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MICROSERIES1402-VLZ

MIC/LINE MIXER
OWNER’S MANUAL

TM
POWER PHANTOM CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
SERIAL NUMBER MANUFACTURING DATE
MICRO SERIES RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
DO NOT OPEN
1402-VLZ REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

MAIN MAIN CONTROL ALT 3-4


RIGHT LEFT ROOM OUTPUT CHANNEL INSERTS
BALANCED BALANCED BAL/UNBAL BAL/UNBAL PRE-FADER / PRE EQ ( TIP SEND / RING RETURN)

R L R L 6 5 4 3 2 1
+4
MIC
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO

CAUTION: MAIN
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME OUTPUT
TYPE FUSE AND RATING LEVEL
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA PATENT PENDING

MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
1 1 INPUT OUTPUT L

L MICRO SERIES 1402-VLZ


14-CHANNEL MIC/LINE MIXER
2 2 R

LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL


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 LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R


MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
10 60 10 60 10 60 10 60 10 60 10 60
-10 -10 -10 -10 PHONES
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB
TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13–14

U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U U

1 1 1 1 1 1 1 1 1 1
MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX
1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20
NORMALLED
U U U U U U U U U U AUX 1 MASTER U

2
2 2 2 2 2 2 2 2 2 2 PRE
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX POST
AUX 1 EFX TO AUX
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SELECT MONITOR OO +20 RETURNS
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ SOURCE LEFT RIGHT
HI HI HI HI HI HI HI HI HI HI MAIN +28 CLIP
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz MIX
+10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U U U +7
ALT
MID MID MID MID MID MID MID MID MID MID 3–4 +4
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz
+2
-12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12
0
U U U U U U U U U U TAPE
-2
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
-7
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN
TO MAIN MIX -10 LEVEL
SET

(NORMAL) -20
IN PLACE AFL
-30
L R L R L R L R L R L R L R L R L R L R PRE-FADER
SOLO (LEVEL SET) 0dB=0dBu
MODE
1 2 3 4 5 6 7–8 9–10 11–12 13–14
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PHANTOM POWER RUDE SOLO LIGHT
CONTROL
ROOM / PHONES MAIN MIX
dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5 5 5 5 5 5

U U U U U U U U U U U U

5 5 5 5 5 5 5 5 5 5 5 5

10 10 10 10 10 10 10 10 10 10 10 10

20 20 20 20 20 20 20 20 20 20 20 20

30 30 30 30 30 30 30 30 30 30 30 30

40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO
10. Damage Requiring Service — This Mackie product
CAUTION AVIS should be serviced only by qualified service personnel when:
RISK OF ELECTRIC SHOCK
DO NOT OPEN A. The power-supply cord or the plug has been
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
damaged; or
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK B. Objects have fallen, or liquid has spilled into
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE this Mackie product; or
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC C. This Mackie product has been exposed to rain;
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
or
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D. This Mackie product does not appear to operate
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE normally or exhibits a marked change in
performance; or
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be E. This Mackie product has been dropped, or its
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
chassis damaged.
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
11. Servicing — The user should not attempt to service this
The exclamation point within an equilateral triangle is intended to
Mackie product beyond those means described in this
alert the user of the presence of important operating and maintenance operating manual. All other servicing should be referred to the
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est Mackie Service Department.
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil. 12. To prevent electric shock, do not use this polarized plug
with an extension cord, receptacle or other outlet unless the
blades can be fully inserted to prevent blade exposure.
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operation Pour préevenir les chocs électriques ne pas utiliser cette fiche
instructions should be read before this Mackie product is polariseé avec un prolongateur, un prise de courant ou une
operated. autre sortie de courant, sauf si les lames peuvent être insérées
à fond sans laisser aucune pariie à découvert.
2. Retain Instructions — The safety and operating
instructions should be kept for future reference. 13. Grounding or Polarization — Precautions should be
taken so that the grounding or polarization means of this
3. Heed Warnings — All warnings on this Mackie product and Mackie product is not defeated.
in these operating instructions should be followed.
14. This apparatus does not exceed the Class A/Class B
4. Follow Instructions — All operating and other instructions (whichever is applicable) limits for radio noise emissions from
should be followed. digital apparatus as set out in the radio interference
5. Water and Moisture — This Mackie product should not be regulations of the Canadian Department of Communications.
used near water – for example, near a bathtub, washbowl, ATTENTION —Le présent appareil numérique n’émet pas de
kitchen sink, laundry tub, in a wet basement, near a bruits radioélectriques dépassant las limites applicables aux
swimming pool, swamp or salivating St. Bernard dog, etc. appareils numériques de class A/de class B (selon le cas)
6. Heat — This Mackie product should be situated away prescrites dans le règlement sur le brouillage radioélectrique
from heat sources such as radiators, or other devices which édicté par les ministere des communications du Canada.
produce heat. 15. To prevent hazard or damage, ensure that only
7. Power Sources — This Mackie product should be microphone cables and microphones designed to IEC 268-15A
connected to a power supply only of the type described in are connected.
these operation instructions or as marked on this Mackie WARNING — To reduce the risk of fire or electric shock, do
product. not expose this appliance to rain or moisture.
8. Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked upon or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience receptacles,
and the point where they exit this Mackie product.
9. Object and Liquid Entry — Care should be taken so that
objects do not fall into and liquids are not spilled into the
inside of this Mackie product.
READ THIS PAGE!!!
We realize that you must be dying to try out Other Nuggets of Wisdom
your new MicroSeries 1402-VLZ. 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 Always turn the MAIN MIX and CONTROL
ready. But do read it — you’ll be glad you did. ROOM/PHONES faders down before making
connections to and from your MS1402-VLZ.
LEVEL-SETTING PROCEDURE If you shut down your equipment, turn off
Message to seasoned pros: do not set lev- your amplifier(s) first. When powering up,
els using the old “Turn the trim up until the turn on your amplifier(s) last.
clip light comes on, then back off a hair” Save the shipping box! You may need it
trick. When a Mackie Designs mixer clip someday, and you don’t want to have to pay for
light comes on, you really are about to clip. another one.
We worked and slaved to come up with a INSTANT MIXING
better system, one that provides low noise
and high headroom. Here’s how to get going
right away, assuming you
Adjusting input levels (Channels 1–6 own a microphone and a
only) keyboard:
On the first six channels, it’s not even 1. Plug your microphone into Channel 1’s
necessary to hear what you’re doing to set MIC IN.
optimal levels. But if you’d like to: Plug 2. Turn on the MS1402-VLZ.
headphones into the PHONES jack, then set 3. Perform the Level Setting Procedure .
the CONTROL ROOM/PHONES fader 4. Connect cords from the MAIN OUTPUTS
about one quarter of the way up. (XLR, 1⁄4" or RCA, your choice) to your
The following steps must be performed amplifier.
one channel at a time:
5. Hook up speakers to the amp and turn it on.
1. Turn the TRIM, AUX SEND and FADER
6. Turn up the MS1402-VLZ’s Channel 1
controls fully down.
FADER to the “U” marking and the MAIN
2. Set the EQ knobs at the center detent. MIX fader one quarter of the way up.
3. Connect the signal source to the input. 7. Sing like a canary!
4. Engage (push in) the SOLO switch. 8. Plug your keyboard into stereo channel 7–8.
5. Engage the SIP/PFL switch in the 9. Slide that channel’s FADER to the “U”
master section. A green LEVEL SET light marking.
will congratulate you. 10. Play like a madman and sing like a
6. Play something into the selected input. canary! It’s your first mix!
This could be an instrument, a singing
or speaking voice, or a line input such as
a CD player or tape recorder output. Be
sure that the volume of the input is the Please write your serial number here for
same as it would be during normal use. future reference (i.e. insurance claims,
If it isn’t, you might have to readjust tech support, return authorization, etc.):
these levels during the middle of the set.
7. Adjust the channel’s TRIM control so
that the display on the LED meters
stays around “0” and never goes higher
Purchased at:
than “+7.”
8. If you’d like to apply some EQ, do so now
and return to step 7.
Date of purchase:
9. Disengage that channel’s SOLO switch.
10. Repeat for each of Channels 1–6.

Part No. 820-033-00 Rev. C 4/97 3


©1997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.
INTRODUCTION
Thank you! There are a lot of makes and You’ll also find cross-references to these
models of compact mixers out there, all com- numbered features within a paragraph. For
peting for your bucks… but you have voted instance, if you see “To wire your own
with your wallet for the folks in Woodinville cables: ,” simply find that number in the
who specialize in American-made mixers. manual and you’ve found your answer.
Now that you have your MicroSeries Finally, you’ll notice feature numbers like
1402-VLZ, find out how to get the most from it. this: . These numbers direct you to relevant
That’s where this manual comes in. information.
This icon marks informa-
HOW TO USE THIS MANUAL tion that is critically
Since many of you folks will want to hook up important or unique to the
your MS1402-VLZ immediately, the first pages MS1402-VLZ. For your own
you will encounter after the table of contents good, read them and remem-
are the everpopular hookup diagrams. These ber them. They will be on the final test. And
show typical mixer setups for Record/Mixdown, the final test score will go down on your Per-
Video, Disc Jockey and Stereo PA. After this manent Record.
section is a detailed tour of the entire mixer. This icon will lead you to
Every feature of the MS1402-VLZ is in-depth explanations of fea-
described “geographically;” in other words, in tures and practical tips.
order of where it is physically placed on the While not mandatory, they
mixer’s top or rear panel. These descriptions usually have some valuable
are divided into the first three manual chap- nuggets of information.
ters, just as your mixer is organized into three
distinct zones: THE GLOSSARY: A HAVEN OF
1. PATCHBAY: The patchbay along the top and
NON-TECHINESS FOR THE NEOPHYTE
back. Since the MS1402-VLZ is often purchased by
2. CHANNEL STRIP: The ten channel strips folks who are new to the jargon of professional
on the left. audio, we’ve included a fairly comprehensive
3. OUTPUT SECTION: The output section on dictionary of pro-audio terms. If terms like “clip-
the right. ping,” “noise floor,” or “unbalanced” leave you
blank, flip to the glossary at the back of this
Throughout these chapters you’ll find illus-
manual for a quick explanation.
trations, with each feature numbered. If you’re
curious about a feature, simply locate it on the A PLUG FOR THE CONNECTORS SECTION
appropriate illustration, notice the number at-
Also at the back of this manual is a section
tached to it, and find that number in the
on connectors: XLR connectors, balanced con-
nearby paragraphs.
nectors, unbalanced connectors, special hybrid
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS
1
AUX SEND
1
TAPE
INPUT
TAPE
OUTPUT
MAIN OUTS
L connectors. Although we provide diagrams
L MICRO SERIES 1402-VLZ
2 2

R
R
14-CHANNEL MIC/LINE MIXER
throughout the manual, the Connections
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LEFT (1/MONO) RIGHT
MONO
ALL BAL/UNBAL
MONO MONO
BAL/UNBAL
MONO
appendix gives more of the why’s and
PATCHBAY
L L L L
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6
LOW CUT

-1C0dGBAV
MI IN
75 Hz
18dB/OCT

MI
LOW CUT
75 Hz
18dB/OCT

-1C0dGBAV
IN MI
LOW CUT
75 Hz
18dB/OCT

-1C0dGBAV
IN MI
LOW CUT
75 Hz
18dB/OCT

-1C0dGBAV
IN MI
LOW CUT
75 Hz
18dB/OCT

-1C0dGBAV
IN MI
LOW CUT
75 Hz
18dB/OCT

-1C0dGBAV
IN
BAL
OR
UNBAL

R
BAL
OR
UNBAL

R
BAL
OR
UNBAL

R
BAL
OR
UNBAL

R
wherefore’s for beginners.
U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
PHONES

ARCANE MYSTERIES ILLUMINATED


10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13–14

U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U U

1 1 1 1 1 1 1 1 1 1
MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/

Finally, we’ve included an appendix titled


EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX
1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20
NORMALLED
U U U U U U U U U U AUX 1 MASTER U

2
2 2 2 2 2 2 2 2 2 2 PRE
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX POST
AUX

“Balanced Lines, Phantom Powering,


AUX 1 EFX TO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SELECT MONITOR OO +20 RETURNS
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ SOURCE LEFT RIGHT
HI HI HI HI HI HI HI HI HI HI MAIN +28 CLIP
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz MIX
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
-15
U
+15

MID
2.5kHz
ALT
3–4
+10

+7

+4
Grounding and Other Arcane Mysteries.”
+2

This section discusses some of the down ’n’


-12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12
0
U U U U U U U U U U TAPE
-2
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW

CHANNEL STRIPS
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-4

OUTPUT SECTION
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

dirty practical realities of microphones, fixed


-7
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN
TO MAIN MIX -10 LEVEL
SET
-20
NORMAL (AFL)
LEVEL SET (PFL) -30

installations, grounding, and balanced versus


L R L R L R L R L R L R L R L R L R L R
SOLO 0dB=0dBu
MODE
1 2 3 4 5 6 7–8 9–10 11–12 13–14
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PHANTOM POWER RUDE SOLO LIGHT
CONTROL
ROOM / PHONES MAIN MIX
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
SOLO
dB
10

5
dB
10

5
unbalanced lines. It’s a goldmine for the neo-
U

5
U

5
U

5
U

5
U

5
U

5
U

5
U

5
U

5
U

5
U

5
U

5 phyte and even the seasoned pro might learn a


10 10 10 10 10 10 10 10 10 10 10 10

20

30
20

30
20

30
20

30
20

30
20

30
20

30
20

30
20

30
20

30
20

30
20

30
thing or two.
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO

4
CONTENTS
LEVEL-SETTING PROCEDURE ............................ 3 OUTPUT SECTION DESCRIPTION ..................... 21
HOOKUP DIAGRAMS ....................................... 6 MAIN MIX .............................................. 21
PATCHBAY DESCRIPTION ............................... 10 VLZ MIX ARCHITECTURE ......................... 21
MIC INPUTS ............................................ 10 SOURCE MATRIX ..................................... 21
PHANTOM POWER .................................. 10 CONTROL ROOM / PHONES .................... 22
LINE INPUTS ........................................... 11 SOLO MODE: SIP / PFL ........................... 22
LOW CUT ................................................ 11 RUDE SOLO LED ...................................... 22
TRIM ...................................................... 11 ASSIGN TO MAIN MIX ............................. 23
+4 / –10 ................................................ 11 METERS .................................................. 23
STEREO LINE INPUTS ............................... 12 AUX TALK ............................................... 24
EFFECTS: SERIAL OR PARALLEL? ............... 12 AUX 1 SELECT ......................................... 24
INSERT ................................................... 13 AUX 1 MASTER ....................................... 24
AUX RETURNS ........................................ 13 AUX RETURNS ........................................ 24
TAPE IN .................................................. 14 EFX TO MONITOR ................................... 25
XLR MAIN OUTPUTS ............................... 14 JACK NORMALLING ................................. 25
MAIN OUTPUT LEVEL ............................... 15 MODIFICATIONS ............................................ 26
1⁄4"
MAIN OUTPUTS ................................ 15 MS1402-VLZ BLOCK DIAGRAM ....................... 30
TAPE OUTPUT ......................................... 15 GAIN STRUCTURE DIAGRAM .......................... 32
PHONES ................................................. 16 SPECIFICATIONS ............................................ 33
ALT 3/4 ................................................. 16 SERVICE INFO ............................................... 34
CONTROL ROOM ..................................... 16 APPENDIX A: Glossary .................................. 35
AUX SEND 1 & 2 ..................................... 16 APPENDIX B: Connections .............................. 44
POWER CONNECTION .............................. 17 APPENDIX C: Balanced Lines, Phantom Powering,
FUSE ....................................................... 17 Grounding and Other Arcane Mysteries .................. 47
POWER SWITCH ...................................... 17
PHANTOM SWITCH ................................. 17
CHANNEL STRIP DESCRIPTION ....................... 18
“U” LIKE UNITY GAIN ............................. 18
FADER .................................................... 18
SOLO ...................................................... 18
MUTE/ALT 3–4 ....................................... 18
PAN ....................................................... 19
CONSTANT LOUDNESS ! ! ! ....................... 19
3-BAND EQ ............................................. 19
AUX SEND .............................................. 20

5
HOOKUP DIAGRAMS

4-track Recorder
out (play) in (record)
IMPORTANT:
ALL Channel Insert
plugs are inserted
to the SECOND click.

