1

MICROSERIES1202 OWNER’S MANUAL

PHONESOO

U U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 1+20OO

LINE 1BAL/UNBAL

U U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 2+20OO

LINE 2BAL/UNBAL

GAIN 3+20OO

LINE 3BAL/UNBAL

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 4+20OO

LINE 4BAL/UNBAL

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 5-6+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 7-8+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 9-10+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

+22 CLIP

U

GAIN 11-12+20OO

MASTER+10OO

U U U U U

AUX AUX AUXAUX AUX AUX AUX AUX

TRIM 4+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 1+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 2+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 3+4U

40dB GAIN

–10SEN

SI

TIVITY

+201

OO

+202

OO

U

STEREO AUX RETURN TO MASTER

PHONESLINE 11-12LINE 5-6 LINE 7-8 LINE 9-10

L

R

MONOL

R

MONOL

R

MONOL

R

MONO

MIC 1 MIC 2 MIC 3 MIC 4

STEREO AUX RETURNS AUX OUT

LEFT/MONO

MAIN OUTS

L

R

1

2

1

2

RIGHT

+10

+4

+2

0

-2

-4

-7

-10

-20

+7

-30

TRIM1-4

LINE IN1-12

INPUT CH.METERING

MICRO SERIES 1202 12-CHANNEL MIC/LINE MIXER

UUUUUUUUU

TAPE INAUX 2

TAPEINPUT

TAPEOUTPUT

L

R

POWER

U BAL.

0dBu CAL.

2

8. Power Cord Protection — Power supply cords should berouted so that they are not likely to be walked upon orpinched by items placed upon or against them, payingparticular attention to cords at plugs, convenience receptacles,and the point where they exit the MicroSeries 1202.

9. Object and Liquid Entry — Care should be taken so thatobjects do not fall into and liquids are not spilled into theinside of the MicroSeries 1202.

10. Damage Requiring Service — The MicroSeries 1202should be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has beendamaged; orB. Objects have fallen, or liquid has spilled into the MicroSeries 1202; orC. The MicroSeries 1202 has been exposed to rain; orD. The MicroSeries 1202 does not appear to operatenormally or exhibits a marked change in performance; orE. The MicroSeries 1202 has been dropped, or itschassis damaged.

11. Servicing — The user should not attempt to service theMicroSeries 1202 beyond those means described in thisoperating manual. All other servicing should be referred to theMackie Service Department.

12. To prevent electric shock, do not use this polarized plugwith an extension cord, receptacle or other outlet unless theblades can be fully inserted to prevent blade exposure.

Pour préevenir les chocs électriques ne pas utiliser cette fichepolariseé avec un prolongateur, un prise de courant ou uneautre sortie de courant, sauf si les lames peuvent être inséréesà fond sans laisser aucune pariie à découvert.

13. Grounding or Polarization — Precautions should betaken so that the grounding or polarization means of theMicroSeries 1202 is not defeated.

14.This apparatus does not exceed the Class A/Class B(whichever is applicable) limits for radio noise emissions fromdigital apparatus as set out in the radio interferenceregulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas debruits radioélectriques dépassant las limites applicables auxappareils numériques de class A/de class B (selon le cas)prescrites dans le règlement sur le brouillage radioélectriqueédicté par les ministere des communications du Canada.

WARNING — To reduce the risk of fire or electric shock, donot expose this appliance to rain or moisture.

CAUTION AVISRISK OF ELECTRIC SHOCK

DO NOT OPENRISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIERL'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated"dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

V 2.4 –1/95

SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructionsshould be read before the MicroSeries 1202 is operated.

2. Retain Instructions — The safety and operatinginstructions should be kept for future reference.

3. Heed Warnings — All warnings on the MicroSeries 1202and in these operating instructions should be followed.

4. Follow Instructions — All operating and other instructionsshould be followed.

5. Water and Moisture — The MicroSeries 1202 should notbe used near water—for example, near a bathtub,washbowl, kitchen sink, laundry tub, in a wet basement, neara swimming pool, swamp or salivating St. Bernard dog, etc.

6. Heat — The MicroSeries 1202 should be situated awayfrom heat sources such as radiators, or other devices whichproduce heat.

7. Power Sources — The MicroSeries 1202 should beconnected to a power supply only of the type described in theseoperation instructions or as marked on the MicroSeries 1202.

3

CONNECTION TIPS &HOOK-UP , PG. 11

PATCHBAY DESCRIPTIONBEGINS ON PG. 4

TECHSTUFF

LEVELSETTINGSTEPS

DETAILED LEVEL-SETTINGPROCEDURE, PG. 12

1202 BLOCK DIAGRAM& SERVICE INFO PG. 13-15

CHANNEL STRIP & OUTPUTSECTION DESCRIPTION, PG. 8

PATCHBAY

1202CONTROLS

HOOKUP

INTRODUCTIONThank you! There are a lot of makes and

models out there, all competing for yourbucks … but you have voted with your walletfor the folks in Woodinville who specialize inAmerican-made mixers.

There are only two other things we ask:First, now that you’ve got a MicroSeries

1202, find out how to get the most from it.That’s where this manual comes in.• If this is your first pro mixer, flip through

the whole book: you’ll find it full of actualfrom-the-streets engineering tips, as wellas operation and installation instructions.

• If you’re an experienced, big-bucksengineer with lots of fader hours underyour fingertips, at least read “Part 1: Allthe Holes and Knobs.” (We’ve found thatexperienced engineers usually readmanuals cover-to-cover anyway so thatthey can keep getting the big bucks.)

