Mackie 1402-VLZ Pro 14-Channel Mixer
14 line inputs (6 mono, 4 stereo pairs).
This product has been discontinued or is no longer sold by SameDayMusic.
We recommend this product instead:
Mackie 1402VLZ3 14-Channel Mixer
$430
Just slightly larger than Mackie's 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." >More
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Product rated 8.4 out of 10 (30 ratings)
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ADDITIONAL VIEWS:
Main
Master Section
Rear
Channel Strip
Top View
Input Output
Rear Panel
PRODUCT DESCRIPTION
This 14x2x1 mixer includes Mackie's new XDR (eXtended Dynamic Range) mic preamps with sound quality matching or exceeding the performance of $500 to $2000-per-channel esoteric preamps.
Features
Ultra-low noise, highest headroom in its class
6 new precision-engineered XDR Extended Dynamic Range premium studio-grade mic preamps with:
-Ultra-wide 0-60dB gain range
-130dB dynamic range for 24-bit, 192kHz sampling rate inputs
-+22dBu line input handling
-Distortion under 0.0007% (20Hz-20kHz)
Advanced DC-pulse transformer RF rejection
60mm long-wearing log-taper faders
14 line inputs (6 mono, 4 stereo pairs)
Separate RCA-type tape/CD inputs and tape outputs (unbalanced)
2 aux sends with 15dB of gain above Unity
Aux 1 pre/post
Constant-loudness pan pots
Switchable AFL/PFL Solo
2 stereo aux returns with EFX to Monitor switch
Aux 1 master with Monitor/Post assign switch
3-band active EQ (80Hz, 2.5kHz, 12kHz)
18dB/oct. 75Hz Lo Cut filter eliminates stage rumble, wind noise, P-pops, and low frequency recording studio room resonances
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!
About XDR: eXtended Dynamic Range Mic Preamps
No matter how much you spend on a microphone, its ultimate performance depends on how it interacts with the preamp it's plugged into. Many high-end mic preamps can effortlessly amplify the slightest sonic nuance, creating an aural panorama that's breathtakingly realistic, excitingly vivid, and truly 3-dimensional in scope. For years they've provided fidelity that just hasn't been possible with the "stock" mic preamps built into mixing consoles. Until now.
To develop the new XDR(tm) (eXtended Dynamic Range) mic preamp, Mackie's engineering team started with blank paper, concerned only with matching or exceeding the performance of $500 to $2000-per-channel esoteric preamps. They went through hundreds of iterations and revs and spent countless hours subjectively listening (and arguing). They started all over again several times. They scoured the world for rare parts. Then they spent more time critically listening and evaluating the design with every high-end microphone you can think of. Then they brought in veteran recording and live sound engineers for more exhaustive listening tests.
What they ultimately ended up with is not just an awesome sounding design. XDR is also a) highly resistant to damage caused by "hot patching" (caused by routing a phantom powered mic through a patch bay); b) remarkably independent of cable-induced impedance variations; and c) able to reject extremely high RF levels without compromising high frequency response.
Because a mic preamp must amplify faint one millivolt input signals up to a thousand-fold (60dB), its rectification components can also pick up radio frequency interference (RFI) from AM and FM stations, cell phones, and pager transmitters - even microwave ovens - and amplify them to audible levels.
Mackie assaulted RFI on 3 fronts. First, they incorporate bifilar wound DC pulse transformers with high permeability cores that reject RFI but don't attenuate the sound at 15kHz and above. Second, they use carefully matched, high-precision components for critical areas of the XDR preamplifier. Third, they direct-coupled the circuit from input to output and used pole-zero cancellation constant current biasing (which also avoids increased intermodulation distortion at high common mode signal levels).
Bottom line for the non-technical: you can use the new XDR mic preamps at the end of extremely-long cheap mic cables in an RFI-saturated urban environment while talking on your cell phone... without hearing a trace of RFI.
If a mic preamp isn't designed right, it will actually sound different depending on the impedance of the microphone and the cable load! XDR's Controlled Interface Input Impedance system accepts an enormous range of impedances without compromising frequency response.
0.0007% Total Harmonic Distortion. The lowest ever in any compact mixer.
Flat response. Not only are XDR mic preamps flat within a tenth of a dB across the bandwidth of any known microphone, but are also only 3dB down at an astonishing 192kHz!
Super-low intermodulation distortion at very high operating levels thanks to instrumentation-style balanced differential architecture, linear biasing, and use of DC-coupled pole-zero-cancellation constant current that frees the mic preamp from power supply fluctuations.
Think of the 1402 as an ultra-premium, esoteric mic preamp... that just happen to have really excellent compact mixers attached.
Features
Ultra-low noise, highest headroom in its class
6 new precision-engineered XDR Extended Dynamic Range premium studio-grade mic preamps with:
-Ultra-wide 0-60dB gain range
-130dB dynamic range for 24-bit, 192kHz sampling rate inputs
-+22dBu line input handling
-Distortion under 0.0007% (20Hz-20kHz)
Advanced DC-pulse transformer RF rejection
60mm long-wearing log-taper faders
14 line inputs (6 mono, 4 stereo pairs)
Separate RCA-type tape/CD inputs and tape outputs (unbalanced)
2 aux sends with 15dB of gain above Unity
Aux 1 pre/post
Constant-loudness pan pots
Switchable AFL/PFL Solo
2 stereo aux returns with EFX to Monitor switch
Aux 1 master with Monitor/Post assign switch
3-band active EQ (80Hz, 2.5kHz, 12kHz)
18dB/oct. 75Hz Lo Cut filter eliminates stage rumble, wind noise, P-pops, and low frequency recording studio room resonances
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!
About XDR: eXtended Dynamic Range Mic Preamps
No matter how much you spend on a microphone, its ultimate performance depends on how it interacts with the preamp it's plugged into. Many high-end mic preamps can effortlessly amplify the slightest sonic nuance, creating an aural panorama that's breathtakingly realistic, excitingly vivid, and truly 3-dimensional in scope. For years they've provided fidelity that just hasn't been possible with the "stock" mic preamps built into mixing consoles. Until now.
To develop the new XDR(tm) (eXtended Dynamic Range) mic preamp, Mackie's engineering team started with blank paper, concerned only with matching or exceeding the performance of $500 to $2000-per-channel esoteric preamps. They went through hundreds of iterations and revs and spent countless hours subjectively listening (and arguing). They started all over again several times. They scoured the world for rare parts. Then they spent more time critically listening and evaluating the design with every high-end microphone you can think of. Then they brought in veteran recording and live sound engineers for more exhaustive listening tests.
What they ultimately ended up with is not just an awesome sounding design. XDR is also a) highly resistant to damage caused by "hot patching" (caused by routing a phantom powered mic through a patch bay); b) remarkably independent of cable-induced impedance variations; and c) able to reject extremely high RF levels without compromising high frequency response.
Because a mic preamp must amplify faint one millivolt input signals up to a thousand-fold (60dB), its rectification components can also pick up radio frequency interference (RFI) from AM and FM stations, cell phones, and pager transmitters - even microwave ovens - and amplify them to audible levels.
Mackie assaulted RFI on 3 fronts. First, they incorporate bifilar wound DC pulse transformers with high permeability cores that reject RFI but don't attenuate the sound at 15kHz and above. Second, they use carefully matched, high-precision components for critical areas of the XDR preamplifier. Third, they direct-coupled the circuit from input to output and used pole-zero cancellation constant current biasing (which also avoids increased intermodulation distortion at high common mode signal levels).
Bottom line for the non-technical: you can use the new XDR mic preamps at the end of extremely-long cheap mic cables in an RFI-saturated urban environment while talking on your cell phone... without hearing a trace of RFI.
If a mic preamp isn't designed right, it will actually sound different depending on the impedance of the microphone and the cable load! XDR's Controlled Interface Input Impedance system accepts an enormous range of impedances without compromising frequency response.
0.0007% Total Harmonic Distortion. The lowest ever in any compact mixer.
