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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 applica-
tions, unbalanced outputs are perfectly
acceptable. Use standard instrument cables.
To use these outputs in unbalanced appli-
cations, connect a mono phone plug:
Tip = + (hot)
Sleeve = Ground
Headphone Output
The stereo PHONES jack will drive any
standard headphone to very loud levels.
Walkperson-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 in-
termediate 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
Channel Inserts 1–4
These jacks, lurking on the back of the
MicroSeries 1202, are where you connect series
processors such as compressors, equalizers, de-
essers, or filters (or as mic preamp direct
outs). Since most people don’t have more than
a few of these gadgets, we’ve included connec-
tions 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 MS 1202.
The insert points are after the mic pre-
amps, 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.
We’ll discuss other aspects of channel in-
serts 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 scream-
ingly-loud stereo headphone jack (8); and a
tape recorder connection (9) all of which re-
ceive 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; head-
phone output has its own control.
Main Output
These outputs are electrically balanced
and capable of driving +4dBu lines with up
to 28dB of headroom. They’re also low
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK,
DO NOT REMOVE BOTTOM COVER. NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
SERIAL NUMBER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. • WOODINVILLE WASHINGTON MADE IN USA
12-CHANNEL MIC/LINE MIXER
MICRO SERIES 1202
POWER
ON
PHANTOM
48V
ON
4321
CHANNEL INSERTS
DIRECT OUT WITH NO SIGNAL
INTERRUPTION TO MASTER
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP
(TIP = SEND, RING = RETURN)
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
STEREO PLUG
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
INSERT ONLY INTO THE
"FIRST CLICK"
MONO PLUGMONO PLUG
12
11
14
6
13
LINE 1
BAL/UNBAL
LINE 2
BAL/UNBAL
LINE 3
BAL/UNBAL
LINE 4
BAL/UNBAL
TRIM 4
+4
U
40dB
GAIN
–10
S
E
N
S
I
T
I
V
I
T
Y
TRIM 1
+4
U
40dB
GAIN
–10
S
E
N
S
I
T
I
V
I
T
Y
TRIM 2
+4
U
40dB
GAIN
–10
S
E
N
S
I
T
I
V
I
T
Y
TRIM 3
+4
U
40dB
GAIN
–10
S
E
N
S
I
T
I
V
I
T
Y
LINE 11-12LINE 5-6 LINE 7-8 LINE 9-10
L
R
MONO
L
R
MONO
L
R
MONO
L
R
MONO
MIC 1 MIC 2 MIC 3 MIC 4
STEREO AUX RETURNS AUX SEND
LEFT/MONO
MAIN OUTS
L
R
1
2
1
2
RIGHT
TAPE
INPUT
TAPE
OUTPUT
L
R
PHONES
6
7
8
8
10
9
7