14-Channel Mic/Line Mixer: Owner'S Manual

1402-VLZ3
14-Channel Mic/Line Mixer

OWNER’S MANUAL
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE 1 1 INPUT OUTPUT L
L L
2 2 R
R R
AUX SEND MAIN OUT

BAL BAL BAL BAL BAL BAL
OR OR OR OR OR OR MONO MONO MONO MONO
UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL
L L L L
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT BAL BAL BAL BAL
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz OR OR OR OR
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT UNBAL UNBAL UNBAL UNBAL
-10dBV -10dBV -10dBV -10dBV -10dBV -10dBV R R R R
C GAIN C GAIN C GAIN C GAIN C GAIN C GAIN
U MI U MI U MI U MI U MI U MI
LEVEL LEVEL LEVEL LEVEL

0 60 0 60 0 60 0 60 0 60 0 60 +4 +4 +4 +4
+15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB
-10 -10 -10 -10
GAIN GAIN GAIN GAIN GAIN GAIN LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 LINE IN 13-14
U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U U
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20
U U U U U U U U U U U
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ LEFT RIGHT
C-R/SOURCE 0dB=0dBu
HI HI HI HI HI HI HI HI HI HI 20
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz
MAIN MIX 10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U U U 7
MID MID MID MID MID MID MID MID MID MID 4
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz ALT 3–4
2
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
TAPE 2
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 7
ASSIGN
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN TO MAIN MIX 10 LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL) 30
L R L R L R L R L R L R L R L R L R L R
SOLO
1 2 3 4 5 6 7-8 9-10 11-12 13-14 MODE RUDE
SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE LIGHT
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 48V POWER
CTL ROOM /SUBMIX MAIN MIX

dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5 5 5 5 5 5
U U U U U U U U U U U U
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO
Important Safety Instructions
1402-VLZ3
1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with
2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC
3. Heed all warnings. Rules. These limits are designed to provide reasonable protection
4. Follow all instructions. against harmful interference in a residential installation. This equip-
5. Do not use this apparatus near water. ment generates, uses, and can radiate radio frequency energy and, if
6. Clean only with a dry cloth. not installed and used in accordance with the instructions, may cause
7. Do not block any ventilation openings. Install in accordance with the harmful interference to radio communications. However, there is no
manufacturer’s instructions. guarantee that interference will not occur in a particular installation. If
8. Do not install near any heat sources such as radiators, heat registers, this equipment does cause harmful interference to radio or television
stoves, or other apparatus (including amplifiers) that produce heat. reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
9. Do not defeat the safety purpose of the polarized or grounding-type more of the following measures:
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong. • Reorient or relocate the receiving antenna.
The wide blade or the third prong are provided for your safety. If the • Increase the separation between the equipment and the
provided plug does not fit into your outlet, consult an electrician for receiver.
replacement of the obsolete outlet. • Connect the equipment into an outlet on a circuit different from
10. Do not overload wall outlets and extension cords as this can result in a that to which the receiver is connected.
risk of fire or electric shock. • Consult the dealer or an experienced radio/TV technician for
11. Protect the power cord from being walked on or pinched particularly at help.
plugs, convenience receptacles, and the point where they exit from the CAUTION: Changes or modifications to this device not expressly
apparatus. approved by LOUD Technologies Inc. could void the user's authority to
12. Only use attachments/accessories specified by the manufacturer. operate the equipment under FCC rules.
13. Use only with a cart, stand, tripod, bracket, or PORTABLE CART
21. This apparatus does not exceed the Class A/Class B (whichever is
table specified by the manufacturer, or sold with WARNING applicable) limits for radio noise emissions from digital apparatus as
the apparatus. When a cart is used, use caution set out in the radio interference regulations of the Canadian Department
when moving the cart/apparatus combination to of Communications.
avoid injury from tip-over. ATTENTION — Le présent appareil numérique n’émet pas de bruits
14. Unplug this apparatus during lightning storms or radioélectriques dépassant las limites applicables aux appareils
when unused for long periods of time. numériques de class A/de class B (selon le cas) prescrites dans le
15. Refer all servicing to qualified service personnel. Servicing is required réglement sur le brouillage radioélectrique édicté par les ministere des
when the apparatus has been damaged in any way, such as power- communications du Canada.
supply cord or plug is damaged, liquid has been spilled or objects have 22. Exposure to extremely high noise levels may cause permanent hearing
fallen into the apparatus, the apparatus has been exposed to rain or loss. Individuals vary considerably in susceptibility to noise-induced
moisture, does not operate normally, or has been dropped. hearing loss, but nearly everyone will lose some hearing if exposed to
16. This apparatus shall not be exposed to dripping or splashing, and no sufficiently intense noise for a period of time. The U.S. Government’s
object filled with liquids, such as vases or beer glasses, shall be placed Occupational Safety and Health Administration (OSHA) has specified
on the apparatus. the permissible noise level exposures shown in the following chart.
17. This apparatus has been designed with Class-I construction and must According to OSHA, any exposure in excess of these permissible limits
be connected to a mains socket outlet with a protective earthing con- could result in some hearing loss. To ensure against potentially danger-
nection (the third grounding prong). ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
18. This apparatus has been equipped with a rocker-style AC mains power sure levels use hearing protectors while the equipment is in operation.
switch. This switch is located on the rear panel and should remain Ear plugs or protectors in the ear canals or over the ears must be worn
readily accessible to the user. when operating the equipment in order to prevent permanent hearing
19. The MAINS plug or an appliance coupler is used as the disconnect loss if exposure is in excess of the limits set forth here:
device, so the disconnect device shall remain readily operable.
CAUTION AVIS Duration, Sound Level Typical Example

RISK OF ELECTRIC SHOCK. DO NOT OPEN
per day in dBA, Slow
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR hours Response
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) 8 90 Duo in small club
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. 6 92
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. 4 95 Subway Train
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE 3 97
The lightning flash with arrowhead symbol within an equilateral triangle is
2 100 Very loud classical music
intended to alert the user to the presence of uninsulated "dangerous 1.5 102
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons. 1 105 Dave screaming at Steve about
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral deadlines
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 0.5 110
d'éléctrocution. 0.25 or less 115 Loudest parts at a rock concert
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
WARNING — To reduce the risk of fire or electric shock, do not
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
expose this apparatus to rain or moisture.
accompagnant l'appareil.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
1402-VLZ3
Read This Page! Other Nuggets of Wisdom
Owner’s Manual
For optimum sonic performance, the channel faders
We realize that you must be wanting to
and MAIN MIX faders should be set near the “U” (unity
try out your new 1402-VLZ3. All we ask
gain) markings.
is that you read this page NOW, and the
rest later — you’ll be glad you did. Always turn the MAIN MIX and CONTROL ROOM/
SUBMIX faders down before making connections to and
WARNING: Before you plug the AC power
from your 1402-VLZ3.
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage If you shut down your equipment, turn off your ampli-
as your local AC mains supply (see page 12). fier first. When powering up, turn on your amplifier last.
Save the shipping box! You may need it someday.
Level-Setting Procedure
Message to seasoned pros: do not set levels using the
Instant Mixing
old “Turn the GAIN up until the clip light comes on, Here’s how to get going right away, assuming you have
then back off a hair” trick. When a Mackie mixer clip a microphone and a keyboard:
light comes on, you really are about to clip. We worked
and slaved to come up with a better system, one that 1. Plug your microphone into channel 1’s MIC
provides low noise and high headroom. input.
2. Turn on the 1402-VLZ3.
Adjusting input levels (Chs. 1–6 only) 3. Perform the Level-Setting Procedure.
On the first six channels, it’s not even necessary to 4. Connect cords from the MAIN OUTS (XLR, 1⁄4"
hear what you’re doing to set optimal levels. But if you’d or RCA, your choice) to your amplifier.
like to: Plug headphones into the PHONES jack, then
move the CONTROL ROOM/SUBMIX fader up a little. 5. Hook up speakers to the amp and turn it on.
The following steps must be performed one channel at 6. Turn up the 1402-VLZ3’s channel 1 fader to the
a time: U mark, and the MAIN MIX fader one quarter of
the way up.
1. Turn the GAIN, AUX SEND knobs and FADERS
fully down. 7. Sing like a canary!
2. Set the EQ knobs at the center detent. 8. Plug your keyboard into stereo channel 7-8.
3. Connect the signal source to the input. 9. Turn that channel’s fader to the U mark.
4. Engage (push in) the channel's SOLO switch. 10. Play like a madman and sing like a canary!
It’s your first mix!
5. Engage the AFL/PFL switch in the master sec-
tion. A green LEVEL SET light will turn on.
6. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume Please write your serial number here for future
of the input is the same as it would be during reference (i.e., insurance claims, tech support,
normal use. If it isn’t, you may have to readjust return authorization, make dad proud, etc.)
these levels during the middle of the set.
7. Adjust the channel’s GAIN control so that the
display on the LED meters stays around “0” and
never goes higher than “+7.” Purchased at:
8. If you apply some EQ, repeat step 7.
9. Disengage that channel’s SOLO switch.
10. Repeat for channels 1 through 6.
Date of purchase:
Part No. SW0544 Rev. C 01/09

©2006-2009 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
Introduction
1402-VLZ3
Thank you for choosing a Mackie professional com- This icon marks information that is critically
pact mixer. The 1402-VLZ3 is equipped with our pre- important or unique to the 1402-VLZ3. For your
cision-engineered XDRTM Extended Dynamic Range own good, read them and remember them. They
premium studio-grade mic preamp. will be on the final test.
Now that you have your 1402-VLZ3, find out how to get This icon will lead you to in-depth explana-
the most from it. That’s where this manual comes in. tions of features and practical tips. While not
mandatory, they usually have some valuable
How To Use This Manual nuggets of information.
Since many of you folks will want to hook up your Appendix A is a section on troubleshooting and repair
1402-VLZ3 immediately, the first pages you will en- information.
counter after the table of contents are the ever-popular
Appendix B is a section on connectors: XLR connec-
hookup diagrams. These show typical mixer setups for
tors, TRS balanced connectors, TS unbalanced connec-
Recording and Stereo PA.
tors, and Insert connectors.
After this section is a detailed tour of the entire mixer.
Appendix C shows the technical specifications, and
Every feature of the 1402-VLZ3 is described “geographi-
a block diagram showing the internal signal path and
cally;” in other words, in order of where it is physically
general goings-on within the mixer.
placed on the mixer’s top or rear panel. These descrip-
tions are divided into the first three sections, just as Appendix D was removed after it became bloated and
your mixer is organized into three distinct zones: painful.
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips on the left
where you adjust each channel.
Output Section: The output section on the right.
Throughout these sections you’ll find illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the appropriate illustration,
notice the number attached to it, and find that number
in the nearby paragraphs.
Need help with your new mixer?

• Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, and addendums.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
normal business hours, PST).
1402-VLZ3
Contents
Owner’s Manual
IMPORTANT SAFETY INSTRUCTIONS......................... 2 OUTPUT SECTION................................................... 16
INTRODUCTION....................................................... 4 32. MAIN MIX FADERS.................................... 16
HOOKUP DIAGRAMS............................................... 6 33. CONTROL ROOM SOURCE MATRIX............. 16
PATCHBAY DESCRIPTION.......................................... 8 34. CONTROL ROOM/SUBMIX........................ 16
1. MIC INPUTS (CHANNELS 1–6).................... 8 35. SOLO MODE (AFL/PFL) .......................... 17
PHANTOM POWER.................................... 8 36. RUDE SOLO LIGHT................................... 17
2. LINE INPUTS (CHANNELS 1–6)................... 8 37. ASSIGN TO MAIN MIX............................. 17
3. LOW CUT (CHANNELS 1–6)........................ 9 38. METERS – MANY DISPLAYS IN ONE!........ 17
4. GAIN (CHANNELS 1–6) . ........................... 9 A WORD ABOUT AUX.............................. 18
5. STEREO LINE INPUTS................................. 9 39. PRE/POST (AUX 1) ................................ 18
6. +4/–10 LEVEL (STEREO CHANNELS ONLY) 9 40. AUX 1 MASTER....................................... 18
EFFECTS: SERIAL OR PARALLEL?................. 9 41. STEREO RETURNS.................................... 18
7. STEREO RETURNS.................................... 10 42. RETURN TO AUX 1.................................. 19
8. AUX SEND 1&2....................................... 10 JACK NORMALLING................................. 19
9. TAPE INPUT............................................ 10 APPENDIX A: SERVICE INFORMATION..................... 20
10. TAPE OUTPUT......................................... 10 APPENDIX B: CONNECTIONS.................................. 21
11. 1⁄4" MAIN OUTS...................................... 10 APPENDIX C: TECHNICAL INFORMATION................. 24
12. PHONES................................................. 11 SPECIFICATIONS.............................................. 24
13. XLR MAIN OUTS .................................... 11 BLOCK DIAGRAM............................................. 25
14. XLR MAIN OUTPUT LEVEL SWITCH........... 11 TRACK SHEET.................................................. 26
15. CONTROL ROOM..................................... 11 1402-VLZ3 LIMITED WARRANTY............................ 27
16. ALT 3–4 OUTPUT.................................... 11
17. CHANNEL INSERT (CHANNELS 1–6 )......... 11
18. POWER CONNECTION.............................. 12
19. FUSE....................................................... 12
20. VOLTAGE SELECTOR................................. 12
21. POWER SWITCH...................................... 12
22. PHANTOM SWITCH................................. 12
CHANNEL STRIP DESCRIPTION................................ 13
“U” LIKE UNITY GAIN............................. 13
23. CHANNEL FADER...................................... 13
24. SOLO...................................................... 13
25. MUTE/ALT 3–4....................................... 13
26. PAN......................................................... 14
CONSTANT LOUDNESS ! ! !....................... 14
3-BAND EQ............................................. 14
27. LOW EQ.................................................. 14
28. MID EQ................................................... 14
29. HI EQ...................................................... 15
MODERATION DURING EQ....................... 15
31. AUX 1 AND 30. AUX 2 SEND.................... 15
Owner’s Manual
HOOKUP DIAGRAMS
1402-VLZ3
1 1
Vocal Mics 1
CHANNEL INSERTS
2 2
In Mono Compressor
Direct 3
3
3 Out
Boxes
4 4 4
5 In
5 5 Out Stereo Compressor
6 In
6 6
Out
STEREO RETURNS
7 L
MONO L
Stereo Guitar Effects CHANNEL INPUTS 1
8 R
R
Drum
Machine 9 L Digital Delay
MONO L
Keyboard or other 2
line level input 10 R R Multi Effect
L
11 MONO
Processor
1
SEND
AUX
12 R
2
L
13 MONO
ALT 3/4
L
OUT
14 R
R
Out
IN-TAPE-OUT PHONES CNTRL ROOM
(play) L R
L
MAIN
OUT
L R R
In
(record)
OUT
MAIN
OUT
OUTPUTS
Headphones
for Studio
Powered Powered
Studio Monitors Headphone Distribution Amp Studio Monitors
for Studio
Recording System
1402-VLZ3
Owner’s Manual
Vocal Mics
In Mono Compressor
Direct 1 1
1
Boxes Out
2
CHANNEL INSERTS
2 2
3 In
3 3
Out Stereo Compressor
4 In
4 4
Out
5
5 5
6 6
6
Stereo Guitar Effects
STEREO RETURNS
7 L
MONO L
CHANNEL INPUTS
1
8 R R
Drum
Machine 9 L
MONO L
Keyboard or other 2
10 R
line level input R
L
11 MONO
1 Multi Effect
SEND
AUX
12 R
Processor
2
L
13 MONO
ALT 3/4
L Stage Monitors
OUT
14 R
R Mono EQ
IN-TAPE-OUT PHONES CNTRL ROOM
L R
L
Mono Power
MAIN
OUT
L R R Amplifier
Out
(play)
OUT
MAIN
OUT
In
OUTPUTS
(record)
Stereo
Headphones EQ
SRM450 SRM450
Powered Powered
Speaker Speaker
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.
SWA1501 SWA1501
C. Connect Mono PA system to Powered Powered
Left main output. Subwoofer Subwoofer
Live Stereo PA System
Owner’s Manual
Patchbay Description
1402-VLZ3
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
1
L L
2 2 R
R R
MAIN OUT
2
AUX SEND
L L L L
5
3
4
0 60 0 60 0 60 0 60 0 60 0 60 +4 +4 +4 +4
-10 -10 -10 -10
6
At the risk of stating the obvious, this is where you be “unseen” by dynamic mics (Shure SM57/SM58, for
plug everything in: microphones, line-level instruments
OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15
instance), which don’t need external power and aren’t
OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO +10 OO
U
+20
and effects, headphones, and the ultimate destination affected by it anyway.

+20
for your sound: aEQtape recorder, PAEQsystem, EQ

etc.
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO
U EQ EQ
U U U U U EQ U EQ U EQ U EQ U EQ LEFT RIGHT
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
The 1402-VLZ3’s phantom power is globally controlled
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
C-R/SOURCE 0dB=0dBu
20
See Appendix B for further details and drawings of

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 by the PHANTOM switch on the rear panel. (This means
-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 MAIN MIX 10
the connectors you can use with the 1402-VLZ3. Also see
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz the phantom power for channels 1-6 is turned on and off
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz ALT 3–4
4
the Channel Strip description on page 13 for details of

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15
together.) -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15
0
the signal routing from the XLR and Line inputs. TAPE 2
Never plug single-ended (unbalanced) micro

4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 7
ASSIGN
PAN PAN PAN PAN PAN PAN PAN PAN PAN
phones or instruments intoPAN
the MIC input 10 LEVEL
TO MAIN MIX
SET
1. MIC INPUTS (Channels 1–6)

L R L R L R L R L R L R L R jacks if the PHANTOM power is on.
L R L R L R
NORMAL (AFL)
LEVEL SET (PFL)
20
30
SOLO
1 2 3 4 5 6 7-8 9-10 11-12 13-14 MODE
We use phantom-powered, balanced microphone

RUDE
SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
Do not plug instrument outputs into/SUBMIX
the MIC MAIN MIX
LIGHT
inputs just like the big studio mega-consoles, for exactly CTL ROOM
dB dB dB dB dB dB dB
input jacks
dB
with PHANTOM power on unless
dB dB dB dB
the same reason: This kind of circuit is excellent atSOLO

re-
10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5
you know for certain it is safe to do so.
5 5 5 5 5
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.

5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 2. LINE INPUTS (Channels 1–6)

10 10 10 10 10 10
Professional ribbon, dynamic, and condenser mics

These six line inputs share circuitry (but not phan-
20 20 20 20 20 20 20 20 20 20 20 20
will all sound excellent through these inputs. The

30 30 30 30 30 30 30 30 30 30 30 30
tom power) with the mic preamps, and can be driven

1402-VLZ3’s mic inputs will handle any kind of mic level
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60
by balanced or unbalanced sources at almost any level.
60 60 60 60 60 60
you can toss at them, without overloading. Be sure to

You can use these inputs for virtually any signal you’ll
perform the Level-Setting Procedure on page 3.
come across, from instrument levels as low as –40 dB to
Not every instrument is made to connect directly to a operating levels of –10 dBV to +4 dBu, since there is 40
mixer. Guitars commonly need a Direct Injection (DI) dB more gain available than on channels 7–14.
box to connect to the mixer's MIC inputs. These boxes
To connect balanced lines to these inputs, use a 1⁄4"
convert unbalanced lnstrument-level signals from your
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
guitar, into balanced mic-level outputs, and provide
headphones.
signal and impedance matching. They also let you send
your gifted guitar renditions over long cables or audio To connect unbalanced lines to these inputs, use a
snakes, with minimum interference and high-frequency 1⁄4" mono (TS) phone plug or standard instrument
signal loss. Ask your dealer or guitar maker about their cable.
recommendations for a good DI box.
LINE IN inputs 1–6 are a good place to connect older
instruments that need more gain. You can correct weak
PHANTOM POWER
levels by adjusting the corresponding channel’s GAIN
Most modern professional condenser mics are control.
equipped for Phantom Power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
1402-VLZ3
3. LOW CUT (Channels 1–6) 5. STEREO LINE INPUTS
Owner’s Manual
Each LOW CUT switch, often referred to as a High (Channels 7–8, 9–10, 11–12 and 13–14)
Pass Filter (all depends on how you look at it), cuts bass These fully balanced inputs are designed for stereo or
frequencies below 75 Hz at a rate of 18 dB per octave. mono, balanced or unbalanced signals, from –10 dBV to
+4 dBu. They can be used with just about any profes-
We recommend that you use LOW CUT on every
sional or semi-pro instrument, effect or tape player.
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much In the stereo audio world, an odd-numbered chan-
down there that you want to hear, and filtering it out nel usually receives the “left signal.” For example, you
makes the low stuff you do want much more crisp and would feed the 1402-VLZ3’s line inputs 7-8 a stereo
tasty. Not only that, but LOW CUT can help reduce the signal by inserting the device’s left output plug into the
possibility of feedback in live situations and it helps to channel 7 jack, and its right output plug into the chan-
conserve the amplifier power. nel 8 jack.
Another way to consider LOW CUT’s function is that it When connecting a mono device (just one cord), al-
actually adds flexibility during live performances. With ways use the LEFT (MONO) input (jacks 7, 9, 11, or 13)
the addition of LOW CUT, you can safely use LOW equal- and plug nothing into the RIGHT input (jacks 8, 10, 12
ization on vocals. Many times, bass shelving EQ can or 14)— this way the signal will appear on both sides.
really benefit voices. Trouble is, adding LOW EQ also This trick is called “jack normalling.”
boosts stage rumble, mic handling clunks and breath
pops. LOW CUT removes all those problems so you can 6. +4/–10 LEVEL (Stereo Channels only)
add low EQ without losing a woofer.
This switch adjusts the input sensitivity of the line
Here’s what the combination of LOW EQ and LOW inputs on channels 7 to 14. If the sound source is a "–10"
CUT looks like in terms of frequency curves: device, engage this switch. If you are unsure, leave the
switch up, and perform the Level Setting Procedure,
+15 +15
+10 +10
substituting this switch for the GAIN knob to find the
best position for it.
+5
MIC 1 MIC 2 +5
MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MO
0 MIC PRE 0 IC PR
M MIC PRE MIC PRE MIC PRE MIC PRE
XDR XDR E XDR XDR XDR XDR
–5 –5
EFFECTS: SERIAL OR PARALLEL?
–10 –10
–15 –15 The next two sections toss the terms “serial” and
20Hz 100Hz 1kHz 10kHz 20kHz 20Hz 100Hz 1kHz 10kHz 20kHz
Low Cut Low Cut with Low EQ “parallel” around like hacky sacks. Here’s what we mean
by them:
4. GAIN (Channels 1–6) “Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
If you haven’t already, please read the Level-Setting
graphic equalizers. Line-level sources can be patched
Procedure. BAL BAL BAL BAL BAL BAL
OR OR OR through a serial
OReffects device before
OR or after the mixer,OR
UNBAL
GAIN adjusts UNBALof the mic and line
the input sensitivity UNBAL or preferablyUNBAL UNBAL
through the insert jacks located on the UNBAL
inputs connected to channels 1 through 6. This allows rear panel (CHANNEL INSERT [17] send/return).
LINE INfrom
signals 1 the outsideLINEworld
IN 2 to be adjusted
LINEto
INoptimal
3 LINE IN 4 LINE IN 5 LINE IN 6
LOW CUT LOW CUT LOW CUT InsertLOW CUT Insert
LOW CUT LOW CUT
internal operating
75 Hz levels. 75 Hz 75 Hz
Send
75 Hz
Return
75 Hz 75 Hz
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT
Signal Processor 18dB/OCT 18dB/OCT
(e.g., Compressor)
-10dBV If the signal
-10dBoriginates
V through
-10dthe
BV Dry Signal -10dBV -10dBV 0dBV
-1Processed
Signal
C GAIN IC GAIN IC GAIN IC GAIN C GAIN CG AIN
U MI XLR jack, there will be 0 dB of gain
U M U M U M U MI U MI
with the knob fully down, ramping to “Parallel” means that a portion of the signal in the
0 60
60 dB of0gain60fully up. 0 60
mixer is tapped off to the device
Aux
Insert60
0 Send
Aux (AUX SEND),
Insert60
0Return
Output pro-
Section 0 60
+15dB -45dB +15dB -45dB +15dB -45dB cessed and
+15dB Send returned
-45dB to the mixer
Return
+15dB -45dB(STEREO RETURN)
+15dB -45dB
GAIN Through the 1⁄4" input, there
GAIN GAINis 15 GAINwithSignal Processor GAIN
Processor
GAIN LINE I
toDrybeSignal
mixed the
Signal
(e.g.,
(e.g., original “dry”Wetsignal.
Reverb)
Compressor) Signal This way,
dB of attenuation fully down and 45 dB Processed
multiple channels can all make use of the same effects Signal
of gain fully up, with a “U” (unity gain) mark at 10:00. Mix Processed
device. Examples: Channelreverb,
Path digital delay. Stage Signal
This 15 dB of attenuation can be very handy when you
U AUX
are inserting U
a very hot signal, orAUX U to add
when you want AUX Dry Signal(s)
U Aux AUX U Aux AUX
Dry Signal(s)
OutputU AUX U
Send Return Section
a lot of EQ gain, or both. Without this “virtual pad,” this Signal Processor
scenario might lead to channel clipping. (e.g., Reverb) Wet Signal
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15

Mix Processed OO +1
U U U U Channel Path U Stage U Signal U
Dry Signal(s) Dry Signal(s)
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +1

U EQ U EQ U EQ U EQ U EQ Manual
Owner’s U EQ U
HI HI HI HI HI HI
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz
1402-VLZ3
MIC 1
XDR
MIC PRE
MIC 2
XDR
MIC PRE
MIC 3
XDR
MIC PRE
MIC 4
XDR
MIC PRE
MIC 5
XDR
MIC PRE
MIC 6
XDR
MIC PRE
LEFT/MONO
7
1
RIGHT
8
ALL BAL/UNBAL
1
9 10 11
TAPE TAPE
INPUT OUTPUT
BAL/UNBAL
L
L L
7
2 2
R R
R
AUX SEND MAIN OUT

L L L L
12

0 60 0 60 0 60 0 60 0 60 0 60 +4 +4 +4 +4
-10 -10 -10 -10
7. STEREO RETURNS Use these jacks for convenient tape playback of your
mixes. You’ll be able to review a mix, then rewind and
This is where you connect the outputs of your par-

try another pass, without repatching or disturbing the
allel effects devices (or extra audio sources). These
EQ U EQ EQ EQ U EQ EQ U U U U U
mixer
EQ levels.EQYou canEQ
also use EQ
U
theseC-R/SOURCE
with a tapeLEFT
or CD
URIGHT U
balanced inputs are similar to the stereo LINE IN [2]

HI HI HI HI HI HI HI HI HI HI
0dB=0dBu
player to feed music to a PA system between sets.

20
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 MAIN MIX 10
The circuits will handle stereo or mono, balanced or

MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz WARNING: Engaging both the TAPE and
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz ALT 3–4
4
unbalanced signals, either instrument level, –10 dBV

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15
ASSIGN TO MAIN MIX buttons in the CON-
-15
U
+15 -15
U
+15 -15
U
+15
0
2
TAPE
or +4 dBu. They can be used with just about any pro or
-15 +15
80Hz
-15 +15
80Hz
-15 +15
80Hz
-15 +15
80Hz
-15 +15
80Hz
-15 +15
80Hz
-15 +15
TROL ROOM SOURCE [33] matrix can create
80Hz
-15 +15
80Hz
-15 +15
80Hz
-15 +15
80Hz
4
semipro effects device on PAN

the market.
PAN The signals com-
7
PAN PAN PAN PAN a feedback
PAN path between
PAN PAN TAPE PANINPUT and TAPE OUT- ASSIGN
TO MAIN MIX 10 LEVEL
SET
ing into these inputs can be adjusted using the STEREO

L R L R L R L R L R L R
PUT. Make sure your tape deck is not in record, record-
L R L R L R L R
NORMAL (AFL)
LEVEL SET (PFL)
20
30
RETURN
1 [41]2 knobs before
3 passing
4 onto5 the main6 mix 7-8pause,9-10
or input11-12monitor mode
13-14 when you engage these
SOLO
MODE RUDE
SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
bus (see page 18).
LIGHT
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4
switches, or make sure the CONTROL ROOM
ALT 3–4 ALT 3–4
/SUBMIX
/ SUBMIX
ALT 3–4
MAIN MIX
ALT 3–4 48V
CTL ROOM
POWER
fader
SOLO [34] SOLO
is fully down
SOLO (off).
10 10 10 10 10 10 10 10 10 10 10 10
One Device: If you have just one parallel effects de-

5
SOLO
5
SOLO
5
SOLO
5
SOLO
5
SOLO
5
SOLO
5 5
SOLO
5 5 5 5
vice (two cords), use STEREO RETURN 1 left and right,

10. TAPE OUTPUT
and leave RETURN 2 unplugged. That way, the unused

5 5 5 5 5 5 5 5 5 5 5 5
RETURN 2 level control can be used to feed RETURN 1

10 10 10 10 10 10 10
These unbalanced RCA connections tap the main
10 10 10 10 10
to your stage monitors, via the RETURN TO AUX 1 [42]

20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30
mix output to make simultaneous recording and PA
30 30 30 30 30
switch.
40
50
40
50
40
50
40
50
40
50
40
50
40
50
work more convenient. Connect these to your recorder’s
40
50
40
50
40
50
40
50
40
50
60 60 60 60 60 60 60
inputs. (See also MAIN MIX [32] on page 16.)
60 60 60 60 60
Mono Device: If you have an effects device with

a mono output (one cord), plug that into STEREO Mono Out: If you want to feed a mono signal to your
RETURN 1 left/mono, and leave the right unplugged. tape deck or other device, simply use an RCA Y-cord to
The signal will be sent to both sides, magically appear- combine these outputs. Do not attempt this with any
ing in the center as a mono signal. This won’t work with other outputs on the 1402-VLZ3.
STEREO RETURN 2 — you’ll need a Y-cord.
11. 1⁄4" MAIN OUTS
8. AUX SEND 1&2
These outputs feed the main mix out into the waiting
The AUX SEND [31] knobs in the channel sections world. You can feed your amplifiers this way, or through
tap a portion of each channel's signal to provide an out- the XLR MAIN OUTS [13].
put here to feed external parallel effects processors or
stage monitoring. See the AUX SEND details on page 15. These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
These 1⁄4" jacks are also balanced outputs capable
of delivering 22 dBu into a 600 ohm balanced or unbal- To use these outputs to drive balanced inputs, con-
anced load. nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
9. TAPE INPUT Ring = –(cold)
These RCA jacks are designed to work with semipro Sleeve = Ground
as well as pro recorders. To compensate for typically
For most music recording and PA applications,
low levels, signals coming in here will be automatically
unbalanced lines are perfectly acceptable. To use these
boosted by 6 dB.
outputs to drive unbalanced inputs, connect 1⁄4" TS
Connect your tape recorder’s outputs here, using good (Tip-Sleeve) phone plugs like this:
quality hi-fi (RCA) cables.
Tip = + (hot)
Sleeve = Ground
10 1402-VLZ3
Owner’s Manual
13
14 15 16 17
12. PHONES 3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed
channels, or the Tape input. The volume is adjustable
This stereo jack will drive any standard headphone
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO
with the CONTROL
RIGHT TAPE ROOM/SUBMIX
ALL BAL/UNBAL
TAPE [34] fader. BAL/UNBAL
to very loud levels. Walkperson-type phones can also be

XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
used with an appropriate adapter. To learn how signals These 1⁄4" Ljacks are Lbalanced outputs capable of de-
are routed to these outputs, see SOURCE MATRIX 2
livering 22 2dBu
R into a 600
R ohm R
balanced or unbalanced
[33] on page 16. If you’re wiring your own cable for the load. AUX SEND MAIN OUT
PHONES output, follow standard conventions:

L L L L
LINE IN 1
LOW CUT
75 Hz
18dB/OCT
LINE IN 2
Tip = Left channel LOW CUT

75 Hz
18dB/OCT
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
16. ALT 3–4 OUTPUT
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
U MI
Ring = Right channel
C GAIN
U MI
C GAIN
U MI
The output here is the sum of any channels that have
C GAIN
U MI
C GAIN
U MI
C GAIN
U MI
C GAIN
the MUTE/ALT 3-4 [25] switch pressed in (see page 13

+4 +4 +4 +4
Sleeve GAIN
= Common GAINground
0 60 0 60 0 60 0 60 0 60 0 60
-10 -10 -10 -10
GAIN GAIN GAIN GAIN
for the
LINE IN 7-8
tender
LINE IN 9-10
details).
LINE IN 11-12 LINE IN 13-14
AUX
WARNING:
AUX
When
AUX
we sayAUX
the headphone
AUX
amp
AUX AUX AUX
U U
is loud, we’re not kidding. It can cause per-

U
These 1⁄4" jacksAUX are balanced
U AUX
outputs capable of de-
U U U U U U U U
OO
manent ear damage. Even intermediate levels livering 22 dBu into a balanced or unbalanced load.
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO +10 OO
U
+20
may be painfully loud with some earphones. BE CARE-

FUL! Always
OO
EQ U
move
+15
EQ
the CTL
EQ
ROOM/ OO
EQ
SUBMIX
U
+15
EQ
fader all
EQ
the 17.
OO
U
+15
EQ
CHANNEL EQ
INSERT
OO
EQ
U
+15
(Channels
EQ
1–6 )OO
LEFT
U
+15
RIGHT
OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO +20
way down before connecting headphones. Keep it down

C-R/SOURCE 0dB=0dBu
These rear-panel jacks are where you connect serial

until you’ve put the phones on. Then turn it up slowly. MAIN MIX 10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U
effects such as compressors, equalizers, de-essers, or
U U U U U U U U 7
Why? “Engineers who fry their ears find themselves with filters. Since most people don’t have more than a few of
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz ALT 3–4
4
short careers.”
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
LOW
80Hz
LOW
80Hz
these gadgets, we’ve included inserts for just the first
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
TAPE 2
six channels. If you want to use this kind of processing

4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 7
13. XLR
PAN
MAIN
PAN
OUTS PAN PAN PAN PAN PAN PAN PAN PAN
on channels 7 through 14, simply patch through the
ASSIGN
TO MAIN MIX 10
20
LEVEL
SET
processor before you plug into the 1402-VLZ3.

