Mackie 1402-VLZ PRO User manual

MICROSERIES1402-VLZ
MIC
/ LINE MIXER
OWNER’S MANUAL
L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1
MIC 2
MIC 3
MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
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
POWER
PHANTOM
MAIN MIX
LEVEL
SET
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
OO
+10
AUX
1
2
AUX 1 MASTER
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
1
MON/
EFX
AUX
2
EFX
1
MON/
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
U
OO
+20
U
OO
+20
AUX
RETURNS
1
2
PHONES
TRIM TRIM TRIM TRIM
NORMALLED
EFX TO
MONITOR
TRIM TRIM
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO
MUTE
MUTE
MUTE
7–89
–
10 11– 12 13 – 14
MUTE
4
MUTE
3
MUTE
2
MUTE
1
MUTE
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
ALT 3
–
4
5
MUTE
6
MUTE
LEVEL
+4
-10 -10 -10 -10
LEVEL
+4
LEVEL
+4
LEVEL
+4
ALT
3–4
ASSIGN
TO MAIN MIX
SOURCE
TAPE
SOLO
MODE
MAIN
MIX
TRIM
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
ALT 3
–
4ALT 3
–
4
/PHONES
CONTROL
ROOM
AUX 1
SELECT
PRE
POST
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB - 40dB
-
1
0
d
B
V
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 AFL
PRE-FADER
(LEVEL SET)
SERIAL NUMBER MANUFACTURING DATE
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACEWITH THESAME TYPEFUSE ANDRATING.
DISCONNECTSUPPLYCORD BEFORECHANGING FUSE UTILISEUN FUSIBLEDE RECHANGEDE MÊMETYPE.
DEBRANCHERAVANTDE REMPLACERLE FUSIBLE
WARNING: TOREDUCE THE RISKOFFIRE ORELECTRICSHOCK, DONOT
EXPOSETHIS EQUIPMENT TORAINOR MOISTURE.DONOT REMOVECOVER.
NOUSER SERVICEABLE PARTSINSIDE. REFER SERVICINGTOQUALIFIED PERSONNEL.
CAUTION
MAIN
LEFT
MAIN
RIGHT
4
5
63
RL21
CHANNEL INSERTS
BAL/UNBAL
PRE-FADER / PRE EQ TIP SEND / RING RETURN
ALT 3-4
OUTPUT
RL
CONTROL
ROOM
MIC
+4
()
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MICROSERIES
1402-VLZ
TMTM
POWER PHANTOM
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. PATENT PENDING
MAIN
OUTPUT
LEVEL
MADE IN USA
WOODINVILLE WASHINGTON
BAL/UNBAL
BALANCED
BALANCED

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 ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'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 éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
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 à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
SAFETY INSTRUCTIONS
1. ReadInstructions—All thesafety andoperation
instructionsshouldbe read before thisMackie product is
operated.
2. RetainInstructions— The safetyandoperating
instructionsshouldbe kept forfuturereference.
3. HeedWarnings—All warningsonthis Mackie productand
intheseoperatinginstructionsshouldbefollowed.
4. FollowInstructions— All operating andother instructions
shouldbefollowed.
5. WaterandMoisture — ThisMackieproduct should notbe
usednearwater – for example,near a bathtub, washbowl,
kitchensink,laundry tub, inawet basement, near a
swimmingpool,swamp or salivating St.Bernard dog, etc.
6. Heat—This Mackie product shouldbe situated away
fromheatsources such as radiators,or other devices which
produceheat.
7. PowerSources— This Mackie productshould be
connectedtoa power supply onlyof the type describedin
theseoperationinstructions or as markedon this Mackie
product.
8. PowerCordProtection — Power supplycords should be
routedsothat they are notlikely to be walkedupon or
pinchedbyitems placed upon oragainst them, paying
particularattentionto cords at plugs,convenience receptacles,
andthepoint where they exitthis Mackie product.
9. ObjectandLiquid Entry — Careshould be taken sothat
objectsdonot fall into andliquids are not spilledinto the
insideofthis Mackie product.
10. Damage Requiring Service —ThisMackie product
shouldbeserviced only by qualifiedservice personnel when:
A. Thepower-supplycord or the plughas been
damaged;or
B. Objectshavefallen, or liquid hasspilled into
thisMackieproduct; or
C. ThisMackieproduct has been exposedto rain;
or
D. ThisMackieproduct does not appearto operate
normallyorexhibits a markedchangein
performance;or
E. ThisMackieproduct has been dropped,or its
chassisdamaged.
11. Servicing — The usershouldnot attempt to servicethis
Mackieproductbeyond those meansdescribedin this
operatingmanual.All other servicingshouldbe referred tothe
MackieServiceDepartment.
12. To prevent electric shock,donot use this polarizedplug
withanextension cord, receptacle orother outlet unless the
bladescanbe fully inserted toprevent blade exposure.
Pourpréevenirles chocs électriques ne pasutilisercette fiche
polariseéavecun prolongateur, un prise decourantou une
autresortiede courant, sauf si leslamespeuvent être insérées
àfondsans laisser aucune pariie àdécouvert.
13. Grounding or Polarization —Precautionsshould be
takensothat the groundingorpolarization means of this
Mackieproductis not defeated.
14. This apparatus does notexceedthe Class A/Class B
(whicheverisapplicable) limits forradionoise emissions from
digitalapparatusas set out inthe radio interference
regulationsofthe Canadian Department ofCommunications.
ATTENTION—Leprésent appareil numérique n’émet pasde
bruitsradioélectriquesdépassant las limites applicables aux
appareilsnumériquesde class A/de class B (selonlecas)
prescritesdansle règlement sur le brouillageradioélectrique
édictéparles ministere des communications du Canada.
15. To prevent hazard ordamage,ensure that only
microphonecablesand microphones designed toIEC 268-15A
are connected.
WARNING—To reduce the riskof fire or electricshock, do
notexposethis appliance to rainor moisture.

