPA

NM

UTE

/ ALT

MO

NO

CH

AN

NEL

(1 O

F 6

)

21

3

STER

EO C

HA

NN

EL (1

OF

4)

LIN

E IN

L

LIN

E IN

R

3-BA

ND

EQ

FADE

R

PAN

MUT

E / A

LT

AUX

RET

URN

1

L IN

R IN

AUX

RET

URN

2

L IN

(MO

NO

)

R IN

GA

IN

GA

IN

EFX

TO M

ON

ITO

R

MA

CKIE

1402

-VLZ

PRO

SIG

NA

L FL

OW

1/99

MID

HI

80

2K5

12K

LO

MID

HI

80

2K5

12K

LO

75H

zH

PF

+4 /-

10

AFL R

LOGIC

1 2 3 4 AFL

L

AFL

R

POST

LOG

IC

SOLO

AUX

SEN

D 2

AUX

SEN

D 1

PRE

PFL

1 2 3 4 AFL

L

AFL

R

LOG

IC

SOLO

PFL

POST

AUX

SEN

D 2

AUX

SEN

D 1

PRE

27

GAIN STRUCTURE DIAGRAM

+22d

Bu m

ax in

15dB

loss

, TRI

M d

own

45dB

gai

n, T

RIM

up

+22d

Bu m

ax in

Unit

y ga

in

LIN

E IN

, Cha

nnel

s 7–

14

LIN

E IN

, Cha

nnel

s 1–

6

MIC

IN, C

hann

els

1–6

60d

B ga

in, T

RIM

up

0dB

gain

, TRI

M d

own

+22d

Bu m

ax in

+15d

B up

–15d

B do

wn

LOW

+12d

B up

–12d

B do

wn

MID

+15d

b up

–15d

B do

wn

HIG

H

+10d

B up

FADE

RPA

N

–4dB

cen

ter

EQM

IX

0dB

1/4"

Out

and

RCA

Tap

e O

ut

–30d

B XL

R O

UT, P

AD

enga

ged

+6dB

XLR

OUT

OUT

PUTS

CHA

NN

ELM

AIN

MIX

to ‘A

’‘A

’

to ‘A

’

to ‘A

’

to ‘D

’

MA

IN M

IX, A

LT 3

–40d

B

0dB

0dB

TAPE

IN 6

dB B

oost

‘D’

+10d

B up

OUT

PUT

0dB

SOUR

CE M

atrix

C-R/

PHO

NES

MIX

C-R/

PHO

NES

FA

DER

CON

TRO

L RO

OM

/ PH

ON

ES

C‘B

’0d

B

From

‘B’

+12d

B en

gage

d+1

0dB

up

Chan

nel A

UX S

END

AUX

MIX

Mas

ter A

UX S

END

0dB

OUT

PUT

AUX

SEN

D

INPU

T

+20d

B up

to ‘C

’0d

B

LEVE

L

AUX

RET

URN

+22d

Bu m

ax o

ut (1

/4" &

RCA

)

+28

dBu

max

out

(XLR

)

+22d

Bu m

ax o

ut

+16

dBu

max

TA

PE IN

+22d

Bu m

ax in

+22d

Bu m

ax o

ut

to ‘C

’

FADE

R

+10d

B up

+4 (d

Bu) /

–10

(dBV

)

28

SPECIFICATIONS

Mackie Designs is always striving to improve our mixers by incorporating new and improvedmaterials, components and manufacturing methods. Because we’re always trying to make thingsbetter, we reserve the right to change these specifications at any time, without notice.

Main Mix Noise20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim@ unity gain, channel EQs flat, all channels assigned toMain Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.