NORMAL (AFL)
These line-level outputs connect the main mix to the LEVEL SET (PFL) 30
SOLO
1 2 3 4 5 6 7-8 9-10 11-12 13-14 MODE RUDE
outside world. Connect themMUTE

to the balanced inputs of MUTE The
SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE LIGHT
ALT 3–4 ALT 3–4 ALT 3–4
channel insert points are after/SUBMIX
ALT 3–4
the GAINMAIN[4] and
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 48V POWER
a power amplifier or powered speakers. See page 16 for

dB
10
dB
10
dB
10 LOW CUTSOLO[3] controls,dB
10 butSOLO
before the channel’s EQdB
10
MIX
dB
10
dB
10
dB
10
dB
10
dB
10
CTL ROOM
dB
10
dB
10
details of the main mix.

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5
[27] controls and FADER [23]. The send (tip) is low-
5 5 5 5 5 5 5 5 5
5
U
These low-impedance outputs are fully balanced

5
U
5
impedance (120 ohms), capable of driving any line-level
U
5
U
5
U
5
U
5
U
5
U
5
U
5
U
5
U
and capable of driving +4 dBu lines with up to 28 dB

10 10 10
device. The return (ring) is high-impedance (over 2.5 k
10 10 10 10 10 10 10 10 10
of headroom. This output is 6 dB hotter than other

20 20 20 ohms) and can be driven by almost any device.
20 20 20 20 20 20 20 20 20
outputs.
30
40
30
40
30
40 ring
30
40
SEND to processor
30
“tip”
40
30
40
30
40
30
40
30
40
30
40
30
40
30
40
50 50 50 50 50 50 50 50
tip sleeve 50 (TRS plug) 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
14. XLR MAIN OUTPUT LEVEL SWITCH

This plug connects to one of the “ring”
Engaging this switch reduces the level of the bal- mixer’s Channel Insert jacks. RETURN from processor
anced XLR main outputs by 40 dB, so you can feed the

microphone input of, say, another mixer. (You can safely See Appendix B for details and drawings about Insert
connect the XLR outputs into an input that provides 48V cables, and a diagram showing three ways to use the
phantom power.) jacks.
Besides being used for inserting external devices,
15. CONTROL ROOM these jacks can also be used as channel direct outputs;
These outputs are provided so you can listen to some- post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie
thing other than the main mix. The source is selected mic preamps have become so famous, that people buy
using the SOURCE MATRIX [33] switches (see page these mixers just to have six of these in their arsenal.
16). You can choose to listen to the main mix, the Alt
Owner’s Manual 11
1402-VLZ3
21 22
18
19
20
18. POWER CONNECTION 21. POWER SWITCH

Just in caseMICyou
MIC 1
XDR
2 loseMIC
MIC PRE the3 cordMIC
provided
4 with
MIC
XDR
5 theMIC1402-
MIC PRE
6
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
LEFT/MONO
Press the top
1
RIGHT
1
of thisTAPErocker switch
TAPE ALL BAL/UNBAL
INPUT OUTPUT L
inwards to turn on BAL/UNBAL
VLZ3, its power jack accepts a standard 3-prong IEC the mixer. The Lpower LED L on the top surface of the mix-
cord like those found on most professional recorders, er2 will glow with
2 happiness, or at R least it will if you have
musical instruments, and computers. the mixer pluggedR
in to aR suitable live AC mains supply.
AUX SEND MAIN OUT
WARNING: Before you plug the AC power cord Press theLbottom ofL this switch to put the mixer into
L L
LINE IN 1
into the 1402-VLZ3,
LINE IN 2 LINE IN 3
LOW CUT
75 Hz
you mustLINEmake
LINE IN 4 IN 5
sure
LOW CUT
75 Hz
that
LINE IN 6
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
standby mode. It will not function, but the circuits are
BAL
OR
BAL
OR
BAL
OR
BAL
OR
the VOLTAGE SELECTOR [20] slide switch is still

R live. ToR remove AC power,R either turn off the AC
-10dBV -10dBV -10dBV -10dBV -10dBV -10dBV R
set to the same voltage as your local AC mains supply. mains supply, or unplug the power cord from the mixer
LEVEL
+4
LEVEL
+4
LEVEL
+4
LEVEL
+4
and
7-8 the
LINEAC
IN 9-10mains
LINE INsupply.
0 60 0 60 0 60 0 60 0 60 0 60
-10 -10 -10 -10
GAIN GAIN GAIN GAIN GAIN
WARNING: Disconnecting the AC mainsGAIN
plug’s LINE IN 11-12 LINE IN 13-14
U AUXground pin
AUX canU
be
AUX dangerous.
AUX Please
AUX don’tU
do
AUX U U U U
As a general
AUX AUX guide, you should
AUX
U AUX turn on your mixer
U U U U
it. first, before the power amplifier or powered speakers,

OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15
and turn it off last. This will reduce the possibilities of
OO
U
+15 OO
U
+15 OO
U
+15 OO +10 OO
U
+20
19. FUSE any turn-on, or turn-off thumps in your speakers. +20

OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO
The 1402-VLZ3 is fused for your (and its own) protec- C-R/SOURCE 0dB=0dBu
22. PHANTOM SWITCH

tion. If you suspect a blown fuse, disconnect the AC

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 MAIN MIX 10
mains power cord, pull the fuse drawer out (located just
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz This global rocker switch controls the phantom power
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz ALT 3–4
4
below the cord receptacle) and replace the fuse with

-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15
supply for condenser microphones plugged into channel
-15
U
+15 -15
U
+15 -15
U
+15
0
a 500 mA (0.5 amps) SLO BLO 5x20 mm, available at MIC [1] inputs (see page 8).
TAPE 2
4
electronics
PAN stores or your PAN
dealer. IfPAN
your local
PANvoltagePAN
is
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 7
ASSIGN
PAN PAN PAN PAN PAN
Press the top of the switch inwards to engage phan- 10 LEVEL
TO MAIN MIX
SET
220-240 VAC, use a 250 mA fuse. 20
tom power to the six MIC inputs. Press the bottom of

NORMAL (AFL)
LEVEL SET (PFL) 30
SOLO
1 2 3 4 5 6 7-8 9-10 11-12 13-14 MODE
IfMUTE
two fuses blow inMUTE
a row, something is very wrong. MUTEthe switch
MUTE to turn
MUTEit off. MUTE
RUDE
SOLO
MUTE MUTE MUTE MUTE LIGHT
Please call our toll-free number 1-800-898-3211 from CTL ROOM /SUBMIX MAIN MIX
dB dB dB dB dB dB dB
When turned dB
on (or
SOLO off), the
SOLO phantom power circuitry
dB dB dB dB
within the U.S. (or call the distributor in your country)

10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5
takes a few moments for voltage to ramp up (or down).
5 5 5 5 5
and find out what to do.

U
5
U
5
U
5
U
5
U
5
U
5
U
5
This is perfectly normal.
U
5
U
5
U
5
U
5
U
10
20
20.
10
20
VOLTAGE SELECTOR
10
20
10
20
10
20
10
20
10
20
10
20
10
20
10
20
10
20
10
20
30
WARNING: Before you plug the AC power cord
30 30 30 30 30 30 30 30 30 30 30
into the 1402-VLZ3, you must make sure that

40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
this slide switch is set to the same voltage as your local

AC main supply. Only slide the voltage switch with the

power cord unplugged.
Use a small flat-headed screwdriver to slide the switch
if needed. The switch allows you to use the mixer in dif-
ferent countries and voltages, meet interesting people
from other cultures, and entertain them with your
unique blend of Rockabilly Funkadelia Thrash Metal.
12 1402-VLZ3
Channel Strip Description
Owner’s Manual
The ten channel strips look alike, and function identi- The 1402-VLZ3 has "dual-mode solo." The SOLO
cally. The only difference is that the six on the left are MODE [35] switch in the Master section determines
for individual mics or mono instruments, and have more which mode you'll be hearing. With the switch up, you'll
gain available,
MIC 1
whileMIC
the next four are for either stereo get "AFL" (After-Fader-Listen), which is post-FADER,
2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO RIGHT ALL BAL/UNBAL TAPE
or mono
XD R line-level sources.
MIC PRE
XD R MIC PRE
(Each ofX the stereo channel
D R MIC PRE
XDR
MIC PRE
post-PAN,
XD R making it ideal
MIC PRE
XD R for mixdown soloing.
MIC PRE 1 With the 1 INPU
strips is actually two complete circuits. The controls are switch down, you're in "PFL" (Pre-Fader-Listen), used
L
linked together to preserve stereo.) We’ll start at the in the Level Setting Procedure.
bottom and work our way up… 2 2
Soloed channels are sent to the SOURCE mix, which
R
ultimately feeds your control room, phones and meters.
“U” LIKE UNITY GAIN Whenever SOLO is engaged, all SOURCE selections AUX SEND
Mackie mixers BAL
OR have a “U” ORsymbol on almost
BAL BAL
OR every OR (MAIN MIX, OR
BAL
ALT 3-4 and TAPE)
BAL BAL
OR are defeated,MONO to allow MONO
level control. This “U” stands for “unity gain,” meaning the soloed signal to do just that — solo! L L
noLINEchange
IN 1 in signal LINElevel.
IN 2 Once you LINEhave
IN 3 adjusted LINEthe IN 4 LINE IN 5 LINE IN 6
BAL BAL
input signal LOW CUT
75 Hzto line-level, 75you
Hz can set every
LOW CUT
75 Hzcontrol at
LOW CUT LOW CUT
75 Hz 25. MUTE/ALT
LOW CUT
75 Hz 3–4 18dB/OCT
LOW CUT
75 Hz OR
UNBAL
OR
UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT
“U” and -10dyour
BV signals will-10dBVtravel through -10dBVthe mixer at-10dBV -10dBV -10dBV
IC GAIN IC GAIN IC GAIN MI
C GAIN The dual-purpose
IC GAIN MUTE/ALT
IC GAIN 3–4 bus is Ra Mackie sig- R
optimal
U M
levels. What’s U M
more, all the U M
labels on our Ulevel U M U M
nature. When Greg was designing our first product, he
controls are measured in decibels (dB), so you’ll know LEVEL LEVEL
had to 0include a MUTE0 switch for each channel.+4 MUTE +4
what+15dByou’re
0
-45dB doing level-wise
60 0 60
+15dB -45dB if you +15dB
choose
0
-45dB to change
60 0
+15dB a -45dB
60 60
+15dB -45dB
60
+15dB -45dB
-10 -10
GAIN GAIN GAIN GAIN switches GAIN do just whatGAIN they sound like LINE they
IN 7-8 do. They
LINE turn
IN 9-10 LINE IN
control’s settings.
off the signal by “routing” it into oblivion. “Gee, what a
You won’t have to check it here and waste,” Greg reasoned. “Why not have the mute button
U AUX check U itAUX
there, asUyou would AUX withU someAUXroute the U AUX somewhere
signal U AUXelse useful… U AUX
like a sepa- U AUX U
other mixers. In fact, some don’t even rate stereo bus?” So MUTE/ALT 3–4 really serves two
OO +15 OO
have+15
any reference+15to actual dB levels
OO OO +15
functions
OO +15
— muting (often
OO +15
used during
OO +15
a mixdown or+15
OO OO +15
U at Uall! Ever seen those U “0–10” fader U live show),
U and signalU routing (for multitrack U and liveU U
markings? We call these AUMs (Arbi- work) where it acts as an extra stereo bus.
trary Units of Measurement), and+15 they
OO +15 OO +15 OO +15 OO
To use
OO +15this as a MUTEOO +15 switch, all you
OO +15 have to do is +15
OO OO +15
mean nothing in the real world. You
U EQ U EQ U EQ U EQnot use U
the ALT 3–4 [16] outputs. Then, whenever you
EQ U EQ U EQ U EQ U
were smart — you bought a Mackie. HI
12kHzassign a channel 12kHz to these unused outputs,12kHz you’ll also be 12kHz
HI HI HI HI HI HI HI
12kHz 12kHz 12kHz 12kHz
disconnecting it from-15 the
+15 main mix, -15 effectively muting
-15 +15
U 23.U CHANNEL-15FADER
-15 +15
U
+15 -15 +15
U
-15 +15
the channel.
U U U
+15 -15 +15
U
-15 +15
U
MID These2.5kHz faders control2.5kHz

