Mackie 1402-VLZ3 User Manual

Owner’

s Manual

These fully balanced inputs are designed for  stereo or 

mono, balanced or unbalanced signals, from –10 dBV to 
+4 dBu. They can be used with just about any profes-
sional or semi-pro  instrument, effect or tape player.

In the stereo audio world, an odd-numbered chan-

nel usually receives the “left signal.” For  example, you 
would feed the 1402-VLZ3’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), al-

ways use the LEFT (MONO) input (jacks 7, 9, 11, or 13) 
and plug nothing into the RIGHT input (jacks 8, 10, 12 
or 14)— this way the signal will appear on both sides. 
This trick is called “jack normalling.”

This switch adjusts the input sensitivity of the line 

inputs on channels 7 to 14. If the sound source is a "–10"  
device, engage this switch. If you are unsure, leave the 
switch up, and perform the Level Setting Procedure, 
substituting this switch for the GAIN knob to fi nd the 
best position for it. 

The next two sections toss the terms “serial” and 

“parallel” around like hacky sacks. Here’s 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 serial effects device before or after the mixer, 
or preferably through the insert jacks located on the 
rear panel (CHANNEL INSERT [17] send/return).

“Parallel” means that a portion of the signal in the 

mixer is tapped off to the device (AUX SEND), pro-
cessed and returned to the mixer (STEREO RETURN) 
to be mixed with the original “dry” signal. This way, 
multiple channels can all make use of the same effects 
 device. Examples: reverb, digital delay.

Each LOW CUT switch, often referred to as a High 

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

We recommend that you use LOW CUT on  every 

microphone application except kick drum, bass guitar, 
bassy synth patches, or  recordings of earthquakes. 
These aside, there isn’t much down there that you want 
to hear, and fi ltering 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 feedback in live 
situations and it helps to conserve the amplifi er power.

Another way to consider LOW CUT’s function is that it 

actually adds fl exibility during live performances. With 
the  addition of LOW CUT, you can safely use LOW equal-
ization on vocals. Many times, bass shelving EQ can 
really benefi t voices. Trouble is, adding LOW EQ also 
boosts stage rumble, mic handling clunks and breath 
pops. LOW CUT  removes all those problems so you can 
add low EQ without losing a woofer.

Here’s what the combination of LOW EQ and LOW 

CUT looks like in terms of  frequency curves: 

If you haven’t already, please read the Level-Setting 

Procedure. 

GAIN 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 operating levels. 

If the signal originates through the 

XLR jack, there will be 0 dB of gain 
with the knob fully down, ramping to 
60 dB of gain fully up. 

Through the 1⁄4" input, there is 15 

dB of  attenuation fully down and 45 dB 

of gain fully up, with a “U” (unity gain) mark at 10:00. 
This 15 dB of  attenuation can be very handy when you 
are  inserting a very hot signal, or when you want to add 
a lot of EQ gain, or both. Without this  “virtual pad,” this  
 scenario might lead to channel clipping. 

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Signal Processor

(e.g., Compressor)

Dry Signal(s)

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Reverb)

  M

IC GAIN 

0

U

60

  -1

0dBV 

+15dB -45dB

GAIN