Mackie Musical Instrument 1402 VLZPRO User Manual
1402-VLZPRO  
14-CHANNEL  
MIC/LINE MIXER  
OWNER’S MANUAL  
POWER  
ON  
PHANTOM  
ON  
STEREO  
PLUG  
SERIAL NUMBER  
MANUFACTURING DATE  
MONO PLUG  
CAUTION  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.  
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
1402-VLZPRO  
INSERT ALL THE WAY IN TO  
THE "SECOND CLICK"  
TIP OUT TO EFFECTS DEVICE  
RING RETURN FROM EFFECTS  
AVIS: RISQUE DE CHOC ELECTRIQUE  
—
NE PAS OUVRIR  
14-CHANNEL MIC/LINE MIXER  
WITH PREMIUM XDRTM MIC PREAMPLIFIERS  
REPLACE WITH THE SAME TYPE FUSE AND RATING.  
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE  
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.  
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE  
DIRECT OUT WITH SIGNAL  
INTERRUPTION TO MASTER  
FOR USE AS AN EFFECTS LOOP  
(TIP= SEND, RING = RETURN)  
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.  
MAIN  
RIGHT  
MAIN  
LEFT  
CONTROL  
ROOM  
ALT  
OUTPUT  
BAL/UNBAL  
CHANNEL INSERT  
(
)
BALANCED  
BALANCED  
BAL/UNBAL  
PRE-FADER / PRE EQ TIP SEND / RING RETURN  
)
R
L
R/4  
L/3  
6
5
4
3
2
1
+4  
MIC  
120 VAC 50/60 Hz 25W  
500mA/250V SLO-BLO  
CAUTION:  
MAIN  
OUTPUT  
LEVEL  
TO REDUCE THE RISK OF  
FIRE REPLACE WITH SAME  
TYPE FUSE AND RATING  
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998  
THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING  
BAL/UNBAL  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
M
M
M
M
M
M
INPUT OUTPUT  
1
2
L
E
E
E
E
E
E
1402-VLZPRO  
L
14-CHANNEL MIC/LINE MIXER  
WITH PREMIUM XDRTM MIC PREAMPLIFIERS  
2
R
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
MONO  
BAL  
BAL  
BAL  
BAL  
BAL  
BAL  
OR  
UNBAL  
MONO  
MONO  
MONO  
L
OR  
OR  
OR  
OR  
OR  
UNBAL  
UNBAL  
UNBAL  
UNBAL  
UNBAL  
L
L
L
LINE IN 1  
LINE IN 2  
LINE IN 3  
LINE IN 4  
LINE IN 5  
LINE IN 6  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
d
-
d
-
d
-
d
-
d
-
d
-
R
R
R
R
C
C
C
C
C
C
N
N
N
N
N
N
M
U
M
U
M
U
M
U
M
U
M
U
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
PHONES  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
–
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7  
8
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
U
U
U
U
U
U
U
U
U
U
U
U
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
1
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+15  
+15  
O
O
+10  
O
O
U
+20  
NORMALLED  
U
U
U
U
U
U
U
U
U
U
AUX 1 MASTER  
2
PRE  
POST  
2
2
2
2
2
2
2
2
2
2
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
AUX  
RETURN  
AUX  
1
EFX TO  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
+20  
SELECT  
MONITOR  
U
U
U
U
U
U
U
U
U
U
LEFT  
RIGHT  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
C-R/SOURCE  
MAIN MIX  
0dB=0dBu  
28  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
10  
7
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
-15  
-12  
-15  
+15  
+12  
+15  
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
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  
4
–
4
ALT  
3
2
0
2
TAPE  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
4
7
ASSIGN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
LEVEL  
SET  
TO MAIN MIX  
10  
20  
30  
NORMAL (AFL)  
LEVEL SET (PFL)  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
SOLO  
MODE  
RUDE  
SOLO  
LIGHT  
–
–
–
–
1
2
3
4
5
6
7 8  
9 10  
11 12  
13 14  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
PHANTOM POWER  
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  
CTL ROOM /SUBMIX  
MAIN MIX  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
5
5
U
5
5
U
5
U
5
U
5
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O
O
O
O
O
O
O
O
O
O
O
O O  
Download from Www.Somanuals.com. All Manuals Search And Download.  
READ THIS PAGE!!!  
We realize that you must be dying to try out Other Nuggets of Wisdom  
your new Mackie 1402-VLZ PRO. Or you might be  
For optimum sonic performance, the chan-  
nel and MAIN MIX FADERS should be set near  
the “ ” (unity gain) markings.  
Always turn the MAIN MIX and CTL  
ROOM/SUBMIX faders down before making  
connections to and from your 1402-VLZ PRO.  
If you shut down your equipment, turn off  
your amplifier(s) first. When powering up,  
turn on your amplifier(s) last.  
one of those people that never read manuals.  
Either way, all we ask is that you read this page  
NOW, and the rest can wait until you’re good and  
ready. But do read it — you’ll be glad you did.  
U
LEVEL-SETTING PROCEDURE  
Message to seasoned pros: do not set lev-  
els using the old “Turn the trim up until the  
clip light comes on, then back off a hair”  
trick. When a Mackie Designs mixer clip  
light comes on, you really are about to clip.  
We worked and slaved to come up with a  
better system, one that provides low noise  
and high headroom.  
Save the shipping box! You may need it  
someday, and you don’t want to have to pay for  
another one.  
INSTANT MIXING  
Here’s how to get going  
right away, assuming you  
own a microphone and a  
keyboard:  
Adjusting input levels (Channels 1–6  
only)  
1. Plug your microphone into Channel 1’s  
On the first six channels, it’s not even  
necessary to hear what you’re doing to set  
optimal levels. But if you’d like to: Plug  
headphones into the PHONES jack, then set  
the CTL ROOM/SUBMIX fader about one  
quarter of the way up.  
MIC IN  
.
2. Turn on the 1402-VLZ PRO.  
3. Perform the Level Setting Procedure  
.
4. Connect cords from the MAIN OUTPUTS  
(XLR, 1⁄4" or RCA, your choice) to your  
amplifier.  
The following steps must be performed  
one channel at a time:  
5. Hook up speakers to the amp and turn it on.  
1. Turn the TRIM AUX SEND and FADER  
,
6. Turn up the 1402-VLZ PRO’s Channel 1  
FADER to the “U” marking and the MAIN  
MIX fader one quarter of the way up.  
7. Sing like a canary!  
8. Plug your keyboard into stereo channel 7–8.  
controls fully down.  
2. Set the EQ knobs at the center detent.  
3. Connect the signal source to the input.  
4. Engage (push in) the SOLO switch.  
5. Engage the AFL/PFL switch in the  
master section. A green LEVEL SET  
light will congratulate you.  
9. Slide that channel’s FADER to the “U”  
marking.  
10. Play like a madman and sing like a  
6. Play something into the selected input.  
This could be an instrument, a singing  
or speaking voice, or a line input such as  
a CD player or tape recorder output. Be  
sure that the volume of the input is the  
same as it would be during normal use.  
If it isn’t, you might have to readjust  
these levels during the middle of the set.  
canary! It’s your first mix!  
Please write your serial number here for  
future reference (i.e. insurance claims,  
tech support, return authorization, etc.):  
7. Adjust the channel’s TRIM control so  
that the display on the LED meters  
stays around “0” and never goes higher  
than “+7.”  
Purchased at:  
8. If you’d like to apply some EQ, do so now  
and return to step 7.  
9. Disengage that channel’s SOLO switch.  
Date of purchase:  
10.Repeat for each of Channels 1–6.  
3
Part No. 0006981-90 Rev. A1 06/03  
©2003 Mackie Designs Inc. All Rights Reserved.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
INTRODUCTION  
Throughout these chapters you’ll find illus-  
trations, with each feature numbered. If you’re  
curious about a feature, simply locate it on the  
appropriate illustration, notice the number at-  
tached to it, and find that number in the  
nearby paragraphs.  
You’ll also find cross-references to these  
numbered features within a paragraph. For  
instance, if you see “To wire your own  
cables: ,” simply find that number in the  
manual and you’ve found your answer.  
Finally, you’ll notice feature numbers like  
this: . These numbers direct you to relevant  
information.  
Thank you for choosing a Mackie Designs  
professional compact mixer. The 1402-VLZ PRO  
is equipped with our new precision-engineered  
TM  
XDR Extended Dynamic Range premium  
studio-grade mic preamp featuring:  
• Full gain range from 0 to 60dB  
• +22 dBu line signal handling capability  
• 130 dB dynamic range  
• Distortion less than 0.0007%, 20Hz to 20kHz  
• Bullet-proof RF rejection using DC pulse  
transformer circuitry  
Now that you have your 1402-VLZ PRO, find  
out how to get the most from it. That’s where  
this manual comes in.  
This icon marks informa-  
tion that is critically  
HOW TO USE THIS MANUAL  
important or unique to the  
1402-VLZ PRO. For your  
own good, read them and  
Since many of you folks will want to hook up  
your 1402-VLZ PRO immediately, the first pages  
you will encounter after the table of contents  
are the everpopular hookup diagrams. These  
show typical mixer setups for Record/Mixdown,  
Video, Disc Jockey and Stereo PA. After this  
section is a detailed tour of the entire mixer.  
Every feature of the 1402-VLZ PRO is described  
“geographically;” in other words, in order of where  
it is physically placed on the mixer’s top or rear  
panel. These descriptions are divided into the first  
three manual chapters, just as your mixer is  
organized into three distinct zones:  
remember them. They will be on the final test.  
And the final test score will go down on your  
Permanent Record.  
This icon will lead you  
to in-depth explanations of  
features and practical tips.  
While not mandatory, they  
usually have some valuable  
nuggets of information.  
A PLUG FOR THE CONNECTORS SECTION  
Appendix is a section on connectors:  
XLR connectors, balanced connectors, unbal-  
anced connectors, special hybrid connectors.  
1. PATCHBAY: Along the top and back.  
2. CHANNEL STRIP: The ten channel strips  
on the left.  
3. OUTPUT SECTION: The section on the right.  
More resources on our website @  
www.mackie.com  
BAL/UNBAL  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
MIC  
M
1
MIC  
M
2
MIC  
M
3
MIC  
M
4
MIC  
M
5
MIC  
M
6
INPUT OUTPUT  
1
2
L
1402-VLZPRO  
THE GLOSSARY: A Haven of Non-Techiness For  
The Neophyte  
L
14-CHANNEL MIC/LINE MIXER  
WITH PREMIUM XDRTM MIC PREAMPLIFIERS  
2
R
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
MONO  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
U
BAL  
BAL  
BAL  
MONO  
MONO  
MONO  
L
L
L
LINE IN 1  
LOW CUT  
LINE IN 2  
LOW CUT  
LINE IN
BAL  
OR  
BAL  
OR  
BAL  
OR  
The "Glossary of Terms" is a fairly compre-  
hensive dictionary of pro-audio terms. If terms  
like “clipping,” “noise floor,” or “unbalanced”  
leave you blank, refer to this glossary for a  
quick explanation.  
75 Hz  
75 Hz  
UNBAL  
UNBAL  
UNBAL  
18dB/OCT  
18dB/OCT  
d
-
d
-
d
-
PA  
TCHB  
AY  
R
R
R
C
C
C
M
U
M
U
M
U
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
PHONES  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+
15dB -45dB  
+
15dB -45dB  
+
15dB -45dB  
+
15dB -45dB  
+
15dB -45dB  
+
15dB -45dB  
–
8
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7  
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
U
U
U
U
U
U
U
U
U
U
U
U
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
MON/  
EFX  
1
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O
O
+1  
5
O O  
+10  
O
O
+20  
NORMALLED  
U
U
U
U
U
U
U
U
U
U
U
AUX  
PRE  
POST  
1
MASTER  
2
2
2
2
2
2
2
2
2
2
2
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
EFX  
AUX  
RETURN  
AUX  
1
EFX TO  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+20  
SELECT  
MONITOR  
U
U
U
U
U
U
U
U
U
U
LEFT  
RIGHT  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
C-R/SOURCE  
MAIN MIX  
0dB=0dBu  
28  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
HI  
12kHz  
10  
7
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
-1  
5
+15  
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
ARCANE MYSTERIES ILLUMINATED  
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  
4
–
4
ALT  
3
2
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
-12  
+12  
0
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
-1  
5
+1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
"Arcane Mysteries" discusses some of the  
down ’n’ dirty practical realities of  
microphones, fixed installations, grounding,  
and balanced versus unbalanced lines. It’s a  
goldmine for the neophyte and even the sea-  
soned pro might learn a thing or two.  
