Mixer Definitions

This flashing light reminds you that at least one channel is in SOLO and lets you know what you're mixing on a Mackie.

This knob controls the levels of signals sent to the main outputs.

These two controls set the overall level of effects received from STEREO AUX RETURN inputs 1 and 2. They are designed to handle a wide range of singal levels to compensate for low-level effects.

This provides overall level contol of AUX SEND 1, just before it's deliverable to the AUX SEND 1 output.

Gain

This rotary knob controls the channel's levelÉ from off to unity gain at the detent, on up to 20dB of additional gain.

This switch allows you to hear signals through your headphones or control room without having to rought them to the main mix or ALT 3-4 mix.

This turns off the signal by "routing" it into oblivion.

This adjusts the amount of channel signal sent to the left versus the right outputs.

The MicroSeries 1202-VLZ has 3-band equalization at carefully selected points.

These tap a portion of each channel signal out to another source for parallel effects processing or stage monitoring.

Stereo Line Inputs (Channels 5-6,7-8,9-10,11-12)

These fully balanced inputs are designed for stereo or mono, balanced or unbalanced signals.

These jacks are balanced outputs capable of delivering 22dBu into a 600 ohm balanced or unbalanced load.

The input RCA jacks are designed to work with semipro as well as pro recorders. The unbalanced RCA output connections tap the main output to make simultaneous recording and PA work more convenient.

These jacks are balanced outputs capable of delivering 22dBu into a 600 ohm balanced or unbalanced load.

This is where you connect the outputs of your parallel effects devices.

This adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 4, which allows signals from the outside world to be adjusted to optimal internal operating levels.

This switch, often referred to as a High Pass Filter, cuts bass frequencies below 75Hz at a rate of 18dB per octave.

These four line inputs share circuitry (but not phantom power) with the mic preamps, and can be drivin by balanced or unbalanced sources at almost any level.

These phantom-powered, balanced microphone inputs are a kind of circuit that is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector.