Mackie Professional Audio
1402-VLZ3, VLZ3 Compact Mixers

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Mackie 1402-VLZ3

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Model: 1402-VLZ3
14-Channel Compact Analog Mixer w/ 6 XDR2 preamps

Just slightly larger than our 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. We could have stopped right then and there, but we’re obsessed with perfection. So we redesigned the Mix Bus, tweaked the EQs, and created a mixer with a highly intuitive, musical feel.


Our new 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.

We 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.

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.

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.

All VLZ3 mixers are built tough-as-a-tank. Our legendary solid-steel chassis can take the kind of abuse that would turn our competitors' flimsy boxes into twisted chunks of debris. Instead of cheap, unsealed potentiometers, we use co-molded pots, which offer substantial strain and impact relief. By design, our 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, we use 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.

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.

  • New ultra-low noise VLZ3 design with highest possible headroom

  • 6 studio-grade XDR2™ Extended Dynamic Range mic preamps with:
    -  Ultra-wide 60dB gain range
    -  130dB dynamic range
    -  +22dBu line input handling
    -  Extended low frequency response
    -  Distortion under 0.0007% (20Hz - 20kHz)
    -  Phantom power for studio condenser mics

  • 12 high-headroom line inputs

  • Advanced DC pulse transformer RF rejection

  • 2 Aux send, level, pan and PFL solo on each channel

  • 2 stereo Aux returns + EFX to Monitor

  • 3-Band Active EQ (80Hz, 2.5kHz, 12kHz)

  • 18dB/oct. 75Hz Lo-Cut filter on Mic input channels

  • ALT 3/4 stereo bus for added versatility

  • Control Room/Phones source matrix

  • Rack-mountable design using optional rack ears

  • Sealed rotary controls to resist dust and grime

  • New Multi-Voltage power supply for worldwide use

  • Sleek, rugged steel chassis

  • Includes Tracktion 3™ Music Production Software for Mac or PC

General Specifications
Frequency Response: (Mic to any output)
20 Hz to 60 kHz: +0dB/-1dB
20 Hz to 200 kHz: +0dB/-3dB
Total Harmonic Distortion (THD+N): (1 kHz @ 35 dB gain, 20 Hz to 20 kHz bandwidth)
Mic pre @ insert: <0.0007%
Noise Characteristics: (Mic in to Insert Send out, max gain)
150Ω termination: -129.5 dBu
(20 Hz to 20 kHz bandwidth, 1/4" Main Out, channels 1-6 Gain @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1,3 and 5 panned left, 2,4 and 6 panned right)
Main Mix Knob down, channel Level knobs down: -101 dBu
Main Mix knob @ unity, channel faders knobs down: -91 dBu
Main Mix knob @ unity, channel faders knobs @ unity: -86 dBu

Signal-to-Noise Ratio, ref. +4 dBu: 95 dBu
Attenuation/Crosstalk: (1 kHz relative to 0 dBu, 20 Hz to 20 kHz bandwidth, Line In)
Main Mix knob down: -100 dBu
Channel Alt/ Mute switch engaged: -90 dBu
Channel Level knob down: -90 dBu
Common Mode Rejection Ratio (CMRR): Mic In to Insert Send out, max gain @ 1kHz: better than -70 dB
Maximum Levels: Mic In: +22 dBu
Tape In: +16 dBu
All other inputs: +22 dBu
Main Mix XLR Out: +28 dBu
All outputs: +22 dBu
Impedance: Mic In: 2.5 kΩ
Channel Insert Return: 2.5 kΩ
All other Inputs: 10 kΩ or greater
Tape Out: 1.1 Ω
All other outputs: 120Ω
Physical Dimensions and Weight: Height: 16.0 in / 406 mm
Width: 16.1 in / 410 mm
Depth: 7.0 in / 178 mm
Weight: 14.2 lb / 6.4 kg
AC Power Requirements: Power Consumption: 25 watts
US, JP: 100-120 VAC, 50 - 60 Hz
Fuse rating: 500 mA slo blo, 5 x 20 mm
EU: 200 - 240 VAC, 50 - 60 Hz
Fuse rating: 250 mA slo blo, 5 x 20 mm

Operating Temperature: 0° - 40°C, 32° - 104°F
EQ: High Shelving: ± 15 dB @ 12 kHz
Mid Peaking: ± 15 dB @ 2.5 kHz
Low Shelving: ± 15 dB @ 80 Hz
Low Cut Filter: 18 dB/octave, -3 dB @ 75 Hz



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