Fast-Track “CAN’T WAIT!” tipsfor people who ignore manuals

A. To adjust input levels:1. Set TRIM fully counterclockwise.2. Set GAIN to unity (twelve o’clock).3. Push in the INPUT CH. METERING switch.4. Feed a normal signal into a selected input.5. Adjust that input’s TRIM control so that

the display on the left LED strip staysaround 0, and never goes higher than +10.

6. Repeat for each of Channels 1– 4.

B. Connecting effectsRead the section starting on page 11 for

full information on connecting digital delays,reverbs, etc. via AUX SENDS and STEREOAUX RETURNS. This can get pretty compli-cated quickly.

Don’t cream your monitor speakersAlways turn the master gain and head-

phone level controls down before makingconnections to and from your MS 1202.

4

The first thing you’ll notice is that the toppanel is organized into three distinct areas:• A patchbay along the top;• Eight channel strips — four mono and

four stereo;• And an output section on the right.

Note that four patchbay jacks overflowedthe top panel, and are on the rear of theMS 1202. The following pictures will help youfind everything; the next few pages will helpyou use it all.

PATCHBAYAt the risk of stating the obvious, this is

where you plug everything in: microphones,line-level instruments and effects, head-phones, and the ultimate destination foryour sound: a tape recorder, PA system, etc.

Microphone InputsWe use true “phantom-powered, balanced

inputs” just like the big studio mega-con-soles, for exactly the same reason: this kind

PHONESOO

U U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 1+20OO

LINE 1BAL/UNBAL

U U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 2+20OO

LINE 2BAL/UNBAL

GAIN 3+20OO

LINE 3BAL/UNBAL

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 4+20OO

LINE 4BAL/UNBAL

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 5-6+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 7-8+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

U

GAIN 9-10+20OO

PANL R

EQ–15 +15

LO

–15 +15HI

+151

OO

+152

OO

+22 CLIP

U

GAIN 11-12+20OO

MASTER+10OO

U U U U U

AUX AUX AUXAUX AUX AUX AUX AUX

TRIM 4+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 1+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 2+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 3+4U

40dB GAIN

–10SEN

SI

TIVITY

+201

OO

+202

OO

U

STEREO AUX RETURN TO MASTER

PHONESLINE 11-12LINE 5-6 LINE 7-8 LINE 9-10

L

R

MONOL

R

MONOL

R

MONOL

R

MONO

MIC 1 MIC 2 MIC 3 MIC 4

STEREO AUX RETURNS AUX OUT

LEFT/MONO

MAIN OUTS

L

R

1

2

1

2

RIGHT

+10

+4

+2

0

-2

-4

-7

-10

-20

+7

-30

TRIM1-4

LINE IN1-12

INPUT CH.METERING

MICRO SERIES 1202 12-CHANNEL MIC/LINE MIXER

UUUUUUUUU

TAPE INAUX 2

TAPEINPUT

TAPEOUTPUT

L

R

POWER

U BAL.

0dBuCAL

PATCHBAY

CHANNEL STRIPS

OUTPUT

of circuit is excellent at rejecting hum andnoise. You can plug any kind of professionalmic that has a standard “XLR-type” male micconnector. If you wire your own, connectthem like this:Pin 1 = Ground or shieldPin 2 = Hot (in phase with output)Pin 3 = Cold (out of phase with output)

Professional ribbon, dynamic and con-denser mics will all sound excellent throughthese inputs, especially if you follow theLevel Setting instructions on page 12. Lower-cost electret-type unbalanced mics can beplugged into Line Inputs 1–12, but will re-quire additional gain.

Basically, the MS 1202’s inputs will handleany kind of mic level you can toss at themwithout overloading. But you’ll get the abso-lute best quality sound if you follow thecalibration procedure covered briefly in our“Can’t Wait Tips” on page 3, and more depthin Part 3, page 12.

Part 1 — ALL THE HOLES AND KNOBS:A GUIDED TOUR OF THE MICROSERIES 1202

1

5

LINE 1BAL/UNBAL

LINE 2BAL/UNBAL

LINE 3BAL/UNBAL

LINE 4BAL/UNBAL

TRIM 4+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 1+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 2+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 3+4U

40dB GAIN

–10SEN

SI

TIVITY

LINE 11-12LINE 5-6 LINE 7-8 LINE 9-10

L

R

MONOL

R

MONOL

R

MONOL

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

TAPEINPUT

TAPEOUTPUT

L

R

Microphone PowerMost modern professional condenser mics

are equipped for Phantom Power, which letsthe mixer send low-voltage DC to the mic’selectronics over the same wires that carryaudio. (Semi-pro condenser mics often havebatteries to accomplish the same thing.) The“Phantom” owes its name to an ability to be“unseen” by dynamic mics which don’t needexternal power and aren’t affected by it any-way. NOTE: Do not apply phantom power toribbon microphones, or you will have anentertaining fireworks display.

The MS 1202’s phantom power is controlledby the PHANTOM switch on the rear panel.

Ch. 1–4 Line InputsThese four line inputs share circuitry (but

not phantom power) with the mic preamps,and can be driven by balanced or unbalanceddevices at almost any level. In other words,you can use these inputs for virtually any sig-nal you’ll come across, from instrument levelsto levels of –10 to +4, since there is 40dBmore gain available than on Channels 5–12.

To connect these inputs to balancedsources, use a Tip-Ring-Sleeve (TRS) orthree-conductor plug (the type found on ste-reo headphones):Tip = Positive (+ or hot)Ring = Negative (– or cold)Sleeve = Shield or ground

To connect the inputs to unbalancedsources, use a mono phone plug or standardinstrument cable. The jack on the MS 1202will sense the plug and disable the balancingcircuits.

