1402-VLZ3

At the risk of creating another standard, Mackie’s compact mixers address the need of both crowds by calling things as they are — 0 dBu (0.775 V) at the output shows as 0 dB VU on the meters. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from.

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).

A WORD ABOUT AUX

Sends are outputs, Returns are inputs. The AUX [30] and [31] knobs tap the signal off the channel and sends it to the AUX SEND [8] outputs. The AUX 1 signal is sent to the AUX 1 MASTER [40] knob before going

to the AUX SEND 1 output and the AUX 2 signal goes directly to the AUX SEND 2 output.

These outputs can be fed to the inputs of a reverb or other device. From there, the outputs of this external device are fed back to the mixer’s STEREO RETURN [7] jacks. Then these signals are sent through the STEREO RETURN [41] level controls, and are finally delivered to the main mix.

So, the original “dry” signals go from the channels to the main mix and the affected “wet” signals go from the STEREO RETURN to the main mix, and once mixed together, the dry and wet signals combine to create a glorious sound. So, armed with this knowledge, let’s visit the Auxiliary World:

39. PRE/POST (AUX 1)

Besides being used to work effects into your mix, Aux Sends serve another critical role — that of delivering cue mixes to stage monitors, so musicians can hear what they’re doing. On the 1402-VLZ3, AUX SEND 1 can play either role, depending on the position of this switch.

With the AUX 1 SELECT switch up (disengaged), AUX SEND 1 will tap a channel pre-fader [23] and pre- MUTE/ALT 3-4 [25], meaning that no matter how you manipulate those controls as they feed the main mix, the AUX SEND will continue to belt out that channel’s signal. This is the preferred method for setting up stage monitor feeds. EQ settings will affect all AUX SENDs.

With the switch down, the AUX SEND 1 becomes an ordinary effects send — post-fader and post-MUTE/ALT 3-4. This is a must for effects sends, since you want the levels of your “wet” signals to follow the “dry” level.

U

U

40

+10

 

 

U

41

OO

42

OO

+20

 

39

 

 

 

 

 

 

 

 

 

 

 

 

OO

+20

 

C-R/SOURCE

 

LEFT

RIGHT

 

 

0dB=0dBu

 

 

 

 

 

20

 

MAIN MIX

 

 

10

 

 

 

 

 

7

 

 

 

 

 

4

 

ALT 3–4

 

 

2

 

 

 

 

 

 

 

 

 

 

0

 

TAPE

 

 

2

 

 

 

 

 

4

 

ASSIGN

 

 

7

 

 

 

10

LEVEL

TO MAIN MIX

 

 

 

 

SET

 

 

 

 

 

 

 

 

 

20

 

 

NORMAL (AFL)

 

30

 

 

LEVEL SET (PFL)

 

 

SOLO

 

 

 

 

MODE

 

RUDE

 

 

 

 

SOLO

 

48V

POWER

 

LIGHT

 

 

 

 

 

CTL ROOM /SUBMIX

 

MAIN MIX

 

dB

 

dB

 

 

 

10

 

10

 

 

 

5

 

5

 

 

 

U

 

U

 

 

 

5

 

5

 

 

 

18

1402-VLZ3

40. AUX 1 MASTER

The AUX 1 MASTER provides overall level control of AUX SEND 1, just before it’s delivered to the AUX SEND 1 [8] output. (AUX SEND 2 has no such control.) This knob goes from off (turned fully down), to unity gain at the center detent, with 10 dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, you’ll be glad you bought a Mackie.

This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (It would follow suit that if the singer stuck his thumb down, you’d turn the knob down… but that never happens.)

41. STEREO RETURNS

These two controls set the overall level of effects received from STEREO RETURN [7] inputs 1 and 2. These controls are designed to handle a wide range of signal levels, from off, to unity gain at the detent, with 20 dB gain fully clockwise, to compensate for low-level effects.

Typically, these knobs can just live at the center detent, and the effects device’s output control should be set at whatever they call unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects device’s outputs, not the mixer. That way, the mixer’s knobs are easy to relocate at the center detent.