1402-VLZ PRO 14-Channel Mic/Line Mixer Spec Sheet

Introduction
Mackie’s 1402-VLZ PRO combines the compact
size of the 1202-VLZ PRO with added features and
60mm log-taper faders. Its six new “audiophile”
XDR™ Extended Dynamic Range mic preamps offer
the best RFI rejection of any compact mixer design.
Added benefits include maximum freedom from
ground loops and impeccable sonic performance
that meets or exceeds the specs of esoteric, outboard mic preamplifiers. The XDR design is the only
compact mixer mic preamp that is totally impedance
independent: frequency response does not change
even with extremely long cable runs or exceptionally
high-impedance mic inputs.
A sharp, 18dB/octave 75Hz Low Cut filter on each
mic channel greatly reduces mic thumps, wind noise
and stage rumble. Mute/Alt 3-4 effectively creates a
second stereo bus. The Mute button on each channel
mutes that channel in the Main Mix, while simultaneously placing the signal on the Alt 3-4 stereo bus,
greatly increasing signal routing flexibility.
The EFX to Monitor feature allows routing of
reverb or other effects signals back into a monitor
mix via Aux Send 1. Aux 1 Master’s Pre/Post switch
can be set for pre-fader/post-EQ use, which is beneficial for stage monitor mixes, or post-fader/post-EQ
for use with external effects. It also has a level control for added flexibility.
Control Room/Phones has its own level control,
stereo output pair and input matrix for selecting any
combination of Main Mix, Tape In and Alt 3-4 to
create custom headphone mixes, to monitor tape
levels, and more. A separate switch routes this
multi-source signal back into the Main Mix.
Because of its many features and durability, the
1402-VLZ PRO can be used for extra studio-grade
preamps, as aux inputs for a mixing console, or as
an impedance- or level-matching audio toolkit.
RM1402-VLZ Rack-Mount Brackets (not included),
1202-VLZ PRO 12-Channel Mic/Line Mixer, 1604-VLZ
PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16Channel Mic/Line Mixer, SRM350/SRM450 Active
2-Way SR Loudspeakers, M•800/M•1400i/M•1400
Power Amplifiers, C200/C300z passive 2-way SR Loudspeakers
14-Channel Mic/Line Mixer
Features
6 low noise/high headroom XDR™ (Extended
Dynamic Range) XLR mic inputs with the best
RF rejection of any compact mixer design and
maximum freedom from ground loops
6 balanced/unbalanced mono line inputs
4 pairs of balanced/unbalanced stereo line inputs
60mm log-taper faders
48V global phantom power
3-band EQ (12kHz, 2.5kHz, 80Hz)
75Hz, 18dB/octave Low Cut filter on Channels 1–6
PFL/AFL Solo (in-place) on all channels (global)
Very Low Impedance (VLZ) architecture
EFX to Monitor switch
Alt 3-4 extra stereo bus
Balanced inputs and outputs (except RCAs and
channel inserts)
Balanced XLR Main L/R outputs with mic/line
level switch plus 1/4" Main L/R outputs
60dB Gain on Channels 1–6
Global Aux 1 Pre/Post-Fader switch
Level Setting LED and marker
Applications
Live sound mixing for churches, clubs, school auditoriums, school sports centers, hotel conference
centers, boardrooms, trade shows, presentations