Line inputs 1–4 are a good place to con-nect older keyboards which have low gain, orkeyboards in general since you can adjustthe corresponding channel TRIM control sothat the mixer has plenty of gain but you cankeep the keyboard volume control setaround the halfway mark.

Trim controlsTRIM 1 through 4 adjusts the input sensi-

tivity of the mic and line inputs connected toChannels 1 through 4. This allows signals fromthe proverbial outside world to be brought inat optimal internal operating levels. See LevelSetting instructions on page 12.

Chs. 5–6, 7–8, 9–10, 11–12 Line InputsThese inputs are designed for stereo or

mono unbalanced signals from –10dBV to+4dBu. They can be used with just about anyprofessional or semi-pro instrument, effect,or tape player. In the audio world, an odd-numbered channel usually receives the “leftsignal”. For example, feed line inputs 5–6 astereo signal by inserting the device’s leftoutput plug into the Channel 5 jack, and itsright output plug into the Channel 6 jack.

STEREO AUX RETURNS to MasterThis is where you connect the outputs of

your effects devices. The STEREO AUXRETURNS are wired identically to the stereoline inputs. The circuits will handle stereo ormono unbalanced signals, either instrumentlevel, –10dBV or +4dBu. They can be usedwith just about any pro or semi-pro effect onthe market.

Additional information on connectingeffects to the MS 1202 starts on page 11.

2

1

34

2

tipring

sleeve cuff hem garter beltshield(ground)

positive(white wire)negative(black wire)

5

3

4

5

PATCHBAY

6

impedance and can drive as low as a 600Ωline. Balanced output is 6dB higher than forunbalanced outputs. (This is noted on theMaster Gain Pot by a special U BAL markcounterclockwise from the “U” center detentposition.)

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 perfectlyacceptable. Use standard instrument cables.

To use these outputs in unbalanced appli-cations, connect a mono phone plug:Tip = + (hot)Sleeve = Ground

Headphone OutputThe stereo PHONES jack will drive any

standard headphone to very loud levels.Walkperson-type phones can also be usedwith an appropriate adapter.

If you’re wiring your own cable for thePHONES output, follow standard conventions:Tip = Left channelRing = Right channelSleeve = Common ground

Headphone warning: When we say theheadphone amp is loud, we’re not kidding. Itcan cause permanent ear damage. Even in-termediate levels may be unhealthily loudwith some earphones. Be careful!

Always turn the PHONES knob all the waydown before connecting headphones. Keep itdown until you’ve put the phones on. Then

Channel Inserts 1–4These jacks, lurking on the back of the

MicroSeries 1202, are where you connect seriesprocessors such as compressors, equalizers, de-essers, or filters (or as mic preamp directouts). Since most people don’t have more thana few of these gadgets, we’ve included connec-tions for just the first four mic/line inputs. Ifyou want to use this kind of processing onChannels 5–12, simply loop through the devicebefore you plug into the MS 1202.

The insert points are after the mic pre-amps, but before the channel gain knobs andequalizers. The output at this connector islow impedance (120Ω), capable of drivingall processors; the input is high impedance(over 10kΩ) and buffered, capable of beingdriven by almost any processor.

We’ll discuss other aspects of channel in-serts including their use as direct channelouts on page 12.

THREE SETS OF MIX OUTPUTSThe MS 1202 has three obvious sets of

outputs: the main stereo mix (7); a scream-ingly-loud stereo headphone jack (8); and atape recorder connection (9) all of which re-ceive the total mix consisting of the eightchannel strips plus the two STEREO AUXRETURNS. Main outputs and tape outputsare affected by the MASTER control; head-phone output has its own control.

Main OutputThese outputs are electrically balanced

and capable of driving +4dBu lines with upto 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 NUMBERCAUTIONRISK OF ELECTRIC SHOCK

DO NOT OPEN

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. • WOODINVILLE WASHINGTON MADE IN USA 12-CHANNEL MIC/LINE MIXERMICRO SERIES 1202

POWER

ON

PHANTOM48V

ON

4 3 2 1

CHANNEL INSERTSDIRECT 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 DEVICERING RETURN FROM EFFECTS

STEREO PLUG

INSERT ALL THE WAY IN TOTHE "SECOND CLICK"

INSERT ONLY INTO THE"FIRST CLICK"

MONO PLUGMONO PLUG

12

11 146

13

LINE 1BAL/UNBAL

LINE 2BAL/UNBAL

LINE 3BAL/UNBAL

LINE 4BAL/UNBAL

TRIM 4+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 1+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 2+4U

40dB GAIN

–10SEN

SI

TIVITY

TRIM 3+4U

40dB GAIN

–10SEN

SI

TIVITY

LINE 11-12LINE 5-6 LINE 7-8 LINE 9-10

L

R

MONOL

R

MONOL

R

MONOL

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

TAPEINPUT

TAPEOUTPUT

L

R

PHONES

6

7

8

8

10 9 7

7

why it sounds so good. No wall wart canprovide this kind of sophisticated power.

• Wall warts are inconvenient, radiate hugehum fields, hog extra jacks on your powerstrip and get in the way when you move.

• The thin cable coming out of a wall wartbreaks easily, especially on the road. Andthen you need a whole new wart. If therugged MS 1202 cord ever wears out, youcan get a new one at any electronics,music, or computer store.

• By now you’ve probably gathered that wereally hate wall warts.Plug the MS 1202 into any standard

grounded AC outlet or power strip of propervoltage.

