Mackie 1202 User Manual

MICROSERIES1202 OWNER’S MANUAL

RIGHT

MIC

LEFT/MONO

1

MIC

2

MIC

3

MIC

4

1

2

STEREO AUX RETURNS AUX OUT

1

2

TAPE

TAPE

INPUT

OUTPUT

L

R

MAIN OUTS

L

MICRO SERIES 1202

1 2-CHANNEL MIC/LINE MIXER

R

L

LINE 1

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 1

OO

U

OO

AUX AUX AUXAUX AUX AUX AUX AUX

–15 +15

–15 +15

EQ

LR

PAN

U U

OO

GAIN

LINE 2

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 2

1

+15

+15

OO

+15

U

2

OO

+15

HI

–15 +15

LO

–15 +15

EQ

LR

PAN

OO

+20

GAIN

1

LINE 3

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 3

1

OO

U

2

OO

HI

–15 +15

LO

–15 +15

EQ

LR

PAN

U U

OO

+20

2

GAIN

LINE 4

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 4

OO

OO

–15 +15

–15 +15

EQ

LR

PAN

OO

GAIN

–10

GAIN

1

+15

U

2

+15

HI

LO

+20

4

–10

GAIN

1

+15

2

+15

HI

LO

+20

3

MONO

R

1

OO

+15

U

2

OO

+15

HI

–15 +15

LO

–15 +15

EQ

LR

PAN

UUUU U

OO

+20

GAIN

5-6

OO

GAIN

OO

OO

–15 +15

–15 +15

EQ

LR

PAN

L

MONO

R

1

+15

U

2

+15

HI

LO

+20

7-8

OO

GAIN

OO

OO

–15 +15

–15 +15

EQ

LR

PAN

L

MONO

R

1

+15

U

2

+15

HI

LO

+20

9-10

LINE 1 1-1 2LINE 5-6 LINE 7-8 LINE 9- 10

OO

GAIN

OO

OO

–15 +15

–15 +15

EQ

LR

PAN

U

+15

+15

11-12

L

MONO

R

PHONES

UUUUUUUUU

1

TAPE IN

AUX 2

2

STEREO AUX RETURN TO MAS TER

CLIP

+22

U

BAL.

+10

+7
+4
+2

0

-2

-4

-7

-10

-20

-30

OO

MASTER

0dBu
CAL.

+10

HI

LO

+20

OO

+20

U

OO

+20

TRIM

LINE IN

1-4

INPUT CH.
METERING

POWER

OO

PHONES

1

2

1-12

1

CAUTION AVIS

RISK OF ELECTRIC

DO NOT OPEN

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.

CHOC

NE PAS OUVRIR

A LA PLUIE OU A L'HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

1. Read Instructions — All the safety and operation instructions
should be read before the MicroSeries 1202 is operated.

2. Retain Instructions — The safety and operating
instructions should be kept for future reference.

3. Heed Warnings — All warnings on the MicroSeries 1202
and in these operating instructions should be followed.

4. Follow Instructions — All operating and other instructions
should be followed.

5. Water and Moisture — The MicroSeries 1202 should not
be used near water—for example, near a bathtub,
washbowl, kitchen sink, laundry tub, in a wet basement, near
a swimming pool, swamp or salivating St. Bernard dog, etc.

6. Heat — The MicroSeries 1202 should be situated away
from heat sources such as radiators, or other devices which
produce heat.

7. Power Sources — The MicroSeries 1202 should be
connected to a power supply only of the type described in these
operation instructions or as marked on the MicroSeries 1202.

8. Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked upon or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience receptacles,
and the point where they exit the MicroSeries 1202.

9. Object and Liquid Entry — Care should be taken so that
objects do not fall into and liquids are not spilled into the
inside of the MicroSeries 1202.

10. Damage Requiring Service — The MicroSeries 1202
should be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has been
damaged; or

B. Objects have fallen, or liquid has spilled into the
MicroSeries 1202; or

C. The MicroSeries 1202 has been exposed to rain; or
D. The MicroSeries 1202 does not appear to operate

normally or exhibits a marked change in performance; or
E. The MicroSeries 1202 has been dropped, or its

chassis damaged.

11. Servicing — The user should not attempt to service the
MicroSeries 1202 beyond those means described in this
operating manual. All other servicing should be referred to the
Mackie Service Department.

12. To prevent electric shock, do not use this polarized plug
with an extension cord, receptacle or other outlet unless the
blades can be fully inserted to prevent blade exposure.

Pour préevenir les chocs électriques ne pas utiliser cette fiche
polariseé avec un prolongateur, un prise de courant ou une
autre sortie de courant, sauf si les lames peuvent être insérées
à fond sans laisser aucune pariie à découvert.

13. Grounding or Polarization — Precautions should be
taken so that the grounding or polarization means of the
MicroSeries 1202 is not defeated.

14.This apparatus does not exceed the Class A/Class B
(whichever is applicable) limits for radio noise emissions from
digital apparatus as set out in the radio interference
regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de
bruits radioélectriques dépassant las limites applicables aux
appareils numériques de class A/de class B (selon le cas)
prescrites dans le règlement sur le brouillage radioélectrique
édicté par les ministere des communications du Canada.

WARNING — To reduce the risk of fire or electric shock, do
not expose this appliance to rain or moisture.

V 2.4 –1/95

2

PA TCHBA Y DESCRIPTION

BEGINS ON PG. 4

PATCH

BAY

CHANNEL STRIP & OUTPUT

SECTION DESCRIPTION, PG. 8

CONNECTION TIPS &

HOOK-UP , PG. 11

DET AILED LEVEL-SETTING

PROCEDURE, PG. 12

1202 BLOCK DIAGRAM

& SER VICE INFO PG. 13-15

1202

CONTROLS

HOOK

UP

LEVEL

SETTING

STEPS

TECH

STUFF

Fast-T rack “CAN’T W AIT!” tips
for people who ignore manuals

A. T o adjust input levels:

1. Set TRIM fully counterclockwise.

2. Set GAIN to unity (twelve o’clock).

3. Push in the INPUT CH. METERING switch.

4. Feed a normal signal into a selected input.

5. Adjust that input’s TRIM control so that
the display on the left LED strip stays
around 0, and never goes higher than +10.