in

1 1 1 out Stereo Compressor


in
2 2 out

CHANNEL INSERTS
Guitar Effects
3 3

4 4

out Mono Processor


5 5

6 6 in

Keyboard or other line-level input


7 L out
MONO AUX RETURNS L
CHANNEL

1
8 R R Mono in / stereo out in
Reverb
9 L
MONO L
2
INPUTS

10 R R Digital Delay
out in

11 L
MONO
1
AUX
OUT

12 R
2
L
13 MONO
ALT 3/4

L
OUT

14 R
R
out
IN-TAPE-OUT

(play) L R
2-track Mixdown Deck L
MAIN
OUT

L R

,,
R
in
(record)
PHONES
OUT

Power
Amplifier
MAIN
OUT
CNTRL ROOM

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN


OUTPUTS

CH CH
1 2

OL OL
PWR PWR

ON ON

HIGH RESOLUTION HIGH RESOLUTION


STUDIO MONITOR STUDIO MONITOR
OFF OFF

Studio Monitors

MS1402-VLZ 4-Track Record / 2-Track Mix

6
V/O Mic

in Compressor
1
1 1
out
Keyboard or other 2 2

CHANNEL INSERTS
line-level input
3 3

4 4

5 5

6 6
Video Deck #1
7 L
L MONO L

AUX RETURNS
Audio out CHANNEL 1
8 R R
Video Deck #2 R
9 L Note: Aux Return #2
L MONO L
Audio out 2 can be used as an
INPUTS

10 R
R extra stereo input
Video Deck #3 R
11 L
MONO
1

,,
,
L Audio out
AUX
OUT

12 R Multi Effect Processor out


R 2
CD Player L in
13 MONO
L
ALT 3/4

L
OUT

14 R
R R
SMPTE Control

IN-TAPE-OUT

L R
L
MAIN
OUT

L R R
PHONES

Time code DAT L out


OUT

Power
Amplifier
MAIN

R
OUT
CNTRL ROOM

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

L
OUTPUTS

CH CH
1 2

R in

OL OL
PWR PWR

ON ON

HIGH RESOLUTION HIGH RESOLUTION


STUDIO MONITOR STUDIO MONITOR
OFF OFF

Mackie Designs: Video Setup


scene #1 _ 23:94:10 Time Base
Multi - VCR Video Switcher
with time code Interface Studio Monitors
(optional)
Master Video Deck

MS1402-VLZ Video Setup

7
in

1 1 1 out Stereo Compressor


in
2 2 out

CHANNEL INSERTS
in
Turntable 3
1 3 out Stereo Compressor
in
4 4 out
Phono Preamps
5
3 5
RIAA
6
4 6 *Note: Aux Return #2 can
be used as an extra stereo input
7 L
MONO L

AUX RETURNS
RIAA
CHANNEL
1
8 R R
CD Player
9 L
MONO L
L out 2
INPUTS

10 R R Triggered Lights
R
CD Player L
11 MONO
L out 1 org
Multi Effect
AUX
OUT

12 R in Processor out
R 2
L Sampler L
13 MONO
out
ALT 3/4

L
OUT

R 14 R
in R
IN-TAPE-OUT

L R
L
MAIN
OUT

L R R Stereo EQ in
2-track out
out
PHONES

Deck (play)
OUT

Power
red
Amplifier
MAIN
OUT
CNTRL ROOM

in
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
OUTPUTS

CH CH

(record) red
1 2

Left PA Speaker Right PA Speaker

People dancing
on the floor

MS1402-VLZ Disc Jockey Setup

8
Vocal Mics

1 in
1
out Stereo Compressor
2 in
2

CHANNEL INSERTS
out
1 3
3

4
4 4
in Mono Compressor
out
5
5 5
Bass Preamp
6 6
Stereo Guitar Effects
7 L
MONO
AUX RETURNS L
CHANNEL

1
8 R R
Drum
Machine L
9 MONO L
Keyboard or other 2
INPUTS

line-level input 10 R R
out
org L
11 MONO
1 Multi Effect
AUX
OUT

org
12 R in Processor
2
L
13 MONO in
L
ALT 3/4
OUT

,,,
14 R Stage Monitors
Mono EQ out Power Amp
R FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
IN-TAPE-OUT

CH CH
1 2

L R
L
MAIN
OUT

L R R

2-track out Stereo EQ in


PHONES

Deck (play)
OUT

red out
Power
MAIN
OUT

Amplifier
CNTRL ROOM

in
OUTPUTS

(record) red FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH CH
1 2

This setup can be easily reconfigured to


become a Mono PA setup.
A. Stereo sources should feed the
left mono side of channel input only.
B. Pan each channel hard left.
C. Connect Mono PA system to
Left main output. Left PA Speaker Right PA Speaker

MS1402-VLZ Stereo PA

9
MS1402-VLZ PATCHBAY DESCRIPTION
At the risk of stating the obvious, this is Professional ribbon, dynamic and condenser
where you plug everything in: microphones, mics will all sound excellent through these in-
line-level instruments and effects, head- puts. The MS1402-VLZ’s mic inputs will handle
phones, and the ultimate destination for your any kind of mic level you can toss at them,
sound: a tape recorder, PA system, etc. without overloading. Be sure to perform the
Level Setting Procedure: .
MIC INPUTS (Channels 1–6)
PHANTOM POWER
We use phantom-powered, balanced micro-
phone inputs just like the big studio Most modern professional condenser mics
mega-consoles, for exactly the same reason: are equipped for Phantom Power, which lets
This kind of circuit is excellent at rejecting the mixer send low-current DC voltage to the
hum and noise. You can plug in almost any mic’s electronics through the same wires that
kind of mic that has a standard XLR-type male carry audio. (Semi-pro condenser mics often
mic connector. To learn how signals are have batteries to accomplish the same thing.)
routed from these inputs: . If you wire your “Phantom” owes its name to an ability to be
own, connect them like this: “unseen” by dynamic mics (Shure SM57/SM58,
for instance), which don’t need external power
SHIELD 2
HOT
and aren’t affected by it anyway.
The MS1402-VLZ’s phantom power is glo-
COLD 3 1
bally controlled by the PHANTOM switch on
SHIELD 1 the rear panel .
Never plug single-ended
(unbalanced) micro-
COLD 3 2
HOT phones or instruments
1 SHIELD
into the MIC IN jacks if the
3
2
COLD
PHANTOM power is on.
HOT
Do not plug instrument outputs into the
Pin 1 = Ground or shield MIC IN jacks with PHANTOM power on unless
Pin 2 = Positive (+ or hot) you know for certain it is safe to do so.
Pin 3 = Negative (– or cold)

MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
1 1 INPUT OUTPUT L

2 2 R

LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL


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 LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R


MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13 –14

10
LINE INPUTS (Channels 1–6) it out makes the low stuff you do want much
These six line inputs share circuitry (but more crisp and tasty. Not only that, but LOW
not phantom power) with the mic preamps, CUT can help reduce the possibility of feed-
and can be driven by balanced or unbalanced back in live situations and it helps to conserve
sources at almost any level. You can use these the amplifier power.
Another way to consider LOW CUT’s func-
inputs for virtually any signal you’ll come
across, from instrument levels as low as –30dB tion is that it actually adds flexibility during
to operating levels of –10dBV to live performances. With the addition of LOW
+4dBu, since there is 30dB more gain available CUT, you can safely use LOW equalization on
than on Channels 7–14. To learn how signals vocals . Many times, bass shelving EQ can
are routed from these inputs: . really benefit voices. Trouble is, adding LOW
EQ also boosts stage rumble,
To connect balanced lines to these inputs,
use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type mic handling clunks and +15

+10

found on stereo headphones: breath pops. LOW CUT re- +5

RING SLEEVE SLEEVE RING TIP


moves all those problems so 0

you can add low EQ without –5

TIP losing a woofer. –10

RING Here’s what the combina- –15


20Hz 100Hz 1kHz 10kHz 20kHz
TIP tion of LOW EQ and LOW Low Cut with Low EQ
SLEEVE
CUT looks like in terms of
Tip = Positive (+ or hot) frequency curves.
Ring = Negative (– or cold)
Sleeve = Shield or ground TRIM (Channels 1–6)
To connect unbalanced lines to these in- If you haven’t already, please read the Level
puts, use a 1⁄4" mono (TS) phone plug or Setting Procedure .
standard instrument cable: TRIM adjusts the input sensitivity of the mic
SLEEVE SLEEVE TIP
and line inputs connected to Channels 1
through 6. This allows signals from the outside
TIP world to be adjusted to optimal internal oper-
TIP
ating levels.
SLEEVE If the signal originates through the XLR
Tip = Signal jack, there will be 10dB of gain with the knob
Sleeve = Ground fully down, ramping to 60dB of gain fully up.
Line inputs 1–6 are a good place to connect Through the 1⁄4" input, there is 10dB of at-
older instruments that need more gain. You tenuation fully down and 40dB of gain fully up,
can correct weak levels by adjusting the corre- with a “U” (unity gain) mark at 9:00.
sponding channel’s TRIM control . This 10dB of attenuation can be very handy
when you are inserting a signal that is very hot,
LOW CUT (Channels 1–6) or when you want to add a lot of EQ gain, or
The LOW CUT switch, often referred to as a both. Without this “virtual pad,” a scenario like
High Pass Filter (all depends on how you look that might lead to channel clipping.
at it), cuts bass frequencies below 75Hz at a +4 / –10 (Channels 7–14)
rate of 18dB per octave.
+15 We recommend This switch adjusts the input sensitivity of
+10
that you use LOW the line inputs on channels 7–14. If the sound
+5
CUT on every micro- source is a “–10” device, engage this switch. If
0
phone application you are unsure, leave the switch up and per-
–5

except kick drum, form the Level Setting Procedure ,


–10

–15 bass guitar, bassy substituting this switch for the TRIM knob and
20Hz 100Hz 1kHz 10kHz 20kHz
synth patches, or re- then setting the switch to the appropriate gain
Low Cut
cordings of setting.
earthquakes. These aside, there isn’t much
down there that you want to hear, and filtering

11
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
1 1 INPUT OUTPUT L

2 2 R

LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL


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 LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R


MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13 –14

STEREO LINE INPUTS (Channels 7–8, EFFECTS: SERIAL OR


9–10, 11–12 and 13–14) PARALLEL?
These fully balanced inputs are designed for The next two sections toss
stereo or mono, balanced or unbalanced sig- the terms “serial” and “paral-
nals, from –10dBV to +4dBu. They can be used lel” around like hacky sacks.
with just about any professional or semi-pro in- Here’s what we mean by them.
strument, effect or tape player. To learn how “Serial” means that the entire signal is
signals are routed from these inputs: . To routed through the effects device. Examples:
wire your own cables: . compressor/limiters, graphic equalizers. Line-
In the stereo audio world, an odd-numbered level sources can be patched through a serial
channel usually receives the “left signal.” For effects device before or after the mixer or,
example, you would feed the MS1402-VLZ’s more conveniently, through the channel insert
line inputs 7–8 a stereo signal by inserting the jacks located on the rear of the mixer (INSERT
device’s left output plug into the Channel 7 SEND/RETURN) .
jack, and its right output plug into the Chan- “Parallel” means that a portion of the signal
nel 8 jack. in the mixer is tapped off to the device (AUX
When connecting a mono device (just one SEND), processed and returned to the mixer
cord), always use the Left (MONO) input and (AUX RETURN) to be mixed with the original
plug nothing into the Right input — this way “dry” signal. This way, multiple channels can all
the signal will appear on both sides. This trick make use of the same effects device. Examples:
is called “jack normalling” . reverb, digital delay. (See diagrams below.)

Signal Processor
Insert Send Insert Return
Serial
Serial Device
Dry Signal (e.g. Compressor) Processed
Signal

Aux Send Signal Processor Aux Return Output Section

Parallel Device
(e.g. Reverb) Wet Signal
Parallel
Processed
Signal
Channel Path
Dry Signal(s) Dry Signal(s) Mix Stage

12
INSERT (Channels 1–6) WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

These jacks, on the back of the MicroSeries ING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

1402-VLZ, are where you connect serial effects FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

such as compressors, equalizers, de-essers, or


CHANNEL INSERTS
filters . Since most people don’t have more 6 5
PRE-FADER / PRE EQ ( TIP SEND / RING RETURN)

4 3 2 1
than a few of these gadgets, we’ve included in-
serts for just the first six channels. If you want
to use this kind of processing on Channels
7–14, simply patch through the processor D BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA PATENT PENDING

before you plug into the MS1402-VLZ.


The INSERT points are after the TRIM and AUX RETURNS
LOW CUT controls, but before the channel’s This is where you connect the outputs of
EQ and FADER controls. The send (tip) is your parallel effects devices (or extra audio
low-impedance (120 ohms), capable of sources). These balanced inputs are similar to
driving any device. The return (ring) is high- the stereo line inputs without EQ, Aux
impedance (over 2.5k ohms) and can be Sends, Pan, Mute, and Solo. The circuits will
driven by almost any device. handle stereo or mono, balanced or unbal-
INSERT cables must be wired thusly: anced signals, either instrument level, –10dBV
SEND to processor or +4dBu. They can be used with just about
ring “tip”
tip sleeve (TRS plug) any pro or semi-pro effects device on the mar-
ket. To learn how signals are routed from
this plug connects to one of the “ring” these inputs, see .
mixer’s Channel Insert jacks. RETURN from processor
One Device: If you have
Tip = Send (output to effects device) just one parallel effects
Ring = Return (input from effects device) device, use AUX RETURN
Sleeve = Common ground (connect shield to 1 and leave AUX
all three sleeves) RETURN 2 unplugged.
Besides being used for inserting external That way, the unused AUX RETURN 2
devices, these jacks can also be used as chan- LEVEL control can be used to feed AUX
nel direct outputs; post-TRIM, post-LOW CUT, RETURN 1 to your stage monitors, via
and pre EQ. Check out the 4-track hookup dia- the EFX TO MONITOR switch .
gram . Here’s three ways you can use the Mono Device: If you have an effects de-
INSERT jacks: vice with a mono output (1 cord), plug that
into AUX RETURN 1 LEFT and leave AUX
RETURN 1 RIGHT unplugged. That way the
signal will be sent to both sides, magically
MONO PLUG
appearing in the center as a mono signal.
Channel Insert jack
This won’t work with AUX RETURN 2 —
Direct out with no signal interruption to master. you’ll need a Y-cord to feed the L/R bus. In
Insert only to first “click.”
short, AUX RETURN 1 uses jack normalling.
AUX RETURN 2 does not use jack normalling.
MONO PLUG
Channel Insert jack

Direct out with signal interruption to master.


Insert all the way in to the second “click.”

STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect)

13
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
1 1 INPUT OUTPUT L

2 2 R

LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL


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 LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R


MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13 –14

TAPE IN Outputs? The MS1402-VLZ has plenty of


’em: XLR MAIN, 1⁄4" MAIN, TAPE, PHONES,
These RCA jacks are designed to work with
CONTROL ROOM and AUX SENDS. Let’s
semi-pro as well as pro recorders. To compen-
take a peek.
sate for typically low levels, signals coming in
here will be automatically boosted by 6dB. XLR MAIN OUTPUTS
Connect your tape recorder’s outputs here,
These low-impedance outputs are fully bal-
using standard hi-fi (RCA) cables. To learn how
anced and capable of driving +4dBu lines with
signals are routed from these inputs, see .
up to 28dB of headroom. This output is 6dB
hotter than other outputs. To learn how sig-
SLEEVE TIP SLEEVE TIP
nals are routed to these outputs: .
To use these outputs, wire the XLR (bal-
anced only) connectors like this:
2
Use these jacks for convenient tape play- SHIELD
HOT
back of your mixes. You’ll be able to review a
mix, and then rewind and try another pass,
COLD 3 1
without repatching or disturbing the mixer SHIELD 1
levels. You can also use these jacks with a por-
table tape or CD player to feed music to a PA
COLD 3
system between sets. HOT
2

WARNING: Pushing 1 SHIELD

TAPE in the SOURCE 3 COLD


2
matrix and ASSIGN TO HOT

MAIN MIX can create a Pin 1 = Ground


feedback path between Pin 2 = Positive (+ or hot)
TAPE IN and TAPE OUT. Make sure your Pin 3 = Negative (– or cold)
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).

