Setting Levels - Mackie MicroSeries 1202 Owner's Manual

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
(TRS plug)
tip sleeve
this plug connects to one of the
MS-1202's Channel Insert jacks.
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
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
MONO PLUG
Direct out with no signal interruption to master.
Insert only to first "click"
MONO PLUG
Direct out with signal interruption to master.
Insert all the way in to the second "click"
STEREO
PLUG
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effects)
12
SEND to processor
RETURN from processor
preamps, to feed
tape decks, DAT
machines or
other mixers. If
you use a stan-
Channel Insert jack
dard mono plug
pushed all the
way in (two
"clicks"), you'll be
able to tap the
preamp directly.
Channel Insert jack
Push the plug
into just the first
"click" and you
will not interrupt
the signal to the
main mix.
Channel Insert jack
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-
"tip"
tors, check the drawings in Part 1.
1. Set the TRIM control fully counterclock-
wise (on Channels 1–4 only).
"ring"
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 key-
boards (if yours has one, set it to HI), or the
output gain on tone modules. When addi-
tional 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.