MID the
MID channel’s MID MID MID MID MID
2.5kHz 2.5kHz
To use this as an ALT 3–42.5kHz
2.5kHz
switch, all you2.5kHz have to do 2.5kHz
level… from off, to unity gain,-15on +15 up
-15 +15 -15 +15 -15 +15
is connect
-15 +15
the ALT-153–4 U outputs to whatever
+15 -15 +15
destination
-15 +15 -15 +15
U
to U10 dB of additional U
gain. Channels U
1 U U U U
you desire. Two popular examples:
LOW
80Hz
through80Hz 6 use mono faders,
LOW LOW and chan- LOW
80Hz 80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
-15 +15
nels 7 through -15
-15 +15
14 use
+15
stereo faders,
-15 +15 When
-15 +15 doing multitrack -15 +15 recording, -15 use
+15 the ALT -15 3–4+15 -15 +15
PAN and may feel

PAN slightly different.
PAN Not a PAN outputs to feed
PAN your multitrack. PAN With most decks,
PAN you PAN
problem. can mult the ALT 3–4 outputs, using Y-cords or mults, to
feed multiple tracks. So, take ALT OUTPUT L and send
L R L R L R L R L R L R L R L R L R
24. SOLO it to tracks 1, 3, 5 and 7, and ALT OUTPUT R and send it
1 2 3 4 5 2, 4, 6 and 8.6Now, tracks 7-8 9-10or 11-12
25 MUTE This
MUTE lovable switch
MUTE allows you MUTEto
to tracks
MUTE MUTE
that are in Record
MUTE MUTE MUTE
–
ALT 3 4 –
ALT 3 4 ALT 3 4– –
ALT 3 4 Input ALTmodes
–
3 4 will hear ALT 3the
– 4 ALT 3–4ALT signals,
–
3 4 and tracks
ALT 3 4in
– ALT 3 – 4
hear signals through your headphones
Playback or Safe dB modes will ignore them.
24 dB
10
dB or control room
10
dB without having
10
dB to
10
dB
10 10
dB
10
dB
10
dB
10
SOLO route them SOLOto the main mix or ALT 3-4SOLO When doing
SOLO SOLO SOLO
live sound or mixdown, it’s often handy SOLO SOLO
5 mix. You don’t5 even have to have the
5 5
to 5control the level 5
of several channels 5
with one5knob. 5
23 U U channel’s fader U turned up. Folks U use That’s

U called subgrouping.U SimplyU assign these channels U U
solo in live work to preview channels to the ALT 3–4 mix, engage ALT 3–4 in the SOURCE
5 5 5 5 5 5 5 5 5
before they are let into the mix, or to [33] matrix, and the signals will appear in the control
10 10 just check out 10 what a particular 10 chan- room 10 and headphones. 10 If you want 10 the ALT 3–4 10 signals 10
20 20
nel is up to anytime 20
during a20session. to20go back into the 20 main mix, engage 20 the ASSIGN 20 TO 20
You can solo as many channels at a MAIN MIX [37] switch, and the CONTROL ROOM/
30 30 30 30 30 30 30 30 30
time as you like. SUBMIX fader [34] controls the levels of all channels
40 40 40 40
assigned
40
to ALT 3–4. 40 40 40 40
50
60
50
60
Solo is also the
50
60
key player in
50 the
60
50
60
50
60
50
60
50
60
50
60
OO OO
Level-Setting Procedure on page 3.
OO OO OO OO OO OO OO
Owner’s Manual 13
Another way to do the same thing is assign the chan- CONSTANT LOUDNESS ! ! !
1402-VLZ3
nels to the ALT 3–4 mix, then patch out of the ALT
The 1402-VLZ3’s PAN controls employ a design called
OUTPUT MIC L 1and R backMIC into2an unusedMIC stereo
3 channelMIC 4 MIC 5 6 LEFT/MONO RIGHT
ItXMIC
ALL BAL/UNBAL TA
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE R MIC PRE “Constant XDR
Loudness.”
MIC PR Dhas
R MIC Pnothing to do with 1 living 1 IN
(7–8, 9–10, 11–12, 13–14). If that’s your choice, don’tXD E RE
next to a freeway. As you turn the PAN knob from left

ever engage the MUTE/ALT 3–4 switch on that stereo
to right (thereby causing the sound to move from the L
channel, or you’ll have every dog in the neighborhood
left to the center to the right), the sound will appear to
howling at your feedback loop. 2 2
remain at the same volume (or loudness). R
Another benefit of the ALT 3–4 feature is that it
If you have a channel panned hard left (or right) and
can act as a “AFL” (After-Fader-Listen): justBALengage a AUX SEND
BAL BAL reading
BAL 0 dB, itBAL must dip downBAL about 4 dB MONO on the left
channel's MUTE/ALT OR 3–4 switchUNBAL and the ALT
OR OR 3–4 switch UNBAL OR OR OR MONO
UNBAL UNBAL
(or right) when UNBAL
panned center. UNBAL
To do otherwise (the
in the SOURCE matrix and you’ll get that channel, all by L L
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 way Brand
LINE IN X 5 compact LINE mixers
IN 6 do) would make the sound
itself, in the control room and phones.
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
appear much
LOW CUT
75 Hz
LOW louder
CUT
75 Hz
when panned LOW CUT center. BAL
75 Hz OR
BAL
OR
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT UNBAL UNBAL
MUTE/ALT -10dBV
3–4 is one of
-10dBV
those controls -10dBV
that can bewil-
-10dBV -10dBV -10dBV R R
der newcomers,
U M
IC GAIN
so take IC GAIN
U M your time and
IC GAIN
U Mplay around Uwith MI
C GAIN
3-BAND U MEQ
IC GAIN
U M
IC GAIN
it. Once you’ve got it down, you’ll probably think of a

The 1402-VLZ3 has 3-band equalization atLEVEL +4carefully
LEVEL
+4
hundred 0
spiffy
60
uses for 0
it! 60 0 60 0 60 0 60 0 60
-10 -10
+15dB -45dB
GAIN
+15dB -45dB
GAIN
+15dB -45dB
GAIN
+15dB -45dB
GAIN
selected+15dB points
GAIN
-45dB
— LOW+15dB shelving
GAIN
-45dB
at LINE
80 Hz, MID peaking
IN 7-8 LINE IN 9-10 LINE
at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means
26. PAN that the circuitry boosts or cuts all frequencies past the
U AUX UPAN adjusts
AUX theU amount AUXof chan- U specifiedU frequency.
AUX AUX ForU example, AUX rotating U theAUX LOW EQ U AUX U
31 nel signal sent to the left versus the

right outputs. On mono channels
knob 15 dB to the right boosts
continuing down to the lowest note you never heard.
bass starting at 80 Hz and
+15 +15 +15 +15 +15 +15 +15 +15
“Peaking” U means that certain frequencies form a “hill”U
OO OO OO OO OO OO OO OO OO
U (ch.U 1–6 or 7–14 U with connections U U U U
30 to the left input only) these controls

act as pan pots. On stereo channels
around
the MID EQ.
the center frequency — 2.5 kHz in the case of
OO +15 OO +15 OO +15 OO+15 OO +15 OO +15 OO +15 OO +15 OO
(7–14) with stereo connections to
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U
L and R inputs, the PAN knob works 27. LOW EQ
29 HI
12kHz like the12kHz
HI
balance control12kHz
HI
on your
HI
12kHz
This control
HI
12kHz
gives you
HI
12kHz
+15
HI
12kHz
HI
12kHz
-15 +15 home

-15 +15 stereo. -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15
U U U U up to 15UdB boost or cutU +10 U U U
28 MID
2.5kHz
PAN determines
MID
2.5kHz
the 2.5kHz
fate
MID of the below 80 Hz. The
MID
2.5kHz
MID circuit is
2.5kHz
flat (no boost or cut) at the 0
+5
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
-15 +15
main
-15 +15
mix and ALT
-15 +15
3–4 mix. With
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15
U the U PAN knob hard U left, the signal U center detent
U position. UThis –5 U U U
27
–10
LOW will feed80Hz LOWeither MAIN OUT LOW L (bus LOWfrequency represents
LOW the LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz
–15 80Hz 80Hz
1) or ALT OUTPUT L (bus 3), punch in bass drums, bass 20
Hz 100 Hz Hz1k 10k 20k
Hz Hz
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15
depending on the position of the guitar, fat synth patches, Low EQ
PAN PAN PAN PAN PAN PAN PAN PAN
ALT 3–4 [25] switch. With the knob and some really serious
26
+15
hard right, the signal feeds MAIN male singers. +10
L R
OUT
L R
R (bus 2) orL ALT R
OUTPUTLRR L R L R +5 L R L R L
Used in conjunction with 0
1 2 4).
(bus 3 4 5 6 7-8 9-10 11-
MUTE MUTE MUTE MUTE the LOW MUTE CUT [3] switch, MUTE –5 MUTE MUTE MU
ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3
you can boost the LOW EQ –10
dB dB dB dB without
dB injecting a dBton of –15
20Hz
dB 100 Hz 1k
Hz
dB 10k 20k
Hz Hz
dB
10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO subsonic debris SOLO into the SOLO Low EQ with Low SOLO Cut SOLO
5 5 5 5 mix.5 5 5 5 5
U U U U U U U U U
28. MID EQ
5 5 5 5 5 5 +15
5 5 5
Short for “midrange,” +10
10 10 10 10 10 10 10 10 10
this knob provides 15 dB +5
20 20 20 20 of boost
20 or cut, centered
20 at 0 20 20 20
30 30 30 30 2.5 kHz,
30 also flat at 30the cen- –5 30 30 30
ter detent. Midrange EQ –10
40 40 40 40 40 40 40 40 40
50 50 50 50 is often
50 thought of as 50 the –15
20
50 50 50
60 60 60 60 60 60 60100 1k 60 10k 20k 60
most dynamic, because the
Hz Hz Hz Hz Hz
OO OO OO OO OO OO OO OO OO
Mid EQ
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
14 1402-VLZ3
29. HI EQ Each AUX send level ranges from off through unity
Owner’s Manual
(the center detent position) on up to 15 dB of extra gain
This control gives you up +15
(when turned fully clockwise). Chances are you’ll never
to 15 dB boost or cut above +10
need this extra gain, but it’s nice to know it’s there if
12 kHz, and it is also flat +5
you do.
at the detent. Use it to add 0
sizzle to cymbals, and an –5 Channel 7–14 AUX pots control the mono sum of
overall sense of transpar- –10 the channel’s stereo signals for each AUX send. For
ency, or edge to keyboards, –15
20Hz 100Hz 1kHz 10kHz 20kHz
instance, channel 7 (L) and 8 (R) mix together to feed
vocals, guitar and bacon that channel’s AUX send knobs.
frying. Turn it down a little High EQ
to reduce sibilance, or to We recommend going into a stereo reverb in mono and
hide tape hiss. returning in stereo. We have found that on most “stereo”
reverbs the second input just ties up an extra AUX send
and adds nothing to the sound. There are exceptions, so
MODERATION DURING EQ
feel free to try it both ways. If your effects device is true
With EQ, you can also screw things up royally. We’ve stereo all the way through, use AUX 1 to feed its left
designed a lot of boost and cut into each equalizer cir- input and AUX 2 to feed the right input.
cuit, because we know everyone will occasionally need
that. But if you max the EQs on every channel, you’ll Still with us? Good for you. Here come the tricky
get mix mush. Equalize subtly and use the left sides of parts, the output, or master section where the mixing
the knobs (cut), as well as the right (boost). Very few is really done. We have even started it on a shiny new
gold-record-album engineers ever use more than about page:
3dB of EQ. If you need more than that, there’s usually a
better way to get it, such as placing a mic differently (or
using a different kind of mic entirely).
31. AUX 1 and 30. AUX 2 SEND