14
MAIN OUTPUT LEVEL For most music recording and PA applica-
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
balanced inputs, connect 1⁄4" 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

You can safely plug this output into an input Tip = + (hot)
TIP

that provides 48V phantom power. Sleeve = Ground SLEEVE

1⁄ 4" MAIN OUTPUTS TAPE OUTPUT


These 1⁄4" jacks are balanced outputs ca- These unbalanced RCA connections tap the
pable of delivering 22dBu into a 600 ohm MAIN OUTPUTS to make simultaneous record-
balanced or unbalanced load. (Okay, we admit ing and PA work more convenient. Connect
it, that was a pretty technical sentence. See these to your recorder’s inputs. To learn how
the Glossary and Connections appendices if signals are routed to these outputs: .
you want to decode it.) MONO OUT: If you want to feed a mono
To learn how signals are routed to these 1⁄4" signal to your tape deck or other device, simply
outputs: . use an RCA Y-cord to combine these outputs
To use these outputs to drive balanced in- (Radio Shack® #42-4235, for instance). Do not
puts, connect 1⁄4" TRS (Tip-Ring-Sleeve) attempt this with any other outputs on the
phone plugs like this: MS1402-VLZ.
RING SLEEVE SLEEVE RING TIP SLEEVE TIP SLEEVE TIP

TIP

RING
Tip = + (hot) TIP
Ring = – (cold) SLEEVE
Sleeve = Ground

TM
POWER PHANTOM
MICRO SERIES
1402-VLZ
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER

MAIN MAIN CONTROL


RIGHT LEFT ROOM
BALANCED BALANCED BAL/UNBAL
R L
+4
MIC
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO

CAUTION: MAIN
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME OUTPUT
TYPE FUSE AND RATING LEVEL
CONCE

15
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
1 1 INPUT OUTPUT L

2 2 R

LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL


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 LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R


MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
+4 +4 +4 +4
10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13 –14

PHONES ALT 3/4


The MS1402-VLZ’s stereo PHONES jack will These 1⁄4" jacks are balanced outputs ca-
drive any standard headphone to very loud lev- pable of delivering 22dBu into a balanced or
els. Walkperson-type phones can also be used unbalanced load. To learn how signals are
with an appropriate adapter. To learn how sig- routed to these outputs: . To wire your own
nals are routed to these outputs: . If you’re cables: .
wiring your own cable for the PHONES output,
follow standard conventions: CONTROL ROOM
RING SLEEVE SLEEVE RIGHT LEFT
These 1⁄4" jacks are balanced outputs ca-
pable of delivering 22dBu into a 600 ohm
TIP balanced or unbalanced load. To learn how
RIGHT signals are routed to these outputs: . To
LEFT wire your own cables: .
Tip = Left channel SLEEVE

Ring = Right channel AUX SEND 1&2


Sleeve = Common ground These 1⁄4" jacks are also balanced outputs
WARNING: When we say capable of delivering 22dBu into a 600 ohm
the headphone amp is balanced or unbalanced load. To learn how
loud, we’re not kidding. signals are routed to these outputs: . To wire
It can cause permanent your own cables: .
ear damage. Even inter-
mediate levels may be painfully loud with
some earphones. BE CAREFUL!
Always turn the CONTROL ROOM/
PHONES fader all the way down before con-
necting headphones. Keep it down until you’ve
put the phones on. Then turn it up slowly.
Why? “Engineers who fry their ears find
themselves with short careers.”

16
POWER CONNECTION POWER SWITCH
Just in case you lose the cord provided with If this one isn’t self-explanatory, we give up.
the MS1402-VLZ, its power jack accepts a stan- You can leave this switch on all the time; the
dard 3-prong IEC cord like those found on MS1402-VLZ is conservatively designed, so heat
most professional recorders, musical instru- buildup isn’t a problem even in 24-hour-a-day
ments, and computers. operation. There’s nothing that will burn out or
At the other end of our cord is — get this get used up. Or, just plug everything into a good
— a plug! Not a black cube or, as we’re fond of quality power strip for one-button turn-on.
calling them, a “wall wart.” We did this for You may notice that
some very good reasons: the MS1402-VLZ feels
The MS1402-VLZ has sophisticated power quite warm in the upper-
requirements that a wall wart cannot provide. right corner. This is
Wall warts are inconvenient, fragile, radiate perfectly normal.
huge hum fields, hog extra jacks on your (Perfectly normal. Is that redundant?)
power strip and get in the way. If you lose a In the output section there is a PWR LED.
wall wart, you’re in trouble, but if you lose the If the power is on, so is the LED.
MS1402-VLZ’s power cord, you can get a new
one at any electronics, music, or computer PHANTOM SWITCH
store. You can even buy them at Radio Shack® The Phantom Power Switch controls the
(part # 287-1257). Can you tell that we hate phantom power supply for condenser micro-
wall warts? phones plugged into channels 1-6 mic inputs
Plug the MS1402-VLZ into any standard as discussed at the start of this section .
grounded AC outlet or into a power strip of When turned on (or off), the phantom power
proper voltage. circuitry takes a few moments for voltage to
WARNING: Disconnect- ramp up (or down). This is also perfectly nor-
ing the plug’s ground mal. For an even closer look, refer to
pin can be dangerous. Appendix C.
Please don’t do it. In the output section, next to the PWR
LED, is the PHAN LED. If the phantom power
is on, so is the LED.
FUSE
The MS1402-VLZ is fused for your (and its
own) protection. If you suspect a blown fuse,
disconnect the cord, pull the fuse drawer out
(located just below the cord receptacle) and
replace the fuse with a 500mA (0.5 amps) SLO
BLO, 5x20mm, available at electronics stores
or your dealer (or a 250mA SLO BLO 5x20mm
if your MS1402-VLZ is a 220V–240V unit).
If two fuses blow in a row, something is
very wrong. Please call our toll-free number
(or the distributor in your country) and find
out what to do.

TM
POWER PHANTOM CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
SERIAL NUMBER MANUFACTURING DATE
MICRO SERIES RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
DO NOT OPEN
1402-VLZ REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

MAIN MAIN CONTROL ALT 3-4


RIGHT LEFT ROOM OUTPUT CHANNEL INSERTS
BALANCED BALANCED BAL/UNBAL BAL/UNBAL PRE-FADER / PRE EQ ( TIP SEND / RING RETURN )

R L R L 6 5 4 3 2 1
+4
MIC
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO

CAUTION: MAIN
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME OUTPUT
TYPE FUSE AND RATING LEVEL
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA PATENT PENDING

17
CHANNEL STRIP DESCRIPTION
U AUX
1
MON/
EFX
OO +15
U

2
EFX

OO +15
The ten channel strips look alike, and which mode you’ll be hearing. With the
U EQ
function identically. The only difference is switch up, you’ll get “SIP” (Solo-In-Place),
HI
12kHz
that the six on the left are for individual mics which is post-FADER and post-PAN, making it
-15 +15
U or mono instruments and have more gain ideal for mixdown soloing. With the switch
MID
2.5kHz available, while the next four are for either down, you’re in “PFL” (pre-fader listen)
-12
U
+12
stereo or mono line-level sources. (Each of mode. This is the required mode for the Level
LOW the stereo channel strips is actually two com- Setting Procedure .
80Hz

-15 +15 plete circuits. The controls are linked Soloed channels are sent to the SOURCE
PAN together to preserve stereo.) We’ll start at the mix , which ultimately feeds your CONTROL
bottom and work our way up… ROOM, PHONES and METERS. Whenever
L R SOLO is engaged, all SOURCE selections
1 “U” LIKE UNITY GAIN (MAIN MIX, ALT 3–4 and TAPE) are defeated,
MUTE
ALT 3–4
Mackie mixers have a “U” to allow the soloed signal to do just that — solo!
dB
symbol on almost every level
10
SOLO MUTE/ALT 3–4
5 control. This “U” stands for
U
“unity gain,” meaning no change in signal level. The dual-purpose MUTE/ALT 3-4 switch is a
Once you have adjusted the input signal to line- Mackie signature. When Greg was designing
5
level , you can set every control at “U” and your our first product, he had to include a mute
10
signals will travel through the mixer at optimal switch for each channel. Mute switches do just
20
levels. What’s more, all the labels on our level what they sound like they do. They turn off the
30
controls are measured in decibels (dB), so you’ll signal by “routing” it into oblivion. “Gee, what a
40
50
60
know what you’re doing level-wise if you choose waste,” Greg reasoned. “Why not have the
OO

to change a control’s settings. mute button route the signal somewhere else
You won’t have to check it here and check it useful…like a separate stereo bus?” So
there, as you would with some other mixers. In MUTE/ALT 3-4 really serves two functions —
fact, some don’t even have any reference to ac- muting (often used during a mixdown or live
tual dB levels at all! Ever seen those “0–10” show), and signal routing (for multi-track and
fader markings? We call these AUMs (Arbitrary live work) where it acts as an extra stereo bus.
Units of Measurement), and they mean noth- To use this as a MUTE switch, all you have to
ing in the real world. You were smart — you do is not use the ALT 3–4 outputs. Then, when-
bought a Mackie. ever you assign a channel to these unused
outputs, you’ll also be disconnecting it from the
FADER MAIN MIX, effectively muting the channel.
The FADER controls the channel’s level… To use this as an ALT 3–4 switch, all you
from off to unity gain at the “U” marking, on have to do is connect the ALT 3–4 outputs to
up to 10dB of additional gain. Channels 1–6 whatever destination you desire. Two popular
use mono controls, and channels 7–14 use examples:
stereo controls. When doing multitrack recording, use the
ALT 3–4 outputs to feed your multitrack. With
SOLO most decks, you can mult the ALT 3–4 outputs,
This lovable switch allows you to hear signals using Y-cords or mults, to feed multiple tracks.
through your headphones or control room So, take ALT OUT LEFT and send it to tracks 1,
without having to route them to the MAIN or 3, 5 and 7, and ALT OUT RIGHT and send it to
ALT 3–4 mixes. Folks use solo in live work to tracks 2, 4, 6 and 8. Now, tracks that are in
preview channels before they are let into the Record or Input modes will hear the ALT 3–4
mix, or to just check out what a particular chan- signals, and tracks in Playback or Safe modes
nel is up to anytime during a session. You can will ignore them.
solo as many channels at a time as you like. When doing live sound or mixdown, it’s often
Solo is also the key player in the Level handy to control the level of several channels
Setting Procedure . with one knob. That’s called Subgrouping. Sim-
Your MS1402-VLZ has “Dual-Mode Solo.” A ply assign these channels to the ALT 3–4 mix,
switch in the master section determines engage ALT 3–4 in the SOURCE matrix, and the
signals will appear at the CONTROL ROOM
18
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.
CONTROL ROOM/PHONES fader becomes the
one fader to control the levels of all channels as- 3-BAND EQ
signed to ALT 3–4. The MicroSeries 1402-
Another way to do the same thing is to as- VLZ has 3-band
sign the channels to the ALT 3–4 mix, then equalization at carefully
patch out of the ALT OUT LEFT and RIGHT selected points — LOW
back into an unused stereo channel (7–8, 9–10 shelving at 80Hz, MID peaking at 2.5kHz, and
or 11–12 or 13–14). If that’s your choice, don’t HI shelving at 12kHz. “Shelving” means that
ever engage the MUTE/ALT 3–4 switch on that the circuitry boosts or cuts all frequencies past
stereo channel, or you’ll have every dog in the the specified frequency. For example, rotating
neighborhood howling at your feedback loop. the MS1402-VLZ’s LOW EQ knob 15dB to the
Another benefit of the ALT 3–4 feature is right boosts bass starting at 80Hz and continu-
that it can act as a “SIP” (Solo-In-Place): just ing down to the lowest note you never heard.
engage a channel's MUTE/ALT 3–4 switch and “Peaking” means that certain frequencies form
the ALT 3–4 switch in the SOURCE matrix a “hill” around the center frequency — 2.5kHz
and you’ll get that channel, all by itself, in the in the case of the MID EQ.
CONTROL ROOM and PHONES. LOW EQ
MUTE/ALT 3–4 is one of those controls that
can bewilder newcomers, so take your time and This control gives you up to 15dB boost or
play around with it. Once you’ve got it down, cut at 80Hz. The circuit is flat (no boost or
you’ll probably think of a hundred uses for it! cut) at the center detent position.
+15
This frequency represents the
PAN punch in bass drums, bass guitar, +5
+10

PAN adjusts the amount of channel signal fat synth patches, and some really 0
sent to the left versus the right outputs. On serious male singers. –5

mono channels (ch. 1–6 or 7–14 with connec- Used in conjunction with the –10

tions to the LEFT input only) these controls act LOW CUT switch , you can –15

as pan pots. On stereo channels (7–14) with boost the LOW EQ without inject- 20Low EQ 100
Hz Hz 1kHz 10kHz 20kHz

stereo connections to LEFT and RIGHT inputs, ing a ton of subsonic debris into +15

the pan knob works like the balance control on the mix. +10

your home stereo. MID EQ +5

PAN determines the fate of the MAIN MIX 0


Short for “midrange,” this knob
(1–2) and ALT 3–4 mix. With the PAN knob –5

provides 12dB of boost or cut, cen- –10


hard left, the signal will feed either MAIN
tered at 2.5kHz, also flat at the –15
LEFT (bus 1) or ALT LEFT (bus 3), depending 20Hz 100Hz 1kHz 10kHz 20kHz
center detent. Midrange EQ is Low EQ with Low Cut
on the position of the ALT 3–4 switch. With the
often thought of as the most dy-
knob hard right, the signal feeds MAIN RIGHT +15
namic, because the frequencies
(bus 2) or ALT RIGHT (bus 4). You’ll soon dis- +10
that define any particular sound
cover that maybe we should’ve called this an +5
are almost always found in this
MS1404-VLZ, since it really is a 4-bus mixer. 0
range. You can create many inter- –5

CONSTANT esting and useful EQ changes by –10

LOUDNESS ! ! ! turning this knob down as well as –15


20Hz 100Hz 1kHz 10kHz 20kHz
up. Mid EQ
The MS1402-VLZ’s PAN
controls employ a design HI EQ +15

+10
called “Constant Loudness.” This control gives you up to +5
It has nothing to do with living next to a freeway. 15dB boost or cut at 12kHz, and it 0
As you turn the PAN knob from left to right is also flat at the detent. Use it to –5
(thereby causing the sound to move from the left add sizzle to cymbals, and an over- –10
to the center to the right), the sound will appear all sense of transparency or edge –1520
to remain at the same volume (or loudness). to keyboards, vocals, guitar and Hi EQ
100
Hz Hz 1kHz 10kHz 20kHz

If you have a channel panned hard left (or bacon frying. Turn it down a little
right) and reading 0dB, it must dip down to reduce sibilance, or to hide tape hiss.
about 4dB on the left (or right) when panned
19
U AUX Moderation during EQ AUX 1 in POST-mode and AUX 2 are
1
MON/
EFX
With EQ, you can also screw things up roy- post-LOW CUT, post-EQ and post-FADER. That
OO +15
U
ally. We’ve designed a lot of boost and cut into is, the sends obey the settings of these controls.
2
EFX each equalizer circuit, because we know AUX 1 in PRE mode follows the EQ and LOW
OO +15
everyone will occasionally need that. But if you CUT settings only. PAN and FADER have no ef-
U EQ
max the EQs on every channel, you’ll get mix fect on the PRE send (see diagram below).
HI
12kHz
mush. Equalize subtly and use the left sides of All AUX send levels range from off through
-15 +15
U
the knobs (cut), as well as the right (boost). unity (with their channel gain controls at the
MID
2.5kHz
Very few gold-record-album engineers ever use center detent position) on up to 15dB of extra
-12
U
+12
more than about 3dB of EQ. If you need more gain (when turned fully clockwise). Chances
LOW
than that, there’s usually a better way to get it, are you’ll never need this extra gain, but it’s
80Hz

-15 +15
such as placing a mic differently (or using a nice to know it’s there if you do.
PAN
different kind of mic entirely). Channel 7–14 AUX pots control the mono
sum of the channel’s stereo signals for each
L R AUX SEND AUX send. For instance, Channel 7 (left) and
1 8 (right) mix together to feed that channel’s
MUTE
ALT 3–4
These tap a portion of each channel signal
out to another source for parallel effects pro- AUX send knobs.
dB
10
cessing or stage monitoring. AUX send levels We recommend going into a stereo reverb in
SOLO
5 are controlled by the channel’s AUX 1 and AUX mono and returning in stereo. We have found
U 2 knobs and by the AUX 1 MASTER . that most “stereo” reverbs’ second input just ties
5 These are more than just effects and moni- up an extra AUX send and adds nothing to the
10 tor sends. They can be used to generate sound. There are exceptions, so feel free to try it
separate mixes for recording or “mix-minuses” both ways. If your effects device is true stereo
20

for broadcast. By using AUX 1 in the PRE all the way through, use AUX 1 to feed its LEFT
30

40 mode , these mix levels can be obtained in- input and AUX 2 to feed the RIGHT input.
50
60
OO
dependently of the channel’s GAIN control.

