Mackie 1402-VLZPRO ASSIGN TO MAIN MIX, METERS – MANY DISPLAYS IN ONE, ALT, METERS, MAIN MIX, read the, fader, the, outputs or the, CTL ROOM / SUBMIX, Why? You want the

ASSIGN TO MAIN MIX

Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd to prevent them from becoming antsy. Then you think, “But I have the CD player plugged into the TAPE in- puts, and that never gets to the MAIN OUTPUTS!” Oh, but it does. Simply engage this switch and your SOURCE matrix selection, after going through the CTL ROOM / SUBMIX fader, will feed into the MAIN MIX, just as if it were another stereo channel.

Another handy use for this switch is to enable the ALT 3-4mix to become a submix of the MAIN MIX , using the CTL ROOM / SUBMIX fader as its level control.

Side effects: (1) Engaging this switch will also feed any soloed channels into the MAIN MIX, which may be the last thing you want. (2) If you have MAIN MIX as your SOURCE matrix selection and then engage ASSIGN TO MAIN MIX, the MAIN MIX lines to the SOURCE matrix will be interrupted, to prevent feedback. Then again, why on earth would anyone want to assign the MAIN MIX to the MAIN MIX?

METERS – MANY DISPLAYS IN ONE!

The 1402-VLZ PRO’s peak metering system is made up of two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by it.

If nothing is selected in the SOURCE matrix and no channels are in SOLO, the METERS will just sit there and look stupid. To put them

to work, you must make a selection in the SOURCE matrix (or engage a SOLO switch).

Why? You want the METERS to reflect what the engineer is listening to, and as we’ve cov- ered, the engineer is listening either to the CONTROL ROOM outputs or the PHONES outputs. The only difference is that while the listening levels are controlled by the CTL ROOM / SUBMIX fader, the METERS read the SOURCE mix before that control, giving you the real facts at all times, even if you’re not listening at all.

You may already be anexpert at the world of “+4”(+4dBu=1.23V) and “–10”(–10dBV=0.32V) operating

levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meters. A “+4” mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meters. A “–10” mixer, with a –10dBV signal trickling out, will read, you guessed it, 0VU on its meters. So when is 0VU actually 0dBu? Right now!

At the risk of creating another standard, Mackie’s compact mixers address the need of both crowds by calling things as they are — 0dBu (0.775V) at the output shows as 0dB 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.

Thanks to the 1402-VLZ PRO’s wide dynamic range, you can get a good mix with peaks flashing anywhere between –20 and +10dB on the METERS. Most amplifiers clip at about +10dB, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+7.”

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).