Mackie 402-VLZ3 Benutzerhandbuch

Owner’

s Manual

range represents 
the punch in bass 
drums, bass guitar, 
fat synth patches, 
and some really seri-
ous male singers. 

Used in conjunc-

tion with the low 
cut [5] switch, you 
can boost the low 
EQ without injecting 
a ton of subsonic 
debris into the mix.

With this switch out, each mono channel 

feeds both the left and right sides of the 
main mix equally. For example:

•  Playing a mono source: If you talk into 

a microphone connected to input 1, 
your sweet tones will be heard in both 
the left and right loudspeakers.

•  Overdubbing a mono source: if you 

are monitoring directly through the 
headphones, you can hear the overdub 
signal in both ears while you are play-
ing.

With this switch pressed in, channel 1 will 

play only in the left side of the main mix, 
and channel 2 will play in the right side. For 
example:

•  Recording a stereo source: If you have 

a stereo microphone connected to 
the mic inputs, or if you are playing a 
stereo source into the line inputs, each 
side of the source can be recorded 
discretely onto a recorder connected to 
the main or tape outputs.

The pan switch does not affect channels 3 

or 4, or the tape inputs. 

This adjusts the channel’s level from off, 

to unity gain at the center, on up to 12 dB of 
additional gain. Once the gain [7] has been 
adjusted for each channel, use the level to 
adjust how much of each channel appears in 
the main mix.  

Channels 1 and 2 use mono level controls, 

and channels 3 and 4 uses a stereo control.

This overload LED will come on if the 

input signal is too high. The signal level is 
measured just before the level control, but 
after the gain control and EQ.

If the OL LED does come on, turn down 

the gain and/or the EQ controls until this 
will only come on occasionally when the 
input source is running high. Turning the 
level control will not affect the OL LED. 

These outputs feed the main mix out into 

the waiting world. They can be connected 
to the line-level inputs of power amplifiers, 
powered speakers, or to the line inputs of 
another mixer.

To use these outputs to drive balanced 

inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) 
phone plugs like this: 

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

For most music recording and PA ap-

plications, unbalanced lines are fine. To 
drive unbalanced inputs, connect 1⁄4" TS 
(Tip–Sleeve) phone plugs like this: 

Tip = + (hot)
Sleeve = Ground

These fully-balanced inputs are designed 

for stereo or mono, balanced or unbalanced 
signals. They can be used with just about any 
professional or semi-pro instrument, effect 
or tape player.

Signals entering channel 3 are added to 

the left side of the main mix only. Signals 
entering channel 4 are added to the right.

When connecting a mono device, always 

use the left (mono) input (ch. 3) and plug 
nothing into the right input (ch. 4)— this 
way the signal will appear on both sides. This 
trick is called “jack normalling.”