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1402-VLZ3
14-Channel Mic/Line Mixer
O W N E R ’ S M A N U A L
LEFT/MONO RIGHT ALL BAL/UNBAL BAL/UNBAL
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 TAPE TAPE
1 1 INPUT OUTPUT L
L L
2 2 R
R R
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
LIN
ページ2に含まれる内容の要旨
Important Safety Instructions 1. Read these instructions. 20.NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection 3. Heed all warnings. against harmful interference in a residential installation. This equip- 4. Follow all instructions. ment generates, uses,
ページ3に含まれる内容の要旨
Owner’s Manual Other Nuggets of Wisdom Read This Page! For optimum sonic performance, the channel faders We realize that you must be wanting to and MAIN MIX faders should be set near the “U” (unity try out your new 1402-VLZ3. All we ask gain) markings. is that you read this page NOW, and the rest later — you’ll be glad you did. Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX faders down before making connections to and WARNING: Before you plug the AC power from your 1402-VLZ3. cord int
ページ4に含まれる内容の要旨
Introduction Thank you for choosing a Mackie professional com- This icon marks information that is critically pact mixer. The 1402-VLZ3 is equipped with our pre- important or unique to the 1402-VLZ3. For your TM cision-engineered XDR Extended Dynamic Range own good, read them and remember them. They premium studio-grade mic preamp. will be on the final test. Now that you have your 1402-VLZ3, find out how to get This icon will lead you to in-depth explana- the most from it. That’s where this m
ページ5に含まれる内容の要旨
Owner’s Manual Contents IMPORTANT SAFETY INSTRUCTIONS ........................ 2 OUTPUT SECTION .................................................. 16 INTRODUCTION ...................................................... 4 32. MAIN MIX FADERS ................................... 16 HOOKUP DIAGRAMS............................................... 6 33. CONTROL ROOM SOURCE MATRIX ............ 16 PATCHBAY DESCRIPTION ......................................... 8 34. CONTROL ROOM/SUBMIX ....................
ページ6に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS HOOKUP DIAGRAMS 1 1 1 Vocal Mics 2 2 2 Mono Compressor In 3 Direct 3 3 Out Boxes 4 4 4 In 5 Stereo Compressor 5 5 Out In 6 6 6 Out L 7 L MONO 1 Stereo Guitar Effects 8 R R Drum Digital Delay L Machine 9 MONO L Keyboard or other 2 R 10 R line level input Multi Effect Processor L 11 MONO 1 R 12 2 L 13 MONO L R 14 R Out L R (play) L L R R In (record) Headphones for Studio Powered Powered Studio Monitors Headphone Distribu
ページ7に含まれる内容の要旨
Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS Vocal Mics Mono Compressor In 1 Direct 1 1 Out Boxes 2 2 2 In 3 3 3 Stereo Compressor Out In 4 4 4 Out 5 5 5 6 6 6 Stereo Guitar Effects L 7 MONO L 1 R 8 R Drum Machine L 9 MONO L Keyboard or other 2 10 R R line level input L 11 MONO Multi Effect 1 Processor R 12 2 L 13 MONO L Stage Monitors 14 R Mono EQ R L R L Mono Power Amplifier L R R Out (play) In (record) Stereo Headphones EQ SRM450 SRM450 Powered Pow
ページ8に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d Patchbay Description LEFT/MONO RIGHT ALL BAL/UNBAL BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 TAPE TAPE 1 1 INPUT OUTPUT L L L 1 2 2 R R R 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 2 L L L L LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4
ページ9に含まれる内容の要旨
Owner’s Manual N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d 3. LOW CUT (Channels 1–6) 5. STEREO LINE INPUTS (Channels 7–8, 9–10, 11–12 and 13–14) Each LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass These fully balanced inputs are designed for stereo or frequencies below 75 Hz at a rate of 18
ページ10に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d LEFT/MONO RIGHT ALL BAL/UNBAL BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 TAPE TAPE 7 9 10 11 8 1 1 INPUT OUTPUT L L L 2 2 R 7 R R 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 L
ページ11に含まれる内容の要旨