Main Mix fader down, channel faders down: –100.0dBuMain Mix fader unity, channel faders down: –86.5dBu(90dB Signal-to-Noise Ratio, ref +4dBu)Main Mix fader @ unity, channel faders @ unity: –84.5dBu

Total Harmonic Distortion (THD)1kHz @ +14dBu, 20Hz–20kHz

Mic pre @ insert : 0.0007%

Attenuation (Crosstalk)1kHz relative to 0dBu, 20Hz–20kHzbandwidth, Line in, 1⁄4" Main Out, Trim @ unity

Main fader down: –85dBuChannel Alt / Mute switch engaged: –84dBuChannel fader down: –83dBu

Frequency ResponseMic input to any output

20Hz to 60kHz: +0dB/–1dB20Hz to 100kHz: +0dB/–3dB

Equivalent Input Noise (EIN)Mic in to Insert Send out, max gain

150 ohm termination: –129.5dBm unweighted

Common Mode Rejection (CMR)Mic in to Insert Send out, max gain

1kHz: better than –90dB

Maximum LevelsMic in: +22dBuTape in: +16dBuAll other inputs: +22dBuMain Mix XLR out: +28dBuAll other outputs: +22dBu

ImpedancesMic in: 1.3 kilohmsChannel Insert return: 2.5 kilohmsAll other inputs: 10 kilohms or greaterTape out: 1.1 kilohmsAll other outputs: 120 ohms

EQHigh Shelving: +/–15db @ 12kHzMid Peaking: +/–12dB @ 2.5kHzLow Shelving: +/–15db @ 80Hz

Power Consumption120VAC, 50/60Hz, 25 watts

Fuse Rating120V: 500mA slo blo, 5 x 20mm220–240V: 250mA slo blo, 5 x 20mm

12.9

" (32

.8cm

)8

rack

spa

ces

14" (35.6cm)

2.9"

(7

.4cm

)

2.9" (7.4cm)

13.1"

(33

.27c

m)

WEIGHT9.5 lbs.(4.5 kg.)

29

SERVICE INFODetails concerning Warranty Service are

spelled out on the Warranty Card included withyour mixer (if it’s missing, let us know and we’llrush one to you).

If you think your 1402-VLZ PRO has a prob-lem, please do everything you can to confirm itbefore calling for service. Doing so might saveyou from the deprivation of your mixer and theassociated suffering.

Of all Mackie products returned for service(which is hardly any at all), roughly 50% arecoded “CND” — Could Not Duplicate, whichusually means the problem lay somewhere otherthan the mixer. These may sound obvious toyou, but here’s some things you can check:

TROUBLESHOOTING

Bad Channel• Is the MUTE/ALT 3–4 switch in the

correct position?• Is the fader turned up?• Try unplugging any INSERT devices

(Channels 1–6 only).• Try the same source signal in another

channel, set up exactly like thesuspect channel.

Bad Output

• Is the associated level control (if any)turned up?

• If it’s one of the Main outputs, try unplug-ging all the others. For example, if it’s the1⁄4" Left Main out, unplug the RCA and XLRLeft outputs. If the problem goes away itsnot the mixer.

• If it’s a stereo pair, try switching themaround. For example, if a left output ispresumed dead, switch the left and rightcords, at the mixer end. If the problemstays on the left it’s not the mixer.

Noise

• Turn the channel fader and AUXRETURN knobs down, one by one. If thesound disappears, it’s either that chan-nel or whatever is plugged into it, sounplug whatever that is. If the noisedisappears, it’s from your whatever.

Power

• Our favorite question: Is the POWERswitch on?

• Check the fuse .

REPAIRService for the U.S. version of the 1402-VLZ

PRO is available only from Mackie Designs, lo-cated in sunny Woodinville, Washington.(Service for mixers living outside the UnitedStates can be obtained through local dealersor 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 andrequest an RA number. Have your mixer’sserial number ready. You must have aReturn Authorization number, or wemay refuse the delivery.

3. Set aside the power cord, owner’s manual,or anything else that you’ll ever want to seeagain. We are responsible for the return ofthe mixer only.