3
We realize that you must be dying to try out
yournewMicroSeries1402-VLZ. Oryoumightbe
one of those people that never read manuals.
Eitherway,all weaskis thatyoureadthispage
NOW,and therestcanwaituntil you’re goodand
ready.But doreadit—you’llbegladyoudid.
READTHISPAGE!!!
LEVEL-SETTING PROCEDURE
Message to seasoned pros: do not set lev-
els using the old “Turn the trim up until the
clip light comes on, then back off a hair”
trick. When a Mackie Designs mixer clip
light comes on, you really are about to clip.
We worked and slaved to come up with a
bettersystem,one that provides lownoise
andhigh headroom.
Adjusting input levels (Channels 1–6
only)
On the first six channels, it’s not even
necessary to hear what you’re doing to set
optimal levels. But if you’d like to: Plug
headphones into the
PHONES jack, then set
the
CONTROL ROOM/PHONES fader
about one quarter of the way up.
Thefollowingsteps must beperformed
one channel at a time:
1. Turnthe
TRIM , AUX SEND and FADER
controlsfully down.
2. Setthe
EQ knobs at thecenter detent.
3. Connectthe signalsourceto theinput.
4. Engage(push in)the
SOLO switch.
5. Engagethe
SIP/PFL switch in the
mastersection. A green
LEVEL SET light
willcongratulate you.
6. Playsomething intothe selectedinput.
Thiscould beaninstrument, asinging
orspeaking voice,ora lineinput suchas
aCD playerortape recorder output.Be
surethatthe volumeofthe inputis the
sameas itwouldbe duringnormal use.
Ifit isn’t,youmight haveto readjust
theselevels duringthemiddle ofthe set.
7. Adjustthechannel’s
TRIM controlso
thatthedisplay on theLED meters
staysaround“0” and nevergoes higher
than“+7.”
8. Ifyou’d like toapply someEQ,do sonow
andreturnto step7.
9. Disengagethat channel’s
SOLO switch.
10.Repeat for each of Channels 1–6.
Other Nuggets of Wisdom
Foroptimumsonic performance, thechan-
nel and
MAIN MIX FADERS should be set near
the“
U ”(unitygain) markings.
Always turn the
MAIN MIX and CONTROL
ROOM/PHONES
faders down before making
connectionstoand from yourMS1402-VLZ.
If you shut down your equipment, turn off
youramplifier(s)first. Whenpoweringup,
turnonyour amplifier(s) last.
Save the shipping box! You may need it
someday, and you don’t want to have to pay for
anotherone.
INSTANT MIXING
Here’s how to get going
rightaway, assuming you
own a microphone and a
keyboard:
1. Plugyour microphoneinto Channel 1’s
MIC IN .
2. Turnon theMS1402-VLZ.
3. Performthe Level Setting Procedure .
4. Connectcords from the MAIN OUTPUTS
(XLR,
1
⁄ 4 " or RCA, your choice) to your
amplifier.
5. Hookupspeakerstotheampandturniton.
6. Turnup theMS1402-VLZ’sChannel 1
FADER to the “U” marking andthe MAIN
MIX
fader one quarterof theway up.
7. Singlike acanary!
8. Plugyourkeyboard intostereochannel7–8.
9. Slidethat channel’s
FADER to the“U”
marking.
10. Playlike a madmanand singlike a
canary!It’syour firstmix!
Part No. 820-033-00 Rev. C 4/97
©1997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.
Please write your serial number here for
future reference (i.e. insurance claims,
tech support, return authorization, etc.):
Purchased at:
Date of purchase:

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
whospecialize in American-mademixers.
Nowthatyou have your MicroSeries
1402-VLZ, find out how to get the most from it.
That’swherethis manual comesin.
HOW TO USE THIS MANUAL
Sincemanyof you folks willwant to hook up
yourMS1402-VLZ immediately,thefirst pages
youwill encounter afterthetable ofcontents
aretheeverpopular hookupdiagrams.These
showtypical mixersetups forRecord/Mixdown,
Video,DiscJockey andStereo PA. After this
sectionisa detailed tourof the entire mixer.
Everyfeatureof the MS1402-VLZis
described“geographically;” inother words,in
orderofwhereit is physicallyplaced on the
mixer’stop orrearpanel. Thesedescriptions
aredivided intothe first three manual chap-
ters,justas yourmixeris organized intothree
distinctzones:
1.
PATCHBAY: Thepatchbayalong the topand
back.
2. CHANNELSTRIP: Theten channel strips
onthe left.
3. OUTPUTSECTION: Theoutput section on
theright.
Throughoutthese chapters you’llfind illus-
trations,witheach featurenumbered.If you’re
curious about a feature, simply locate it on the
appropriateillustration, notice thenumber at-
tached to it, and find that number in the
nearbyparagraphs.
You’ll also find cross-references to these
numbered features within a paragraph. For
instance, if you see “To wire your own
cables: ,” simply find that number in the
manual and you’ve found your answer.
Finally,you’ll noticefeature numberslike
this: . These numbers direct you to relevant
information. Thisiconmarks informa-
tionthatis critically
important or unique to the
MS1402-VLZ.Foryour own
good, read them and remem-
ber them. They will be on the final test. And
the final test score will go down on your Per-
manentRecord. This icon will lead you to
in-depth explanations of fea-
tures and practical tips.
While not mandatory, they
usually have some valuable
nuggets of information.
THE GLOSSARY: A HAVEN OF
NON-TECHINESS FOR THE NEOPHYTE
Sincethe MS1402-VLZis oftenpurchased by
folkswho arenewto thejargon ofprofessional
audio, we’ve includeda fairlycomprehensive
dictionaryof pro-audioterms. Ifterms like“clip-
ping,”“noise floor,”or “unbalanced”leave you
blank,flip totheglossary atthe backof this
manualfor aquick explanation.
A PLUG FOR THE CONNECTORS SECTION
Alsoatthe back of thismanual is a section
onconnectors: XLRconnectors, balancedcon-
nectors,unbalanced connectors,specialhybrid
connectors.Although weprovide diagrams
throughoutthe manual,theConnections
appendix givesmore of the why’s and
wherefore’sforbeginners.
ARCANE MYSTERIES ILLUMINATED
Finally,we’ve includedan appendix titled
“Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries.”
This section discusses some of the down ’n’
dirtypractical realitiesof microphones,fixed
installations,grounding, andbalanced versus
unbalanced lines. It’s a goldmine for the neo-
phyte and even the seasoned pro might learn a
thing or two.
INTRODUCTION
(AFL)
L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1MIC 2MIC 3MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC 5MIC 6
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
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
+15-15
U
+15-15
U
+12-12
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
U
OO
+10
AUX
1
2
AUX 1 MASTER
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
1
MON/
EFX
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
1
MON/
EFX
AUX
2
EFX
1
MON/
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
AUX
2
EFX
U
OO
+20
U
OO
+20
AUX
RETURNS
1
2
PHONES
TRIM TRIM TRIM TRIM
NORMALLED
EFX TO
MONITOR
TRIM TRIM
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
PAN
LR
SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO
MUTE
MUTE
MUTE
7–89
–
10 11– 12 13 – 14
MUTE
4
MUTE
3
MUTE
2
MUTE
1
MUTE ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
5
MUTE
6
MUTE
LEVEL
+4
-10 -10 -10 -10
LEVEL
+4
LEVEL
+4
LEVEL
+4
ALT
3–4
ASSIGN
TO MAIN MIX
SOURCE
TAPE
SOLO
MODE
MAIN
MIX
TRIM
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
ALT 3–4ALT 3–4
/ PHONES
CONTROL
ROOM
LEVEL SET (PFL)
NORMAL
AUX 1
SELECT
PRE
POST
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
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
OUTPUTSECTION