Multitrack studio and field recording
Headphone or cue mixer, impedance or level matching “tool kit”
A/V presentations, video post production, CD
authoring, multimedia
Live broadcast remotes, ENG, ad production
Specifications
–129.5dBu
–131.0dBu
–134.5dBu
5Hz–100kHz
3Hz–192kHz
Main Mix Noise1
Main Mix down, ch. faders down:
Main Mix @ unity, ch. faders down:
Main Mix fader @ unity, channel faders @ unity:
0.0008%
0.0007%
+60dB
0dB or Unity
+22dB
1.3kΩ
> 90dB
> 140dB
–90.5dB
–90.5dB
–88.5dB
EQ
High Shelving:
Mid Peaking:
Low Shelving:
±15db @ 12kHz
±12dB @ 2.5kHz
±15db @ 80Hz
Power Consumption
120VAC, 50/60Hz, 25 Watts
Physical
Weight
9.5 lbs. (4.5 kg)
Dimensions 13" x 14" x 2.9" (330mm x 356mm x 74mm)
14" (356mm)
12.9" (328mm)
8 rack spaces
Mic Preamp
Equivalent Input Noise (20Hz–20kHz):
150Ω
50Ω
0Ω
Frequency Response:
–1dB
–3dB
IM Distortion (4 to 1 ratio SMPTE)
35dB gain
Harmonic Distortion (20Hz–20kHz)
35dB gain
Gain
Max
Min
Max Input
Input Impedance
Common Mode Rejection
Common Mode Rejection Ratio
Total Harmonic Distortion (THD)2
0.005%
Frequency Response4
Mic input to any output
20Hz to 60kHz:
20Hz to 100kHz:
Maximum Levels
Mic in:
Tape in:
All other inputs:
Main Mix XLR outputs:
All other outputs:
–85dBu
–84dBu
–83dBu
+0dB/–1dB
+0dB/–3dB
+22dBu
+16dBu
+22dBu
+28dBu
+22dBu
19" (483mm)
with RM1402-VLZ Rackmount brackets
2.9"
(74mm)
Attenuation (Crosstalk)3
Main fader down:
Channel Alt 3-4/Mute switch engaged:
Channel fader down:
1.3kΩ
2.5kΩ
> 10kΩ
1.1kΩ
120 ohms
2.9"
(74mm)
14" (356mm)
Impedances
Mic in:
Channel Insert return:
All other inputs:
Tape out:
All other outputs:
13.1" (333mm)
Specifications footnotes:
1) 20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim @ unity gain, channel EQs flat, all
channels assigned to Main Mix, channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right. Reference +4dBu.
2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
5) Mic in to Insert Send out, max gain.
MIC 1
MIC 4
MIC 3
MIC 2
MIC PR
XDR
E
MIC PR
XDR
E
MIC PR
XDR
E
MIC 5
MIC 6
MIC PR
XDR
E
MIC PR
XDR
E
LEFT/MONO
RIGHT
TAPE
INPUT
ALL BAL/UNBAL
1
1
MIC PR
XDR
E
TAPE
OUTPUT
BAL/UNBAL
L
1402-VLZ PRO
L
R
2
2
R
-10dGBAV
MIC IN
U
-10dGBAV
MIC IN
U
-10dGBAV
MIC IN
U
BAL
OR
UNBAL
LINE IN 5
-10dGBAV
MIC IN
U
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
LINE IN 3
LINE IN 2
LINE IN 1
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dGBAV
MIC IN
U
-10dGBAV
MIC IN
U
60
0
+15dB -45dB
60
0
+15dB -45dB
0
60
+15dB -45dB
60
0
+15dB -45dB
60
0
+15dB -45dB
60
0
+15dB -45dB
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
AUX
1
U
AUX
1
U
+15
OO
EQ
U
EQ
U
R
R
LEVEL
+4
-10
LINE IN 9–10
EQ
U
LINE IN 11–12
LINE IN 13–14
EFX
EFX
EQ
U
2
2
2
+15
OO
OO
EQ
U
EQ
U
HI
HI
HI
HI
HI
HI
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
+15
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
MID
MID
MID
MID
MID
MID
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
+12
-12
+12
U
-12
+12
U
-12
+12
U
-12
+12
U
-12
+12
U
-12
U
+12
-12
+12
U
-12
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
+15
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