4. Pack the mixer in its original package,including endcaps and box. This is VERYIMPORTANT. When you call for the RAnumber, please let Tech Support know ifyou need a new box. Mackie is not respon-sible for any damage that occurs due tonon-factory packaging.

5. Include a legible note stating your name,shipping address (no P.O. boxes), daytimephone number, RA number and a detaileddescription of the problem, including howwe can duplicate it.

6. Write the RA number in BIG PRINT on topof the box.

7. Ship the mixer to us. We suggest insurancefor all forms of cartage. Ship to this address:

Mackie DesignsSERVICE DEPARTMENT16220 Wood-Red Rd. NEWoodinville, WA 98072

8. We’ll try to fix the mixer within fivebusiness days. Ask Tech Support forcurrent turn-around times when you callfor your RA number. We normally sendeverything back prepaid using three-dayshipping. However, if you rush your mixerto us by next-day air, we’ll treat it in kind byshipping it back in the same way in whichit was received. This paragraph does notnecessarily apply to non-warranty service.

30

APPENDIX A: CONNECTIONS

plug is connected tip to left, ring to rightand sleeve to ground (earth). Mackiemixers do not directly accept 1-plug-typestereo microphones. They must be sepa-rated into a left cord and a right cord,which are plugged into the two micpreamps.You can cook up your own adapter for astereo microphone adapter. “Y” two cablesout of a female 1⁄4" TRS jack to two maleXLR plugs, one for the Right signal and onefor the Left.

• Balanced mono circuits. When wired as abalanced connector, a 1⁄4" TRS jack or plug isconnected tip to signal high (hot), ring tosignal low (cold), and sleeve to ground(earth).

• Unbalanced Send/Return circuits. Whenwired as send/return “Y” connector, a 1⁄4"TRS jack or plug is connected tip to signalsend (output from mixer), ring to signalreturn (input back into mixer), and sleeveto ground (earth).

1⁄4" TS PHONE PLUGS AND JACKS“TS” stands for Tip-Sleeve, the two connec-

tions available on a “mono” 1⁄4" phone jack orplug (Figure C). TS jacks and plugs are used inmany different applications, always unbalanced.The tip is connected to the audio signal and thesleeve to ground (earth). Some examples:• Unbalanced microphones• Electric guitars and electronic instruments• Unbalanced line-level connections

“XLR” CONNECTORSMackie mixers use 3-pin female “XLR”

connectors on all microphone inputs, withpin 1 wired to the grounded (earthed) shield,pin 2 wired to the “high” (”hot” or positive po-larity) side of the audio signal and pin 3wired to the “low” (“cold” or negative polar-ity) side of the signal (Figure A). All totallyaboveboard and in full accord with the hal-lowed standards dictated by the AES (AudioEngineering Society).

Use a male “XLR”-type connector, usuallyfound on the nether end of what is called a“mic cable,” to connect to a female XLR jack.

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

Figure B: 1⁄4" TRS Plugs

Figure A: XLR Connectors

1⁄4" TRS PHONE PLUGS AND JACKS“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” 1⁄4" or“balanced” phone jack or plug. See Figure B.TRS jacks and plugs are used in severaldifferent applications:• Stereo Headphones, and rarely, stereo

microphones and stereo line connections.When wired for stereo, a 1⁄4" TRS jack or

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

Figure C: TS Plug

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

31

balanced ground (earth) will also beconnected to the ground (earth) at theunbalanced input. If there are ground-loopproblems, this connection may be leftdisconnected at the balanced end.

• When connecting an unbalanced output to abalanced input, be sure that the signal high(hot) connections are wired to each other.The unbalanced ground (earth) connectionshould be wired to the low (cold) and theground (earth) connections of the balancedinput. If there are ground-loop problems, tryconnecting the unbalanced ground (earth)connection only to the input low (cold)connection, and leaving the input ground(earth) connection disconnected.In some cases, you will have to make up spe-

cial adapters to interconnect your equipment.For example, you may need a balanced XLR fe-male connected to an unbalanced 1⁄4" TSphone plug.

