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MICROSERIES1402-VLZ
MIC/LINE MIXER
OWNER'S MANUAL
POWER
PHANTOM
MICRO SERIES
1402-VLZ
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MAIN
RIGHT
BALANCED
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
1
2
3
4
MIC
MIC
MIC
MIC
BAL
BAL
BAL
BAL
OR
OR
OR
OR
UNBAL
UNBAL
UNBAL
UNBAL
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
U
U
U
U
10
60
10
60
10
60
10
60
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
TRIM
TRIM
TRIM
TRIM
U
AUX
U
AUX
U
AUX
U
AUX
1
1
1
1
MON/
MON/
MON/
MON/
EFX
EFX
EFX
EFX
O O
+15
O O
+15
O O
+15
O O
+15
U
U
U
U
2
2
2
2
EFX
EFX
EFX
EFX
+15
+15
+15
+15
O O
O O
O O
O O
EQ
EQ
EQ
EQ
U
U
U
U
HI
HI
HI
HI
12kHz
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
-15
+15
U
U
U
U
MID
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
2.5kHz
-12
+12
-12
+12
-12
+12
-12
+12
U
U
U
U
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
-15
+15
-15
+15
-15
+15
-15
+15
PAN
PAN
PAN
PAN
L
R
L
R
L
R
L
R
1
2
3
4
MUTE
MUTE
MUTE
MUTE
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
dB
dB
dB
dB
10
10
10
10
SOLO
SOLO
SOLO
5
5
5
5
U
U
U
U
5
5
5
5
10
10
10
10
20
20
20
20
30
30
30
30
40
40
40
40
50
50
50
50
60
60
60
60
O O
O O
O O
O O
TM
TM
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
MAIN
CONTROL
ALT 3-4
LEFT
ROOM
OUTPUT
BALANCED
BAL/UNBAL
BAL/UNBAL
R
L
R
+4
MIC
MAIN
OUTPUT
LEVEL
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC.
5
6
STEREO AUX RETURNS
MIC
MIC
1
1
2
2
LEFT
(1/MONO)
RIGHT
ALL BAL/UNBAL
BAL
BAL
MONO
MONO
OR
OR
UNBAL
UNBAL
L
L
LINE IN 5
LINE IN 6
BAL
BAL
LOW CUT
LOW CUT
OR
OR
75 Hz
75 Hz
UNBAL
UNBAL
18dB/OCT
18dB/OCT
R
R
U
U
LEVEL
LEVEL
+4
+4
10
60
10
60
-10
-10
+10dB -40dB
+10dB -40dB
LINE IN 7 – 8
LINE IN 9 – 10
TRIM
TRIM
U
AUX
U
AUX
U
AUX
U
AUX
1
1
1
1
MON/
MON/
MON/
MON/
EFX
EFX
EFX
EFX
O O
+15
O O
+15
O O
+15
O O
+15
U
U
U
U
2
2
2
2
EFX
EFX
EFX
EFX
+15
+15
+15
+15
O O
O O
O O
O O
EQ
EQ
EQ
EQ
U
U
U
U
HI
HI
HI
HI
12kHz
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
-15
+15
U
U
U
U
MID
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
2.5kHz
-12
+12
-12
+12
-12
+12
-12
+12
U
U
U
U
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
-15
+15
-15
+15
-15
+15
-15
+15
PAN
PAN
PAN
PAN
L
R
L
R
L
R
L
R
7 – 8
9 – 10
5
6
MUTE
MUTE
MUTE
MUTE
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
dB
dB
dB
dB
10
10
10
10
SOLO
SOLO
SOLO
SOLO
5
5
5
5
U
U
U
U
5
5
5
5
10
10
10
10
20
20
20
20
30
30
30
30
40
40
40
40
50
50
50
50
60
60
60
60
O O
O O
O O
O O
WARNING:
SERIAL NUMBER
MANUFACTURING DATE
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.
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
CHANNEL INSERTS
PRE-FADER / PRE EQ TIP SEND / RING RETURN
(
)
L
6
5
4
3
2
WOODINVILLE WASHINGTON
MADE IN USA
PATENT PENDING
TAPE
TAPE
MAIN OUTS
INPUT
OUTPUT
L
MICRO SERIES 1402 - VLZ
L
14-CHANNEL MIC/LINE MIXER
R
R
BAL/UNBAL
MONO
MONO
L
L
BAL
BAL
OR
OR
UNBAL
UNBAL
R
R
LEVEL
LEVEL
+4
+4
-10
-10
LINE IN 11 – 12
LINE IN 13 – 14
U
AUX
U
AUX
U
1
1
MON/
MON/
EFX
EFX
O O
+15
O O
+15
O O
+10
O O
U
U
2
2
PRE
EFX
EFX
POST
AUX 1
EFX TO
+15
+15
O O
O O
SELECT
MONITOR
O O
EQ
EQ
SOURCE
U
U
LEFT
HI
HI
MAIN
12kHz
12kHz
MIX
-15
+15
-15
+15
U
U
ALT
3 – 4
MID
MID
2.5kHz
2.5kHz
-12
+12
-12
+12
TAPE
U
U
LOW
LOW
80Hz
80Hz
-15
+15
-15
+15
ASSIGN
PAN
PAN
TO MAIN MIX
(NORMAL)
IN PLACE AFL
PRE-FADER
L
R
L
R
(LEVEL SET)
SOLO
0dB
11 – 12
13 – 14
MODE
MUTE
MUTE
ALT 3
4
ALT 3
4
PHANTOM
POWER
CONTROL
/ PHONES
ROOM
dB
dB
dB
dB
10
10
10
10
SOLO
SOLO
5
5
5
5
U
U
U
U
5
5
5
5
10
10
10
10
20
20
20
20
30
30
30
30
40
40
40
40
50
50
50
50
60
60
60
60
O O
O O
O O
O O
1
U
1
+20
NORMALLED
U
2
AUX
+20
RETURNS
RIGHT
+28
CLIP
+10
+7
+4
+2
0
-2
-4
-7
LEVEL
-10
SET
-20
-30
=
0dBu
RUDE SOLO LIGHT

