Mackie Digital 8 Bus Owner's Manual
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Mackie Digital 8 Bus Owner's Manual

56-input, 72 channel, fully automated digital audio mixing console
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D I G I T A L
8 • B U S
OWNER'S MANUAL
™
MACKIE'S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE

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  • Page 1 D I G I T A L 8 • B U S OWNER’S MANUAL ™ MACKIE’S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE...

  • Page 2: Safety Instructions

    8. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product. 9. Power Cord Protection — Power supply cords should be routed so that...

  • Page 3: Table Of Contents

    ™ Mackie Designs Inc. 16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA 800/898-3211 • Outside the US: 425/487-4333 Fax: 425/487-4337 • www.mackie.com email: sales@mackie.com ©1998 Mackie Designs Inc. All rights reserved. #820-076-00...

  • Page 4: Table Of Contents

    Digital 8•Bus Owner’s Manual Table of Contents 1. Introduction About the Digital 8•Bus .............. 1-1 The Digital Advantage ............1-1 Digital 8•Bus Unique Features ............ 1-3 D8B Console ................. 1-3 V-Pots™ ................. 1-3 Fat Channel ..............1-3 DSP Plug-ins ..............1-3 Motorized 100mm Faders ..........
  • Page 5 4. Making the Connections Analog Metering vs. Digital Metering.......... 4-1 Analog Audio Connections Connecting Microphones and Line-Level Signals ....4-1 Phantom Power .............. 4-1 Connecting Recording Devices ..........4-2 TO TAPE Connections (Channels 1-24 Tape Outs) ..4-2 FROM TAPE Connections (Channels 25-48 Tape Returns) ... 4-2 BUS OUT 1-8 Connections (Surround Outputs) ....
  • Page 6 6. Starting a New Session Recording/Tracking ................6-1 Setup ................... 6-1 Input Sensitivity Adjustment Procedure for Channels 1–24 ..6-1 Using the Channel V-Pots ............. 6-3 Adjusting the Channel PAN Control ........ 6-3 Adjusting the Aux Send Levels ........6-4 Adjusting the Digital Trim ..........
  • Page 7 Chapter 6 continued Using External Processing ..........6-62 Configuring an Aux Send ..........6-63 Adjusting for Nominal Input and Output Levels ... 6-64 Adding Final Mix Effects to the Main Outputs ....6-64 Live Mixing ..................6-64 Setup ..................6-64 Adjusting Input Signals .............
  • Page 8 Changing a Time..............7-16 Creating a Fade-In and Fade-Out Event ......7-16 Editing Fade-In And Fade-Out Events ........ 7-17 Mackie Real Time OS Automation Edit Example… ... 7-17 Inserting Blank Time/Delete Time ........7-18 Modify Events ..............7-19 Automation Info ..............7-19 8.
  • Page 9 Please write the serial numbers of your Digital 8•Bus console and Remote CPU here for future reference (i.e., insurance claims, tech support, return authorization, etc.): Console: Remote CPU: Purchased at: Date of purchase: Part No. 820-076-00 Rev. A 8/98 ©1998 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A. Table of Contents...

  • Page 10: Introduction

    $200,000 only a few years ago. exactly how it should be. You won’t have to Today, it’s available from Mackie Designs for a tear through a fat owner’s manual, dig through whole lot less. A whole lotta less!
  • Page 11 Audio passes through Mackie’s high-quality, Going digital offers a wealth of benefits to the low-noise mic preamps, which prepare the sound and recording engineer – making your life...

  • Page 12: Digital 8•Bus Unique Features

    Automation strip represent Aux Send 1–12 levels, Send To Tape levels, Digital Trim levels, and Pan The Digital 8•Bus has Mackie Real Time OS settings. The Fat Channel’s V-Pots represent Automation software built-in. This powerful the EQ, compression, gate, and internal effects automation engine provides a method of settings for each selected channel.

  • Page 13: How To Use This Manual

    This is a “getting started” guide for send it in. We’ll pay the postage, and you’ll have Mackie’s renowned tech support at your automation. Creating new sessions, saving files fingertips. to the hard drive or floppy drive, and creating...

  • Page 14: How To Use Help

    Microphones and instruments Note: The Help function may not be are connected directly to the input jacks on implemented in the first release of the Mackie channels 1–24, and their signals are direct- Real Time OS software. Stay tuned to Mackie’s assigned to the Tape Outputs 1–24 (and not to...
  • Page 15 Overdubbing and Bouncing Tracks Mixdown A corollary of Murphy’s Law states that no Mixing down is an art unto itself, and the matter how many tracks you have available for Digital 8•Bus gives you the tools to make the recording, you’ll always need at least one more. job easier.