6. Repeat for each of Channels 1–4.

B. Connecting effects

Read the section starting on page 11 for

full information on connecting digital delays,
reverbs, etc. via AUX SENDS and STEREO
AUX RETURNS. This can get pretty compli­cated quickly.

Don’t cream your monitor speakers

Always turn the master gain and head-

phone level controls down before making
connections to and from your MS 1202.

INTRODUCTION

Thank you! There are a lot of makes and
models out there, all competing for your
bucks … but you have voted with your wallet
for the folks in W oodinville who specialize in
American-made mixers.

There are only two other things we ask:

First, now that you’ve got a MicroSeries
1202, find out how to get the most from it.
That’s where this manual comes in.

• If this is your first pro mixer, flip through

the whole book: you’ll find it full of actual

from-the-streets engineering tips, as well

as operation and installation instructions.

• If you’re an experienced, big-bucks

engineer with lots of fader hours under

your fingertips, at least read “Part 1: All

the Holes and Knobs.” (W e’ve found that

experienced engineers usually read

manuals cover-to-cover anyway so that

they can keep getting the big bucks.)

3

Part 1 — ALL THE HOLES AND KNOBS:
A GUIDED TOUR OF THE MICROSERIES 1 202

The first thing you’ll notice is that the top

panel is organized into three distinct areas:

• A patchbay along the top;

• Eight channel strips — four mono and
four stereo;

• And an output section on the right.
Note that four patchbay jacks overflowed

the top panel, and are on the rear of the
MS1202. The following pictures will help you
find everything; the next few pages will help
you use it all.

PA TCHBA Y

At the risk of stating the obvious, this is

where you plug everything in: microphones,
line-level instruments and effects, head­phones, and the ultimate destination for
your sound: a tape recorder, PA system, etc.

1

Microphone Inputs

W e use true “phantom-powered, balanced

inputs” just like the big studio mega-con­soles, for exactly the same reason: this kind

of circuit is excellent at rejecting hum and
noise. Y ou can plug any kind of professional
mic that has a standard “XLR-type” male mic
connector . If you wire your own, connect
them like this:

Pin 1 =Ground or shield
Pin 2 = Hot (in phase with output)
Pin 3 = Cold (out of phase with output)

Professional ribbon, dynamic and con­denser mics will all sound excellent through
these inputs, especially if you follow the
Level Setting instructions on page 12. Lower­cost electret-type unbalanced mics can be
plugged into Line Inputs 1–12, but will re­quire additional gain.

Basically, the MS1202’ s inputs will handle
any kind of mic level you can toss at them
without overloading. But you’ll get the abso­lute best quality sound if you follow the
calibration procedure covered briefly in our
“Can’t W ait Tips” on page 3, and mor e depth
in Part 3, page 12.

RIGHT

LEFT/MONO

MIC

1

MIC

2

MIC

3

MIC

4

PATCHBAY

LINE 1

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 1

OO

U

OO

AUX AUX AUXAUX AUX AUX AUX AUX

–15 +15

LINE 2

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 2

1

+15

+15

OO

U

2

OO

HI

–15 +15

LINE 3

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 3

1

+15

+15

OO

U

2

OO

HI

–15 +15

LINE 4

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 4

OO

U

OO

–15 +15

–10

GAIN

+15

+15

–10

GAIN

1

+15

2

+15

HI

1

2

STEREO AUX RETURNS AUX OUT

L

MONO

R

1

2

HI

OO

OO

–15 +15

1

+15

U

2

+15

HI

OO

OO

–15 +15

1

2

TAPE

TAPE

INPUT

OUTPUT

L

MONO

R

1

+15

U

2

+15

HI

OO

OO

–15 +15

L

MONO

R

1

+15

U

2

+15

HI

CHANNEL STRIPS

LO

–15 +15

EQ

LR

PAN

U U

–15 +15

EQ

LR

PAN

LO

LO

–15 +15

EQ

LR

PAN

U U

–15 +15

EQ

LR

PAN

LO

LO

–15 +15

EQ

LR

PAN

UUUU U

–15 +15

EQ

LR

PAN

LO

–15 +15

EQ

LR

PAN

LO

L

R

MAIN OUTS

LINE 1 1-12LINE 5-6 LINE 7-8 LINE 9-10

–15 +15

–15 +15

OO

+15

U

OO

+15

EQ

LR

PAN

L

MICRO SERIES 1202

1 2-CHANNEL MIC/LINE MIXER

R

L

MONO

R

PHONES

1

TAPE IN

AUX 2

2

STEREO AUX RETURN TO MAS TER

CLIP

+22
+10

HI

LO

+7
+4
+2

0dBu

0

CAL

-2

-4

-7

OUTPUT

-10

-20

-30

U

BAL.

OO

OO

TRIM

1-4

INPUT CH.
METERING

POWER

UUUUUUUUU

U

+20

+20

LINE IN

1

2

1-12

OO

GAIN

OO

+20

GAIN

1

OO

+20

2

GAIN

OO

+20

3

GAIN

OO

+20

4

GAIN

OO

+20

5-6

GAIN

OO

+20

7-8

GAIN

OO

+20

9-10

GAIN

11-12

OO

+20

MASTER

OO

+10

PHONES

4

MIC

5

RIGHT

1

2

1

L

2

TAPE

INPUT

TAPE

OUTPUT

R

MAIN OUTS

L

PATCH

R

BAY

1

MIC

2

MIC

3

MIC

LEFT/MONO

4

1

STEREO AU X RETURNS AUX SEND

2

LINE 1

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 1

GAIN

LINE 2

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 2

LINE 3

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

3

+4U40dB

GAIN

TRIM 3

Microphone Power

Most modern professional condenser mics
are equipped for Phantom Power, which lets
the mixer send low-voltage DC to the mic’s
electronics over the same wires that carry
audio. (Semi-pro condenser mics often have
batteries to accomplish the same thing.) The
“Phantom” owes its name to an ability to be
“unseen” by dynamic mics which don’t need
external power and aren’t affected by it any­way. NOTE: Do not apply phantom power to
ribbon microphones, or you will have an
entertaining fireworks display .