5
LEVEL-SETTING PROCEDURE ............................ 3
HOOKUP DIAGRAMS....................................... 6
PATCHBAY DESCRIPTION ............................... 10
MIC INPUTS ............................................ 10
PHANTOM POWER..................................10
LINE INPUTS ........................................... 11
LOW CUT ................................................ 11
TRIM ...................................................... 11
+4 / –10................................................ 11
STEREO LINE INPUTS ...............................12
EFFECTS: SERIAL OR PARALLEL? ...............12
INSERT ...................................................13
AUX RETURNS ........................................ 13
TAPE IN .................................................. 14
XLR MAIN OUTPUTS ............................... 14
MAIN OUTPUT LEVEL............................... 15
1⁄4" MAIN OUTPUTS ................................15
TAPE OUTPUT ......................................... 15
PHONES ................................................. 16
ALT 3/4 ................................................. 16
CONTROL ROOM..................................... 16
AUX SEND 1 & 2 ..................................... 16
POWER CONNECTION..............................17
FUSE....................................................... 17
POWER SWITCH...................................... 17
PHANTOM SWITCH ................................. 17
CHANNEL STRIP DESCRIPTION ....................... 18
“U” LIKE UNITY GAIN ............................. 18
FADER .................................................... 18
SOLO...................................................... 18
MUTE/ALT 3–4 ....................................... 18
PAN .......................................................19
CONSTANT LOUDNESS ! ! !....................... 19
3-BAND EQ............................................. 19
AUX SEND .............................................. 20
OUTPUT SECTION DESCRIPTION..................... 21
MAIN MIX .............................................. 21
VLZ MIX ARCHITECTURE ......................... 21
SOURCE MATRIX..................................... 21
CONTROL ROOM / PHONES.................... 22
SOLO MODE: SIP / PFL ........................... 22
RUDE SOLO LED ......................................22
ASSIGN TO MAIN MIX.............................23
METERS ..................................................23
AUX TALK ............................................... 24
AUX 1 SELECT ......................................... 24
AUX 1 MASTER.......................................24
AUX RETURNS ........................................ 24
EFX TO MONITOR ...................................25
JACK NORMALLING................................. 25
MODIFICATIONS............................................ 26
MS1402-VLZ BLOCK DIAGRAM ....................... 30
GAIN STRUCTURE DIAGRAM .......................... 32
SPECIFICATIONS ............................................ 33
SERVICE INFO ............................................... 34
APPENDIX A: Glossary .................................. 35
APPENDIX B: Connections ..............................44
APPENDIX C: Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries .................. 47
CONTENTS

6
HOOKUP DIAGRAMS
MS1402-VLZ4-TrackRecord/ 2-TrackMix
5
6
4
14
13
12
11
10
9
6
5
4
33
2
1
2
11
1
2
L
R
L
R
L
R
CHANNEL INSERTSAUX 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
LR
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 Deck2-track Mixdown Deck2-track Mixdown Deck
Power
Amplifier
Stereo Compressor
CH
1
CH
2
FULLS YMMETRY DUAL DIFFERENTIAL HIGHCURREN T DESIGN
Studio Monitors
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,

7
MS1402-VLZVideoSetup
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
MackieDesigns: VideoSetup
scene#1 _ 23:94:10
TimeBase
Note: Aux Return #2
can be used as an
extra stereo input
Multi - VCR Video Switcher
with time code Interface
(optional)
Keyboard or other
line-level input
out
in
5
6
4
14
13
12
11
10
9
6
5
4
33
2
1
2
11
1
2
L
R
L
R
L
R
CHANNEL INSERTSAUX 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
LR
IN-TAPE-OUT
MAIN
OUT
CNTRL ROOM
OUTPUTS
MAIN
OUT
L
R
Time code DAT
CD Player
SMPTE Control
Power
Amplifier
CH
1
CH
2
FULL SYMMETRY DUAL DIFFE RENTIAL HIGH CURRENT DE SIGN
Studio Monitors
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,,

8
MS1402-VLZDiscJockeySetup
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
R
L
R
CHANNEL INSERTSAUX RETURNS
ALT 3/4
OUT
PHONES
OUT
INPUTS
L
MONO
R
R
R
R
L
MONO
L
MONO
L
MONO
AUX
OUT
L
1
2
CHANNEL
R
LR
IN-TAPE-OUT
MAIN
OUT
CNTRL ROOM
OUTPUTS
MAIN
OUT
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
33
2
1
2
11
7
8
Power
Amplifier
CH
1
CH
2
FULL SYMMETRY DUAL DIFFE RENTIAL HIGH CURRENT DE SIGN

9
MS1402-VLZStereo 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
Thissetupcanbeeasilyreconfiguredto
becomeaMonoPAsetup.
A. Stereosourcesshouldfeedthe
leftmonosideofchannelinputonly.
B. Paneachchannelhardleft.
C. ConnectMonoPAsystemto
Leftmainoutput.
Mono EQ
Bass Preamp
5
6
4
14
13
12
11
10
9
6
4
5
4
5
13
3
2
1
1
2
1
2
L
R
L
R
L
R
AUX RETURNS
PHONES
OUT
INPUTS
L
MONO
R
R
R
R
L
MONO
L
MONO
L
MONO
AUX
OUT
L
7
1
2
8
CHANNEL
R
LR
IN-TAPE-OUT
MAIN
OUT
CNTRL ROOM
OUTPUTS
MAIN
OUT
L
R
,,
,
out
in
out
in
out
out
out
out
in
in
in
in
CHANNEL INSERTS
ALT 3/4
OUT
CH
1
CH
2
FULLSYMMETRY DUALDIFFERENTIAL HIGH CURRENT DESIGN
Power
Amplifier
CH
1
CH
2
FULLS YMMETRY DUAL DIFFERENTIAL HIGHCURREN T DESIGN

10
L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1
MIC 2
MIC 3
MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC 5 MIC 6
TRIM TRIM TRIM TRIM
TRIM TRIM
LEVEL
+4
-10 -10 -10 -10
LEVEL
+4
LEVEL
+4
LEVEL
+4
TRIM
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
MS1402-VLZ PATCHBAY DESCRIPTION
At the risk of stating the obvious, this is
whereyou plugeverything in: microphones,
line-levelinstruments and effects,head-
phones,andthe ultimate destinationfor your
sound: a tape recorder, PA system, etc.
MIC INPUTS (Channels 1–6)
We usephantom-powered,balanced micro-
phone inputs just like the big studio
mega-consoles,for exactly thesamereason:
This kind of circuit is excellent at rejecting
hum and noise. You can plug in almost any
kind of mic that has a standard XLR-type male
mic connector. To learn how signals are
routed from these inputs: . If you wire your
own,connectthem like this:
2
2
31
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
Pin 1 = Ground or shield
Pin 2 = Positive (+ or hot)
Pin3 = Negative(– orcold)
Professionalribbon, dynamicandcondenser
micswillall sound excellent throughthese in-
puts.TheMS1402-VLZ’smic inputs willhandle
any kind of mic level you can toss at them,
withoutoverloading.Be sureto performthe
Level Setting Procedure: .
PHANTOM POWER
Mostmodern professional condensermics
areequipped for PhantomPower, which lets
the mixer send low-current DC voltage to the
mic’selectronics throughthesame wiresthat
carryaudio. (Semi-pro condensermicsoften
havebatteriesto accomplish thesamething.)
“Phantom” owes its name to an ability to be
“unseen”bydynamic mics (Shure SM57/SM58,
forinstance),which don’t needexternalpower
and aren’t affected by it anyway.
TheMS1402-VLZ’sphantom power isglo-
bally controlled by the
PHANTOM switch on
the rear panel .Never plug single-ended
(unbalanced) micro-
phones or instruments
into the
MIC IN jacks if the
PHANTOM power is on.
Do not plug instrument outputs into the
MIC IN jacks with PHANTOM power on unless
you know for certain it is safe to do so.

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
theamplifier power.
Another way to consider
LOW CUT ’s func-
tion is that it actually addsflexibility during
live performances. With the addition of
LOW
CUT
,you cansafelyuse LOW equalization on
vocals . Many times, bass shelving
EQ can
reallybenefit voices. Trouble is, adding
LOW
EQ
also boosts stage rumble,
michandlingclunks and
breath pops.
LOW CUT re-
moves all those problems so
you can add low
EQ without
losingawoofer.
Here’s what thecombina-
tion of
LOW EQ and LOW
CUT
looks like in terms of
frequencycurves.
TRIM (Channels 1–6)
If you haven’t already, please read the Level
Setting Procedure .
TRIM adjusts the input sensitivity of the mic
and line inputs connected to Channels 1
through 6. This allows signals from the outside
world to be adjusted to optimal internal oper-
atinglevels.
If the signal originates through the XLR
jack, there will be 10dB of gain with the knob
fully down, ramping to 60dB of gain fully up.
Through the
1
⁄ 4 " 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 handy
when you are inserting a signal that is very hot,
or when you want to add a lot of
EQ gain, or
both.Withoutthis“virtual pad,” a scenariolike
thatmightlead to channelclipping.
+4 / –10 (Channels 7–14)
Thisswitchadjusts the inputsensitivityof
the line inputs on channels 7–14. If the sound
source is a “–10” device, engage this switch. If
you are unsure, leave the switch up and per-
formtheLevel Setting Procedure ,
substituting this switch for the
TRIM knob and
thensettingthe switch to theappropriate gain
setting.
LINE INPUTS (Channels 1–6)
Thesesixline inputs share circuitry (but
not phantom power) with the mic preamps,
and can be driven by balanced or unbalanced
sources at almost any level. You can use these
inputsforvirtually any signalyou’llcome
across, from instrument levels as low as –30dB
to operating levels of –10dBV to
+4dBu, since there is 30dB more gain available
than on Channels 7–14. To learn how signals
are routed from these inputs: .
Toconnectbalanced lines to theseinputs,
usea
1
⁄ 4 "Tip-Ring-Sleeve (TRS) plug, thetype
foundon stereoheadphones:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve= Shieldorground
Toconnectunbalanced lines to thesein-
puts, use a
1
⁄ 4 " mono (TS) phone plug or
standardinstrument cable:
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
Tip = Signal
Sleeve= Ground
Line inputs 1–6 are a good place to connect
olderinstrumentsthat need more gain. You
can correct weak levels by adjusting the corre-
sponding channel’s
TRIM control .
LOW CUT (Channels 1–6)
The LOW CUT switch, often referred to as a
High Pass Filter (all depends on how you look
at it), cuts bass frequencies below 75Hz at a
rate of 18dB per octave. We recommend
that you use
LOW
CUT
on every micro-
phoneapplication
exceptkick drum,
bassguitar,bassy
synthpatches,or re-
cordingsof
earthquakes.These aside, there isn’t much
down there that you want to hear, and filtering
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
Low Cut
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Low Cut with Low EQ

12
L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1
MIC 2
MIC 3
MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC 5 MIC 6
TRIM TRIM TRIM TRIM
TRIM TRIM
LEVEL
+4
-10 -10 -10 -10
LEVEL
+4
LEVEL
+4
LEVEL
+4
TRIM
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
STEREO LINE INPUTS (Channels 7–8,
9–10, 11–12 and 13–14)
Thesefullybalanced inputs aredesignedfor
stereoor mono,balanced or unbalanced sig-
nals, from –10dBV to +4dBu. They can be used
withjustabout any professional orsemi-pro in-
strument, effect or tape player. To learn how
signals are routed from these inputs: .To
wire your own cables: .
Inthestereoaudio world, an odd-numbered
channelusuallyreceivesthe “left signal.”For
example,youwould feed theMS1402-VLZ’s
line inputs 7–8 a stereo signal by inserting the
device’s left output plug into the Channel 7
jack, and its right output plug into the Chan-
nel 8 jack.
When connecting a mono device (just one
cord), always use the Left (
MONO ) input and
plug nothing into the Right input — this way
the signal will appear on both sides. This trick
iscalled“jack normalling” .
EFFECTS: SERIAL OR
PARALLEL?
The next two sections toss
theterms“serial” and “paral-
lel”aroundlike hacky sacks.
Here’s what we mean by them.
“Serial” means that the entire signal is
routedthrough the effectsdevice. Examples:
compressor/limiters,graphicequalizers. Line-
level sources can be patched through a serial
effects device before or after the mixer or,
moreconveniently, through thechannel insert
jacks located on the rear of the mixer (
INSERT
SEND/RETURN
) .
“Parallel”means thataportionofthe signal
inthe mixer istapped offtothe device(
AUX
SEND
),processed andreturned tothe mixer
(
AUX RETURN )tobe mixed withthe original
“dry”signal. Thisway,multiple channelscan all
makeuse ofthe sameeffects device.Examples:
reverb,digital delay.(Seediagramsbelow.)
Dry Signal Serial Device
(e.g. Compressor) Processed
Signal
Insert Send Insert Return
Serial
Parallel
Dry Signal(s) Dry Signal(s)
Parallel Device
(e.g. Reverb)
Aux Send Aux Return
Wet Signal
Channel Path Mix Stage
Output Section
Processed
Signal
SignalProcessor
SignalProcessor