  • Page 16: Digital 8•Bus Description

    1 TRIM control 2. Digital 8•Bus Description This is an analog preamp trim control for Refer to the foldout page at the end of this channels 1–24 only; its circuit is similar to the chapter for a complete view of all of the Digital one we use in our large-format analog mixing 8•Bus’s features and components.
  • Page 17 6 V-Pot bl MUTE button This is a non-detented pot with no stop Press this button to mute the signal post- (range >360 degrees), and a 12-segment LED fader and prior to the output buses, including the indicator collar. Each V-Pot controls a single aux sends.

  • Page 18: Master Section Description

    Master Section Description cards in the card cage for a total of eight inter- nal effects sends (Aux 1–8) and sixteen The Master Section is divided into 12 sub- internal FX returns (FX 1–16). sections. They are as follows: You must have the optional ALT I/O card in- •...
  • Page 19 cm Master SOLO button 2 by selecting AUX 11–12 in the Phones/Cue Mix 1 and 2 Section. Pressing this button solos the cur- rently selected aux bus. Only one aux AUX 9–10 PAN button bus may be soloed at a time, along cl cm Assigns channel V-Pots to control the stereo with any number of channels.

  • Page 20: Fat Channel Section

    CHANNEL 56 INPUT / 72 CHANNEL DIGITAL MIXER LEFT RIGHT SUPER CD ENCODING SELECT SELECT SELECT SELECT HELP PREVIOUS LOW MID HI MID NEXT SETUP MEMORY A MEMORY B GATE COMPRESSOR PLUG-INS LOAD PATCH SAVE PATCH Fat Channel Section ct Fat Channel Display This vacuum fluorescent display provides an When a channel is selected, the Fat Channel interface for selecting and adjusting channel...

  • Page 21: Studio/Solo Section

    See Note: The Help function may not be imple- Appendix F for information on installing addi- mented in the first release of the Mackie Real tional FX cards. Time OS software. Stay tuned to Mackie’s web site for software updates.

  • Page 22: Phones/Cue Mix Section

    Disengages all solos throughout the console not be implemented in the first release of the with the push of a single button. Mackie Real Time OS software. Stay tuned to Mackie’s web site for software updates. es SOLO LEVEL button...

  • Page 23: Clipboard Section

    Master L-R Section gp NEAR FIELD button Turns on the Control Room NEAR FIELD The buttons in this section apply to the Mas- output. ter Fader. gq MAIN button ho SELECT button Turns on the Control Room MAIN output. Selects the Master Fader for edit operations. Note: The NEAR FIELD and MAIN buttons hp WRITE button cannot both be on at the same time.

  • Page 24: Automation Section

    ip PAN button quickly see what channels have been assigned to it. Press the ASSIGN button again to Allows writing automation only of pans. When unassign the channel from the L-R bus. PAN is activated, all pan changes on write- enabled channels are written into automation.

  • Page 25: Transport Section

    Transport Section SETUP This section provides control for external re- SAVE SAVE AS... LOAD corder transports, time display, and snapshot automation. GROUP GENERAL PLUG INS DIGITAL I/O jr POSITION LED Display iu SAVE AS... button This display shows numeric representation Saves the currently active session under a of SMPTE or MIDI Time Code (HOURS: new name.
  • Page 26 Transport Controls ENTER button This button initiates numeric changes that These buttons control external devices that have been typed into the POSITION or RANGE respond to MIDI Machine Control (MMC) and display with the console number buttons or ESAM II (with optional Video Sync I/O card). with a standard IBM-style keyboard connected MMC is transmitted at the MIDI output port on to the console.

  • Page 27: Rear Panel Description

    Rear Panel Description Note: Optional digital I/O cards may be installed, changing the physical connector and specifications for the channel direct outs (see This section describes the rear panel con- Appendix C for digital I/O options). nector types, their functions, and associated signal buses.

  • Page 28: Alt I/O

    See Appendix C for the pin-out diagram TAPE 1 TAPE 9 TAPE 17 for the 25-pin D-Sub connectors. DIGITAL EFFECTS DIGITAL I/O ANALOG I/O ANALOG I/O ANALOG I/O Apogee Digital I/O AES/EBU These cards have an optical digital input connector for connecting eight tracks to an ADAT or ADAT-optical compatible MDM.

