, 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
1402-VLZ3 just might redefine the term “perfection.”
While keeping all the features and functionality of its predecessor, the Mackie
1402-VLZ3 offers even greater headroom. Mackie could have stopped right then and there, but
they’re obsessed with perfection. So Mackie redesigned the Mix Bus, tweaked the EQs, and created a
mixer with a highly intuitive, musical feel.
VASTLY SUPERIOR XDR2™ MIC PREAMPS
The 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. You simply won’t find preamps this good
on any other mixer in this price range.
EQUALIZATION
Mackie invested tremendous resources optimizing the center frequencies of our 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.
PROFESSIONAL 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.
BUILT MACKIE TOUGH
All VLZ3 mixers are built tough-as-a-tank. Mackie's legendary solid-steel chassis can take the
kind of abuse that would turn competitors' flimsy boxes into twisted chunks of debris.
Instead of cheap, unsealed potentiometers, Mackie uses co-molded pots, which offer substantial
strain and impact relief. By design, Mackie's 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 chassis—not to the potentiometers or circuit board. Finally, Mackie uses 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 certainly handle whatever you throw at them.
VERSATILITY
You'll find Mackie 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. Drummers and keyboardists use them to send submixes to front of house and monitor
consoles. VLZ3 compact mixers are the ideal choice for any situation requiring superior
audio mixing, especially where space and/or budget constraints are an issue.
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