Summary of Contents

  • Page 1

    DEBRANCHER AVANT DE REMPLACER LE FUSIBLE CONTROL ALT 3-4 ROOM OUTPUT CHANNEL INSERTS BAL/UNBAL BAL/UNBAL PRE-FADER / PRE EQ TIP SEND / RING RETURN CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS INPUT OUTPUT...

  • Page 2

    2. Retain Instructions — The safety and operating instructions should be kept for future reference. 3. Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed. 4. Follow Instructions — All operating and other instructions should be followed.

  • Page 3: Level-setting Procedure

    9. Disengage that channel’s SOLO switch. 10. Repeat for each of Channels 1–6. Part No. 820-033-00 Rev. C 4/97 ©1997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A. Other Nuggets of Wisdom For optimum sonic performance, the chan- nel and MAIN MIX FADERS should be set near the “U”...

  • Page 4: Level Level Level Level 4 +4 +4

    XLR connectors, balanced con- nectors, unbalanced connectors, special hybrid connectors. Although we provide diagrams TAPE TAPE MAIN OUTS INPUT OUTPUT MICRO SERIES 1402-VLZ throughout the manual, the Connections 14-CHANNEL MIC/LINE MIXER appendix BAL/UNBAL MONO MONO wherefore’s for beginners. UNBAL UNBAL LEVEL LEVEL...

  • Page 5: Table Of Contents

    CONTENTS LEVEL-SETTING PROCEDURE ... 3 HOOKUP DIAGRAMS ... 6 PATCHBAY DESCRIPTION ... 10 MIC INPUTS ... 10 PHANTOM POWER ... 10 LINE INPUTS ... 11 LOW CUT ... 11 TRIM ... 11 + 4 / –10 ... 11 STEREO LINE INPUTS ... 12 EFFECTS: SERIAL OR PARALLEL? ...

  • Page 6: Hookup Diagrams

    HOOKUP DIAGRAMS Guitar Effects Keyboard or other line-level input (play) 2-track Mixdown Deck 2-track Mixdown Deck 2-track Mixdown Deck (record) 4-track Recorder out (play) in (record) MONO MONO MONO MONO MS1402-VLZ 4-Track Record / 2-Track Mix IMPORTANT: ALL Channel Insert plugs are inserted to the SECOND click.

