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1402-VLZPRO
14-CHANNEL
MIC/LINE MIXER
OWNER’S MANUAL
POWER PHANTOM
STEREO CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE
ON ON MONO PLUG
PLUG EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSO
ページ2に含まれる内容の要旨
12. Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when: CAUTION AVIS RISK OF ELECTRIC SHOCK A. The power-supply cord or the plug has been damaged; or DO NOT OPEN B. Objects have fallen, or liquid has spilled into this Mackie RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR product; or CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK C. This Mackie product has been exposed to rain; or DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE D.
ページ3に含まれる内容の要旨
READ THIS PAGE!!! We realize that you must be dying to try out Other Nuggets of Wisdom your new Mackie 1402-VLZ PRO. Or you might be For optimum sonic performance, the chan- one of those people that never read manuals. nel and MAIN MIX FADERS should be set near Either way, all we ask is that you read this page the “U” (unity gain) markings. NOW, and the rest can wait until you’re good and MAIN MIX and CTL Always turn the ready. But do read it — you’ll be glad you did. ROOM/SUBMIX faders down
ページ4に含まれる内容の要旨
N N N N N N E E E E E E R R R R R R I I I I I I P P P P P P V V V V V V A A A A A A C C C C C C B B B B B B I I I I I I G G G G G G d d d d d d INTRODUCTION Thank you for choosing a Mackie Designs Throughout these chapters you’ll find illus- professional compact mixer. The 1402-VLZ PRO trations, with each feature numbered. If you’re curious about a feature, simply locate it on the is equipped with our new precision-engineered TM XDR Extended Dynamic Range premium appropriate illustration, notice
ページ5に含まれる内容の要旨
CONTENTS OUTPUT SECTION DESCRIPTION ..................... 21 LEVEL-SETTING PROCEDURE ............................ 3 MAIN MIX .............................................. 21 HOOKUP DIAGRAMS ....................................... 6 VLZ MIX ARCHITECTURE ......................... 21 1402-VLZ PRO PATCHBAY DESCRIPTION ....... 10 SOURCE MATRIX ..................................... 21 MIC INPUTS ............................................ 10 CONTROL ROOM / SUBMIX .................... 22 PHANTOM POWE
ページ6に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS HOOKUP DIAGRAMS 4-track Recorder out (play) in (record) IMPORTANT: ALL Channel Insert plugs are inserted to the SECOND click. in 1 out 1 Stereo Compressor 1 in 2 out 2 Guitar Effects 3 3 4 4 out Mono Processor 5 5 in 6 6 Keyboard or other line-level input L 7 out MONO L 1 R 8 R in Mono in / stereo out Reverb L 9 MONO L 2 R 10 R out in Digital Delay L 11 MONO 1 R 12 2 L 13 MONO L R 14 R out L R (play) 2-track Mixdown Deck
ページ7に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS V/O Mic in Compressor 1 1 1 out 2 2 Keyboard or other line-level input 3 3 4 4 5 5 6 6 Video Deck #1 L 7 MONO L L Audio out 1 R 8 R R Video Deck #2 L 9 Note: Aux Return #2 MONO L L Audio out 2 can be used as an R 10 R extra stereo input R Video Deck #3 L 11 MONO L 1 Audio out out Multi Effect Processor R 12 R 2 CD Player in L 13 MONO L L R 14 R R L R L L R R Time code DAT L out Power Amplifier R FULL SYMMETRY DUAL DI
ページ8に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS in out 1 Stereo Compressor 1 1 in 2 out 2 in Turntable 3 out 1 3 Stereo Compressor in 4 4 out Phono Preamps 5 3 5 RIAA *Note: Aux Return #2 can 6 4 6 be used as an extra stereo input L 7 MONO L RIAA 1 R 8 R CD Player L 9 MONO L L out 2 R 10 R Triggered Lights R CD Player L 11 MONO org 1 L Multi Effect out Processor out R in 12 2 R Sampler L L 13 MONO out L 14 R R in R L R L in R Stereo EQ L R 2-track out out Deck (play
ページ9に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS Vocal Mics in 1 1 Stereo Compressor out in 2 2 out 3 1 3 Mono Compressor 4 in 4 4 out 5 5 5 Bass Preamp 6 6 Stereo Guitar Effects L 7 MONO L 1 R 8 R Drum Machine L 9 MONO L 2 Keyboard or other 10 R line-level input R out org L 11 MONO 1 Multi Effect org Processor in 12 R 2 L in 13 MONO L R Stage Monitors 14 Power Amp out Mono EQ R FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN 1 CH 2 CH R L L L R R 2-track in out S
ページ10に含まれる内容の要旨
N N N N N N E E E E E E R R R R R R I I I I I I P P P P P P V V V V V V A A A A A A C C C C C C B B B B B B I I I I I I G G G G G G d d d d d d 1402-VLZPRO PATCHBAY DESCRIPTION Professional ribbon, dynamic and condenser At the risk of stating the obvious, this is mics will all sound excellent through these in- where you plug everything in: microphones, puts. The 1402-VLZ PRO’s mic inputs will line-level instruments and effects, head- handle any kind of mic level you can toss at phones, and
ページ11に含まれる内容の要旨