  • Page 29: Punch I/O

    STUDIO L-R OUTputs the BUS 1–8 Masters (Fader Bank 4). The Bus Outputs are also used for surround-sound These connectors are two 1⁄4" TRS stereo mixing. See Appendix F for the pin-out diagram line-level outputs for sending signals to the for the Bus 1–8 25-pin D-Sub connector.

  • Page 30: Remote Cpu/Power Supply Description

    MOUSE CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •...
  • Page 31 Flip this switch to the UP position to turn on the Digital 8•Bus. The Fat Channel Display Note: The initial version of the software may lights up and the console boots the Mackie not support the serial port. Please contact our Real Time OS operating system, initializes the Tech Support department for upgrades as they internal DSPs, and lets you know when it’s...
  • Page 32 CHANNEL 56 INPUT / 72 CHANNEL DIGITAL MIXER LEFT RIGHT SUPER CD ENCODING TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM SELECT SELECT SELECT SELECT HELP 1-24...
  • Page 33 MACKIE DESIGNS CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 • THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: PATENTS PENDING THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN"...

  • Page 34: Start-Up

    DSPs and console sur- “Save” or “Save As...” command. face. There is a short delay (about 60 seconds) while the Remote CPU loads the Mackie Real Time OS into the console’s memory and engages the DSPs. Returning to Factory Default Settings Occasionally, you may find it necessary to return There is an easy way to quickly “zero”...

  • Page 35: Power Down

    TO RECALL FACTORY DEFAULT SETTINGS From the screen: 1. Click on the Snapshots button in the lower menu bar. The Snapshots dialog box opens. 2. Double-click on 00 in the list of snapshots (click in the gray area, on the number). 3.

  • Page 36: Setting The Surround Mode

    2. Press the SELECT button below 56 INPUT / 72 CHANNEL DIGITAL MIXER LANGUAGE in the Fat Channel Display to view the Language menu. ( G E N E R A L S E T U P P g 1 - >...

  • Page 37: Configuring Midi Parameters

    2. Press the SELECT button below 56 INPUT / 72 CHANNEL DIGITAL MIXER SURROUND in the Fat Channel Display to view the Surround menu. ( G E N E R A L S E T U P P g 1 - >...
  • Page 38 TO CONFIGURE MIDI PARAMETERS SETUP From the console: 1. Press the GENERAL button in the SAVE SAVE AS... LOAD Setup Section. The General Setup menu appears in the Fat Channel GROUP GENERAL PLUG INS DIGITAL I/O Display. 2. Press the SELECT button below MIDI 56 INPUT / 72 CHANNEL DIGITAL MIXER in the Fat Channel Display.
  • Page 39 TO CONFIGURE MIDI PARAMETERS From the screen: 1. Click on the Setup button in the lower menu bar. The Setup dialog box opens. 2. Click on the MIDI-Sync icon on the left side of the box. The MIDI-Sync dialog box opens. 3.

  • Page 40: Configuring Auto Save

    6. Click on the “Single Button Record” box under “Machine Control:” in the MIDI-Sync dialog box to turn on and off the single button record function. Tip: We recommend you leave the single button record button OFF. This provides an extra measure of safety to prevent you from accidentally putting your recorder(s) into record mode.

  • Page 41: Setting Aux Sends Pre Or Post Fader

    TO CONFIGURE AUTO SAVE From the screen: 1. Click on the Setup button in the lower menu bar. The Setup dialog box opens. 2. Click on the General icon on the left side of the box. The General dialog box opens. 3.

  • Page 42: Setting The Display Intensity

    3. Press the SELECT button below “Pre- 56 INPUT / 72 CHANNEL DIGITAL MIXER Post” in the Fat Channel Display. The Pre-Post menu appears. < - ( G E N E R A L S E T U P P G 2 ) P r e - P o s t D i s p l a y A b o u t...

  • Page 43: Determining The Operating System Version

    Digital 8•Bus is the fact that the internal op- line and floppy disk upgrades. Mackie erating system is entirely upgradeable. As new features maintains a web site which has the latest and updates are provided, you’ll be able to keep your...