MUTE / ALT
PAN
FADER
"POST" SIGNAL OBEYS
INPUT TRIM LOW CUT INSERT EQ
MUTE STATUS

AUX SEND 2 KNOB

TO AUX SEND 2 OUTPUT

"POST" SIGNAL AUX SEND 1 KNOB


“Pre vs. Post”
TO AUX SEND 1 OUTPUT
Signal Flow Diagram "PRE" SIGNAL

AUX SEND 1 PRE/POST SWITCH


(IN MASTER SECTION)

20
OUTPUT SECTION DESCRIPTION

Still with us? Good for you. Here come the Selections made in the SOURCE matrix de-
tricky parts, where the mixing is really done. liver stereo signals to the CONTROL ROOM,
PHONES and METERS. With no switches en-
MAIN MIX gaged, there will be no signal at these outputs
As the name implies, this fader controls the and no meter indication.
levels of signals sent to the MAIN OUTPUTS: The exception to that is the SOLO function
XLR , 1⁄4" and RCA TAPE OUT . All . Regardless of the SOURCE matrix selec-
channels and AUX RETURNS that are not tion, engaging a channel’s SOLO switch will
muted or turned fully down will wind up in the replace that selection with the SOLO signal,
MAIN MIX. also sent to the CONTROL ROOM, PHONES
Fully down is off, the “U” marking is unity and METERS. This is what makes the Level
gain, and fully up provides 10dB additional Setting Procedure so easy to do.
gain. This additional gain will typically never WARNING: Pushing in
be needed, but once again, it’s nice to know it’s both the TAPE button (in
there. These are the faders to pull down at the the SOURCE matrix) and
end of the song when you want The Great ASSIGN TO MAIN MIX
Fade-Out. can create a feedback
path between TAPE IN and TAPE OUT.
VLZ MIX Make sure your tape deck is not in record,
ARCHITECTURE record-pause or input monitor mode when
When designing a mixing you engage these switches, or make sure
circuit, the lowest noise and the CONTROL ROOM / PHONES fader is
best crosstalk specs are achieved by using Very fully down (off).
Low Impedance (VLZ). To implement VLZ in a
mixer, the power supply must be able to de- U U

liver plenty of current to the circuitry. That’s


1
why those “wall wart” mixers are often noisy – OO

AUX 1 MASTER
+10 OO

U
+20
NORMALLED

they can’t power a VLZ circuit. PRE


POST
2

AUX
At Mackie, audio quality is much more im- AUX 1
SELECT
EFX TO
MONITOR OO +20 RETURNS
portant than the price of wall warts. All of our SOURCE LEFT RIGHT

mixers employ VLZ and built-in power supplies MAIN


MIX
+28 CLIP

+10
that deliver more than enough current, result- +7
ALT
ing in sonic specifications that rival consoles 3–4 +4

upwards of $50,000! +2

0
TAPE

SOURCE MATRIX
-2

-4

Typically, the engineer sends the MAIN MIX ASSIGN


TO MAIN MIX
-7

-10 LEVEL
SET
to an audience (if live) or a mixdown deck (if (NORMAL) -20
IN PLACE AFL
recording). But what if the engineer needs to SOLO
PRE-FADER
(LEVEL SET)
-30
0dB=0dBu

hear something other than the MAIN MIX? MODE

With the MS1402-VLZ, the engineer has sev- PHANTOM


CONTROL
POWER RUDE SOLO LIGHT

ROOM / PHONES MAIN MIX


eral choices of what to listen to. This is one of dB
10
dB
10
those tricky parts, so buckle up.
5 5
Via the SOURCE switches, you can choose
U U
to listen to any combination of MAIN MIX, ALT
5 5
3-4 and TAPE. By now, you probably know
what the MAIN MIX is. ALT 3-4 is that addi- 10 10

tional stereo mix bus. TAPE is the stereo signal 20 20

coming in from the TAPE IN RCA jacks . 30 30

40 40
50 50
60 60
OO OO

21
Now you know how to select the signals you Whatever your selection, you can also use
want to send to the engineer’s control room or the CONTROL ROOM OUTPUTS for other
phones. From there, these signals all pass applications. Its sound quality is just as impec-
through the same level control, aptly named: cable as the MAIN MIX outputs. It can be used
as additional MAIN MIX output, which may
CONTROL ROOM / PHONES sound silly since there are already three, but
As you might expect, this fader controls the this one has its own level control. However,
levels of both the stereo CONTROL ROOM should you do something like this, be sure that
OUTPUTS and PHONES OUTPUTS . The you never engage a SOLO switch, as that will
control range is from off through unity gain at interrupt your SOURCE selection.
the “U” marking, with 10dB of extra gain fully up.
When MAIN MIX is your SOURCE selec- SOLO MODE: SIP/PFL
tion, those signals will pass through two level Engaging a channel’s SOLO switch will
controls on the way to your control room amp cause this dramatic turn of events: Any exist-
and phones — the MAIN MIX fader and this ing SOURCE matrix selections will be
CONTROL ROOM / PHONES fader. This replaced by the SOLO signal, appearing at
way, you can send a nice healthy level to the the CONTROL ROOM OUTPUTS, PHONES
MAIN OUTPUTS (MAIN MIX fader at “U”), OUTPUTS and at the METERS. The audible
and a quiet level to the control room or SOLO levels are then controlled by the
phones (CONTROL ROOM / PHONES fader CONTROL ROOM / PHONES fader. The
wherever you like it). SOLO levels appearing on the METERS
When ALT 3-4 or TAPE is selected, or SOLO are not controlled by anything — you
is engaged, this fader will be the only one con- wouldn’t want that. You want to see the ac-
trolling these levels (channel controls not tual channel level on the METERS regardless
withstanding). of how loud you’re listening.
With the SOLO MODE switch in the up
position, you’re in AFL mode, meaning After-
Fader Listen. You’ll hear the output of the
U U
soloed channel — it will follow the
1
channel’s TRIM, EQ, FADER and PAN set-
+10 +20
OO

AUX 1 MASTER
OO

U
NORMALLED tings. It’s similar to muting all the other
2
PRE
POST
channels, but without the hassle. Use AFL
AUX
AUX 1
SELECT
EFX TO
MONITOR OO +20 RETURNS mode during mixdown.
SOURCE LEFT RIGHT With the switch down, you’re in PFL mode,
MAIN
MIX
+28

+10
CLIP
meaning Pre-Fader Listen (post EQ). This
+7 mode is required for the Level Setting Proce-
ALT
3–4 +4 dure and is handy for quick spot-checks of
+2

0
channels, especially ones that have their
TAPE
-2 faders turned down.
-4
In either mode, SOLO will not be affected
-7
ASSIGN
TO MAIN MIX -10 LEVEL
SET
by a channel’s MUTE/ALT switch position.
(NORMAL) -20
IN PLACE AFL
PRE-FADER -30 RUDE SOLO LIGHT
SOLO (LEVEL SET) 0dB=0dBu
MODE
This flashing Light Emitting Diode serves
PHANTOM POWER RUDE SOLO LIGHT
CONTROL
ROOM / PHONES MAIN MIX
two purposes — to remind you that at least
dB
10
dB
10
one channel is in SOLO, and to let you know
5 5
that you’re mixing on a Mackie. No other com-
pany is so concerned about your level of SOLO
U U
awareness. If you work on a mixer that has a
5 5
solo function with no indicator lights, and you
10 10
happen to forget you’re in solo, you can easily
20 20
be tricked into thinking that something is
30 30
wrong with your mixer. Hence the RUDE
40 40
50
60
50
60
SOLO LIGHT. It’s especially handy at about
OO OO
3AM when no sound is coming out of your
monitors but your multitrack is playing back
like mad.
22
ASSIGN TO MAIN MIX Why? You want the METERS to reflect what
Let’s say you’re doing a live show. Intermis- the engineer is listening to, and as we’ve cov-
sion is nearing and you’ll want to play a ered, the engineer is listening either to the
soothing CD for the crowd to prevent them CONTROL ROOM outputs or the PHONES
from becoming antsy. Then you think, “But I outputs. The only difference is that while the
have the CD player plugged into the TAPE in- listening levels are controlled by the CON-
puts, and that never gets to the MAIN TROL ROOM / PHONES fader, the METERS
OUTPUTS!” Oh, but it does. Simply engage this read the SOURCE mix before that control, giv-
switch and your SOURCE matrix selection, ing you the real facts at all times, even if you’re
after going through the CONTROL ROOM / not listening at all.
PHONES fader, will feed into the MAIN MIX, You may already be an
just as if it were another stereo channel. expert at the world of “+4”
Another handy use for this switch is to en- (+4dBu=1.23V) and “–10”
able the ALT 3-4 mix to become a submix of (–10dBV=0.32V) operating
the MAIN MIX , using the CONTROL levels. Basically, what makes
ROOM/PHONES fader as its level control. a mixer one or the other is the relative 0dB VU
Side effects: (1) Engaging this switch will (or 0VU) chosen for the meters. A “+4” mixer,
also feed any soloed channels into the MAIN with a +4dBu signal pouring out the back will
MIX, which may be the last thing you want. (2) actually read 0VU on its meters. A “–10” mixer,
If you have MAIN MIX as your SOURCE matrix with a –10dBV signal trickling out, will read,
selection and then engage ASSIGN TO MAIN you guessed it, 0VU on its meters. So when is
MIX, the MAIN MIX lines to the SOURCE ma- 0VU actually 0dBu? Right now!
trix will be interrupted, to prevent feedback. At the risk of creating another standard,
Then again, why on earth would anyone want Mackie’s compact mixers address the need of
to assign the MAIN MIX to the MAIN MIX? both crowds by calling things as they are —
0dBu (0.775V) at the output shows as 0dB VU
METERS – MANY DISPLAYS IN ONE! on the METERS. What could be easier? By the
The MS1402-VLZ’s peak metering system is way, the most wonderful thing about standards
made up of two columns of twelve LEDs. De- is that there are so many to choose from.
ceptively simple, considering the multitude of Thanks to the MS1402-VLZ’s wide dynamic
signals that can be monitored by it. range, you can get a good mix with peaks flash-
If nothing is selected in the SOURCE matrix ing anywhere between –20 and +10dB on the
and no channels are in SOLO, the METERS METERS. Most amplifiers clip at about +10dB,
will just sit there and look stupid. To put them and some recorders aren’t so forgiving either.
to work, you must make a selection in the For best real-world results, try to keep your
SOURCE matrix (or engage a SOLO switch). peaks between “0” and “+7.”
Remember, audio meters are just tools to
help assure you that your levels are “in the
ballpark.” You don’t have to stare at them
(unless you want to).

23
AUX TALK AUX 1 SELECT
First of all, there is no par- Besides being used to work effects into your
ticular alliance between AUX mix, Aux Sends serve another critical role —
SEND 1 (or 2) and AUX that of delivering cue mixes to stage monitors,
RETURN 1 (or 2). They’re so musicians can hear what they’re doing. On
just numbers. They’re like two complete the MS1402-VLZ, AUX SEND 1 can play either
strangers, both named Fred. role, depending on the position of this switch.
Here’s the whole idea behind sends and re- With the AUX 1 SELECT switch up (disen-
turns: sends are outputs, returns are inputs. gaged), AUX SEND 1 will tap a channel
AUX SENDs tap signals off the channels, via pre-FADER and pre-MUTE/ALT 3-4, meaning
their AUX knobs , mix these signals, then that no matter how you manipulate those con-
send them out via the AUX SEND jacks . trols as they feed the MAIN MIX, the AUX
These outputs are fed to the inputs of a re- SEND will continue to belt out a constant sig-
verb or other device. From there, the outputs of nal level. This is the preferred method for
this external device are fed back to the mixer’s setting up stage monitor feeds. EQ settings
AUX RETURN jacks . Then these signals are will affect all AUX SENDS.
sent through the AUX RETURN level controls, With the switch down, AUX SEND 1 be-
and finally delivered to the MAIN MIX. comes an ordinary effects send — post-FADER
So, the original “dry” signals go from the and post-MUTE/ALT 3-4. This is a must for ef-
channels to the MAIN MIX and the affected fects sends, since you want the levels of your
“wet” signals go from the Aux Returns to the “wet” signals to follow the level of the “dry.”
MAIN MIX, and once mixed together, the dry
AUX 1 MASTER
and wet signals combine to create a glorious
sound. So, armed with this knowledge, let’s The AUX 1 MASTER provides overall level
visit the Auxiliary World: control of AUX SEND 1, just before it’s deliv-
ered to the AUX 1 OUTPUT. (AUX SEND 2 has
no such control.) This knob goes from off
(turned fully down), to Unity gain at the center
U U

detent, with 10dB of extra gain (turned fully


OO +10 OO +20
1 up). As with some other level controls, you may
NORMALLED
AUX 1 MASTER U

2
never need the additional gain, but if you ever
PRE
POST
AUX 1 EFX TO AUX
do, you’ll be glad you bought a Mackie.
+20 RETURNS
SELECT MONITOR OO
This is usually the knob you turn up when
SOURCE LEFT RIGHT
MAIN +28 CLIP
the lead singer glares at you, points at his
MIX
+10 stage monitor, and sticks his thumb up in the
ALT
+7
air. (It would follow suit that if the singer
3–4 +4

+2
stuck his thumb down, you’d turn the knob
TAPE 0 down, but that never happens.)
-2

-4
AUX RETURNS
-7
ASSIGN
TO MAIN MIX -10 LEVEL
SET These two controls set the overall level of
-20
(NORMAL)
IN PLACE AFL
-30
effects received from STEREO AUX RETURN in-
PRE-FADER
SOLO
MODE
(LEVEL SET) 0dB=0dBu puts 1 and 2 . These controls are designed to
PHANTOM POWER RUDE SOLO LIGHT
handle a wide range of signal levels, from off, to
CONTROL
ROOM / PHONES MAIN MIX unity gain at the detent, with 20dB gain fully
dB dB
10 10 clockwise, to compensate for low-level effects.
5 5 Typically, these knobs can just live at the
U U center detent, and the effects device’s output
5 5 control should be set at whatever they call
10 10 Unity gain (check their manual). If that turns
20 20
out to be too loud or too quiet, adjust the ef-
30 30
fects device’s outputs, not the mixer. That way,
40 40 the mixer’s knobs are easy to relocate at the
50 50
60
OO
60
OO
center detent.

