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 Mackie
1402-VLZ3
14 Channel, Compact Mixer with 6 XDR Preamps
Just slightly larger than a 1202-VLZ3, the Mackie 1402-VLZ3 offers everything
its little brother has - plus two additional mic/line channels, faders
instead of knobs, and a few extra Master Section features. Ideal for home
and project studios, the 1402-VLZ3 is equally at home on the road, on
the stage, or in the recording studio. With its new look, ergonomic carry
handle, and upgraded electronics, the new 1402-VLZ3 just might redefine
the term "perfection."
While keeping all the features and functionality of its predecessor,
the new Mackie 1402-VLZ3 offers even greater headroom. Mackie could have
stopped right then and there, but they also redesigned the Mix Bus, tweaked
the EQs, and created a mixer with a highly intuitive, musical feel.
XDR2 Mic Preamps
The new Mackie XDR2 (Extended Dynamic Range) second-generation mic preamps
are better than ever. These new pres offer incredibly low noise, with
individual mic pre THD below 0.0007%, and overall mixer THD less than
0.0025%. With 60dB of available gain per channel, the 1402-VLZ3 can handle
inputs ranging from a whisper to a scream, and can even handle hot line-level
signals up to +22db, without any added coloration.
Equalization
Mackie's invested tremendous resources optimizing the center frequencies
of their 3-band Active EQs. By selecting 80Hz, 2.5kHz and 12kHz, for the
Lows, Mids and Highs, respectively, we created an even more musical EQ
than on previous VLZs. With up to 15dB boost/cut capability per band,
VLZ3's Active EQ provides more tone-sculpting latitude than any other
mixer in its class.
PRO Features
The Mackie 1402-VLZ3 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. And since you can never have too many
output options, we provided a Control Room/Phones source matrix, Master
Aux section with EFX to Monitor, tape outputs, a high-volume headphone
amplifier and balanced XLR and TRS outputs.
Need Even More Flexibility?
Greg Mackie's mind was working overtime when he originally came up with
this - instead of sending muted signals into the vacuum of space, why
not do something useful with them? So, when you press the mute button
on the 1402-VLZ3, 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 for cry rooms, green rooms, or
assistive listening, etc. 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." For instance, you could
assign the backup vocals to the ALT 3-4 bus and then use the CTL ROOM/SUBMIX
fader to add them back into the main mix. Now one fader controls the level
of those channels as a single unit.
1402-VLZ3 Versus 1202-VLZ3
At 12.9" x 14" x 3.2", the 1402-VLZ3 is just slightly larger
than the 1202. It features two more mic/line channels, and for those of
you who prefer sliding to twisting, 60mm, long-wearing, log-taper faders
versus the 1202's rotary pots. And that's just the obvious stuff.
Under the hood the 1402-VLZ3 has an assignable Solo AFL/PFL switch, independent
Left and Right Main output faders, and a Level Set LED.
Mackie Tough
All VLZ3 mixers features a solid-steel chassis, co-molded pots, control
knobs that 'ride' just above the surface of the chassis and thick, horizontally
mounted fiberglass PC boards to eliminate the potential for damage and
brace them with a shock-absorbing support structure. They've survived
earthquakes, hurricanes and typhoons, so Mackie mixers can handle whatever
you throw at them.
Features
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