  • Page 44: Digital I/O Setup

    The About Box appears on the screen. Note: From time to time, you should check our web site at www.mackie.com, or call our Tech Support department to determine if you have the current version of the software. If you discover that you need to upgrade the operating system (OS), refer to Appendix H (Upgrading) to see how to proceed.
  • Page 45 TO CONFIGURE DIGITAL I/O SETUP From the console: SAVE SAVE AS... LOAD 1. Press the DIGITAL I/O button in the Setup Section. The Digital I/O Setup GROUP GENERAL PLUG INS DIGITAL I/O Menu appears in the Fat Channel Display. 2. Press the SELECT button below the 56 INPUT / 72 CHANNEL DIGITAL MIXER Tape I/O card, ALT I/O card, or Stereo I/O you want to reconfigure (Stereo I/O...

  • Page 46: Setting The Console's Sample Rate

    Setting the Console’ s Sample Rate setting doesn’t matter.) Commercial compact The Digital 8•Bus console can operate at ei- ther of two user-selected sample rates, 44.1kHz discs are standardized at 44.1kHz. If you intend and 48kHz. When beginning a new session, think to complete your project by mastering for CD, you may want to choose this sample rate.

  • Page 47: Downloading Plug-Ins To The Fx Cards

    Setup dialog box (or click on the Setup button in the menu bar). Note: Refer to “Using Internal EFFECTS” in Chapter 6 for information on how to select and adjust individual effects from the Mackie Standard Effects package. 3-14 Start-Up...

  • Page 48: Setting The Date And Time

    Setting the Date and Time You can reset the clock in the CPU so it corresponds to your specific time zone. Note: There is no console equivalent for this function. TO SET THE DATE AND TIME From the screen: 1. Click on the Setup button in the lower menu bar.
  • Page 49 3-16 Start-Up...

  • Page 50: Making The Connections

    If you have a condenser microphone plugged and 1/4" TRS Line inputs, while channels 13–24 in, or any mic that requires +48VDC phantom have 1/4" TRS Line inputs only. Mackie power, engage this switch. If you have a consoles use 3-pin female XLR connectors on...

  • Page 51: Connecting Recording Devices

    Connecting Recording Devices BUS OUT 1–8 Connections (Surround Outputs) This section discusses how to connect your recording device to the Digital 8•Bus, whether This is a single 25-pin BUS OUT 1-8 it be DAT, MDM, HDR, or something else. The D-Sub connector on the &...

  • Page 52: Channel Inserts

    Pin 1 Ch 8 Ch16 Ch24 Pin 14 – Ch 8 Ch16 Ch24 Pin 2 shield Ch 8 Ch16 Ch24 Pin 15 Ch 7 Ch15 Ch23 Pin 3 – Ch 7 Ch15 Ch23 Pin 16 shield Ch 7 Ch15 Ch23 Pin 4 Ch 6 Ch14...

  • Page 53: Aux Buses

    MONO PLUG MUTE MUTE MUTE MUTE Channel Insert jack GROUP 1 GROUP 2 GROUP 3 GROUP 4 Direct out with no signal interruption. FX 1 FX 2 FX 3 FX 4 Insert only to first “click.” MONO PLUG Channel Insert jack Direct out with signal interruption.

  • Page 54: Connecting Studio Monitors

    Many engineers and producers like to listen PHONES/CUE MIX 1 PHONES/CUE MIX 2 to their mix on standard reference monitors as well as on smaller monitors. Typically, you use AUX 9-10 COPY MIX TO CUE AUX 9-10 COPY MIX TO CUE the MAIN output for your standard reference AUX 11-12 CONTROL ROOM...

  • Page 55: Digital Audio Connections

    Note: These features may not be available at by the SPEAKER LEVEL control in the Control the time your Digital 8•Bus was manufactured. Room Section. Contact Mackie Technical Support or check our MIDI Connections web site for software upgrades as they become available.

  • Page 56: Other Connections

    (can you guess?) the mouse port. CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "D Using a QWERTY Keyboard...
  • Page 57 Connections...

  • Page 58: Preparing For A Session

    Disk Beebop Vocal Manager window, Startup Channels Compressors Gates Mackie FX Surround Bob's Mix Studio and select “Empty Trash Bin” to delete the files from the Bin folder. Figure 5-1. Digital 8•Bus File Structure Heirarchy...

  • Page 59: Creating A New Folder

    Creating a New Folder You can create a new folder at any level of the file heirarchy. TO CREATE A NEW FOLDER SETUP From the console: 1. Press the SAVE button in the Setup SAVE SAVE AS... LOAD Section. GROUP GENERAL PLUG INS DIGITAL I/O...
  • Page 60 When the name appears as you want it, press the SELECT button below “Create” to complete the operation. The new folder becomes the current directory. 7. Press the PREVIOUS button to return to the “Save Session” menu. You can save the session in the new folder, or you can press SELECT under “Cancel”...