The MS 1202’s phantom power is controlled
by the PHANTOM switch on the rear panel.

2

Ch. 1–4 Line Inputs

These four line inputs share circuitry (but
not phantom power) with the mic preamps,
and can be driven by balanced or unbalanced
devices at almost any level. In other words,
you can use these inputs for virtually any sig­nal you’ll come across, from instrument levels
to levels of –10 to +4, since there is 40dB
more gain available than on Channels 5–12.

ring

tip

To connect these inputs to balanced
sources, use a Tip-Ring-Sleeve (TRS) or
three-conductor plug (the type found on ste­reo headphones):

Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground

To connect the inputs to unbalanced
sources, use a mono phone plug or standard
instrument cable. The jack on the MS 1202
will sense the plug and disable the balancing
circuits.

sleeve

cuff

hem garter belt

LINE 4

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

TRIM 4

shield

(ground)

positive

(white wire)

negative

(black wire)

GAIN

L

MONO

–10

R

MONO

L

4

R

Line inputs 1–4 are a good place to con­nect older keyboards which have low gain, or
keyboards in general since you can adjust
the corresponding channel TRIM control so
that the mixer has plenty of gain but you can
keep the keyboard volume control set
around the halfway mark.

T rim controls

3

TRIM 1 through 4 adjusts the input sensi­tivity of the mic and line inputs connected to
Channels 1 through 4. This allows signals from
the proverbial outside world to be brought in
at optimal internal operating levels. See Level
Setting instructions on page 12.

4

Chs. 5–6, 7–8, 9–10, 11–12 Line Inputs

These inputs are designed for stereo or
mono unbalanced signals from –10dBV to
+4dBu. They can be used with just about any
professional or semi-pro instrument, effect,
or tape player . In the audio world, an odd­numbered channel usually receives the “left
signal”. For example, feed line inputs 5–6 a
stereo signal by inserting the device’s left
output plug into the Channel 5 jack, and its
right output plug into the Channel 6 jack.

STEREO AUX RETURNS to Master

5

This is where you connect the outputs of
your effects devices. The STEREO AUX
RETURNS are wired identically to the stereo
line inputs. The circuits will handle stereo or
mono unbalanced signals, either instrument
level, –10dBV or +4dBu. They can be used
with just about any pro or semi-pro effect on
the market.

Additional information on connecting
effects to the MS 1202 starts on page 11.

MONO

L

R

L

MONO

R

LINE 11- 12LINE 5-6 LINE 7-8 LINE 9-10

5

11

12

14

13

POWERONPHANTOM

ON

MICRO SERIES 1202

12 -CHANNEL MIC/LINE MIXER

DIRECT OUT WITH NO SIGNAL

INTERRUPTION TO MASTER

48V

INSERT ONLY INTO THE

"FIRST CLICK"

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. • WOODINVILLE WASHINGTON MADE IN USA

DIRECT OUT WITH SIGNAL

INTERRUPTION TO MASTER

MONO PLUGMONO PLUG

INSERT ALL THE WAY IN TO

THE "SECOND CLICK"

FOR USE AS AN EFFECTS LOOP

(TIP = SEND, RING = RETURN)

STEREO PLUG

TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS

CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK,
DO NOT REMOVE BOTTOM COVER. NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL

4321

6

CHANNEL INSERTS

SERIAL NUMBER

Channel Inserts 1–4

6

These jacks, lurking on the back of the
MicroSeries 1202, are where you connect series
processors such as compressors, equalizers, de­essers, or filters (or as mic preamp direct
outs). Since most people don’t have more than
a few of these gadgets, we’ve included connec­tions for just the first four mic/line inputs. If
you want to use this kind of processing on
Channels 5–12, simply loop through the device
before you plug into the MS1202.

The insert points are after the mic pre­amps, but before the channel gain knobs and
equalizers. The output at this connector is
low impedance (120Ω), capable of driving
all processors; the input is high impedance
(over 10kΩ) and buffered, capable of being
driven by almost any processor .

W e’ll discuss other aspects of channel in­serts including their use as direct channel
outs on page 12.

THREE SETS OF MIX OUTPUTS

The MS 1202 has three obvious sets of
outputs: the main stereo mix (7); a scream­ingly-loud stereo headphone jack (8); and a
tape recorder connection (9) all of which re­ceive the total mix consisting of the eight
channel strips plus the two STEREO AUX
RETURNS. Main outputs and tape outputs
are affected by the MASTER control; head­phone output has its own control.

Main Output

7

These outputs are electrically balanced
and capable of driving +4dBu lines with up
to 28dB of headroom. They’re also low

impedance and can drive as low as a 600Ω
line. Balanced output is 6dB higher than for
unbalanced outputs. (This is noted on the
Master Gain Pot by a special U BAL mark
counterclockwise from the “U” center detent
position.)

To use these outputs in balanced applica-

tions, connect a TRS phone plug:

Tip = + (hot)
Ring = – (cold)
Sleeve = Ground

For most music recording and PA applica­tions, unbalanced outputs are perfectly
acceptable. Use standard instrument cables.

To use these outputs in unbalanced appli­cations, connect a mono phone plug:

Tip = + (hot)
Sleeve = Ground

8

Headphone Output

The stereo PHONES jack will drive any
standard headphone to very loud levels.
W alkperson-type phones can also be used
with an appropriate adapter .

If you’re wiring your own cable for the
PHONES output, follow standard conventions:

Tip = Left channel
Ring = Right channel
Sleeve = Common ground

Headphone warning: When we say the
headphone amp is loud, we’re not kidding. It
can cause permanent ear damage. Even in­termediate levels may be unhealthily loud
with some earphones. Be careful!