PA
PAN  
PAN  
PA
OUTPUT SECTION  
CHANNEL STRIPS  
L
R
L
R
L
R
L
R
SOLO  
MODE  
RUDE  
SOLO  
LIGHT  
–
–
–
3
–
3
–
1
3
2
3
3
4
3
5
3
6
3
7
8
9
10  
11 12  
13 14  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
ALT  
MUTE  
MUTE  
ALT  
MUTE  
ALT  
PHANTOM POWER  
–
4
–
4
3
–
4
–
4
–
4
–
4
ALT  
3
–
4
3
–
4
–
4
4
CTL ROOM /SUBMIX  
MAIN MIX  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O
O
O
O O  
O O  
O O  
O
O
O
O
O
O
4
Download from Www.Somanuals.com. All Manuals Search And Download.  
CONTENTS  
OUTPUT SECTION DESCRIPTION ..................... 21  
MAIN MIX .............................................. 21  
VLZ MIX ARCHITECTURE ......................... 21  
SOURCE MATRIX..................................... 21  
CONTROL ROOM / SUBMIX .................... 22  
SOLO MODE: AFL / PFL ........................... 22  
RUDE SOLO LED ...................................... 22  
ASSIGN TO MAIN MIX............................. 23  
METERS .................................................. 23  
AUX TALK ............................................... 24  
AUX 1 SELECT ......................................... 24  
AUX 1 MASTER ....................................... 24  
AUX RETURNS ........................................ 24  
EFX TO MONITOR ................................... 25  
JACK NORMALLING................................. 25  
MODIFICATIONS.......................................... 25  
1402-VLZ PRO BLOCK DIAGRAM .................... 26  
GAIN STRUCTURE DIAGRAM .......................... 27  
SPECIFICATIONS ............................................ 28  
SERVICE INFO ............................................... 29  
APPENDIX A: CONNECTIONS ................................. 30  
TRACK SHEET ....................................................... 33  
COLOPHON .......................................................... 34  
1402-VLZ PRO LIMITED WARRANTY..................... 35  
LEVEL-SETTING PROCEDURE ............................ 3  
HOOKUP DIAGRAMS....................................... 6  
1402-VLZ PRO PATCHBAY DESCRIPTION ....... 10  
MIC INPUTS ............................................ 10  
PHANTOM POWER .................................. 10  
LINE INPUTS ........................................... 11  
LOW CUT ................................................ 11  
TRIM ...................................................... 11  
+
4 / –10................................................ 11  
STEREO LINE INPUTS ............................... 12  
EFFECTS: SERIAL OR PARALLEL? ............... 12  
INSERT ................................................... 13  
AUX RETURNS ........................................ 13  
TAPE IN .................................................. 14  
XLR MAIN OUTPUTS ............................... 14  
MAIN OUTPUT LEVEL............................... 15  
1⁄4" MAIN OUTPUTS ................................ 15  
TAPE OUTPUT ......................................... 15  
PHONES ................................................. 16  
ALT 3–4 OUTPUT .................................... 16  
CONTROL ROOM..................................... 16  
AUX SEND 1 & 2 ..................................... 16  
POWER CONNECTION .............................. 17  
FUSE....................................................... 17  
POWER SWITCH...................................... 17  
PHANTOM SWITCH ................................. 17  
CHANNEL STRIP DESCRIPTION ....................... 18  
“U” LIKE UNITY GAIN ............................. 18  
FADER .................................................... 18  
SOLO ...................................................... 18  
MUTE/ALT 3–4 ....................................... 18  
PAN ....................................................... 19  
CONSTANT LOUDNESS ! ! ! ....................... 19  
3-BAND EQ ............................................. 19  
AUX SEND .............................................. 20  
5
Download from Www.Somanuals.com. All Manuals Search And Download.  
HOOKUP DIAGRAMS  
4-track Recorder  
in (record)  
out (play)  
IMPORTANT:  
ALL Channel Insert  
plugs are inserted  
to the SECOND click.  
in  
1
out  
in  
Stereo Compressor  
1
2
3
2
out  
Guitar Effects  
3
4
5
6
4
out  
Mono Processor  
5
6
in  
Keyboard or other line-level input  
L
7
8
out  
L
MONO  
1
2
R
R
in  
Mono in / stereo out  
Reverb  
L
9
MONO  
L
R
10  
R
Digital Delay  
in  
out  
L
11  
12  
MONO  
1
2
R
L
13  
14  
MONO  
L
R
R
out  
L
L
R
R
(play)  
2-track Mixdown Deck  
L
R
in  
(record)  
Power  
Amplifier  
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN  
CH  
CH  
1
2
O
L
O
L
P
W
R
PWR  
ON  
ON  
HIGH RESOLUTION  
STUDIO MONITOR  
HIGH RESOLUTION  
STUDIO MONITOR  
OFF  
OFF  
Studio Monitors  
1402-VLZ PRO 4-Track Record / 2-Track Mix  
6
Download from Www.Somanuals.com. All Manuals Search And Download.  
V/O Mic  
in  
Compressor  
1
2
3
4
5
6
1
2
3
4
5
6
out  
Keyboard or other  
line-level input  
Video Deck #1  
L
7
8
L
MONO  
L
Audio out  
1
2
R
R
R
Video Deck #2  
L
9
Note: Aux Return #2  
can be used as an  
extra stereo input  
MONO  
L
L
Audio out  
R
10  
R
R
Video Deck #3  
L
11  
12  
MONO  
1
2
L
Audio out  
CD Player  
out  
Multi Effect Processor  
in  
R
R
L
13  
14  
MONO  
L
L
R
R
R
L
L
R
R
L
R
Time code DAT  
L
out  
Power  
Amplifier  
R
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN  
C
H
CH  
1
2
L
R
in  
O
L
O
L
P
W
R
PWR  
ON  
ON  
HIGH RESOLUTION  
STUDIO MONITOR  
HIGH RESOLUTION  
STUDIO MONITOR  
OFF  
OFF  
Mackie Designs: Video Setup  
scene #1 _ 23:94:10  
Time Base  
Multi - VCR Video Switcher  
with time code Interface  
(optional)  
Studio Monitors  
Master Video Deck  
1402-VLZ PRO Video Setup  
7
Download from Www.Somanuals.com. All Manuals Search And Download.  
in  
out  
in  
1
2
3
4
Stereo Compressor  
Stereo Compressor  
1
2
out  
in  
Turntable  
out  
in  
3
4
5
6
out  
Phono Preamps  
RIAA  
5
6  
*Note: Aux Return #2 can  
be used as an extra stereo input  
L
7
8
L
MONO  
RIAA  
1
2
R
R
CD Player  
L
9
MONO  
L
L
out  
out  
out  
R
10  
Triggered Lights  
R
R
CD Player  
L
11  
12  
MONO  
1
2
L
Multi Effect  
out  
Processor  
in  
R
R
Sampler  
in  
L
L
13  
14  
MONO  
L
R
R
R
L
L
R
R
L
in  
Stereo EQ  
R
2-track  
Deck  
out  
out  
(play)  
Power  
Amplifier  
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN  
in  
C
H
CH  
1
2
(record)  
Right PA Speaker  
Left PA Speaker  
People dancing  
on the floor  
1402-VLZ PRO Disc Jockey Setup  
8
Download from Www.Somanuals.com. All Manuals Search And Download.  
Vocal Mics  
in  
1
2
3
4
5
1
2
3
4
5
6
Stereo Compressor  
out  
in  
out  
4
5
6
Mono Compressor  
in  
out  
Bass Preamp  
Stereo Guitar Effects  
L
7
8
L
MONO  
1
2
R
R
Drum  
Machine  
L
9
MONO  
L
Keyboard or other  
line-level input  
R
10  
R
out  
L
11  
12  
MONO  
1
2
Multi Effect  
Processor  
in  
R
L
in  
13  
14  
MONO  
L
R
Stage Monitors  
Power Amp  
out  
Mono EQ  
R
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN  
CH  
CH  
1
2
L
L
R
R
L
R
in  
2-track  
Deck  
out  
(play)  
Stereo EQ  
out  
Power  
Amplifier  
in  
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN  
(record)  
C
H
CH  
1
2
Thissetupcanbeeasilyreconfiguredto  
becomeaMonoPAsetup.  
A. Stereosourcesshouldfeedthe  
leftmonosideofchannelinputonly.  
B. Paneachchannelhardleft.  
C. ConnectMonoPAsystemto  
Leftmainoutput.  
Right PA Speaker  
Left PA Speaker  
1402-VLZ PRO Stereo PA  
9
Download from Www.Somanuals.com. All Manuals Search And Download.  
1402-VLZPRO PATCHBAY DESCRIPTION  
Professional ribbon, dynamic and condenser  
mics will all sound excellent through these in-  
puts. The 1402-VLZ PRO’s mic inputs will  
handle any kind of mic level you can toss at  
them, without overloading. Be sure to perform  
At the risk of stating the obvious, this is  
where you plug everything in: microphones,  
line-level instruments and effects, head-  
phones, and the ultimate destination for your  
sound: a tape recorder, PA system, etc.  
the Level Setting Procedure:  
.
MIC INPUTS (Channels 1–6)  
PHANTOM POWER  
We use phantom-powered, balanced micro-  
phone inputs just like the big studio  
Most modern professional condenser mics  
are 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 be  
“unseen” by dynamic mics (Shure SM57/SM58,  
for instance), which don’t need external power  
and aren’t affected by it anyway.  
mega-consoles, for exactly the same reason:  
This kind of circuit is excellent at rejecting  
hum and noise. You can plug in almost any  
kind of mic that has a standard XLR-type male  
mic connector. To learn how signals are  
routed from these inputs: . If you wire your  
own, connect them like this:  
2
SHIELD  
HOT  
The 1402-VLZ PRO’s phantom power is glo-  
bally controlled by the PHANTOM switch on  
1
3
COLD  
the rear panel  
.
SHIELD  
1
Never plug single-ended  
(unbalanced) micro-  
phones or instruments  
into the MIC IN jacks if the  
PHANTOM power is on.  
3
COLD  
2
HOT  
SHIELD  
COLD  
HOT  
1
3
2
Do not plug instrument outputs into the  
MIC IN jacks with PHANTOM power on unless  
you know for certain it is safe to do so.  
Pin 1 = Ground or shield  
Pin 2 = Positive (+ or hot)  
Pin 3 = Negative (– or cold)  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
BAL/UNBAL  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
M
M
M
M
M
M
INPUT OUTPUT  
1
2
L
E
E
E
E
E
E
L
2
R
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
BAL  
BAL  
BA
BAL  
BAL  
OR  
UNBAL  
BAL  
MONO  
MONO  
MONO  
MONO  
OR  
OR  
O
OR  
OR  
UNBAL  
UNBAL  
UNB
UNBAL  
UNBAL  
L
L
L
L
LINE IN 1  
LINE IN 2  
LINE IN 3  
LINE IN 4  
LINE IN 5  
LINE IN 6  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
LOW CUT  
LOW CUT  
LOW C
LOW CUT  
LOW CUT  
LOW CUT  
75 Hz  
75 Hz  
75 H
75 Hz  
75 Hz  
75 Hz  
18dB/OCT  
18dB/OCT  
18dB/
18dB/OCT  
18dB/OCT  
18dB/OCT  
d
d
d
d
d
d
V
N
V
N
V
N
V
N
V
N
V
N
-
-
-
-
-
-
C
M
R
R
R
R
C
C
C
C
C
M
M
M
M
M
U
U
U
U
U
U
LEVE
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
–
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7 8  
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
10  
Download from Www.Somanuals.com. All Manuals Search And Download.  
it out makes the low stuff you do want much  
more crisp and tasty. Not only that, but LOW  
CUT can help reduce the possibility of feed-  
back in live situations and it helps to conserve  
the amplifier power.  
LINE INPUTS (Channels 1–6)  
These six line inputs share circuitry (but  
not phantom power) with the mic preamps,  
and can be driven by balanced or unbalanced  
sources at almost any level. You can use these  
inputs for virtually any signal you’ll come  
across, from instrument levels as low as –40dB  
to operating levels of –10dBV to +4dBu, since  
there is 40dB more gain available than on  
Channels 7–14. To learn how signals are  
Another way to consider LOW CUT’s func-  
tion is that it actually adds flexibility during  
live performances. With the addition of LOW  
CUT, you can safely use LOW equalization on  
vocals . Many times, bass shelving EQ can  
really benefit voices. Trouble is, adding LOW  
EQ also boosts stage rumble,  
routed from these inputs:  
.
To connect balanced lines to these inputs,  
use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type  
found on stereo headphones:  
+15  
mic handling clunks and  
+10  
breath pops. LOW CUT re-  
+5  
moves all those problems so  
0
RING SLEEVE  
SLEEVE RING TIP  
you can add low EQ without  
losing a woofer.  
