Mackie 1402 VLZ 3 [18/28] A word about aux
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Mackie 1402 VLZ 3 [18/28] A word about aux

Mackie 1402 VLZ 3 [18/28] A word about aux
18
1402-VLZ3
1402-VLZ3
U
OO
+10
U
OO
+20
U
OO
+20
dB
10
5
5
U
10
dB
10
5
5
U
10
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
LEFT RIGHT
ALT 3–4
TAPE
MAIN MIX
ASSIGN
TO MAIN MIX
SOLO
MODE
LEVEL SET (PFL)
NORMAL (AFL)
C-R/SOURCE
PO48V WER
RUDE
SOLO
LIGHT
MAIN MIXCTL ROOM /SUBMIX
0dB=0dBu
At the risk of creating another standard, Mackie’s
compact mixers address the need of both crowds by call-
ing things as they are — 0 dBu (0.775 V) at the output
shows as 0 dB 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.
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).
A WORD ABOUT AUX
Sends are outputs, Returns are inputs. The AUX [30]
and [31] knobs tap the signal off the channel and sends
it to the AUX SEND [8] outputs. The AUX 1 signal is
sent to the AUX 1 MASTER [40] knob before going
to the AUX SEND 1 output and the AUX 2 signal goes
directly to the AUX SEND 2 output.
These outputs can be fed to the inputs of a reverb or
other device. From there, the outputs of this external
device are fed back to the mixer’s STEREO RETURN [7]
jacks. Then these signals are sent through the STEREO
RETURN [41] level controls, and are fi nally delivered to
the main mix.
39
40
42
41
So, the original “dry” signals go from the channels
to the main mix and the affected “wet” signals go from
the STEREO RETURN to the main mix, and once mixed
together, the dry and wet signals combine to create a
glorious sound. So, armed with this knowledge, let’s visit
the Auxiliary World:
39. PRE/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, so musicians can hear what
they’re doing. On the 1402-VLZ3, AUX SEND 1 can play
either role, depending on the position of this switch.
With the AUX 1 SELECT switch up (disengaged),
AUX SEND 1 will tap a channel pre-fader [23] and pre-
MUTE/ALT 3-4 [25], meaning that no matter how you
manipulate those controls as they feed the main mix,
the AUX SEND will continue to belt out that channel’s
signal. This is the preferred method for setting up stage
monitor feeds. EQ settings will affect all AUX SENDs.
With the switch down, the AUX SEND 1 becomes an
ordinary effects send — post-fader and post-MUTE/ALT
3-4. This is a must for effects sends, since you want the
levels of your “wet” signals to follow the “dry” level.
40. AUX 1 MASTER
The AUX 1 MASTER provides overall level control of
AUX SEND 1, just before it’s delivered to the AUX SEND
1 [8] output. (AUX SEND 2 has no such control.) This
knob goes from off (turned fully down), to unity gain at
the center detent, with 10 dB of extra gain (turned fully
up). As with some other level controls, you may never
need the additional gain, but if you ever do, you’ll be
glad you bought a Mackie.
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow suit that
if the singer stuck his thumb down, you’d turn the knob
down… but that never happens.)
41. STEREO RETURNS
These two controls set the overall level of effects re-
ceived from STEREO RETURN [7] inputs 1 and 2. These
controls are designed to handle a wide range of signal
levels, from off, to unity gain at the detent, with 20 dB
gain fully clockwise, to compensate for low-level effects.
Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
detent.

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