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

FuseThe MS 1202 is fused for your (and its own)

protection. If you suspect a blown fuse discon-nect the cord, pull the FUSE drawer out andreplace the fuse with a 315mA slo blo,5x20mm (Littlefuse #218.315), available atelectronics stores or your dealer (or a 160mAslo blo 5x20mm — Littlefuse #218.160 — ifyour MS 1202 is a 220V/240V unit).

If two fuses blow in a row, something isvery wrong. Please call our toll-free numberand find out what to do.

Power SwitchIf this one isn’t self-explanatory, we give

up. You can leave this switch on all the time;the MS 1202 is conservatively designed, soheat buildup isn’t a problem even in 24-hour-a-day operation. There’s nothing that willburn out or get used up. You may notice thatthe MS 1202 feels warm in the upper rightcorner. This is perfectly normal.

Or, just plug everything to a good qualitypower strip for one-button turn-on.

If you leave this switch off, you won’t hearanything.

Phantom Power SwitchThe Phantom Power Switch controls the

phantom power supply for condenser micro-phones as discussed at the start of thissection. When turned off, the phantompower circuitry takes a moment for voltageto bleed to zero. This is normal. Do not at-tempt to adjust your sets.

NOTE: Phantom power will not harmstandard dynamic mics. See item 1 page 4.

advance it for best levels with a typicalsound source.

Engineers who fry their ears find them-selves with short careers.

Tape OutputThese unbalanced (RCA) connections

tap the main outputs to make simultaneousrecording and PA more convenient. Connectthese to your recorder’s inputs.

Tape InputThese are designed to work with semi-pro as

well as pro recorders. There’s definitely enoughgain to accommodate almost any source.

Connect your tape recorder’s output here,using standard hi-fi (RCA) cables. When youpush the TAPE IN button, it will be connectedin place of STEREO AUX RETURN 2. You canthen use the AUX RETURN knob to controllevel to the main and headphone outs.

WARNING: Pushing TAPE IN can create afeedback path between TAPE IN and TAPEOUT. Make sure your tape deck is not inrecord, record-pause or input monitor modewhen you engage the TAPE IN switch or…make sure the AUX RETURN 2 knob is fullycounterclockwise (off).

The circuit details are identical to theAUX Returns discussed above. Only the jackshave been changed to make things easier.• Use these jacks for convenient tape

playback of your mixes. You’ll be able toreview a mix, and then rewind and tryanother pass, without repatching ordisturbing the main mixer controls.

• You can also use these jacks with aportable tape or CD player to feed musicto a PA system between sets. The micro-phone and line inputs will still be liveunless you turn them down at the inputGAIN controls.

Power ConnectionJust in case you lose the cord provided

with the MS 1202, its power jack accepts astandard IEC cord like those found on mostprofessional 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 ofcalling them, a “wall wart”. We did this forsome very good reasons:• The MS 1202 has separate regulated

supplies for the audio, meter, and micro-phone phantom circuits. That’s part of

9

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11

12

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PATCHBAY

8

THE REST OF THE STORY: CONTROLSAs we pointed out at the start of this sec-

tion, the controls on the MS 1202 areorganized into two distinct areas: eight chan-nel strips (four mono and four stereo) andan output section.

CHANNEL STRIP CONTROLSThe eight channel strips look alike, and

function identically. The only difference isthe four on the left are for individual mics ormono instruments and have more gain avail-able, while the next four are for either stereoor mono line-level sources. (Each of the line-level channel strips is actually two completecircuits. The controls are linked together topreserve stereo.)

GainThe rotary GAIN knob controls the

channel’s level… from OFF to Unity Gain (nogain or loss) to +20dB. You’ll feel a slight“click”, or detent, at the straight-up position.This is to make it easier to use the channelspredictably: when the control is at the detent,you’re set for Unity Gain; no attenuation andno amplification.

PanPAN adjusts the amount of channel signal

sent to the left and right outputs. These con-trols work as pan pots on all eight channelstrips as long as you’re using mono signalsources (microphones, LINE 1–4, or theLEFT-only mono inputs of channels 5–12).You can also use Channel 5–12 PAN controlsto “skew” stereo inputs left or right, just likethe Balance control on your stereo receiver.

EQThe MicroSeries 1202 has bass and treble

shelving equalization at musically usefulpoints — LO boost/cut at 80Hz and HI boost/cut at 12kHz. By shelving we mean that thecircuitry boosts or cuts all frequencies pastthe specified frequency, instead of just creat-ing a frequency bump or dip the way agraphic equalizer would. For example, rotat-ing the MS 1202’s LO EQ knob 15dB to theright boosts bass starting at 80 Hz and con-tinuing down to the lowest octave.

LO EQ. This control gives you up to 15dBboost or cut at 80Hz. The circuit is flat at thedetented center position. This frequency

U

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AUX

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represents the punch in bass drums, bassguitar, fat synth patches, and some reallyserious male singers. Cutting slightly at thisfrequency can do wonders for muddy tracksand boomy room acoustics; cutting moredrastically can help fix poppy microphones.

HI EQ. This control gives you up to 15dBboost or cut at 12kHz, and is also flat at thedetent. Use it to add sizzle to cymbals, andan overall sense of transparency, or edge tokeyboards, vocals and guitar. Turn it down alittle to reduce sibilance, or to fix hiss on atape track.

