Ms1402vlz Om

MICROSERIES1402-VLZMIC/LINE MIXEROWNERS MANUAL

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R

LINE IN 910 LINE IN 1112 LINE IN 1314

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT

AUX SENDSTEREO AUX RETURNS MAIN OUTS

LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2

MIC 1 MIC 2 MIC 3 MIC 4

LEFT (1/MONO) BAL/UNBAL

LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

OO +10

AUX1

2

AUX 1 MASTER

MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

U

OO +20

U

OO +20AUX

RETURNS

1

2

PHONES

TRIM TRIM TRIM TRIM

NORMALLED

EFX TOMONITOR

TRIM TRIM

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

MUTEMUTEMUTE78 910 1112 1314MUTE

4MUTE

3MUTE

2MUTE

1MUTE

ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34

5MUTE

6MUTE

LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

TRIM

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

ALT 34 ALT 34/ PHONESCONTROLROOM

AUX 1SELECT

PREPOST

MICRO SERIES 1402-VLZ14-CHANNEL MIC/LINE MIXER

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

(NORMAL)IN PLACE AFLPRE-FADER

(LEVEL SET)

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCKDO NOT OPEN

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

UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE.DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

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.

CAUTION

MAINLEFT

MAINRIGHT

456 3R L 2 1

CHANNEL INSERTSBAL/UNBAL PRE-FADER / PRE EQ TIP SEND / RING RETURN

ALT 3-4OUTPUT

R L

CONTROLROOM

MIC+4

( )

LOW NOISE HIGH HEADROOM 14-CHANNEL MIC/LINE MIXER

MICRO SERIES

1402-VLZ

TMTMPOWER PHANTOM

120 VAC 50/60 Hz 25W315mA/250V SLO-BLO

TO REDUCE THE RISK OFFIRE REPLACE WITH SAME

TYPE FUSE AND RATING

CAUTION:

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. PATENT PENDING

MAINOUTPUTLEVEL

MADE IN USAWOODINVILLE WASHINGTON

BAL/UNBALBALANCEDBALANCED

CAUTION AVISRISK OF ELECTRIC SHOCK

DO NOT OPENRISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

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

NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL

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

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

AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated"dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

SAFETY INSTRUCTIONS1. Read Instructions All the safety and operationinstructions should be read before this Mackie product isoperated.

2. Retain Instructions The safety and operatinginstructions should be kept for future reference.

3. Heed Warnings All warnings on this Mackie product andin these operating instructions should be followed.

4. Follow Instructions All operating and other instructionsshould be followed.

5. Water and Moisture This Mackie product should not beused near water for example, near a bathtub, washbowl,kitchen sink, laundry tub, in a wet basement, near aswimming pool, swamp or salivating St. Bernard dog, etc.

6. Heat This Mackie product should be situated awayfrom heat sources such as radiators, or other devices whichproduce heat.

7. Power Sources This Mackie product should beconnected to a power supply only of the type described inthese operation instructions or as marked on this Mackieproduct.

8. Power Cord Protection Power supply cords should berouted so that they are not likely to be walked upon orpinched by items placed upon or against them, payingparticular attention to cords at plugs, convenience receptacles,and the point where they exit this Mackie product.

9. Object and Liquid Entry Care should be taken so thatobjects do not fall into and liquids are not spilled into theinside of this Mackie product.

10. Damage Requiring Service This Mackie productshould be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has beendamaged; or

B. Objects have fallen, or liquid has spilled intothis Mackie product; or

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

D. This Mackie product does not appear to operatenormally or exhibits a marked change inperformance; or

E. This Mackie product has been dropped, or itschassis damaged.

11. Servicing The user should not attempt to service thisMackie product beyond those means described in thisoperating manual. All other servicing should be referred to theMackie Service Department.

12. To prevent electric shock, do not use this polarized plugwith an extension cord, receptacle or other outlet unless theblades can be fully inserted to prevent blade exposure.

Pour prevenir les chocs lectriques ne pas utiliser cette fichepolarise avec un prolongateur, un prise de courant ou uneautre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert.

13. Grounding or Polarization Precautions should betaken so that the grounding or polarization means of thisMackie product is not defeated.

14. This apparatus does not exceed the Class A/Class B(whichever is applicable) limits for radio noise emissions fromdigital apparatus as set out in the radio interferenceregulations of the Canadian Department of Communications.

ATTENTION Le prsent appareil numrique nmet pas debruits radiolectriques dpassant las limites applicables auxappareils numriques de class A/de class B (selon le cas)prescrites dans le rglement sur le brouillage radiolectriquedict par les ministere des communications du Canada.

15. To prevent hazard or damage, ensure that onlymicrophone cables and microphones designed to IEC 268-15Aare connected.

WARNING To reduce the risk of fire or electric shock, donot expose this appliance to rain or moisture.

3We realize that you must be dying to try outyour new MicroSeries 1402-VLZ. Or you might beone of those people that never read manuals.Either way, all we ask is that you read this pageNOW, and the rest can wait until youre good andready. But do read it youll be glad you did.

READ THIS PAGE!!!

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

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

Adjusting input levels (Channels 16only)

On the first six channels, its not evennecessary to hear what youre doing to setoptimal levels. But if youd like to: Plugheadphones into the PHONES jack, then setthe CONTROL ROOM/PHONES faderabout one quarter of the way up.