13
SERIAL NUMBER MANUFACTURING DATE
ING.
F
USE UTILISEUNFUSIBLE DERECHANGEDEMÊME TYPE.
DEBRANCHERAVANT DEREMPLACERLE FUSIBLE
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSETHISEQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NOUSERSERVICEABLEPARTSINSIDE.REFERSERVICINGTOQUALIFIED PERSONNEL.
4
5
6321
CHANNEL INSERTS
PRE-FADER / PRE EQ TIP SEND / RING RETURN
()
D
BY MACKIE DESIGNS INC. PATENT PENDING
MADE IN USA
WOODINVILLE WASHINGTON
INSERT (Channels 1–6)
These jacks, on the back of the MicroSeries
1402-VLZ,are whereyou connect serialeffects
suchas compressors,equalizers, de-essers,or
filters . Since most people don’t have more
than a few of these gadgets, we’ve included in-
serts for just the first six channels. If you want
to use this kind of processing on Channels
7–14,simplypatch through theprocessor
beforeyou plugintothe MS1402-VLZ.
The
INSERT points are after the TRIM and
LOW CUT controls, but before the channel’s
EQ and FADER controls. The send (tip) is
low-impedance (120 ohms), capable of
driving any device. The return (ring) is high-
impedance (over 2.5k ohms) and can be
driven by almost any device.
INSERT cables must be wired thusly:
“tip”
this plug connects to one of the
mixer’s Channel Insert jacks. “ring”
tip ring sleeve
SEND to processor
RETURN from processor
(TRS plug)
Tip = Send (output to effects device)
Ring = Return (input from effects device)
Sleeve= Commonground (connectshield to
allthreesleeves)
Besidesbeingused for insertingexternal
devices, these jacks can also be used as chan-
neldirectoutputs; post-
TRIM ,post- LOW CUT ,
and pre
EQ . Check out the 4-track hookup dia-
gram . Here’s three ways you can use the
INSERT jacks:
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 RETURNS
This is where you connect the outputs of
yourparalleleffects devices (orextra audio
sources).Thesebalanced inputs are similar to
the stereo line inputs without EQ, Aux
Sends, Pan, Mute, and Solo. The circuits will
handle stereo or mono, balanced or unbal-
ancedsignals, either instrumentlevel,–10dBV
or +4dBu. They can be used with just about
any pro or semi-pro effects device on the mar-
ket. To learn how signals are routed from
these inputs, see .One Device: If you have
just one parallel effects
device, use
AUX RETURN
1
and leave AUX
RETURN 2
unplugged.
That way, the unused
AUX RETURN 2
LEVEL
control can be used to feed AUX
RETURN 1
to your stage monitors, via
the
EFX TO MONITOR switch .
Mono Device: If you have an effects de-
vice with a mono output (1 cord), plug that
into
AUX RETURN 1 LEFT and leave AUX
RETURN 1 RIGHT
unplugged. That way the
signal will be sent to both sides, magically
appearing in the center as a mono signal.
This won’t work with
AUX RETURN 2 —
you’ll need a Y-cord to feed the L/R bus. In
short,
AUX RETURN 1 uses jack normalling.
AUX RETURN 2 does not use jack normalling.

14
L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1
MIC 2
MIC 3
MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC 5 MIC 6
TRIM TRIM TRIM TRIM
TRIM TRIM
LEVEL
+4
-10-10-10-10
LEVEL
+4
LEVEL
+4
LEVEL
+4
TRIM
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10dB -40dB
-
1
0
d
B
V
10 60
TAPE IN
These RCA jacks are designed to work with
semi-pro as well as pro recorders. To compen-
satefortypically low levels, signalscoming in
herewill be automaticallyboostedby 6dB.
Connectyour taperecorder’soutputshere,
usingstandard hi-fi(RCA) cables.Tolearnhow
signalsareroutedfromthese inputs,see .
TIPSLEEVETIPSLEEVE
Usethesejacks for convenient tapeplay-
back of your mixes. You’ll be able to review a
mix, and then rewind and try another pass,
withoutrepatching or disturbingthe mixer
levels. You can also use these jacks with a por-
table tape or CD player to feed music to a PA
systembetween sets. WARNING: Pushing
TAPE in the SOURCE
matrix and ASSIGN TO
MAIN MIX
can 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 when you engage these
switches, or make sure the
CONTROL
ROOM / PHONES
fader is fully down (off).
Pin1=Ground
Pin2= Positive(+orhot)
Pin3=Negative(–orcold)
Outputs?TheMS1402-VLZ has plentyof
’em: XLR
MAIN ,
1
⁄ 4 " MAIN , TAPE , PHONES ,
CONTROL ROOM and AUX SENDS . Let’s
take a peek.
XLR MAIN OUTPUTS
Theselow-impedance outputs are fully bal-
anced and capable of driving +4dBu lines with
up to 28dB of headroom. This output is 6dB
hotter than other outputs. To learn how sig-
nals are routed to these outputs: .
To use these outputs, wire the XLR (bal-
ancedonly)connectors like this:
2
2
31
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1