SPECIAL MACKIE CONNECTIONSThe balanced-to-unbalanced connection

has been anticipated in the wiring of Mackiejacks. A 1⁄4" TS plug inserted into a 1⁄4" TRS bal-anced input, for example, will automaticallyunbalance the input and make all the right con-nections. Conversely, a 1⁄4" TRS plug insertedinto a 1⁄4" unbalanced input will automaticallytie the ring (low or cold) to ground (earth).

TRS Send/Receive Insert JacksMackie’s single-jack inserts are the three-

conductor, TRS-type 1⁄4" phone. They areunbalanced, but have both the mixer output(send) and the mixer input (return) signals inone connector (See Figure F).

The sleeve is the common ground (earth) forboth signals. The send from the mixer to theexternal unit is carried on the tip, and the re-turn from the unit to the mixer is on the ring.

SWITCHED 1⁄4" PHONE JACKSSwitches can be incorporated into 1⁄4"

phone jacks, which are activated by insertingthe plug. These switches may open an insertloop in a circuit, change the input routing ofthe signal or serve other functions. Mackieuses switches in the channel insert and bus in-sert jacks, input jacks and AUX returns. Wealso use these switches to ground the line-levelinputs when nothing is plugged into them.

In most cases, the plug must be insertedfully to activate the switch. Mackie takesadvantage of this in some circuits, specifyingcircumstances where you are to insert the plugonly partially. See Special MackieConnections, later in this section.

RCA PLUGS AND JACKSRCA-type plugs (also known as phono

plugs) and jacks are often used in home stereoand video equipment and in many other appli-

cations(Figure D).They areunbalancedand electri-

cally identical to a 1⁄4" TS phone plug or jack(See Figure C). Connect the signal to the cen-ter post and the ground (earth) or shield tothe surrounding “basket.”

UNBALANCING A LINEIn most studio, stage and sound reinforce-

ment situations, there is a combination ofbalanced and unbalanced inputs and outputson the various pieces of equipment. This usu-ally will not be a problem in makingconnections.• 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 atthe unbalanced input. In most cases, the

TIPSLEEVETIPSLEEVE

Figure D: RCA Plug

32

Using the Send Only on an Insert JackIf you insert a TS (mono) 1⁄4" plug only

partially (to the first click) into a Mackieinsert jack, the plug will not activate the jackswitch and will not open the insert loop in thecircuit (thereby allowing the channel signal tocontinue on its merry way through the mixer).

This allows you to tap out the channel orbus signal at that point in the circuit withoutinterrupting normal operation.

If you push the 1⁄4" TS plug in to the secondclick, you will open the jack switch and createa direct out, which does interrupt the signal inthat channel. See Figure E.

NOTE: Do not over-load or short-circuit thesignal you are tappingfrom the mixer. That willaffect the internal signal.

MACKIE STEREO INPUTS AND RETURNS:Mono, Stereo, Whatever

Stereo line inputs and stereo AUX returnsare a fine example of the Mackie philosophy(which we just made up) of Maximum Flex-ibility with Minimum Headache. The inputsand returns will automatically be mono or ste-reo, depending upon how you use the jacks.Here’s how it works:

A mono signal should be patched into theinput or return jack labeled Left (MONO). Thesignal will be routed to both the left and rightsides of the return circuit, and will show up inthe center of the stereo pair of buses it’s as-signed to, or it can be “panned” with theBalance control.

A stereo signal, having two plugs, should bepatched into the LEFT (MONO) and theRIGHT input or return jacks. A jack switch inthe RIGHT jack will disable the mono func-tion, and the signals will show up in stereo.

A mono signal connected to the RIGHT jackwill show up in the right bus only. You probablywill only want to use this sophisticated effectfor special occasions (weddings, bar mitzvahs,Rush Limbaugh’s birthday party, etc.)

