Overview:

The Mackie 1402VLZ4 14-Channel Compact Mixer features Onyx preamps in a professional compact mixer used for applications that demand flexibility. From every input to every output, the mixer provides the highest headroom and lowest noise for maximum signal integrity.

The mixer is built-like-a-tank with a rugged solid-steel chassis and high-contrast controls for tactile control. With features like a dedicated control room section and smooth, accurate fader control, the 1402VLZ4 14-Channel Compact Mixer is a good choice for anybody who demands for professional performance.

VLZ

Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the “race to the bottom,” VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

Onyx

The performance of Mackie’s Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high-priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

Shhh...

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class-leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Reliable

Mackie VLZ mixers are truly “Built-Like-A-Tank.” From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap-around chassis and features like grime-resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment

Features:

• 14-Channel mixer featuring signature high-headroom, low-noise design
• 6 Boutique-Quality Onyx Microphone Preamps:

Wide 60 dB gain range

128.5 dB dynamic range

+22 dBu line input handling

Extended frequency response

Distortion under 0.0007% (20 Hz to 50 kHz)

• Improved RF rejection, suitable for broadcast applications
• Phantom power for condenser microphones
• 14 High-headroom line inputs with +4/-10 operation control
• 3-Band EQ (80 Hz, & 2.5 and 12 kHz)
• 18 dB/octave 75 Hz low-cut filter on microphone input channels
• Two AUX sends, and level, pan, and PFL solo on each channel
• 60mm long-wearing log-taper faders
• Two stereo returns for connecting FX processor or other stereo source
• ALT 3/4 stereo bus for added routing flexibility
• Control room / phones source matrix
• High-resolution 12-segment stereo meters
• Sealed rotary controls resist dust and grime
• Built-like-a-tank rugged steel chassis with powder-coat finish
• High-visibility, high-contrast controls deliver convenient at-a-glance visual feedback
• Rack-mountable design using a rack ear kit (sold separately)
• Multi-voltage power supply for worldwide use

Applications: Live sound mixing, houses of worship, clubs, gymnasiums, banquet halls, conference rooms, boardrooms, studio and field recording, multimedia applications, broadcast, and many more

Patchbay Features:

1.) MIC INS (Channels 1-6) - This is a female XLR connector that  accepts a balanced mic or line level input from almost any type of source.

2.) LINE INS (Channels 1-6) - This six line-inputs share circuitry with the mic preamps and can be driven by balanced or unbalanced sources at almost any level.

3.) LOW CUT (Channels  1-6) - Each low cut switch often referred to as a high filter,cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.

4.) GAIN (Channels 1-6) - Gain adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 6.

5.) STEREO LINE INS (Channels 7-8,7-,9-10, 11-12 and 13-14) - These fully balanced inputs are designed for stereo or mono,balanced or unbalanced signals fom -10 dBV to +4 dBu.

6.) +4/-10 LEVEL (STEREO CHANNELS ONLY) - This switch adjusts the imput sensitivity of the line inputs on channels 7 to 14.

7.) STEREO RETURNS - This is where to connect the outputs of parallel effects devices.

8.) AUX SEND 1&2 - The aux send knobs tap a portion of each channel's signal to provide an output here to feed external parallel effects processors or stage monitoring.

9.) TAPE IN - These RCA jacks are designed to work with semipro as well as pro recorders.

10.) TAPE OUT - These unbalanced RCA connections tap the main mix output to make simultaneous recording and PA work more convenient.

11.) 1/4" MAIN OUTS - The 1/4" TRS output connectors provide or unbalanced line-level signals.

12.) HEADPHONES OUT - This stereo jack will drive any standard headphone to very loud levels.

13.) XLR MAIN OUTS - Use these to send the main mix out into the line-level balanced inputs of your amplifier or powered speakers.

14.) XLR MAIN OUT LEVEL SWITCH - Engaging this switch reduces the level of the balanced XLR main outputs by 40dB,so you can feed the microphone input of,say another mixer.

15.) CONTROL ROOM OUTS - These 1/4" outputs provided so you can listen to something other than the main mix.

16.) ALT 3-4 OUTS - These 1/4" outputs are the sum of any channels that have the mute/alt 3-4 switch pressed in.

17.) CHANNEL INSERT (Channels 1-4) - These rear-panel jacks are where you connect serial effects such as compressors,equalizers,de-essers,or filters.

18.) POWER CONNECTION - Just in case you lose the cord provided with the 1202VLZ4,its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders,musical instruments and computers.

19.) FUSE - is fused for your protection.

20.) VOLTAGE SELECTOR - Use a flat headed screwdriver to slide the switch if needed.

21.) POWER SWITCH - Press the top of this rocker switch inwards to turn on the mixer.

22.) PHANTOM SWITCH - This global rocker switch controls the phantom power supply for condenser microphones plugged into channel mic inputs.

23.) CHANNEL FADER - This adjusts the channel's level...from off to unity gain on up to 10 dB of additional gain.

24.) SOLO - This lovable switch allows you to hear signals through your headphones or control room without having to route them to the main mix.

25.) MUTE/ALT3-4 - The dual-purpose MUTE/ALT 3-4 bus is our signature.

26.) PAN - adjusts the amount of channel signal sent to the left versus the right outputs.

27.) LOW EQ - This control gives you to 15dB boost or cut below 80 Hz.

28.) MID EQ - Short for "midrange" this knob provides 15dB of boost or cut,centered at 2.5 kHz,also flat at the center detent.

29.) HI EQ - This control gives you up to dB boost or cut above 12kHz and it is also flat at the detent.

30.) AUX 2 SEND

31.) AUX 1 SEND

32.) MAIN MIX - This knob controls the levels of signals sent to the main outputs.

33.) CONTROL ROM SOURCE MATRIX - The engineer sends the main mix to an audience or a mixdown deck.

34.) CONTROL ROM/SUBMIX - This faders controls the level of both the stereo control room and phones outputs.

35.) SOLO MODE (AFL/PFL) - Engaging a channel's solo switch will cause this dramatic turn of events.

36.) RUDE SOLO LIGHT - This flashing Light Emitting Diode serves two purposes - to remind you that at least one channel is in solo and let you know that you're mixing on a 1402VLZ4.

37.) ASSIGN TO MAIN MIX - Intermission is nearing and you'll want to play a soothing CD for the crowd to prevent them from eating the furniture.

38.) METERS- Metering system is made up of two columns of twelve LEDs.

39.) PRE OR 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.

40.) AUX 1 MASTER -This knob provides overall level control of aux send 1,just before its delivered to the aux send 1 output.

41.) STEREO RETURNS - These two controls set the overall level of effects received from stereo return inputs 1 and 2

42.) RETURN TO AUX 1 - If you want to add reverb or delay to the stage monitor mixes of aux 1 ,this is the switch for you.