Phones; Xlr Main Outs; Xlr Main Output Level Switch; Control Room - Mackie 1402-VLZ3 Owner's Manual

12. PHONES

This stereo jack will drive any standard headphone
1 2 3
MIC MIC MIC
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: BAL BAL BAL
OR OR OR
UNBAL UNBAL UNBAL
LINE IN 1 LINE IN 2 LINE IN 3
Tip = Left channel
LOW CUT LOW CUT LOW CUT
75 Hz 75 Hz 75 Hz
18dB/OCT 18dB/OCT 18dB/OCT
Ring = Right channel
U U U
Sleeve = Common ground
0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB
GAIN GAIN GAIN
WARNING: When we say the headphone amp
AUX AUX AUX
U U U
is loud, we're not kidding. It can cause per-
manent ear damage. Even intermediate levels
+15 +15 +15
O O O O O O
U U U
may be painfully loud with some earphones. BE CARE-
FUL! Always move the CTL ROOM/ SUBMIX fader all the
+15 +15 +15
O O O O O O
EQ EQ EQ
U U U
way down before connecting headphones. Keep it down
HI HI HI
12kHz 12kHz 12kHz
until you've put the phones on. Then turn it up slowly.
-15 +15 -15 +15 -15 +15
U U U
Why? "Engineers who fry their ears find themselves with
MID MID MID
2.5kHz 2.5kHz 2.5kHz
short careers."
-15 +15 -15 +15 -15 +15
U U U
LOW LOW LOW
80Hz 80Hz 80Hz
-15 +15 -15 +15 -15 +15

13. XLR MAIN OUTS

PAN PAN PAN
These line-level outputs connect the main mix to the
L R L R L R
1 2 3
outside world. Connect them to the balanced inputs of
MUTE MUTE MUTE
ALT 3 – 4 ALT 3 – 4 ALT 3 – 4
a power amplifier or powered speakers. See page 16 for
dB dB dB
10 10 10
details of the main mix. SOLO SOLO SOLO
5 5 5
U U U
These low-impedance outputs are fully balanced
5 5 5
and capable of driving +4 dBu lines with up to 28 dB
10 10 10
of headroom. This output is 6 dB hotter than other
20 20 20
outputs.
30 30 30
40 40 40
50 50 50
60 60 60
O O O O O O

14. XLR MAIN OUTPUT LEVEL SWITCH

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.)

15. CONTROL ROOM

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
13
14 15
4 5 6
MIC MIC MIC
BAL BAL BAL
OR OR OR
UNBAL UNBAL UNBAL
LINE IN 4 LINE IN 5 LINE IN 6
LOW CUT LOW CUT LOW CUT
75 Hz 75 Hz 75 Hz
18dB/OCT 18dB/OCT 18dB/OCT
U U U
0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB
GAIN GAIN GAIN
AUX AUX AUX
U U U
+15 +15 +15
O O O O O O
U U U
+15 +15 +15
O O O O O O
EQ EQ EQ
U U U
HI HI HI
12kHz 12kHz 12kHz
-15 +15 -15 +15 -15 +15
U U U
MID MID MID
2.5kHz 2.5kHz 2.5kHz
-15 +15 -15 +15 -15 +15
U U U
LOW LOW LOW
80Hz 80Hz 80Hz
-15 +15 -15 +15 -15 +15
PAN PAN PAN
L R L R L R
4 5 6
MUTE MUTE MUTE
ALT 3 – 4 ALT 3 – 4 ALT 3 – 4
dB dB dB
10 10 10
SOLO SOLO SOLO
5 5 5
U U U
5 5 5
10 10 10
20 20 20
30 30 30
40 40 40
50 50 50
60 60 60
O O O O O O
16 17
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.
LEFT/
MONO RIGHT ALL BAL/UNBAL TAPE TAPE
1 1 INPUT OUTPUT
These 1⁄4" jacks are balanced outputs capable of de-
L
2 livering 22 dBu into a 600 ohm balanced or unbalanced 2
R
load.
AUX SEND
MONO MONO MONO
L L L
16. ALT 3–4 OUTPUT
BAL BAL BAL
OR OR OR
UNBAL UNBAL UNBAL
R The output here is the sum of any channels that have R R
the MUTE/ALT 3-4 [25] switch pressed in (see page 13
LEVEL LEVEL LEVEL
+4 +4 +4
- - -
10 10 10
for the tender details).
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
AUX These 1⁄4" jacks are balanced outputs capable of de- AUX AUX
U U U
livering 22 dBu into a balanced or unbalanced load.
+15 +15 +15
O O O O O O
U U U
17. CHANNEL INSERT (Channels 1–6 )
+15 +15 +15
O O O O O O
EQ EQ EQ
U U U
HI These rear-panel jacks are where you connect serial HI HI
12kHz 12kHz 12kHz
-15 +15 -15 +15 -15 +15
effects such as compressors, equalizers, de-essers, or
U U U
MID MID MID
filters. Since most people don't have more than a few of
2.5kHz 2.5kHz 2.5kHz
-15 +15 -15 +15 -15 +15
U these gadgets, we've included inserts for just the first U U
LOW LOW LOW
80Hz 80Hz 80Hz
six channels. If you want to use this kind of processing
-15 +15 -15 +15 -15 +15
PAN PAN PAN
on channels 7 through 14, simply patch through the
processor before you plug into the 1402-VLZ3.
L R L R L R
7-8 9-10 11-12
MUTE MUTE MUTE
The channel insert points are after the GAIN [4] and
ALT 3 – 4 ALT 3 – 4 ALT 3 – 4
LOW CUT [3] controls, but before the channel's EQ
dB dB dB
10 10 10
SOLO SOLO SOLO
[27] controls and FADER [23]. The send (tip) is low-
5 5 5
impedance (120 ohms), capable of driving any line-level
U U U
5 5 5
device. The return (ring) is high-impedance (over 2.5 k
10 10 10
ohms) and can be driven by almost any device.
20 20 20
30 30 30
ring
40 40 40
(TRS plug)
tip
50 50 sleeve 50
60 60 60
O O O O O O
This plug connects to one of the
mixer's Channel Insert jacks.
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.
BAL/UNBAL
L
L
R
R
MAIN OUT
MONO
L
BAL
OR
UNBAL
R
LEVEL
+4
-
10
LINE IN 13-14
AUX
U
U
+15 +10
O O O O
U
+15
O O
LEFT
EQ
U
C-R/SOURCE
0dB=0dBu
HI
12kHz
MAIN MIX
-15 +15
U
MID
2.5kHz
ALT 3–4
-15 +15
U
TAPE
LOW
80Hz
-15 +15
ASSIGN
PAN
TO MAIN MIX
NORMAL (AFL)
LEVEL SET (PFL)
L R
SOLO
13-14
MODE
MUTE
ALT 3 – 4
48V PO WER
/SUBMIX MAIN MIX
CTL ROOM
dB dB dB
10 10 10
SOLO
5 5 5
U U U
5 5 5
10 10 10
20 20 20
30 30 30
SEND to processor
"tip"
40 40 40
50 50 50
60 60 60
O O O O O O
"ring"
RETURN from processor
Owner's Manual
U
+20
O O
U
+20
O O
RIGHT
20
10
7
4
2
0
2
4
7
LEVEL
10
SET
20
30
RUDE
SOLO
LIGHT
11