MULTS AND “Y”sA mult or “Y” connector allows you to route

one output to two or more inputs by simplyproviding parallel wiring connections. You canmake “Y”s and mults for the outputs of bothunbalanced and balanced circuits.

Remember: Only multor “Y” an output into sev-eral inputs. If you needto combine several out-puts into one input, you

must use a mixer, not a mult or a “Y.”

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

Channel Insert jack

Channel Insert jack

Channel Insert jack

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)

MONO PLUG

MONO PLUG

STEREO PLUG

Figure E

“tip”

this plug connects to one of the mixer’s Channel Insert jacks. “ring”

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Figure F

33

U

OO

+10

U

OO

+20

U

OO

+20

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

(AFL

)

L

MO

NO

L

MO

NO

L

MO

NO

L

MO

NO

LIN

E IN

7– 8

RR

RR

LIN

E IN

9– 1

0LI

NE

IN 1

1–12

LIN

E IN

13–

14

BAL

OR

UN

BAL

BAL

OR

UN

BAL

BAL

OR

UN

BAL

BAL

OR

UN

BAL

LIN

E IN

3LI

NE

IN 4

L R

1 2

1 2

RIG

HT

AU

X SE

ND

STER

EO A

UX

RETU

RNM

AIN

OU

T

LOW

CU

T75

Hz

18dB

/OC

T

LOW

CU

T75

Hz

18dB

/OC

T

BAL

OR

UN

BAL

BAL

OR

UN

BAL

LIN

E IN

5LO

W C

UT

75 H

z18

dB/O

CT

BAL

OR

UN

BAL

LIN

E IN

6LO

W C

UT

75 H

z18

dB/O

CT

BAL

OR

UN

BAL

LIN

E IN

1LI

NE

IN 2

MIC

1M

IC 2

MIC

3M

IC 4

LEFT

/MO

NO

BAL/

UN

BAL

LOW

CU

T75

Hz

18dB

/OC

T

LOW

CU

T75

Hz

18dB

/OC

T

BAL

OR

UN

BAL

BAL

OR

UN

BAL

ALL

BA

L/U

NB

AL

MIC

5M

IC 6

RUD

ESO

LOLI

GH

T

+28

0dB=

0dBu

+10

LEFT

RIG

HT

+7

+4

+2 0 -2

-4 -7 -10

-20

-30

POW

ERPH

AN

TOM

MA

IN M

IX

LEVE

LSE

T

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

U

+15

-15

U

+15

-15

U

+12

-12

HI

12kH

z

MID

2.5k

Hz

LOW

80H

z

EQ

AU

X1 2

AU

X 1

MA

STER

MO

N/

EFX

1M

ON

/E

FX

1M

ON

/E

FX

1M

ON

/E

FX

1M

ON

/E

FX

1M

ON

/E

FX

1M

ON

/E

FX

1M

ON

/E

FX

EFX

AU

X

2 EFX

AU

X

2 EFX

AU

X

2 EFX

1M

ON

/E

FX

AU

X

2 EFX

1M

ON

/E

FX

AU

X

2 EFX

AU

X

2 EFX

AU

X

2 EFX

AU

X

2 EFX

AU

X

2 EFX

AU

XRE

TURN

1 2

TRIM

TRIM

TRIM

TRIM

NO

RMA

LLED

EFX

TOM

ON

ITO

R

TRIM

TRIM

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

PAN

LR

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

MU

TEM

UTE

MU

TE7–

89–

1011

– 12

13– 1

4M

UTE

4M

UTE

3M

UTE

2M

UTE

1M

UTE

ALT

3– 4

ALT

3– 4

ALT

3– 4

ALT

3– 4

ALT

3– 4

ALT

3– 4

ALT

3– 4

ALT

3– 4

5M

UTE

6M

UTE

LEVE

L+

4-1

0-1

0-1

0-1

0

LEVE

L+

4LE

VEL

+4

LEVE

L+

4

ALT

3– 4

ASS

IGN

TO M

AIN

MIX

C-R

/SO

URC

E

TAPE

SOLO

MO

DE

MA

IN M

IX

TRIM

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

dB 302010

OO

40 5055 U 6010

ALT

3– 4

ALT

3– 4

CTL

RO

OM

/SU

BMIX

LEVE

L SE

T (P

FL)