–5  
–10  
TIP  
–15  
Here’s what the combina-  
tion of LOW EQ and LOW  
CUT looks like in terms of  
frequency curves.  
RING  
TIP  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Low Cut with Low EQ  
SLEEVE  
Tip = Positive (+ or hot)  
Ring = Negative (– or cold)  
Sleeve = Shield or ground  
TRIM (Channels 1–6)  
To connect unbalanced lines to these in-  
puts, use a 1⁄4" mono (TS) phone plug or  
standard instrument cable:  
If you haven’t already, please read the Level  
Setting Procedure  
.
TRIM adjusts the input sensitivity of the mic  
and line inputs connected to Channels 1  
through 6. This allows signals from the outside  
world to be adjusted to optimal internal oper-  
ating levels.  
If the signal originates through the XLR  
jack, there will be 0dB of gain with the knob  
fully down, ramping to 60dB of gain fully up.  
Through the 1⁄4" input, there is 15dB of at-  
tenuation fully down and 45dB of gain fully up,  
with a “U” (unity gain) mark at 10:00.  
SLEEVE  
SLEEVE  
TIP  
TIP  
TIP  
SLEEVE  
Tip = Signal  
Sleeve = Ground  
Line inputs 1–6 are a good place to connect  
older instruments that need more gain. You  
can correct weak levels by adjusting the corre-  
This 15dB of attenuation can be very handy  
when you are inserting a signal that is very hot,  
or when you want to add a lot of EQ gain, or  
both. Without this “virtual pad,” a scenario like  
that might lead to channel clipping.  
sponding channel’s TRIM control  
.
LOW CUT (Channels 1–6)  
The LOW CUT switch, often referred to as a  
High Pass Filter (all depends on how you look  
at it), cuts bass frequencies below 75Hz at a  
rate of 18dB per octave.  
+4 / –10 (Channels 7–14)  
This switch adjusts the input sensitivity of  
the line inputs on channels 7–14. If the sound  
source is a “–10” device, engage this switch. If  
you are unsure, leave the switch up and per-  
+15  
We recommend  
that you use LOW  
CUT on every micro-  
phone application  
except kick drum,  
bass guitar, bassy  
synth patches, or re-  
cordings of  
+10  
+5  
0
–5  
form the Level Setting Procedure  
,
–10  
–15  
substituting this switch for the TRIM knob and  
then setting the switch to the appropriate gain  
setting.  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Low Cut  
earthquakes. These aside, there isn’t much  
down there that you want to hear, and filtering  
11  
Download from Www.Somanuals.com. All Manuals Search And Download.  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
BAL/UNBAL  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
M
M
M
M
M
M
INPUT OUTPUT  
1
L
E
E
E
E
E
E
L
2
R
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
BAL  
BAL  
BAL  
BAL  
BAL  
BAL  
MONO  
MONO  
MONO  
MONO  
OR  
OR  
OR  
OR  
OR  
OR  
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  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBA
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
d
d
d
d
d
d
V
N
V
N
V
N
V
N
V
N
V
N
-
-
-
-
-
-
C
M
R
R
R
R
C
C
C
C
C
M
M
M
M
M
U
U
U
U
U
U
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
–
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7 8  
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
STEREO LINE INPUTS (Channels 7–8,  
9–10, 11–12 and 13–14)  
EFFECTS: SERIAL OR  
PARALLEL?  
These fully balanced inputs are designed for  
stereo or mono, balanced or unbalanced sig-  
nals, from –10dBV to +4dBu. They can be used  
The next two sections toss  
the terms “serial” and “paral-  
lel” around like hacky sacks.  
with just about any professional or semi-pro in- Here’s what we mean by them.  
strument, effect or tape player. To learn how  
“Serial” means that the entire signal is  
signals are routed from these inputs: . To  
routed through the effects device. Examples:  
compressor/limiters, graphic equalizers. Line-  
wire your own cables:  
.
In the stereo audio world, an odd-numbered level sources can be patched through a serial  
channel usually receives the “left signal.” For  
example, you would feed the 1402-VLZ PRO’s  
effects device before or after the mixer or,  
more conveniently, through the channel insert  
line inputs 7–8 a stereo signal by inserting the jacks located on the rear of the mixer (INSERT  
device’s left output plug into the Channel 7  
jack, and its right output plug into the Chan-  
nel 8 jack.  
When connecting a mono device (just one  
cord), always use the Left (MONO) input and  
plug nothing into the Right input — this way  
SEND/RETURN) .  
“Parallel” means that a portion of the signal  
in the mixer is tapped off to the device (AUX  
SEND), processed and returned to the mixer  
(AUX RETURN) to be mixed with the original  
“dry” signal. This way, multiple channels can all  
the signal will appear on both sides. This trick make use of the same effects device. Examples:  
is called “jack normalling” reverb, digital delay. (See diagrams below.)  
.
Signal Processor  
Insert Send  
Dry Signal  
Insert Return  
Serial  
Serial Device  
(e.g. Compressor)  
Processed  
Signal  
Signal Processor  
Output Section  
Aux Return  
Aux Send  
Parallel Device  
(e.g. Reverb)  
Wet Signal  
Parallel  
Processed  
Signal  
Channel Path  
Mix Stage  
Dry Signal(s)  
Dry Signal(s)  
12  
Download from Www.Somanuals.com. All Manuals Search And Download.  
INSERT (Channels 1–6)  
SERIAL NUMBER  
MANUFACTURING DATE  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.  
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR  
These jacks, on the back of the 1402-VLZ  
PRO, are where you connect serial effects such  
as compressors, equalizers, de-essers, or filters  
. Since most people don’t have more than a  
few of these gadgets, we’ve included inserts for  
just the first six channels. If you want to use this  
kind of processing on Channels 7–14, simply  
patch through the processor before you plug  
into the 1402-VLZ PRO.  
The INSERT points are after the TRIM and  
LOW CUT controls, but before the channel’s  
EQ and FADER controls. The send (tip) is  
low-impedance (120 ohms), capable of  
driving any device. The return (ring) is high-  
impedance (over 2.5k ohms) and can be  
driven by almost any device.  
ING.  
FUSE  
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.  
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE  
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.  
CHANNEL INSERT  
(
)
PRE-FADER / PRE EQ TIP SEND / RING RETURN  
)
6
5
4
3
2
1
DINVILLE, WA, USA • COPYRIGHT ©1998  
GN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING  
AUX RETURNS  
This is where you connect the outputs of  
your parallel effects devices (or extra audio  
sources). These balanced inputs are similar to  
the stereo line inputs without EQ, Aux  
Sends, Pan, Mute, and Solo. The circuits will  
handle stereo or mono, balanced or unbal-  
anced signals, either instrument level, –10dBV  
or +4dBu. They can be used with just about  
any pro or semi-pro effects device on the mar-  
ket. To learn how signals are routed from  
INSERT cables must be wired thusly:  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
this plug connects to one of the  
mixer’s Channel Insert jacks.  
these inputs, see  
.
“ring”  
RETURN from processor  
One Device: If you have  
just one parallel effects  
Tip = Send (output to effects device)  
Ring = Return (input from effects device)  
Sleeve = Common ground (connect shield to  
all three sleeves)  
device, use AUX RETURN  
1
and leave AUX  
RETURN 2 unplugged.  
That way, the unused AUX RETURN 2  
LEVEL control can be used to feed AUX  
RETURN 1 to your stage monitors, via  
Besides being used for inserting external  
devices, these jacks can also be used as chan-  
nel direct outputs; post-TRIM, post-LOW CUT  
and pre EQ. Check out the 4-track hookup dia-  
gram . Here’s three ways you can use the  
INSERT jacks:  
,
the EFX TO MONITOR switch  
.
Mono Device: If you have an effects de-  
vice with a mono output (1 cord), plug that  
into AUX RETURN 1 LEFT and leave AUX  
RETURN 1 RIGHT unplugged. That way the  
signal will be sent to both sides, magically  
appearing in the center as a mono signal.  
MONO PLUG  
Channel Insert jack  
This won’t work with AUX RETURN 2  
—
Direct out with no signal interruption to master.  
you’ll need a Y-cord to feed the L/R bus. In  
short, AUX RETURN 1 uses jack normalling.  
AUX RETURN 2 does not use jack normalling.  
Insert only to first “click.”  
MONO PLUG  
Channel Insert jack  
Direct out with signal interruption to master.  
Insert all the way in to the second “click.”  
STEREO  
PLUG  
Channel Insert jack  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect)  
13  
Download from Www.Somanuals.com. All Manuals Search And Download.  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
BAL/UNBAL  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
M
M
M
M
M
M
INPUT OUTPUT  
1
2
L
E
E
E
E
E
E
L
2
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
BAL  
BAL  
BAL  
BAL  
BAL  
BAL  
MONO  
MONO  
MO
MONO  
OR  
OR  
OR  
OR  
OR  
OR  
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  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
d
d
d
d
d
d
V
N
V
N
V
N
V
N
V
N
V
N
-
-
-
-
-
-
C
M
R
R
R
R
C
C
C
C
C
M
M
M
M
M
U
U
U
U
U
U
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
–
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7 8  
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
Outputs? The 1402-VLZ PRO has plenty of  
’em: XLR MAIN, 1⁄4  
CONTROL ROOM and AUX SENDS. Let’s  
TAPE IN  
"
MAIN, TAPE, PHONES,  
These RCA jacks are designed to work with  
semi-pro as well as pro recorders. To compen-  
sate for typically low levels, signals coming in  
here will be automatically boosted by 6dB.  
Connect your tape recorder’s outputs here,  
using standard hi-fi (RCA) cables. To learn how  
take a peek.  
XLR MAIN OUTPUTS  
These low-impedance outputs are fully bal-  
anced and capable of driving +4dBu lines with  
up to 28dB of headroom. This output is 6dB  
hotter than other outputs. To learn how sig-  
signals are routed from these inputs, see  
.
SLEEVE TIP SLEEVE TIP  
nals are routed to these outputs:  
.
To use these outputs, wire the XLR (bal-  
anced only) connectors like this:  
2
SHIELD  
Use these jacks for convenient tape play-  
back of your mixes. You’ll be able to review a  
mix, and then rewind and try another pass,  
without repatching or disturbing the mixer  
levels. You can also use these jacks with a por-  
table tape or CD player to feed music to a PA  
system between sets.  
HOT  
1
3
COLD  
SHIELD  
1
3
COLD  
HOT  
2
SHIELD  
COLD  
HOT  
WARNING: Pushing  
TAPE in the SOURCE  
matrix and ASSIGN TO  
MAIN MIX can create a  
1
3
2
Pin 1 = Ground  
Pin 2 = Positive (+ or hot)  
Pin 3 = Negative (– or cold)  
feedback path between  
TAPE IN and TAPE OUT. Make sure your  
tape deck is not in record, record-pause or  
input monitor mode when you engage these  
switches, or make sure the CTL ROOM /  
SUBMIX fader is fully down (off).  
14  
Download from Www.Somanuals.com. All Manuals Search And Download.  
For most music recording and PA applica-  
tions, unbalanced lines are perfectly  
acceptable. To use these outputs to drive un-  
balanced inputs, connect 1⁄4" TS (Tip-Sleeve)  
phone plugs like this:  
MAIN OUTPUT LEVEL  
Engaging this switch pads the balanced  
XLR MAIN OUTPUTS by 30dB, so you can feed  
the microphone input of, say, another mixer.  
Perfect for sending a submix to another mic  
level input in boardroom or conference room  
applications.  
SLEEVE  
SLEEVE TIP  
TIP  
TIP  
You can safely plug this output into an input  
that provides 48V phantom power.  
Tip = + (hot)  
Sleeve = Ground  
SLEEVE  
1⁄4" MAIN OUTPUTS  
TAPE OUTPUT  
These 1⁄4" jacks are balanced outputs ca-  
pable of delivering 22dBu into a 600 ohm  
balanced or unbalanced load. (Okay, we admit  
it, that was a pretty technical sentence. See  
the Glossary and Connections appendices if  
you want to decode it.)  
These unbalanced RCA connections tap the  
MAIN OUTPUTS to make simultaneous record-  
ing and PA work more convenient. Connect  
these to your recorder’s inputs. To learn how  
signals are routed to these outputs:  
.
MONO OUT: If you want to feed a mono  
signal to your tape deck or other device, simply  
use an RCA Y-cord to combine these outputs  
(Radio Shack® #274-511, for instance). Do not  
attempt this with any other outputs on the  
1402-VLZ PRO.  
To learn how signals are routed to these 1⁄4  
"
outputs:  
.
