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Mackie 1402-VLZ PRO Owner's Manual - Hookup Diagrams
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
CHANNEL INSERTS
AUX RETURNS
ALT 3/4
OUT
PHONES
OUT
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
MAIN OUT
CNTRL ROOM
OUTPUTS
MAIN OUT
L
R
out
in
out
in
Mono in / stereo out
Reverb
Digital Delay
out
(play)
in
(record)
Keyboard or other line-level input
4-track Recorder
in (record)
out (play)
in
in
out
out
IMPORTANT:
ALL Channel Insert
plugs are inserted
to the SECOND click.
Mono Processor
out
in
Guitar Effects
2-track Mixdown Deck
2-track Mixdown Deck
2-track Mixdown Deck
Power
Amplifier
Stereo Compressor
CH
1
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Studio Monitors
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
ON
OFF
,
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
ON
OFF
,
Summary of 1402-VLZ PRO
Page 1
Microseries1402-vlz mic/line mixer owner’s manual l mono l mono l mono l mono line in 7–8 r r r r line in 9–10 line in 11–12 line in 13–14 bal or unbal bal or unbal bal or unbal bal or unbal line in 3 line in 4 l r 1 2 1 2 right aux send stereo aux returns main outs low cut 75 hz 18db/oct low cut 75...
Page 2
Caution avis risk of electric shock do not open risque de choc electrique ne pas ouvrir caution: to reduce the risk of electric shock do not remove cover (or back) no user-serviceable parts inside refer servicing to qualified personnel attention: pour eviter les risques de choc electrique, ne pas en...
Page 3: Read This Page!!!
3 we realize that you must be dying to try out your new microseries 1402-vlz. Or you might be one of those people that never read manuals. Either way, all we ask is that you read this page now, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did. Read this page...
Page 4: Introduction
4 thank you! There are a lot of makes and models of compact mixers out there, all com- peting for your bucks… but you have voted with your wallet for the folks in woodinville who specialize in american-made mixers. Now that you have your microseries 1402-vlz, find out how to get the most from it. Th...
Page 5: Contents
5 level-setting procedure ............................ 3 hookup diagrams ....................................... 6 patchbay description ............................... 10 mic inputs ............................................ 10 phantom power .................................. 10 line inputs .........
Page 6: Hookup Diagrams
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 channel inserts aux returns alt 3/4 out phones out 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 main out cntrl room outputs main out l r out ...
Page 7
7 ms1402-vlz video setup compressor multi effect processor in in l r l r l r l l r 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 setup scene #1 _ 23:94:10 time base note: aux return #2 can be used as an extra ste...
Page 8
8 ms1402-vlz disc jockey setup org red red out (play) in (record) stereo compressor stereo compressor multi effect processor 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 ...
Page 9
9 ms1402-vlz stereo pa org org red red keyboard or other line-level input stereo guitar effects out (play) in (record) drum machine stereo compressor mono compressor vocal mics multi effect processor power amp stage monitors left pa speaker right pa speaker 2-track deck stereo eq this setup can be e...
Page 10
10 l mono l mono l mono l mono line in 7–8 r r r r line in 9–10 line in 11–12 line in 13–14 bal or unbal bal or unbal bal or unbal bal or unbal line in 3 line in 4 l r 1 2 1 2 right aux send stereo aux returns main outs low cut 75 hz 18db/oct low cut 75 hz 18db/oct bal or unbal bal or unbal line in ...
Page 11
11 it out makes the low stuff you do want much more crisp and tasty. Not only that, but low cut can help reduce the possibility of feed- back in live situations and it helps to conserve the amplifier power. Another way to consider low cut’s func- tion is that it actually adds flexibility during live...
Page 12
12 l mono l mono l mono l mono line in 7–8 r r r r line in 9–10 line in 11–12 line in 13–14 bal or unbal bal or unbal bal or unbal bal or unbal line in 3 line in 4 l r 1 2 1 2 right aux send stereo aux returns main outs low cut 75 hz 18db/oct low cut 75 hz 18db/oct bal or unbal bal or unbal line in ...
Page 13
13 serial number manufacturing date ing. Fuse utilise un fusible de rechange de mÊme 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 se...
Page 14
14 l mono l mono l mono l mono line in 7–8 r r r r line in 9–10 line in 11–12 line in 13–14 bal or unbal bal or unbal bal or unbal bal or unbal line in 3 line in 4 l r 1 2 1 2 right aux send stereo aux returns main outs low cut 75 hz 18db/oct low cut 75 hz 18db/oct bal or unbal bal or unbal line in ...
Page 15
15 main output level engaging this switch pads the balanced xlr main outputs by 30db, so you can feed the microphone input of, say, another mixer. Perfect for sending a submix to another mic level input in boardroom or conference room applications. You can safely plug this output into an input that ...