NO

RMA

L

AU

X 1

SELE

CT

PRE

POST

TAPE

INPU

TTA

PEO

UTP

UT

L R

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

MIC

GA

IN

+15d

B-4

5dB

-10dB

V

060

U

OO

+15

U

OO

+15

U

OO

+15

UU

UU

UU

Sess

ion:

Date

:

NOT

ES:

XDR

MIC

PRE

XDR

MIC

PRE

XDR

MIC

PRE

XDR

MIC

PRE

XDR

MIC

PRE

XDR

MIC

PRE

1402

-VLZ

PRO

14-C

HA

NN

EL M

IC/L

INE

MIX

ERW

ITH

PRE

MIU

M X

DR

TM M

IC P

REA

MPL

IFIE

RS

34

COLOPHON(Roll credits please) Manual written by Jeff

Gilbert, based on a short story by Ron Koliha,now a major Broadway Musical. Manual thendefaced with proofreading pens in the hands ofMackie’s legendary Tech Support staff. Manualcomposed on a rinky-dink PC using a low-bud-get word processor, then converted to thisamazing piece of work using a 13-story 1000gigawhopper Macintosh operated by Mackie’snotorious Advertising staff (most notably BeckyPriebe). Please, feel free to let us know if youfind an error or stumble over a confusing para-graph. Thank you for reading the entire manual(we know you have, or you wouldn’t be here).

Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks ofMackie Designs Inc. Other brand names mentioned are trademarks or registered trademarks oftheir respective holders and are hereby acknowledged.

© 2003 Mackie Designs Inc.All Rights Reserved.

35

1402-VLZ PRO LIMITED WARRANTY

3. Make sure that the problem can be dupli-cated. If you bring your product to an AuthorizedService Center and they can’t find anythingwrong with it, you may be charged a service fee.4. If the Mackie Authorized Service Center islocated in another city, pack the product in itsoriginal shipping carton. More information onpacking can be found in the Service section ofthis manual.5. Contact the Mackie Authorized Service Centerto arrange service or bring the product to them.