  • Page 7

    Keyboard or other line-level input Video Deck #1 Video Deck #2 Audio out Video Deck #3 Audio out CD Player Time code DAT Mackie Designs: Video Setup scene #1 _ 23:94:10 Time Base MS1402-VLZ Video Setup MONO Audio out MONO MONO MONO...

  • Page 8

    Turntable Phono Preamps RIAA RIAA CD Player CD Player Sampler 2-track Deck (play) (record) *Note: Aux Return #2 can be used as an extra stereo input MONO MONO MONO MONO People dancing on the floor MS1402-VLZ Disc Jockey Setup Stereo Compressor Stereo Compressor Triggered Lights Multi Effect...

  • Page 9

    Vocal Mics Bass Preamp Stereo Guitar Effects Drum Machine Keyboard or other line-level input 2-track Deck (play) (record) This setup can be easily reconfigured to become a Mono PA setup. MS1402-VLZ Stereo PA MONO MONO MONO MONO Mono EQ Stereo sources should feed the left mono side of channel input only.

  • Page 10: Mic Inputs, Phantom Power, Patchbay Description

    MS1402-VLZ PATCHBAY DESCRIPTION At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, head- phones, and the ultimate destination for your sound: a tape recorder, PA system, etc. MIC INPUTS (Channels 1–6) We use phantom-powered, balanced micro- phone inputs just like the big studio mega-consoles, for exactly the same reason:...

  • Page 11: Line Inputs, Trim

    LINE INPUTS (Channels 1–6) These six line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –30dB to operating levels of –10dBV to +4dBu, since there is 30dB more gain available...

  • Page 12: Output Section, Stereo Line Inputs

    UNBAL UNBAL UNBAL LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 18dB/OCT 18dB/OCT 18dB/OCT +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB TRIM TRIM TRIM TRIM TRIM...

  • Page 13: Insert, Aux Returns

    UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE CHANNEL INSERTS PRE-FADER / PRE EQ TIP SEND / RING RETURN D BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA AUX RETURNS This is where you connect the outputs of your parallel effects devices (or extra audio sources).

  • Page 14: Xlr Main Outputs

    UNBAL UNBAL UNBAL LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LOW CUT LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB TRIM TRIM TRIM...

  • Page 15: Main Output Level, Main Outputs, Tape Output

    #42-4235, for instance). Do not (Radio Shack ® attempt this with any other outputs on the MS1402-VLZ. RING SLEEVE RING SLEEVE MICRO SERIES 1402-VLZ LOW NOISE HIGH HEADROOM 14-CHANNEL MIC/LINE MIXER MAIN MAIN RIGHT LEFT BALANCED BALANCED MAIN OUTPUT LEVEL ⁄ " TS (Tip-Sleeve)

  • Page 16: Phones, Control Room

    UNBAL UNBAL UNBAL UNBAL LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LOW CUT LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 75 Hz 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB TRIM...

  • Page 17: Power Connection, Fuse, Power Switch, Phantom Switch

    CONTROL ALT 3-4 ROOM OUTPUT BAL/UNBAL BAL/UNBAL MAIN OUTPUT LEVEL CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. SERIAL NUMBER MANUFACTURING DATE CHANNEL INSERTS PRE-FADER / PRE EQ TIP SEND / RING RETURN WOODINVILLE WASHINGTON MADE IN USA PATENT PENDING...

  • Page 18: U" Like Unity Gain, Fader, Solo, Mute/alt 3–4, Channel Strip Description

    Mackie mixers have a “U” MUTE/ALT 3–4 The dual-purpose MUTE/ALT 3-4 switch is a Mackie signature. When Greg was designing our first product, he had to include a mute switch for each channel. Mute switches do just what they sound like they do. They turn off the signal by “routing”...

  • Page 19: Constant Loudness, Band Eq

    and PHONES outputs. If you want the ALT 3–4 signals to go back into the MAIN MIX, engage the ASSIGN TO MAIN MIX switch , and the CONTROL ROOM/PHONES fader becomes the one fader to control the levels of all channels as- signed to ALT 3–4.

  • Page 20: Aux Send

    Moderation during EQ MON/ With EQ, you can also screw things up roy- ally. We’ve designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, you’ll get mix 12kHz mush.