it out makes the low stuff you do want much LINE INPUTS (Channels 1–6) more crisp and tasty. Not only that, but LOW These six line inputs share circuitry (but CUT can help reduce the possibility of feed- not phantom power) with the mic preamps, back in live situations and it helps to conserve and can be driven by balanced or unbalanced the amplifier power. sources at almost any level. You can use these Another way to consider LOW CUT’s func- inputs for virtually any signal you’ll come tion is t
ページ12に含まれる内容の要旨
N N N N N N E E E E E E R R R R R R I I I I I I P P P P P P V V V V V V A A A A A A C C C C C C B B B B B B I I I I I I G G G G G G d d d d d d LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 INPUT OUTPUT 1 1 L L 2 2 R R STEREO AUX RETURN AUX SEND MAIN OUT BAL BAL BAL BAL BAL BAL MONO MONO MONO MONO OR OR OR OR OR OR UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL L L L L LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6 BAL BAL BAL BAL LOW CUT LOW CUT LOW CUT
ページ13に含まれる内容の要旨
INSERT (Channels 1–6) SERIAL NUMBER MANUFACTURING DATE WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR These jacks, on the back of the 1402-VLZ ING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE PRO, are where you connect serial effects such TM XDR EXT
ページ14に含まれる内容の要旨
N N N N N N E E E E E E R R R R R R I I I I I I P P P P P P V V V V V V A A A A A A C C C C C C B B B B B B I I I I I I G G G G G G d d d d d d LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 INPUT OUTPUT 1 1 L L 2 2 R R STEREO AUX RETURN AUX SEND MAIN OUT BAL BAL BAL BAL BAL BAL MONO MONO MONO MONO OR OR OR OR OR OR UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL L L L L LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6 BAL BAL BAL BAL LOW CUT LOW CUT LOW CUT
ページ15に含まれる内容の要旨
For most music recording and PA applica- MAIN OUTPUT LEVEL tions, unbalanced lines are perfectly Engaging this switch pads the balanced acceptable. To use these outputs to drive un- XLR MAIN OUTPUTS by 30dB, so you can feed 1 balanced inputs, connect ⁄4" TS (Tip-Sleeve) the microphone input of, say, another mixer. phone plugs like this: Perfect for sending a submix to another mic SLEEVE SLEEVE TIP level input in boardroom or conference room applications. TIP TIP You can safely plug this output
ページ16に含まれる内容の要旨
N N N N N N E E E E E E R R R R R R I I I I I I P P P P P P V V V V V V A A A A A A C C C C C C B B B B B B I I I I I I G G G G G G d d d d d d LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 1 INPUT OUTPUT L 1 L 2 2 R R STEREO AUX RETURN AUX SEND MAIN OUT BAL BAL BAL BAL BAL BAL OR OR OR OR OR OR MONO MONO MONO MONO UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL L L L L LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6 BAL BAL BAL BAL LOW CUT LOW CUT LOW CUT
ページ17に含まれる内容の要旨
POWER CONNECTION POWER SWITCH Just in case you lose the cord provided with If this one isn’t self-explanatory, we give up. the 1402-VLZ PRO, its power jack accepts a You can leave this switch on all the time; the standard 3-prong IEC cord like those found on 1402-VLZ PRO is conservatively designed, so most professional recorders, musical instru- heat buildup isn’t a problem even in 24-hour-a- ments, and computers. day operation. There’s nothing that will burn out At the other end of our cor
ページ18に含まれる内容の要旨
U AUX 1 CHANNEL STRIP DESCRIPTION MON/ EFX +15 U 2 EFX +15 which mode you’ll be hearing. With the The ten channel strips look alike, and U EQ switch up, you’ll get “AFL” (After Fader Lis- function identically. The only difference is HI 12kHz ten), which is post-FADER and post-PAN, that the six on the left are for individual mics -15 +15 U making it ideal for mixdown soloing. With the or mono instruments and have more gain MID switch down, you’re in “PFL” (pre-fader lis- available, while the nex
ページ19に含まれる内容の要旨
and PHONES outputs. If you want the ALT 3–4 center. To do otherwise (the way Brand X com- signals to go back into the MAIN MIX, engage pact mixers do) would make the sound appear the ASSIGN TO MAIN MIX switch , and the much louder when panned center. CTL ROOM/SUBMIX fader becomes the one 3-BAND EQ fader to control the levels of all channels as- signed to ALT 3–4. The 1402-VLZ PRO has Another way to do the same thing is to as- 3-band equalization at sign the channels to the ALT 3–4 mix, then c
ページ20に含まれる内容の要旨
U AUX Moderation during EQ AUX 1 in POST-mode and AUX 2 are 1 MON/ post-LOW CUT, post-EQ and post-FADER. That EFX With EQ, you can also screw things up roy- +15 is, the sends obey the settings of these controls. U ally. We’ve designed a lot of boost and cut into 2 AUX 1 in PRE mode follows the EQ and LOW EFX each equalizer circuit, because we know +15 CUT settings only. PAN and FADER have no ef- everyone will occasionally need that. But if you U EQ fect on the PRE send (see diagram below). max
