Mackie 1402-VLZ3 32. MAIN MIX FADERS, 33. CONTROL ROOM SOURCE MATRIX, 34. CONTROL ROOM/SUBMIX, Output Section

-VLZ3	Output Section
1402		U		U
	OO	+10	OO	+20
				U
			OO	+20
	C-R/SOURCE		LEFT	RIGHT
			0dB=0dBu
	33 MAIN MIX			20
				10	38
				4
				7
	ALT 3–4			2
				0
	TAPE			2
				4
	ASSIGN			7
					LEVEL
	37 TO MAIN MIX			10
					SET
	35			20
		NORMAL (AFL)		30
		LEVEL SET (PFL)
	SOLO
	MODE		RUDE		36
			SOLO
	48V	POWER	LIGHT
	CTL ROOM /SUBMIX		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

34 32

32. MAIN MIX FADERS

These faders control the levels of signals sent to the main outputs: XLR [13], 1⁄4" TRS [11], and TAPE [10]. All channels and STEREO RETURNS that are not muted or turned fully down will end up in the main mix.

	Fully down is off, the "U" is unity gain, and fully up
	provides­	10 dB additional gain. This additional gain will
	typically never be needed, but once again, it’s nice to
	know it’s there. This is the fader to move down at the
	end of the song when you want The Great Fade-Out.
16	1402-VLZ3

33. CONTROL ROOM SOURCE MATRIX

Typically, the engineer sends the main mix to an audience (if mixing live) or a mixdown deck (if recording). But what if the engineer needs to hear something other than the main mix? With the 1402-VLZ3, the engineer has several choices of what to listen to. This is one of those tricky parts, so buckle up.

Via these SOURCE switches, you can choose to listen to any combination of main mix, ALT 3-4 and TAPE. By now, you probably know what the main mix is. ALT 3-4 is that additional stereo mix bus. Tape is the stereo signal coming in from the TAPE INPUT [9] jacks.

Selections made in the source matrix deliver stereo signals to the control room, phones and meter display. With no switches engaged, there will be no signal at these outputs and no meter indication.

The exception to that is the SOLO function. Regardless of the source matrix selection, engaging a channel’s SOLO [24] switch will replace that selection with the solo signal, also sent to the control room, phones and meter. This is what makes the Level-Setting Procedure so easy to do.

WARNING: Engaging both the TAPE and

­ASSIGN TO MAIN MIX buttons in the

SOURCE matrix can create a feedback path between TAPE INPUT and TAPE OUTPUT. Make sure your tape deck is not in record, record-pause, or input monitor mode when you engage these switches, or make sure the CONTROL ROOM / SUBMIX [34] fader is fully down.

Now you know how to select the signals to send to the engineer’s control room or phones. From there, these signals all pass through the same level control:

34. CONTROL ROOM/SUBMIX

This fader controls the levels of both the control room outputs and phones outputs. The fader ranges from off, through unity gain at the "U", to 10 dB of extra gain when fully up.

When MAIN MIX is your control room source selec- tion, those signals will now pass through two level controls on the way to your control room amp and phones

—the MAIN MIX [32] faders and this CONTROL ROOM / SUBMIX fader. This way, you can send a nice healthy level to the main output (MAIN MIX fader at “U”), and a quiet level to the control room or phones (CONTROL ROOM / SUBMIX fader wherever you like it).

When ALT 3-4 or TAPE is selected, or SOLO is en- gaged, this fader will be the only one controlling these ­levels (channel controls not withstanding).