  • Page 21: Output Section Description, Main Mix, Vlz Mix Architecture, Source Matrix

    “wall wart” mixers are often noisy – they can’t power a VLZ circuit. At Mackie, audio quality is much more im- portant than the price of wall warts. All of our mixers employ VLZ and built-in power supplies...

  • Page 22: Control Room / Phones, Solo Mode: Sip / Pfl

    — to remind you that at least one channel is in SOLO, and to let you know that you’re mixing on a Mackie. No other com- pany is so concerned about your level of SOLO awareness. If you work on a mixer that has a solo function with no indicator lights, and you happen to forget you’re in solo, you can easily...

  • Page 23: Assign To Main Mix, Meters

    0VU on its meters. So when is 0VU actually 0dBu? Right now! At the risk of creating another standard, Mackie’s compact mixers address the need of both crowds by calling things as they are — 0dBu (0.775V) at the output shows as 0dB VU on the METERS.

  • Page 24: Aux Talk, Aux 1 Select, Aux 1 Master, Aux Returns

    As with some other level controls, you may never need the additional gain, but if you ever do, you’ll be glad you bought a Mackie. This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air.

  • Page 25: Efx To Monitor, Jack Normalling

    Signals passing through the AUX RETURN level controls will proceed directly to MAIN , with one exception (see next para- graph). The AUX RETURNS do not have MUTE/ALT 3-4 switches, so if you want these signals to get to the ALT 3-4 mix, you’ll have to patch the effects device’s outputs into one of the stereo channels, and MUTE/ ALT that channel...

  • Page 26: Modifications

    Refer all servicing and modifying to qualified personnel. Mackie Disclaimer Any modification of any Mackie Designs product must be performed by a competent electronic technician. Mackie Designs ac- cepts no responsibility for any damages or...

  • Page 27

    1. PRE-FADER MOD (AUX TO MONITOR) This modification changes AUX SEND 2 to be pre-fader, pre-mute instead of post-fader, post-mute. (“Mute” refers to the channel’s MUTE/ALT 3–4 switch.) In order to convert the entire mixer, it must be done on each channel, and is slightly more involved for the stereo channels 7–14.

  • Page 28

    2. PRE-MUTE MOD This modification changes AUX SEND 1 (in post mode) and AUX SEND 2 to receive signal regardless of the channel’s MUTE/ALT 3–4 switch position, but still be post-fader. In order to convert the entire mixer, it must be done on each channel, and is slightly more involved for the stereo channels 7–14.

  • Page 29

    3. MAIN MIX SOURCE MOD This modification changes the SOURCE matrix’s MAIN MIX selection to tap the stereo signal before the MAIN MIX level control (pre) instead of after (post). This could be especially handy for live work where the engi- neer wants to be able to control the MAIN MIX level (sent to the house system) without changing the level in his headphones.

  • Page 30

    75Hz LOW CUT LINE IN MONO CHANNEL (1 OF 6) LINE IN L +4 /-10 LINE IN R STEREO CHANNEL (1 OF 4) MACKIE MS1402-VLZ SIGNAL FLOW-- INPUTS (M14-41697.VSD.DF) FADER 80 2K5 12K 3-BAND EQ POST FADER 80 2K5 12K...

  • Page 31: Rude Solo Led

    PFL LED SIP (SOLO IN PLACE) / PFL (PRE-FADER LISTEN) CONTROL ROOM & PHONES FADER AUX 1 OUT AUX 2 OUT MACKIE MS1402-VLZ SIGNAL FLOW-- OUTPUTS TAPE OUT L LINE OUT L BAL OUT L BAL OUT R LINE OUT R...

  • Page 32: Gain Structure Diagram

    GAIN STRUCTURE DIAGRAM...

  • Page 33: Specifications

    –129.5dBm unweighted 14" (35.6cm) Mackie Designs is always striving to improve our mixers by incorporating new and improved materials, components and manufacturing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time, without notice.

  • Page 34: Service Info

    Doing so might save you from the deprivation of your mixer and the associated suffering. Of all Mackie products returned for service (which is hardly any at all), roughly 50% are coded “CND” — Could Not Duplicate, which usually means the problem lay somewhere other than the mixer.