24
Signals passing through the AUX RETURN courtesy of jack normalling. As soon as you
level controls will proceed directly to MAIN plug something in the RIGHT side, that
MIX , with one exception (see next para- normalled connection is broken.
graph). The AUX RETURNS do not have How does all this relate to the EFX TO
MUTE/ALT 3-4 switches, so if you want MONITOR switch? AUX RETURN 1’s inputs
these signals to get to the ALT 3-4 mix, you’ll are normalled to AUX RETURN 2. If you have
have to patch the effects device’s outputs one effects device, plug it into AUX RETURN 1.
into one of the stereo channels, and MUTE/ Plug nothing into AUX RETURN 2. Now the
ALT that channel . signals feeding the AUX RETURN 1 inputs will
also be sent to the AUX RETURN 2 inputs.
EFX TO MONITOR Engage the EFX TO MONITOR switch, and
The idea behind this great feature is simple: now the AUX RETURN 2 knob will become an
If you want to add reverb or delay to the stage additional AUX SEND 1 knob for the signal at
monitor mixes, this is the switch for you. The the AUX RETURN 1 . Say that ten times!
implementation leading up to the switch is the Once again, AUX RETURN 1 will behave nor-
tricky part: mally, as always.
With the switch up, AUX RETURN 1 and 2
behave normally — they deliver their signals Congratulations! You’ve just read about all
into the MAIN MIX. With the switch down, the features of your MS1402-VLZ. You’re prob-
AUX RETURN 1 still behaves normally, but ably ready for a cold one. Go ahead. The rest of
AUX RETURN 2’s level control will feed AUX the manual can wait.
SEND 1 instead of the MAIN MIX.
Still with us? Good. So far, with the switch
down, we have AUX RETURN 1 feeding the
MAIN MIX and AUX RETURN 2 feeding AUX
SEND 1. Now, suppose you only have one ef-
fects device, and you want it to feed both the
MAIN MIX and AUX SEND 1. That’s where
“jack normalling” comes in. U U

JACK NORMALLING OO +10 OO +20


1
NORMALLED
AUX 1 MASTER U

Jack normalling (not to be confused with PRE


POST
2

AUX
Jack Normalling, Chicago Cubs utility infielder, AUX 1
SELECT
EFX TO
MONITOR OO +20 RETURNS
1952-61, .267 LBA) is a feature found on al- SOURCE LEFT RIGHT

most every mixer, keyboard and effects device. MAIN


MIX
+28 CLIP

+10
These jacks have special spring-loaded pins +7
ALT
that connect to the signal pins, but when 3–4 +4

something is plugged into the jack, that con- +2

0
TAPE
nection is broken. -2

These normalling pins can be used in all -4

-7
sorts of ways. The ubiquitous phrase “LEFT ASSIGN
TO MAIN MIX -10 LEVEL
SET
(MONO)” means that if you plug a signal into (NORMAL) -20
IN PLACE AFL
the LEFT side and have nothing in the RIGHT SOLO
PRE-FADER
(LEVEL SET)
-30
0dB=0dBu
MODE
side, that signal is also fed to the right input,
PHANTOM POWER RUDE SOLO LIGHT
CONTROL
ROOM / PHONES MAIN MIX
dB dB
10 10

5 5

U U

5 5

10 10

20 20

30 30

40 40
50 50
60 60
OO OO

25
MODIFICATIONS
For most folks, the MS1402-VLZ works just UL Warning
fine the way it is. But for special applications, Caution! These modification instructions
there are three signal routing changes that can are for use by qualified personnel only. To
be performed easily on the MS1402-VLZ. Easy avoid electric shock, do not perform any ser-
for someone with soldering experience, that is. vicing other than changing the fuse unless
If you don’t know how to solder, find a techni- you are qualified to do so. Refer all servicing
cian that can. This is NOT a good place to learn! and modifying to qualified personnel.
• Modification A changes AUX SEND 2 to be
pre-fader, pre-mute instead of post-fader, Mackie Disclaimer
post-mute. Any modification of any Mackie Designs
• Mod B changes AUX SEND 1 (in post product must be performed by a competent
mode) and AUX SEND 2 to receive signal electronic technician. Mackie Designs ac-
regardless of the channel’s MUTE/ALT cepts no responsibility for any damages or
switch position, but still be post-fader injuries caused by any modification, regard-
(GAIN knob). less of the source of the modification
• Mod C changes the SOURCE matrix’s instructions or the qualifications of the tech-
MAIN MIX selection to tap the stereo nician performing them. In the case of such
signal before the MAIN MIX level control damages, Mackie Designs may declare
(pre) instead of after (post). warranty privileges void. BE CAREFUL!
A Note About Jumpers
When installing jumpers, do not run their
ends through holes in the circuit board.
Rather, solder them flat against the desired
pad (the flat silver area, possibly with a hole in
the middle). Make sure the ends of these flat
wires do not extend beyond the pad.

Jumper
BEFORE

Holes

AFTER Solder

26
1. PRE-FADER MOD (AUX TO MONITOR) 4. Using a sharp “X-acto” type knife, cut the
This modification changes AUX SEND 2 to conductor at point ‘A’ (channels 1–6) or
be pre-fader, pre-mute instead of post-fader, the conductors at points ‘AL’ and ‘AR’
post-mute. (“Mute” refers to the channel’s (channels 7–14). Be careful to cut all the
MUTE/ALT 3–4 switch.) In order to convert way through the conductor, and do not cut
the entire mixer, it must be done on each any nearby traces.
channel, and is slightly more involved for the 5. Add a jumper from point ‘B’ to the square pad
stereo channels 7–14. The work area is on the at point ‘A’ (channels 1–6) or from points ‘BL’
underside of the circuit board, near the chan- to ‘AL’ and ‘BR’ to ‘AR’ (channels 7–14).
nel AUX SEND knobs. 6. Repeat for all channels.
1. Remove all cords, including the power 7. Check your work very carefully, then put
cable, from the MS1402-VLZ. the bottom cover back the way you found
2. Place the mixer upside-down on a dry, it. You’re done!
non-marring surface.
3. Remove the screws that attach the bottom
cover. Keep track of what screws go where.
Remove the bottom cover.

Channels 1–6
5 5
jumpers jumpers
here here

cut cut
here here
4 4

Channels 7–14
5 5
jumpers jumpers
here here

cut cut
here here
4 4

27
2. PRE-MUTE MOD 4. Using a sharp “X-acto” type knife, cut the
This modification changes AUX SEND 1 (in conductor at point ‘C’ (channels 1–6) or
post mode) and AUX SEND 2 to receive signal the conductors at points ‘CL’ and ‘CR’
regardless of the channel’s MUTE/ALT 3–4 (channels 7–14). Be careful to cut all the
switch position, but still be post-fader. In order way through the conductor, and do not cut
to convert the entire mixer, it must be done on any nearby traces.
each channel, and is slightly more involved for 5. Locate the 12 pins that comprise the
the stereo channels 7–14. The work area is on underside of each MUTE/ALT 3–4 switch.
the underside of the circuit board, near the 6. Add jumpers as shown on the illustration
channel MUTE/ALT 3–4 switches. below — they’re not specifically marked on
1. Remove all cords, including the power the circuit board itself, so be careful.
cable, from the MS1402-VLZ. 7. Repeat for all channels.
2. Place the mixer upside-down on a dry, 8. Check your work very carefully, then put
non-marring surface. the bottom cover back the way you found
3. Remove the screws that attach the bottom it. You’re done!
cover. Keep track of what screws go where.
Remove the bottom cover.

Channels 1–6

5 5 5
jumpers jumpers jumpers
here here here

cut cut cut


here here here
4 4 4

Channels 7–14
5 5
jumpers jumpers
here here

cut cut
here here
4 4

28
3. MAIN MIX SOURCE MOD 1. Remove all cords, including the power
This modification changes the SOURCE cable, from the MS1402-VLZ.
matrix’s MAIN MIX selection to tap the stereo 2. Place the mixer upside-down on a dry, non-
signal before the MAIN MIX level control marring surface.
(pre) instead of after (post). This could be 3. Remove the screws that attach the bottom
especially handy for live work where the engi- cover. Keep track of what screws go where.
neer wants to be able to control the MAIN MIX Remove the bottom cover.
level (sent to the house system) without 4. Using a sharp “X-acto” type knife, cut the
changing the level in his headphones. The conductor at points ‘XL’ and ‘XR’. Be careful
work area is on the underside of the circuit to cut all the way through the conductor,
board, near the MAIN MIX level control. and do not cut any nearby traces.
Caution: This modification also causes the 5. Add a jumper from point ‘YL’ to the square
meters to indicate pre MAIN MIX levels. They pad at point ‘XL’ and from point ‘YR’ to the
will not longer indicate the signal level at the square pad at point ‘XR’.
MAIN OUTS, but rather the signal level at the 6. Check your work very carefully, then put
PHONES and CONTROL ROOM outputs (when the bottom cover back the way you found
MAIN MIX SOURCE is selected). it. You’re done!

5
jumpers
here

cut
here
4

29
MS1402 BLOCK DIAGRAM

SOLO/PFL
AUX 2 POST
MAIN R
MAIN L

AUX 1 POST

LOGIC
ALT R

AUX 1 PRE
PHANTOM POWER (GLOBAL SWITCH)

ALT L

SIP R
SIP L
INSERT
PAN MUTE / ALT
1
TRIM FADER
2 LO MID HI 2
1
MIC IN 75Hz 80 2K5 12K 3
HPF LOW CUT
3 4

3-BAND EQ SIP L
LINE IN

SIP R
SOLO
PFL

LOGIC

AUX SEND 2
POST
PRE AUX SEND 1
MONO CHANNEL (1 OF 6)

FADER
LO MID HI
LINE IN L MUTE / ALT
1
80 2K5 12K
2

PAN
+4 /-10 3
4

LO MID HI
LINE IN R
80 2K5 12K
SIP L
3-BAND EQ
SIP R
SOLO
PFL

LOGIC

AUX SEND 2
POST

PRE AUX SEND 1


STEREO CHANNEL (1 OF 4)

L IN
(MONO)

AUX RETURN 1 GAIN

R IN

L IN

AUX RETURN 2 GAIN

R IN
MACKIE MS1402-VLZ
SIGNAL FLOW-- INPUTS
(M14-41697.VSD.DF) EFX TO MONITOR

30
SOLO/PFL
AUX 2 POST
MAIN R
MAIN L

AUX 1 POST

LOGIC
ALT R
AUX 1 PRE
ALT L

TAPE OUT L

SIP R
SIP L
LINE OUT L

2
BAL OUT L
3 1

MAIN MIX MAIN FADERS 30dB PAD

2
BAL OUT R
3 1

LINE OUT R

ALT OUT L TAPE OUT R

ALT OUT R
22
ALT MIX 10
7
4
METERING 2
(0dBu = 0VU) 0
2
SOURCE
ALT 4
7
10
TAPE IN 20
L 30
TAPE
R
CONTROL ROOM &
PHONES MIX
RUDE
MAIN
SOLO
LED

SOLO RELAY

SIP L

SIP R

PFL PFL LED

SOLO MIX
SIP (SOLO IN PLACE) /
PFL (PRE-FADER LISTEN)

CONTROL ROOM LEFT

ASSIGN TO MAIN
PHONES OUT

CONTROL ROOM &


PHONES FADER CONTROL ROOM RIGHT
AUX 1 PRE / POST
AUX 1 LEVEL

AUX 1 OUT
AUX 1 MIX

AUX 2 OUT
AUX 2 MIX MACKIE MS1402-VLZ
SIGNAL FLOW-- OUTPUTS

31
32
+28dBu max out (XLR)

+22dBu max out (1/4" & RCA)


+14dBu max in +15dB up +15db up
+12dB up +10dB up +10dB up
+6dB XLR OUT
0dB LOW MID HIGH ‘B’ 0dB
to ‘A’ ‘A’ to ‘C’ C to ‘D’
10dB gain, TRIM down –12dB down 0dB 1/4" Out and RCA Tape Out
–15dB down –15dB down –4dB center
–30dB XLR OUT, PAD engaged

EQ FADER PAN MIX FADER OUTPUTS

CHANNEL MAIN MIX


60dB gain, TRIM up

MIC IN, Channels 1–4

+22dBu max in +22dBu max out


+16dBu max TAPE IN
10dB loss, TRIM down +10dB up
0dB MAIN MIX, ALT 3–4 0dB
to ‘A’ ‘D’
TAPE IN 6dB Boost

40dB gain, TRIM up


SOURCE Matrix C-R/PHONES MIX C-R/PHONES FADER OUTPUT
LINE IN, Channels 1–4
GAIN STRUCTURE DIAGRAM

CONTROL ROOM / PHONES

+22dBu max in +22dBu max out +22dBu max in +20dB up


+12dB engaged +10dB up
Unity gain 0dB 0dB INPUT 0dB
to ‘A’ From ‘B’ to ‘C’

LINE IN, Channels 5–12 +4 (dBu) / –10 (dBV) Channel AUX SEND AUX MIX Master AUX SEND OUTPUT LEVEL

AUX SEND AUX RETURN


SPECIFICATIONS
Main Mix Noise Common Mode Rejection (CMR)
20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim Mic in to Insert Send out, max gain
@ unity gain, channel EQs flat, all channels assigned to 1kHz: better than –90dB
Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.
Main Mix fader down, channel faders down: –100.0dBu
Maximum Levels
Main Mix fader unity, channel faders down: –86.5dBu Mic in: +14dBu
(90dB Signal-to-Noise Ratio, ref +4dBu) Tape in: +16dBu
Main Mix fader @ unity, channel faders @ unity: –84.5dBu All other inputs: +22dBu
Main Mix XLR out: +28dBu
Total Harmonic Distortion (THD) All other outputs: +22dBu
1kHz @ +14dBu, 20Hz–20kHz
Mic in to Main out: 0.0025%
Impedances
Mic in: 1.3 kilohms
Attenuation (Crosstalk) Channel Insert return: 2.5 kilohms
1kHz relative to 0dBu, 20Hz–20kHz All other inputs: 10 kilohms or greater
bandwidth, Line in, 1⁄4" Main Out, Trim @ unity Tape out: 1.1 kilohms
Main fader down: –85dBu All other outputs: 120 ohms
Channel Alt / Mute switch engaged: –84dBu
Channel fader down: –83dBu
EQ
High Shelving: +/–15db @ 12kHz
Frequency Response Mid Peaking: +/–12dB @ 2.5kHz
Mic input to any output Low Shelving: +/–15db @ 80Hz
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
Power Consumption
120VAC, 50/60Hz, 25 watts
Equivalent Input Noise (EIN)
Mic in to Insert Send out, max gain Fuse Rating
150 ohm termination: –129.5dBm unweighted 120V: 500mA slo blo, 5 x 20mm
220–240V: 250mA slo blo, 5 x 20mm
(7.4cm)
2.9"

14" (35.6cm) 2.9"


(7.4cm)
12.9" (32.8cm)
8 rack spaces

13.1" (33.27cm)

WEIGHT
9.5 lbs.
(4.5 kg.)

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.

33
SERVICE INFO
Details concerning Warranty Service are Power
spelled out on the Warranty Card included • Our favorite question: Is the POWER
with your mixer (if it’s missing, let us know switch on?
and we’ll rush one to you). • Check the fuse .
If you think your MS1402-VLZ has a prob-
lem, please do everything you can to confirm it REPAIR
before calling for service. Doing so might save Service for the U.S. version of the MS1402-
you from the deprivation of your mixer and the VLZ is available only from Mackie Designs,
associated suffering. located in sunny Woodinville, Washington.
Of all Mackie products returned for service (Service for mixers living outside the United
(which is hardly any at all), roughly 50% are States can be obtained through local dealers
coded “CND” — Could Not Duplicate, which or distributors.) If your mixer needs service,
usually means the problem lay somewhere follow these instructions:
other than the mixer. These may sound obvi-
1. Review the preceding troubleshooting
ous to you, but here’s some things you can
suggestions. Please.
check:
2. Call Tech Support at 1-800-258-6883, 8am
TROUBLESHOOTING to 5pm PST, to explain the problem and
request an RA number. Have your mixer’s
Bad Channel serial number ready. You must have a
• Is the MUTE/ALT 3–4 switch in the Return Authorization number, or we
correct position? may refuse the delivery.
• Is the fader turned up? 3. Set aside the power cord, owner’s manual,
or anything else that you’ll ever want to see
• Try unplugging any INSERT devices
again. We are responsible for the return of
(Channels 1–6 only).
the mixer only.
• Try the same source signal in another
4. Pack the mixer in its original package,
channel, set up exactly like the
including endcaps and box. This is VERY
suspect channel.
IMPORTANT. When you call for the RA
Bad Output number, please let Tech Support know if
• Is the associated level control (if any) you need a new box.
turned up? 5. Include a legible note stating your name,
• If it’s one of the Main outputs, try unplug- shipping address (no P.O. boxes), daytime
ging all the others. For example, if it’s the phone number, RA number and a detailed
1⁄4" Left Main out, unplug the RCA and XLR description of the problem, including how
Left outputs. If the problem goes away its we can duplicate it.
not the mixer. 6. Write the RA number in BIG PRINT on top
• If it’s a stereo pair, try switching them of the box.
around. For example, if a left output is 7. Ship the mixer to us. We recommend
presumed dead, switch the left and right United Parcel Service (UPS). We suggest
cords, at the mixer end. If the problem insurance for all forms of cartage. Ship to
stays on the left it’s not the mixer. this address:
Noise Mackie Designs
SERVICE DEPARTMENT
• Turn the channel fader and AUX
16220 Wood-Red Rd. NE
RETURN knobs down, one by one. If the
Woodinville, WA 98072
sound disappears, it’s either that chan-
nel or whatever is plugged into it, so
unplug whatever that is. If the noise
disappears, it’s from your whatever.