+15
-15
10
4
ALT 3–4
2
0
LOW
-15
28
U
80Hz
PAN
PAN
RIGHT
0dB=0dBu
+12
U
LOW
+15
TAPE
2
ASSIGN
TO MAIN MIX
10
4
+15
-15
PAN
7
PAN
20
L
R
L
R
L
2
1
MUTE
ALT 3–4
R
L
R
L
4
3
R
L
5
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
R
L
R
L
7–8
6
MUTE
ALT 3–4
R
L
9–10
R
L
11–12
NORMAL (AFL)
LEVEL SET (PFL)
R
SOLO
MODE
13–14
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
dB
SOLO
10
SOLO
30
RUDE
SOLO
LIGHT
PHANTOM POWER
CTL ROOM /SUBMIX
dB
10
AUX
RETURN
7
MID
-12
+20
OO
LEFT
C-R/SOURCE
U
2.5kHz
+12
EFX TO
MONITOR
MAIN MIX
+15
-15
U
+20
U NORMALLED
2
AUX 1
SELECT
HI
-15
OO
PRE
POST
+15
OO
+10
AUX 1 MASTER
U
EFX
1
+15
OO
U
+15
U
U
MON/
EFX
+15
OO
PHONES
AUX
1
U
MON/
EFX
+15
OO
EQ
U
AUX
1
U
MON/
EFX
OO
R
LEVEL
+4
-10
AUX
1
U
+15
OO
R
LEVEL
+4
-10
HI
U
-15
EQ
U
BAL
OR
UNBAL
LEVEL
+4
-10
MONO
HI
U
-12
EQ
U
BAL
OR
UNBAL
EFX
+15
OO
BAL
OR
UNBAL
2
EFX
+15
OO
L
BAL
OR
UNBAL
U
2
EFX
+15
OO
L
HI
+15
-15
EQ
U
+15
OO
L
U
2
EFX
EFX
EFX
+15
OO
L
+15
OO
U
2
2
2
2
MONO
MON/
EFX
+15
OO
U
MAIN OUT
MONO
AUX
1
U
MON/
EFX
+15
OO
U
AUX SEND
MONO
LINE IN 7–8
AUX
1
U
MON/
EFX
+15
OO
U
EFX
AUX
1
U
MON/
EFX
+15
OO
U
+15
AUX
1
U
MON/
EFX
+15
OO
U
OO
AUX
1
U
MON/
EFX
MON/
EFX
STEREO AUX RETURN
MAIN MIX
dB
dB
10
10
5
5
5
5
5
5
5
5
5
5
5
5
U
U
U
U
U
U
U
U
U
U
U
U
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
LEVEL
SET
2
3
TRIM
75Hz
HPF
+4 /-10
STEREO CHANNEL (1 OF 4)
LINE IN R
LINE IN L
(MONO)
MONO CHANNEL (1 OF 6)
LINE IN
MIC IN
1
LOW
CUT
POST
SOLO
AUX RETURN 2
AUX RETURN 1
R IN
L IN
R IN
L IN
(MONO)
AUX SEND 1
EFX TO
MONITOR
GAIN
GAIN
AUX SEND 2
LOGIC
PFL
AFL R
4
3
3-BAND EQ
PAN
1
2
AUX SEND 1
MUTE / ALT
POST
LOGIC
PFL
AFL R
3
4
AFL L
2
MUTE / ALT
1
AUX SEND 2
SOLO
PAN
80 2K5 12K
PRE
PRE
FADER
AFL L
LO MID HI
80 2K5 12K
FADER
3-BAND EQ
80 2K5 12K
LO MID HI
INSERT
LO MID HI
PHANTOM POWER (GLOBAL SWITCH)
LOGIC
PFL
AFL R
AFL L
AUX 2 POST
AUX 1 POST
AUX 1 PRE
ALT R
ALT L
MAIN R
MAIN L
AUX 2 MIX
AUX 2 OUT
AUX 1 OUT
PFL LED
CONTROL ROOM &
PHONES FADER
CONTROL ROOM
& PHONES MIX
SOURCE
ALT OUT R
ALT OUT L
30dB PAD
SOLO RELAY
MAIN
ALT
TAPE IN
L
TAPE
R
AUX 1 LEVEL
AUX 1 MIX
AUX 1 PRE / POST
ASSIGN TO MAIN
SIP (SOLO IN PLACE) /
PFL (PRE-FADER LISTEN)
SOLO MIX
PFL
AFL R
AFL L
ALT MIX
MAIN FADERS
MAIN MIX
1
BAL OUT L
LINE
OUT R
1
CONTROL ROOM RIGHT
PHONES OUT
CONTROL ROOM LEFT
RUDE
SOLO
LED
METERS
ØdBu=Ø VU
+28
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
TAPE OUT R
3
2 BAL OUT R
3
2
LINE
OUT L
TAPE OUT L
Architect’s and Engineer’s Specifications
1. GENERAL CONFIGURATION. The mixer shall
accommodate 6 microphone signals, mono channels 1–6; 14 line signals, mono channels 1–6 and
stereo channels 7–14; 2 stereo pairs of Aux Return
inputs; 6 Send/Return channel Inserts; 2 stereo
pairs of Main Mix outputs; 1 stereo pair of Control
Room outputs; 2 stereo pairs of RCA-type phono
Tape outputs and inputs; 1 stereo pair of Alt 3-4
outputs; 2 Aux Send outputs; and 1 stereo headphone output. The mixer shall be capable of placement on a table or installation in a standard 19-inch
rack mount (via optional rack rail brackets) and
shall be entirely self-contained.