15
MAIN OUTPUT LEVEL
Engagingthisswitch pads thebalanced
XLR
MAIN OUTPUTS by 30dB, so you can feed
themicrophoneinput of, say,another mixer.
Perfect for sending a submix to another mic
levelinputin boardroom or conference room
applications.
You can safely plug this output into an input
thatprovides48V phantom power.
1⁄4" MAIN OUTPUTS
These
1
⁄ 4 "jacksarebalancedoutputs ca-
pable of delivering 22dBu into a 600 ohm
balancedorunbalanced load. (Okay,we admit
it, that was a pretty technical sentence. See
the Glossary andConnections appendices if
you want to decode it.)
To learn how signals are routed to these
1
⁄ 4 "
outputs: .
To use these outputs to drive balanced in-
puts,connect
1
⁄ 4 "TRS (Tip-Ring-Sleeve)
phoneplugslike this:
For most music recording and PA applica-
tions,unbalanced lines are perfectly
acceptable. To use these outputs to drive un-
balancedinputs, connect
1
⁄ 4 "TS (Tip-Sleeve)
phoneplugslike this:
Tip=+(hot)
Sleeve=Ground
TAPE OUTPUT
Theseunbalanced RCAconnectionstapthe
MAIN OUTPUTS tomakesimultaneous record-
ingand PA workmoreconvenient.Connect
theseto yourrecorder’sinputs.Tolearnhow
signalsareroutedto theseoutputs: .
MONO OUT : If you want to feed a mono
signal to your tape deck or other device, simply
use an RCA Y-cord to combine these outputs
(RadioShack
®
#42-4235,for instance).Do not
attempt this with any other outputs on the
MS1402-VLZ.
MAIN
LEFT
MAIN
RIGHT
RL
CONTROL
ROOM
MIC
+4
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MICRO SERIES
1402-VLZ
TMTM
POWER PHANTOM
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
CONC
E
MAIN
OUTPUT
LEVEL
BAL/UNBAL
BALANCED
BALANCED
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 7–8
RRRR
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 5
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 1 LINE IN 2
MIC 1
MIC 2
MIC 3
MIC 4
LEFT (1/MONO) BAL/UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC 5 MIC 6
TRIM TRIM TRIM TRIM
TRIM TRIM
LEVEL
+4
-10 -10 -10 -10
LEVEL
+4
LEVEL
+4
LEVEL
+4
TRIM
TAPE
INPUT
TAPE
OUTPUT
L
R
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
M
I
C
G
A
I
N
U
+10 d B -40dB
-
1
0
d
B
V
10 60
ALT 3/4
These
1
⁄ 4 "jacksarebalancedoutputs ca-
pable of delivering 22dBu into a balanced or
unbalancedload.Tolearn how signals are
routed to these outputs: . To wire your own
cables: .
CONTROL ROOM
These
1
⁄ 4 "jacksarebalancedoutputs ca-
pable of delivering 22dBu into a 600 ohm
balanced or unbalanced load. To learn how
signals are routed to these outputs: . To
wire your own cables: .
AUX SEND 1&2
These
1
⁄ 4 "jacksarealsobalanced outputs
capable of delivering 22dBu into a 600 ohm
balanced or unbalanced load. To learn how
signalsare routedto these outputs: . To wire
your own cables: .
PHONES
The MS1402-VLZ’s stereo PHONES jack will
drive any standard headphone to very loud lev-
els.Walkperson-type phonescan also be used
with an appropriate adapter. To learn how sig-
nals are routed to these outputs: .If you’re
wiring your own cable for the
PHONES output,
followstandard conventions:
SLEEVE
LEFTSLEEVE
LEFT
RIGHT
RIGHT
TIP
SLEEVERING
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: When we say
the headphone amp is
loud, we’re not kidding.
It can cause permanent
ear damage. Even inter-
mediate levels may be painfully loud with
some earphones. BE CAREFUL!
Always turn the
CONTROL ROOM/
PHONES
fader all the way down before con-
nectingheadphones.Keep it downuntilyou’ve
put the phones on. Then turn it up slowly.
Why?“Engineers who fry their ears find
themselveswith shortcareers.”

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
mostprofessional recorders,musicalinstru-
ments,and computers.
At the other end of our cord is — get this
— a plug! Not a black cube or, as we’re fond of
calling them, a “wall wart.” We did this for
someverygood reasons:
TheMS1402-VLZ has sophisticatedpower
requirements that awall wart cannot provide.
Wall wartsare inconvenient, fragile,radiate
huge hum fields, hog extra jacks on your
power strip and get in the way. If you lose a
wall wart, you’re in trouble, but if you lose the
MS1402-VLZ’s power cord, you can get a new
oneatany electronics, music, orcomputer
store. You can even buy them at Radio Shack
®
(part # 287-1257). Can you tell that we hate
wallwarts?
PlugtheMS1402-VLZ into any standard
grounded AC outlet or into a power strip of
propervoltage. WARNING: Disconnect-
ing the plug’s ground
pin can be dangerous.
Please don’t do it.
FUSE
The MS1402-VLZ is fused for your (and its
own) protection. If you suspect a blown fuse,
disconnect the cord, pull the fuse drawer out
(locatedjustbelow the cord receptacle) and
replace the fuse with a 500mA (0.5 amps) SLO
BLO,5x20mm, available atelectronics stores
or your dealer (or a 250mA SLO BLO 5x20mm
if your MS1402-VLZ is a 220V–240V unit).
If two fuses blow in a row, something is
very wrong. Please call our toll-free number
(or the distributor in your country) and find
out what to do.
POWER SWITCH
Ifthis oneisn’t self-explanatory, wegive up.
You canleave thisswitchon allthe time;the
MS1402-VLZisconservativelydesigned,so heat
buildupisn’t aproblem evenin 24-hour-a-day
operation.There’snothing thatwill burnout or
getused up.Or,just plug everythingintoagood
qualitypower stripforone-button turn-on.
You may notice that
the MS1402-VLZ feels
quite warm in the upper-
right corner. This is
perfectly normal.
(Perfectlynormal. Is thatredundant?)
In the output section there is a
PWR LED.
If the power is on, so is the LED.
PHANTOM SWITCH
ThePhantomPower Switch controlsthe
phantompowersupply for condensermicro-
phonespluggedinto channels 1-6 micinputs
as discussed at the start of this section .
When turned on (or off), the phantom power
circuitry takes a few moments for voltage to
ramp up (or down). This is also perfectly nor-
mal. For an even closer look, refer to
Appendix C.
In the output section, next to the
PWR
LED, is the PHAN LED. If the phantom power
is on, so is the LED.
SERIAL NUMBER MANUFACTURING DATE
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACEWITHTHE SAME TYPEFUSEAND RATING.
DISCONNECTSUPPLY CORD BEFORECHANGINGFUSE UTILISE UN FUSIBLEDERECHANGEDE MÊME TYPE.
DEBRANCHERAVANT DEREMPLACERLEFUSIBLE
WARNING: TOREDUCE THERISK OFFIRE ORELECTRICSHOCK, DONOT
EXPOSETHIS EQUIPMENTTO RAINOR MOISTURE.DONOT REMOVECOVER.
NOUSER SERVICEABLEPARTS INSIDE. REFERSERVICING TOQUALIFIED PERSONNEL.
CAUTION
MAIN
LEFT
MAIN
RIGHT
4
5
63
RL21
CHANNEL INSERTS
BAL/UNBAL PRE-FADER / PRE EQ TIP SEND / RING RETURN
ALT 3-4
OUTPUT
RL
CONTROL
ROOM
MIC
+4
()
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MICRO SERIES
1402-VLZ
TMTM
POWER PHANTOM
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. PATENT PENDING
MAIN
OUTPUT
LEVEL
MADE IN USA
WOODINVILLE WASHINGTON
BAL/UNBAL
BALANCED
BALANCED