Flat response. Not only are XDR mic preamps flat within a tenth of a dB across the bandwidth of any known microphone, but are also only 3dB down at an astonishing 192kHz!
Super-low intermodulation distortion at very high operating levels thanks to instrumentation-style balanced differential architecture, linear biasing, and use of DC-coupled pole-zero-cancellation constant current that frees the mic preamp from power supply fluctuations.
Think of the 1402 as an ultra-premium, esoteric mic preamp... that just happen to have really excellent compact mixers attached.
TECHNICAL DESCRIPTION
Main Mix Noise
20Hz-20kHz bandwidth, 1/4 in. Main out, channels 1-6 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right
Main Mix fader down, channel faders down: -100dBu
Main Mix fader unity, channel faders down: (90dB Signal-to-Noise Ratio, ref +4dBu) -86.5dBu
Main Mix fader @ unity, channel faders @ unity: -84.5dBu
Total Harmonic Distortion (THD)
1kHz @ +14dBu: 20Hz-20kHz
Mic in to Main out: 0.0007%
Attenuation (Crosstalk)
1kHz relative to 0dBu, 20Hz-20kHz bandwidth, Line in, 1/4 in. Main Out, Trim @ unity
Main fader down: -85dBu
Channel Alt/Mute switch engaged: -84dBu
Channel fader down: -83dBu
Frequency Response
Mic input to any output
20Hz to 60kHz: +0dB/-1dB
10Hz to 100kHz: +0dB/-3dB
Equivalent Input Noise (EIN)
Mic in to insert Send out, max gain
150-ohm termination: -129.5dBm unweighted
Common Mode Rejection (CMR)
Mic in to insert Send out, max gain
1kHz: better than 90dB
Maximum Levels
Mic In: +22dBu
Tape In: +16dBu
All other inputs: +22dBu
Main Mix XLR outputs: +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
120VA.C., 50/60Hz, 25 watts
Fuse Ratings
120V: 0.5A Slo Blo, 5 x 20mm
220-240V: 0.25A Slo Blo, 5 x 20mm
Weight
9.5 lbs. (4.5 kg)
20Hz-20kHz bandwidth, 1/4 in. Main out, channels 1-6 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right
Main Mix fader down, channel faders down: -100dBu
Main Mix fader unity, channel faders down: (90dB Signal-to-Noise Ratio, ref +4dBu) -86.5dBu
Main Mix fader @ unity, channel faders @ unity: -84.5dBu
Total Harmonic Distortion (THD)
1kHz @ +14dBu: 20Hz-20kHz
Mic in to Main out: 0.0007%
Attenuation (Crosstalk)
1kHz relative to 0dBu, 20Hz-20kHz bandwidth, Line in, 1/4 in. Main Out, Trim @ unity
Main fader down: -85dBu
Channel Alt/Mute switch engaged: -84dBu
Channel fader down: -83dBu
Frequency Response
Mic input to any output
20Hz to 60kHz: +0dB/-1dB
10Hz to 100kHz: +0dB/-3dB
Equivalent Input Noise (EIN)
Mic in to insert Send out, max gain
150-ohm termination: -129.5dBm unweighted
Common Mode Rejection (CMR)
Mic in to insert Send out, max gain
1kHz: better than 90dB
Maximum Levels
Mic In: +22dBu
Tape In: +16dBu
All other inputs: +22dBu
Main Mix XLR outputs: +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
120VA.C., 50/60Hz, 25 watts
Fuse Ratings
120V: 0.5A Slo Blo, 5 x 20mm
220-240V: 0.25A Slo Blo, 5 x 20mm
Weight
9.5 lbs. (4.5 kg)
CATALOG DESCRIPTION
High-quality, high-headroom compact mixer@6 low-noise mic/line preamps with phantom power and inserts@3-band channel EQ with low-cut filter@2 aux sends per channel; 2 stereo aux returns@14 inputs total
Mackie 1402-VLZ Pro 14-Channel Mixer Reviews
Product rated 8.4 out of 10 (30 ratings)
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