To use these outputs to drive balanced in-  
puts, connect 1⁄4" TRS (Tip-Ring-Sleeve)  
phone plugs like this:  
RING SLEEVE  
SLEEVE RING TIP  
SLEEVE TIP SLEEVE TIP  
TIP  
RING  
TIP  
Tip = + (hot)  
Ring = – (cold)  
Sleeve = Ground  
SLEEVE  
POWER PHANTOM  
ON ON  
STEREO  
PLUG  
MONO PLUG  
1402-VLZPRO  
INSERT ALL THE WAY IN TO  
THE "SECOND CLICK"  
TIP OUT TO EFFECTS DEVICE  
RING RETURN FROM EFFECTS  
14-CHANNEL MIC/LINE MIXER  
WITH PREMIUM XDRTM MIC PREAMPLIFIERS  
DIRECT OUT WITH SIGNAL  
INTERRUPTION TO MASTER  
FOR USE AS AN EFFECTS LOOP  
(TIP= SEND, RING = RETURN)  
MAIN  
RIGHT  
MAIN  
LEFT  
CONTROL  
ROOM  
BALANCED  
BALANCED  
BAL/UNBAL  
R
L
+4  
MIC  
120 VAC 50/60 Hz 25W  
500mA/250V SLO-BLO  
CAUTION:  
MAIN  
OUTPUT  
LEVEL  
TO REDUCE THE RISK OF  
FIRE REPLACE WITH SAME  
TYPE FUSE AND RATING  
THE FOLLOWING ARE TRADEMARKS OR REG  
15  
Download from Www.Somanuals.com. All Manuals Search And Download.  
LEFT/MONO  
RIGHT  
ALL BAL/UNBAL  
1
TAPE  
TAPE  
BAL/UNBAL  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
M
M
M
M
M
M
INPUT OUTPUT  
1
2
L
E
E
E
E
E
E
L
2
R
R
STEREO AUX RETURN AUX SEND  
MAIN OUT  
BAL  
BAL  
BAL  
BAL  
BAL  
BAL  
MONO  
MONO  
MONO  
MONO  
OR  
OR  
OR  
OR  
OR  
OR  
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  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
BAL  
OR  
UNBAL  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
75 Hz  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
d
d
d
d
d
d
V
N
V
N
V
N
V
N
V
N
V
N
-
-
-
-
-
-
C
M
R
R
R
R
C
C
C
C
C
M
M
M
M
M
U
U
U
U
U
U
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
LEVEL  
+4  
-10  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
–
–
–
–
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
TRIM  
LINE IN 7 8  
LINE IN 9 10  
LINE IN 11 12  
LINE IN 13 14  
PHONES  
ALT 3–4 OUTPUT  
These 1⁄4" jacks are balanced outputs ca-  
pable of delivering 22dBu into a balanced or  
unbalanced load. To learn how signals are  
routed to these outputs: . To wire your own  
The 1402-VLZ PRO’s stereo PHONES jack  
will drive any standard headphone to very loud  
levels. Walkperson-type phones can also be  
used with an appropriate adapter. To learn  
how signals are routed to these outputs: . If  
you’re wiring your own cable for the PHONES  
output, follow standard conventions:  
cables:  
.
CONTROL ROOM  
These 1⁄4" jacks are balanced outputs ca-  
pable of delivering 22dBu into a 600 ohm  
balanced or unbalanced load. To learn how  
signals are routed to these outputs: . To  
RING SLEEVE  
SLEEVE RIGHT LEFT  
TIP  
RIGHT  
LEFT  
wire your own cables:  
.
SLEEVE  
Tip = Left channel  
AUX SEND 1&2  
Ring = Right channel  
These 1⁄4" jacks are also balanced outputs  
capable of delivering 22dBu into a 600 ohm  
balanced or unbalanced load. To learn how  
signals are routed to these outputs: . To wire  
Sleeve = Common ground  
WARNING: When we say  
the headphone amp is  
loud, we’re not kidding.  
your own cables:  
.
It can cause permanent  
ear damage. Even inter-  
mediate levels may be painfully loud with  
some earphones. BE CAREFUL!  
Always turn the CTL ROOM/SUBMIX fader  
all the way down before connecting head-  
phones. Keep it down until you’ve put the  
phones on. Then turn it up slowly. Why? “Engi-  
neers who fry their ears find themselves with  
short careers.”  
16  
Download from Www.Somanuals.com. All Manuals Search And Download.  
POWER CONNECTION  
POWER SWITCH  
Just in case you lose the cord provided with  
the 1402-VLZ PRO, its power jack accepts a  
If this one isn’t self-explanatory, we give up.  
You can leave this switch on all the time; the  
standard 3-prong IEC cord like those found on 1402-VLZ PRO is conservatively designed, so  
most professional recorders, musical instru-  
ments, and computers.  
heat buildup isn’t a problem even in 24-hour-a-  
day operation. There’s nothing that will burn out  
or get used up. Or, just plug everything into a  
At the other end of our cord is — get this  
— a plug! Not a black cube or, as we’re fond of good quality power strip for one-button turn-on.  
calling them, a “wall wart.” We did this for  
some very good reasons:  
You may notice that  
the 1402-VLZ PRO feels  
The 1402-VLZ PRO has sophisticated power  
requirements that a wall wart cannot provide.  
Wall warts are inconvenient, fragile, radiate  
huge hum fields, hog extra jacks on your  
power strip and get in the way. If you lose a  
wall wart, you’re in trouble, but if you lose the  
1402-VLZ PRO’s power cord, you can get a new  
one at any electronics, music, or computer  
store. You can even buy them at Radio Shack®  
(part # 287-1257). Can you tell that we hate  
wall warts?  
quite warm in the upper-  
right corner. This is  
perfectly normal.  
(Perfectly normal. Is that redundant?)  
In the output section there is a POWER  
LED. If the power is on, so is the LED.  
PHANTOM SWITCH  
The Phantom Power Switch controls the  
phantom power supply for condenser micro-  
phones plugged into channels 1-6 mic inputs  
Plug the 1402-VLZ PRO into any standard  
grounded AC outlet or into a power strip of  
proper voltage.  
as discussed at the start of this section  
.
When turned on (or off), the phantom power  
circuitry takes a few moments for voltage to  
ramp up (or down). This is also perfectly normal.  
In the output section, next to the POWER  
LED, is the PHANTOM LED. If the phantom  
power is on, so is the LED.  
WARNING: Disconnect-  
ing the plug’s ground  
pin can be dangerous.  
Please don’t do it.  
FUSE  
The 1402-VLZ PRO is fused for your (and its  
own) protection. If you suspect a blown fuse,  
disconnect the cord, pull the fuse drawer out  
(located just below the cord receptacle) and  
replace the fuse with a 500mA (0.5 amps) SLO  
BLO, 5x20mm, available at electronics stores  
or your dealer (or a 250mA SLO BLO 5x20mm  
if your 1402-VLZ PRO is a 220V–240V unit).  
If two fuses blow in a row, something is  
very wrong. Please call our toll-free number  
(or the distributor in your country) and find  
out what to do.  
POWER  
ON  
PHANTOM  
ON  
STEREO  
PLUG  
SERIAL NUMBER  
MANUFACTURING DATE  
MONO PLUG  
CAUTION  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.  
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
1402-VLZPRO  
INSERT ALL THE WAY IN TO  
THE "SECOND CLICK"  
TIP OUT TO EFFECTS DEVICE  
RING RETURN FROM EFFECTS  
AVIS: RISQUE DE CHOC ELECTRIQUE  
—
NE PAS OUVRIR  
14-CHANNEL MIC/LINE MIXER  
REMIUM XDRTM MIC PREAMPLIFIERS  
REPLACE WITH THE SAME TYPE FUSE AND RATING.  
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE  
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.  
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE  
DIRECT OUT WITH SIGNAL  
INTERRUPTION TO MASTER  
FOR USE AS AN EFFECTS LOOP  
(TIP= SEND, RING = RETURN)  
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.  
MAIN  
RIGHT  
MAIN  
LEFT  
CONTROL  
ROOM  
ALT  
OUTPUT  
BAL/UNBAL  
CHANNEL INSERT  
PRE-FADER / PRE EQ TIP SEND / RING RE) TURN  
(
)
BALANCED  
BALANCED  
BAL/UNBAL  
R
L
R/4  
L/3  
6
5
4
3
2
1
+4  
MIC  
120 VAC 50/60 Hz 25W  
500mA/250V SLO-BLO  
CAUTION:  
MAIN  
OUTPUT  
LEVEL  
TO REDUCE THE RISK OF  
FIRE REPLACE WITH SAME  
TYPE FUSE AND RATING  
DESIGNEDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998  
THE FOLLOWING ARE OR REGISTERED TRADACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • PATENT PENDING  
17  
Download from Www.Somanuals.com. All Manuals Search And Download.  
U
AUX  
1
CHANNEL STRIP DESCRIPTION  
MON/  
EFX  
O O +15  
U
2
EFX  
O O +15  
U
which mode you’ll be hearing. With the  
The ten channel strips look alike, and  
function identically. The only difference is  
that the six on the left are for individual mics  
or mono instruments and have more gain  
available, while the next four are for either  
stereo or mono line-level sources. (Each of  
the stereo channel strips is actually two com-  
plete circuits. The controls are linked  
EQ  
switch up, you’ll get “AFL” (After Fader Lis-  
ten), which is post-FADER and post-PAN,  
making it ideal for mixdown soloing. With the  
switch down, you’re in “PFL” (pre-fader lis-  
ten) mode. This is the required mode for the  
HI  
12kHz  
-15  
+15  
+12  
+15  
U
U
MID  
2.5kHz  
-12  
-15  
Level Setting Procedure  
.
LOW  
80Hz  
Soloed channels are sent to the SOURCE  
mix , which ultimately feeds your CONTROL  
PAN  
together to preserve stereo.) We’ll start at the  
bottom and work our way up…  
ROOM  
,
PHONES and METERS. Whenever  
SOLO is engaged, all SOURCE selections  
ALT 3–4 and TAPE) are defeated,  
L
R
“U” LIKE UNITY GAIN  
1
(MAIN MIX,  
MUTE  
–
ALT 3  
4
to allow the soloed signal to do just that — solo!  
Mackie mixers have a “  
symbol on almost every level  
control. This “ ” stands for  
U”  
dB  
10  
SOLO  
MUTE/ALT 3–4  
U
5
U
5
The dual-purpose MUTE/ALT 3–4 switch is  
a Mackie signature. When Greg was designing  
our first product, he had to include a mute  
switch for each channel. Mute switches do just  
what they sound like they do. They turn off the  
signal by “routing” it into oblivion. “Gee, what a  
waste,” Greg reasoned. “Why not have the  
mute button route the signal somewhere else  
useful…like a separate stereo bus?” So  
MUTE/ALT 3–4 really serves two functions —  
muting (often used during a mixdown or live  
show), and signal routing (for multi-track and  
live work) where it acts as an extra stereo bus.  
To use this as a MUTE switch, all you have to  
do is not use the ALT 3–4 outputs. Then, when-  
ever you assign a channel to these unused  
outputs, you’ll also be disconnecting it from the  
MAIN MIX, effectively muting the channel.  
To use this as an ALT 3–4 switch, all you  
have to do is connect the ALT 3–4 outputs to  
whatever destination you desire. Two popular  
examples:  
When doing multitrack recording, use the  
ALT 3–4 outputs to feed your multitrack. With  
most decks, you can mult the ALT 3–4 outputs,  
using Y-cords or mults, to feed multiple tracks.  
So, take ALT OUT LEFT and send it to tracks 1,  
3, 5 and 7, and ALT OUT RIGHT and send it to  
tracks 2, 4, 6 and 8. Now, tracks that are in  
Record or Input modes will hear the ALT 3–4  
signals, and tracks in Playback or Safe modes  
will ignore them.  
“unity gain,” meaning no change in signal level.  
Once you have adjusted the input signal to line-  
level , you can set every control at “U” and your  
10  
signals will travel through the mixer at optimal  
levels. What’s more, all the labels on our level  
controls are measured in decibels (dB), so you’ll  
know what you’re doing level-wise if you choose  
to change a control’s settings.  
You won’t have to check it here and check it  
there, as you would with some other mixers. In  
fact, some don’t even have any reference to ac-  
tual dB levels at all! Ever seen those “0–10”  
fader markings? We call these AUMs (Arbitrary  
Units of Measurement), and they mean noth-  
ing in the real world. You were smart — you  
bought a Mackie.  
20  
30  
40  
50  
60  
O
FADER  
The FADER controls the channel’s level…  
from off to unity gain at the “U” marking, on  
up to 10dB of additional gain. Channels 1–6  
use mono controls, and channels 7–14 use  
stereo controls.  
