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LEFT/MONO RIGHT
MIC 1 MIC 2 MIC 3 MIC 4 1 1 L
L
MICRO SERIES 1202
12-CHANNEL MIC/LINE MIXER
2 2 R
R
TAPE TAPE
STEREO AUX RETURNS AUX OUT INPUT OUTPUT MAIN OUTS
L L L L
LINE 1 LINE 2 LINE 3 LINE 4 MONO MONO MONO MONO
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
SI
SI
SI
SEN
SEN
SEN
SEN
10 10 10 10
R R R R
+4 40dB +4 40dB +4 40dB +4 40dB
U GAIN U GAIN U GAIN U GAIN
TRIM 1 TRIM 2 TRIM 3 TRIM 4 LINE 5-6 LINE 7-8 LINE 9-10 LINE 11-12 PHONES
U U U U U U U U U
1 1 1 1 1 1 1 1 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20
U U U U U U U U TAPE IN U
AUX 2
2 2 2 2 2 2 2 2 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20
AUX AUX AUX AUX AUX AUX AUX AUX STEREO AUX RETURN TO MASTER
TRIM LINE IN
+22 CLIP 1-4 1-12
+10
HI HI HI HI HI HI HI HI
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 +7 INPUT CH.
METERING
+4
+2
0 0dBu POWER
LO LO LO LO LO LO LO LO CAL.
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 -2
EQ EQ EQ EQ EQ EQ EQ EQ
-4
-7
-10
-20
L R L R L R L R L R L R L R L R
PAN PAN PAN PAN PAN PAN PAN PAN -30
U
U U U U U U U U BAL. U
GAIN 1 GAIN 2 GAIN 3 GAIN 4 GAIN 5-6 GAIN 7-8 GAIN 9-10 GAIN 11-12 MASTER PHONES
1
8. Power Cord Protection Power supply cords should be
CAUTION AVIS routed so that they are not likely to be walked upon or
RISK OF ELECTRIC SHOCK pinched by items placed upon or against them, paying
DO NOT OPEN particular attention to cords at plugs, convenience receptacles,
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR and the point where they exit the MicroSeries 1202.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
9. Object and Liquid Entry Care should be taken so that
NO USER-SERVICEABLE PARTS INSIDE objects do not fall into and liquids are not spilled into the
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
inside of the MicroSeries 1202.
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER 10. Damage Requiring Service The MicroSeries 1202
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU should be serviced only by qualified service personnel when:
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE A. The power-supply cord or the plug has been
damaged; or
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated B. Objects have fallen, or liquid has spilled into the
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
MicroSeries 1202; or
Le symbole clair avec point de flche l'intrieur d'un triangle
quilatral est utilis pour alerter l'utilisateur de la prsence
C. The MicroSeries 1202 has been exposed to rain; or
l'intrieur du coffret de "voltage dangereux" non isol d'ampleur
suffisante pour constituer un risque d'lctrocution.
D. The MicroSeries 1202 does not appear to operate
The exclamation point within an equilateral triangle is intended to
normally or exhibits a marked change in performance; or
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
E. The MicroSeries 1202 has been dropped, or its
Le point d'exclamation l'intrieur d'un triangle quilatral est chassis damaged.
employ pour alerter les utilisateurs de la prsence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil. 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 prevenir les chocs lectriques ne pas utiliser cette fiche
polarise avec un prolongateur, un prise de courant ou une
SAFETY INSTRUCTIONS autre sortie de courant, sauf si les lames peuvent tre insres
1. Read Instructions All the safety and operation instructions fond sans laisser aucune pariie dcouvert.
should be read before the MicroSeries 1202 is operated. 13. Grounding or Polarization Precautions should be
2. Retain Instructions The safety and operating taken so that the grounding or polarization means of the
instructions should be kept for future reference. MicroSeries 1202 is not defeated.
3. Heed Warnings All warnings on the MicroSeries 1202 14.This apparatus does not exceed the Class A/Class B
and in these operating instructions should be followed. (whichever is applicable) limits for radio noise emissions from
digital apparatus as set out in the radio interference
4. Follow Instructions All operating and other instructions regulations of the Canadian Department of Communications.
should be followed.
