Mackie 1402-VLZ3 用户手册

Owner’

s Manual

3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed 
channels, or the Tape input. The volume is adjustable 
with the CONTROL ROOM/SUBMIX [34] fader.

These 1⁄4" jacks are balanced outputs  capable of de-

livering 22 dBu into a 600 ohm balanced or unbalanced 
load.

The output here is the sum of any channels that have 

the MUTE/ALT 3-4 [25] switch pressed in (see page 13 
for the tender details).

These 1⁄4" jacks are balanced outputs capable of de-

livering 22 dBu into a balanced or unbalanced load.

These rear-panel jacks are where you connect serial 

effects such as compressors, equalizers, de-essers, or 
fi lters. Since most people don’t have more than a few of 
these  gadgets, we’ve included inserts for just the fi rst 
six channels. If you want to use this kind of processing 
on channels 7 through 14, simply patch through the 
 processor before you plug into the 1402-VLZ3.

The channel insert points are after the GAIN [4] and 

LOW CUT [3] controls, but before the channel’s EQ 
[27] controls and FADER [23]. The send (tip) is low-
impedance (120 ohms), capable of driving any line-level 
device. The return (ring) is high-impedance (over 2.5 k 
ohms) and can be driven by almost any device. 

See Appendix B for details and drawings about Insert 

cables, and a diagram showing three ways to use the 
jacks.

Besides being used for inserting external devices, 

these jacks can also be used as channel direct outputs; 
post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie 
mic preamps have become so famous, that people buy 
these mixers just to have six of these in their arsenal.

This stereo jack will drive any standard headphone 

to very loud levels. Walkperson-type phones can also be 
used with an appropriate adapter. To learn how signals 
are routed to these outputs, see SOURCE MATRIX 
[33] on page 16. If you’re wiring your own cable for the 
PHONES output, follow  standard conventions:

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 intermediate 

levels may be painfully loud with some earphones. BE 
CAREFUL! Always move the CTL ROOM/ SUBMIX fader 
all the way down before connecting headphones. Keep 
it down until you’ve put the phones on. Then turn it up 
slowly. Why? “Engineers who fry their ears fi nd them-
selves with short careers.”

These line-level outputs connect the main mix to the 

outside world. Connect them to the balanced inputs of 
a power amplifi er or powered speakers. See page 16 for 
details of the main mix.

These low-impedance outputs are fully balanced 

and capable of driving +4 dBu lines with up to 28 dB 
of headroom. This output is 6 dB hotter than other 
outputs.

Engaging this switch reduces the level of the bal-

anced XLR main outputs by 40 dB, so you can feed the 
 microphone input of, say,  another mixer. (You can safely 
connect the XLR outputs into an input that provides 48V 
phantom power.)

These outputs are provided so you can listen to some-

thing other than the main mix. The source is selected 
using the SOURCE MATRIX [33] switches (see page 
16). You can choose to listen to the main mix, the Alt 

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