You can also screw things up royally. We’vedesigned a full 15dB of boost and cut into eachequalizer circuit, because we know profession-als occasionally need that range. But if you maxthe EQ’s on every input you’ll get mix mush. Ifyou’re using the MS 1202 for recording, equal-ize subtly and use the left sides of the knobs(cut), as well as the right (boost).

AUX SendsThese unbalanced outputs route a portion

of each channel signal out to another sourcefor processing or sub-mixing. These outputsare controlled by the AUX 1 and AUX 2 knobs.

These are more than just effects sends.They can be used to generate separate mixesfor recording (or “mix-minuses” for broad-cast), or as monitor mixes.• The AUX sends are post-gain control,

post-equalizer. That is, they follow the EQand level adjustments for each channel.

• PAN has no effect on the sends.• All sends range from full “off” at the

extreme counterclockwise position toUnity with their channel gain controls atthe center detent position. There’s anextra 15dB of gain once you pass thedetent. However, you should be carefulnot to overload whatever device you’resending signal to.

• On Channels 1–4 only, the AUX controlscan be changed to pre-fade/pre-equalizer.See page 9 “MS 1202 Modification” forfurther details.

• Channel 5–12 AUX pots mix the monosum of their respective stereo inputs.

• We recommend going into a stereo reverbin mono and returning in stereo. We havefound that most “stereo” reverb’s secondinput just ties up an extra AUX send andadds nothing to the sound.

9

phone amp” chip, we use a high-currentversion of our main output amplifier, whichis why it can really clean out your cochlea ifyou crank it up too far… but still be a veryclean signal source.

MeteringThe MS 1202’s 3-way peak metering sys-

tem is made up of two columns of twelveLED’s (21) and an INPUT CH. METERINGswitch (22).

Thanks to the MS 1202’s wide dynamicrange, you can get a good mix with peaksflashing anywhere between –30 and +10dBon this display. Most PA amps clip at +4, andmost recorders aren’t so forgiving either. Forbest real-world results, try to keep yourpeaks below +7.

In combination with the INPUT CH. i/ME-TERING button, the display can be used tomonitor three different sources:• Stereo Output. This is the normal

function you’d expect from any mixer. It’sdisplayed when the INPUT CH. METER-ING button is in the OUT position. Butdon’t go away, there’s more! Press theINPUT CH. METERING button IN and youget input metering as well.

• Channel Operating Level. The rightcolumn of LED’s displays the overalloperating level of all 12 channels and AUXReturns (pre-Master Gain). Tomonitor just onechannel, turn downthe others.

• Mic Input. The leftcolumn of LED’sdisplays thecombined operat-ing levels ofChannel 1–4’s micpreamps. By usingjust one channel ata time, you can usethis feature toTRIM for 0dBoperating level(explained else-where in detail).Avoid lighting the

red CLIP LED’s. Withthe INPUT CH. ME-TERING button OUT,watch the bouncingLED’s to control the

OUTPUT SECTIONHere’s where it all comes together.

Master gainThis controls both stereo MAIN and TAPE

outputs from OFF (fully counterclockwise),through Unity Gain at the center detent, to10dB of extra gain at fully clockwise. Most ofthe time this is run between Unity and off.

PhonesAs you might expect, this control does the

same thing for the PHONES jack. The con-trol range is from full OFF to loud. It’s totallyindependent of the MASTER pot, so you canuse the headphone output to preview yourmix before fading up the main outputs.

You can also use the PHONES output toindependently drive a separate tape recorderor PA system. We made sure the audio qualityat that output is the same audio quality as atthe main outputs.

Because the headphone signal is controlledby the PHONES knob but not by the MASTERgain knob, you can use this feature to:• Preview a mix. Leave the MASTER

control all the way down while you listento the musicians’ intro or click track inthe headphones and then quickly bringup the master for a clean entrance.

• Serve as a totally isolated, high-qualityoutput for a second tape recorder or PAsystem. Instead of using a low-cost “head-

PHONESOO

+22 CLIP

MASTER+10OO

U

+10

+4

+2

0

-2

-4

-7

-10

-20

+7

-30

TRIM1-4

LINE IN1-12

INPUT CH.METERING

U BAL.

0dBu CAL

19 20

2221

1202CONTROLS

MS1202 MODIFICATION:Convert AUX SEND 2 to pre-EQ/pre-faderChannels 1–4 only.

(1) Remove bottom cover. You will beworking on the solder side (bottom)of the circuit board.(2) Locate this area on the circuitboard. Near the Aux Send 2 pots,channels 1 thru 4.

(3) Cut trace here.

(4) Add jumper here.PRE

POST

Any internal modification of the MS 1202 must beperformed by a competent electronic technician.Mackie Designs accepts no responsibility in theevent of improperly performed modifications orother damages and, in such cases, may declarewarranty privileges void.

19

20

2221

10

PHONESOO

+22 CLIP

MASTER+10OO

U

+201

OO

+202

OO

U

STEREO AUX RETURN TO MASTER

+10

+4

+2

0

-2

-4

-7

-10

-20

+7

-30

TRIM1-4

LINE IN1-12

INPUT CH.METERING

U

TAPE INAUX 2

U BAL.

0dBu CAL

2423

Stereo AUX/Tape Returns to MasterThese two controls set the overall level of

effects received from STEREO AUX RETURNS1 and 2. These controls are designed to handlea wide range of signal levels. There’s a detentat unity gain. Fully counterclockwise is OFF;fully clockwise gives you an extra 20dB gain tocompensate for low-level effects.