The following steps must be performedone channel at a time:1. Turn the TRIM, AUX SEND and FADER

controls fully down.

2. Set the EQ knobs at the center detent.3. Connect the signal source to the input.4. Engage (push in) the SOLO switch.5. Engage the SIP/PFL switch in the

master section. A green LEVEL SET lightwill congratulate you.

6. Play something into the selected input.This could be an instrument, a singingor speaking voice, or a line input such asa CD player or tape recorder output. Besure that the volume of the input is thesame as it would be during normal use.If it isnt, you might have to readjustthese levels during the middle of the set.

7. Adjust the channels TRIM control sothat the display on the LED metersstays around 0 and never goes higherthan +7.

8. If youd like to apply some EQ, do so nowand return to step 7.

9. Disengage that channels SOLO switch.10. Repeat for each of Channels 16.

Other Nuggets of WisdomFor optimum sonic performance, the chan-

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

Always turn the MAIN MIX and CONTROLROOM/PHONES faders down before makingconnections to and from your MS1402-VLZ.

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

Save the shipping box! You may need itsomeday, and you dont want to have to pay foranother one.

INSTANT MIXINGHeres how to get going

right away, assuming youown a microphone and akeyboard:

1. Plug your microphone into Channel 1sMIC IN.

2. Turn on the MS1402-VLZ.3. Perform the Level Setting Procedure .4. Connect cords from the MAIN OUTPUTS

(XLR, 14" or RCA, your choice) to youramplifier.

5. Hook up speakers to the amp and turn it on.6. Turn up the MS1402-VLZs Channel 1

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

7. Sing like a canary!8. Plug your keyboard into stereo channel 78.9. Slide that channels FADER to the U

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

canary! Its your first mix!

Part No. 820-033-00 Rev. C 4/971997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.

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

Purchased at:

Date of purchase:

4Thank you! There are a lot of makes andmodels of compact mixers out there, all com-peting for your bucks but you have votedwith your wallet for the folks in Woodinvillewho specialize in American-made mixers.

Now that you have your MicroSeries1402-VLZ, find out how to get the most from it.Thats where this manual comes in.

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

your MS1402-VLZ immediately, the first pagesyou will encounter after the table of contentsare the everpopular hookup diagrams. Theseshow typical mixer setups for Record/Mixdown,Video, Disc Jockey and Stereo PA. After thissection is a detailed tour of the entire mixer.

Every feature of the MS1402-VLZ isdescribed geographically; in other words, inorder of where it is physically placed on themixers top or rear panel. These descriptionsare divided into the first three manual chap-ters, just as your mixer is organized into threedistinct zones:1. PATCHBAY: The patchbay along the top and

back.2. CHANNEL STRIP: The ten channel strips

on the left.3. OUTPUT SECTION: The output section on

the right.Throughout these chapters youll find illus-

trations, with each feature numbered. If yourecurious about a feature, simply locate it on theappropriate illustration, notice the number at-tached to it, and find that number in thenearby paragraphs.

Youll also find cross-references to thesenumbered features within a paragraph. Forinstance, if you see To wire your owncables: , simply find that number in themanual and youve found your answer.

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

This icon marks informa-tion that is criticallyimportant or unique to theMS1402-VLZ. For your owngood, read them and remem-

ber them. They will be on the final test. Andthe final test score will go down on your Per-manent Record.

This icon will lead you toin-depth explanations of fea-tures and practical tips.While not mandatory, theyusually have some valuable

nuggets of information.

THE GLOSSARY: A HAVEN OFNON-TECHINESS FOR THE NEOPHYTE

Since the MS1402-VLZ is often purchased byfolks who are new to the jargon of professionalaudio, weve included a fairly comprehensivedictionary of pro-audio terms. If terms like clip-ping, noise floor, or unbalanced leave youblank, flip to the glossary at the back of thismanual for a quick explanation.

A PLUG FOR THE CONNECTORS SECTIONAlso at the back of this manual is a section

on connectors: XLR connectors, balanced con-nectors, unbalanced connectors, special hybridconnectors. Although we provide diagramsthroughout the manual, the Connectionsappendix gives more of the whys andwherefores for beginners.

ARCANE MYSTERIES ILLUMINATEDFinally, weve included an appendix titled

Balanced Lines, Phantom Powering,Grounding and Other Arcane Mysteries.This section discusses some of the down ndirty practical realities of microphones, fixedinstallations, grounding, and balanced versusunbalanced lines. Its a goldmine for the neo-phyte and even the seasoned pro might learn athing or two.

INTRODUCTION

(AFL)

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2



LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

U

OO +10

AUX1

2

AUX 1 MASTER

MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

1MON/EFX

EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

1MON/EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

AUX

2EFX

U

OO +20

U

OO +20AUX

RETURNS

1

2

PHONES

TRIM TRIM TRIM TRIM

NORMALLED

EFX TOMONITOR

TRIM TRIM

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

PAN

L R

SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO

MUTEMUTEMUTE78 910 1112 1314MUTE

4MUTE

3MUTE

2MUTE

1MUTE

ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34ALT 34

5MUTE

6MUTE

LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

TRIM

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

ALT 34 ALT 34/ PHONESCONTROLROOM

LEVEL SET (PFL)NORMAL

AUX 1SELECT

PREPOST

MICRO SERIES 1402-VLZ14-CHANNEL MIC/LINE MIXER

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

U

OO +15

PATCHBAY

CHANNEL STRIPS OUTPUT SECTION

5LEVEL-SETTING PROCEDURE ............................ 3HOOKUP DIAGRAMS ....................................... 6PATCHBAY DESCRIPTION ............................... 10