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
LR
SOLO
1
MUTE
ALT 3
–
4
dB
30
20
10
OO
40
50
5
5
U
60
10
U
OO
+15
U
OO
+15
CHANNEL STRIP DESCRIPTION
The ten channel strips look alike, and
function identically. The only difference is
that the six on the left are for individual mics
or mono instruments and have more gain
available, while the next four are for either
stereo or mono line-level sources. (Each of
the stereo channel strips is actually two com-
plete circuits. The controls are linked
together to preserve stereo.) We’ll start at the
bottom and work our way up…
“U” LIKE UNITY GAIN
Mackiemixershave a“ U ”
symbolonalmostevery level
control.This“
U ”standsfor
“unitygain,”meaningno changeinsignallevel.
Onceyouhaveadjustedtheinputsignal toline-
level ,youcan seteverycontrol at“
U ”andyour
signalswilltravelthrough themixeratoptimal
levels.What’smore,allthelabelsonour level
controlsaremeasuredindecibels(dB), soyou’ll
knowwhatyou’redoinglevel-wiseifyouchoose
tochangeacontrol’ssettings.
You won’t have to check it here and check it
there, as you would with some other mixers. In
fact, some don’t even have any reference to ac-
tual dB levels at all! Ever seen those “0–10”
fadermarkings?We call these AUMs(Arbitrary
UnitsofMeasurement),andthey mean noth-
ing in the real world. You were smart — you
boughtaMackie.
FADER
The FADER controls the channel’s level…
from off to unity gain at the “U” marking, on
up to 10dB of additional gain. Channels 1–6
use mono controls, and channels 7–14 use
stereo controls.
SOLO
Thislovable switchallows youto hearsignals
throughyour headphonesor controlroom
withouthaving to routethem tothe MAIN or
ALT 3–4 mixes. Folks usesoloin liveworkto
previewchannelsbeforetheyare letintothe
mix,or tojustcheck outwhat aparticular chan-
nelis uptoanytime duringa session.You can
soloas many channelsat atime as youlike.
Solo is also the key player in the Level
Setting Procedure .
Your MS1402-VLZ has “Dual-Mode Solo.” A
switch in the master section determines
which mode you’ll be hearing. With the
switch up, you’ll get “SIP” (Solo-In-Place),
which is post-FADER and post-PAN, making it
ideal for mixdown soloing. With the switch
down, you’re in “PFL” (pre-fader listen)
mode. This is the required mode for the Level
Setting Procedure .
Soloedchannels aresentto the
SOURCE
mix ,which ultimately feedsyour CONTROL
ROOM
, PHONES and METERS . Whenever
SOLO is engaged, all SOURCE selections
(
MAIN MIX , ALT 3–4 and TAPE ) are defeated,
toallow thesoloedsignal todo justthat— solo!
MUTE/ALT 3–4
The dual-purpose MUTE/ALT 3-4 switch is a
Mackiesignature. WhenGregwasdesigning
our first product, he had to include a mute
switch for each channel. Mute switches do just
what they sound like they do. They turn off the
signal by “routing” it into oblivion. “Gee, what a
waste,”Greg reasoned.“Why not have the
mutebuttonroutethe signal somewhereelse
useful…likeaseparate stereobus?” So
MUTE/ALT 3-4 really serves two functions —
muting (often used during a mixdown or live
show),andsignal routing (formulti-track and
live work) where it acts as an extra stereo bus.
Touse this asa
MUTE switch, all youhave to
dois not usethe
ALT 3–4 outputs. Then, when-
everyou assigna channel tothese unused
outputs,you’ll alsobe disconnectingit fromthe
MAIN MIX ,effectively muting thechannel.
To use this as an
ALT 3–4 switch, all you
have to do is connect the
ALT 3–4 outputs to
whateverdestination you desire.Twopopular
examples:
Whendoingmultitrack recording, use the
ALT 3–4 outputs to feed your multitrack. With
most decks, you can mult the
ALT 3–4 outputs,
using Y-cords or mults, to feed multiple tracks.
So, take
ALT OUT LEFT and send it to tracks 1,
3, 5 and 7, and
ALT OUT RIGHT and send it to
tracks 2, 4, 6 and 8. Now, tracks that are in
Record or Input modes will hear the
ALT 3–4
signals, and tracks in Playback or Safe modes
willignore them.
Whendoing livesound ormixdown, it’s often
handyto controlthe levelof severalchannels
withone knob.That’scalledSubgrouping. Sim-
plyassign these channelsto the
ALT 3–4 mix,
engage
ALT 3–4 inthe SOURCE matrix,andthe
signalswillappear at the
CONTROL ROOM