Always turn the PHONES knob all the way
down before connecting headphones. Keep it
down until you’ve put the phones on. Then

MIC 1 MIC 2 MIC 3 MIC 4

LINE 1

BAL/UNBAL

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 1

Y

GAIN

LINE 2

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

GAIN

TRIM 2

LINE 3

BAL/UNBAL

Y

T

I

V

I

T

I

S

N

E

S

–10

+4U40dB

TRIM 3

–10

GAIN

6

LINE 4

BAL/UNBAL

T

I

V

I

T

I

S

N

E

S

+4U40dB

TRIM 4

LEFT/MONO

STEREO AUX RETURNS AUX SEND

Y

–10

GAIN

RIGHT

1

2

L

MONO

R

1

2

L

MONO

R

10

INPUT

TAPE

9

TAPE

OUTPUT

L

MONO

R

L

R

MAIN OUTS

LINE 11 -12LINE 5-6 LINE 7-8 LINE 9- 10

7

L

R

L

MONO

R

8

PHONES

advance it for best levels with a typical
sound source.

Engineers who fry their ears find them-

selves with short careers.

T ape Output

9

These unbalanced (RCA) connections
tap the main outputs to make simultaneous
recording and PA mor e convenient. Connect
these to your recorder’s inputs.

10

T ape Input

These are designed to work with semi-pro as
well as pro recorders. There’s definitely enough
gain to accommodate almost any source.

Connect your tape recorder’s output here,
using standard hi-fi (RCA) cables. When you
push the TAPE IN button, it will be connected
in place of STEREO AUX RETURN 2. Y ou can
then use the AUX RETURN knob to control
level to the main and headphone outs.

WARNING: Pushing TAPE IN can cr eate a
feedback path between TAPE IN and TAPE
OUT . Make sur e your tape deck is not in
record, record-pause or input monitor mode
when you engage the TAPE IN switch or…
make sure the AUX RETURN 2 knob is fully
counterclockwise (off).

The circuit details are identical to the
AUX Returns discussed above. Only the jacks
have been changed to make things easier .

• Use these jacks for convenient tape

playback of your mixes. You’ll be able to

review a mix, and then rewind and try

another pass, without repatching or

disturbing the main mixer controls.

• Y ou can also use these jacks with a

portable tape or CD player to feed music

to a PA system between sets. The micro-

phone and line inputs will still be live

unless you turn them down at the input

11

GAIN controls.

Power Connection

Just in case you lose the cord provided
with the MS 1202, its power jack accepts a
standard IEC cord like those found on most
professional recorders, musical instruments,
and computers.

At the other end of our cord is — get this —
a plug! Not a black cube or , as we’r e fond of
calling them, a “wall wart”. W e did this for
some very good reasons:

• The MS 1202 has separate regulated

supplies for the audio, meter, and micro-

phone phantom circuits. That’s part of

why it sounds so good. No wall wart can
provide this kind of sophisticated power.

• Wall warts are inconvenient, radiate huge
hum fields, hog extra jacks on your power
strip and get in the way when you move.

• The thin cable coming out of a wall wart
breaks easily, especially on the road. And
then you need a whole new wart. If the
rugged MS 1202 cord ever wears out, you
can get a new one at any electronics,
music, or computer store.

• By now you’ve probably gathered that we
really hate wall warts.

Plug the MS 1202 into any standard

grounded AC outlet or power strip of proper
voltage.

W ARNING: Disconnecting the plug’s ground

pin can be dangerous. Please don’t do it.

12

Fuse

The MS1202 is fused for your (and its own)

protection. If you suspect a blown fuse discon­nect the cord, pull the FUSE drawer out and
replace the fuse with a 315mA slo blo,
5x20mm (Littlefuse #218.315), available at
electronics stores or your dealer (or a 160mA
slo blo 5x20mm — Littlefuse #218.160 — if
your MS1202 is a 220V/240V unit).

If two fuses blow in a row, something is

very wrong. Please call our toll-free number
and find out what to do.

Power Switch

13

If this one isn’t self-explanatory, we give

up. Y ou can leave this switch on all the time;
the MS 1202 is conservatively designed, so
heat buildup isn’t a problem even in 24-hour­a-day operation. There’s nothing that will
burn out or get used up. Y ou may notice that
the MS 1202 feels warm in the upper right
corner . This is perfectly normal.

Or , just plug everything to a good quality

power strip for one-button turn-on.

If you leave this switch off, you won’t hear

anything.

14

Phantom Power Switch

The Phantom Power Switch controls the

phantom power supply for condenser micro­phones as discussed at the start of this
section. When turned off, the phantom
power circuitry takes a moment for voltage
to bleed to zero. This is normal. Do not at­tempt to adjust your sets.

NOTE: Phantom power will not harm

standard dynamic mics. See item 1 page 4.

PATCH

BAY

7

OO

OO

AUX

–15 +1 5

–15 +1 5

EQ

LR

PAN

OO

GAIN

U

1

+15

U

18

2

+15

HI

17

LO

16

U

15

+20

1

THE REST OF THE STORY: CONTROLS

As we pointed out at the start of this sec­tion, the controls on the MS 1202 are
organized into two distinct areas: eight chan­nel strips (four mono and four stereo) and
an output section.

CHANNEL STRIP CONTROLS

The eight channel strips look alike, and
function identically. The only differ ence is
the four on the left are for individual mics or
mono instruments and have more gain avail­able, while the next four are for either stereo
or mono line-level sources. (Each of the line­level channel strips is actually two complete
circuits. The controls are linked together to
preserve stereo.)

Gain

15

The rotary GAIN knob controls the
channel’s level… from OFF to Unity Gain (no
gain or loss) to +20dB. Y ou’ll feel a slight
“click”, or detent, at the straight-up position.
This is to make it easier to use the channels
predictably: when the control is at the detent,
you’re set for Unity Gain; no attenuation and
no amplification.

Pan

16

PAN adjusts the amount of channel signal
sent to the left and right outputs. These con­trols work as pan pots on all eight channel
strips as long as you’re using mono signal
sources (microphones, LINE 1–4, or the
LEFT-only mono inputs of channels 5–12).
Y ou can also use Channel 5–12 P AN controls
to “skew” stereo inputs left or right, just like
the Balance control on your stereo receiver.

represents the punch in bass drums, bass
guitar , fat synth patches, and some r eally
serious male singers. Cutting slightly at this
frequency can do wonders for muddy tracks
and boomy room acoustics; cutting more
drastically can help fix poppy microphones.