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

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

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

MAIN OUTPUT LEVEL ............................... 15 14" MAIN OUTPUTS ................................ 15 TAPE OUTPUT ......................................... 15 PHONES ................................................. 16 ALT 3/4 ................................................. 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 34 ....................................... 18 PAN ....................................................... 19CONSTANT LOUDNESS ! ! ! ....................... 19

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

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

MODIFICATIONS ............................................ 26MS1402-VLZ BLOCK DIAGRAM ....................... 30GAIN STRUCTURE DIAGRAM .......................... 32SPECIFICATIONS ............................................ 33SERVICE INFO ............................................... 34APPENDIX A: Glossary .................................. 35APPENDIX B: Connections .............................. 44APPENDIX C: Balanced Lines, Phantom Powering,

Grounding and Other Arcane Mysteries .................. 47

CONTENTS

6 HOOKUP DIAGRAMS

MS1402-VLZ 4-Track Record / 2-Track Mix

5

6

4

14

13

12

11

10

9

6

5

4

3 3

2

1

2

1 1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTSL

MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUTM

AIN

OUT

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

out

in

out

in

Mono in / stereo outReverb

Digital Delay

out(play)

in(record)

Keyboard or other line-level input

4-track Recorder

in (record)out (play)

in

inout

out

IMPORTANT:ALL Channel Insertplugs are insertedto the SECOND click.

Mono Processorout

in

Guitar Effects

2-track Mixdown Deck2-track Mixdown Deck2-track Mixdown Deck

Power Amplifier

Stereo Compressor

CH

1CH

2

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Studio Monitors

OL

PWR

HIGH RESOLUTIONSTUDIO MONITOR

ON

OFF

OL

PWR


ON

OFF

7MS1402-VLZ Video Setup

Compressor

Multi Effect Processor

in

in

L

R

L

R

L

R

L

LR

R

L

R

V/O Mic

Audio out

Audio out

Audio out out

out

Video Deck #3

Master Video Deck

Video Deck #2

Video Deck #1

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

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

Multi - VCR Video Switcherwith time code Interface(optional)


out

in

5

6

4

14

13

12

11

10

9

6

5

4

3 3

2

1

2

1 1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

Time code DAT

CD Player

SMPT

E Co

ntro

l

Power Amplifier

CH

1CH

2


Studio Monitors

OL

PWR


ON

OFF

OL

PWR


ON

OFF

8MS1402-VLZ Disc Jockey Setup

org

red

red

out(play)

in(record)

Stereo Compressor

Stereo Compressor


Left PA Speaker Right PA Speaker

2-track Deck

Triggered Lights

Stereo EQ

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

People dancing on the floor

4

3

1

1

2

L

R

L

R

L

R

CHAN

NEL

INSE

RTS

AUX

RETU

RNS

ALT

3/4

OUT

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

1

2

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

CD Player

CD Player

Sampler

Turntable

Phono Preamps

out

in

out

in

out

in

out

in

out

out

out

out

out

in

in

in

L

R

L

R

L

R

RIAA

RIAA

5

6

4

14

13

12

11

10

9

5

6

4

3 3

2

1

2

1 1

7

8

Power Amplifier

CH

1CH

2


9MS1402-VLZ Stereo PA

org

org

red

red


Stereo Guitar Effects

out(play)

in(record)

Drum Machine

Stereo Compressor

Mono Compressor

Vocal Mics


Power Amp Stage Monitors

Left PA Speaker Right PA Speaker

2-track Deck

Stereo EQ

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

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

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

Left main output.

Mono EQ

Bass Preamp5

6

4

14

13

12

11

10

9

6

4

5

4

5

1 33

2

11

2

1

2

L

R

L

R

L

R

AUX

RETU

RNS

PHONESOUT

INPUTS

L MONO

R

R

R

R

L MONO

L MONO

L MONO

AUX

OUT

L

7

1

2

8

CHANNEL

R

L R

IN-TAPE-OUT

MAI

NOU

T

CNTRL ROOMOUTPUTS

MAI

NOU

T

L

R

outin

outin

out

out

out

out

in

in

in

in

CHAN

NEL

INSE

RTS

ALT

3/4

OUT

CH

1CH

2


Power Amplifier

CH

1CH

2


10

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2



LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6

TRIM TRIM TRIM TRIMTRIM TRIM

LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MS1402-VLZ PATCHBAY DESCRIPTIONAt the risk of stating the obvious, this is

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

MIC INPUTS (Channels 16)We use phantom-powered, balanced micro-

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

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

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

Professional ribbon, dynamic and condensermics will all sound excellent through these in-puts. The MS1402-VLZs mic inputs will handleany kind of mic level you can toss at them,without overloading. Be sure to perform theLevel Setting Procedure: .

PHANTOM POWERMost modern professional condenser mics

are equipped for Phantom Power, which letsthe mixer send low-current DC voltage to themics electronics through the same wires thatcarry audio. (Semi-pro condenser mics oftenhave batteries to accomplish the same thing.)Phantom owes its name to an ability to beunseen by dynamic mics (Shure SM57/SM58,for instance), which dont need external powerand arent affected by it anyway.

