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In spite of it's small size, the Mackie 1402-VLZ 3 is big on features. It's the ideal compact mixer for home and project studios seeking superior performance in an economical, small-footprint package. A boatload of professional features along with solid-steel construction makes the 1402 vlz 3 Pro equally at home on the road, on the stage, or in the studio.
The VLZ 3Series features Mackie's XDR (Extended Dynamic Range) mic preamps, which are ultra-quiet and tremendous headroom. That means the four XDR mic preamps in the 1402-VLZ 3 can handle inputs from a whisper all the way up to a scream, without any added coloration. Preamps this good aren't usually found on mixers in this price range; they often only appear on consoles costing thousands of dollars more.
High-quality equalization is a must for any good mixer. That's why Mackie didn't cut any corners when it came to 3-band Active EQs and why they areincluded them on every channel. Mackie invested tremendous resources determining the optimum center points of the VLZ Pro's EQ and placed the Lows at 80Hz, Mids at 2.5kHz and Highs at 12kHz. This gives the VLZ Pro mixers practical, useful equalization providing not only sonic enhancement and correction, but the tone-shaping facility to actually improve the musical nature of the original signal.
Don't let the compact size fool you. The Mackie 1402 VLZ 3 mixer is packed with premium features on every mic channel: 75Hz Low-Cut filters, two Aux Sends, inserts, phantom power, constant-loudness Pan controls and Pre Fader Solo. You can never have too many output options, so Mackie also provided a Control Room/Phones source matrix, a Master Aux section with EFX to Monitor, tape outputs, a high-volume headphone amplifier and balanced XLR and TRS outputs.
The 1402 VLZ 3 can also function like a 4 bus mixer. When you press the mute button on the 1202-VLZ, the signal is indeed muted but it also appears at the ALT 3-4 output jacks and ALT 3-4 stereo bus. This is an ideal way to create additional Aux Sends and mixes. And with a press of a button, the ALT 3-4 mix can be assigned to the Main output which means ALT 3-4 can act very much like a 'mixer within a mixer.'
All VLZ 3 mixers are built tough. The legendary solid-steel chassis can take the kind of abuse that would make Mackie's competitor's flimsy boxes run home to mama. And instead of using cheap, unsealed potentiometers, Mackie use co-molded pots offering substantial strain and impact relief at all critical mechanical contact points. By design, othe control knobs 'ride' just above the surface of the chassis, so if something falls onto the mixer, the impact is transferred from the knobs to the steel chassis�not to the potentiometers or circuit board. Finally, to eliminate potential damage to the circuit board, Mackie use a thick, horizontally mounted fiberglass PC board, braced with a shock-absorbing support structure.
You'll find Mackie VLZ compact mixers everywhere you go�from video post-production facilities, to major artist tour buses, to duty as field mixers for news departments of all the major networks. Put simply, VLZ Pros are the top choice of professional sportscasters the world over. Drummers and keyboardists use them to send submixes to front of house and monitor consoles. VLZ compact mixers are the ideal choice for any situation requiring superior audio mixing, especially where space and/or budget constraints are an issue.
Features:
Ultra-low noise mixer with the highest headroom in its class
4 precision-engineered XDR premium studio-grade mic preamps
Advanced DC pulse transformer RF rejection
14 line inputs (4 mono, 4 stereo pairs)
Separate RCA-type tape/CD inputs and tape outputs (unbalanced)
2 Aux Sends with 15dB of extra gain above Unity
Constant-loudness Pan pots
2 stereo Aux Returns w/EFX to Monitor
Aux 1 Master w/ Monitor/Post assign
3-band Active EQ (80Hz, 2.5kHz, 12kHz)
18dB/octave 75Hz Low-Cut filter eliminates stage rumble and wind noise
Extra ALT 3-4 stereo bus for submixes, separate recording, monitor and 'mix minus' feeds
Control Room/Phones multi-input source matrix
Phantom power for premium condenser mics
Rugged steel chassis, sealed rotary controls
Built-in power supply -- no wall wart!
Specifications:
Mic Preamp
Equivalent Input Noise (20Hz-20kHz)
150 ohm -129.5 dBu
50 ohm -131.0 dBu
0 ohm -134.5 dBu
Frequency Response
-1dB 5Hz to 100kHz:
-3dB 3Hz to 192kHz:
IM Distortion (4 to 1 ratio SMPTE)
35dB gain 0.0008%
Harmonic Distortion (20Hz-20kHz)
35dB gain 0.0007%
Gain
Max +60dB
Min 0dB or Unity
Max Input +22dB
Input Impedance 1.3k Ohm
Common Mode Rejection > 90dB
Common Mode Rejection Ratio > 140dB
Main Mix Noise
20Hz-20kHz bandwidth, 1/4" Main out, channels 1-4 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right, Reference +4dBu
Main Mix knob fully counterclockwise, channel Gain knobs down: -104dBu
Main Mix knob unity, channel Gain knobs down: -90.5dBu
(90dB Signal to Noise Ratio, ref +4dBu)Main Mix knob @ unity, channel Gain knobs @ unity: -88.5dBu
Total Harmonic Distortion (THD)
1kHz @ +14dBu, 20Hz-20kHz.
Mic in to Main out: 0.005%
Attenuation (Crosstalk)
1kHz relative to 0dBu, 20Hz-20kHz bandwidth, Line in, 1/4" Main Out, Trim @ unity
Main Mix knob down: -85dBu
Channel Mute/Alt 3/4 switch engaged: -84dBu
Channel Gain knob down: -83dBu
Frequency Response
Any input to any output
+0dB/-1dB 20kHz to 60kHz
+0dB/-3dB 20kHz to 100kHz
Maximum Levels
Mic in: +22dBu
Tape in: +16dBu
All other inputs: +22dBu
Main Mix XLR out: +28dBu
All other outputs: +22dBu
Impedances
Mic in: 1.3 kilohms
Channel Insert return: 2.5 kilohms
All other inputs: 10 kilohms or greater
Tape out: 1.1 kilohms
All other outputs: 120 ohms
EQ
High Shelving ±15db @12kHz
Mid Peaking ±12dB @ 2.5kHz
Low Shelving ±15db @ 80Hz
Power Consumption:
120VAC, 50/60Hz, 25 watts
Weight:
9.5 lbs (4.5 kg)