SOLO  
This lovable switch allows you to hear signals  
through your headphones or control room  
without having to route them to the MAIN or  
ALT 3–4 mixes. Folks use solo in live work to  
preview channels before they are let into the  
mix, or to just check out what a particular chan-  
nel is up to anytime during a session. You can  
solo as many channels at a time as you like.  
Solo is also the key player in the Level  
When doing live sound or mixdown, it’s often  
handy to control the level of several channels  
with one knob. That’s called Subgrouping. Sim-  
ply assign these channels to the ALT 3–4 mix,  
engage ALT 3–4 in the SOURCE matrix, and the  
signals will appear at the CONTROL ROOM  
Setting Procedure  
.
Your 1402-VLZ PRO has “Dual-Mode Solo.”  
A switch in the master section determines  
18  
Download from Www.Somanuals.com. All Manuals Search And Download.  
and PHONES outputs. If you want the ALT 3–4  
signals to go back into the MAIN MIX, engage  
the ASSIGN TO MAIN MIX switch , and the  
CTL ROOM/SUBMIX fader becomes the one  
fader to control the levels of all channels as-  
center. To do otherwise (the way Brand X com-  
pact mixers do) would make the sound appear  
much louder when panned center.  
3-BAND EQ  
signed to ALT 3–4  
.
The 1402-VLZ PRO has  
3-band equalization at  
carefully selected points  
Another way to do the same thing is to as-  
sign the channels to the ALT 3–4 mix, then  
patch out of the ALT OUT LEFT and RIGHT  
—
LOW shelving at 80Hz,  
back into an unused stereo channel (7–8, 9–10 MID peaking at 2.5kHz, and HI shelving at  
or 11–12 or 13–14). If that’s your choice, don’t 12kHz. “Shelving” means that the circuitry  
ever engage the MUTE/ALT 3–4 switch on that boosts or cuts all frequencies past the  
stereo channel, or you’ll have every dog in the  
neighborhood howling at your feedback loop.  
Another benefit of the ALT 3–4 feature is  
specified frequency. For example, rotating the  
1402-VLZ PRO’s LOW EQ knob 15dB to the  
right boosts bass starting at 80Hz and continu-  
that it can act as a “AFL” (After Fader Listen): ing down to the lowest note you never heard.  
just engage a channel's MUTE/ALT 3–4 switch “Peaking” means that certain frequencies form  
and the ALT 3–4 switch in the SOURCE matrix a “hill” around the center frequency — 2.5kHz  
and you’ll get that channel, all by itself, in  
in the case of the MID EQ  
LOW EQ  
This control gives you up to 15dB boost or  
.
the CONTROL ROOM and PHONES  
.
MUTE/ALT 3–4 is one of those controls that  
can bewilder newcomers, so take your time and  
play around with it. Once you’ve got it down,  
you’ll probably think of a hundred uses for it!  
cut at 80Hz. The circuit is flat (no boost or  
cut) at the center detent position.  
+15  
This frequency represents the  
+10  
PAN  
punch in bass drums, bass guitar,  
+5  
fat synth patches, and some really  
serious male singers.  
Used in conjunction with the  
LOW CUT switch , you can  
boost the LOW EQ without inject-  
ing a ton of subsonic debris into  
the mix.  
PAN adjusts the amount of channel signal  
sent to the left versus the right outputs. On  
mono channels (ch. 1–6 or 7–14 with connec-  
tions to the LEFT input only) these controls act  
as pan pots. On stereo channels (7–14) with  
stereo connections to LEFT and RIGHT inputs,  
the pan knob works like the balance control on  
your home stereo.  
0
–5  
–10  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Low EQ  
+15  
+10  
+5  
0
MID EQ  
PAN determines the fate of the MAIN MIX  
(1–2) and ALT 3–4 mix. With the PAN knob  
hard left, the signal will feed either MAIN  
LEFT (bus 1) or ALT LEFT (bus 3), depending  
on the position of the ALT 3–4 switch. With the  
knob hard right, the signal feeds MAIN RIGHT  
(bus 2) or ALT RIGHT (bus 4). You’ll soon dis-  
cover that maybe we should’ve called this an  
1404-VLZ2, since it really is a 4-bus mixer.  
Short for “midrange,” this knob  
provides 12dB of boost or cut, cen-  
tered at 2.5kHz, also flat at the  
center detent. Midrange EQ is  
often thought of as the most dy-  
namic, because the frequencies  
that define any particular sound  
are almost always found in this  
range. You can create many inter-  
esting and useful EQ changes by  
turning this knob down as well as  
up.  
–5  
–10  
–15  
20Low EQ with L1ok w Cut  
Hz  
100Hz  
Hz  
10kHz 20kHz  
+15  
+10  
+5  
0
–5  
CONSTANT  
LOUDNESS ! ! !  
–10  
–15  
20Hz  
Hz  
1kHz  
10kHz 20kHz  
Mid E1Q00  
The 1402-VLZPRO’s PAN  
controls employ a design  
+15  
+10  
HI EQ  
called “Constant Loudness.”  
This control gives you up to  
15dB boost or cut at 12kHz, and it  
is also flat at the detent. Use it to  
add sizzle to cymbals, and an over-  
all sense of transparency or edge  
to keyboards, vocals, guitar and  
bacon frying. Turn it down a little  
+5  
0
It has nothing to do with living next to a freeway.  
As you turn the PAN knob from left to right  
(thereby causing the sound to move from the left  
to the center to the right), the sound will appear  
to remain at the same volume (or loudness).  
If you have a channel panned hard left (or  
right) and reading 0dB, it must dip down  
about 4dB on the left (or right) when panned  
–5  
–10  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Hi EQ  
to reduce sibilance, or to hide tape hiss.  
19  
Download from Www.Somanuals.com. All Manuals Search And Download.  
U
AUX  
Moderation during EQ  
AUX 1 in POST-mode and AUX 2 are  
post-LOW CUT, post-EQ and post-FADER. That  
is, the sends obey the settings of these controls.  
AUX 1 in PRE mode follows the EQ and LOW  
CUT settings only. PAN and FADER have no ef-  
fect on the PRE send (see diagram below).  
All AUX send levels range from off through  
unity (with their channel gain controls at the  
center detent position) on up to 15dB of extra  
gain (when turned fully clockwise). Chances  
are you’ll never need this extra gain, but it’s  
nice to know it’s there if you do.  
Channel 7–14 AUX pots control the mono  
sum of the channel’s stereo signals for each  
AUX send. For instance, Channel 7 (left) and  
8 (right) mix together to feed that channel’s  
AUX send knobs.  
We recommend going into a stereo reverb in  
mono and returning in stereo. We have found  
that most “stereo” reverbs’ second input just ties  
up an extra AUX send and adds nothing to the  
sound. There are exceptions, so feel free to try it  
both ways. If your effects device is true stereo  
all the way through, use AUX 1 to feed its LEFT  
input and AUX 2 to feed the RIGHT input.  
1
MON/  
EFX  
With EQ, you can also screw things up roy-  
ally. We’ve designed a lot of boost and cut into  
each equalizer circuit, because we know  
everyone will occasionally need that. But if you  
max the EQs on every channel, you’ll get mix  
mush. Equalize subtly and use the left sides of  
the knobs (cut), as well as the right (boost).  
Very few gold-record-album engineers ever use  
more than about 3dB of EQ. If you need more  
than that, there’s usually a better way to get it,  
such as placing a mic differently (or using a  
different kind of mic entirely).  
O O +15  
U
2
EFX  
O O +15  
U
EQ  
HI  
12kHz  
-15  
+15  
+12  
+15  
U
U
MID  
2.5kHz  
-12  
-15  
LOW  
80Hz  
PAN  
L
R
AUX SEND  
1
MUTE  
These tap a portion of each channel signal  
out to another source for parallel effects pro-  
cessing or stage monitoring. AUX send levels  
are controlled by the channel’s AUX 1 and AUX  
–
4
ALT 3  
dB  
10  
SOLO  
5
U
5
2
knobs and by the AUX 1 MASTER  
.
These are more than just effects and moni-  
10  
tor sends. They can be used to generate  
separate mixes for recording or “mix-minuses”  
for broadcast. By using AUX 1 in the PRE  
mode , these mix levels can be obtained in-  
dependently of the channel’s GAIN control.  
20  
30  
40  
50  
60  
O
MUTE / ALT  
PAN  
FADER  
"POST" SIGNAL OBEYS  
MUTE STATUS  
INPUT  
TRIM  
LOW CUT  
INSERT  
EQ  
AUX SEND 2 KNOB  
TO AUX SEND 2 OUTPUT  
"POST" SIGNAL  
AUX SEND 1 KNOB  
“Pre vs. Post”  
TO AUX SEND 1 OUTPUT  
Signal Flow Diagram  
"PRE" SIGNAL  
AUX SEND 1 PRE/POST SWITCH  
(IN MASTER SECTION)  
20  
Download from Www.Somanuals.com. All Manuals Search And Download.  
OUTPUT SECTION DESCRIPTION  
Selections made in the SOURCE matrix de-  
liver stereo signals to the CONTROL ROOM  
Still with us? Good for you. Here come the  
tricky parts, where the mixing is really done.  
,
PHONES and METERS. With no switches en-  
gaged, there will be no signal at these outputs  
and no meter indication.  
MAIN MIX  
As the name implies, this fader controls the  
The exception to that is the SOLO function  
. Regardless of the SOURCE matrix selec-  
tion, engaging a channel’s SOLO switch will  
replace that selection with the SOLO signal,  
levels of signals sent to the MAIN OUTPUTS  
XLR , 1⁄4  
and RCA TAPE OUT . All  
channels and AUX RETURNS that are not  
muted or turned fully down will wind up in the  
:
"
also sent to the CONTROL ROOM PHONES  
,
MAIN MIX  
.
and METERS. This is what makes the Level  
Setting Procedure so easy to do.  
WARNING: Pushing in  
Fully down is off, the “U” marking is unity  
gain, and fully up provides 10dB additional  
gain. This additional gain will typically never  
be needed, but once again, it’s nice to know it’s  
there. These are the faders to pull down at the  
end of the song when you want The Great  
Fade-Out.  
both the TAPE button (in  
the SOURCE matrix) and  
ASSIGN TO MAIN MIX  
can create a feedback  
path between TAPE IN and TAPE OUT  
.
VLZ MIX  
Make sure your tape deck is not in record,  
record-pause or input monitor mode when  
you engage these switches, or make sure  
the CONTROL ROOM / PHONES fader is  
fully down (off).  
ARCHITECTURE  
When designing a mixing  
circuit, the lowest noise and  
best crosstalk specs are achieved by using Very  
Low Impedance (VLZ). To implement VLZ in a  
mixer, the power supply must be able to de-  
liver plenty of current to the circuitry. That’s  
why those “wall wart” mixers are often noisy –  
they can’t power a VLZ circuit.  
At Mackie, audio quality is much more im-  
portant than the price of wall warts. All of our  
mixers employ VLZ and built-in power supplies  
that deliver more than enough current, result-  
ing in sonic specifications that rival consoles  
upwards of $50,000!  
U
U
1
O O +10  
O O +20  
U
NORMALLED  
AUX 1 MASTER  
2
PRE  
POST  
AUX  
RETURN  
AUX 1  
EFX TO  
O O +20  
SELECT  
MONITOR  
LEFT  
RIGHT  
C-R/SOURCE  
MAIN MIX  
0dB=0dBu  
28  
10  
7
4
–
ALT 3  
4
2
0
2
TAPE  
SOURCE MATRIX  
4
7
Typically, the engineer sends the MAIN MIX  
to an audience (if live) or a mixdown deck (if  
recording). But what if the engineer needs to  
ASSIGN  
LEVEL  
SET  
10  
20  
30  
TO MAIN MIX  
NORMAL (AFL)  
LEVEL SET (PFL)  
SOLO  
MODE  
RUDE  
SOLO  
LIGHT  
hear something other than the MAIN MIX  
?
PHANTOM POWER  
With the 1402-VLZ PRO, the engineer has sev-  
eral choices of what to listen to. This is one of  
those tricky parts, so buckle up.  
CTL ROOM /SUBMIX  
MAIN MIX  
dB  
10  
dB  
10  
5
U
5
5
U
5
Via the SOURCE switches, you can choose  
to listen to any combination of MAIN MIX  
,
ALT  
3-4 and TAPE. By now, you probably know  
what the MAIN MIX is. ALT 3-4 is that addi-  
tional stereo mix bus. TAPE is the stereo signal  
10  
10  
20  
30  
20  
30  
coming in from the TAPE IN RCA jacks  
.