HI EQ. This control gives you up to 15dB
boost or cut at 12kHz, and is also flat at the
detent. Use it to add sizzle to cymbals, and
an overall sense of transparency , or edge to
keyboards, vocals and guitar . Turn it down a
little to reduce sibilance, or to fix hiss on a
tape track.

You can also screw things up royally . W e’ve
designed a full 15dB of boost and cut into each
equalizer circuit, because we know profession­als occasionally need that range. But if you max
the EQ’s on every input you’ll get mix mush. If
you’re using the MS1202 for recording, equal­ize subtly and use the left sides of the knobs
(cut), as well as the right (boost).

AUX Sends

18

These unbalanced outputs route a portion
of each channel signal out to another source
for processing or sub-mixing. These outputs
are controlled by the AUX 1 and AUX 2 knobs.

These are more than just effects sends.
They can be used to generate separate mixes
for recording (or “mix-minuses” for broad­cast), or as monitor mixes.

• The AUX sends are post-gain control,

post-equalizer. That is, they follow the EQ

and level adjustments for each channel.

• PAN has no effect on the sends.

• All sends range from full “off” at the

extreme counterclockwise position to

Unity with their channel gain controls at

the center detent position. There’s an

17

EQ

The MicroSeries 1202 has bass and treble
shelving equalization at musically useful
points — LO boost/cut at 80Hz and HI boost/
cut at 12kHz. By shelving we mean that the
circuitry boosts or cuts all frequencies past
the specified frequency , instead of just creat­ing a frequency bump or dip the way a
graphic equalizer would. For example, rotat­ing the MS 1202’s LO EQ knob 15dB to the
right boosts bass starting at 80 Hz and con­tinuing down to the lowest octave.

LO EQ. This control gives you up to 15dB
boost or cut at 80Hz. The circuit is flat at the
detented center position. This frequency

extra 15dB of gain once you pass the
detent. However, you should be careful
not to overload whatever device you’re
sending signal to.

• On Channels 1–4 only, the AUX controls
can be changed to pre-fade/pre-equalizer.
See page 9 “MS 1202 Modification” for
further details.

• Channel 5–12 AUX pots mix the mono
sum of their respective stereo inputs.

• W e recommend going into a ster eo r everb
in mono and returning in stereo. We have
found that most “stereo” reverb’s second
input just ties up an extra AUX send and
adds nothing to the sound.

8

MS1202 MODIFICA TION:

Convert AUX SEND 2 to pre-EQ/pr e-fader
Channels 1–4 only.

(1) Remove bottom cover. You will be
working on the solder side (bottom)
of the circuit boar d.

(2) Locate this area on the circuit
board. Near the Aux Send 2 pots,
channels 1 thru 4.

(3) Cut trace here.

POST

PRE

Any internal modification of the MS 1202 must be
performed by a competent electronic technician.
Mackie Designs accepts no responsibility in the
event of improperly performed modifications or
other damages and, in such cases, may declar e
warranty privileges void.

OUTPUT SECTION

Here’s where it all comes together.

Master gain

19

This controls both stereo MAIN and T APE
outputs from OFF (fully counterclockwise),
through Unity Gain at the center detent, to
10dB of extra gain at fully clockwise. Most of
the time this is run between Unity and off.

20

Phones

As you might expect, this control does the
same thing for the PHONES jack. The con­trol range is from full OFF to loud. It’s totally
independent of the MASTER pot, so you can
use the headphone output to preview your
mix before fading up the main outputs.

Y ou can also use the PHONES output to
independently drive a separate tape recorder
or PA system. We made sure the audio quality
at that output is the same audio quality as at
the main outputs.

Because the headphone signal is controlled
by the PHONES knob but not by the MASTER
gain knob, you can use this feature to:

• Preview a mix. Leave the MASTER

control all the way down while you listen

to the musicians’ intro or click track in

the headphones and then quickly bring

up the master for a clean entrance.

• Serve as a totally isolated, high-quality

output for a second tape recorder or PA

system. Instead of using a low-cost “head-

(4) Add jumper here.

phone amp” chip, we use a high-current
version of our main output amplifier , which
is why it can really clean out your cochlea if
you crank it up too far… but still be a very
clean signal source.

2221

Metering

The MS 1202’s 3-way peak metering sys­tem is made up of two columns of twelve
LED’s (21) and an INPUT CH. METERING
switch (22).

Thanks to the MS 1202’s wide dynamic
range, you can get a good mix with peaks
flashing anywhere between –30 and +10dB
on this display. Most P A amps clip at +4, and
most recorders aren’t so forgiving either. For
best real-world results, try to keep your
peaks below +7.

In combination with the INPUT CH. i/ME­TERING button, the display can be used to
monitor three different sources:

• Stereo Output. This is the normal

function you’d expect from any mixer. It’s

displayed when the INPUT CH. METER-

ING button is in the OUT position. But

don’t go away, there’s more! Press the

INPUT CH. METERING button IN and you

get input metering as well.

• Channel Operating Level. The right

column of LED’s displays the overall

operating level of all 12 channels and AUX

Returns (pre-

Master Gain). To

monitor just one

channel, turn down

the others.

• Mic Input. The left

column of LED’s

displays the

combined operat-

ing levels of

Channel 1–4’s mic

preamps. By using

just one channel at

a time, you can use

this feature to

TRIM for 0dB

21

U

BAL .

+22
+10

+7

+4
+2

0

-2

-4

-7

-10

-20

-30

U

CLIP

0dBu

CAL

operating level

(explained else-

where in detail).

Avoid lighting the

OO

+10

MAS TER

red CLIP LED’s. With
the INPUT CH. ME-

19

TERING button OUT ,
watch the bouncing
LED’s to control the

TRIM

LINE IN

1-4

1-12

INPUT CH.

METERING

22

OO

PHONES

20

1202

CONTROLS

9

U

1

OO

24

T APE IN

AUX 2

STEREO AUX RETURN T O MASTER

CLIP

+22
+10

+7

+4
+2

0dBu

0

CAL

-2

-4

-7

-10

-20

-30

U

BAL .

U

OO

MAS TER

+10

+20

U

OO

+20

TRIM

LINE IN

1-4

1-12

INPUT CH.

METERING

OO

PHONES

23

2

overall level of your mix. If the red CLIP
lights are flashing, your levels are way too
high. Do one of the following:

• If you haven’t adjusted the Channel 1–4
TRIM pots properly, do that first (with
the INPUT CH. METERING button IN).
Instructions are on page 12.

• If the LED’s are still running into the red
with the INPUT CH. METERING button
OUT, lower the level of the MASTER
control.

• If the red CLIP lights are still flashing,
even momentarily, lower the Channel 5–
12 GAIN pots equally. This may also be
caused by excessive gain settings in the
EQ section.

When recording, glance at the tape deck/

DAT meters frequently while mixing. Human
ears get tired after a while — it happens to
the best of us — and levels start to climb
(the Mounting Mix Syndrome). Meters never
get tired, and will show level accurately until
the Great Fade Out.

Stereo AUX/T ape Returns to Master

23

These two controls set the overall level of
effects received from STEREO AUX RETURNS
1 and 2. These controls are designed to handle
a wide range of signal levels. There’s a detent
at unity gain. Fully counterclockwise is OFF;
fully clockwise gives you an extra 20dB gain to
compensate for low-level effects.

If you’re using digital effects with digital out­put level controls (see their manuals), you’ll
get the best results by leaving the effect’s out­put fully up and running the STEREO AUX
RETURN somewhere below Unity . If you’re us­ing a digital effect with rotary controls, set the
AUX RETURN for use at Unity Gain. If you’re
using guitar-type effects, you’ll probably need
to run this control above Unity. (That’ s what
the extra gain is for .)

AUX RETURN 2 also controls the tape
playback level when you push TAPE IN, ex­plained below.

24

TAPE IN button (24)

When you press the T APE IN button, sig­nals from the TAPE INPUTs are sent into
the AUX 2 Return. In this mode, the AUX 2
Return control adjusts the level sent to the
master . It’ s perfect for injecting just the
right amount of weird sound effects you re­corded on your cassette deck into a mix —
or to play trendy background music through
a PA during band breaks.

WARNING: Pushing TAPE IN can cr eate a
feedback path between TAPE IN and TAPE
OUT . Make sur e your tape deck is not in
record, record-pause or input monitor mode
when you engage the TAPE IN switch.

This concludes the guided tour . Now for
the nitty-gritty hook-up.

10

Part 2 — GETTING HOOKED:
CONNECTION TIPS

Hook-up Diagrams in living Color!

Included with your MS1202 is our color
Application Guide which covers the common
ways to hook up your new mixer . There are a
zillion ways to connect a mixer as versatile as
the MS1202. An infinite number of monkeys
mousing madly on Macintoshes couldn’t draw
all the permutations. Because we only have
four monkeys with four Macintoshes in our art
department, we’ve included six typical applica­tion connections. If you didn’t get an Applications
Guide (or the dog ate it), call a primate at
800/258-6883 and we’ll send you one.

Warning

Before connecting a microphone or line
signal to an open, amplified channel, turn
down that channel’s GAIN knob! Better yet,
turn off your amp.

Connecting a stereo signal to the MS 1202

Use two separate plugs, rather than a
“stereo plug”. For Channels 1–4, plug the left
signal into an odd-numbered jack and the
right signal into an even-numbered jack. For
Channels 5–12, plug the left signal into the
L jack and the right signal into the corre­sponding R jack. The AUX, EQ, and GAIN
knobs of Channels 5–12 will control both L
and R inputs equally, pr eserving the stereo
integrity.

Connecting a mono signal to the MS 1202

Use either a Channel from 1 through 4 or
use only the L jack (also labeled mono) —
with nothing connected to the R jack — of
Channels 5–12. This will feed the mono sig­nal equally to both sides of the stereo mix.

Y ou can connect two independent mono
signals to a stereo pair of input jacks, if you
want them routed separately to the left and
right mix busses. The PAN pot will control
their relative levels.

Connecting Effects and Processors

Most recording and PA setups use external
boxes to enhance the sound: reverb, digital
delay, and compr essors are the most common,
but you might also have a harmonizer or en­hancer as well. All of these effects can be
grouped into two categories — effects
(parallel devices) and processors (series
devices)— depending on what they do.

Effects

These generate additional sounds that you
add to the mix, usually by making two simulta­neous mixes: one of the unmodified dry signal
that goes directly to the main outputs, and an
auxiliary mix that is sent to the effect. The
output of the effect is then mixed into the
main output. The most common effects are
echo or reverb, and digital delay . Effects de­vices can be connected to the MS 1202 via the
AUX SENDS and AUX RETURNS.

Processors

These modify the original signal and com­pletely replace it with the processed version.
Usually they’re connected to only one micro­phone, instrument, or track at a time
through a channel insert or before/after the
mixer . You can add other processors after the
MS 1202 if you want to affect the overall mix.

Odd ducks

Some newer digital “Swiss Army Audio
Knives” can be switched for compression,
echo, limiting, and whatever else struck the
whim of the product designer . See their manu­als for details: you’ll probably want to connect
them based on what they’re doing to your mix.

Connecting an effect with stereo outputs

Use two separate cables and plug into a
Left/Right pair of an AUX RETURN. The
STEREO AUX RETURN knobs will control
both sides of the effect equally.

Connecting an effect with mono output

Use just the left (L) AUX RETURN jack
with nothing connected to the right, the
MS 1202 will route the signal to both mix
busses. If you want a signal to return to just
the right AUX RETURN channel, plug the ef­fect output into only the right (R) AUX
RETURN. Because the left return is auto­matically mono, and therefore centered, you
have to go to a bit more trouble to return a
signal just to the left AUX RETURN channel:
Plug the signal into the left (L) input and
then insert a dummy plug into the right (R)
AUX RETURN channel.