  • Page 61: Using The Disk Manager

    Using the Disk Manager Although a method of file management is available from the console surface via the directory navigator, it is somewhat limited due to the size of the Fat Channel Display. In fact, there are certain operations that can’t be performed from the console surface, such as deleting files, emptying the Bin, and copying multiple files or folders.

  • Page 62: Creating A Session

    2. Select “Copy” from the Edit menu. 3. Double-click on the folder you want to copy the file(s) to. When the target folder’s name appears as the current directory, select “Paste” from the edit menu. The file(s) now appear in the target folder.

  • Page 63: Saving A Session

    3. When the name appears as you want 56 INPUT / 72 CHANNEL DIGITAL MIXER it, press the SELECT button below NEW to complete the operation. The m i x # 1 ( N E W S E S S I O N ) - >...

  • Page 64: Saving A Session Under A New Name

    Saving a Session under a New Name You can save a session in progress under a new name. This is useful if you want to retain the session in its current state while you continue working on it. If you don’t like what you’ve done, you can always go back to the previously saved session and start over.

  • Page 65: Recalling A Session

    2. The “Save File As...” dialog box appears with the default name “mix#1.” If you want to rename the session, you can type it in now. 3. When you’re satisfied with the name of the new session, click on the “Save” button to complete the operation.

  • Page 66: Saving Sessions To Floppy Disk

    Saving Sessions to Floppy Disk In order to preserve hard drive space and to supply clients with copies of their session files, you may want to copy files onto floppy disks. Additionally, floppies can be used to store your EQ, Compressor, Gate, and Effects patches.
  • Page 67 back to the folder containing the session 56 INPUT / 72 CHANNEL DIGITAL MIXER file you’re using. • When the folder’s name appears in the < - [ B A C K D I R ] C u r : S t a r t u p <...

  • Page 68: Creating And Storing Snapshots

    Creating and Storing Snapshots Once you’ve loaded a session, you’ll have access to as many as 100 (0–99) snapshots (150 from the screen) within that session. This makes it possible to recall all settings for a session except analog trim levels and the Mic switch position setting.

  • Page 69: Recalling Snapshots

    2. Begin setting rough mixes. These may include send levels to tape, monitoring levels from tape, aux send levels, and EQ and effects settings. 3. Once the desired settings have been made, click on Edit in the upper-left side of the box and select “New Snapshot”...

  • Page 70: Creating Locate Points

    TO RECALL SNAPSHOTS From the screen: 1. Click on the Snapshot menu button in the lower menu bar. The Snapshots dialog box appears. 2. Double-click on the snapshot number (in the gray area) you want to recall from the list of available snapshots. The console updates to indicate the selected snapshot.
  • Page 71 Note: If you enter a number that is already POSITION RANGE HOURS MINUTES SECONDS FRAMES FROM used, you will overwrite the previous locate time with the new one. SET TIME BARS BEATS TICKS LOOP SMPTE VIEW 5. Press the ENTER button. The Fat Channel Display indicates that the locate point has been stored.

  • Page 72: Recalling Locate Points

    • To change a locate point to a new time, highlight the locate point, enter the new time in the time display and click on the “Store” button. You can store a locate point on the fly: • Roll the tape. •...

  • Page 73: Looping Between Two Locate Points

    Looping Between Two Locate Points TO LOOP BETWEEN TWO LOCATE POINTS POSITION RANGE HOURS MINUTES SECONDS FRAMES FROM From the console: SET TIME 1. Create locate points at the starting point and ending point of the desired BARS BEATS TICKS LOOP SMPTE VIEW loop, as described previously.

  • Page 74: Clipboard

    Clipboard The Clipboard lets you perform the common editing functions you’ll find in most computer programs. You can use these editing functions to copy the settings from one channel to another or to copy and paste automation information. Cutting TO MAKE A CUT CLIPBOARD From the console: CUT/ZERO SET...

  • Page 75: Copying

    Copying TO MAKE A COPY CLIPBOARD From the console: 1. Press the SELECT button on the channel you want to edit. CUT/ZERO SET COPY 2. Press the COPY button in the PASTE UNDO Clipboard Section and the Copy menu appears in the display. 3.