If you’re using digital effects with digital out-put level controls (see their manuals), you’llget the best results by leaving the effect’s out-put fully up and running the STEREO AUXRETURN somewhere below Unity. If you’re us-ing a digital effect with rotary controls, set theAUX RETURN for use at Unity Gain. If you’reusing guitar-type effects, you’ll probably needto run this control above Unity. (That’s whatthe extra gain is for.)

AUX RETURN 2 also controls the tapeplayback level when you push TAPE IN, ex-plained below.

TAPE IN button (24)When you press the TAPE IN button, sig-

nals from the TAPE INPUTs are sent intothe AUX 2 Return. In this mode, the AUX 2Return control adjusts the level sent to themaster. It’s perfect for injecting just theright amount of weird sound effects you re-corded on your cassette deck into a mix —or to play trendy background music througha PA during band breaks.

WARNING: Pushing TAPE IN can create afeedback path between TAPE IN and TAPEOUT. Make sure your tape deck is not inrecord, record-pause or input monitor modewhen you engage the TAPE IN switch.

This concludes the guided tour. Now forthe nitty-gritty hook-up.

23

24

overall level of your mix. If the red CLIPlights are flashing, your levels are way toohigh. Do one of the following:• If you haven’t adjusted the Channel 1–4

TRIM pots properly, do that first (withthe INPUT CH. METERING button IN).Instructions are on page 12.

• If the LED’s are still running into the redwith the INPUT CH. METERING buttonOUT, lower the level of the MASTERcontrol.

• If the red CLIP lights are still flashing,even momentarily, lower the Channel 5–12 GAIN pots equally. This may also becaused by excessive gain settings in theEQ section.When recording, glance at the tape deck/

DAT meters frequently while mixing. Humanears get tired after a while — it happens tothe best of us — and levels start to climb(the Mounting Mix Syndrome). Meters neverget tired, and will show level accurately untilthe Great Fade Out.

11

Part 2 — GETTING HOOKED:CONNECTION TIPS

HOOKUP

Hook-up Diagrams in living Color!Included with your MS 1202 is our color

Application Guide which covers the commonways to hook up your new mixer. There are azillion ways to connect a mixer as versatile asthe MS 1202. An infinite number of monkeysmousing madly on Macintoshes couldn’t drawall the permutations. Because we only havefour monkeys with four Macintoshes in our artdepartment, we’ve included six typical applica-tion connections. If you didn’t get an ApplicationsGuide (or the dog ate it), call a primate at800/258-6883 and we’ll send you one.

WarningBefore connecting a microphone or line

signal to an open, amplified channel, turndown that channel’s GAIN knob! Better yet,turn off your amp.

Connecting a stereo signal to the MS 1202Use two separate plugs, rather than a

“stereo plug”. For Channels 1–4, plug the leftsignal into an odd-numbered jack and theright signal into an even-numbered jack. ForChannels 5–12, plug the left signal into theL jack and the right signal into the corre-sponding R jack. The AUX, EQ, and GAINknobs of Channels 5–12 will control both Land R inputs equally, preserving the stereointegrity.

Connecting a mono signal to the MS 1202Use either a Channel from 1 through 4 or

use only the L jack (also labeled mono) —with nothing connected to the R jack — ofChannels 5–12. This will feed the mono sig-nal equally to both sides of the stereo mix.

You can connect two independent monosignals to a stereo pair of input jacks, if youwant them routed separately to the left andright mix busses. The PAN pot will controltheir relative levels.

Connecting Effects and ProcessorsMost recording and PA setups use external

boxes to enhance the sound: reverb, digitaldelay, and compressors are the most common,but you might also have a harmonizer or en-hancer as well. All of these effects can begrouped into two categories — effects(parallel devices) and processors (seriesdevices)— depending on what they do.

EffectsThese generate additional sounds that you

add to the mix, usually by making two simulta-neous mixes: one of the unmodified dry signalthat goes directly to the main outputs, and anauxiliary mix that is sent to the effect. Theoutput of the effect is then mixed into themain output. The most common effects areecho or reverb, and digital delay. Effects de-vices can be connected to the MS 1202 via theAUX SENDS and AUX RETURNS.

ProcessorsThese modify the original signal and com-

pletely replace it with the processed version.Usually they’re connected to only one micro-phone, instrument, or track at a timethrough a channel insert or before/after themixer. You can add other processors after theMS 1202 if you want to affect the overall mix.

Odd ducksSome newer digital “Swiss Army Audio

Knives” can be switched for compression,echo, limiting, and whatever else struck thewhim of the product designer. See their manu-als for details: you’ll probably want to connectthem based on what they’re doing to your mix.

Connecting an effect with stereo outputsUse two separate cables and plug into a

Left/Right pair of an AUX RETURN. TheSTEREO AUX RETURN knobs will controlboth sides of the effect equally.

Connecting an effect with mono outputUse just the left (L) AUX RETURN jack

with nothing connected to the right, theMS 1202 will route the signal to both mixbusses. If you want a signal to return to justthe right AUX RETURN channel, plug the ef-fect output into only the right (R) AUXRETURN. Because the left return is auto-matically mono, and therefore centered, youhave to go to a bit more trouble to return asignal just to the left AUX RETURN channel:Plug the signal into the left (L) input andthen insert a dummy plug into the right (R)AUX RETURN channel.

12

Connecting separate mono effects to asingle returnYou can use the L and R jacks indepen-

dently. Both are controlled by the AUXRETURN knob, but each is sent separately toits respective mix bus side.

NOTE: The TAPE IN switch directly abovethe VU Meters disconnects STEREO AUXRETURN 2. If you’re not hearing anythingfrom these returns, make sure the switchisn’t depressed.