F. Mackie and Mackie Authorized Service Centersreserve the right to inspect any products that maybe the subject of any warranty claims before repairor replacement is carried out. Mackie and MackieAuthorized Service Centers may, at their option, re-quire proof of the original date of purchase in theform of a dated copy of the original dealer’s invoiceor sales receipt. Final determination of warranty cov-erage lies solely with Mackie Designs Inc. or itsAuthorized Service Centers.G. Any Mackie product deemed eligible for repair orreplacement under the terms of this warranty will berepaired or replaced within thirty days of receipt byMackie. Mackie may use refurbished parts for repairor replacement of any product. Products returned toMackie that do not meet the terms of this Warrantywill be repaired and returned C.O.D. with billing forlabor, materials, return freight, and insurance. Prod-ucts repaired under warranty at Mackie’s factory willbe returned freight prepaid by Mackie to any locationwithin the boundaries of the USA.H. Mackie warrants all repairs performed for 90 daysor for the remainder of the original warranty period.Mackie assumes no responsibility for the quality ortimeliness of repairs performed by Mackie AuthorizedService Centers.I. This warranty is extended to the original purchaserand to anyone who may subsequently purchase thisproduct within the applicable warranty period.J. This is your sole warranty. Mackie does not authorizeany third party, including any dealer or sales represen-tative, to assume any liability on behalf of MackieDesigns or to make any warranty for Mackie Designs.K. THE WARRANTY GIVEN ON THIS PAGE ISTHE SOLE WARRANTY GIVEN BY MACKIE ANDIS IN LIEU OF ALL OTHER WARRANTIES,EXPRESS AND IMPLIED, INCLUDING THEWARRANTIES OF MERCHANTABILITY ANDFITNESS FOR A PARTICULAR PURPOSE. THEWARRANTY GIVEN ON THIS PAGE SHALL BESTRICTLY LIMITED IN DURATION TO ONEYEAR FROM THE DATE OF ORIGINAL PUR-CHASE FROM AN AUTHORIZED MACKIEDEALER. UPON EXPIRATION OF THE APPLI-CABLE WARRANTY PERIOD, MACKIE SHALLHAVE NO FURTHER WARRANTY OBLIGATIONOF ANY KIND. MACKIE SHALL NOT BE LIABLEFOR ANY INCIDENTAL, SPECIAL, OR CONSE-QUENTIAL DAMAGES THAT MAY RESULTFROM ANY DEFECT IN THE MACKIE PROD-UCT OR ANY WARRANTY CLAIM. Some statesdo not allow exclusion or limitation of incidental,special, or consequential damages or a limitationon how long warranties last, so some of the abovelimitations and exclusions may not apply to you.This warranty provides specific legal rights and youmay have other rights which vary from state to state.

Please keep your sales receipt in a safe place.

A. Mackie warrants all materials, workmanship andproper operation of this product for a period of threeyears from the original date of purchase. If any de-fects are found in the materials or workmanship or ifthe product fails to function properly during the ap-plicable warranty period, Mackie, at its option, willrepair or replace the product. Labor for replacing allpotentiometers and switches is covered for the firstyear, after which it is excluded from warranty cover-age and may be billed to you. This warranty appliesonly to equipment sold and delivered within theU.S. by Mackie or its authorized dealers.B. Failure to register online or return the productregistration card will not void the 3-year warranty.C. Service and repairs of Mackie products are to beperformed only at the factory (see D below) OR at anAuthorized Mackie Service Center (see E below).Unauthorized service, repairs, or modification willvoid this warranty.D. To obtain factory service:

1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get aReturn Authorization (RA). Products returnedwithout an RA number will be refused.2. Pack the product in its original shipping car-ton. If you do not have the carton, just ask forone when you get your RA number, and we’llsend a shipping carton out promptly. More infor-mation on packing can be found in the Servicesection of this manual. Do not use “packing pea-nuts,” shredded newspapers, or other materialwith small particles, old underwear, or socks.Please seal the Mackie product in a plastic bag.3. Also include a note explaining exactly how toduplicate the problem, a copy of the sales receiptwith price and date showing, and your returnstreet address (no P.O. boxes or route numbers,please!). If we cannot duplicate the problem atthe Mackie Factory or establish the starting dateof your Limited Warranty, we may, at our option,charge for service time.4. Ship the product in its original shipping car-ton, freight prepaid to:

Mackie DesignsService Department

16220 Wood-Red Rd. NEWoodinville, WA 98072 USA

IMPORTANT: Make sure that the RA number isplainly written on the shipping carton.E. To obtain service from an Authorized Mackie Ser-vice Center:

1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get:1) The name and address of your nearest MackieAuthorized Service Center and 2) A return au-thorization (RA). You must have an RA numberbefore taking your unit to a service center.2. Make sure that you have a copy of yourproduct’s sales receipt from the store where youbought the product. It is necessary to establishpurchase date and thus determine whether ornot your product is still under warranty. If youcan’t find it, the Authorized Service Center maycharge you for repairs even if your product is stillcovered by Mackie’s 3-Year Limited Warranty.

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: [email protected]

1402-vlz pro 14-channel mic/line mixer owner's manual

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