MACKIE 1402-VLZ3 - Manual (Page 8)

8
140-VLZ3
1402-
VLZ3
Patchbay Description
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
See Appendix B for further details and drawings of
the connectors you can use with the 1402-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
1. MIC INPUTS (Channels 1–6)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at re-
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1402-VLZ3’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced lnstrument-level signals from your
guitar, into balanced mic-level outputs, and provide
signal and impedance matching. They also let you send
your gifted guitar renditions over long cables or audio
snakes, with minimum interference and high-frequency
signal loss. Ask your dealer or guitar maker about their
recommendations for a good DI box.
PHANTOM POWER
Most modern professional condenser mics are
equipped for Phantom Power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
The 1402-VLZ3’s phantom power is globally controlled
by the PHANTOM switch on the rear panel. (This means
the phantom power for channels 1-6 is turned on and off
together.)
Never plug single-ended (unbalanced) micro-
phones or instruments into the MIC input
jacks if the PHANTOM power is on.
Do not plug instrument outputs into the MIC
input jacks with PHANTOM power on unless
you know for certain it is safe to do so.
2. LINE INPUTS (Channels 1–6)
These six line inputs share circuitry (but not phan-
tom power) with the mic preamps, and can be driven
by balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 7–14.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
headphones.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or standard instrument
cable.
LINE IN inputs 1–6 are a good place to connect older
instruments that need more gain. You can correct weak
levels by adjusting the corresponding channel’s GAIN
control.
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
U
O O +20
U
O O +20
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
dB
30
20
10
O O
40
50
5
5
U
60
10
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
1
2
3
4
5
6