Channel InsertsTo connect a processor at channel insert

points (shown on page 6, item 6), use astereo or Tip-Ring-Sleeve (TRS) plug wiredas shown below.

The plug wired to the TRS “tip” goes to theprocessor INPUT (send). The plug wired tothe TRS “ring” comes from the processor’sOUTPUT (return).

NOTE: If you’re using these jacks as chan-nel inserts, adjust the TRIM controls beforeyou plug the processor in.

Channel Inserts as direct channel outsYou can also use the CHANNEL INSERTS

to turn the MS 1202 into a 4-channel discretemic preamp (see drawing below). The in-serts act as direct outputs from the mic

preamps, to feedtape decks, DATmachines orother mixers. Ifyou use a stan-dard mono plugpushed all theway in (two“clicks”), you’ll beable to tap thepreamp directly.

Push the pluginto just the first“click” and youwill not interruptthe signal to themain mix.

Part 3 —SETTING LEVELS

The MicroSeries 1202’s better-than-digital-quality specs are not because of magic.

To get this kind of performance withoutbreaking any rules of physics, we had to breaka few unwritten ones about mixer design. TheUnity Gain Adjustment is simple, easy to re-member, and takes just a few seconds.

Can you run a Mackie mixer without thisadjustment? Sure. Chances are you’ll getgood sound anyway. But take a moment toadjust it properly, and you’ll get an excellentsound. Hey, it’s your music.

ADJUSTING CHANNEL TRIMIf 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 flatspot 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, tapedeck, or keyboard as you’ll use in normaloperation.• Talk, sing, or play the way you normallywill, at performance levels.

5. Adjust the TRIM control (Channels 1–4) forthat channel while checking the LEDs. Thepeaks should run at about 0dB to +4dB.Repeat these steps for each of the first

four inputs, and your Mackie MS 1202 will becalibrated for best performance. You won’thave to do it again, unless you change theequipment connected to the mixer’s inputs.

How about Channels 5-12 which don’thave TRIM controls? Here you should usethe output controls on your source — suchas the HI/MED/LO setting on many key-boards (if yours has one, set it to HI), or theoutput gain on tone modules. When addi-tional gain is needed, it’s perfectly OK to setthe channel level above Unity — that’s oneof the reasons we provided the extra gain.

“tip”

this plug connects to one of the MS-1202’s Channel Insert jacks. “ring”

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Direct out with no signal interruption to master.Insert only to first “click”

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption to master.Insert all the way in to the second “click”

For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effects)

MONO PLUG

MONO PLUG

STEREO PLUG *The CD recording process theoretically has a dynamic

range of 96dB. More realistically, it’s under 90dB. (Wechallenge you to find one with even that dynamic range.)The MS 1202 not only has a working dynamic range of 90dBbut TEN more dB of headroom above that, thus exceedingeven the theoretical range of compact discs.

13

Part 4 — TECH STUFFSPECIFICATIONSS/N ratio

90dB ref: +4dBu working level (all channelsassigned, Channels 1–4 panned alternately left/right, Channels 5–12 set at center, main line outsingle-ended, 20Hz–20kHz)

Mic preamp equivalent input noise (E.I.N)–129dBm @ 150 ohms, 20Hz–20kHz

Maximum gain (mic in to main out)86dB (to balanced out)80dB (to unbalanced out)

Frequency response20Hz to 40kHz, ±1dB (mic in to main line out)

DistortionLess than .025%, 20Hz–20kHz

Pan attenuation–67dB

Adjacent channel crosstalk (at insert outputs)–85dB @ 1kHz

EqualizationLow: ±15dB @ 80HzHigh: ±15dB @ 12kHz

Maximum output level+28dBu balanced+22dBu unbalanced (using TRS plug with ringdisconnected)

Weight7 lbs.

Power requirements120 VAC, 60Hz, 20 watts

Dimensions

SERVICEMake sure to save your sales receipt. It’s

useful in establishing when you bought themixer and for insurance purposes if some-one happens to borrow your entire studiowhile you are on vacation in Mazatlan.

TROUBLESHOOTINGWe haven’t included a gigantic trouble-

shooting chart with circles and arrows andcaptions on the back because our ServiceDepartment and support persons are here tohandle that sort of thing. Still, there aresome simple tests you can make before youcall to determine if your MS 1202 is reallythe culprit. This saves time all around andprevents you from feeling sheepish when itturns out that it’s really your Blort-TronicsSonic Defrabulator that’s creating the prob-lem, and not our mixer.

Problem: Dead InputAre the gain controls turned up? (Honest,

this happens.)Unplug all Channel Insert hook-ups.Try the same instrument and cord in

another channel.

Problem: Dead OutputAre the gain controls turned up?Unplug all Channel Insert hook-ups from

the mixer.Switch output cords. For example, if the

left output is dead, switch the left and rightoutput cords at the mixer. If the problemmoves to the right, it’s not the mixer.

Problem: Noisy OutputTurn all gain knobs and AUX returns

down. If the noise goes away, bring levelsback up one at a time, checking for noise ateach step.

Unplug everything except the outputwhere the noise was detected. If the noisegoes away, plug everything back in one at atime, checking for noise at each connection.

Problem: No PowerCheck the MS 1202 fuse (see page 7).

Mackie Designs is always striving to improve our mixersby incorporating new and improved materials, compo-nents and manufacturing methods. Because we’re alwaystrying to make things better, we reserve the right tochange these specification at any time without notice.

©1995 All Rights Reserved, Mackie Designs.Printed in the good ole U.S.A.