These knobs allow you to tap a portion of each chan-
nel signal out to another source for parallel effects
processing or stage monitoring. AUX send levels are
controlled by the channel’s AUX 1 and AUX 2 knobs and
by the AUX 1 MASTER [40].
These are more than just effects and monitor sends.
They can be used to generate separate mixes for record-
ing or “mix-minuses” for broadcast. By using AUX 1 in
the PRE [39] mode, these mix levels can be obtained
independently of the channel’s fader.
AUX 1 (when in post mode) and AUX 2, are post-LOW
CUT, post-EQ and post-fader. That is, the sends obey the
settings of these controls. AUX 1 in PRE mode follows
the EQ and LOW CUT settings only. PAN and LEVEL
(FADER) have no effect on the PRE send (see diagram
below).
LEVEL PAN
MAIN / ALT
INPUT GAIN LO CUT INSERT EQ "POST" SIGNAL OBEYS

MUTE STATUS
“Pre vs. Post” AUX 2 KNOB
Signal Flow Diagram TO AUX SEND 2 LEVEL
"POST" SIGNAL AUX 1 KNOB
"PRE" SIGNAL TO AUX SEND 1 LEVEL
AUX SEND 1 PRE/POST SWITCH

(IN MASTER SECTION)
Owner’s Manual 15
OR
UNBAL
Output Section
1402-VLZ3
LEVEL
+4
-10
LINE IN 13-14
33. CONTROL ROOM SOURCE MATRIX
U AUX U U Typically, the engineer sends the main mix to an audi-
ence (if mixing live) or a mixdown deck (if recording).
But what if the engineer needs to hear something other
OO
U
+15 OO +10 OO
U
+20
than the main mix? With the 1402-VLZ3, the engineer
has several choices of what to listen to. This is one of
those tricky parts, so buckle up.
OO +15 OO +20
U EQ LEFT RIGHT Via these SOURCE switches, you can choose to listen
C-R/SOURCE 0dB=0dBu
HI to any combination of main mix, ALT 3-4 and TAPE. By
33
20
12kHz
MAIN MIX 10 now, you probably know what the main mix is. ALT 3-4 is
-15 +15
U that additional stereo mix bus. Tape is the stereo signal
38
7
MID 4 coming in from the TAPE INPUT [9] jacks.

2.5kHz ALT 3–4
2
-15 +15 Selections made in the source matrix deliver stereo
U 0
2
signals to the control room, phones and meter display.
LOW TAPE
80Hz
4
With no switches engaged, there will be no signal at
-15 +15 7 these outputs and no meter indication.
N PAN 37 ASSIGN
TO MAIN MIX 10 LEVEL
SET The exception to that is the SOLO function. Regard-
20
less of the source matrix selection, engaging a channel’s
L R 35 SOLO
NORMAL (AFL)
LEVEL SET (PFL) 30
SOLO [24] switch will replace that selection with the
13-14 MODE RUDE
solo signal, also sent to the control room, phones and
MUTE
ALT 3 – 4 48V POWER
SOLO
LIGHT 36 meter. This is what makes the Level-Setting Procedure
CTL ROOM /SUBMIX MAIN MIX so easy to do.
dB dB dB
10 10 10
SOLO WARNING: Engaging both the TAPE and
5 5 5 ASSIGN TO MAIN MIX buttons in the
U U U
SOURCE matrix can create a feedback path
between TAPE INPUT and TAPE OUTPUT. Make sure
5 5 5
your tape deck is not in record, record-pause, or input
10 10 10 monitor mode when you engage these switches, or make
sure the CONTROL ROOM / SUBMIX [34] fader is fully
20 20 20
down.
30 30 30
Now you know how to select the signals to send to the
40 40 40
50 50 50 engineer’s control room or phones. From there, these
60 60 60
OO OO OO signals all pass through the same level control:
34. CONTROL ROOM/SUBMIX

34 32 This fader controls the levels of both the control room
outputs and phones outputs. The fader ranges from off,
through unity gain at the "U", to 10 dB of extra gain
when fully up.
When MAIN MIX is your control room source selec-
32. MAIN MIX FADERS tion, those signals will now pass through two level con-
trols on the way to your control room amp and phones
These faders control the levels of signals sent to the — the MAIN MIX [32] faders and this CONTROL ROOM
main outputs: XLR [13], 1⁄4" TRS [11], and TAPE [10]. / SUBMIX fader. This way, you can send a nice healthy
All channels and STEREO RETURNS that are not muted level to the main output (MAIN MIX fader at “U”), and
or turned fully down will end up in the main mix. a quiet level to the control room or phones (CONTROL
Fully down is off, the "U" is unity gain, and fully up ROOM / SUBMIX fader wherever you like it).
p rovides 10 dB additional gain. This additional gain will When ALT 3-4 or TAPE is selected, or SOLO is en-
typically never be needed, but once again, it’s nice to gaged, this fader will be the only one controlling these
know it’s there. This is the fader to move down at the levels (channel controls not withstanding).
end of the song when you want The Great Fade-Out.
16 1402-VLZ3
Whatever your selection, you can also use the control 37. ASSIGN TO MAIN MIX
Owner’s Manual
room outputs for other applications. Its sound quality is
Let’s say you’re doing a live show. Intermission is near-
just as impeccable as the main outputs. It can be used
ing and you’ll want to play a soothing CD for the crowd
as additional main mix output, which may sound silly
to prevent them from becoming antsy. Then you think,
since there are already three, but this one has its own
“But I have the CD player plugged into the TAPE inputs,
level control. However, should you do something like
and that never gets to the main outputs!” Oh, but it
this, be sure that you do not engage a SOLO switch, as
does. Simply engage this switch and your SOURCE [33]
that will interrupt your SOURCE selection.
matrix selection, after going through the CONTROL
ROOM / SUBMIX [34] fader, will feed into the main mix,
35. SOLO MODE (AFL/PFL) just as if it were another stereo channel.
Engaging a channel’s SOLO [24] switch will cause
Another handy use for this switch is to enable the ALT
this dramatic turn of events: Any existing SOURCE [33]
3-4 mix to become a submix of the main mix, using the
matrix selections will be replaced by the SOLO signal,
CONTROL ROOM/SUBMIX fader as its level control.
appearing at the control room outputs, phones outputs,
and meter. The audible SOLO levels are then controlled Side effects: (1) Engaging this switch will also feed
by the CONTROL ROOM / SUBMIX [34] fader. The any soloed channels into the main mix, which may be
SOLO levels appearing on the right meter display are the last thing you want. (2) If you have MAIN MIX as
not controlled by anything — you wouldn’t want that. your SOURCE matrix selection and then engage ASSIGN
You want to see the actual channel level on the meter TO MAIN MIX [37], the main mix lines to the SOURCE
display regardless of how loud you’re listening. matrix will be interrupted to prevent feedback. Then
again, why on earth would anyone want to assign the
With this SOLO MODE switch in the up position,
main mix to the main mix?
you're in AFL mode, meaning After-Fader-Listen. You'll
hear the output of the soloed channel and it will follow
the GAIN, EQ, FADER and PAN settings. It's similar to 38. METERS – MANY DISPLAYS IN ONE!
muting all the other channels, but without the hassle. The 1402-VLZ3’s peak metering system is made up of
Use AFL mode during mixdown. two columns of twelve LEDs. Deceptively simple, consid-
ering the multitude of signals that can be monitored by
With the SOLO MODE switch in the down position,
it.
you're in PFL mode, meaning Pre-Fader-Listen (post
EQ). This is required for the Level Setting Procedure, If nothing is selected in the SOURCE [33] matrix and
and is handy for quick spot-checks of channels, espe- no channels are in SOLO [24], the meters will just sit
cially ones that have their faders turned down. there and do nothing. To put them to work, you must
make a selection in the SOURCE matrix (or engage a
In either mode, SOLO will not be affected by a
SOLO switch).
channel's MUTE/ALT [25] switch position.
Why? You want the meter display to reflect what the
36. RUDE SOLO LIGHT engineer is listening to, and as we’ve covered, the engi-
neer is listening either to the control room outputs or
This flashing Light Emitting Diode serves two pur-
the phones outputs. The only difference is that while the
poses — to remind you that at least one channel is
listening levels are controlled by the CONTROL ROOM
in SOLO, and to let you know that you’re mixing on a
/ SUBMIX [34] fader, the meters read the SOURCE mix
Mackie. No other company is so concerned about your
before that control, giving you the real facts at all times,
level of SOLO awareness. If you work on a mixer that
even if you’re not listening at all.
has a solo function with no indicator lights, and you
happen to forget you’re in solo, you can easily be tricked Thanks to the 1402-VLZ3’s wide dynamic range,
into thinking that something is wrong with your mixer. you can get a good mix with peaks flashing anywhere
Hence the RUDE SOLO LIGHT. It’s especially handy at between –20 and +10 dB on the meters. Most ampli-
about 3 a.m. when no sound is coming out of your moni- fiers clip at about +10 dB, and some recorders aren’t so
tors but your multitrack is playing back like mad. forgiving either. For best real-world results, try to keep
your peaks between “0” and “+7”.
You may already be an expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring out the back
will actually read 0 VU on its meters. A “–10” mixer,
with a –10 dBV signal trickling out, will read 0 VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
Owner’s Manual 17
At the risk of creating another standard, Mackie’s So, the original “dry” signals go from the channels
1402-VLZ3
compact mixers address the need of both crowds by call- to the main mix and the affected “wet” signals go from
ing things as they are — 0 dBu (0.775 V) at the output the STEREO RETURN to the main mix, and once mixed
shows as 0 dB VU on the meters. What could be easier? together, the dry and wet signals combine to create a
By the way, the most wonderful thing about standards is glorious sound. So, armed with this knowledge, let’s visit
that there are so many to choose from. the Auxiliary World:
Remember, audio meters are just tools to help assure
you that your levels are “in the ballpark.” You don’t have 39. PRE/POST (AUX 1)
to stare at them (unless you want to). Besides being used to work effects into your mix, Aux
TAPE BAL/UNBAL Sends serve another critical role — that of delivering
UTPUT
A WORD
L
ABOUT AUX cue mixes to stage monitors, so musicians can hear what
they’re doing. On the 1402-VLZ3, AUX SEND 1 can play
L Sends are outputs, Returns are inputs. The AUX [30]
either role, depending on the position of this switch.
and [31] knobs tap the signal off the channel and sends
R
it to the AUX SEND [8] outputs. The AUX 1 signal is With the AUX 1 SELECT switch up (disengaged),
R
sent to the AUX 1 MASTER [40] knob before going AUX SEND 1 will tap a channel pre-fader [23] and pre-
MAIN to
OUT the AUX SEND 1 output and the AUX 2 signal goes MUTE/ALT 3-4 [25], meaning that no matter how you
O directly to the AUX SEND 2 output.
MONO manipulate those controls as they feed the main mix,
L the AUX SEND will continue to belt out that channel’s
These outputs can be fed to the inputs of a reverb or
signal. This is the preferred method for setting up stage
other device. From there, the outputs of this external
BAL
AL
OR
UNBAL monitor feeds. EQ settings will affect all AUX SENDs.
device are fed back to the mixer’s STEREO RETURN [7]
R
jacks. Then these signals are sent through the STEREO With the switch down, the AUX SEND 1 becomes an
EL
RETURN [41] level controls, and are finally delivered to
LEVEL
ordinary effects send — post-fader and post-MUTE/ALT
+4
the main mix.
-10 3-4. This is a must for effects sends, since you want the
LINE IN 13-14 levels of your “wet” signals to follow the “dry” level.
40. AUX 1 MASTER

