Channel Insert jack
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effects)
12
STEREO
PLUG
Direct out with signal interruption to master.
Insert all the way in to the second “click”
Channel Insert jack
MONO PLUG
Direct out with no signal interruption to master.
Insert only to first “click”
Channel Insert jack
MONO PLUG
You can also use the CHANNEL INSERTS to turn the MS 1202 into a 4-channel discrete mic preamp (see drawing below). The in- serts act as direct outputs from the mic
preamps, to feed tape decks, DAT machines or
other mixers. If you use a stan- dard 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.
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 chan- nel inserts, adjust the TRIM controls before you plug the processor in.
Channel Inserts as direct channel outs
Connecting separate mono effects to a single return

You can use the L and R jacks indepen- dently. Both are controlled by the AUX RETURN knob, but each is sent separately to its respective mix bus side.

NOTE: The TAPE 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

 

SEND to processor

tip

(TRS plug)

“tip”

sleeve

 

this plug connects to one of the

“ring”

MS-1202’s Channel Insert jacks.

RETURN from processor

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 re- member, 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 indica- tors, 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. You 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.