advance it for best levels with a typical sound source.

Engineers who fry their ears find themselves with short careers.

9Tape Output

These unbalanced (RCA) connections

tap the main outputs to make simultaneous recording and PA more convenient. Connect these to your recorder’s inputs.

10Tape 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. You can then use the AUX RETURN knob to control level to the main and headphone outs.

WARNING: Pushing TAPE IN can create a feedback path between TAPE IN and TAPE OUT. Make sure 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.

•You can also use these jacks with a portable tape or CD player to feed music

to a PA system between sets. The microphone 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’re fond of calling them, a “wall wart”. We 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.

WARNING: Disconnecting the plug’s ground pin can be dangerous. Please don’t do it.

12Fuse

The MS 1202 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 MS 1202 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.

13Power Switch

If this one isn’t self-explanatory, we give up. You can leave this switch on all the time; the MS 1202 is conservatively designed, so heat buildup isn’t a problem even in 24-hour- a-day operation. There’s nothing that will burn out or get used up. You 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.

14Phantom 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

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