11

HOOK

UP

Connecting separate mono effects to a
single return

Y ou can use the L and R jacks indepen­dently. Both ar e controlled by the AUX
RETURN knob, but each is sent separately to
its respective mix bus side.

NOTE: The T APE IN switch directly above
the VU Meters disconnects STEREO AUX
RETURN 2. If you’re not hearing anything
from these returns, make sure the switch
isn’t depressed.

Channel Inserts

To connect a processor at channel insert
points (shown on page 6, item 6), use a
stereo or Tip-Ring-Sleeve (TRS) plug wired
as shown below.

ring

tip

this plug connects to one of the
MS-1202’s Channel Insert jacks.

MONO PLUG

Direct out with no signal interruption to master.

Direct out with signal interruption to master.

(TIP = SEND to effect, RING = RETURN from effects)

Insert only to first “click”

MONO PLUG

Insert all the way in to the second “click”

STEREO

For use as an effects loop.

(TRS plug)

sleeve

The plug wired to the TRS “tip” goes to the
processor INPUT (send). The plug wired to
the TRS “ring” comes from the processor’s
OUTPUT (return).

NOTE: If you’re using these jacks as chan­nel inserts, adjust the TRIM controls before
you plug the processor in.

Channel Inserts as direct channel outs

Y ou can also use the CHANNEL INSERTS
to turn the MS 1202 into a 4-channel discrete
mic preamp (see drawing below). The in­serts act as direct outputs from the mic

Channel Insert jack

Channel Insert jack

PLUG

Channel Insert jack

SEND to processor

RETURN from processor

preamps, to feed
tape decks, DAT
machines or
other mixers. If
you use a stan­dard mono plug
pushed all the
way in (two
“clicks”), you’ll be
able to tap the
preamp directly .

Push the plug
into just the first
“click” and you
will not interrupt
the signal to the
main mix.

“tip”

“ring”

Part 3 —
SETTING LEVELS

The MicroSeries 1202’s better-than-digital-

quality specs are not because of magic.

To get this kind of performance without
breaking any rules of physics, we had to break
a few unwritten ones about mixer design. The
Unity Gain Adjustment is simple, easy to re­member , and takes just a few seconds.

Can you run a Mackie mixer without this
adjustment? Sure. Chances are you’ll get
good sound anyway. But take a moment to
adjust it properly, and you’ll get an excellent
sound. Hey, it’ s your music.

ADJUSTING CHANNEL TRIM

If you can’t find these controls or indica­tors, check the drawings in Part 1.

1. Set the TRIM control fully counterclock-

wise (on Channels 1–4 only).

2. Set the channel GAIN to its detented

(Unity) position. You’ll feel a tiny flat

spot when the knob is lined up this way.

3. Push the INPUT CH. METERING switch in.

4. Run a typical sound through that channel.

• Use the exact same microphone, tape

deck, or keyboard as you’ll use in normal

operation.

• Talk, sing, or play the way you normally

will, at performance levels.

5. Adjust the TRIM control (Channels 1–4) for

that channel while checking the LEDs. The

peaks should run at about 0dB to +4dB.

Repeat these steps for each of the first
four inputs, and your Mackie MS 1202 will be
calibrated for best performance. Y ou won’t
have to do it again, unless you change the
equipment connected to the mixer’s inputs.

How about Channels 5-12 which don’t
have TRIM controls? Here you should use
the output controls on your source — such
as the HI/MED/LO setting on many key­boards (if yours has one, set it to HI), or the
output gain on tone modules. When addi­tional gain is needed, it’s perfectly OK to set
the channel level above Unity — that’s one
of the reasons we provided the extra gain.

*The CD recording process theoretically has a dynamic

range of 96dB. More realistically, it’s under 90dB. (We
challenge you to find one with even that dynamic range.)
The MS 1202 not only has a working dynamic range of 90dB
but TEN more dB of headroom above that, thus exceeding
even the theoretical range of compact discs.

12

Part 4 — TECH STUFF

SERVICE

SPECIFICATIONS

S/N ratio

90dB ref: +4dBu working level (all channels
assigned, Channels 1–4 panned alternately left/
right, Channels 5–12 set at center, main line out
single-ended, 20Hz–20kHz)

Mic preamp equivalent input noise (E.I.N)

–129dBm @ 150 ohms, 20Hz–20kHz

Maximum gain (mic in to main out)

86dB (to balanced out)
80dB (to unbalanced out)

Frequency response

20Hz to 40kHz, ±1dB (mic in to main line out)

Distortion

Less than .025%, 20Hz–20kHz

Pan attenuation

–67dB

Adjacent channel crosstalk (at insert outputs)

–85dB @ 1kHz

Equalization

Low: ±15dB @ 80Hz
High: ±15dB @ 12kHz

Maximum output level

+28dBu balanced
+22dBu unbalanced (using TRS plug with ring
disconnected)

Weight

7 lbs.

Power requirements

120 VAC, 60Hz, 20 watts

Dimensions

11.470"

19"

2.64"

10.35"

1.425"

2.2"

Make sure to save your sales receipt. It’s
useful in establishing when you bought the
mixer and for insurance purposes if some­one happens to borrow your entire studio
while you are on vacation in Mazatlan.

TROUBLESHOOTING

W e haven’t included a gigantic trouble­shooting chart with circles and arrows and
captions on the back because our Service
Department and support persons are here to
handle that sort of thing. Still, there are
some simple tests you can make before you
call to determine if your MS 1202 is really
the culprit. This saves time all around and
prevents you from feeling sheepish when it
turns out that it’s really your Blort-T ronics
Sonic Defrabulator that’s creating the prob­lem, and not our mixer .

Problem: Dead Input

Are the gain controls turned up? (Honest,
this happens.)

Unplug all Channel Insert hook-ups.

Try the same instrument and cord in
another channel.

Problem: Dead Output

Are the gain controls turned up?

