Mackie 1402-VLZ3 User Manual
10
1402-VLZ3
1402-
VLZ3
7. STEREO RETURNS
This is where you connect the outputs of your par-
allel effects devices (or extra audio sources). These
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
or +4 dBu. They can be used with just about any pro or
semipro effects device on the market. The signals com-
ing into these inputs can be adjusted using the STEREO
RETURN [41] knobs before passing onto the main mix
bus (see page 18).
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
or +4 dBu. They can be used with just about any pro or
semipro effects device on the market. The signals com-
ing into these inputs can be adjusted using the STEREO
RETURN [41] knobs before passing onto the main mix
bus (see page 18).
One Device: If you have just one parallel effects de-
vice (two cords), use STEREO RETURN 1 left and right,
and leave RETURN 2 unplugged. That way, the unused
RETURN 2 level control can be used to feed RETURN 1
to your stage monitors, via the RETURN TO AUX 1 [42]
switch.
and leave RETURN 2 unplugged. That way, the unused
RETURN 2 level control can be used to feed RETURN 1
to your stage monitors, via the RETURN TO AUX 1 [42]
switch.
Mono Device: If you have an effects device with
a mono output (one cord), plug that into STEREO
RETURN 1 left/mono, and leave the right unplugged.
The signal will be sent to both sides, magically appear-
ing in the center as a mono signal. This won’t work with
STEREO RETURN 2 — you’ll need a Y-cord.
RETURN 1 left/mono, and leave the right unplugged.
The signal will be sent to both sides, magically appear-
ing in the center as a mono signal. This won’t work with
STEREO RETURN 2 — you’ll need a Y-cord.
8. AUX SEND 1&2
The AUX SEND [31] knobs in the channel sections
tap a portion of each channel's signal to provide an out-
put here to feed external parallel effects processors or
stage monitoring. See the AUX SEND details on page 15.
put here to feed external parallel effects processors or
stage monitoring. See the AUX SEND details on page 15.
These 1⁄4" jacks are also balanced outputs capable
of delivering 22 dBu into a 600 ohm balanced or unbal-
anced load.
anced load.
9. TAPE INPUT
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
low levels, signals coming in here will be automatically
boosted by 6 dB.
Connect your tape recorder’s outputs here, using good
quality hi-fi (RCA) cables.
Use these jacks for convenient tape playback of your
mixes. You’ll be able to review a mix, then rewind and
try another pass, without repatching or disturbing the
mixer levels. You can also use these with a tape or CD
player to feed music to a PA system between sets.
try another pass, without repatching or disturbing the
mixer levels. You can also use these with a tape or CD
player to feed music to a PA system between sets.
WARNING: Engaging both the TAPE and
ASSIGN TO MAIN MIX buttons in the CON-
TROL ROOM SOURCE [33] matrix can create
TROL ROOM SOURCE [33] matrix can create
a feedback path between TAPE INPUT and TAPE OUT-
PUT. 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 / SUBMIX
fader [34] is fully down (off).
PUT. 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 / SUBMIX
fader [34] is fully down (off).
10. TAPE OUTPUT
These unbalanced RCA connections tap the main
mix output to make simultaneous recording and PA
work more convenient. Connect these to your recorder’s
inputs. (See also MAIN MIX [32] on page 16.)
work more convenient. Connect these to your recorder’s
inputs. (See also MAIN MIX [32] on page 16.)
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. Do not attempt this with any
other outputs on the 1402-VLZ3.
combine these outputs. Do not attempt this with any
other outputs on the 1402-VLZ3.
11.
1
⁄
4
" MAIN OUTS
These outputs feed the main mix out into the waiting
world. You can feed your amplifi ers this way, or through
the XLR MAIN OUTS [13].
the XLR MAIN OUTS [13].
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
To use these outputs to drive balanced inputs, con-
nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
For most music recording and PA applications,
unbalanced lines are perfectly acceptable. To use these
outputs to drive unbalanced inputs, connect 1⁄4" TS
(Tip-Sleeve) phone plugs like this:
outputs to drive unbalanced inputs, connect 1⁄4" TS
(Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
M
IC GAIN
0
U
60
-1
0dBV
+15dB -45dB
M
IC GAIN
0
U
60
-1
0dBV
+15dB -45dB
M
IC GAIN
0
U
60
-1
0dBV
+15dB -45dB
M
IC GAIN
0
U
60
-1
0dBV
+15dB -45dB
M
IC GAIN
0
U
60
-10
dBV
+15dB -45dB
M
IC GAIN
0
U
60
-1
0dBV
+15dB -45dB
MIC
2
MIC
3
MIC
4
MIC
5
MIC
6
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
AUX SEND
1
2
1
2
RIGHT
LEFT/
MONO
ALL BAL/UNBAL
BAL/UNBAL
L
R
LINE IN 1
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LINE IN 5
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
LINE IN 7-8
LINE IN 9-10
LINE IN 11-12
LINE IN 13-14
L
MONO
MONO
MONO
MONO
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
TAPE
INPUT
TAPE
OUTPUT
L
R
L
R
MAIN OUT
LEVEL
LEVEL
LEVEL
-
10
LEVEL
+4
-
10
+4
-
10
+4
-
10
+4
MIC
1
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
7
7
8
9 10 11
12