Owner’s Manual N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d 13 14 15 16 17 3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed 12. PHONES channels, or the Tape input. The volume is adjustable This stereo jack will drive any standard headphone LEFT/MONO RIGHT ALL BAL/UNBAL MIC MIC MIC MIC MIC MIC TAPE TAPE BAL/UNBAL 1 2 3 4 5 6 with the CONTROL RO
ページ12に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d 21 22 18 19 20 18. POWER CONNECTION 21. POWER SWITCH LEFT/MONO RIGHT ALL BAL/UNBAL BAL/UNBAL MIC 1 MIC 2 MIC MIC 4 MIC 5 MIC 6 TAPE TAPE 3 Just in case you lose the cord provided with the 1402- Press the top of this rocker switch inwards to turn on 1 1 L INPUT OUTPUT VLZ3, its power jack accepts a standard
ページ13に含まれる内容の要旨
Owner’s Manual N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d Channel Strip Description The ten channel strips look alike, and function identi- The 1402-VLZ3 has "dual-mode solo." The SOLO cally. The only difference is that the six on the left are MODE [35] switch in the Master section determines for individual mics or mono instruments, and have more
ページ14に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d Another way to do the same thing is assign the chan- CONSTANT LOUDNESS ! ! ! nels to the ALT 3–4 mix, then patch out of the ALT The 1402-VLZ3’s PAN controls employ a design called LEFT/MONO RIGHT ALL BAL/UNBAL OUTPUT L and R back into an unused stereo channel BAL/UNBAL MIC MIC MIC MIC MIC MIC TAPE TAPE 1
ページ15に含まれる内容の要旨
Owner’s Manual Each AUX send level ranges from off through unity 29. HI EQ (the center detent position) on up to 15 dB of extra gain This control gives you up +15 (when turned fully clockwise). Chances are you’ll never to 15 dB boost or cut above +10 need this extra gain, but it’s nice to know it’s there if 12 kHz, and it is also flat +5 you do. at the detent. Use it to add 0 sizzle to cymbals, and an –5 Channel 7–14 AUX pots control the mono sum of –10 overall sense of transpar- the ch
ページ16に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d LEFT/MONO RIGHT ALL BAL/UNBAL BAL/UNBAL MIC MIC MIC MIC MIC MIC TAPE TAPE 1 2 3 4 5 6 1 1 L INPUT OUTPUT L L 2 2 R R R 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 B
ページ17に含まれる内容の要旨
Owner’s Manual Whatever your selection, you can also use the control 37. ASSIGN TO MAIN MIX room outputs for other applications. Its sound quality is Let’s say you’re doing a live show. Intermission is near- just as impeccable as the main outputs. It can be used ing and you’ll want to play a soothing CD for the crowd as additional main mix output, which may sound silly to prevent them from becoming antsy. Then you think, since there are already three, but this one has its own “But I have
ページ18に含まれる内容の要旨
N N N N N N I I I I I I E E E E E E R R R R R R A A A A A A V V V V V V P P P P P P B B B B B B C C C C C C G G G G G G I I I I I I d d d d d d At the risk of creating another standard, Mackie’s So, the original “dry” signals go from the channels compact mixers address the need of both crowds by call- to the main mix and the affected “wet” signals go from ing things as they are — 0 dBu (0.775 V) at the output the STEREO RETURN to the main mix, an
ページ19に含まれる内容の要旨
Owner’s Manual Signals passing through these STEREO RETURN level controls will proceed directly to main mix, with one ex- ception (see next paragraph). The STEREO RETURNs do not have MUTE/ALT 3-4 switches, so if you want these signals to get to the ALT 3-4 mix, you’ll have to patch the effects device’s outputs into one of the stereo channels, and MUTE/ALT [25] those channels. 42. RETURN TO AUX 1 If you want to add reverb or delay to the stage monitor mixes, this is the switch for you. The
ページ20に含まれる内容の要旨
Appendix A: Service Information Warranty Service Repair If you think your Mackie product has a problem, For warranty service, refer to the warranty informa- please check out the following troubleshooting tips and tion on page 27. do your best to confirm the problem. Visit the Support Non-warranty service for Mackie products is avail- section of our website (www.mackie.com/support) able at a factory-authorized service center. To locate where you will find lots of useful information such as yo