6 RA

CK S

PACE

S

11.470" 2.64"

2.2" 1.425"

19"

10.3

5"

Shown with optional rack brackets

LEVELSETTINGSTEPS

TECHSTUFF

14

REPAIRService for the MS 1202 is only available

from the Mackie Designs factory in scenicWoodinville, Washington.

If there is a problem with your mixer:1. Review the troubleshooting suggestions

on the previous page.

2. Call us to confirm that the MS 1202 needsrepair and to get an RA number. You musthave a Return Authorization Number(RA). Call us at 1-800-258-6883, 8 AM to 5PM Pacific time, Monday through Friday toget this number. Products shipped to uswithout an RA number will be refused.

3. Set aside the manual and cord. We won’tneed these to repair the mixer (unless youhave interharmonic under-slewing bi-polar crosstalk in your rack ears, a rarebut particularly nasty problem).

4. Pack the mixer in its original shippingcarton with the foam end caps in place.This is VERY IMPORTANT. If you do nothave the carton, just ask for one when youget your RA number and we’ll ship it toyou promptly, C.O.D.

5. Include a note stating:

a. Your return address and phone number

b. A brief description of the MS 1202'sproblem and how to re-create it.

6. Write the RA number in BIG PRINT on theoutside of the shipping carton.

7. Send us the mixer. We recommend U.P.S.Remember to insure the mixer. U.P.S. canhelp you with this. Ship your MS 1202 to:

Mackie Designs, attn: Service16220 Wood-Red Rd. NE

Woodinville, WA 98072, U.S.A.

8. We’ll try to fix the mixer within fivebusiness days. We send everything backprepaid U.P.S. BLUE (Second Day Air)unless you have sent your MS 1202 to usfor warranty service by NEXT DAY orSECOND DAY AIR. In that case, we figureyou need it fixed ASAP, so we put it at thehead of the line and ship the unit backU.P.S. RED (Next Day Air). This policydoes not apply to non-warranty service.

Legalese fine printWe reserve the right to inspect any prod-

uct which may be the subject of any warrantyclaim before repair is carried out. For war-ranty service we may require proof of theoriginal date of purchase in the form of adated copy of original retail dealers’ invoice.Final determination of warranty coveragelies solely with Mackie Designs Inc.

Products repaired under warranty will bereturned freight prepaid by Mackie Designsto any location within the boundaries of theUnited States. Outside of the USA, productswill be returned freight collect.

Products which do not meet the terms ofour warranty will be repaired and returnedC.O.D. with billing for labor, materials, re-turn freight and insurance.

All warranty information can be found onyour warranty card, included with thismanual.

Special Offer For Folks Who Don’t ThinkAlbums Must Be Mixed on Huge Consoles

Believe it or not, a surprising number ofcompact discs have been produced usingMicroSeries 1202s. We’re not suggestingthat an MS 1202 will replace a 128-channelSSL board. But some creative souls havetracked and mixed excellent self-producedalbums using our little mixer. Also, we’veheard some very impressive live classicaland jazz recordings.

If you’ve produced a compact disc usingthe MS 1202 as the primary mixer, we’d liketo hear it. We’ll repay you with a genuinecotton Mackie T-shirt and possible mentionin our newsletter. Send your submissionsand T-shirt size (M, L, XL, XXL) to :T-shirt For CD Offer, 16220 Wood-Red Rd.NE, Woodinville, WA, 98072.

15

MicroSeries 1202Block Diagram

TECHSTUFF

2

4

3

7 89 10

11 12

5 6

2 3

1

PH

ANT

OMPO

WER

LIN

E IN

PUT

MIC

INPU

TS

TIP

OUT

L R

PA

N

AUX

1

AUX

2

MAIN LEFT MAIN RIGHT AUX 1 AUX 2

+22

CLI

P +

12 +2 0 -2 -4 -7 -10

-20

-30

LEV

EL M

ETER

MA

IN M

IX A

MPS

MA

STE

R L

EFT

& RI

GH

T O

FF T

O +

10dB

GA

IN

STE

REO

HEA

DPH

ONES

OUT

PUT

PH

ONES

LEV

EL

L R

TIP

RIN

G

GA

IN T

RIM

: M

IC G

AIN

- +

10dB

TO

+50

dB L

INE

GA

IN-

UNI

TY T

O +4

0dB

3 1

DIS

CRET

E M

IC A

MP

2(H

OT)

CH

AN

NEL

S 1-

4

CH

ANN

EL IN

SER

TTI

P S

END,

RIN

G R

ETUR

N

L R

RIG

HT

LEF

T

+20

dB G

AIN

OFF

TO

GA

IN

CH

AN

NEL

S 5-

12

EQU

ALI

ZATI

ON

LO

HIG

H

LINE BUS MIC BUS

HIG

H L

O

EQU

ALI

ZATI

ON

EQU

ALI

ZATI

ON

LO

HIG

H

AUX

2

AUX

1

OUT

PUT

MA

IN L

EFT

BA

LANC

ED +4

+7

BA

LANC

ED M

AIN

RIG

HT

OUT

PUT

TA

PE O

UTPU

TS

AUX

2 G

AIN

RET

URN

RET

URN

INPU

TS T

APE

LEF

T

RIG

HT

AUX

2

AUX

2

PA

N

AUX

1

RIG

HT

RET

URN

AUX

1

LEF

T R

ETUR

N

AUX

1 G

AIN

AUX

1 S

END

SEN

D A

UX 2

MIC

BUS

LIN

E BU

S A

UX 2

TAPE

SW

ITCH

GA

INOF

F TO

+20

dB G

AIN

1

- -+ +