11
Part 2 — GETTING HOOKED:
CONNECTION TIPS
HOOK
UP
Hook-up Diagrams in living Color!
Included with your MS 1202 is our color
Application Guide
which covers the common
ways to hook up your new mixer. There are a
zillion ways to connect a mixer as versatile as
the MS 1202. An infinite number of monkeys
mousing madly on Macintoshes couldn’t draw
all the permutations. Because we only have
four monkeys with four Macintoshes in our art
department, we’ve included six typical applica-
tion connections. If you didn’t get an
Applications
Guide
(or the dog ate it), call a primate at
800/258-6883 and we’ll send you one.
Warning
Before connecting a microphone or line
signal to an open, amplified channel, turn
down that channel’s GAIN knob! Better yet,
turn off your amp.
Connecting a stereo signal to the MS 1202
Use two separate plugs, rather than a
“stereo plug”. For Channels 1–4, plug the left
signal into an odd-numbered jack and the
right signal into an even-numbered jack. For
Channels 5–12, plug the left signal into the
L jack and the right signal into the corre-
sponding R jack. The AUX, EQ, and GAIN
knobs of Channels 5–12 will control both L
and R inputs equally, preserving the stereo
integrity.
Connecting a mono signal to the MS 1202
Use either a Channel from 1 through 4 or
use
only
the L jack (also labeled mono) —
with nothing connected to the R jack — of
Channels 5–12. This will feed the mono sig-
nal equally to both sides of the stereo mix.
You can connect two independent mono
signals to a stereo pair of input jacks, if you
want them routed separately to the left and
right mix busses. The PAN pot will control
their relative levels.
Connecting Effects and Processors
Most recording and PA setups use external
boxes to enhance the sound: reverb, digital
delay, and compressors are the most common,
but you might also have a harmonizer or en-
hancer as well. All of these effects can be
grouped into two categories — effects
(parallel devices) and processors (series
devices)— depending on what they do.
Effects
These generate additional sounds that you
add to the mix, usually by making two simulta-
neous mixes: one of the unmodified dry signal
that goes directly to the main outputs, and an
auxiliary mix that is sent to the effect. The
output of the effect is then mixed into the
main output. The most common effects are
echo or reverb, and digital delay. Effects de-
vices can be connected to the MS 1202 via the
AUX SENDS and AUX RETURNS.
Processors
These 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 time
through a channel insert or before/after the
mixer. You can add other processors after the
MS 1202 if you want to affect the overall mix.
Odd ducks
Some newer digital “Swiss Army Audio
Knives” can be switched for compression,
echo, limiting, and whatever else struck the
whim of the product designer. See their manu-
als for details: you’ll probably want to connect
them based on what they’re doing to your mix.
Connecting an effect with stereo outputs
Use two separate cables and plug into a
Left/Right pair of an AUX RETURN. The
STEREO AUX RETURN knobs will control
both sides of the effect equally.
Connecting an effect with mono output
Use just the left (L) AUX RETURN jack
with nothing connected to the right, the
MS 1202 will route the signal to
both mix
busses.
If you want a signal to return to
just
the right AUX RETURN channel, plug the ef-
fect output into only the right (R) AUX
RETURN. Because the left return is auto-
matically mono, and therefore centered, you
have to go to a bit more trouble to return a
signal
just
to the left AUX RETURN channel:
Plug the signal into the left (L) input and
then insert a dummy plug into the right (R)
AUX RETURN channel.