19
and PHONES outputs.Ifyou want the ALT 3–4
signalsto go backintothe MAIN MIX ,engage
the
ASSIGN TO MAIN MIX switch , and the
CONTROL ROOM/PHONES fader becomes the
onefader tocontrol thelevelsof allchannels as-
signed to
ALT 3–4 .
Another way to do the same thing is to as-
sign the channels to the
ALT 3–4 mix, then
patch out of the
ALT OUT LEFT and RIGHT
back into an unused stereo channel (7–8, 9–10
or 11–12 or 13–14). If that’s your choice, don’t
ever engage the
MUTE/ALT 3–4 switch on that
stereo channel, or you’ll have every dog in the
neighborhoodhowling at yourfeedbackloop.
Another benefit of the
ALT 3–4 feature is
that it can act as a “SIP” (Solo-In-Place): just
engage a channel's
MUTE/ALT 3–4 switch and
the
ALT 3–4 switch in the SOURCE matrix
and you’ll get that channel, all by itself, in the
CONTROL ROOM and PHONES .
MUTE/ALT 3–4 isoneof those controlsthat
canbewilder newcomers,so takeyour timeand
playaround withit.Once you’vegot itdown,
you’llprobably thinkof ahundred usesfor it!
PAN
PAN adjusts the amount of channel signal
sent to the left versus the right outputs. On
monochannels(ch. 1–6 or7–14with connec-
tions to the
LEFT input only) these controls act
aspanpots. On stereochannels (7–14)with
stereo connections to
LEFT and RIGHT inputs,
thepanknob works like thebalance control on
yourhome stereo.
PAN determines the fate of the MAIN MIX
(1–2) and ALT 3–4 mix. With the PAN knob
hard left, the signal will feed either
MAIN
LEFT
(bus 1) or ALT LEFT (bus 3), depending
on the position of the
ALT 3–4 switch. With the
knob hard right, the signal feeds
MAIN RIGHT
(bus 2) or ALT RIGHT (bus 4). You’ll soon dis-
cover that maybe we should’ve called this an
MS1404-VLZ, since it really is a 4-bus mixer.
CONSTANT
LOUDNESS ! ! !
TheMS1402-VLZ’sPAN
controlsemployadesign
called“ConstantLoudness.”
Ithasnothing todowith livingnextto afreeway.
Asyouturnthe
PAN knobfromlefttoright
(therebycausingthe soundtomovefrom theleft
tothecenter totheright),thesoundwillappear
toremainatthesame volume(orloudness).
If you have a channel panned hard left (or
right) and reading 0dB, it must dip down
about 4dB on the left (or right) when panned
center. To do otherwise (the way Brand X com-
pact mixers do) would make the sound appear
muchlouderwhen panned center.
3-BAND EQ
TheMicroSeries 1402-
VLZ has 3-band
equalizationat carefully
selected points —
LOW
shelving at 80Hz, MID peaking at 2.5kHz, and
HI shelving at 12kHz. “Shelving” means that
thecircuitryboosts or cuts allfrequenciespast
thespecified frequency. For example,rotating
the MS1402-VLZ’s
LOW EQ knob 15dB to the
right boosts bass starting at 80Hz and continu-
ing down to the lowest note you never heard.
“Peaking”means that certainfrequenciesform
a “hill” around the center frequency — 2.5kHz
in the case of the
MID EQ .
LOW EQ
This control gives you up to 15dB boost or
cut at 80Hz. The circuit is flat (no boost or
cut)atthe center detent position.
Thisfrequencyrepresentsthe
punch in bass drums, bass guitar,
fatsynthpatches, and some really
seriousmale singers.
Used in conjunction with the
LOW CUT switch , you can
boost the
LOW EQ without inject-
ing a ton of subsonic debris into
themix.
MID EQ
Shortfor“midrange,” this knob
provides 12dB of boost or cut, cen-
tered at 2.5kHz, also flat at the
center detent. Midrange
EQ is
often thought of as the most dy-
namic,because thefrequencies
thatdefineany particular sound
are almost always found in this
range. You can create many inter-
esting and useful
EQ changes by
turning this knob down as well as
up.
HI EQ
This control gives you up to
15dB boost or cut at 12kHz, and it
is also flat at the detent. Use it to
add sizzle to cymbals, and an over-
all sense of transparency or edge
tokeyboards,vocals, guitar and
bacon frying. Turn it down a little
to reduce sibilance, or to hide tape hiss.
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
Low EQ
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
Hi EQ
Mid EQ

20
AUX 1 in POST -mode and AUX 2 are
post-
LOW CUT ,post- EQ andpost- FADER .That
is,the sendsobey thesettings ofthese controls.
AUX 1 in PRE mode follows the EQ and LOW
CUT
settingsonly. PAN and FADER haveno ef-
fecton the
PRE send (see diagrambelow).
AllAUX send levels range from off through
unity(with their channel gain controls at the
center detent position) on up to 15dB of extra
gain(when turned fullyclockwise). Chances
are you’ll never need this extra gain, but it’s
nice to know it’s there if you do.
Channel 7–14
AUX pots control the mono
sum of the channel’s stereo signals for each
AUX send. For instance, Channel 7 (left) and
8 (right) mix together to feed that channel’s
AUX send knobs.
We recommendgoinginto astereo reverbin
monoand returninginstereo.Wehave found
thatmost “stereo”reverbs’second inputjust ties
upan extra
AUX sendand adds nothingto the
sound.Thereareexceptions, sofeel freetotry it
bothways. Ifyour effectsdeviceis truestereo
alltheway through, use
AUX 1 tofeed its LEFT
inputand AUX 2 tofeed the RIGHT input.
“Pre vs. Post”
Signal Flow Diagram
Moderation during EQ
With EQ , you can also screw things up roy-
ally. We’ve designed a lot of boost and cut into
eachequalizercircuit, because weknow
everyonewilloccasionally need that. Butif you
max the
EQ s on every channel, you’ll get mix
mush. Equalize subtly and use the left sides of
the knobs (cut), as well as the right (boost).
Veryfew gold-record-albumengineers everuse
more than about 3dB of
EQ . If you need more
than that, there’s usually a better way to get it,
such as placing a mic differently (or using a
differentkind ofmic entirely).
AUX SEND
Thesetap aportion ofeach channelsignal
outto anothersource forparallel effectspro-
cessingor stagemonitoring.
AUX send levels
arecontrolledbythe channel’s
AUX 1 and AUX
2
knobs and by the AUX 1 MASTER .
These are more than just effects and moni-
tor sends. They can be used to generate
separatemixes for recording or “mix-minuses”
for broadcast. By using
AUX 1 in the PRE
mode , these mix levels can be obtained in-
dependently of the channel’s
GAIN control.
TRIM INSERTLOW CUT EQ
FADER PAN MUTE / ALT
AUX SEND 2 KNOB
"POST" SIGNAL
"PRE" SIGNAL
AUX SEND 1 KNOB
"POST" SIGNAL OBEYS
MUTE 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
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
AUX
1
2
MON/
EFX
EFX
PAN
LR
SOLO
1
MUTE
ALT 3
–
4
dB
30
20
10
OO
40
50
5
5
U
60
10
U
OO
+15
U
OO
+15