  • Page 76: Undoing

    3. Press the SELECT button below Paste 56 INPUT / 72 CHANNEL DIGITAL MIXER in the display. The automation events or the static settings for the selected P A S T E : C h a n n e l T O : C h a n n e l o v e r s e l e c t i o n s .
  • Page 77 5-20 Preparing for a Session...

  • Page 78: Starting A New Session

    6. Starting a New Session In this section we’ll see what it’s like to ac- There are two strips provided for labeling TRIM tually use the Digital 8•Bus in three of the channels. Lay a piece of 1/2" or 3/4" white pa- most common applications.
  • Page 79 2. Connect a signal to a channel. 6. Press the PFL SOLO switch in the Studio/ • If the channel is used with a microphone, Solo Section. In this mode, the faders do not the MIC switch should be down. affect the solo level at the Control Room •...

  • Page 80: Using The Channel V-Pots

    10. If desired, press the channel’s SELECT but- Using the Channel V-Pots ton and adjust the EQ in the Fat Channel (see These are non-detented pots with no stop page 6-28). You may need to readjust the (range >360 degrees), and a 12-segment LED channel’s TRIM control after changing the indicator collar.

  • Page 81: Adjusting The Aux Send Levels

    TO ADJUST THE CHANNEL PAN CONTROL From the screen: 1. Click on the PAN button below the MASTER V-Pot. The Master V-Pot be- comes disabled, and the channel V-Pots become pan controls. 2. Click and hold on the channel V-Pot, and move the mouse left and right (or up and down) to pan the signal to the left and right.
  • Page 82 3. Rotate the Master V-Pot to the right to adjust the overall Aux Out level for the selected aux bus. MASTER SOLO TO ADJUST THE AUX SEND LEVELS From the screen: 1. Click on one of the AUX buttons above the MASTER V-Pot.

  • Page 83: Adjusting The Digital Trim

    Adjusting the Digital Trim When DIGITAL TRIM is pressed, the channel The Digital Trim LED pattern wraps V-Pots for channels 1–48 adjust the signal level clockwise from 7 o’clock (minimum = off) post-A/D converter and pre-DSP. For channels to 5 o’clock (maximum = +10 dB). Unity 25–48 (Tape Inputs), this may serve as an input gain is at 2 o’clock.

  • Page 84: Adjusting The Level To Tape

    Adjusting the Level to Tape The Tape Outputs are post-DSP, pre-fader Note: The LEVEL TO TAPE control corre- signals from each channel assigned to a Tape sponds to the Tape Out assignment. For Output. When LEVEL TO TAPE is pressed, the example, if channel 1 is assigned to Tape channel V-Pots become send levels (To Tape) for Out 9, turn the V-Pot on channel 9 to adjust...

  • Page 85: Routing Mixer Channels To Tape Outputs And Buses

    Routing Mixer Channels to Tape Outputs and Buses If you have only one source going to one tape 16 internal Effects Returns, the 8 ALT Returns, and the BUS OUT 1–8 can be assigned to a tape out. track, you’ll simply assign the source to a Tape Output.

  • Page 86: Assigning Channels To A Bus Output

    TO ASSIGN CHANNELS TO TAPE OUTPUTS From the screen: Tape out assignment is made with the OUT box at the top of each channel strip. 1. In the OUT box at the top of the chan- nel strip, a hyphen indicates that the channel is not assigned to a direct out.

  • Page 87: Arming External Recorders From The Console

    TO ASSIGN CHANNELS TO BUS OUTPUTS From the screen: 1. Click on the appropriate button above the Master Fader to select the fader deck containing the channel you want to assign. 2. Click on the bus assignment numbers at the top of the channel strip to as- sign the channel to one of the eight buses.
  • Page 88 The REC/RDY button Note: The Master Record button in the transport sec- corresponds to the Tape tion performs double duty as a dynamic automation Out assignment. For ex- Master Write button. The function of the button is de- ample, if you’ve routed termined by whether the Write buttons in the channel Channel 1 to Tape Out strips are engaged (Write standby), or if the Rec/Rdy...

  • Page 89: Adding Eq, Dynamics And Effects To Input Signals

    Adding EQ, Dynamics and Effects to Input Monitoring in the Control Room Signals The most straightforward way to monitor dur- ing a recording or overdubbing session is by As a general rule, you want to minimize your listening to the output of the recorder, played use of EQ and effects when recording on your through channels 25–48 and assigned to the L-R multitrack master.