Page 16
16 l mono l mono l mono l mono line in 7–8 r r r r line in 9–10 line in 11–12 line in 13–14 bal or unbal bal or unbal bal or unbal bal or unbal line in 3 line in 4 l r 1 2 1 2 right aux send stereo aux returns main outs low cut 75 hz 18db/oct low cut 75 hz 18db/oct bal or unbal bal or unbal line in ...
Page 17
17 power connection just 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 on most 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 we...
Page 18: Channel Strip Description
18 u +15 -15 u +15 -15 u +12 -12 hi 12khz mid 2.5khz low 80hz eq aux 1 2 mon/ efx efx pan l r solo 1 mute alt 3 – 4 db 30 20 10 o o 40 50 5 5 u 60 10 u o o +15 u o o +15 channel strip description the ten channel strips look alike, and function identically. The only difference is that the six on the ...
Page 19
19 and phones outputs. If you want the alt 3–4 signals to go back into the main mix, engage the assign to main mix switch , and the control room/phones fader becomes the one fader to control the levels of all channels as- signed to alt 3–4. Another way to do the same thing is to as- sign the channel...
Page 20
20 aux 1 in post-mode and aux 2 are post- low cut, post-eq and post-fader. That is, the sends obey the settings of these controls. Aux 1 in pre mode follows the eq and low cut settings only. Pan and fader have no ef- fect on the pre send (see diagram below). All aux send levels range from off throug...
Page 21: Output Section Description
21 rude solo light +28 clip 0db = 0dbu +10 left right +7 +4 +2 0 -2 -4 -7 -10 -20 -30 power phantom main mix level set u o o +10 aux 1 master u o o +20 u o o +20 aux returns 1 2 normalled efx to monitor alt 3–4 assign to main mix source tape solo mode main mix db 30 20 10 o o 40 50 5 5 u 60 10 db 30...
Page 22
22 rude solo light +28 clip 0db = 0dbu +10 left right +7 +4 +2 0 -2 -4 -7 -10 -20 -30 power phantom main mix level set u o o +10 aux 1 master u o o +20 u o o +20 aux returns 1 2 normalled efx to monitor alt 3–4 assign to main mix source tape solo mode main mix db 30 20 10 o o 40 50 5 5 u 60 10 db 30...
Page 23
23 why? You want the meters to reflect what the engineer is listening to, and as we’ve cov- ered, the engineer is listening either to the control room outputs or the phones outputs. The only difference is that while the listening levels are controlled by the con- trol room / phones fader, the meters...
Page 24
24 aux 1 select besides being used to work effects into your mix, aux sends serve another critical role — that of delivering cue mixes to stage monitors, so musicians can hear what they’re doing. On the ms1402-vlz, aux send 1 can play either role, depending on the position of this switch. With the a...
Page 25
25 signals passing through the aux return level controls will proceed directly to main mix , with one exception (see next para- graph). The aux returns do not have mute/alt 3-4 switches, so if you want these signals to get to the alt 3-4 mix, you’ll have to patch the effects device’s outputs into on...
Page 26: Modifications
26 modifications ul warning caution! These modification instructions are for use by qualified personnel only. To avoid electric shock, do not perform any ser- vicing other than changing the fuse unless you are qualified to do so. Refer all servicing and modifying to qualified personnel. Mackie discl...
Page 27
27 1. Pre-fader mod (aux to monitor) this modification changes aux send 2 to be pre-fader, pre-mute instead of post-fader, post-mute. (“mute” refers to the channel’s mute/alt 3–4 switch.) in order to convert the entire mixer, it must be done on each channel, and is slightly more involved for the ste...
Page 28
28 2. Pre-mute mod this modification changes aux send 1 (in post mode) and aux send 2 to receive signal regardless of the channel’s mute/alt 3–4 switch position, but still be post-fader. In order to convert the entire mixer, it must be done on each channel, and is slightly more involved for the ster...
Page 29
29 3. Main mix source mod this modification changes the source matrix’s main mix selection to tap the stereo signal before the main mix level control ( pre) instead of after (post). This could be especially handy for live work where the engi- neer wants to be able to control the main mix level (sent...
Page 30: Ms1402 Block Diagram
30 ms1402 block diagram mid hi 80 2k5 12k lo main l main r alt l alt r aux 1 pre aux 1 post aux 2 post solo/pfl sip l phantom power (global switch) mic in line in trim insert low cut 3-band eq fader pan mute / alt mono channel (1 of 6) 2 1 3 stereo channel (1 of 4) line in l line in r 3-band eq fade...
Page 31
31 main l main r alt l alt r aux 1 pre aux 1 post aux 2 post solo/pfl logic main mix main faders 30db pad tape out l line out l bal out l bal out r line out r alt mix alt out l alt out r alt tape main source control room & phones fader metering (0dbu = 0vu) control room left control room right phone...