  • Page 35: Appendix A: Glossary

    233-9604. We recommend the following titles: The Audio Dictionary, by Glenn White; Tech Terms, by Peterson & Oppenheimer; Handbook for Sound Engineers, by Glen Ballou, Mackie Mixer Book by Rudy Trubitt and Sound Reinforcement Handbook, by Gary Davis. An acronym for After Fade Listen, which is another way of saying post-fader solo function.

  • Page 36

    It does not go out on the air or to the main mixing buses. This “cueing” circuit is the same as pre-fader (PFL) solo on a Mackie mixer, and often the terms are interchangeable. See decibel...

  • Page 37

    dynamic In sound work, dynamic refers to the class of microphones that generate electrical signals by the movement of a coil in a magnetic field. Dynamic microphones are rugged, relatively inexpensive, capable of very good performance and do not require external power. dynamic range The range between the maximum and mini- mum sound levels that a sound system can...

  • Page 38

    filter A simple equalizer designed to remove cer- tain ranges of frequencies. A low-cut filter (also called a high-pass filter) reduces or eliminates frequencies below its cutoff fre- quency. There are also high-cut (low-pass) filters, bandpass filters, which cut both high and low frequencies but leave a band of fre- quencies in the middle untouched, and notch filters, which remove a narrow band but leave...

  • Page 39

    DC ohmmeter. Maintaining proper circuit impedance rela- tionships is important to avoid distortion and minimize added noise. Mackie input and output impedances are set to work well with the vast majority of audio equipment. input module...

  • Page 40

    “invisible” to ordinary dynamic mi- crophones. Mackie mixers use standard +48 volt DC power, switchable on or off. Most quality condenser microphones are designed to use +48 VDC phantom power.

  • Page 41

    as some wireless microphone receivers) and some ribbon microphones can short out the phantom power and be severely damaged. Check the manufacturer’s recommendations and be careful! phasing A delay effect, where the original signal is mixed with a short (0 to 10 msec) delay. The time of the delay is slowly varied, and the combination of the two signals results in a dra- matic moving comb-filter effect.

  • Page 42

    A term used to describe a secondary mix and output of the input signals, typically used for foldback monitors, headphone monitors or effects devices. Mackie mixers call it an Aux Send. shelving A term used to describe the shape of an equalizer’s frequency response.

  • Page 43

    Another common TRS application is for insert jacks, used for insert- ing an external processor into the signal path. In Mackie mixers the tip is send, ring is return, and sleeve is ground. Acronym for Tip-Sleeve, a scheme for con- necting two conductors through a single plug or jack.

  • Page 44: Appendix B: Connections

    APPENDIX B: CONNECTIONS “XLR” CONNECTORS Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive po- larity) side of the audio signal and pin 3 wired to the “low”...

  • Page 45

    For example, you may need a balanced XLR fe- male connected to an unbalanced phone plug. SPECIAL MACKIE CONNECTIONS The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks. A ⁄ " TS plug inserted into a anced input, for example, will automatically unbalance the input and make all the right con- nections.

  • Page 46

    If you insert a TS (mono) ⁄ " plug only partially (to the first click) into a Mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer).

  • Page 47: Appendix C: Balanced Lines, Phantom Powering Grounding And Other Arcane Mysteries

    APPENDIX C: BALANCED LINES, PHANTOM POWERING, GROUNDING AND OTHER ARCANE MYSTERIES Balanced Lines Balanced lines offer increased immunity to external noise (specifically, hum and buzz). Because a balanced system is able to minimize noise, it is the preferred interconnect method, especially in cases where very long lengths of cable are being used.

  • Page 48

    Phantom powering is defined in DIN standard 45 596 or IEC standard 268–15A. Your Mackie Designs mixer conforms to this standard. What works? To be compatible in a phantom powered...

  • Page 49

    Do’s and Don’ts of Fixed Installations If you install sound systems into fixed in- stallations, there are a number of things that you can do to make your life easier and that in- crease the likelihood of the sound system operating in a predictable manner.

  • Page 50

    1:1 or isolation transformers into each return line from the front-of-house location to your amp racks. ©1997 Mackie Designs Inc. All Rights Reserved. Printed in the U.S.A. 8. Don’t cut the third pin off of the power cord. Carry some ground-lifter adapters and use them only when you have to plug into an ancient two-wire outlet.

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