  • Page 90: Solo

    TO MONITOR IN THE CONTROL ROOM From the screen: 1. Select Fader Bank 2 by clicking on the TAPE button located above the Master L-R fader. 2. If the channels aren’t already assigned to the L-R bus, click and hold in the L-R assignment button at the top of the first channel strip (number 25), and drag the mouse across all the channel...

  • Page 91: Afl/Pfl

    AFL/PFL AFL stands for After-Fader Listen, and PFL the input of the channel. For listening to the mix stands for Pre-Fader Listen. The AFL SOLO of individual voices or instruments, AFL is usu- and PFL SOLO buttons in the Studio/Solo Sec- ally the preferred setting so you can hear and tion allow you to globally change the solo bus adjust the blend with the faders.

  • Page 92: Soloing An Aux Send

    2. The red LED in the SOLO button on the console lights, and the RUDE SOLO LIGHT in the Studio/Solo Section begins flashing. 3. Whatever source is selected for the STUDIO/SOLO control room is overridden by the solo signal. Press SOLO LEVEL in the Studio/Solo Section to adjust the MIXDOWN SOLO CLEAR SOLO...

  • Page 93: Mixdown Solo

    TO SOLO AN AUX SEND From the screen: 1. Click on an aux button above the Mas- ter V-Pot on the right side of the screen. 2. Click on the SOLO button next to the Master V-Pot. 3. The red LED in the SOLO button on the console lights, and the RUDE SOLO LIGHT in the Studio/Solo Sec- tion begins flashing.
  • Page 94 Keeping the Phones assigned to CONTROL Aux Sends 9–10 and 11–12 are designed to ROOM may work for the entire session, but usu- set up two different cue mixes for the perform- ally the musicians want one or even two custom ers.
  • Page 95 9. Press SOLO in the Master V-Pot Sec- tion to monitor the cue mix in the control room. AUX 11 AUX 9 10. Repeat steps 2–8 for Aux 11–12 to create a second cue mix. MASTER SOLO TO SET UP A CUE MIX From the screen: 1.

  • Page 96: Talkback

    7. Click on the CUE 1 PAN button in the V-Pot Select Section. 8. Click and hold on the V-Pot (Aux 9–10 Send Pan) on each channel you want to pan in the Cue Mix 1, and adjust by dragging the mouse left and right. 9.
  • Page 97 TO BOUNCE RECORDED TRACKS DOWN TO ONE OR TWO TRACKS ASSIGNMENT From the console: 1. Select Fader Bank 2 by pressing the MASTERS SHIFT ASSIGN ASSIGN TAPE IN (25–48) button. BUS 1 BUS 2 1-24 25-48 2. Press L-R in the Bus Assignment Sec- ASSIGN ASSIGN tion.
  • Page 98 TO BOUNCE RECORDED TRACKS DOWN TO ONE OR TWO TRACKS From the screen: 1. Select Fader Bank 2 by clicking on the TAPE button next to the Master Fader. 2. Turn off the L-R assignments for chan- nels 25–30 (tracks 1–6 returns). Turn off the L-R assignments for any other channels you don’t want to monitor while bouncing down.

  • Page 99: Mixdown

    Mixdown home and car speakers, mono compatibility, and Now you have all your tracks recorded and human perception changes under different lis- you’re ready to mixdown to two tracks. Tracking tening conditions, not to mention tonal and level and overdubbing require care from the recording balance between songs, and meeting the techni- engineer, but the focus there is on the perfor- cal criteria for tape and disc mastering.
  • Page 100 TO ROUTE TAPE RETURNS TO THE MAIN OUTPUTS From the screen: 1. Select Fader Bank 2 by clicking on the TAPE button. 2. Click and drag across the channel L-R assign buttons on the channels that are going to be mixed down to two tracks. 3.
  • Page 101 4. Select Fader Bank 2 by pressing the TAPE IN (25–48) button. MASTERS SHIFT 5. Set all the faders to their “U” (unity) markings, including the MASTER L-R. 1-24 25-48 MIC/LINE TAPE IN (TRACK) (MONITOR) 49-72 EFFECTS BANK SELECT 6. Press the DIGITAL TRIM button near the TALKBACK MIC.
  • Page 102 9. Roll the tape and adjust the V-Pot Digi- tal Trim control. The goal is to get the channel meter reading at or around –15. The peaks should regularly hit, and occasionally exceed, the –15 desig- nation on the meter. This is equivalent to a +4 dBu analog level.

