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1402-VLZ3
14-Channel Mic/Line Mixer
OWNER’S MANUAL
ALL BAL/UNBAL
MIC MIC MIC MIC MIC MIC LEFT/MONO RIGHT TAPE TAPE BAL/UNBAL
1 2 3 4 5 6
1 1 INPUT OUTPUT L
L L
2 2 R
R R
MAIN OUT
AUX SEND
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
ページ2に含まれる内容の要旨
Important Safety Instructions 13. Unplug this apparatus during lightning storms or when unused for long 1. Read these instructions. periods of time. 2. Keep these instructions. 14. Refer all servicing to qualifi ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power- 3. Heed all warnings. supply cord or plug is damaged, liquid has been spilled or objects have 4. Follow all instructions. fallen into the apparatus, the apparatus has been expos
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 dying to and MAIN MIX faders should be set near the “U” (unity try out your new 1402-VLZ3. All we ask gain) markings. is that you read this page NOW, and the rest later — you’ll be glad you did. Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX faders down before making connections to and WARNING: Before you plug the AC power from your 1402-VLZ3. cord into
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 infor mation that is critically pact mixer. The 1402-VLZ3 is equipped with our pre- important or unique to the 1 402-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 fi nal test. Now that you have your 1402-VLZ3, fi nd out how to get This icon will lead you to in-depth explana- the most from it. That’s where t
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/S
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 R 8 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 Distributio
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 R 10 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 ALL BAL/UNBAL LEFT/MONO RIGHT 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 I A V B G 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 dB per octave. mono, balanced or unbalanced signals, from –10 dBV to +4 dBu. They can be used with just about any profes- We recommend that you use LOW CUT on every sional
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 ALL BAL/UNBAL LEFT/MONO RIGHT 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 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 with the CONTROL ROOM/SUBMIX [34] fader. to very loud levels. Walkperson-type phones can also be used with an appropriate adapter. To learn how signals These 1⁄4" jacks are balanced outputs capable of de- are routed to these outputs, see SOURCE MATRIX livering 22 dBu into a 600 ohm balanced o
ページ12に含まれる内容の要旨
21 22 18 19 20 18. POWER CONNECTION 21. POWER SWITCH Just in case you lose the cord provided with the 1402- Press the top of this rocker switch inwards to turn on VLZ3, its power jack accepts a standard 3-prong IEC the mixer. The power LED on the top surface of the mix- cord like those found on most professional recorders, er will glow with happiness, or at least it will if you have musical instruments, and computers. the mixer plugged in to a suitable live AC mains supply. WARNING: Before yo
ページ13に含まれる内容の要旨
Owner’s Manual 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 which mode you'll be hearing. With the switch up, you'll gain available, while the next four are for either stereo get "AFL" (After-Fader-Listen), which is post-FADER, or mono line-level sou
ページ14に含まれる内容の要旨
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 OUTPUT L and R back into an unused stereo channel “Constant Loudness.” It has nothing to do with living (7–8, 9–10, 11–12, 13–14). If that’s your choice, don’t next to a freeway. As you turn the PAN knob from left ever engage the MUTE/ALT 3–4 switch on that stereo to right (thereby causing the sound to move from
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 fl at +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
Output Section 33. CONTROL ROOM SOURCE MATRIX Typically, the engineer sends the main mix to an audi- X U U ence (if mixing live) or a mixdown deck (if recording). But what if the engineer needs to hear something other +10 +20 than the main mix? With the 1402-VLZ3, the engineer U has several choices of what to listen to. This is one of those tricky parts, so buckle up. +20 Via these SOURCE switches, you can choose to listen LEFT RIGHT C-R/SOURCE 0dB=0dBu to any combination of main mix, ALT 3
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
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, and once mixed shows as 0 dB VU on the meters. What could be easier? together, the dry and wet signals combine to create a By the way, the most wonderful thing about standards is glorious soun
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 Details concerning the Limited Warranty are spelled Service for Mackie products is available at a factory- out on page 27 of this manual. authorized service center. Service for Mackie products living outside the United States can be obtained through If you think your 1402-VLZ3 has a problem, please local dealers or distributors. check out the following troubleshooting tips and do your best to confi rm the problem. Visit the Support secti
