13

15

14

12. PHONES

This stereo jack will drive any standard headphone to very loud levels. Walkperson-type phones can also be used with an appropriate adapter. To learn how signals are routed to these outputs, see SOURCE MATRIX

[33]on page 16. If you’re wiring your own cable for the PHONES output, follow standard conventions:

Tip = Left channel Ring = Right channel Sleeve = Common ground

WARNING: When we say the headphone amp

is loud, we’re not kidding. It can cause permanent ear damage. Even intermediate levels

may be painfully loud with some earphones. BE CARE- FUL! Always move the CTL ROOM/ SUBMIX fader all the way down before connecting 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.”

13. XLR MAIN OUTS

These line-level outputs connect the main mix to the outside world. Connect them to the balanced inputs of a power amplifier or powered speakers. See page 16 for details of the main mix.

These low-impedance outputs are fully balanced and capable of driving +4 dBu lines with up to 28 dB of headroom. This output is 6 dB hotter than other outputs.

14. XLR MAIN OUTPUT LEVEL SWITCH

Engaging this switch reduces the level of the balanced XLR main outputs by 40 dB, so you can feed the ­microphone input of, say, another mixer. (You can safely connect the XLR outputs into an input that provides 48V phantom power.)

15. CONTROL ROOM

These outputs are provided so you can listen to something other than the main mix. The source is selected using the SOURCE MATRIX [33] switches (see page 16). You can choose to listen to the main mix, the Alt

 

 

Owner’s

16

17

Manual

 

3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed channels, or the Tape input. The volume is adjustable with the CONTROL ROOM/SUBMIX [34] fader.

These 1⁄4" jacks are balanced outputs capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load.

16. ALT 3–4 OUTPUT

The output here is the sum of any channels that have the MUTE/ALT 3-4 [25] switch pressed in (see page 13 for the tender details).

These 1⁄4" jacks are balanced outputs capable of delivering 22 dBu into a balanced or unbalanced load.

17. CHANNEL INSERT (Channels 1–6 )

These rear-panel jacks are where you connect serial effects such as compressors, equalizers, de-essers, or filters. Since most people don’t have more than a few of these gadgets, we’ve included inserts for just the first six channels. If you want to use this kind of processing on channels 7 through 14, simply patch through the

processor­ before you plug into the 1402-VLZ3.

The channel insert points are after the GAIN [4] and LOW CUT [3] controls, but before the channel’s EQ

[27]controls and FADER [23]. The send (tip) is low- impedance (120 ohms), capable of driving any line-level device. The return (ring) is high-impedance (over 2.5 k ohms) and can be driven by almost any device.

 

ring

 

SEND to processor

“tip”

tip

(TRS plug)

 

sleeve

 

 

This plug connects to one of the

RETURN from processor“ring”

mixer’s Channel Insert jacks.

See Appendix B for details and drawings about Insert cables, and a diagram showing three ways to use the jacks.

Besides being used for inserting external devices, these jacks can also be used as channel direct outputs; post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie mic preamps have become so famous, that people buy these mixers just to have six of these in their arsenal.

Owner’s Manual

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