MACKIE 1402-VLZ3 - Manual (Page 14)

14
140-VLZ3
1402-
VLZ3
M
IC GAIN
0
U
60
-10
dBV
+15dB -45dB
M
IC GAIN
0
U
60
-10
dBV
+15dB -45dB
M
IC GAIN
0
U
60
-10d
BV
+15dB -45dB
M
IC GAIN
0
U
60
-10dBV
+15dB -45dB
M
IC GAIN
0
U
60
-10dBV
+15dB -45dB
M
IC GAIN
0
U
60
-10dBV
+15dB -45dB
U
O O +10
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dB
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20
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MIC 2 MIC 3 MIC 4 MIC 5 MIC 6
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
AUX SEND
1
2
1
2
RIGHT LEFT/ MONO ALL BAL/UNBAL BAL/UNBAL
L
R
LINE IN 1 LINE IN 2
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LINE IN 5 LINE IN 6
LOW CUT
75 Hz
18dB/OCT
GAIN GAIN GAIN GAIN GAIN GAIN LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 LINE IN 13-14
AUX
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
SOLO
1
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
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
2
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
3
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
4
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
5
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
6
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
7-8
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
9-10
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
11-12
MUTE
L R
HI
12kHz
MID
2.5kHz
LOW
80Hz
SOLO
13-14
MUTE
ALT 3–4
L R
L
MONO MONO MONO MONO
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
TAPE
INPUT
TAPE
OUTPUT
L
R
L
R
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
LEFT RIGHT
MAIN OUT
ALT 3–4
TAPE
MAIN MIX
ASSIGN
TO MAIN MIX
SOLO
MODE
LEVEL SET (PFL)
NORMAL (AFL)
C-R/SOURCE
PO 48V WER
RUDE
SOLO
LIGHT
MAIN MIX CTL ROOM /SUBMIX
0dB=0dBu
LEVEL LEVEL LEVEL
- 10
LEVEL
+4
- 10
+4
- 10
+4
- 10
+4
MIC 1
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
Another way to do the same thing is assign the chan-
nels to the ALT 3–4 mix, then patch out of the ALT
OUTPUT L and R back into an unused stereo channel
(7–8, 9–10, 11–12, 13–14). If that’s your choice, don’t
ever engage the MUTE/ALT 3–4 switch on that stereo
channel, or you’ll have every dog in the neighborhood
howling at your feedback loop.
Another benefit of the ALT 3–4 feature is that it
can act as a “AFL” (After-Fader-Listen): just engage a
channel's MUTE/ALT 3–4 switch and the ALT 3–4 switch
in the SOURCE matrix and you’ll get that channel, all by
itself, in the control room and phones.
MUTE/ALT 3–4 is one of those controls that can bewil-
der newcomers, so take your time and play around with
it. Once you’ve got it down, you’ll probably think of a
hundred spiffy uses for it!
26. PAN
PAN adjusts the amount of chan-
nel signal sent to the left versus the
right outputs. On mono channels
(ch. 1–6 or 7–14 with connections
to the left input only) these controls
act as pan pots. On stereo channels
(7–14) with stereo connections to
L and R inputs, the PAN knob works
like the balance control on your
home stereo.
PAN determines the fate of the
main mix and ALT 3–4 mix. With
the PAN knob hard left, the signal
will feed either MAIN OUT L (bus
1) or ALT OUTPUT L (bus 3),
depending on the position of the
ALT 3–4 [25] switch. With the knob
hard right, the signal feeds MAIN
OUT R (bus 2) or ALT OUTPUT R
(bus 4).
CONSTANT LOUDNESS ! ! !
The 1402-VLZ3’s PAN controls employ a design called
“Constant Loudness.” It has nothing to do with living
next to a freeway. As you turn the PAN knob from left
to right (thereby causing the sound to move from the
left to the center to the right), the sound will appear to
remain at the same volume (or loudness).
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise (the
way Brand X compact mixers do) would make the sound
appear much louder when panned center.
3-BAND EQ
The 1402-VLZ3 has 3-band equalization at carefully
selected points — LOW shelving at 80 Hz, MID peaking
at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specified frequency. For example, rotating the LOW EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the MID EQ.
27. LOW EQ
This control gives you
up to 15 dB boost or cut
below 80 Hz. The circuit is
flat (no boost or cut) at the
center detent position. This
frequency represents the
punch in bass drums, bass
guitar, fat synth patches,
and some really serious
male singers.
Used in conjunction with
the LOW CUT [3] switch,
you can boost the LOW EQ
without injecting a ton of
subsonic debris into the
mix.
28. MID EQ
Short for “midrange,”
this knob provides 15 dB
of boost or cut, centered at
2.5 kHz, also flat at the cen-
ter detent. Midrange EQ
is often thought of as the
most dynamic, because the
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Mid EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
Low EQ
26
27
29
28
30
31