ATTENTION Le prsent appareil numrique nmet pas de
5. Water and Moisture The MicroSeries 1202 should not bruits radiolectriques dpassant las limites applicables aux
be used near waterfor example, near a bathtub, appareils numriques de class A/de class B (selon le cas)
washbowl, kitchen sink, laundry tub, in a wet basement, near prescrites dans le rglement sur le brouillage radiolectrique
a swimming pool, swamp or salivating St. Bernard dog, etc. dict par les ministere des communications du Canada.
6. Heat The MicroSeries 1202 should be situated away WARNING To reduce the risk of fire or electric shock, do
from heat sources such as radiators, or other devices which not expose this appliance to rain or moisture.
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.
V 2.4 1/95
2
PATCHBAY DESCRIPTION PATCH
BEGINS ON PG. 4 BAY
LEVEL
DETAILED LEVEL-SETTING SETTING
PROCEDURE, PG. 12 STEPS
3
Part 1 ALL THE HOLES AND KNOBS:
A GUIDED TOUR OF THE MICROSERIES 1202
The first thing youll notice is that the top of circuit is excellent at rejecting hum and
panel is organized into three distinct areas: noise. You can plug any kind of professional
A patchbay along the top; mic that has a standard XLR-type male mic
Eight channel strips four mono and connector. If you wire your own, connect
four stereo; them like this:
And an output section on the right. Pin 1 = Ground or shield
Note that four patchbay jacks overflowed Pin 2 = Hot (in phase with output)
the top panel, and are on the rear of the Pin 3 = Cold (out of phase with output)
MS 1202. The following pictures will help you Professional ribbon, dynamic and con-
find everything; the next few pages will help denser mics will all sound excellent through
you use it all. these inputs, especially if you follow the
Level Setting instructions on page 12. Lower-
PATCHBAY cost electret-type unbalanced mics can be
At the risk of stating the obvious, this is plugged into Line Inputs 112, but will re-
where you plug everything in: microphones, quire additional gain.
line-level instruments and effects, head- Basically, the MS 1202s inputs will handle
phones, and the ultimate destination for any kind of mic level you can toss at them
your sound: a tape recorder, PA system, etc. without overloading. But youll get the abso-
lute best quality sound if you follow the
1 Microphone Inputs
calibration procedure covered briefly in our
We use true phantom-powered, balanced Cant Wait Tips on page 3, and more depth
inputs just like the big studio mega-con- in Part 3, page 12.
soles, for exactly the same reason: this kind
LEFT/MONO RIGHT
MIC 1 MIC 2 MIC 3 MIC 4 1 1 L
L
MICRO SERIES 1202
12-CHANNEL MIC/LINE MIXER
2 2 R
R
TAPE TAPE
STEREO AUX RETURNS AUX OUT INPUT OUTPUT MAIN OUTS
LINE 1
BAL/UNBAL
LINE 2
BAL/UNBAL
LINE 3
BAL/UNBAL
PATCHBAY
LINE 4
BAL/UNBAL
MONO
L
MONO
L
MONO
L
MONO
L
SI
SI
SI
SEN
SEN
SEN
SEN
10 10 10 10
R R R R
+4 40dB +4 40dB +4 40dB +4 40dB
U GAIN U GAIN U GAIN U GAIN
TRIM 1 TRIM 2 TRIM 3 TRIM 4 LINE 5-6 LINE 7-8 LINE 9-10 LINE 11-12 PHONES
U U U U U U U U U
1 1 1 1 1 1 1 1 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20
U U U U U U U U TAPE IN U
AUX 2
2 2 2 2 2 2 2 2 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20
AUX AUX AUX AUX AUX AUX AUX AUX STEREO AUX RETURN TO MASTER
TRIM LINE IN
+22 CLIP 1-4 1-12
+10
HI HI HI HI HI HI HI HI
CHANNEL STRIPS
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 +7 INPUT CH.