The MS1402-VLZs phantom power is glo-bally controlled by the PHANTOM switch onthe rear panel .

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

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

11

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

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

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

TRIM (Channels 16)If you havent already, please read the Level

Setting Procedure .TRIM adjusts the input sensitivity of the mic

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

If the signal originates through the XLRjack, there will be 10dB of gain with the knobfully down, ramping to 60dB of gain fully up.

Through the 14" input, there is 10dB of at-tenuation fully down and 40dB of gain fully up,with a U (unity gain) mark at 9:00.

This 10dB of attenuation can be very handywhen you are inserting a signal that is very hot,or when you want to add a lot of EQ gain, orboth. Without this virtual pad, a scenario likethat might lead to channel clipping.

+4 / 10 (Channels 714)This switch adjusts the input sensitivity of

the line inputs on channels 714. If the soundsource is a 10 device, engage this switch. Ifyou are unsure, leave the switch up and per-form the Level Setting Procedure ,substituting this switch for the TRIM knob andthen setting the switch to the appropriate gainsetting.

LINE INPUTS (Channels 16)These six line inputs share circuitry (but

not phantom power) with the mic preamps,and can be driven by balanced or unbalancedsources at almost any level. You can use theseinputs for virtually any signal youll comeacross, from instrument levels as low as 30dBto operating levels of 10dBV to+4dBu, since there is 30dB more gain availablethan on Channels 714. To learn how signalsare routed from these inputs: .

To connect balanced lines to these inputs,use a 14" Tip-Ring-Sleeve (TRS) plug, the typefound on stereo headphones:

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

To connect unbalanced lines to these in-puts, use a 14" mono (TS) phone plug orstandard instrument cable:

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

Tip = SignalSleeve = Ground

Line inputs 16 are a good place to connectolder instruments that need more gain. Youcan correct weak levels by adjusting the corre-sponding channels TRIM control .

LOW CUT (Channels 16)The LOW CUT switch, often referred to as a

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

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

earthquakes. These aside, there isnt muchdown there that you want to hear, and filtering

20Hz 100Hz 1kHz 10kHz 20kHz15

10

5

0

+5

+10

+15

Low Cut


10

5

0

+5

+10

+15

Low Cut with Low EQ

12

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2



LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6


LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

STEREO LINE INPUTS (Channels 78,910, 1112 and 1314)

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

In the stereo audio world, an odd-numberedchannel usually receives the left signal. Forexample, you would feed the MS1402-VLZsline inputs 78 a stereo signal by inserting thedevices left output plug into the Channel 7jack, and its right output plug into the Chan-nel 8 jack.

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

EFFECTS: SERIAL ORPARALLEL?

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

Heres what we mean by them.Serial means that the entire signal is

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

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

Dry SignalSerial Device

(e.g. Compressor) ProcessedSignal

Insert Send Insert ReturnSerial

Parallel

Dry Signal(s) Dry Signal(s)

Parallel Device(e.g. Reverb)

Aux Send Aux Return

Wet Signal

Channel PathMix Stage

Output Section

ProcessedSignal

Signal Processor

Signal Processor

13


ING.FUSE



456 3 2 1

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

D BY MACKIE DESIGNS INC. PATENT PENDINGMADE IN USAWOODINVILLE WASHINGTON

INSERT (Channels 16)These jacks, on the back of the MicroSeries

1402-VLZ, are where you connect serial effectssuch as compressors, equalizers, de-essers, orfilters . Since most people dont have morethan a few of these gadgets, weve included in-serts for just the first six channels. If you wantto use this kind of processing on Channels714, simply patch through the processorbefore you plug into the MS1402-VLZ.

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

INSERT cables must be wired thusly:

tip

this plug connects to one of the mixers Channel Insert jacks. ring

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Tip = Send (output to effects device)Ring = Return (input from effects device)Sleeve = Common ground (connect shield to

all three sleeves)Besides being used for inserting external

devices, these jacks can also be used as chan-nel direct outputs; post-TRIM, post-LOW CUT,and pre EQ. Check out the 4-track hookup dia-gram . Heres three ways you can use theINSERT jacks:

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

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption to master.Insert all the way in to the second click.

For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect)

MONO PLUG

MONO PLUG

STEREO PLUG

AUX RETURNSThis is where you connect the outputs of

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

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

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

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

14

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2



LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6


LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

TAPE INThese RCA jacks are designed to work with

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

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

TIPSLEEVETIPSLEEVE

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

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

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

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

Outputs? The MS1402-VLZ has plenty ofem: XLR MAIN, 14" MAIN, TAPE, PHONES,CONTROL ROOM and AUX SENDS. Letstake a peek.

XLR MAIN OUTPUTSThese low-impedance outputs are fully bal-

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

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

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

15

MAIN OUTPUT LEVELEngaging this switch pads the balanced

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

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

14" MAIN OUTPUTSThese 14" jacks are balanced outputs ca-

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

To learn how signals are routed to these 14"outputs: .