Unplug all Channel Insert hook-ups from
the mixer .

Switch output cords. For example, if the
left output is dead, switch the left and right
output cords at the mixer . If the problem
moves to the right, it’s not the mixer .

Problem: Noisy Output

Turn all gain knobs and AUX r eturns
down. If the noise goes away, bring levels
back up one at a time, checking for noise at
each step.

Unplug everything except the output
where the noise was detected. If the noise
goes away, plug everything back in one at a
time, checking for noise at each connection.

LEVEL

SETTING

STEPS

TECH

STUFF

6 RACK SPACES

Shown with optional rack brackets

Mackie Designs is always striving to improve our mixers
by incorporating new and improved materials, compo­nents and manufacturing methods. Because we’re always
trying to make things better, we reserve the right to
change these specification at any time without notice.

©1995 All Rights Reserved, Mackie Designs.
Printed in the good ole U.S.A.

Problem: No Power

Check the MS 1202 fuse (see page 7).

13

REPAIR

Service for the MS 1202 is only available
from the Mackie Designs factory in scenic
W oodinville, W ashington.

If there is a problem with your mixer:

1. Review the troubleshooting suggestions

on the previous page.

2. Call us to confirm that the MS 1202 needs

repair and to get an RA number . Y ou must

have a Return Authorization Number

(RA). Call us at 1-800-258-6883, 8 AM to 5

PM Pacific time, Monday through Friday to

get this number . Products shipped to us

without an RA number will be refused.

3. Set aside the manual and cord. W e won’t

need these to repair the mixer (unless you

have interharmonic under-slewing bi-

polar crosstalk in your rack ears, a rare

but particularly nasty problem).

4. Pack the mixer in its original shipping

carton with the foam end caps in place.

This is VERY IMPORTANT. If you do not

have the carton, just ask for one when you

get your RA number and we’ll ship it to

you promptly, C.O.D.

5. Include a note stating:

a. Y our return addr ess and phone number
b. A brief description of the MS 1202's

problem and how to re-create it.

6. Write the RA number in BIG PRINT on the

outside of the shipping carton.

7. Send us the mixer . We recommend U.P.S.

Remember to insure the mixer . U .P.S. can

help you with this. Ship your MS 1202 to:

Mackie Designs, attn: Service

16220 Wood-Red Rd. NE

Woodinville, WA 98072, U.S.A.

Legalese fine print

W e r eserve the right to inspect any prod­uct which may be the subject of any warranty
claim before repair is carried out. For war­ranty service we may require proof of the
original date of purchase in the form of a
dated copy of original retail dealers’ invoice.
Final determination of warranty coverage
lies solely with Mackie Designs Inc.

Products repaired under warranty will be
returned freight prepaid by Mackie Designs
to any location within the boundaries of the
United States. Outside of the USA, products
will be returned freight collect.

Products which do not meet the terms of
our warranty will be repaired and returned
C.O.D. with billing for labor , materials, re­turn freight and insurance.

All warranty information can be found on
your warranty card, included with this
manual.

Special Offer For Folks Who Don’t Think
Albums Must Be Mixed on Huge Consoles

Believe it or not, a surprising number of
compact discs have been produced using
MicroSeries 1202s. W e’re not suggesting
that an MS 1202 will replace a 128-channel
SSL board. But some creative souls have
tracked and mixed excellent self-produced
albums using our little mixer . Also, we’ve
heard some very impressive live classical
and jazz recordings.

If you’ve produced a compact disc using
the MS 1202 as the primary mixer, we’d like
to hear it. W e’ll r epay you with a genuine
cotton Mackie T-shirt and possible mention
in our newsletter . Send your submissions
and T-shirt size (M, L, XL, XXL) to :

T -shirt For CD Offer, 16220 Wood-Red Rd.
NE, Woodinville, W A, 98072.

8. We’ll try to fix the mixer within five
business days. We send everything back
prepaid U.P.S. BLUE (Second Day Air)
unless you have sent your MS 1202 to us
for warranty service by NEXT DAY or
SECOND DAY AIR. In that case, we figure
you need it fixed ASAP, so we put it at the
head of the line and ship the unit back
U.P.S. RED (Next Day Air). This policy
does not apply to non-warranty service.

14

OUTPUT

MAIN LEFT

BALANCED

TAPE

OUTPUTS

BALANCED

MAIN RIGHT

OUTPUT

STEREO

HEADPHONES

TIP

OUTPUT

RING

LEVEL

METER

+22 CLIP

+12

+7

+4

+2 0 -2

-7

-4

-10

MicroSeries 1202

-20

-30

Block Diagram

1

L R

2

-

+

MASTER

L

+

OFF TO

+10dB GAIN

LEFT & RIGHT

MAIN

MIX AMPS

-

R

L

R

LEVEL

PHONES

AUX 1

SEND

SEND

AUX 2

MIC BUS

LINE BUS

AUX 2
AUX 1
MAIN RIGHT
MAIN LEFT
LINE BUS
MIC BUS

TECH

STUFF

11

4

3

AUX 1

PAN

AUX 2

12

9

10

8

7

5

6

AUX 1

AUX 2

AUX 2

AUX 2

GAIN

HIGH

LO

CHANNEL INSERT

TIP SEND, RING RETURN

GAIN TRIM:

MIC GAIN-

LINE GAIN-

UNITY TO +40dB

+10dB TO +50dB

POWER

PHANTOM

CHANNELS 1-4

TIP OUT

2(HOT)

2

EQUALIZATION

GAIN

OFF TO +20dB GAIN

DISCRETE

3

1

1

3

MIC

INPUTS

MIC AMP

LINE

INPUT

LO HIGH

EQUALIZATION

GAIN

OFF TO

+20dB GAIN

CHANNELS 5-12

LEFT

PAN

TAPE

SWITCH

HIGH LO

EQUALIZATION

RIGHT

AUX 1

GAIN

AUX 2

RETURN

AUX 1

LEFT

LEFT

RETURN

TAPE

INPUTS

AUX 2

RETURN

AUX 1

RETURN

RIGHT

RIGHT

15