METERING
+4
+2
0 0dBu POWER
LO LO LO LO LO LO LO LO CAL
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 -2
EQ EQ EQ EQ EQ EQ EQ EQ
OUTPUT
-4
-7
-10
-20
L R L R L R L R L R L R L R L R
PAN PAN PAN PAN PAN PAN PAN PAN -30
U
U U U U U U U U BAL. U
GAIN 1 GAIN 2 GAIN 3 GAIN 4 GAIN 5-6 GAIN 7-8 GAIN 9-10 GAIN 11-12 MASTER PHONES
4
LEFT/MONO RIGHT
MIC 1 MIC 2
1 MIC 3 MIC 4 1 1 L
L
PATCH
5 2 2
R
R
BAY
TAPE TAPE
STEREO AUX RETURNS AUX SEND INPUT OUTPUT MAIN OUTS
2 L L L L
LINE 1 LINE 2 LINE 3 LINE 4 MONO MONO MONO MONO
4
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
SI
SI
SI
3
SEN
SEN
SEN
SEN
10 10 10 10
R R R R
+4 40dB +4 40dB +4 40dB +4 40dB
U GAIN U GAIN U GAIN U GAIN
TRIM 1 TRIM 2 TRIM 3 TRIM 4 LINE 5-6 LINE 7-8 LINE 9-10 LINE 11-12
5
11 13 14ON ON
SERIAL NUMBER
CAUTION
6
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK,
DO NOT REMOVE BOTTOM COVER. NO USER-SERVICEABLE
RISK OF ELECTRIC SHOCK
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
MICRO SERIES 1202 DO NOT OPEN
12-CHANNEL MIC/LINE MIXER CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA
DIRECT OUT WITH NO SIGNAL DIRECT OUT WITH SIGNAL FOR USE AS AN EFFECTS LOOP CHANNEL INSERTS
INTERRUPTION TO MASTER INTERRUPTION TO MASTER (TIP = SEND, RING = RETURN)
POWER PHANTOM
4 3 2 1
48V
12
MONO PLUG MONO PLUG STEREO PLUG
INSERT ONLY INTO THE INSERT ALL THE WAY IN TO TIP OUT TO EFFECTS DEVICE
"FIRST CLICK" THE "SECOND CLICK" RING RETURN FROM EFFECTS
2 2 R
R
TAPE TAPE
STEREO AUX RETURNS AUX SEND INPUT OUTPUT MAIN OUTS
LINE 1
BAL/UNBAL
TI
VITY
LINE 2
BAL/UNBAL
TI
VITY
LINE 3
BAL/UNBAL
TI
VITY
LINE 4
BAL/UNBAL
TI
VITY
L
MONO
L
MONO
L
MONO
L
MONO
8
SI
SI
SI
SI
SEN
SEN
SEN
SEN
10 10 10 10
R R R R
+4 40dB +4 40dB +4 40dB +4 40dB
U GAIN U GAIN U GAIN U GAIN
TRIM 1 TRIM 2 TRIM 3 TRIM 4 LINE 5-6 LINE 7-8 LINE 9-10 LINE 11-12 PHONES
6
advance it for best levels with a typical why it sounds so good. No wall wart can
sound source. provide this kind of sophisticated power.
Engineers who fry their ears find them- Wall warts are inconvenient, radiate huge
PATCH
selves with short careers. hum fields, hog extra jacks on your power
BAY
strip and get in the way when you move.
9 Tape Output The thin cable coming out of a wall wart
These unbalanced (RCA) connections breaks easily, especially on the road. And
tap the main outputs to make simultaneous then you need a whole new wart. If the
recording and PA more convenient. Connect rugged MS 1202 cord ever wears out, you
these to your recorders inputs. can get a new one at any electronics,
music, or computer store.
10 Tape Input By now youve probably gathered that we
These are designed to work with semi-pro as really hate wall warts.
well as pro recorders. Theres definitely enough Plug the MS 1202 into any standard
gain to accommodate almost any source. grounded AC outlet or power strip of proper
Connect your tape recorders output here, voltage.
using standard hi-fi (RCA) cables. When you WARNING: Disconnecting the plugs ground
push the TAPE IN button, it will be connected pin can be dangerous. Please dont do it.
in place of STEREO AUX RETURN 2. You can
then use the AUX RETURN knob to control 12 Fuse
level to the main and headphone outs. The MS 1202 is fused for your (and its own)
WARNING: Pushing TAPE IN can create a protection. If you suspect a blown fuse discon-
feedback path between TAPE IN and TAPE nect the cord, pull the FUSE drawer out and
OUT. Make sure your tape deck is not in replace the fuse with a 315mA slo blo,
record, record-pause or input monitor mode 5x20mm (Littlefuse #218.315), available at
when you engage the TAPE IN switch or electronics stores or your dealer (or a 160mA
make sure the AUX RETURN 2 knob is fully slo blo 5x20mm Littlefuse #218.160 if
counterclockwise (off). your MS 1202 is a 220V/240V unit).
The circuit details are identical to the If two fuses blow in a row, something is
AUX Returns discussed above. Only the jacks very wrong. Please call our toll-free number
have been changed to make things easier. and find out what to do.
Use these jacks for convenient tape
playback of your mixes. Youll be able to 13 Power Switch
review a mix, and then rewind and try If this one isnt self-explanatory, we give
another pass, without repatching or up. You can leave this switch on all the time;
disturbing the main mixer controls. the MS 1202 is conservatively designed, so
You can also use these jacks with a heat buildup isnt a problem even in 24-hour-
portable tape or CD player to feed music a-day operation. Theres nothing that will
to a PA system between sets. The micro- burn out or get used up. You may notice that
phone and line inputs will still be live the MS 1202 feels warm in the upper right
unless you turn them down at the input corner. This is perfectly normal.
11 GAIN controls. Or, just plug everything to a good quality
power strip for one-button turn-on.
Power Connection If you leave this switch off, you wont hear
Just in case you lose the cord provided anything.
with the MS 1202, its power jack accepts a
14 Phantom Power Switch
standard IEC cord like those found on most
professional recorders, musical instruments, The Phantom Power Switch controls the
and computers. phantom power supply for condenser micro-
At the other end of our cord is get this phones as discussed at the start of this
a plug! Not a black cube or, as were fond of section. When turned off, the phantom
calling them, a wall wart. We did this for power circuitry takes a moment for voltage
some very good reasons: to bleed to zero. This is normal. Do not at-
The MS 1202 has separate regulated tempt to adjust your sets.
supplies for the audio, meter, and micro- NOTE: Phantom power will not harm
phone phantom circuits. Thats part of standard dynamic mics. See item 1 page 4.
7
U
THE REST OF THE STORY: CONTROLS represents the punch in bass drums, bass
As we pointed out at the start of this sec- guitar, fat synth patches, and some really
1
tion, the controls on the MS 1202 are serious male singers. Cutting slightly at this
OO +15
frequency can do wonders for muddy tracks
U 18 organized into two distinct areas: eight chan-
nel strips (four mono and four stereo) and and boomy room acoustics; cutting more
an output section. drastically can help fix poppy microphones.
2 HI EQ. This control gives you up to 15dB
OO
AUX
+15
CHANNEL STRIP CONTROLS boost or cut at 12kHz, and is also flat at the
The eight channel strips look alike, and detent. Use it to add sizzle to cymbals, and
function identically. The only difference is an overall sense of transparency, or edge to
the four on the left are for individual mics or keyboards, vocals and guitar. Turn it down a
HI
mono instruments and have more gain avail- little to reduce sibilance, or to fix hiss on a
15 +15
able, while the next four are for either stereo tape track.
17 or mono line-level sources. (Each of the line- You can also screw things up royally. Weve
level channel strips is actually two complete designed a full 15dB of boost and cut into each
LO circuits. The controls are linked together to equalizer circuit, because we know profession-
15 +15
preserve stereo.) als occasionally need that range. But if you max
EQ
the EQs on every input youll get mix mush. If
15 Gain youre using the MS 1202 for recording, equal-
16 The rotary GAIN knob controls the ize subtly and use the left sides of the knobs
(cut), as well as the right (boost).
channels level from OFF to Unity Gain (no
L R
PAN gain or loss) to +20dB. Youll feel a slight 18 AUX Sends
click, or detent, at the straight-up position.
U
This is to make it easier to use the channels These unbalanced outputs route a portion
predictably: when the control is at the detent, of each channel signal out to another source
15 youre set for Unity Gain; no attenuation and for
are
processing
controlled
or sub-mixing. These outputs
by the AUX 1 and AUX 2 knobs.
no amplification.
OO +20 These are more than just effects sends.
GAIN 1 16 Pan They can be used to generate separate mixes
PAN adjusts the amount of channel signal for recording (or mix-minuses for broad-
sent to the left and right outputs. These con- cast), or as monitor mixes.
trols work as pan pots on all eight channel The AUX sends are post-gain control,
strips as long as youre using mono signal post-equalizer. That is, they follow the EQ
sources (microphones, LINE 14, or the and level adjustments for each channel.
LEFT-only mono inputs of channels 512). PAN has no effect on the sends.
You can also use Channel 512 PAN controls All sends range from full off at the
to skew stereo inputs left or right, just like extreme counterclockwise position to
the Balance control on your stereo receiver. Unity with their channel gain controls at
the center detent position. Theres an
17 EQ extra 15dB of gain once you pass the
The MicroSeries 1202 has bass and treble detent. However, you should be careful
shelving equalization at musically useful not to overload whatever device youre
points LO boost/cut at 80Hz and HI boost/ sending signal to.
cut at 12kHz. By shelving we mean that the On Channels 14 only, the AUX controls
circuitry boosts or cuts all frequencies past can be changed to pre-fade/pre-equalizer.
the specified frequency, instead of just creat- See page 9 MS 1202 Modification for
ing a frequency bump or dip the way a further details.
graphic equalizer would. For example, rotat- Channel 512 AUX pots mix the mono
ing the MS 1202s LO EQ knob 15dB to the sum of their respective stereo inputs.
right boosts bass starting at 80 Hz and con- We recommend going into a stereo reverb
tinuing down to the lowest octave. in mono and returning in stereo. We have
LO EQ. This control gives you up to 15dB found that most stereo reverbs second
boost or cut at 80Hz. The circuit is flat at the input just ties up an extra AUX send and
detented center position. This frequency adds nothing to the sound.
8
phone amp chip, we use a high-current
MS1202 MODIFICATION: version of our main output amplifier, which
Convert AUX SEND 2 to pre-EQ/pre-fader is why it can really clean out your cochlea if
Channels 14 only. you crank it up too far but still be a very
(1) Remove bottom cover. You will be clean signal source.
working on the solder side (bottom)
of the circuit board. 21 22 Metering
(2) Locate this area on the circuit The MS 1202s 3-way peak metering sys-
1202
board. Near the Aux Send 2 pots,
tem is made up of two columns of twelve
CONTROLS
channels 1 thru 4.
LEDs (21) and an INPUT CH. METERING
(3) Cut trace here. switch (22).
Thanks to the MS 1202s wide dynamic
POST range, you can get a good mix with peaks
flashing anywhere between 30 and +10dB
PRE (4) Add jumper here.
on this display. Most PA amps clip at +4, and
most recorders arent so forgiving either. For
best real-world results, try to keep your
Any internal modification of the MS 1202 must be peaks below +7.
performed by a competent electronic technician.
Mackie Designs accepts no responsibility in the In combination with the INPUT CH. i/ME-
event of improperly performed modifications or TERING button, the display can be used to
other damages and, in such cases, may declare monitor three different sources:
warranty privileges void.
Stereo Output. This is the normal
function youd expect from any mixer. Its
displayed when the INPUT CH. METER-
OUTPUT SECTION ING button is in the OUT position. But
Heres where it all comes together. dont go away, theres more! Press the
INPUT CH. METERING button IN and you
19 Master gain get input metering as well.
This controls both stereo MAIN and TAPE Channel Operating Level. The right
outputs from OFF (fully counterclockwise), column of LEDs displays the overall
through Unity Gain at the center detent, to operating level of all 12 channels and AUX
10dB of extra gain at fully clockwise. Most of Returns (pre-
the time this is run between Unity and off. Master Gain). To +22 CLIP TRIM LINE IN
1-4 1-12
monitor just one
20 Phones channel, turn down
+10
+7 INPUT CH.
As you might expect, this control does the the others.
21 +4
METERING
control all the way down while you listen Avoid lighting the MASTER PHONES
red CLIP LEDs. With
to the musicians intro or click track in
the headphones and then quickly bring the INPUT CH. ME- 19 20
up the master for a clean entrance. TERING button OUT,
Serve as a totally isolated, high-quality watch the bouncing
output for a second tape recorder or PA LEDs to control the
system. Instead of using a low-cost head-
9
23 Stereo AUX/Tape Returns to Master
U
These two controls set the overall level of
effects received from STEREO AUX RETURNS
24
1
OO +20 1 and 2. These controls are designed to handle
TAPE IN
AUX 2
U 23 a wide range of signal levels. Theres a detent
at unity gain. Fully counterclockwise is OFF;
fully clockwise gives you an extra 20dB gain to
2
OO +20 compensate for low-level effects.
STEREO AUX RETURN TO MASTER If youre using digital effects with digital out-
TRIM LINE IN
put level controls (see their manuals), youll
+22 CLIP 1-4 1-12 get the best results by leaving the effects out-
+10 put fully up and running the STEREO AUX
+7 INPUT CH.
METERING RETURN somewhere below Unity. If youre us-
+4 ing a digital effect with rotary controls, set the
+2 AUX RETURN for use at Unity Gain. If youre
0dBu
0 CAL using guitar-type effects, youll probably need
-2 to run this control above Unity. (Thats what
-4 the extra gain is for.)
-7 AUX RETURN 2 also controls the tape
-10 playback level when you push TAPE IN, ex-
-20 plained below.
-30 24 TAPE IN button (24)
U
BAL. U When you press the TAPE IN button, sig-
nals 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
+10
OO OO
master. Its perfect for injecting just the
MASTER PHONES
right amount of weird sound effects you re-
corded on your cassette deck into a mix
overall level of your mix. If the red CLIP or to play trendy background music through
lights are flashing, your levels are way too a PA during band breaks.
high. Do one of the following: WARNING: Pushing TAPE IN can create a
If you havent adjusted the Channel 14 feedback path between TAPE IN and TAPE
TRIM pots properly, do that first (with OUT. Make sure your tape deck is not in
the INPUT CH. METERING button IN). record, record-pause or input monitor mode
Instructions are on page 12. when you engage the TAPE IN switch.
If the LEDs are still running into the red This concludes the guided tour. Now for
with the INPUT CH. METERING button the nitty-gritty hook-up.
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.
10
Part 2 GETTING HOOKED:
CONNECTION TIPS
Hook-up Diagrams in living Color! Effects
Included with your MS 1202 is our color These generate additional sounds that you
Application Guide which covers the common add to the mix, usually by making two simulta-
ways to hook up your new mixer. There are a neous mixes: one of the unmodified dry signal
zillion ways to connect a mixer as versatile as that goes directly to the main outputs, and an
the MS 1202. An infinite number of monkeys auxiliary mix that is sent to the effect. The
mousing madly on Macintoshes couldnt draw output of the effect is then mixed into the
all the permutations. Because we only have main output. The most common effects are
four monkeys with four Macintoshes in our art echo or reverb, and digital delay. Effects de- HOOK
department, weve included six typical applica- vices can be connected to the MS 1202 via the UP
tion connections. If you didnt get an Applications AUX SENDS and AUX RETURNS.
Guide (or the dog ate it), call a primate at
800/258-6883 and well send you one. Processors
These modify the original signal and com-
Warning pletely replace it with the processed version.
Before connecting a microphone or line Usually theyre connected to only one micro-
signal to an open, amplified channel, turn phone, instrument, or track at a time
down that channels GAIN knob! Better yet, through a channel insert or before/after the
turn off your amp. mixer. You can add other processors after the
MS 1202 if you want to affect the overall mix.
Connecting a stereo signal to the MS 1202
Use two separate plugs, rather than a Odd ducks
stereo plug. For Channels 14, plug the left Some newer digital Swiss Army Audio
signal into an odd-numbered jack and the Knives can be switched for compression,
right signal into an even-numbered jack. For echo, limiting, and whatever else struck the
Channels 512, plug the left signal into the whim of the product designer. See their manu-
L jack and the right signal into the corre- als for details: youll probably want to connect
sponding R jack. The AUX, EQ, and GAIN them based on what theyre doing to your mix.
knobs of Channels 512 will control both L
and R inputs equally, preserving the stereo Connecting an effect with stereo outputs
integrity. Use two separate cables and plug into a
Left/Right pair of an AUX RETURN. The
Connecting a mono signal to the MS 1202 STEREO AUX RETURN knobs will control
Use either a Channel from 1 through 4 or both sides of the effect equally.
use only the L jack (also labeled mono)
with nothing connected to the R jack of Connecting an effect with mono output
Channels 512. This will feed the mono sig- Use just the left (L) AUX RETURN jack
nal equally to both sides of the stereo mix. with nothing connected to the right, the
You can connect two independent mono MS 1202 will route the signal to both mix
signals to a stereo pair of input jacks, if you busses. If you want a signal to return to just
want them routed separately to the left and the right AUX RETURN channel, plug the ef-
right mix busses. The PAN pot will control fect output into only the right (R) AUX
their relative levels. RETURN. Because the left return is auto-
matically mono, and therefore centered, you
Connecting Effects and Processors have to go to a bit more trouble to return a
Most recording and PA setups use external signal just to the left AUX RETURN channel:
boxes to enhance the sound: reverb, digital Plug the signal into the left (L) input and
delay, and compressors are the most common, then insert a dummy plug into the right (R)
but you might also have a harmonizer or en- AUX RETURN channel.
hancer as well. All of these effects can be
grouped into two categories effects
(parallel devices) and processors (series
devices) depending on what they do.
11
Connecting separate mono effects to a
single return Part 3
You can use the L and R jacks indepen- SETTING LEVELS
dently. Both are controlled by the AUX
The MicroSeries 1202s better-than-digital-
RETURN knob, but each is sent separately to
quality specs are not because of magic.
its respective mix bus side.
To get this kind of performance without
NOTE: The TAPE IN switch directly above
breaking any rules of physics, we had to break
the VU Meters disconnects STEREO AUX
a few unwritten ones about mixer design. The
RETURN 2. If youre not hearing anything
Unity Gain Adjustment is simple, easy to re-
from these returns, make sure the switch
member, and takes just a few seconds.
isnt depressed.
Can you run a Mackie mixer without this
Channel Inserts adjustment? Sure. Chances are youll get
good sound anyway. But take a moment to
To connect a processor at channel insert
adjust it properly, and youll get an excellent
points (shown on page 6, item 6), use a
sound. Hey, its your music.
stereo or Tip-Ring-Sleeve (TRS) plug wired
as shown below. ADJUSTING CHANNEL TRIM
SEND to processor If you cant find these controls or indica-
ring tip
tip sleeve (TRS plug)
tors, check the drawings in Part 1.
1. Set the TRIM control fully counterclock-
this plug connects to one of the ring
wise (on Channels 14 only).
MS-1202s Channel Insert jacks. RETURN from processor 2. Set the channel GAIN to its detented
The plug wired to the TRS tip goes to the (Unity) position. Youll feel a tiny flat
processor INPUT (send). The plug wired to spot when the knob is lined up this way.
the TRS ring comes from the processors 3. Push the INPUT CH. METERING switch in.
OUTPUT (return). 4. Run a typical sound through that channel.
NOTE: If youre using these jacks as chan- Use the exact same microphone, tape
nel inserts, adjust the TRIM controls before deck, or keyboard as youll use in normal
you plug the processor in. operation.
Talk, sing, or play the way you normally
Channel Inserts as direct channel outs will, at performance levels.
You can also use the CHANNEL INSERTS 5. Adjust the TRIM control (Channels 14) for
to turn the MS 1202 into a 4-channel discrete that channel while checking the LEDs. The
mic preamp (see drawing below). The in- peaks should run at about 0dB to +4dB.
serts act as direct outputs from the mic Repeat these steps for each of the first
preamps, to feed four inputs, and your Mackie MS 1202 will be
tape decks, DAT calibrated for best performance. You wont
machines or have to do it again, unless you change the
MONO PLUG other mixers. If equipment connected to the mixers inputs.
Channel Insert jack you use a stan- How about Channels 5-12 which dont
dard mono plug have TRIM controls? Here you should use
Direct out with no signal interruption to master.
Insert only to first click pushed all the the output controls on your source such
way in (two as the HI/MED/LO setting on many key-
clicks), youll be boards (if yours has one, set it to HI), or the
MONO PLUG able to tap the output gain on tone modules. When addi-
preamp directly. tional gain is needed, its perfectly OK to set
Channel Insert jack
Push the plug the channel level above Unity thats one
Direct out with signal interruption to master. into just the first of the reasons we provided the extra gain.
Insert all the way in to the second click
click and you
will not interrupt
STEREO the signal to the
PLUG main mix. *The CD recording process theoretically has a dynamic
Channel Insert jack range of 96dB. More realistically, its under 90dB. (We
challenge you to find one with even that dynamic range.)
For use as an effects loop. The MS 1202 not only has a working dynamic range of 90dB
(TIP = SEND to effect, RING = RETURN from effects) but TEN more dB of headroom above that, thus exceeding
even the theoretical range of compact discs.
12
Part 4 TECH STUFF SERVICE
Make sure to save your sales receipt. Its
SPECIFICATIONS useful in establishing when you bought the
S/N ratio mixer and for insurance purposes if some-
90dB ref: +4dBu working level (all channels one happens to borrow your entire studio
assigned, Channels 14 panned alternately left/ while you are on vacation in Mazatlan.
right, Channels 512 set at center, main line out
single-ended, 20Hz20kHz) TROUBLESHOOTING
Mic preamp equivalent input noise (E.I.N)
129dBm @ 150 ohms, 20Hz20kHz We havent included a gigantic trouble-
Maximum gain (mic in to main out)
shooting chart with circles and arrows and
86dB (to balanced out) captions on the back because our Service
80dB (to unbalanced out) Department and support persons are here to
Frequency response handle that sort of thing. Still, there are
20Hz to 40kHz, 1dB (mic in to main line out) some simple tests you can make before you
Distortion call to determine if your MS 1202 is really
Less than .025%, 20Hz20kHz the culprit. This saves time all around and
Pan attenuation prevents you from feeling sheepish when it LEVEL
67dB turns out that its really your Blort-Tronics SETTING
Adjacent channel crosstalk (at insert outputs) Sonic Defrabulator thats creating the prob- STEPS
85dB @ 1kHz lem, and not our mixer.
Equalization
Low: 15dB @ 80Hz Problem: Dead Input
High: 15dB @ 12kHz
Maximum output level
Are the gain controls turned up? (Honest, TECH
+28dBu balanced this happens.) STUFF
+22dBu unbalanced (using TRS plug with ring Unplug all Channel Insert hook-ups.
disconnected) Try the same instrument and cord in
Weight another channel.
7 lbs.
Power requirements
Problem: Dead Output
120 VAC, 60Hz, 20 watts Are the gain controls turned up?
Dimensions
2.64"
Unplug all Channel Insert hook-ups from
11.470"
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
10.35"
14
1
CHANNELS 1-4 L R
2
GAIN TRIM: 3
PHANTOM MIC GAIN- 4
- BALANCED
POWER +10dB TO +50dB MAIN LEFT
LINE GAIN- CHANNEL INSERT + OUTPUT
UNITY TO +40dB TIP SEND, RING RETURN PAN
LO HIGH
L
TIP OUT
TAPE
2(HOT) OUTPUTS
MIC 2
3 3 EQUALIZATION AUX 1
INPUTS 1 MASTER
1 MAIN LEFT & RIGHT
GAIN MIX AMPS OFF TO
DISCRETE OFF TO +20dB GAIN
MIC AMP +10dB GAIN + BALANCED
AUX 2 MAIN RIGHT
LINE - OUTPUT
INPUT
R
5
CHANNELS 5-12 6
7
8
LO HIGH 9
10
11
GAIN 12
OFF TO L
+20dB GAIN TIP
STEREO
EQUALIZATION HEADPHONES
LEFT OUTPUT
PHONES RING
LEVEL R
LO HIGH AUX 1
PAN
LEVEL
METER
+22 CLIP
AUX 2
SEND +12
+7
+4
AUX 1
GAIN AUX 2 +2
MIC BUS
AUX 2 GAIN 0
AUX 1 RETURN -2
RETURN LEFT
LEFT -4
LINE BUS -7
TAPE AUX 2 -10
INPUTS -20
-30
AUX 1
AUX 2
AUX 2
AUX 1
RETURN RETURN
MIC BUS
RIGHT RIGHT
LINE BUS
TAPE
MAIN LEFT
15
SWITCH
MAIN RIGHT
Block Diagram
MicroSeries 1202
TECH
STUFF