40  
50  
60  
40  
50  
60  
O
O
21  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Now you know how to select the signals you  
Whatever your selection, you can also use  
want to send to the engineer’s control room or the CONTROL ROOM OUTPUTS for other  
phones. From there, these signals all pass  
through the same level control:  
applications. It's sound quality is just as im-  
peccable as the MAIN MIX outputs. It can be  
used as additional MAIN MIX output, which  
may sound silly since there are already three,  
but this one has its own level control. However,  
should you do something like this, be sure that  
you never engage a SOLO switch, as that will  
interrupt your SOURCE selection.  
CTL ROOM / SUBMIX  
This fader controls the levels of both the ste-  
reo CONTROL ROOM OUTPUTS and  
PHONES OUTPUTS . The control range is  
from off through unity gain at the “U” marking,  
with 10dB of extra gain fully up.  
SOLO MODE: AFL/PFL  
When MAIN MIX is your SOURCE selec-  
tion, those signals will pass through two level  
Engaging a channel’s SOLO switch will  
controls on the way to your control room amp cause this dramatic turn of events: Any exist-  
and phones — the MAIN MIX fader and this  
CTL ROOM / SUBMIX fader. This way, you  
can send a nice healthy level to the MAIN  
ing SOURCE matrix selections will be  
replaced by the SOLO signal, appearing at  
the CONTROL ROOM OUTPUTS PHONES  
,
OUTPUTS  
(
MAIN MIX fader at “  
quiet level to the control room or phones  
CTL ROOM / SUBMIX fader wherever you  
like it).  
U
”), and a  
OUTPUTS and at the METERS. The audible  
SOLO levels are then controlled by the CTL  
ROOM / SUBMIX fader. The SOLO levels ap-  
pearing on the METERS are not controlled  
(
When ALT 3-4 or TAPE is selected, or SOLO by anything — you wouldn’t want that. You  
is engaged, this fader will be the only one con- want to see the actual channel level on the  
trolling these levels (channel controls not  
withstanding).  
METERS regardless of how loud you’re listen-  
ing.  
With the SOLO MODE switch in the up  
position, you’re in AFL mode, meaning After-  
Fader Listen. You’ll hear the output of the  
soloed channel — it will follow the  
U
U
channel’s TRIM EQ, FADER and PAN set-  
,
1
O O +10  
O O +20  
U
tings. It’s similar to muting all the other  
channels, but without the hassle. Use AFL  
mode during mixdown.  
With the switch down, you’re in PFL mode,  
meaning Pre-Fader Listen (post EQ). This  
mode is required for the Level Setting Proce-  
dure and is handy for quick spot-checks of  
channels, especially ones that have their  
faders turned down.  
NORMALLED  
AUX 1 MASTER  
2
PRE  
POST  
AUX  
RETURN  
AUX 1  
EFX TO  
O O +20  
SELECT  
MONITOR  
LEFT  
RIGHT  
C-R/SOURCE  
MAIN MIX  
0dB=0dBu  
28  
10  
7
4
–
ALT 3  
4
2
0
2
TAPE  
4
In either mode, SOLO will not be affected  
by a channel’s MUTE/ALT switch position.  
7
ASSIGN  
LEVEL  
SET  
10  
20  
30  
TO MAIN MIX  
NORMAL (AFL)  
LEVEL SET (PFL)  
RUDE SOLO LIGHT  
SOLO  
MODE  
RUDE  
SOLO  
LIGHT  
This flashing Light Emitting Diode serves  
two purposes — to remind you that at least  
one channel is in SOLO, and to let you know  
that you’re mixing on a Mackie. No other com-  
pany is so concerned about your level of SOLO  
awareness. If you work on a mixer that has a  
solo function with no indicator lights, and you  
happen to forget you’re in solo, you can easily  
be tricked into thinking that something is  
wrong with your mixer. Hence the RUDE  
SOLO LIGHT. It’s especially handy at about  
3AM when no sound is coming out of your  
monitors but your multitrack is playing back  
like mad.  
PHANTOM POWER  
CTL ROOM /SUBMIX  
MAIN MIX  
dB  
10  
dB  
10  
5
U
5
5
U
5
10  
10  
20  
30  
20  
30  
40  
50  
40  
50  
60  
60  
O
O
22  
Download from Www.Somanuals.com. All Manuals Search And Download.  
ASSIGN TO MAIN MIX  
Why? You want the METERS to reflect what  
the engineer is listening to, and as we’ve cov-  
ered, the engineer is listening either to the  
CONTROL ROOM outputs or the PHONES  
outputs. The only difference is that while the  
listening levels are controlled by the CTL  
ROOM / SUBMIX fader, the METERS read the  
SOURCE mix before that control, giving you  
the real facts at all times, even if you’re not lis-  
tening at all.  
Let’s say you’re doing a live show. Intermis-  
sion is nearing and you’ll want to play a  
soothing CD for the crowd to prevent them  
from becoming antsy. Then you think, “But I  
have the CD player plugged into the TAPE in-  
puts, and that never gets to the MAIN  
OUTPUTS!” Oh, but it does. Simply engage this  
switch and your SOURCE matrix selection,  
after going through the CTL ROOM / SUBMIX  
fader, will feed into the MAIN MIX, just as if it  
were another stereo channel.  
Another handy use for this switch is to en-  
able the ALT 3-4 mix to become a submix of  
the MAIN MIX , using the CTL ROOM /  
SUBMIX fader as its level control.  
Side effects: (1) Engaging this switch will  
also feed any soloed channels into the MAIN  
MIX, which may be the last thing you want. (2)  
If you have MAIN MIX as your SOURCE matrix  
selection and then engage ASSIGN TO MAIN  
MIX, the MAIN MIX lines to the SOURCE ma-  
trix will be interrupted, to prevent feedback.  
Then again, why on earth would anyone want  
You may already be an  
expert at the world of “+4”  
(+4dBu=1.23V) and “–10”  
(–10dBV=0.32V) operating  
levels. Basically, what makes  
a mixer one or the other is the relative 0dB VU  
(or 0VU) chosen for the meters. A “+4” mixer,  
with a +4dBu signal pouring out the back will  
actually read 0VU on its meters. A “–10” mixer,  
with a –10dBV signal trickling out, will read,  
you guessed it, 0VU on its meters. So when is  
0VU actually 0dBu? Right now!  
At the risk of creating another standard,  
Mackie’s compact mixers address the need of  
both crowds by calling things as they are —  
0dBu (0.775V) at the output shows as 0dB VU  
on the METERS. What could be easier? By the  
way, the most wonderful thing about standards  
is that there are so many to choose from.  
Thanks to the 1402-VLZ PRO’s wide dynamic  
range, you can get a good mix with peaks flash-  
ing anywhere between –20 and +10dB on the  
METERS. Most amplifiers clip at about +10dB,  
and some recorders aren’t so forgiving either.  
For best real-world results, try to keep your  
peaks between “0” and “+7.”  
to assign the MAIN MIX to the MAIN MIX  
?
METERS – MANY DISPLAYS IN ONE!  
The 1402-VLZ PRO’s peak metering system  
is made up of two columns of twelve LEDs. De-  
ceptively simple, considering the multitude of  
signals that can be monitored by it.  
If nothing is selected in the SOURCE matrix  
and no channels are in SOLO, the METERS  
will just sit there and look stupid. To put them  
to work, you must make a selection in the  
SOURCE matrix (or engage a SOLO switch).  
Remember, audio meters are just tools to  
help assure you that your levels are “in the  
ballpark.” You don’t have to stare at them  
(unless you want to).  
23  
Download from Www.Somanuals.com. All Manuals Search And Download.  
AUX 1 SELECT  
AUX TALK  
Besides being used to work effects into your  
mix, Aux Sends serve another critical role —  
that of delivering cue mixes to stage monitors,  
so musicians can hear what they’re doing. On  
the 1402-VLZ PRO, AUX SEND 1 can play ei-  
ther role, depending on the position of this  
switch.  
With the AUX 1 SELECT switch up (disen-  
gaged), AUX SEND 1 will tap a channel  
pre-FADER and pre-MUTE/ALT 3-4, meaning  
that no matter how you manipulate those con-  
trols as they feed the MAIN MIX, the AUX  
SEND will continue to belt out a constant sig-  
nal level. This is the preferred method for  
setting up stage monitor feeds. EQ settings  
First of all, there is no par-  
ticular alliance between AUX  
SEND 1 (or  
2) and AUX  
RETURN 1 (or  
2). They’re  
just numbers. They’re like two complete  
strangers, both named Fred.  
Here’s the whole idea behind sends and re-  
turns: sends are outputs, returns are inputs.  
AUX SENDs tap signals off the channels, via  
their AUX knobs , mix these signals, then  
send them out via the AUX SEND jacks  
.
These outputs are fed to the inputs of a re-  
verb or other device. From there, the outputs of  
this external device are fed back to the mixer’s  
AUX RETURN jacks . Then these signals are  
sent through the AUX RETURN level controls,  
and finally delivered to the MAIN MIX.  
So, the original “dry” signals go from the  
channels to the MAIN MIX and the affected  
“wet” signals go from the Aux Returns to the  
MAIN MIX, and once mixed together, the dry  
and wet signals combine to create a glorious  
sound. So, armed with this knowledge, let’s  
visit the Auxiliary World:  
will affect all AUX SENDS  
.
With the switch down, AUX SEND 1 be-  
comes an ordinary effects send — post-FADER  
and post-MUTE/ALT 3-4. This is a must for ef-  
fects sends, since you want the levels of your  
“wet” signals to follow the level of the “dry.”  
AUX 1 MASTER  
The AUX 1 MASTER provides overall level  
control of AUX SEND 1, just before it’s deliv-  
ered to the AUX 1 OUTPUT. (AUX SEND 2 has  
no such control.) This knob goes from off  
(turned fully down), to Unity gain at the center  
detent, with 10dB of extra gain (turned fully  
up). As with some other level controls, you may  
never need the additional gain, but if you ever  
do, you’ll be glad you bought a Mackie.  
This is usually the knob you turn up when  
the lead singer glares at you, points at his  
stage monitor, and sticks his thumb up in the  
air. (It would follow suit that if the singer  
stuck his thumb down, you’d turn the knob  
down, but that never happens.)  
U
U
1
O O +10  
O O +20  
U
NORMALLED  
AUX 1 MASTER  
2
PRE  
POST  
AUX  
RETURN  
AUX 1  
EFX TO  
O O +20  
SELECT  
MONITOR  
LEFT  
RIGHT  
C-R/SOURCE  
MAIN MIX  
0dB=0dBu  
28  
10  
7
4
–
ALT 3  
TAPE  
4
2
0
2
4
7
ASSIGN  
AUX RETURNS  
LEVEL  
SET  
10  
20  
30  
TO MAIN MIX  
These two controls set the overall level of  
effects received from STEREO AUX RETURN in-  
NORMAL (AFL)  
LEVEL SET (PFL)  
SOLO  
MODE  
RUDE  
SOLO  
LIGHT  
puts  
1
and  
2
. These controls are designed to  
PHANTOM POWER  
handle a wide range of signal levels, from off, to  
unity gain at the detent, with 20dB gain fully  
clockwise, to compensate for low-level effects.  
Typically, these knobs can just live at the  
center detent, and the effects device’s output  
control should be set at whatever they call  
Unity gain (check their manual). If that turns  
out to be too loud or too quiet, adjust the ef-  
fects device’s outputs, not the mixer. That way,  
the mixer’s knobs are easy to relocate at the  
center detent.  
CTL ROOM /SUBMIX  
MAIN MIX  
dB  
10  
dB  
10  
5
U
5
5
U
5
10  
10  
20  
30  
20  
30  
40  
50  
40  
50  
60  
60  
O
O
24  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Signals passing through the AUX RETURN  
level controls will proceed directly to MAIN  
MIX , with one exception (see next para-  
graph). The AUX 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/  
Engage the EFX TO MONITOR switch, and  
now the AUX RETURN 2 knob will become an  
additional AUX SEND 1 knob for the signal at  
the AUX RETURN 1 . Say that ten times!  
Once again, AUX RETURN 1 will behave nor-  
mally, as always.  
Congratulations! You’ve just read about all  
the features of your 1402-VLZ PRO. You’re  
probably ready for a cold one. Go ahead. The  
rest of the manual can wait.  
ALT that channel  
.
EFX TO MONITOR  
The idea behind this great feature is simple:  
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:  
MODIFICATIONS  
For most folks, the 1402-VLZ PRO works just  
fine the way it is. But for special applications,  
there are three signal routing changes that can  
be performed easily on the 1402-VLZ PRO. Easy  
for someone with soldering experience, that is.  
If you don’t know how to solder, find a techni-  
cian that can. This is NOT a good place to learn!  