To use these outputs to drive balanced in-puts, connect 14" TRS (Tip-Ring-Sleeve)phone plugs like this:

For most music recording and PA applica-tions, unbalanced lines are perfectlyacceptable. To use these outputs to drive un-balanced inputs, connect 14" TS (Tip-Sleeve)phone plugs like this:

Tip = + (hot)Sleeve = Ground

TAPE OUTPUTThese unbalanced RCA connections tap the

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

MONO OUT: If you want to feed a monosignal to your tape deck or other device, simplyuse an RCA Y-cord to combine these outputs(Radio Shack #42-4235, for instance). Do notattempt this with any other outputs on theMS1402-VLZ.

MAINLEFT

MAINRIGHT

R L

CONTROLROOM

MIC+4


MICRO SERIES

1402-VLZ

TMTMPOWER PHANTOM




CAUTION:

CONCE

MAINOUTPUTLEVEL


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

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVETIPSLEEVE

16

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 78

R R R R


BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

BALOR

UNBAL

LINE IN 3 LINE IN 4

L

R

1

2

1

2

RIGHT


LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

LINE IN 5LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 6LOW CUT

75 Hz18dB/OCT

BALOR

UNBAL

LINE IN 1 LINE IN 2



LOW CUT75 Hz

18dB/OCT

LOW CUT75 Hz

18dB/OCT

BALOR

UNBAL

BALOR

UNBAL

ALL BAL/UNBAL

MIC 5 MIC 6


LEVEL+4-10 -10 -10 -10

LEVEL+4

LEVEL+4

LEVEL+4

TRIM

TAPEINPUT

TAPEOUTPUT

L

R

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

MICGAIN

U

+10dB -40dB

-10dBV

10 60

ALT 3/4These 14" jacks are balanced outputs ca-

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

CONTROL ROOMThese 14" jacks are balanced outputs ca-

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

AUX SEND 1&2These 14" jacks are also balanced outputs

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

PHONESThe MS1402-VLZs stereo PHONES jack will

drive any standard headphone to very loud lev-els. Walkperson-type phones can also be usedwith an appropriate adapter. To learn how sig-nals are routed to these outputs: . If yourewiring your own cable for the PHONES output,follow standard conventions:

SLEEVE

LEFTSLEEVE

LEFT

RIGHT

RIGHT

TIP

SLEEVERING

Tip = Left channelRing = Right channelSleeve = Common ground

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

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

Always turn the CONTROL ROOM/PHONES fader all the way down before con-necting headphones. Keep it down until youveput the phones on. Then turn it up slowly.Why? Engineers who fry their ears findthemselves with short careers.

17

POWER CONNECTIONJust in case you lose the cord provided with

the MS1402-VLZ, its power jack accepts a stan-dard 3-prong IEC cord like those found onmost professional recorders, musical instru-ments, and computers.

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

The MS1402-VLZ has sophisticated powerrequirements that a wall wart cannot provide.Wall warts are inconvenient, fragile, radiatehuge hum fields, hog extra jacks on yourpower strip and get in the way. If you lose awall wart, youre in trouble, but if you lose theMS1402-VLZs power cord, you can get a newone at any electronics, music, or computerstore. You can even buy them at Radio Shack(part # 287-1257). Can you tell that we hatewall warts?

Plug the MS1402-VLZ into any standardgrounded AC outlet or into a power strip ofproper voltage.

WARNING: Disconnect-ing the plugs groundpin can be dangerous.Please dont do it.

FUSEThe MS1402-VLZ is fused for your (and its

own) protection. If you suspect a blown fuse,disconnect the cord, pull the fuse drawer out(located just below the cord receptacle) andreplace the fuse with a 500mA (0.5 amps) SLOBLO, 5x20mm, available at electronics storesor your dealer (or a 250mA SLO BLO 5x20mmif your MS1402-VLZ is a 220V240V unit).

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

POWER SWITCHIf this one isnt self-explanatory, we give up.

You can leave this switch on all the time; theMS1402-VLZ is conservatively designed, so heatbuildup isnt a problem even in 24-hour-a-dayoperation. Theres nothing that will burn out orget used up. Or, just plug everything into a goodquality power strip for one-button turn-on.

You may notice thatthe MS1402-VLZ feelsquite warm in the upper-right corner. This isperfectly normal.

(Perfectly normal. Is that redundant?)In the output section there is a PWR LED.

If the power is on, so is the LED.

PHANTOM SWITCHThe Phantom Power Switch controls the

phantom power supply for condenser micro-phones plugged into channels 1-6 mic inputsas discussed at the start of this section .When turned on (or off), the phantom powercircuitry takes a few moments for voltage toramp up (or down). This is also perfectly nor-mal. For an even closer look, refer toAppendix C.

In the output section, next to the PWRLED, is the PHAN LED. If the phantom poweris on, so is the LED.


RISK OF ELECTRIC SHOCKDO NOT OPEN

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



CAUTION

MAINLEFT

MAINRIGHT

456 3R L 2 1

CHANNEL INSERTSBAL/UNBAL PRE-FADER / PRE EQ TIP SEND / RING RETURN

ALT 3-4OUTPUT

R L

CONTROLROOM

MIC+4

( )


MICRO SERIES

1402-VLZ

TMTMPOWER PHANTOM




CAUTION:

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. PATENT PENDING

MAINOUTPUTLEVEL

MADE IN USAWOODINVILLE WASHINGTON


18

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

AUX1

2

MON/EFX

EFX

PAN

L R

SOLO

1MUTEALT 34

dB

30

20

10

OO

4050

5

5

U

60

10

U

OO +15

U

OO +15

CHANNEL STRIP DESCRIPTION

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

U LIKE UNITY GAINMackie mixers have a U

symbol on almost every levelcontrol. This U stands for

unity gain, meaning no change in signal level.Once you have adjusted the input signal to line-level , you can set every control at U and yoursignals will travel through the mixer at optimallevels. Whats more, all the labels on our levelcontrols are measured in decibels (dB), so youllknow what youre doing level-wise if you chooseto change a controls settings.

