Output Section Description; Main Mix; Vlz Mix Architecture; Source Matrix - Mackie 1402 VLZ Owner's Manual

OUTPUT SECTION DESCRIPTION

Still with us? Good for you. Here come the
tricky parts, where the mixing is really done.

MAIN MIX

As the name implies, this fader controls the
levels of signals sent to the MAIN OUTPUTS:
and RCA TAPE OUT
XLR , 1 ⁄ "
4
channels and AUX RETURNS that are not
muted or turned fully down will wind up in the
MAIN MIX.
Fully down is off, the "U" marking is unity
gain, and fully up provides 10dB additional
gain. This additional gain will typically never
be needed, but once again, it's nice to know it's
there. These are the faders to pull down at the
end of the song when you want The Great
Fade-Out.
VLZ MIX
ARCHITECTURE
When designing a mixing
circuit, the lowest noise and
best crosstalk specs are achieved by using Very
Low Impedance (VLZ). To implement VLZ in a
mixer, the power supply must be able to de-
liver plenty of current to the circuitry. That's
why those "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
that deliver more than enough current, result-
ing in sonic specifications that rival consoles
upwards of $50,000!

SOURCE MATRIX

Typically, the engineer sends the MAIN MIX
to an audience (if live) or a mixdown deck (if
recording). But what if the engineer needs to
hear something other than the MAIN MIX?
With the MS1402-VLZ, the engineer has sev-
eral choices of what to listen to. This is one of
those tricky parts, so buckle up.
Via the SOURCE switches, you can choose
to listen to any combination of MAIN MIX, ALT
3-4 and TAPE. By now, you probably know
what the MAIN MIX is. ALT 3-4 is that addi-
tional stereo mix bus. TAPE is the stereo signal
coming in from the TAPE IN RCA jacks
Selections made in the SOURCE matrix de-
liver stereo signals to the CONTROL ROOM,
PHONES and METERS. With no switches en-
gaged, there will be no signal at these outputs
and no meter indication.
The exception to that is the SOLO function
. Regardless of the SOURCE matrix selec-
. All
tion, engaging a channel's SOLO switch will
replace that selection with the SOLO signal,
also sent to the CONTROL ROOM, PHONES
and METERS. This is what makes the Level
Setting Procedure
path between TAPE IN and TAPE OUT.
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 / PHONES fader is
fully down (off).
U
+10
O O
AUX 1 MASTER
PRE
POST
AUX 1
SELECT
SOURCE
ASSIGN
TO MAIN MIX
SOLO
MODE
PHANTOM
CONTROL
/ PHONES
ROOM
dB
10
5
U
5
10
20
. 30
40
50
60
O O
so easy to do.
WARNING: Pushing in
both the TAPE button (in
the SOURCE matrix) and
ASSIGN TO MAIN MIX
can create a feedback
U
1
+20
O O
NORMALLED
U
2
AUX
EFX TO
MONITOR +20 RETURNS
O O
LEFT RIGHT
MAIN
+28 CLIP
MIX
+10
+7
ALT
3 – 4
+4
+2
0
TAPE
-2
-4
-7
LEVEL
-10
SET
-20
(NORMAL)
IN PLACE AFL
-30
PRE-FADER
(LEVEL SET)
=
0dB 0dBu
POWER RUDE SOLO LIGHT
MAIN MIX
dB
10
5
U
5
10
20
30
40
50
60
O O
21