UX U AUX U U
The AUX 1 MASTER provides overall level control of
40 AUX SEND 1, just before it’s delivered to the AUX SEND
OO
U
+15 OO +10
42
OO
U
+20
41 1 [8] output. (AUX SEND 2 has no such control.) This
knob goes from off (turned fully down), to unity gain at
39 the center detent, with 10 dB of extra gain (turned fully
OO +15 OO +20
up). As with some other level controls, you may never
EQ U EQ LEFT RIGHT
C-R/SOURCE 0dB=0dBu need the additional gain, but if you ever do, you’ll be
I HI
Hz 12kHz
20 glad you bought a Mackie.
MAIN MIX 10
-15 +15
U 7 This is usually the knob you turn up when the lead
D MID 4 singer glares at you, points at his stage monitor, and
Hz 2.5kHz ALT 3–4
2 sticks his thumb up in the air. (It would follow suit that
-15 +15
U 0 if the singer stuck his thumb down, you’d turn the knob
W LOW TAPE 2 down… but that never happens.)
Hz 80Hz
4
-15 +15
AN PAN ASSIGN
7
LEVEL
41. STEREO RETURNS
TO MAIN MIX 10
SET
20 These two controls set the overall level of effects re-
L R
NORMAL (AFL)
LEVEL SET (PFL) 30 ceived from STEREO RETURN [7] inputs 1 and 2. These
SOLO
controls are designed to handle a wide range of signal
13-14 MODE RUDE
SOLO
levels, from off, to unity gain at the detent, with 20 dB
MUTE LIGHT
ALT 3 – 4 48V POWER
gain fully clockwise, to compensate for low-level effects.
dB dB dB
10 10 10 Typically, these knobs can just live at the center
LO SOLO
detent, and the effects device’s output control should
5 5 5
be set at whatever they call unity gain (check their
U U U manual). If that turns out to be too loud or too quiet,
5 5 5
adjust the effects device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
10 10 10
detent.
20 20 20
30 30 30
40
18 1402-VLZ3
40 40
50 50 50
60 60 60
OO OO OO
Signals passing through these STEREO RETURN level
Owner’s Manual
controls will proceed directly to main mix, with one ex-
ception (see next paragraph). The STEREO RETURNs
do not have MUTE/ALT 3-4 switches, so if you want
these signals to get to the ALT 3-4 mix, you’ll have to
patch the effects device’s outputs into one of the stereo
channels, and MUTE/ALT [25] those channels.
42. RETURN TO AUX 1

If you want to add reverb or delay to the stage monitor
mixes, this is the switch for you. The implementation
leading up to the switch is the tricky part:
With the switch up, STEREO RETURN 1 and 2 behave
normally — they deliver their signals into the main mix.
With the switch down, STEREO RETURN 1 still behaves
normally, but STEREO RETURN 2 will feed AUX SEND 1
instead of the main mix.
Still with us? Good. So far, with the switch down, we
have STEREO RETURN 1 feeding the main mix and
STEREO RETURN 2 feeding AUX SEND 1. Now, suppose
you only have one effects device, and you want it to feed
both the main mix and AUX SEND 1. That’s where “jack
normalling” comes in:
JACK NORMALLING
Jack normalling (not to be confused with Jack
Normalling, Chicago Cubs utility infielder, 1952-61, .267
LBA) is a feature found on almost every mixer, keyboard
and effects device. These jacks have special spring-
loaded pins that connect to the signal pins, but when
something is plugged into the jack, that connection is
broken.
These normalling pins can be used in all sorts of ways.
The ubiquitous phrase “LEFT (MONO)” means that if
you plug a signal into the LEFT side and have nothing in
the RIGHT side, that signal is also fed to the right input,
courtesy of jack normalling. As soon as you plug some-
thing in the RIGHT side, that normalled connection is
broken.
How does all this relate to the RETURN TO AUX 1
switch? STEREO RETURN 1’s inputs are normalled to
STEREO RETURN 2. If you have one effects device, plug
it into STEREO RETURN 1. Plug nothing into STEREO
RETURN 2. Now the signals feeding the STEREO RE-
TURN 1 inputs will also be sent to the STEREO RETURN
2 inputs.
Engage the RETURN TO AUX 1 switch, and now the
STEREO RETURN 2 knob will become an additional
AUX SEND 1 knob for the signal at STEREO RETURN 1.
Say that ten times! Once again, STEREO RETURN 1 will
behave normally, as always.
Congratulations! You’ve just read about all the fea-
tures of your 1402-VLZ3. You’re probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Owner’s Manual 19
Appendix A: Service Information
1402-VLZ3
Warranty Service Repair

If you think your Mackie product has a problem, For warranty service, refer to the warranty informa-
please check out the following troubleshooting tips and tion on page 27.
do your best to confirm the problem. Visit the Support
Non-warranty service for Mackie products is avail-
section of our website (www.mackie.com/support)
able at a factory-authorized service center. To locate
where you will find lots of useful information such as
your nearest service center, visit www.mackie.com, click
FAQs, documentation, and user forums. You may find
“Support” and select “Locate a Service Center.” Service
the answer to the problem without having to send your
for Mackie products living outside the United States can
Mackie product away.
be obtained through local dealers or distributors.
Troubleshooting If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Mon-
day-Friday, normal business hours, PST, to explain the
Bad Channel problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
• 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 the suspect channel.
Bad Output
• Is the associated level knob (if any) turned up?
• If it’s one of the MAIN OUTS, try unplugging
all the others. For example, if it’s the 1⁄4"
Left Main out, unplug the RCA and XLR Left
outputs. If the problem goes away, its not the
mixer.
• If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem switches sides, it’s not the
mixer.
Noise
• Turn the channel GAIN and STEREO RETURN
knobs down, one by one. If the sound disap-
pears, it’s either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, it’s from your whatever.
Power
• Unplug the power cord and check the fuse.
20 1402-VLZ3
Appendix B: Connections
Owner’s Manual
“XLR” Connectors You can cook up your own adapter for a stereo
Mackie mixers use 3-pin female “XLR” connectors on microphone adapter. “Y” two cables out of a
all microphone inputs, with pin 1 wired to the grounded female 1⁄4" TRS jack to two male XLR plugs,
(earthed) shield, pin 2 wired to the “high” (”hot” or one for the Right signal and one for the Left.
positive polarity) side of the audio signal and pin 3 • Balanced mono circuits. When wired as a bal-
wired to the “low” (“cold” or negative polarity) side of anced connector, a 1⁄4" TRS jack or plug is con-
the signal. See Figure A. This is all totally aboveboard nected tip to signal high (hot), ring to signal
and in full accord with the hallowed standards dictated low (cold), and sleeve to ground (earth).
by the AES (Audio Engineering Society).
• Unbalanced Send/Return circuits. When wired
Use a male “XLR”-type connector, usually found on the as send/return “Y” connector, a 1⁄4" TRS jack
nether end of what is called a “mic cable,” to connect to or plug is connected tip to signal send (output
a female XLR jack. from mixer), ring to signal return (input back
2
into mixer), and sleeve to ground (earth).
SHIELD
HOT
1⁄4" TS Phone Plugs and Jacks

COLD 3 1
SHIELD 1
“TS” stands for Tip-Sleeve, the two connections avail-
able on a “mono” 1⁄4" phone jack or plug. See Figure C.
COLD 3 2
HOT SLEEVE SLEEVE TIP
1 SHIELD
3 COLD TIP
2 TIP
HOT
Figure A: XLR Connectors SLEEVE
SLEEVE SLEEVE TIP

Figure C: TS Plug
1⁄4" TRS Phone Plugs and Jacks

TIP
TIP
TS jacks and plugs areRING
used in many
SLEEVE SLEEVEdifferent
RING TIP
SLEEVE a pplications, always unbalanced. The tip is connected to

“TRS” stands for Tip-Ring-Sleeve, the three the audio signal and the sleeve
TIP to ground (earth). Some
connections available on a “stereo” 1⁄4" or “balanced” examples: RING
phone jack or plug. See Figure B. TIP
• Unbalanced microphones SLEEVE

RING SLEEVE SLEEVE RING TIP
• Electric guitars and electronic instruments
TIP • Unbalanced line-level connections
RING
Switched 1⁄4" Phone Jacks

TIP
SLEEVE
Figure B: 1⁄4" TRS Plugs

Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These switch-
TRS jacks and plugs are used in several different ap- es may open an insert loop in a circuit, change the input
plications: routing of the signal or serve other functions. Mackie
• Stereo Headphones, and rarely, stereo micro- uses switches in the channel insert and bus insert jacks,
phones and stereo line connections. input jacks and AUX returns. We also use these switches
When wired for stereo, a 1⁄4" TRS jack or plug to ground the line-level inputs when nothing is plugged
is connected tip to left, ring to right and sleeve into them.
to ground (earth). Mackie mixers do not In most cases, the plug must be inserted fully to
directly accept 1-plug-type stereo microphones. activate the switch. Mackie takes advantage of this in
They must be separated into a left cord and a some circuits, specifying circumstances where you are
right cord, which are plugged into the two mic to insert the plug only partially. See Special Mackie
preamps. Connections, on the next page.
Owner’s Manual 21
RCA Plugs and Jacks Special Mackie Connections
1402-VLZ3
RCA-type plugs (also known as phono plugs) and The balanced-to-unbalanced connection has been
jacks are often used in home stereo and video equip- anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug
ment and in many other applications (Figure D). They inserted into a 1⁄4" TRS balanced input, for example,
are unbalanced and electrically identical to a 1⁄4" TS will automatically unbalance the input and make all the
phone plug or jack (see Figure C). Connect the signal to right connections. Conversely, a 1⁄4" TRS plug inserted
the center post and the ground (earth) or shield to the into a 1⁄4" unbalanced input will automatically tie the
surrounding “basket.” ring (low or cold) to ground (earth).
SLEEVE TIP SLEEVE TIP

TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
Figure D: RCA Plug both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure E.
Unbalancing a Line tip

ring
sleeve (TRS plug)
SEND to processor
“tip”
In most studio, stage and sound reinforcement situ-

ations, there is a combination of balanced and unbal- This plug connects to one of the
mixer’s Channel Insert jacks. RETURN from processor
“ring”
anced inputs and outputs on the various pieces of

equipment. This usually will not be a problem in making Figure E
connections.
The sleeve is the common ground (earth) for both
• When connecting a balanced output to an signals. The send from the mixer to the external unit is
unbalanced input, be sure the signal high (hot) carried on the tip, and the return from the unit to the
connections are wired to each other, and that mixer is on the ring.
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground Using the Send Only on an Insert Jack
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are If you insert a TS (mono) 1⁄4" plug only partially (to
ground-loop problems, this connection may be the first click) into a Mackie insert jack, the plug will
left disconnected at the balanced end. not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
• When connecting an unbalanced output to a to continue on its merry way through the mixer).
balanced input, be sure that the signal high
(hot) connections are wired to each other. The This allows you to tap out the channel or bus signal
unbalanced ground (earth) connection should without interrupting normal operation.
be wired to the low (cold) and the ground If you push the 1⁄4" TS plug in to the second click, you
(earth) connections of the balanced input. If will open the jack switch and create a direct out, which
there are ground-loop problems, try connecting does interrupt the signal in that channel. See Figure F
the unbalanced ground (earth) connection only on the next page.
to the input low (cold) connection, and leaving
the input ground (earth) connection discon- NOTE: Do not overload or short-circuit the signal you
nected. are tapping from the mixer. That will affect the internal
• In some cases, you will have to make up special signal.
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
22 1402-VLZ3
A stereo signal, having two plugs, should be patched
Owner’s Manual
into the LEFT (MONO) and the RIGHT input or return
MONO PLUG
jacks. A jack switch in the RIGHT jack will disable the
Channel Insert jack
mono function, and the signals will show up in stereo.
Direct out with no signal interruption to master.
Insert only to first “click.” A mono signal connected to the RIGHT jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
MONO PLUG
Channel Insert jack Mults and “Y”s
Direct out with signal interruption to master.
Insert all the way in to the second “click.” A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wir-
ing connections. You can make “Y”s and mults for the
STEREO outputs of both unbalanced and balanced circuits.
PLUG
Channel Insert jack
Remember: Only mult or “Y” one output into
For use as an effects loop. several inputs. If you need to combine several
(TIP = SEND to effect, RING = RETURN from effect.)
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Figure F
Mackie Stereo Inputs and Returns: Mono,

Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or
return jack labeled Left (MONO). The signal will be
routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s assigned to, or it can be “panned” with the
Balance control.
RING (IN)
RING TIP
RING (RETURN) (RETURN) (SEND)
TIP (OUT)
TO MIXER
FROM CHANNEL INSERT
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
Owner’s Manual 23
Appendix C: Technical Information
1402-VLZ3
Specifications Maximum Levels

Mic in: +22 dBu
Tape in: +16 dBu
Main Mix Noise
(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–6 Trim @ All other inputs: +22 dBu
unity gain, channel EQs flat, all channels assigned to Main Mix, Main Mix XLR out: +28 dBu
channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right.) All other outputs: +22 dBu
Main Mix fader down, channel faders down: –101 dBu
Main Mix @ unity, channel faders down: –91 dBu
Impedances
Mic in: 2.5 kilohms
(95 dB Signal to Noise Ratio, ref +4 dBu)
Channel Insert return: 2.5 kilohms
Main Mix fader @ unity, channel faders @ unity: –86 dBu
All other inputs: 10 kilohms or greater
Total Harmonic Distortion (THD) Tape out: 1.1 kilohms
(1 kHz @ +14 dBu, 20 Hz–20 kHz bandwidth) All other outputs: 120 ohms
Mic pre @ insert: 0.0007%
EQ
Attenuation (Crosstalk) High Shelving ±15 dB @ 12 kHz
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth, Mid Peaking ±15 dB @ 2.5 kHz
Line in, 1⁄4" Main Out, Trim @ unity.)
Low Shelving ±15 dB @ 80 Hz
Main Mix fader down: –100 dBu
Channel Alt / Mute switch engaged: –90 dBu Power Consumption
Channel fader down: –90 dBu 25 watts
Frequency Response Fuse Rating

(Mic input to any output.) 100-120V: 500 mA slo blo, 5 x 20 mm
20 Hz to 60 kHz: +0 dB/–1 dB 220-240V: 250 mA slo blo, 5 x 20 mm
20 Hz to 100 kHz: +0 dB/–3 dB Weight
Equivalent Input Noise (EIN) 9.5 lb (4.5 kg)
(Mic in to Insert Send out, max gain.) Dimensions (H x W x D)
150 ohm termination: –129.5 dBu, 20 Hz–20 kHz 12.9" x 14.0" x 3.2" (329 mm x 356 mm x 81 mm)
Common Mode Rejection Ratio (CMRR) LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
(Mic in to Insert Send out, max gain.)
and manufacturing methods. Therefore, we reserve the right to
1 kHz: better than –70 dB change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
24 1402-VLZ3
PHANTOM POWER (GLOBAL SWITCH) TAPE OUT L
INSERT
MAIN L
MAIN R
ALT L
ALT R
AFL L
AFL R
SOLO/PFL
LOGIC
PAN MUTE / ALT
1 LINE OUT L
AUX 1 PRE
AUX 1 POST
AUX 2 POST
GAIN FADER
2 LO MID HI 2
1 2
MIC IN 75Hz 80 2K5 12K 3 BAL OUT L
HPF LOW CUT
3 3 1
4
3-BAND EQ AFL L MAIN MIX MAIN FADERS 30dB PAD

LINE IN
AFL R 2
SOLO BAL OUT R
MONO CHANNEL (1 OF 6) PFL 1
3
LOGIC LINE OUT R

Block Diagram
AUX SEND 2
ALT OUT L TAPE OUT R
POST
PRE AUX SEND 1

ALT OUT R
20
ALT MIX 10
7
4
METERING 2
FADER (0dBu = 0VU) 0
LO MID HI 2
SOURCE
LINE IN L MUTE / ALT ALT 4
1 7
80 2K5 12K 10
2 TAPE IN 20
L 30
PAN
+4 /-10 3 TAPE
4 R
CONTROL ROOM &
PHONES MIX
LO MID HI
LINE IN R RUDE
MAIN
80 2K5 12K SOLO
AFL L LED
3-BAND EQ
AFL R
STEREO CHANNEL (1 OF 4)
SOLO
PFL SOLO RELAY
LOGIC
AFL L
AUX SEND 2
POST
AFL R
PRE AUX SEND 1
PFL PFL LED
SOLO MIX
L IN
AFL (AFTER FADER LISTEN)
(MONO)
PFL (PRE-FADER LISTEN)
STEREO RETURN 1 GAIN

CONTROL ROOM LEFT
R IN ASSIGN TO MAIN
PHONES OUT
L IN
CONTROL ROOM &
AUX 1 PRE / POST PHONES FADER
AUX 1 LEVEL CONTROL ROOM RIGHT
STEREO RETURN 2 GAIN
AUX 1 OUT
AUX 1 MIX
R IN
MACKIE 1402-VLZ3
Owner’s Manual
SIGNAL FLOW RETURN TO
AUX 2 OUT
5/06 AUX 1
AUX 2 MIX
25
Owner’s Manual
1402-VLZ3
26
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL SESSION:
MI C PR MI C PR MI C PR MI C PR
E E E E
MI C PR E MI C PR E 1 1 L
XD R XD R XD R XD R XD R XD R INPUT OUTPUT
DATE:
L L
2 2 R
R R
AUX SEND MAIN OUT
1402-VLZ3
L L L L
Track Sheet


0 60 0 60 0 60 0 60 0 60 0 60 +4 +4 +4 +4
-10 -10 -10 -10
C-R/SOURCE 0dB=0dBu
MAIN MIX 10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
MID MID MID MID MID MID MID MID MID MID 4
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz ALT 3–4
2
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
TAPE 2
4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 7
ASSIGN LEVEL
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN TO MAIN MIX 10
SET
20
NORMAL (AFL)
LEVEL SET (PFL) 30
SOLO
MODE RUDE
1 2 3 4 5 6 7-8 9-10 11-12 13-14 SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE LIGHT
ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 ALT 3 – 4 PHAN TOM POWER

10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
Mackie Limited Warranty
Owner’s Manual
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual 27
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: sales@mackie.com

14-Channel Mic/Line Mixer: Owner'S Manual

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14-Channel Mic/Line Mixer: Owner'S Manual

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1402-VLZ3

14-Channel Mic/Line Mixer

AUX SEND MAIN OUT

LEVEL LEVEL LEVEL LEVEL

CTL ROOM /SUBMIX MAIN MIX

CAUTION AVIS Duration, Sound Level Typical Example

Part No. SW0544 Rev. C 01/09

Need help with your new mixer?

This setup can be easily reconfigured to become

Live Stereo PA System

and effects, headphones, and the ­ultimate destination affected by it anyway.

for your sound: aEQtape ­recorder, PAEQsystem, EQ

See Appendix B for further details and drawings of

the Channel Strip description on page 13 for details of

Never plug ­­single-ended (unbalanced) micro­

1. MIC INPUTS (Channels 1–6)

We use phantom-powered, balanced ­microphone

the same reason: This kind of circuit is­ ­excellent atSOLO

of mic that has a standard ­XLR male mic connector.

10 10 10 10 10 10 2. LINE INPUTS (Channels 1–6)

Professional ribbon, dynamic, and condenser mics

will all sound excellent through these inputs. The

tom power) with the mic preamps, and can be driven

you can toss at them, without overloading. Be sure to

OO +15 OO +15 OO +15 OO +15 OO +15 OO +15

OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +1

AUX SEND MAIN OUT

LEVEL LEVEL LEVEL LEVEL

This is where you connect the outputs of your par-

balanced inputs are similar to the stereo LINE IN [2]

player to feed ­music to a PA system between sets.

inputs (without EQ, Aux Sends, Pan, Mute, and Solo).

The circuits will handle stereo or mono, balanced or

unbalanced signals, either instrument level, –10 dBV

semipro ­effects ­device on PAN

ing into these inputs can be adjusted using the STEREO

One Device: If you have just one parallel effects de-

vice (two cords), use STEREO RETURN 1 left and right,

and leave RETURN 2 ­unplugged. That way, the ­unused

RETURN 2 level control can be used to feed RETURN 1

to your stage ­monitors, via the RETURN TO AUX 1 [42]

Mono Device: If you have an effects device with

to very loud levels. Walkperson-type phones can also be

PHONES output, follow ­standard conventions:

Tip = Left channel LOW CUT

the MUTE/ALT 3-4 [25] switch pressed in (see page 13

is loud, we’re not kidding. It can cause per-

may be painfully loud with some earphones. BE CARE-

way down before connecting headphones. Keep it down

These rear-panel jacks are where you connect serial

six channels. If you want to use this kind of processing

­processor before you plug into the 1402-VLZ3.

outside world. Connect themMUTE

a power amplifier or powered speakers. See page 16 for

details of the main mix.

These low-impedance outputs are fully balanced

and capable of driving +4 dBu lines with up to 28 dB

of headroom. This output is 6 dB hotter than other

14. XLR MAIN OUTPUT LEVEL SWITCH

anced XLR main outputs by 40 dB, so you can feed the

18. POWER CONNECTION 21. POWER SWITCH

the VOLTAGE SELECTOR [20] slide switch is still

it. first, before the power amplifier or powered speakers,

and effects, headphones, and the ultimate destination affected by it anyway.

for your sound: aEQtape recorder, PAEQsystem, EQ

Never plug single-ended (unbalanced) micro

We use phantom-powered, balanced microphone

the same reason: This kind of circuit is excellent atSOLO

of mic that has a standard XLR male mic connector.

player to feed music to a PA system between sets.

semipro effects device on PAN

and leave RETURN 2 unplugged. That way, the unused

to your stage monitors, via the RETURN TO AUX 1 [42]

PHONES output, follow standard conventions:

processor before you plug into the 1402-VLZ3.

SLEEVE a pplications, always unbalanced. The tip is connected to