You wont have to check it here and check itthere, as you would with some other mixers. Infact, some dont even have any reference to ac-tual dB levels at all! Ever seen those 010fader markings? We call these AUMs (ArbitraryUnits of Measurement), and they mean noth-ing in the real world. You were smart youbought a Mackie.

FADERThe FADER controls the channels level

from off to unity gain at the U marking, onup to 10dB of additional gain. Channels 16use mono controls, and channels 714 usestereo controls.

SOLOThis lovable switch allows you to hear signals

through your headphones or control room without having to route them to the MAIN orALT 34 mixes. Folks use solo in live work topreview channels before they are let into themix, or to just check out what a particular chan-nel is up to anytime during a session. You cansolo as many channels at a time as you like.

Solo is also the key player in the LevelSetting Procedure .

Your MS1402-VLZ has Dual-Mode Solo. Aswitch in the master section determines

which mode youll be hearing. With theswitch up, youll get SIP (Solo-In-Place),which is post-FADER and post-PAN, making itideal for mixdown soloing. With the switchdown, youre in PFL (pre-fader listen)mode. This is the required mode for the LevelSetting Procedure .

Soloed channels are sent to the SOURCEmix , which ultimately feeds your CONTROLROOM, PHONES and METERS. WheneverSOLO is engaged, all SOURCE selections(MAIN MIX, ALT 34 and TAPE) are defeated,to allow the soloed signal to do just that solo!

MUTE/ALT 34The dual-purpose MUTE/ALT 3-4 switch is a

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

To use this as a MUTE switch, all you have todo is not use the ALT 34 outputs. Then, when-ever you assign a channel to these unusedoutputs, youll also be disconnecting it from theMAIN MIX, effectively muting the channel.

To use this as an ALT 34 switch, all youhave to do is connect the ALT 34 outputs towhatever destination you desire. Two popularexamples:

When doing multitrack recording, use theALT 34 outputs to feed your multitrack. Withmost decks, you can mult the ALT 34 outputs,using Y-cords or mults, to feed multiple tracks.So, take ALT OUT LEFT and send it to tracks 1,3, 5 and 7, and ALT OUT RIGHT and send it totracks 2, 4, 6 and 8. Now, tracks that are inRecord or Input modes will hear the ALT 34signals, and tracks in Playback or Safe modeswill ignore them.

When doing live sound or mixdown, its oftenhandy to control the level of several channelswith one knob. Thats called Subgrouping. Sim-ply assign these channels to the ALT 34 mix,engage ALT 34 in the SOURCE matrix, and thesignals will appear at the CONTROL ROOM

19

and PHONES outputs. If you want the ALT 34signals to go back into the MAIN MIX, engagethe ASSIGN TO MAIN MIX switch , and theCONTROL ROOM/PHONES fader becomes theone fader to control the levels of all channels as-signed to ALT 34.

Another way to do the same thing is to as-sign the channels to the ALT 34 mix, thenpatch out of the ALT OUT LEFT and RIGHTback into an unused stereo channel (78, 910or 1112 or 1314). If thats your choice, dontever engage the MUTE/ALT 34 switch on thatstereo channel, or youll have every dog in theneighborhood howling at your feedback loop.

Another benefit of the ALT 34 feature isthat it can act as a SIP (Solo-In-Place): justengage a channel's MUTE/ALT 34 switch andthe ALT 34 switch in the SOURCE matrix and youll get that channel, all by itself, in theCONTROL ROOM and PHONES.

MUTE/ALT 34 is one of those controls thatcan bewilder newcomers, so take your time andplay around with it. Once youve got it down,youll probably think of a hundred uses for it!

PANPAN adjusts the amount of channel signal

sent to the left versus the right outputs. Onmono channels (ch. 16 or 714 with connec-tions to the LEFT input only) these controls actas pan pots. On stereo channels (714) withstereo connections to LEFT and RIGHT inputs,the pan knob works like the balance control onyour home stereo.

PAN determines the fate of the MAIN MIX(12) and ALT 34 mix. With the PAN knobhard left, the signal will feed either MAINLEFT (bus 1) or ALT LEFT (bus 3), dependingon the position of the ALT 34 switch. With theknob hard right, the signal feeds MAIN RIGHT(bus 2) or ALT RIGHT (bus 4). Youll soon dis-cover that maybe we shouldve called this anMS1404-VLZ, since it really is a 4-bus mixer.

CONSTANTLOUDNESS ! ! !

The MS1402-VLZs PANcontrols employ a designcalled Constant Loudness.

It has nothing to do with living next to a freeway.As you turn the PAN knob from left to right(thereby causing the sound to move from the leftto the center to the right), the sound will appearto remain at the same volume (or loudness).