2. MIXER INPUTS.
MONO CHANNELS 1–6: The mixer shall include
6 XDR(tm) (Extended Dynamic Range) electronically
balanced mic inputs, using XLR-3-F-type connectors, accepting nominal levels from –60dBu to
+4dBu via 6 rotary Trim controls. Phantom power
shall be available via a globally-controlled rockertype switch. 6 balanced or unbalanced (bal/unbal)
line inputs shall be wired in parallel, using 1/4" TRS
phone jacks, accepting nominal levels from –45dBu
to +4dBu. The mixer shall include 6 channel Inserts,
using 1/4" TRS phone jacks (tip=send, ring=return,
sleeve=ground), delivering and accepting nominal
levels from –10dBV to +4dBu.
STEREO CHANNELS 7/8, 9/10, 11/12 and 13/14:
The mixer shall include 8 bal/unbal line inputs,
forming 4 stereo input pairs, using 1/4" TRS phone
jacks, accepting nominal levels from –10dBV to
+4dBu, with +4dBu/–10dBV level switches. OTHER
INPUTS: The mixer shall include 4 bal/unbal Aux
Return inputs, forming two stereo pairs, using 1/4"
TRS phone jacks, accepting nominal levels from
–10dBV to +4dBu. The mixer shall include 1 stereo
pair of Tape In jacks, using unbalanced RCA-type
phono jacks, accepting nominal levels from –20dBV
to +0dBu.
3. MIXER OUTPUTS.
MAIN OUTPUTS: The mixer’s Main Output stereo
pairs shall be fitted in three ways: Using balanced
XLR-3-M-type connectors, delivering maximum output
of +4dBu, including 1 Main Output Level switch to
provide 30dB attenuation (XLR outputs only; –26dBu
nominal level); using bal/unbal 1/4" TRS phone jacks,
delivering nominal levels from –10dBV to +4dBu; and
using unbalanced RCA-type phono jacks (labeled TAPE
OUT), delivering nominal levels from –10dBV to +4dBu.
OTHER OUTPUTS: The mixer shall include 1 stereo
pair of Alt 3-4 outputs using bal/unbal 1/4" TRS
phone jacks, delivering maximum output of +22dBu;
1 stereo pair of Control Room outputs using bal/
unbal 1/4" TRS phone jacks, delivering a maximum
output of +22dBu; 2 Aux Send outputs using bal/
unbal 1/4" TRS phone jacks, delivering nominal
levels from –10dBV to +4dBu; and 1 stereo Headphone output using an unbalanced 1/4" TRS phone
jack (tip=left, ring=right, sleeve=ground).
4. MIXER INPUT SECTION. In addition to the controls listed in section 2 (MIXER INPUTS), each channel shall include 2 rotary Aux Send controls, providing up to 15dB gain; 3 rotary equalization (EQ) controls: ±15dB @ 12kHz shelving, ±12dB @ 2.5kHz
peaking and ±15dB @ 80kHz shelving; 1 rotary Pan
control, 4dB attenuation panned center; 1 Mute/Alt
3-4 switch, to be used as a channel mute or to
route the signal to the alternate stereo bus (Alt
3-4); 1 dual-mode solo switch (AFL or PFL, globally
switched); and 1 channel fader, providing up to 10dB
above unity gain.