With the switch up, AUX RETURN 1 and  
2
behave normally — they deliver their signals  
into the MAIN MIX. With the switch down,  
AUX RETURN 1 still behaves normally, but  
AUX RETURN 2’s level control will feed AUX  
SEND 1 instead of the MAIN MIX  
.
• Modification A changes AUX SEND 2 to be  
pre-fader, pre-mute instead of post-fader,  
post-mute.  
• Mod B changes AUX SEND 1 (in post  
mode) and AUX SEND 2 to receive signal  
regardless of the channel’s MUTE/ALT  
switch position, but still be post-fader  
(GAIN knob).  
Still with us? Good. So far, with the switch  
down, we have AUX RETURN 1 feeding the  
MAIN MIX and AUX RETURN 2 feeding AUX  
SEND 1. Now, suppose you only have one ef-  
fects device, and you want it to feed both the  
MAIN MIX and AUX SEND 1. That’s where  
“jack normalling” comes in.  
• Mod C changes the SOURCE matrix’s  
MAIN MIX selection to tap the stereo  
signal before the MAIN MIX level control  
(pre) instead of after (post).  
JACK NORMALLING  
Jack normalling (not to be confused with  
Jack Normalling, Chicago Cubs utility infielder,  
1952-61, .267 LBA) is a feature found on al-  
most every mixer, keyboard and effects device.  
These jacks have special spring-loaded pins  
that connect to the signal pins, but when  
something is plugged into the jack, that con-  
nection is broken.  
Instructions for performing these modifications  
can be found on our website at www.mackie.com  
(click on Support). Or you can call Tech Support  
at 1-800-258-6883 for assistance.  
These normalling pins can be used in all  
sorts of ways. The ubiquitous phrase “LEFT  
(MONO)” means that if you plug a signal into  
the LEFT side and have nothing in the RIGHT  
side, that signal is also fed to the right input,  
courtesy of jack normalling. As soon as you  
plug something in the RIGHT side, that  
normalled connection is broken.  
How does all this relate to the EFX TO  
MONITOR switch? AUX RETURN 1’s inputs  
are normalled to AUX RETURN 2. If you have  
one effects device, plug it into AUX RETURN 1  
Plug nothing into AUX RETURN 2. Now the  
signals feeding the AUX RETURN 1 inputs will  
also be sent to the AUX RETURN 2 inputs.  
.
25  
Download from Www.Somanuals.com. All Manuals Search And Download.  
1402-VLZPRO BLOCK DIAGRAM  
L O G I C  
S O L O / P F L  
A F L R  
A F L L  
A U X 2 P O S T  
A U X 1 P O S T  
A U X 1 P R E  
A L T R  
A L T L  
M A I N R  
M A I N L  
26  
Download from Www.Somanuals.com. All Manuals Search And Download.  
GAIN STRUCTURE DIAGRAM  
27  
Download from Www.Somanuals.com. All Manuals Search And Download.  
SPECIFICATIONS  
Main Mix Noise  
Common Mode Rejection (CMR)  
20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim Mic in to Insert Send out, max gain  
@ unity gain, channel EQs flat, all channels assigned to  
Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.  
1kHz:  
better than –90dB  
Maximum Levels  
Mic in:  
Tape in:  
All other inputs:  
Main Mix XLR out:  
All other outputs:  
Main Mix fader down, channel faders down: –100.0dBu  
Main Mix fader unity, channel faders down: –86.5dBu  
(90dB Signal-to-Noise Ratio, ref +4dBu)  
+22dBu  
+16dBu  
+22dBu  
+28dBu  
+22dBu  
Main Mix fader @ unity, channel faders @ unity: –84.5dBu  
Total Harmonic Distortion (THD)  
1kHz @ +14dBu, 20Hz–20kHz  
Impedances  
Mic in:  
Channel Insert return:  
All other inputs:  
Tape out:  
Mic pre @ insert : 0.0007%  
1.3 kilohms  
2.5 kilohms  
10 kilohms or greater  
1.1 kilohms  
Attenuation (Crosstalk)  
1kHz relative to 0dBu, 20Hz–20kHz  
bandwidth, Line in, 1⁄4" Main Out, Trim @ unity  
Main fader down:  
Channel Alt / Mute switch engaged:  
Channel fader down:  
–85dBu  
–84dBu  
–83dBu  
All other outputs:  
120 ohms  
EQ  
High Shelving:  
Mid Peaking:  
Low Shelving:  
+/–15db @ 12kHz  
+/–12dB @ 2.5kHz  
+/–15db @ 80Hz  
Frequency Response  
Mic input to any output  
20Hz to 60kHz:  
20Hz to 100kHz:  
+0dB/–1dB  
+0dB/–3dB  
Power Consumption  
120VAC, 50/60Hz, 25 watts  
Equivalent Input Noise (EIN)  
Mic in to Insert Send out, max gain  
Fuse Rating  
120V:  
220–240V:  
500mA slo blo, 5 x 20mm  
250mA slo blo, 5 x 20mm  
150 ohm termination:  
–129.5dBm unweighted  
14" (35.6cm)  
2.9"  
(7.4cm)  
WEIGHT  
9.5 lbs.  
(4.5 kg.)  
Mackie Designs is always striving to improve our mixers by incorporating new and improved  
materials, components and manufacturing methods. Because we’re always trying to make things  
better, we reserve the right to change these specifications at any time, without notice.  
28  
Download from Www.Somanuals.com. All Manuals Search And Download.  
SERVICE INFO  
Details concerning Warranty Service are  
spelled out on the Warranty Card included with  
your mixer (if it’s missing, let us know and we’ll  
rush one to you).  
REPAIR  
Service for the U.S. version of the 1402-VLZ  
PRO is available only from Mackie Designs, lo-  
cated in sunny Woodinville, Washington.  
(Service for mixers living outside the United  
States can be obtained through local dealers  
or distributors.) If your mixer needs service,  
follow these instructions:  
If you think your 1402-VLZ PRO has a prob-  
lem, please do everything you can to confirm it  
before calling for service. Doing so might save  
you from the deprivation of your mixer and the  
associated suffering.  
Of all Mackie products returned for service  
(which is hardly any at all), roughly 50% are  
coded “CND” — Could Not Duplicate, which  
usually means the problem lay somewhere other  
than the mixer. These may sound obvious to  
you, but here’s some things you can check:  
1. Review the preceding troubleshooting  
suggestions. Please.  
2. Call Tech Support at 1-800-258-6883, 8am  
to 5pm PST, to explain the problem and  
request an RA number. Have your mixer’s  
serial number ready. You must have a  
Return Authorization number, or we  
may refuse the delivery.  
TROUBLESHOOTING  
3. Set aside the power cord, owner’s manual,  
or anything else that you’ll ever want to see  
again. We are responsible for the return of  
the mixer only.  
Bad Channel  
• Is the MUTE/ALT 3–4 switch in the  
correct position?  
4. Pack the mixer in its original package,  
including endcaps and box. This is VERY  
IMPORTANT. When you call for the RA  
number, please let Tech Support know if  
you need a new box. Mackie is not respon-  
sible for any damage that occurs due to  
non-factory packaging.  
5. Include a legible note stating your name,  
shipping address (no P.O. boxes), daytime  
phone number, RA number and a detailed  
description of the problem, including how  
we can duplicate it.  
• 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 control (if any)  
turned up?  
• If it’s one of the Main outputs, try unplug-  
ging all the others. For example, if it’s the  
1
⁄
4" Left Main out, unplug the RCA and XLR  
6. Write the RA number in BIG PRINT on top  
Left outputs. If the problem goes away its  
not the mixer.  
of the box.  
7. Ship the mixer to us. We suggest insurance  
for all forms of cartage. Ship to this address:  
• 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  
stays on the left it’s not the mixer.  
Mackie Designs  
SERVICE DEPARTMENT  
16220 Wood-Red Rd. NE  
Woodinville, WA 98072  
Noise  
8. We’ll try to fix the mixer within five  
business days. Ask Tech Support for  
• Turn the channel fader and AUX  
RETURN knobs down, one by one. If the  
sound disappears, it’s either that chan-  
nel or whatever is plugged into it, so  
unplug whatever that is. If the noise  
disappears, it’s from your whatever.  
current turn-around times when you call  
for your RA number. We normally send  
everything back prepaid using three-day  
shipping. However, if you rush your mixer  
to us by next-day air, we’ll treat it in kind by  
shipping it back in the same way in which  
it was received. This paragraph does not  
necessarily apply to non-warranty service.  
Power  
• Our favorite question: Is the POWER  
switch on?  
• Check the fuse  
.
29  
Download from Www.Somanuals.com. All Manuals Search And Download.  
APPENDIX A: CONNECTIONS  
“XLR” CONNECTORS  
plug is connected tip to left, ring to right  
and sleeve to ground (earth). Mackie  
mixers do not directly accept 1-plug-type  
stereo microphones. They must be sepa-  
rated into a left cord and a right cord,  
which are plugged into the two mic  
preamps.  
You can cook up your own adapter for a  
stereo microphone adapter. “Y” two cables  
out of a female 1⁄4" TRS jack to two male  
XLR plugs, one for the Right signal and one  
for the Left.  
Mackie mixers use 3-pin female “XLR”  
connectors on all microphone inputs, with  
pin 1 wired to the grounded (earthed) shield,  
pin 2 wired to the “high” (”hot” or positive po-  
larity) side of the audio signal and pin 3  
wired to the “low” (“cold” or negative polar-  
ity) side of the signal (Figure A). All totally  
aboveboard and in full accord with the hal-  
lowed standards dictated by the AES (Audio  
Engineering Society).  
Use a male “XLR”-type connector, usually  
found on the nether end of what is called a  
“mic cable,” to connect to a female XLR jack.  
• Balanced mono circuits. When wired as a  
balanced connector, a 1⁄4" TRS jack or plug is  
connected tip to signal high (hot), ring to  
signal low (cold), and sleeve to ground  
(earth).  
2
SHIELD  
HOT  
1
3
COLD  
• Unbalanced Send/Return circuits. When  
SHIELD  
1
wired as send/return “Y” connector, a 1⁄4  
"
TRS jack or plug is connected tip to signal  
send (output from mixer), ring to signal  
return (input back into mixer), and sleeve  
to ground (earth).  
3
COLD  
2
HOT  
SHIELD  
COLD  
HOT  
1
3
2
1⁄4" TS PHONE PLUGS AND JACKS  
Figure A: XLR Connectors  
“TS” stands for Tip-Sleeve, the two connec-  
tions available on a “mono” 1⁄4" phone jack or  
plug (Figure C). TS jacks and plugs are used in  
many different applications, always unbalanced.  
The tip is connected to the audio signal and the  
sleeve to ground (earth). Some examples:  
• Unbalanced microphones  
• Electric guitars and electronic instruments  
• Unbalanced line-level connections  
1⁄4" TRS PHONE PLUGS AND JACKS  
“TRS” stands for Tip-Ring-Sleeve, the three  
connections available on a “stereo” 1⁄4" or  
“balanced” phone jack or plug. See Figure B.  
TRS jacks and plugs are used in several  
different applications:  
• Stereo Headphones, and rarely, stereo  
microphones and stereo line connections.  
When wired for stereo, a 1⁄4" TRS jack or  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
SLEEVE  
SLEEVE  
TIP  
TIP  
TIP  
SLEEVE  
RING  
TIP  
SLEEVE  
Figure B: 1⁄4" TRS Plugs  
Figure C: TS Plug  
30  
Download from Www.Somanuals.com. All Manuals Search And Download.  
SWITCHED 1⁄4" PHONE JACKS  
balanced ground (earth) will also be  
connected to the ground (earth) at the  
unbalanced input. If there are ground-loop  
problems, this connection may be left  
disconnected at the balanced end.  
Switches can be incorporated into 1⁄4  
"
phone jacks, which are activated by inserting  
the plug. These switches may open an insert  
loop in a circuit, change the input routing of  
the signal or serve other functions. Mackie  
uses switches in the channel insert and bus in-  
sert jacks, input jacks and AUX returns. We  
also use these switches to ground the line-level  
inputs when nothing is plugged into them.  
In most cases, the plug must be inserted  
fully to activate the switch. Mackie takes  
advantage of this in some circuits, specifying  
circumstances where you are to insert the plug  
only partially. See Special Mackie  
• When connecting an unbalanced output to a  
balanced input, be sure that the signal high  
(hot) connections are wired to each other.  
The unbalanced ground (earth) connection  
should be wired to the low (cold) and the  
ground (earth) connections of the balanced  
input. If there are ground-loop problems, try  
connecting the unbalanced ground (earth)  
connection only to the input low (cold)  
connection, and leaving the input ground  
(earth) connection disconnected.  