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

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

3-BAND EQThe MicroSeries 1402-

VLZ has 3-bandequalization at carefullyselected points LOW

shelving at 80Hz, MID peaking at 2.5kHz, andHI shelving at 12kHz. Shelving means thatthe circuitry boosts or cuts all frequencies pastthe specified frequency. For example, rotatingthe MS1402-VLZs LOW EQ knob 15dB to theright boosts bass starting at 80Hz and continu-ing down to the lowest note you never heard.Peaking means that certain frequencies forma hill around the center frequency 2.5kHzin the case of the MID EQ.

LOW EQ

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

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

MID EQ

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

HI EQ

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


10

5

0

+5

+10

+15

Low EQ


10

5

0

+5

+10

+15

Low EQ with Low Cut


10

5

0

+5

+10

+15


10

5

0

+5

+10

+15

Hi EQ

Mid EQ

20

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

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

Channel 714 AUX pots control the monosum of the channels stereo signals for eachAUX send. For instance, Channel 7 (left) and8 (right) mix together to feed that channelsAUX send knobs.

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

Pre vs. PostSignal Flow Diagram

Moderation during EQ

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

AUX SENDThese tap a portion of each channel signal

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

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

TRIM INSERTLOW CUT EQ

FADER PANMUTE / ALT

AUX SEND 2 KNOB

"POST" SIGNAL

"PRE" SIGNAL

AUX SEND 1 KNOB

"POST" SIGNAL OBEYSMUTE STATUS

INPUT

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

TO AUX SEND 2 OUTPUT

TO AUX SEND 1 OUTPUT

U

+15-15

U

+15-15

U

+12-12

HI12kHz

MID2.5kHz

LOW80Hz

EQ

AUX1

2

MON/EFX

EFX

PAN

L R

SOLO

1MUTEALT 34

dB

30

20

10

OO

4050

5

5

U

60

10

U

OO +15

U

OO +15

21

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

OO +10

AUX 1 MASTER

U

OO +20

U

OO +20AUX

RETURNS

1

2

NORMALLED

EFX TOMONITOR

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

/ PHONESCONTROLROOM


(LEVEL SET)

AUX 1SELECT

PREPOST

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

MAIN MIXAs the name implies, this fader controls the

levels of signals sent to the MAIN OUTPUTS:XLR , 14" and RCA TAPE OUT . Allchannels and AUX RETURNS that are notmuted or turned fully down will wind up in theMAIN MIX.

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

VLZ MIXARCHITECTURE

When designing a mixingcircuit, the lowest noise and

best crosstalk specs are achieved by using VeryLow Impedance (VLZ). To implement VLZ in amixer, the power supply must be able to de-liver plenty of current to the circuitry. Thatswhy those wall wart mixers are often noisy they cant power a VLZ circuit.

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

SOURCE MATRIXTypically, the engineer sends the MAIN MIX

to an audience (if live) or a mixdown deck (ifrecording). But what if the engineer needs tohear something other than the MAIN MIX?With the MS1402-VLZ, the engineer has sev-eral choices of what to listen to. This is one ofthose tricky parts, so buckle up.

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

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

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

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

WARNING: Pushing inboth the TAPE button (inthe SOURCE matrix) andASSIGN TO MAIN MIXcan create a feedback

path between TAPE IN and TAPE OUT.Make sure your tape deck is not in record,record-pause or input monitor mode whenyou engage these switches, or make surethe CONTROL ROOM / PHONES fader isfully down (off).

OUTPUT SECTION DESCRIPTION

22

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

OO +10

AUX 1 MASTER

U

OO +20

U

OO +20AUX

RETURNS

1

2

NORMALLED

EFX TOMONITOR

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

/ PHONESCONTROLROOM


(LEVEL SET)

AUX 1SELECT

PREPOST

Now you know how to select the signals youwant to send to the engineers control room orphones. From there, these signals all passthrough the same level control, aptly named:

CONTROL ROOM / PHONESAs you might expect, this fader controls the

levels of both the stereo CONTROL ROOMOUTPUTS and PHONES OUTPUTS . Thecontrol range is from off through unity gain atthe U marking, with 10dB of extra gain fully up.

When MAIN MIX is your SOURCE selec-tion, those signals will pass through two levelcontrols on the way to your control room ampand phones the MAIN MIX fader and thisCONTROL ROOM / PHONES fader. Thisway, you can send a nice healthy level to theMAIN OUTPUTS (MAIN MIX fader at U),and a quiet level to the control room orphones (CONTROL ROOM / PHONES faderwherever you like it).

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

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

SOLO MODE: SIP/PFLEngaging a channels SOLO switch will

cause this dramatic turn of events: Any exist-ing SOURCE matrix selections will bereplaced by the SOLO signal, appearing atthe CONTROL ROOM OUTPUTS, PHONESOUTPUTS and at the METERS. The audibleSOLO levels are then controlled by theCONTROL ROOM / PHONES fader. TheSOLO levels appearing on the METERS are not controlled by anything youwouldnt want that. You want to see the ac-tual channel level on the METERS regardlessof how loud youre listening.

With the SOLO MODE switch in the upposition, youre in AFL mode, meaning After-Fader Listen. Youll hear the output of thesoloed channel it will follow thechannels TRIM, EQ, FADER and PAN set-tings. Its similar to muting all the otherchannels, but without the hassle. Use AFLmode during mixdown.

