5
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
IT
IVI
TY
TRIM 1
+4
U
40dB
GAIN
–10
S
E
N
S
IT
IVI
TY
TRIM 2
+4
U
40dB
GAIN
–10
S
E
N
S
IT
IVI
TY
TRIM 3
+4
U
40dB
GAIN
–10
S
E
N
S
IT
IVI
TY
LINE 11-12
LINE 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
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.
Ch. 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 sig-
nal 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.
To connect these inputs to balanced
sources, use a
Tip-Ring-Sleeve
(TRS) or
three-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 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.
Line inputs 1–4 are a good place to con-
nect 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.
Trim controls
TRIM 1 through 4 adjusts the input sensi-
tivity 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.
Chs. 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.
STEREO 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.
2
1
3
4
2
tip
ring
sleeve
cuff
hem
garter belt
shield
(ground)
positive
(white wire)
negative
(black wire)
5
3
4
5
PATCH
BAY