34
APPENDIX A: GLOSSARY
This Glossary contains brief definitions of bandwidth
many of the audio and electronic terms used in The band of frequencies that pass through a
discussions of sound mixing and recording. Many device with a loss of less than 3dB, expressed
of the terms have other meanings or nuances or in Hertz or in musical octaves. Also see Q.
very rigorous technical definitions which we have bus
sidestepped here because we figure you already An electrical connection common to three
have a lot on your mind. If you’d like to get more or more circuits. In mixer design, a bus usually
information, you can call Mix Bookshelf at 1-800- carries signals from a number of inputs to a
233-9604. We recommend the following titles: The mixing amplifier, just like a city bus carries
Audio Dictionary, by Glenn White; Tech Terms, people from a number of neighborhoods to
by Peterson & Oppenheimer; Handbook for their jobs.
Sound Engineers, by Glen Ballou, Mackie Mixer Cannon
Book by Rudy Trubitt and Sound Reinforcement A manufacturer of electrical connectors
Handbook, by Gary Davis. who first popularized the three-pin connector
AFL now used universally for balanced microphone
An acronym for After Fade Listen, which is connections. In sound work, a Cannon connec-
another way of saying post-fader solo function. tor is taken to mean a Cannon XLR-3 mic
assign connector or any compatible connector.
In sound mixers, assign means to switch or cardioid
route a signal to a particular signal path or Means heart-shaped. In sound work, car-
combination of signal paths. dioid refers to the shape of the sensitivity
attenuate pattern of some directional microphones.
To reduce or make quieter. channel
aux A functional path in an audio circuit: an
See next entry. input channel, an output channel, a recording
auxiliary channel, the left channel and so on.
In sound mixers, supplemental equipment channel strip
or features that provide additional capabilities The physical representation of an audio
to the basic system. Examples of auxiliary channel on the front panel of a mixer; usually
equipment include: serial processors (equaliz- a long, vertical strip of controls.
ers, compressors, limiters, gates) and parallel chorusing
devices (reverberation and delay). Most mix- An effect available in some digital delay
ers have aux send buses and aux return inputs effects units and reverbs. Chorusing involves a
to accommodate auxiliary equipment. number of moving delays and pitch shifting,
balanced usually panned across a stereo field. Depend-
In a classic balanced audio circuit, the two ing on how used, it can be lovely or grotesque.
legs of the circuit (+ and –) are isolated from clipping
the circuit ground by exactly the same imped- A cause of severe audio distortion that is
ance. Additionally, each leg may carry the signal the result of excessive gain requiring the peaks
at exactly the same level but with opposite po- of the audio signal to rise above the capabili-
larity with respect to ground. In some balanced ties of the amplifier circuit. Seen on an
circuits, only one leg actually carries the signal oscilloscope, the audio peaks appear clipped
but both legs exhibit the same impedance char- off. To avoid distortion, reduce the system gain
acteristics with respect to ground. Balanced in or before the gain stage in which the clip-
input circuits can offer excellent rejection of ping occurs. See also headroom.
common-mode noise induced into the line and
also make proper (no ground loops) system
grounding easier. Usually terminated with 1⁄4"
TRS or XLR connectors.

35
condenser dBV
Another term for the electronic component A unit of measurement of audio signal level
generally known as a capacitor. In audio, in an electrical circuit, expressed in decibels
condenser usually refers to a type of micro- referenced to 1 VRMS across any impedance.
phone that uses a capacitor as the sound Commonly used to describe signal levels in
pickup element. Condenser microphones consumer equipment. To convert dBV to dBu,
require electrical power to run internal ampli- add 2.2dB.
fiers and maintain an electrical charge on the decibel (dB)
capacitor. They are typically powered by inter- The dB is a ratio of quantities measured in
nal batteries or “phantom power” supplied by similar terms using a logarithmic scale. Many
an external source, such as a mixing console. audio system parameters measure over such a
console large range of values that the dB is used to
A term for a sound mixer, usually a large simplify the numbers. A ratio of
desk-like mixer. 1000V:1V=60dB. When one of the terms in the
cueing ratio is an agreed upon standard value such as
In broadcast, stage and post-production 0.775V, 1V or 1mw, the ratio becomes an abso-
work, to “cue up” a sound source (a record, a lute value, i.e., +4dBu, –10dBV or 0dBm.
sound effect on a CD, a song on a tape) means delay
to get it ready for playback by making sure you In sound work, delay usually refers to an
are in the right position on the “cue,” making electronic circuit or effects unit whose pur-
sure the level and EQ are all set properly. This pose it is to delay the audio signal for some
requires a special monitoring circuit that only short period of time. Delay can refer to one
the mixing engineer hears. It does not go out short repeat, a series of repeats or the complex
on the air or to the main mixing buses. This interactions of delay used in chorusing or re-
“cueing” circuit is the same as pre-fader (PFL) verb. When delayed signals are mixed back
solo on a Mackie mixer, and often the terms with the original sound, a great number of
are interchangeable. audio effects can be generated, including phas-
dB ing and flanging, doubling, Haas-effect
See decibel positioning, slap or slapback, echo, regenera-
dBm tive echo, chorusing and hall-like
A unit of measurement of audio signal level reverberation. Signal time delay is central to
in an electrical circuit, expressed in decibels many audio effects units.
referenced to 1 milliwatt. The “m” in dBm detent
stands for “milliwatt.” In a circuit with an im- A point of slight physical resistance (a click-
pedance of 600 ohms, this reference (0dBm) stop) in the travel of a knob or slide control,
corresponds to a signal voltage of 0.775 VRMS used in Mackie mixers to indicate unity gain.
(because 0.775 V across 600 ohms equals dipping
1mw). The opposite of peaking, of course. A dip is
dBu an EQ curve that looks like a valley, or a dip.
A unit of measurement of audio signal level Dipping with an equalizer reduces a band of
in an electrical circuit, expressed in decibels frequencies. (See guacamole.)
referenced to 0.775 VRMS into any impedance. doubling
Commonly used to describe signal levels A delay effect, where the original signal is
within a modern audio system. mixed with a medium (20 to 50 msec) delay.
dBv When used carefully, this effect can simulate
A unit of measurement equal to the dBu but double-tracking (recording a voice or instru-
no longer in use. It was too easy to confuse a ment twice).
dBv with a dBV, to which it is not equivalent. dry
Usually means without reverberation, or
without some other applied effect like delay or
chorusing. Dry is not wet, i.e. totally unaffected.

36
dynamic EQ curve
In sound work, dynamic refers to the class A graph of the response of an equalizer,
of microphones that generate electrical signals with frequency on the x (horizontal) axis and
by the movement of a coil in a magnetic field. amplitude (level) on the y (vertical) axis.
Dynamic microphones are rugged, relatively Equalizer types and effects are often named af-
inexpensive, capable of very good performance ter the shape of the graphed response curve,
and do not require external power. such as peak, dip, shelf, notch, knee and so on.
dynamic range equalization
The range between the maximum and mini- Equalization (EQ) refers to purposefully
mum sound levels that a sound system can changing the frequency response of a circuit,
handle. It is usually expressed in decibels as sometimes to correct for previous unequal re-
the difference between the level at peak clip- sponse (hence the term, equalization), and
ping and the level of the noise floor. more often to add or subtract level at certain
echo frequencies for sound enhancement, to remove
The reflection of sound from a surface such extraneous sounds, or to create completely
as a wall or a floor. Reverberation and echo are new and different sounds.
terms that can be used interchangeably, but in Bass and treble controls on your stereo are
audio parlance a distinction is usually made: EQ; so are the units called parametrics and
echo is considered to be a distinct, recogniz- graphics and notch filters.
able repetition (or series of repetitions) of a A lot of how we refer to equalization has to
word, note, phrase or sound, whereas rever- do with what a graph of the frequency re-
beration is a diffuse, continuously smooth sponse would look like. A flat response (no
decay of sound. Echo and reverberation can be EQ) is a straight line; a peak looks like a hill, a
added in sound mixing by sending the original dip is a valley, a notch is a really skinny valley,
sound to an electronic (or electronic/acoustic) and a shelf looks like a plateau (or a shelf).
system that mimics natural echoes, and then The slope is the grade of the hill on the graph.
some. The added echo is returned to the blend Graphic equalizers have enough frequency
through additional mixer inputs. Highly echoic slider controls to form a graph of the EQ right
rooms are called live; rooms with very little on the front panel. Parametric EQs let you vary
echo are called dead. A sound source without several EQ parameters at once. A filter is sim-
added echo is dry; one with reverb or echo ply a form of equalizer that allows certain
added is wet. frequencies through unmolested while reduc-
effects devices ing or eliminating other frequencies.
External signal processors used to add re- Aside from the level controls, EQs are prob-
verb, delay, spatial or psychoacoustic effects to ably the second most powerful controls on any
an audio signal. An effects processor may be mixer (no, the power switch doesn’t count!).
used as an insert processor (serial) on a par- fader
ticular input or subgroup, or it may be used via Another name for an audio level control. To-
the aux send/return system(parallel). See also day, the term refers to a straight-line slide
echo, reverb. control rather than a rotary control.
EIN family of curves
Equivalent Input Noise. Specification that A composite graph showing on one chart
helps measure the “quietness” of a gain stage by several examples of possible EQ curves for a
deriving the equivalent input noise voltage nec- given equalizer or equalizer section.
essary to obtain a given preamp's output noise.
Typically ranges from –125 to –129.5 dBm.
EQ
See equalization

37
filter graphic EQ
A simple equalizer designed to remove cer- A graphic equalizer uses slide pots for its
tain ranges of frequencies. A low-cut filter boost/cut controls, with its frequencies evenly
(also called a high-pass filter) reduces or spaced through the audio spectrum. In a per-
eliminates frequencies below its cutoff fre- fect world, a line drawn through the centers of
quency. There are also high-cut (low-pass) the control shafts would form a graph of the
filters, bandpass filters, which cut both high frequency response curve. Get it? Or, the posi-
and low frequencies but leave a band of fre- tions of the slide pots give a graphic
quencies in the middle untouched, and notch representation of boost or cut levels across the
filters, which remove a narrow band but leave frequency spectrum.
the high and low frequencies alone. ground
flanging Also called earth. Ground is defined as the
A term for phasing. Before digital delay ef- point of zero voltage in a circuit or system, the
fects units, phasing could be accomplished by reference point from which all other voltages
playing two tape machines in synchronization, are measured. In electrical systems, ground
then delaying one slightly by rubbing a finger connections are used for safety purposes, to
on the reel flange. Get it? keep equipment chassis and controls at zero
FOH voltage and to provide a safe path for errant
An acronym for Front Of House. See house currents. This is called a safety ground.
and main house speakers. Maintaining a good safety ground is always
frequency essential to prevent electrical shock. Follow
The number of times an event repeats itself manufacturer’s suggestions and good electrical
in a given period. Sound waves and the electri- practices to ensure a safely grounded system.
cal signals that represent sound waves in an Never remove or disable the grounding pin on
audio circuit have repetitive patterns that the power cord.
range from a frequency of about 20 repetitions In computer and audio equipment, tiny cur-
per second to about 20,000 repetitions per sec- rents and voltages can cause noise in the
ond. Sound is the vibration or combination of circuits and hamper operation. In addition to
vibrations in this range of 20 to 20,000 repeti- providing safety, ground provisions in these
tions per second, which gives us the sensation situations serve to minimize the pickup, detec-
of pitch, harmonics, tone and overtones. Fre- tion and distribution of these tiny noise
quency is measured in units called Hertz (Hz). signals. This type of ground is often called
One Hertz is one repetition or cycle per sec- technical ground.
ond. Quality audio equipment is designed to
gain maintain a good technical ground and also op-
The measure of how much a circuit ampli- erate safely with a good safety ground. If you
fies a signal. Gain may be stated as a ratio of have noise in your system due to technical
input to output values, such as a voltage gain grounding problems, check your manual for
of 4, or a power gain of 1.5, or it can be ex- wiring tips or call technical support. Never dis-
pressed in decibels, such as a line amplifier able the safety ground to reduce noise
with a gain of 10dB. problems.
gain stage ground loop
An amplification point in a signal path, A ground loop occurs when the technical
either within a system or a single device. ground within an audio system is connected to
Overall system gain is distributed between the safety ground at more than one place. Two
the various gain stages. or more connections will allow tiny currents to
flow in the loops created, possibly inducing
noise (hum) in the audio system. If you have
noise in your system due to ground loops, check
your manual for wiring tips or call technical
support. Never disable the safety ground to re-
duce noise problems.

38
Haas effect level
A psychoacoustic effect in which the time of Another word for signal voltage, power,
arrival of a sound to the left and right ears af- strength or volume. Audio signals are some-
fects our perception of direction. If a signal is times classified according to their level.
presented to both ears at the same time at the Commonly used levels are: microphone level
same volume, it appears to be directly in front (–40dBu or lower), instrument level (–20 to
of us. But if the signal to one ear, still at the –10dBu), and line level (–10 to +30dBu).
same volume, is delayed slightly (0 to 5 msec), line level
the sound appears to be coming from the ear- A signal whose level falls between –10dBu
lier (non-delayed) side. and +30dBu.
headroom main house speakers
The difference between nominal operating The main loudspeakers for a sound rein-
level and peak clipping in an audio system. For forcement system. These are usually the
example, a mixer operating with a nominal line largest and loudest loudspeakers, and are usu-
level of +4dBu and a maximum output level of ally positioned so that their sound seems to
+22dBu has 18dB of headroom. Plenty of room come from the area of the main stage.
for surprise peaks. mains
Hertz See main house speakers.
The unit of measure for frequency of oscilla- master
tion, equal to 1 cycle per second. Abbreviated A control affecting the final output of a mixer.
Hz. KHz is pronounced “kay-Hertz” and is an A mixer may have several master controls, which
abbreviation for kilohertz, or 1000 Hertz. may be slide faders or rotary controls.
house mic amp
In Sound Reinforcement parlance, “house” See mic preamp.
refers to the systems (and even persons) re- mic level
sponsible for the primary sound reinforcement The typical level of a signal from a micro-
in a given hall, building, arena or “house.” Hence phone. A mic level signal (usually but not
we have the house mixer or house engineer, the always coming from a microphone) is gener-
house mix, the house mix amps, the main house ally below –30dBu. With a very quiet source (a
speakers and so on. pin dropping?) the signal can be –70dBu or
Hz lower. It is also possible for some microphones
See Hertz. to deliver more signal than this, in which case
impedance it may be referred to as a “hot” mic level. Alter-
The A.C. resistance/capacitance/inductance natively, you can just say, “Boy, is that loud!”
in an electrical circuit, measured in ohms. In mic pre
audio circuits (and other AC circuits) the im- See mic preamp.
pedance in ohms can often be much different mic preamp
from the circuit resistance as measured by a Short for microphone preamplifier. An ampli-
DC ohmmeter. fier that functions to bring the very low signal
Maintaining proper circuit impedance rela- level of a microphone (approximately –50dBu)
tionships is important to avoid distortion and up to line level (approximately 0dBu). Mic
minimize added noise. Mackie input and output preamps often have their own volume control,
impedances are set to work well with the vast called a trim control, to properly set the gain for
majority of audio equipment. a particular source. Setting the mic preamp
input module gain correctly with the trim control is an es-
A holdover from the days when the only way sential step in establishing good noise and
that real consoles were built was in modular fash- headroom for your mix.
ion, one channel per module. See channel strip.
knee
A knee is a sharp bend in an EQ response
curve not unlike the sharp bend in your leg.
Also used in describing dynamics processors.