Connections, later in this section.  
In some cases, you will have to make up spe-  
cial adapters to interconnect your equipment.  
For example, you may need a balanced XLR fe-  
male connected to an unbalanced 1⁄4" TS  
phone plug.  
RCA PLUGS AND JACKS  
RCA-type plugs (also known as phono  
plugs) and jacks are often used in home stereo  
and video equipment and in many other appli-  
cations  
SPECIAL MACKIE CONNECTIONS  
SLEEVE TIP SLEEVE TIP  
(Figure D).  
The balanced-to-unbalanced connection  
has been anticipated in the wiring of Mackie  
jacks. A 1⁄4" TS plug inserted into a 1⁄4" TRS bal-  
anced input, for example, will automatically  
unbalance the input and make all the right con-  
nections. Conversely, a 1⁄4" TRS plug inserted  
into a 1⁄4" unbalanced input will automatically  
tie the ring (low or cold) to ground (earth).  
They are  
unbalanced  
and electri-  
Figure D: RCA Plug  
cally identical to a 1⁄4" TS phone plug or jack  
(See Figure C). Connect the signal to the cen-  
ter post and the ground (earth) or shield to  
the surrounding “basket.”  
UNBALANCING A LINE  
TRS Send/Receive Insert Jacks  
In most studio, stage and sound reinforce-  
ment situations, there is a combination of  
balanced and unbalanced inputs and outputs  
on the various pieces of equipment. This usu-  
ally will not be a problem in making  
connections.  
Mackie’s single-jack inserts are the three-  
conductor, TRS-type 1⁄4" phone. They are  
unbalanced, but have both the mixer output  
(send) and the mixer input (return) signals in  
one connector (See Figure F).  
The sleeve is the common ground (earth) for  
both signals. The send from the mixer to the  
external unit is carried on the tip, and the re-  
turn from the unit to the mixer is on the ring.  
• When connecting a balanced output to an  
unbalanced input, be sure the signal high  
(hot) connections are wired to each other,  
and that the balanced signal low (cold)  
goes to the ground (earth) connection at  
the unbalanced input. In most cases, the  
31  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Using the Send Only on an Insert Jack  
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 as-  
signed to, or it can be “panned” with the  
Balance control.  
A stereo signal, having two plugs, should be  
patched into the LEFT (MONO) and the  
RIGHT input or return jacks. A jack switch in  
the RIGHT jack will disable the mono func-  
tion, and the signals will show up in stereo.  
A mono signal connected to the RIGHT jack  
will show up in the right bus only. You probably  
will only want to use this sophisticated effect  
for special occasions (weddings, bar mitzvahs,  
Rush Limbaugh’s birthday party, etc.)  
If you insert a TS (mono) 1⁄4" plug only  
partially (to the first click) into a Mackie  
insert jack, the plug will not activate the jack  
switch and will not open the insert loop in the  
circuit (thereby allowing the channel signal to  
continue on its merry way through the mixer).  
This allows you to tap out the channel or  
bus signal at that point in the circuit without  
interrupting normal operation.  
If you push the 1⁄4" TS plug in to the second  
click, you will open the jack switch and create  
a direct out, which does interrupt the signal in  
that channel. See Figure E.  
NOTE: Do not over-  
load or short-circuit the  
signal you are tapping  
from the mixer. That will  
affect the internal signal.  
MULTS AND “Y”s  
A mult or “Y” connector allows you to route  
one output to two or more inputs by simply  
providing parallel wiring connections. You can  
make “Y”s and mults for the outputs of both  
unbalanced and balanced circuits.  
Remember: Only mult  
MACKIE STEREO INPUTS AND RETURNS:  
Mono, Stereo, Whatever  
Stereo line inputs and stereo AUX returns  
are a fine example of the Mackie philosophy  
(which we just made up) of Maximum Flex-  
ibility with Minimum Headache. The inputs  
and returns will automatically be mono or ste-  
reo, depending upon how you use the jacks.  
Here’s how it works:  
or “Y” an output into sev-  
eral inputs. If you need  
to combine several out-  
puts into one input, you  
must use a mixer, not a mult or a “Y.”  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
MONO PLUG  
Channel Insert jack  
this plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
Direct out with no signal interruption to master.  
Insert only to first “click.”  
Figure F  
MONO PLUG  
Channel Insert jack  
Direct out with signal interruption to master.  
Insert all the way in to the second “click.”  
STEREO  
PLUG  
Channel Insert jack  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect)  
Figure E  
32  
Download from Www.Somanuals.com. All Manuals Search And Download.  
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
C
C
C
C
-
-
-
-
-
-
M
M
M
M
M
M
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
C
O
O
O
O
C
O
O
O
O
O
O
33  
Download from Www.Somanuals.com. All Manuals Search And Download.  
COLOPHON  
(Roll credits please) Manual written by Jeff  
Gilbert, based on a short story by Ron Koliha,  
now a major Broadway Musical. Manual then  
defaced with proofreading pens in the hands of  
Mackie’s legendary Tech Support staff. Manual  
composed on a rinky-dink PC using a low-bud-  
get word processor, then converted to this  
amazing piece of work using a 13-story 1000  
gigawhopper Macintosh operated by Mackie’s  
notorious Advertising staff (most notably Becky  
Priebe). Please, feel free to let us know if you  
find an error or stumble over a confusing para-  
graph. Thank you for reading the entire manual  
(we know you have, or you wouldn’t be here).  
Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of  
Mackie Designs Inc. Other brand names mentioned are trademarks or registered trademarks of  
their respective holders and are hereby acknowledged.  
© 2003 Mackie Designs Inc.  
All Rights Reserved.  
34  
Download from Www.Somanuals.com. All Manuals Search And Download.  
1402-VLZ PRO LIMITED WARRANTY  
Please keep your sales receipt in a safe place.  
A. Mackie warrants all materials, workmanship and  
proper operation of this product for a period of three  
years from the original date of purchase. If any de-  
fects are found in the materials or workmanship or if  
the product fails to function properly during the ap-  
plicable warranty period, Mackie, at its option, will  
repair or replace the product. Labor for replacing all  
potentiometers and switches is covered for the first  
year, after which it is excluded from warranty cover-  
age and may be billed to you. This warranty applies  
only to equipment sold and delivered within the  
U.S. by Mackie or its authorized dealers.  
B. Failure to register online or return the product  
registration card will not void the 3-year warranty.  
C. Service and repairs of Mackie products are to be  
performed only at the factory (see D below) OR at an  
Authorized Mackie Service Center (see E below).  
Unauthorized service, repairs, or modification will  
void this warranty.  
3. Make sure that the problem can be dupli-  
cated. If you bring your product to an Authorized  
Service Center and they can’t find anything  
wrong with it, you may be charged a service fee.  
4. If the Mackie Authorized Service Center is  
located in another city, pack the product in its  
original shipping carton. More information on  
packing can be found in the Service section of  
this manual.  
5. Contact the Mackie Authorized Service Center  
to arrange service or bring the product to them.  
F. Mackie and Mackie Authorized Service Centers  
reserve the right to inspect any products that may  
be the subject of any warranty claims before repair  
or replacement is carried out. Mackie and Mackie  
Authorized Service Centers may, at their option, re-  
quire proof of the original date of purchase in the  
form of a dated copy of the original dealer’s invoice  
or sales receipt. Final determination of warranty cov-  
erage lies solely with Mackie Designs Inc. or its  
Authorized Service Centers.  
G. Any Mackie product deemed eligible for repair or  
replacement under the terms of this warranty will be  
repaired or replaced within thirty days of receipt by  
Mackie. Mackie may use refurbished parts for repair  
or replacement of any product. Products returned to  
Mackie that do not meet the terms of this Warranty  
will be repaired and returned C.O.D. with billing for  
labor, materials, return freight, and insurance. Prod-  
ucts repaired under warranty at Mackie’s factory will  
be returned freight prepaid by Mackie to any location  
within the boundaries of the USA.  
D. To obtain factory service:  
1. Call Mackie at 800/258-6883, 8AM to 5PM  
Monday through Friday (Pacific Time) to get a  
Return Authorization (RA). Products returned  
without an RA number will be refused.  
2. Pack the product in its original shipping car-  
ton. If you do not have the carton, just ask for  
one when you get your RA number, and we’ll  
send a shipping carton out promptly. More infor-  
mation on packing can be found in the Service  
section of this manual. Do not use “packing pea-  
nuts,” shredded newspapers, or other material  
with small particles, old underwear, or socks.  
Please seal the Mackie product in a plastic bag.  
3. Also include a note explaining exactly how to  
duplicate the problem, a copy of the sales receipt  
with price and date showing, and your return  
street address (no P.O. boxes or route numbers,  
please!). If we cannot duplicate the problem at  
the Mackie Factory or establish the starting date  
of your Limited Warranty, we may, at our option,  
charge for service time.  
H. Mackie warrants all repairs performed for 90 days  
or for the remainder of the original warranty period.  
Mackie assumes no responsibility for the quality or  
timeliness of repairs performed by Mackie Authorized  
Service Centers.  
I. This warranty is extended to the original purchaser  
and to anyone who may subsequently purchase this  
product within the applicable warranty period.  
J. This is your sole warranty. Mackie does not authorize  
any third party, including any dealer or sales represen-  
tative, to assume any liability on behalf of Mackie  
Designs or to make any warranty for Mackie Designs.  
K. THE WARRANTY GIVEN ON THIS PAGE IS  
THE SOLE WARRANTY GIVEN BY MACKIE AND  
IS IN LIEU OF ALL OTHER WARRANTIES,  
EXPRESS AND IMPLIED, INCLUDING THE  
WARRANTIES OF MERCHANTABILITY AND  
FITNESS FOR A PARTICULAR PURPOSE. THE  
WARRANTY GIVEN ON THIS PAGE SHALL BE  
STRICTLY LIMITED IN DURATION TO ONE  
YEAR FROM THE DATE OF ORIGINAL PUR-  
CHASE FROM AN AUTHORIZED MACKIE  
DEALER. UPON EXPIRATION OF THE APPLI-  
CABLE WARRANTY PERIOD, MACKIE SHALL  
HAVE NO FURTHER WARRANTY OBLIGATION  
OF ANY KIND. MACKIE SHALL NOT BE LIABLE  
FOR ANY INCIDENTAL, SPECIAL, OR CONSE-  
QUENTIAL DAMAGES THAT MAY RESULT  
FROM ANY DEFECT IN THE MACKIE PROD-  
UCT OR ANY WARRANTY CLAIM. Some states  
do not allow exclusion or limitation of incidental,  
special, or consequential damages or a limitation  
on how long warranties last, so some of the above  
limitations and exclusions may not apply to you.  
This warranty provides specific legal rights and you  
may have other rights which vary from state to state.  
4. Ship the product in its original shipping car-  
ton, freight prepaid to:  
Mackie Designs  
Service Department  
16220 Wood-Red Rd. NE  
Woodinville, WA 98072 USA  
IMPORTANT: Make sure that the RA number is  
plainly written on the shipping carton.  
E. To obtain service from an Authorized Mackie Ser-  
vice Center:  
1. Call Mackie at 800/258-6883, 8AM to 5PM  
Monday through Friday (Pacific Time) to get:  
1) The name and address of your nearest Mackie  
Authorized Service Center and 2) A return au-  
thorization (RA). You must have an RA number  
before taking your unit to a service center.  
2. Make sure that you have a copy of your  
product’s sales receipt from the store where you  
bought the product. It is necessary to establish  
purchase date and thus determine whether or  
not your product is still under warranty. If you  
can’t find it, the Authorized Service Center may  
charge you for repairs even if your product is still  
covered by Mackie’s 3-Year Limited Warranty.  
35  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Mackie Designs Inc.  
16220 Wood-Red Road NE • Woodinville, WA 98071 • USA  
US and Canada: 800.898.3211  
Europe, Asia, Central and South America: 425.487.4333  
Middle East and Africa: 31.20.654.4000  
Fax: 425.487.4337 • www.mackie.com  
E-mail: [email protected]  
Download from Www.Somanuals.com. All Manuals Search And Download.  

KWC Outdoor Shower Z200109000 User Manual
LaCie Computer Drive Hard Disk Quadra User Manual
Leica Camcorder TPS1200 User Manual
Lenovo Tablet 22282EU User Manual
LG Electronics DVD Player LDA 731 User Manual
Mercedes Benz Automobile 2011 GLK Class User Manual
Mercury Marine Boat 899197001 User Manual
Mesa Boogie Stereo Amplifier D 180 User Manual
MicroNet Technology Network Card SP907BB User Manual
Midway Games Arctic Thunder User Manual