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

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

RUDE SOLO LIGHTThis flashing Light Emitting Diode serves

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

23

Why? You want the METERS to reflect whatthe engineer is listening to, and as weve cov-ered, the engineer is listening either to theCONTROL ROOM outputs or the PHONESoutputs. The only difference is that while thelistening levels are controlled by the CON-TROL ROOM / PHONES fader, the METERSread the SOURCE mix before that control, giv-ing you the real facts at all times, even if yourenot listening at all.

You may already be anexpert at the world of +4(+4dBu=1.23V) and 10(10dBV=0.32V) operatinglevels. Basically, what makes

a mixer one or the other is the relative 0dB VU(or 0VU) chosen for the meters. A +4 mixer,with a +4dBu signal pouring out the back willactually read 0VU on its meters. A 10 mixer,with a 10dBV signal trickling out, will read,you guessed it, 0VU on its meters. So when is0VU actually 0dBu? Right now!

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

Thanks to the MS1402-VLZs wide dynamicrange, you can get a good mix with peaks flash-ing anywhere between 20 and +10dB on theMETERS. Most amplifiers clip at about +10dB,and some recorders arent so forgiving either.For best real-world results, try to keep yourpeaks between 0 and +7.

Remember, audio meters are just tools tohelp assure you that your levels are in theballpark. You dont have to stare at them(unless you want to).

ASSIGN TO MAIN MIXLets say youre doing a live show. Intermis-

sion is nearing and youll want to play asoothing CD for the crowd to prevent themfrom becoming antsy. Then you think, But Ihave the CD player plugged into the TAPE in-puts, and that never gets to the MAINOUTPUTS! Oh, but it does. Simply engage thisswitch and your SOURCE matrix selection,after going through the CONTROL ROOM /PHONES 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 ofthe MAIN MIX , using the CONTROLROOM/PHONES fader as its level control.

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

METERS MANY DISPLAYS IN ONE!The MS1402-VLZs peak metering system is

made up of two columns of twelve LEDs. De-ceptively simple, considering the multitude ofsignals that can be monitored by it.

If nothing is selected in the SOURCE matrix and no channels are in SOLO, the METERS

will just sit there and look stupid. To put themto work, you must make a selection in theSOURCE matrix (or engage a SOLO switch).

24

AUX 1 SELECTBesides being used to work effects into your

mix, Aux Sends serve another critical role that of delivering cue mixes to stage monitors,so musicians can hear what theyre doing. Onthe MS1402-VLZ, AUX SEND 1 can play eitherrole, depending on the position of this switch.

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

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

AUX 1 MASTERThe AUX 1 MASTER provides overall level

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

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

AUX RETURNSThese two controls set the overall level of

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

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

AUX TALKFirst of all, there is no par-

ticular alliance between AUXSEND 1 (or 2) and AUXRETURN 1 (or 2). Theyre

just numbers. Theyre like two completestrangers, both named Fred.

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

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

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

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

OO +10

AUX 1 MASTER

U

OO +20

U

OO +20AUX

RETURNS

1

2

NORMALLED

EFX TOMONITOR

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

/ PHONESCONTROLROOM


(LEVEL SET)

AUX 1SELECT

PREPOST

25

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

EFX TO MONITORThe idea behind this great feature is simple:

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

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

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

JACK NORMALLINGJack normalling (not to be confused with

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

These normalling pins can be used in allsorts of ways. The ubiquitous phrase LEFT(MONO) means that if you plug a signal intothe LEFT side and have nothing in the RIGHTside, that signal is also fed to the right input,

courtesy of jack normalling. As soon as youplug something in the RIGHT side, thatnormalled connection is broken.

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

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

Congratulations! Youve just read about allthe features of your MS1402-VLZ. Youre prob-ably ready for a cold one. Go ahead. The rest ofthe manual can wait.

RUDE SOLO LIGHT

+28 CLIP

0dB=0dBu

+10

LEFT RIGHT

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

POWERPHANTOM

MAIN MIX

LEVELSET

U

OO +10

AUX 1 MASTER

U

OO +20

U

OO +20AUX

RETURNS

1

2

NORMALLED

EFX TOMONITOR

ALT34

ASSIGNTO MAIN MIX

SOURCE

TAPE

SOLOMODE

MAINMIX

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

/ PHONESCONTROLROOM


(LEVEL SET)

AUX 1SELECT

PREPOST

26

MODIFICATIONSUL Warning

Caution! These modification instructionsare for use by qualified personnel only. Toavoid electric shock, do not perform any ser-vicing other than changing the fuse unlessyou are qualified to do so. Refer all servicingand modifying to qualified personnel.

Mackie DisclaimerAny modification of any Mackie Designs

product must be performed by a competentelectronic technician. Mackie Designs ac-cepts no responsibility for any damages orinjuries caused by any modification, regard-less of the source of the modificationinstructions or the qualifications of the tech-nician performing them. In the case of suchdamages, Mackie Designs may declarewarranty privileges void. BE CAREFUL!

A Note About JumpersWhen installing jumpers, do not run their

ends through holes in the circuit board.Rather, solder them flat against the desiredpad (the flat silver area, possibly with a hole inthe middle). Make sure the ends of these flatwires do not extend beyond the pad.

For most folks, the MS1402-VLZ works justfine the way it is. But for special applications,there are three signal routing changes that canbe performed easily on the MS1402-VLZ. Easyfor someone with soldering experience, that is.If you dont know how to solder, find a techni-cian that can. This is NOT a good place to learn! Modification A changes AUX SEND 2 to be

pre-fader, pre-mute instead o

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