5. MIXER OUTPUT SECTION. The mixer shall have
2 Main Mix faders, providing up to 10dB gain; 1 Control Room/Submix Fader, providing up to 10dB gain;
1 Source Matrix including 3 switches to deliver any
combination of stereo signals to the Control Room,
Phones and Meters, including Main Mix, Alt 3-4 and
Tape, which shall be replaced by any solo signals
resulting from the engagement of any channel’s Solo
switch; 1 Assign to Main Mix switch to deliver the
Source Matrix signals to the Main Mix; 1 Solo Mode
switch to globally determine solo type (pre-fader
listen or after-fader listen, in place); 2 rotary Aux
Return level controls, providing up to 20dB gain; 1
rotary Aux Send 1 Master control, providing up to
10dB gain; 1 Aux Send global Pre/Post switch; 1 EFX
to Monitor switch, allowing Aux Return 1 signals to
be delivered to Aux Send 1 via the Aux Return 2 level
control; and 1 blinking red Solo LED, to indicate a
solo condition.
6. METERING. The mixer shall include 1 stereo
12-segment LED meter with points at –30, –20, –10,
–7, –4, –2, 0, +2, +4, +7, +10, and +28dB (clip).
The source signals for the meters shall be the same
signals selected in the Source Matrix, and a solo
condition shall replace the Source selection with the
soloed channel(s). The meters shall be calibrated so
that a 0dBu signal at the Control Room output shall
be indicated as 0dB on the meters, ±1 LED.
7. PHYSICAL CONFIGURATION. The mixer shall be
made of steel, painted dark gray with light gray graphics. The mixer’s dimensions shall be 2.9" (74mm) in
height, 14.0" (356mm) in width and 13.0" (330mm) in
depth, as viewed horizontally. The mixer shall weigh
9 lbs, 8 oz (4.5 kg). Optional RM1402-VLZ rack-mount
brackets shall allow the mixer to be mounted in a rack
system, with either the chassis top or the control knobs’
tops to be flush with the rack rail.
8. SPECIFICATIONS. In addition to specifications
already cited, the mixer shall meet or exceed the following specifications: Frequency response: microphone
input to any output, 20Hz to 60kHz, +0dB/–1dB; Total
Harmonic Distortion (THD): any input to any output,
1kHz @ +14dBu, 0.0007%; Equivalent Input Noise
(EIN): microphone input to insert send, –129.5dBu;
Common Mode Rejection (CMR): microphone input to
insert send, maximum gain, 1kHz, better than 90dB;
Typical Main Output noise: all channels assigned, channels 1, 3 and 5 panned left, channels 2, 4 and 6
panned right, –86.5dBu; Signal to Noise ratio: ref
+4dBu operating level, 90dB; Attenuation: ref. 0dB @
1kHz, Main Mix level control down, –85dBu; Channel
Mute engaged, –84dBu; Channel Gain control down,
–83dBu; Input impedance: microphone inputs, 1.3 kΩ;
Channel Insert return, 2.5 kΩ; All other inputs, greater
than 10 kΩ; Output impedance: Tape Out, 1.1 kΩ; All
other outputs, 120Ω.
The mixer shall be a Mackie 1402-VLZ PRO.
www.mackie.com
16220 Wood-Red Road NE, Woodinville, WA 98072 USA
800.898.3211, fax 425.487.4337, sales@mackie.com
UK +44.1268.570.808, fax +44.1268.570.809, uk@mackie.com
FILES FOR DOWNLOADING
1402VLZP.PDF
this specification sheet
1402AE.TXT
text version of Architect’s and
Engineer’s Specifications for insertion into proposals
LOUD Technologies continually engages in research related to product improvement. New material,
production methods, and design refinements are introduced into existing products without notice
as a routine expression of that philosophy. For this reason, any current LOUD Technologies product
may differ in some respect from its published description, but will always equal or exceed the
original design specifications unless otherwise stated. ©1999-2004 LOUD Technologies Inc. All
rights reserved.
Part No. 091-295-00 Rev. B