39
mixer noise floor
An electronic device used to combine The residual level of noise in any system.
various audio signals into a common output. In a well designed mixer, the noise floor will
Different from a blender, which combines vari- be a quiet hiss, which is the thermal noise
ous fruits into a common libation. generated by bouncing electrons in the tran-
monaural sistor junctions. The lower the noise floor and
Literally, pertaining to or having the use of the higher the headroom, the more usable dy-
only one ear. In sound work, monaural has to do namic range a system has.
with a signal which, for purposes of communicat- pan, pan pot
ing audio information, has been confined to a Short for panoramic potentiometer. A pan
single channel. One microphone is a mono pot is used to position (or even move back and
pickup; many microphones mixed to one chan- forth) a monaural sound source in a stereo mix-
nel is a mono mix; a mono signal played through ing field by adjusting the source’s volume
two speakers is still mono, since it only carries between the left and right channels. Our brains
one channel of information. Several monaural sense stereo position by hearing this difference
sources, however, can be panned into a stereo in loudness when the sound strikes each ear,
(or at least two-channel, if you are going to be taking into account time delay, spectrum, ambi-
picky) mix. Monaural SR is common for envi- ent reverberation and other cues.
ronments where stereo SR would provide an parametric EQ
uneven reproduction to the listener. A “fully” parametric EQ is an extremely
monitor powerful equalizer that allows smooth, con-
In sound reinforcement, monitor speakers tinuous control of each of the three primary
(or monitor headphones or in-the-ear moni- EQ parameters (frequency, gain, and band-
tors) are those speakers used by the width) in each section independently. “Semi”
performers to hear themselves. Monitor speak- parametric EQs allow control of fewer param-
ers are also called foldback speakers. In eters, usually frequency and gain (i.e., they
recording, the monitor speakers are those used have a fixed bandwidth, but variable center
by the production staff to listen to the record- frequency and gain).
ing as it progresses. In zoology, the monitor peaking
lizard is the lizard that observes the produc- The opposite of dipping, of course. A peak is
tion staff as the recording progresses. Keep the an EQ curve that looks like a hill, or a peak.
lizard out of the mixer. Peaking with an equalizer amplifies a band of
mono frequencies.
Short for monaural. PFL
mult An acronym for Pre Fade Listen. Broadcast-
Probably short for multiple. In audio work, ers would call it cueing. Sound folks call it being
a mult is a parallel connection in a patch bay able to solo a channel with the fader down.
or a connection made with patch cords to phantom power
feed an output to more than one input. A “Y” A system of providing electrical power for
cable is a type of mult connection. Also a condenser microphones (and some electronic
verb, as in “Why did you mult the flanger into pickup devices) from the sound mixer. The sys-
every input in the board?” tem is called phantom because the power is
noise carried on standard microphone audio wiring in
Whatever you don’t want to hear. Could be a way that is “invisible” to ordinary dynamic mi-
hum, buzz or hiss; could be crosstalk or digital crophones. Mackie mixers use standard +48
hash or your neighbor’s stereo; could be white volt DC power, switchable on or off. Most quality
noise or pink noise or brown noise; or it could condenser microphones are designed to use +48
be your mother-in-law reliving the day she had VDC phantom power. Check the manufacturer’s
her gallstone removed. recommendations.
Generally, phantom power is safe to use with
non-condenser microphones as well, especially
dynamic microphones. However, unbalanced
microphones, some electronic equipment (such

40
as some wireless microphone receivers) and proximity effect
some ribbon microphones can short out the The property of many directional micro-
phantom power and be severely damaged. phones to accentuate their bass response
Check the manufacturer’s recommendations when the source-to-mic distance is small,
and be careful! typically three inches or less. Singers gener-
phasing ally like this effect even more than singing in
A delay effect, where the original signal is the shower.
mixed with a short (0 to 10 msec) delay. The Q
time of the delay is slowly varied, and the A way of stating the bandwidth of a filter or
combination of the two signals results in a dra- equalizer section. An EQ with a Q of .75 is broad
matic moving comb-filter effect. Phasing is and smooth, while a Q of 10 gives a narrow,
sometimes imitated by sweeping a comb-filter pointed response curve. To calculate the
EQ across a signal. A comb filter can be found value of Q, you must know the center fre-
in your back pocket. quency of the EQ section and the frequencies
phone jack at which the upper and lower skirts fall 3dB
Ever see those old telephone switchboards below the level of the center frequency. Q
with hundreds of jacks and patch cords and equals the center frequency divided by the
plugs? Those are phone jacks and plugs, now difference between the upper and lower –3dB
used widely with musical instruments and audio frequencies. A peaking EQ centered at 10kHz
equipment. A phone jack is the female connector, whose –3dB points are 7.5kHz and 12.5kHz
and we use them in 1⁄4" two-conductor (TS) and has a Q of 2.
three-conductor (TRS) versions. RCA phono jack—or RCA jack
phone plug or phono jack
The male counterpart to the phone jack, An RCA phono jack is an inexpensive con-
right above. nector (female) introduced by RCA and
phono jack originally used to connect phonographs to radio
See RCA phono jack. receivers and phono preamplifiers. The phono
phono plug jack was (and still is) widely used on consumer
See RCA phono plug. stereo equipment and video equipment but was
post-fader quietly fading into obscurity in the professional
A term used to describe an aux send and semi-professional sound world. Then phono
(usually) that is connected so that it is af- jacks began cropping up in early project-studio
fected by the setting of the associated channel multitrack recorders, which (unfortunately)
fader. Sends connected this way are typically gave them a new lease on life since so many
(but not always) used for effects. See pre- stereo recorders are fitted with them we de-
fader. cided we’d have to put a couple on our mixers
pot, potentiometer for your convenience. But make no mistake: the
In electronics, a variable resistor that varies only thing that the phono jack (or plug) has
the potential, or voltage. In audio, any rotary going for it is low cost.
or slide control. RCA phono plug
pre-fader The male counterpart to an RCA phono
A term used to describe an aux send jack. See above.
(usually) that is connected so that it is not regeneration
affected by the setting of the associated chan- Also called recirculation. A delay effect cre-
nel fader. Sends connected this way are ated by feeding the output of a delay back into
typically (but not always) used for monitors itself to cause a delay of the delay of the delay.
(foldback). See post-fader. You can do it right on the front panel of many
effects units, or you can route the delay return
back into itself on your mixer. Can be a great
deal of fun at parties.

41
return until it reaches the shelf frequency, at which
A return is a mixer line input dedicated to point the response curve flattens out and re-
the task of returning processed or added mains flat to the limits of audibility. If you were
sound from reverb, echo and other effects de- to graph the response, it would look like a shelf.
vices. Depending on the internal routing of Or more like a shelf than a hiking boot. The EQ
your mixer and your own inclination, you controls on your stereo are usually shelving
could use returns as additional line inputs, or equalizers. See also peaking and dipping.
you could route your reverb outputs to ordi- slap, slapback
nary line inputs rather than the returns. A single-delay echo without any repeats.
reverberation, reverb Also see echo.
The sound remaining in a room after the solo
source of sound is stopped. It’s what you hear Italian for alone. In audio mixers, a solo cir-
in a large tiled room immediately after you’ve cuit allows the engineer to listen to individual
clapped your hands. Reverberation and echo channels, buses or other circuits singly or in
are terms that can be used interchangeably, combination with other soloed signals.
but in audio parlance a distinction is usually SR
made: reverberation is considered to be a dif- An acronym for Sound Reinforcement,
fuse, continuously smooth decay of sound, which refers to a system of amplifying acoustic
whereas echo is a distinct, recognizable repeti- and electronic sounds from a performance or
tion of a word, note, phrase or sound. speech so that a large audience can hear
Reverberation and echo can be added in sound clearly. Or, in popular music, so that a large au-
mixing by sending the original sound to an dience can be excited, stunned or even
electronic (or electronic/acoustic) system that partially deafened by the tremendous amplifi-
mimics natural reverberation, or worse. The cation. Means essentially the same thing as PA
added reverb is returned to the blend through (Public Address).
additional mixer inputs. Highly reverberant stereo
rooms are called live; rooms with very little re- Believe it or not, stereo comes from a Greek
verberation are called dead. A sound source word that means solid. We use stereo or
without added reverb is dry; one with reverb or stereophony to describe the illusion of a con-
echo added is wet. tinuous, spacious soundfield that is seemingly
RMS spread around the listener by two or more re-
An acronym for root mean square, a conven- lated audio signals. In practice, stereo often is
tional way to measure AC voltage and audio taken to simply mean two channesl.
signal voltage. Most AC voltmeters are cali- sweep EQ
brated to read RMS volts. Other conventions An equalizer that allows you to “sweep” or
include average volts, peak volts and peak-to- continuously vary the frequency of one or
peak volts. more sections.
send symmetrically balanced
A term used to describe a secondary mix See balanced.
and output of the input signals, typically used tinnitus
for foldback monitors, headphone monitors or The ringing in the ears that is produced
effects devices. Mackie mixers call it an Aux with prolonged exposure to high volumes. A
Send. sound in the ears, such as buzzing, ringing, or
shelving whistling, caused by volume knob abuse!
A term used to describe the shape of an
equalizer’s frequency response. A shelving
equalizer’s response begins to rise (or fall) at
some frequency and continues to fall (or rise)

42
trim VLZ
In audio mixers, the gain adjustment for the Acronym for very low impedance.
first amplification stage of the mixer. The trim (Impedence is measured in ohms represented
control helps the mixer cope with the widely by the Ω symbol, which is the last letter of the
varying range of input signals that come from Greek alphabet. This is how the letter Z is
real-world sources. It is important to set the used instead of I.) VLZ is one of the most im-
trim control correctly; its setting determines portant reasons why inherent noise levels on
the overall noise performance in that channel Mackie mixing boards are so minuscule. Ther-
of the mixer. See mic preamp. mal noise is something that’s created by all
TRS circuitry and usually transistors and resistors
Acronym for Tip-Ring-Sleeve, a scheme for are the worst culprits. The basic rule with
connecting three conductors through a single thermal noise is: the higher the impedance,
plug or jack. 1⁄4" phone plugs and jacks and 1⁄ 8" the more the noise. Mackie’s VLZ design re-
mini phone plugs and jacks are commonly duces thermal noise by making internal
wired TRS. Since the plug or jack can carry impedances as low as possible in as many
two signals and a common ground, TRS con- places as possible within the console. VLZ is
nectors are often referred to as stereo or achieved by scaling down resistor values by a
balanced plugs or jacks. Another common TRS factor of three or four – resulting in a corre-
application is for insert jacks, used for insert- sponding reduction in thermal noise. This is
ing an external processor into the signal path. especially true for the console’s mixing buses.
In Mackie mixers the tip is send, ring is return, volume
and sleeve is ground. Electrical or sound level in an audio system.
TS Perhaps the only thing that some bands have too
Acronym for Tip-Sleeve, a scheme for con- much of.
necting two conductors through a single plug VRMS
or jack. 1⁄4" phone plugs and jacks and 1⁄8" mini See RMS.
phone plugs and jacks are commonly wired TS. wet
Sometimes called mono or unbalanced plugs With added reverberation or other effect
or jacks. A 1⁄4" TS phone plug or jack is also like echo, delay or chorusing.
called a standard phone plug or jack. XLR connector
unbalanced See Cannon.
An electrical circuit in which the two legs of
the circuit are not balanced with respect to
ground. Usually, one leg will be held at ground
potential. Unbalanced circuit connections re-
quire only two conductors (signal “hot” and
ground). Unbalanced audio circuitry is less
expensive to build but under certain circum-
stances is more susceptible to noise pickup.
unity gain
A circuit or system that has its voltage gain
adjusted to be one, or unity. A signal will leave a
unity gain circuit at the same level at which it
entered. In Mackie mixers, unity gain is
achieved by setting all variable controls to the
marked “U” setting. Mackie mixers are opti-
mized for best headroom and noise figures at
unity gain.

43
APPENDIX B: CONNECTIONS
“XLR” CONNECTORS plug is connected tip to left, ring to right
Mackie mixers use 3-pin female “XLR” and sleeve to ground (earth). Mackie
connectors on all microphone inputs, with mixers do not directly accept 1-plug-type
pin 1 wired to the grounded (earthed) shield, stereo microphones. They must be sepa-
pin 2 wired to the “high” (”hot” or positive po- rated into a left cord and a right cord,
larity) side of the audio signal and pin 3 which are plugged into the two mic
wired to the “low” (“cold” or negative polar- preamps.
ity) side of the signal (Figure A). All totally You can cook up your own adapter for a
aboveboard and in full accord with the hal- stereo microphone adapter. “Y” two cables
lowed standards dictated by the AES (Audio out of a female 1⁄4" TRS jack to two male
Engineering Society). XLR plugs, one for the Right signal and one
Use a male “XLR”-type connector, usually for the Left.
found on the nether end of what is called a • Balanced mono circuits. When wired as a
“mic cable,” to connect to a female XLR jack. balanced connector, a 1⁄4" TRS jack or plug is
SHIELD 2 connected tip to signal high (hot), ring to
HOT signal low (cold), and sleeve to ground
(earth).
1
COLD 3
• Unbalanced Send/Return circuits. When
SHIELD 1
wired as send/return “Y” connector, a 1⁄4"
TRS jack or plug is connected tip to signal
COLD 3 2 send (output from mixer), ring to signal
HOT
1 SHIELD return (input back into mixer), and sleeve
3 COLD to ground (earth).
2
HOT
1⁄ 4" TS PHONE PLUGS AND JACKS
Figure A: XLR Connectors
“TS” stands for Tip-Sleeve, the two connec-
tions available on a “mono” 1⁄4" phone jack or
1⁄ 4 " TRS PHONE PLUGS AND JACKS plug (Figure C). TS jacks and plugs are used in
“TRS” stands for Tip-Ring-Sleeve, the three many different applications, always unbalanced.
connections available on a “stereo” 1⁄4" or The tip is connected to the audio signal and the
“balanced” phone jack or plug. See Figure B. sleeve to ground (earth). Some examples:
TRS jacks and plugs are used in several • Unbalanced microphones
different applications: • Electric guitars and electronic instruments
• Stereo Headphones, and rarely, stereo • Unbalanced line-level connections
microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or

RING SLEEVE SLEEVE RING TIP SLEEVE SLEEVE TIP

TIP TIP

RING TIP
TIP
SLEEVE
SLEEVE

Figure B: 1⁄4" TRS Plugs Figure C: TS Plug

44
SWITCHED 1⁄4" PHONE JACKS balanced ground (earth) will also be
Switches can be incorporated into 1⁄4" connected to the ground (earth) at the
phone jacks, which are activated by inserting unbalanced input. If there are ground-loop
the plug. These switches may open an insert problems, this connection may be left
loop in a circuit, change the input routing of disconnected at the balanced end.
the signal or serve other functions. Mackie • When connecting an unbalanced output to a
uses switches in the channel insert and bus in- balanced input, be sure that the signal high
sert jacks, input jacks and AUX returns. We (hot) connections are wired to each other.
also use these switches to ground the line-level The unbalanced ground (earth) connection
inputs when nothing is plugged into them. should be wired to the low (cold) and the
In most cases, the plug must be inserted ground (earth) connections of the balanced
fully to activate the switch. Mackie takes input. If there are ground-loop problems, try
advantage of this in some circuits, specifying connecting the unbalanced ground (earth)
circumstances where you are to insert the plug connection only to the input low (cold)
only partially. See Special Mackie connection, and leaving the input ground
Connections, later in this section. (earth) connection disconnected.
In some cases, you will have to make up spe-
RCA PLUGS AND JACKS cial adapters to interconnect your equipment.
RCA-type plugs (also known as phono For example, you may need a balanced XLR fe-
plugs) and jacks are often used in home stereo male connected to an unbalanced 1⁄4" TS
and video equipment and in many other appli- phone plug.
cations
SLEEVE TIP SLEEVE TIP
(Figure D). SPECIAL MACKIE CONNECTIONS
They are The balanced-to-unbalanced connection
unbalanced has been anticipated in the wiring of Mackie
Figure D: RCA Plug
and electri- jacks. A 1⁄4" TS plug inserted into a 1⁄4" TRS bal-
cally identical to a 1⁄4" TS phone plug or jack anced input, for example, will automatically
(See Figure C). Connect the signal to the cen- unbalance the input and make all the right con-
ter post and the ground (earth) or shield to nections. Conversely, a 1⁄4" TRS plug inserted
the surrounding “basket.” into a 1⁄4" unbalanced input will automatically
tie the ring (low or cold) to ground (earth).
UNBALANCING A LINE
In most studio, stage and sound reinforce- TRS Send/Receive Insert Jacks
ment situations, there is a combination of Mackie’s single-jack inserts are the three-
balanced and unbalanced inputs and outputs conductor, TRS-type 1⁄4" phone. They are
on the various pieces of equipment. This usu- unbalanced, but have both the mixer output
ally will not be a problem in making (send) and the mixer input (return) signals in
connections. one connector (See Figure F).
• When connecting a balanced output to an The sleeve is the common ground (earth) for
unbalanced input, be sure the signal high both signals. The send from the mixer to the
(hot) connections are wired to each other, external unit is carried on the tip, and the re-
and that the balanced signal low (cold) turn from the unit to the mixer is on the ring.
goes to the ground (earth) connection at
the unbalanced input. In most cases, the

45
Using the Send Only on an Insert Jack A mono signal should be patched into the
If you insert a TS (mono) 1⁄4" plug only input or return jack labeled Left (MONO). The
partially (to the first click) into a Mackie signal will be routed to both the left and right
insert jack, the plug will not activate the jack sides of the return circuit, and will show up in
switch and will not open the insert loop in the the center of the stereo pair of buses it’s as-
circuit (thereby allowing the channel signal to signed to, or it can be “panned” with the
continue on its merry way through the mixer). Balance control.
This allows you to tap out the channel or A stereo signal, having two plugs, should be
bus signal at that point in the circuit without patched into the LEFT (MONO) and the
interrupting normal operation. RIGHT input or return jacks. A jack switch in
If you push the 1⁄4" TS plug in to the second the RIGHT jack will disable the mono func-
click, you will open the jack switch and create tion, and the signals will show up in stereo.
a direct out, which does interrupt the signal in A mono signal connected to the RIGHT jack
that channel. See Figure E. will show up in the right bus only. You probably
NOTE: Do not over- will only want to use this sophisticated effect
load or short-circuit the for special occasions (weddings, bar mitzvahs,
signal you are tapping Rush Limbaugh’s birthday party, etc.)
from the mixer. That will MULTS AND “Y”s
affect the internal signal.
A mult or “Y” connector allows you to route
MACKIE STEREO INPUTS AND RETURNS: one output to two or more inputs by simply
Mono, Stereo, Whatever providing parallel wiring connections. You can
Stereo line inputs and stereo AUX returns make “Y”s and mults for the outputs of both
are a fine example of the Mackie philosophy unbalanced and balanced circuits.
(which we just made up) of Maximum Flex- Remember: Only mult
ibility with Minimum Headache. The inputs or “Y” an output into sev-
and returns will automatically be mono or ste- eral inputs. If you need
reo, depending upon how you use the jacks. to combine several out-
Here’s how it works: puts into one input, you
must use a mixer, not a mult or a “Y.”

MONO PLUG
SEND to processor
ring “tip”
Channel Insert jack tip sleeve (TRS plug)

Direct out with no signal interruption to master.


Insert only to first “click.” this plug connects to one of the “ring”
mixer’s Channel Insert jacks. RETURN from processor

Figure F
MONO PLUG
Channel Insert jack

Direct out with signal interruption to master.


Insert all the way in to the second “click.”

STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect)

Figure E

46
APPENDIX C: BALANCED LINES,
PHANTOM POWERING, GROUNDING
AND OTHER ARCANE MYSTERIES
Balanced Lines What is it, exactly?
Balanced lines offer increased immunity to The obvious external power source for any
external noise (specifically, hum and buzz). modern microphone is a battery. About the
Because a balanced system is able to minimize only electronic advantage that a battery has is
noise, it is the preferred interconnect method, that its output is pure DC. The only other ad-
especially in cases where very long lengths of vantage is to the battery company — you have
cable are being used. A long unbalanced cable to keep on buying them.
carries with it more opportunity for noise to Tube microphones require several different
get into a system — having balanced inputs voltages for operation. This invariably means a
means very little noise will enter the system multi-conductor cable and non-standard (not
via snakes and other cables that typically must XLR) connectors. A tube microphone will al-
run a long length. But regardless of length, ways have an associated external power supply.
balanced lines are best. In the late 1960’s, Neumann (you know, the
folks that brought you the U47 and U87
Phantom Powering and Microphones microphones) converted its microphones to
History solid-state, adopting a system of remote power-
ing that they called, and trademarked,
Condenser (capacitor) microphones differ Phantom Powering. Because of the trademark,
from dynamic and ribbon microphones be- some manufacturers use terms like Simplex
cause they are not self-generating. That is, Powering, etc. Over the years, the trademark
they cannot generate electricity in response to has become genericized and now refers to any
an impinging sound wave. A condenser micro- device that is powered according to DIN stan-
phone modifies an external source of dard 45 596 (or maybe it’s DIN standard 45
electricity to reflect the effects of a sound 595, we’re not exactly sure…).
wave striking its diaphragm. So, why “Phantom” Powering? Because (like
Dynamic and ribbon microphones use the Phantom in the old comic strip) it’s there
magnetism to generate electricity in response when you need it, and invisible when you don’t.
to a sound wave: they are self-generating. Fur- This technology is not new; it actually predates
thermore, both of these types of microphones rocket science. Like many other things in au-
are inherently low-impedance devices. It is dio, it was brought to you by the telephone
possible to connect a dynamic microphone ele- company, who used it to get an extra circuit
ment directly to a balanced, low-impedance from a pair of wires. In effect, so does your
mixer input. Many commercially made dy- phantom powered microphone.
namic microphones do just that. What is important is: phantom powering is
On the other hand, a condenser microphone a compatible system. Your dynamic/ribbon
is an inherently high-impedance device. How microphones as well as your condenser
high? Verrrrrrry high. On the order of a billion microphones work side-by-side, from the
ohms (1 Gigaohm). This is high enough that same microphone inputs, without further
the inherent capacitance of a foot of shielded thought on your part.
cable would audibly reduce the output of the Technically speaking, phantom powering re-
microphone. All condenser microphones have fers to a system where the audio signal is
an impedance converter, in the form of a applied to the balanced line in differential-
vacuum tube or field-effect transistor (FET), mode, and the DC power is applied
built into the microphone and located ex- common-mode. The audio travels via pins 2
tremely close to the microphone element. The and 3, the power travels between pins 2 and 3
impedance converter and the microphone ele- simultaneously, and pin 1 is the ground for
ment itself require an external power source.1 both audio and power.
1 To be strictly correct, electret condenser microphones
are a bit different, as the microphone element does not require
a power source for operation (it is more or less permanently
self-polarized). Regardless, the impedance converter still re-
quires an external source of power.
47
PHANTOM POWER DO & DON’T CHART
DO DON’T
If you are plugging in a condenser micro- Worry about your other microphones as long
phone, do verify that your microphone can as their output is balanced and floating.
be phantom powered.

Ensure that the microphone’s output is low Connect microphones or devices that do not
impedance, balanced and floating. This is conform to the DIN 45 596 standard.
especially important for vintage ribbon
microphones like the RCA 44BX and 77DX.

Mute the sound system when turning the Don’t connect A-B or T-system microphones
phantom power on or off, or when connect- (another remote powering system) without
ing or disconnecting microphones. If you suitable adaptors.
forget, the resulting loud, nasty POP may be
your last.

Microphones that do not require power sim- recording, such as the Shure SM58, SM57,
ply ignore the DC present between pin 2/pin 3 Electro-Voice RE-15, RE-16, RE-20, ND series,
and pin 1. If you measure with a voltmeter Beyer M160, M500, AKG D224, D12, D112, and
between pin 2 and pin 3, you will read 0 Volts many others.
DC. This is what your dynamic microphone If you are fortunate enough to own any tube
sees. Measuring between pin 2 and pin 1, or condenser microphones, such as the AKG C12,
between pin 3 and pin 1, you will read the Neumann U47 or U67, these microphones may
phantom power voltage, usually 48V, without a be connected in a phantom powered system
microphone connected. The dynamic micro- and will operate without regard to the presence
phone, as well as your balanced mixer input, or absence of phantom power. They will always
ignores this voltage. require their external power supply (which
Lately, the term phantom power has been must be plugged in and turned on).
perverted to refer to any remote powering What doesn’t work?
system. In the strict sense of the DIN standard,
this is not true. Furthermore, microphones or The list is short:
transducers that claim to use this system are 1. Microphones with unbalanced outputs.
not compatible with the DIN standard and will 2. Microphones with grounded center-tapped
almost certainly be damaged if connected into outputs. Many old ribbon microphones were
such a system. Fortunately, these systems use supplied connected this way. Have a techni-
tip-ring-sleeve phone plugs or miniature XLR cian lift the ground from the center tap.
connectors and they are usually associated
3. High-impedance microphones.
with instrument pickup applications2.
Phantom powering is defined in DIN standard 4. Microphones that exhibit leakage
45 596 or IEC standard 268–15A. Your Mackie between pin 2 or pin 3 and pin 1. These
Designs mixer conforms to this standard. microphones will sputter and crackle
when phantom power is applied and will
What works? work fine when you turn off the phantom
To be compatible in a phantom powered power. Get the microphone repaired.
system, a device (microphone, preamp with a
microphone-style output, or direct box) must
have a balanced and floating, low-impedance
output. This includes all microphones com-
monly used for sound reinforcement and

2 There is another remote powering system called A-B or


T-system powering. It uses pins 2 and 3 to carry both power
and audio. It is not compatible with dynamic microphones or
phantom-powered microphones.

48
Do’s and Don’ts of Fixed Installations 8. Ensure that the electrician uses the star-
If you install sound systems into fixed in- ground system for the safety grounds in
stallations, there are a number of things that your electrical system. All of the audio
you can do to make your life easier and that in- system grounds should terminate at the
crease the likelihood of the sound system same physical point. No other grounds
operating in a predictable manner. Even if you may come in contact with this ground
don’t do fixed installations, these are good system.
practices for any sound system, installed. 9. Ensure that the AC power feeds are con-
1. Do use foil-shielded snake cable for long nected to the same transformer, and ideally,
cable runs. Carefully terminate each end, the same circuit breaker.
minimizing the amount of shielding 10. Walk outside – look at the horizon, see any
removed. Protect the exposed foil shield radio towers? Locate potential sources of RF
with shrink sleeving or PVC sleeving. interference and plan for them before you
Prevent adjacent shields from contacting begin construction. Know the frequency,
each other (electrically). Use insulating transmitter power, etc. You can get this
sleeving on the drain wire (the one that information by calling the station. Remem-
connects to pin 1) to prevent it from ber that many broadcast stations change
contacting the connector shell. antenna coverage pattern and transmitter
2. Don’t connect the XLR connector shell to power at night.
pin 1 of the XLR connector (unless neces- 11. Don’t use hardware-store light dimmers.
sary for RFI shielding). Doing so is an 12. Don’t allow for anything other than micro-
invitation for a ground loop to come visiting. phone inputs at stage/altar locations.
3. Do ensure that your speaker lines and AC Supplying line inputs at these locations is
power lines are physically separated from an invitation for misuse. Make all sources
your microphone lines. look like microphones to the console.
4. If you use floor pockets, use separate 13. Balance (or at least impedance balance)
pockets for inputs and speakers, or put the all connections that are remote from the
connectors on opposite sides of the box so console’s immediate location.
that they may be shielded separately. 14. If you bridge an amplifier, don’t use 1⁄4"
5. If your speaker lines run in the open, they phone plugs for speaker connectors.
should be twisted pairs, at least 6 twists per
foot. Otherwise, run the speaker lines in Grounding
their own conduit. (Of course, conduit is Grounding exists in your audio system for
not too practical for portable systems, heh- two reasons: product safety and noise reduc-
heh.) tion. The third wire on the power cord exists
6. Minimize the distance between the power for product safety. It provides a low-resistance
amplifiers and the speakers. path back to the electrical service to protect
7. Use heavy gauge, stranded wire for speaker the users of the product from electrical shock.
lines. Ideally, the wire resistance should be Hopefully, the resistance to ground through
less than 6% (0.5dB power loss) of the load the safety ground (third wire) is lower than
impedance. Remember that the actual run that through the user/operator to ground. If
is twice as long as the physical length of you remove this connection (by breaking or
the run. See below. cutting the pin off, or by using a ‘ground
cheater’), this alternate ground path ceases to
Maximum wire run for 0.5dB power loss in feet exist, which is a safety hazard.
The metal chassis of the product, the
wire res. per 2 4 8
gauge 1000 ft. Ω Ω Ω ground connections provided by the various
connectors, and the shields within your con-
10 1.00 60 120 240 necting cables provide a low potential point for
12 1.59 40 75 150 noise signals. The goal is to provide a lower im-
pedance path to ground for noise signals than
14 2.5 24 48 95 through the signal wiring. Doing so helps mini-
16 4.02 15 30 60 mize hum, buzz, and other extraneous
non-audio signals.

49
Many “authorities” tell you that shields 8. Don’t cut the third pin off of the power
should only be connected at one end. Some- cord. Carry some ground-lifter adapters
times this can be true, but for most (99%) and use them only when you have to plug
audio systems, it is unnecessary. If you do every- into an ancient two-wire outlet.
thing else correctly, you should be able to 9. If you bundle your cables together, don’t
connect every component of your audio system bundle AC wiring and audio wiring to-
using standard, off-the-shelf connecting cables gether. Bundle them separately.
that are available at any music store.
Here are some guidelines: 10. If your sound system insists on humming,
you may need to teach it the words.
1. All return lines to the stage should be
balanced. At a minimum, they should be
impedance balanced. Remember that you can
balance a line by inserting a piece of equip-
ment inline that has a balanced output. FREE T-SHIRT OFFER
2. Run your own AC power wiring from the We love to hear what folks have created us-
stage for the mixer and related equipment. ing our mixers. If you use your MS1402-VLZ to
Don’t use the “conveniently located” recep- track and/or mix a CD that is commercially re-
tacle thoughtfully provided by the leased, we’ll trade you a disc for a genuine
management for your use. You have no idea Mackie T-Shirt! By “commercially released,”
how it’s wired or grounded. we mean “offered for sale,” even if it’s just be-
3. Carry an outlet tester, available at any well- ing sold out the back door of a local Karaoke
stocked hardware store. Use it to tell you if joint. No hand-lettered covers, please and
the outlet you’re about to plug into is wired thank you. Furthermore, if you send us an
correctly. Consider it cheap insurance. interesting story or photograph about your
4. If you carry enough equipment that you production, we might just use it somewhere!
need to wire directly into the electrical To get your genuine 100% cotton Mackie
service, then use a voltmeter to ensure that Celebrity T-shirt, send your CD (and optional
the line voltage is correct, then use the story or photo) to:
outlet tester mentioned in #3, above. Do Mackie Designs
this before you connect any of your audio FREE T-SHIRT OFFER
equipment. Chances are that your 120V attn: Communications Department
gear won’t be too happy if it sees 220V for 16220 Wood-Red Rd. NE
any length of time. Woodinville, WA 98072
5. Cables that are too long are less likely to (Roll credits please) Manual written by Jeff
pick up hum if you uncoil them in their Gilbert, based on a vignette by Ron Koliha, with
entirety, and then find a place to stow the tidbits borrowed from almost everywhere.
excess. Leaving the excess coiled only Manual then defaced with proofreading pens in
helps the cable pick up hum more effi- the hands of Mackie’s legendary Tech Support
ciently. staff. Manual composed on a rinky-dink PC us-
ing a low-budget word processor, then converted
6. Don’t run unbalanced lines to or from the to this amazing piece of work using a 13-story
stage. It’s not the impedance, it’s the fact 1000 gigawhopper Macintosh operated by
that they’re unbalanced. It’s a good idea to Mackie’s notorious Advertising staff (most nota-
use a direct box to make the unbalanced bly Becky Priebe). Please, feel free to let us
source look like a microphone. know if you find an error or stumble over a con-
7. For really extreme cases, you may need to fusing paragraph. Thank you for reading the
insert 1:1 or isolation transformers into entire manual (we know you have, or you
each return line from the front-of-house wouldn’t be here).
location to your amp racks.

©1997 Mackie Designs Inc. All Rights Reserved.


Printed in the U.S.A.

50
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6

MICRO SERIES 1402-VLZ


14-CHANNEL MIC/LINE MIXER

Session:
STEREO AUX RETURNS AUX SEND TAPE TAPE MAIN OUTS
Date: 1 1 INPUT OUTPUT L

BAL BAL BAL BAL BAL BAL


OR OR OR OR OR OR MONO MONO MONO MONO L
UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL
L L L L 2 2 R
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 LOW CUT LOW CUT LOW CUT OR OR OR OR R
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R LEFT (1/MONO) RIGHT ALL BAL/UNBAL BAL/UNBAL
MIC IN MIC IN MIC IN MIC IN MIC IN MIC IN

U U U U U U
LEVEL LEVEL LEVEL LEVEL
10 60 10 60 10 60 10 60 10 60
+4 +4 +4 +4
10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13 –14

NOTES:
U U U U U U U U U U U U
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
1 1 1 1 1 1 1 1 1 1
MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX
1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20
NORMALLED
U U U U U U U U U U AUX 1 MASTER U

2
2 2 2 2 2 2 2 2 2 2 PRE
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX POST
AUX 1 EFX TO AUX
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SELECT MONITOR OO +20 RETURNS
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ SOURCE LEFT RIGHT
HI HI HI HI HI HI HI HI HI HI MAIN +28 CLIP
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz MIX
+10
OO +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U U U +7
ALT
MID MID MID MID MID MID MID MID MID MID 3–4 +4
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz
+2
-12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12
U U U U U U U U U U 0
TAPE
-2
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
-7
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN
TO MAIN MIX -10 LEVEL
SET
-20
NORMAL (AFL)
LEVEL SET (PFL) -30
L R L R L R L R L R L R L R L R L R L R
SOLO 0dB=0dBu
MODE
1 2 3 4 5 6 7– 8 9–10 11–12 13 –14
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PHANTOM POWER RUDE SOLO LIGHT
CONTROL
ROOM / PHONES MAIN MIX
dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5 5 5 5 5 5

U U U U U U U U U U U U

5 5 5 5 5 5 5 5 5 5 5 5

10 10 10 10 10 10 10 10 10 10 10 10

51
20 20 20 20 20 20 20 20 20 20 20 20

30 30 30 30 30 30 30 30 30 30 30 30

40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO