MIC 1

MIC 2 1

MIC 3

MIC 4

 

 

 

 

 

 

2

 

 

 

 

 

 

 

LINE1

 

LINE 2

 

 

LINE 3

 

LINE 4

 

BAL/UNBAL

 

BAL/UNBAL

 

 

BAL/UNBAL

 

BAL/UNBAL

 

ITY

 

 

ITY

 

 

 

ITY

 

 

ITY

 

 

IV

 

 

IV

 

3

 

IV

 

 

IV

 

 

IT

 

 

IT

 

 

IT

 

 

IT

 

 

S

 

 

S

 

 

S

 

 

S

 

E

N

–10

E

N

–10

E

N

–10

E

N

–10

S

 

S

 

S

 

S

 

 

 

 

 

 

 

 

 

 

+4

40dB

 

+4

40dB

 

+4

40dB

 

+4

40dB

 

U

GAIN

 

U

GAIN

 

 

U

GAIN

 

U

GAIN

 

TRIM 1

 

TRIM 2

 

 

TRIM 3

 

TRIM 4

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 any- way. 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.

2Ch. 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

 

 

shield

tip

sleeve

cuff

hem garter belt

(ground)

positive

 

 

 

 

 

 

 

 

(white wire)

 

 

 

 

negative

 

 

 

 

(black wire)

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.

LEFT/MONO

RIGHT

L

1

1

52

 

 

 

L

PATCH

 

 

 

 

2

 

 

R

BAY

 

 

 

 

R

 

STEREO AUX RETURNS

AUX SEND

TAPE

TAPE

MAIN OUTS

 

INPUT

OUTPUT

 

L

L

 

L

L

 

MONO

MONO

 

MONO

MONO

 

 

4

 

 

 

 

R

R

 

R

R

 

LINE 5-6

LINE 7-8

LINE 9-10

LINE 11-12

 

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.

3Trim controls

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.

4Chs. 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 odd- numbered 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.

5STEREO AUX RETURNS to Master

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.

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