Page 32: Gain Structure Diagram
32 gain structure diagram +22dbu max in 10db loss, trim down 40db gain, trim up +22dbu max in unity gain line in, channels 5–12 line in, channels 1–4 mic in, channels 1–4 60db gain, trim up 10db gain, trim down +14dbu max in +15db up –15db down low +12db up –12db down mid +15db up –15db down high +1...
Page 33: Specifications
33 specifications mackie designs is always striving to improve our mixers by incorporating new and improved materials, components and manufacturing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time, without notice. Main mix no...
Page 34: Service Info
34 service info details concerning warranty service are spelled out on the warranty card included with your mixer (if it’s missing, let us know and we’ll rush one to you). If you think your ms1402-vlz has a prob- lem, please do everything you can to confirm it before calling for service. Doing so mi...
Page 35: Appendix A: Glossary
35 this glossary contains brief definitions of many of the audio and electronic terms used in discussions of sound mixing and recording. Many of the terms have other meanings or nuances or very rigorous technical definitions which we have sidestepped here because we figure you already have a lot on ...
Page 36
36 condenser another term for the electronic component generally known as a capacitor. In audio, condenser usually refers to a type of micro- phone that uses a capacitor as the sound pickup element. Condenser microphones require electrical power to run internal ampli- fiers and maintain an electrica...
Page 37
37 dynamic in sound work, dynamic refers to the class of microphones that generate electrical signals by the movement of a coil in a magnetic field. Dynamic microphones are rugged, relatively inexpensive, capable of very good performance and do not require external power. Dynamic range the range bet...
Page 38
38 filter a simple equalizer designed to remove cer- tain ranges of frequencies. A low-cut filter (also called a high-pass filter) reduces or eliminates frequencies below its cutoff fre- quency. There are also high-cut (low-pass) filters, bandpass filters, which cut both high and low frequencies but...
Page 39
39 haas effect a psychoacoustic effect in which the time of arrival of a sound to the left and right ears af- fects our perception of direction. If a signal is presented to both ears at the same time at the same volume, it appears to be directly in front of us. But if the signal to one ear, still at...
Page 40
40 mixer an electronic device used to combine various audio signals into a common output. Different from a blender, which combines vari- ous fruits into a common libation. Monaural literally, pertaining to or having the use of only one ear. In sound work, monaural has to do with a signal which, for ...
Page 41
41 as some wireless microphone receivers) and some ribbon microphones can short out the phantom power and be severely damaged. Check the manufacturer’s recommendations and be careful! Phasing a delay effect, where the original signal is mixed with a short (0 to 10 msec) delay. The time of the delay ...
Page 42
42 return a return is a mixer line input dedicated to the task of returning processed or added sound from reverb, echo and other effects de- vices. Depending on the internal routing of your mixer and your own inclination, you could use returns as additional line inputs, or you could route your rever...
Page 43
43 trim in audio mixers, the gain adjustment for the first amplification stage of the mixer. The trim control helps the mixer cope with the widely varying range of input signals that come from real-world sources. It is important to set the trim control correctly; its setting determines the overall n...
Page 44: Appendix B: Connections
44 appendix b: connections plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be sepa- rated into a left cord and a right cord, which are plugged into the two mic preamps. You can cook up your own ...
Page 45
45 balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end. • when connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections...
Page 46
46 using the send only on an insert jack if you insert a ts (mono) 1 ⁄ 4 " plug only partially (to the first click) into a mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way...
Page 47: Appendix C: Balanced Lines,
47 appendix c: balanced lines, phantom powering, grounding and other arcane mysteries what is it, exactly? The obvious external power source for any modern microphone is a battery. About the only electronic advantage that a battery has is that its output is pure dc. The only other ad- vantage is to ...
Page 48
48 microphones that do not require power sim- ply ignore the dc present between pin 2/pin 3 and pin 1. If you measure with a voltmeter between pin 2 and pin 3, you will read 0 volts dc. This is what your dynamic microphone sees. Measuring between pin 2 and pin 1, or between pin 3 and pin 1, you will...
Page 49
49 do’s and don’ts of fixed installations if you install sound systems into fixed in- stallations, there are a number of things that you can do to make your life easier and that in- crease the likelihood of the sound system operating in a predictable manner. Even if you don’t do fixed installations,...
Page 50
50 free t-shirt offer we love to hear what folks have created us- ing our mixers. If you use your ms1402-vlz to track and/or mix a cd that is commercially re- leased, we’ll trade you a disc for a genuine mackie t-shirt! By “commercially released,” we mean “offered for sale,” even if it’s just be- in...
Page 51
51 u o o +10 u o o +20 u o o +20 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 u o o +1 5 (afl) l mono l mono l mono l mono line in 7 – 8 rr r r line in 9 – 10...