  • Page 103: Monitoring The Final Mix

    Monitoring the Final Mix when it’s loud will not necessarily sound good at The best way to monitor the final mix is by lis- low volume. Listen at a barely audible level from tening to the output of the 2-track recorder. Properly configured, your recorder will automati- time to time.

  • Page 104: Selecting Uv22

    Selecting UV22 TO SELECT UV22 ON TAPE OUTPUTS, ALT OUTPUTS, AND STEREO OUTPUTS (AES/EBU OR S/PDIF): SETUP From the console: 1. Press the DIGITAL I/O button in the SAVE SAVE AS... LOAD Setup Section. GROUP GENERAL PLUG INS DIGITAL I/O 2.

  • Page 105: Muting Channels

    Muting Channels Consider Compression The MUTE button mutes the corresponding You can mix an entire project without a lick of channel, and affects the output at the L-R bus, compression; many engineers do. The dynamic Bus 1–8, and aux sends (when the aux send is set range of a CD can certainly handle it.

  • Page 106: Changing The Gain Setting

    2. Press the EQ button and the ON button in the Fat Channel Section. SUPER CD ENCODING SELECT SELECT SELECT SELECT HELP PREVIOUS LOW MID HI MID NEXT 3. Press the SOLO button on the selected channel if desired. Now you hear just SETUP MEMORY A MEMORY B...

  • Page 107: Changing The Center-Frequency Setting

    TO CHANGE THE GAIN SETTING From the screen: This can be done in one of two ways. 1. Click and drag in the small EQ display for the channel you want to adjust. Move the mouse up and down to ad- just the gain setting.

  • Page 108: Changing The Q Setting

    TO CHANGE THE CENTER-FREQUENCY SETTING From the screen: This can be done in one of two ways. 1. Click and drag in the EQ display for the channel you want to adjust. Move the mouse left and right to adjust the frequency setting.

  • Page 109: Changing The Parametric Eq Frequency Bandwidth

    TO CHANGE THE Q SETTING From the screen: This can be done in one of two ways. 1. Click and drag in the EQ display for the channel you want to adjust. Click and drag the mouse left and right while holding down the ALT key on the key- board to adjust the Q setting (or right- click with the mouse).

  • Page 110: Changing The Display Matrix Of The Parametric Eq

    TO CHANGE THE FREQUENCY BANDWIDTH From the screen: There is no screen equivalent for this feature. Changing the Display Matrix of the Parametric EQ You can change the way in which the 56 INPUT / 72 CHANNEL DIGITAL MIXER parametric EQ is displayed in the Fat Chan- nel by pressing the PREVIOUS or NEXT L O W G A I N...
  • Page 111 TO SAVE AN EQ PATCH From the screen: 1. Click and hold on the MENU button in the EQ control panel. 2. Drag down to “Save EQ As...” The “Save File As...” dialog box appears. 3. A default name for the EQ is auto- matically displayed, such as EQ#1.
  • Page 112 TO LOAD AN EQ PATCH From the screen: 1. Click on the SELECT button of the channel you want to load with the EQ file. Press and hold the SHIFT key to select more than one channel. 2. Click on MEM A or MEM B to choose the memory location to which you want to load the file.

  • Page 113: Editing Eq Settings

    Editing EQ Settings You can cut, copy, and paste EQ settings from one channel to another. TO CUT EQ SETTINGS CLIPBOARD From the console: 1. Press the SELECT button on the chan- nel you want to edit. CUT/ZERO SET COPY 2.
  • Page 114 settings for that channel are retained, and are temporarily stored in the clipboard memory in case you want to paste them to another channel. TO COPY EQ SETTINGS From the screen: 1. Click and hold on the MENU button in the EQ control panel.

  • Page 115: Morphing

    Morphing The morphing feature allows you to smoothly change from one EQ setting to an- other. You can start with the settings stored in Memory A and morph to Memory B, or start with Memory B and morph to Memory A.

  • Page 116: Selecting The Compressor

    Selecting the Compressor TO SELECT THE COMPRESSOR SUPER CD ENCODING SELECT SELECT SELECT SELECT HELP From the console: 1. Select the channel you want to com- press by pressing its SELECT button. PREVIOUS LOW MID HI MID NEXT 2. Press the COMPRESSOR button and SETUP MEMORY A MEMORY B...
  • Page 117 4. The fourth V-Pot adjusts the compres- 56 INPUT / 72 CHANNEL DIGITAL MIXER sion ratio, with a range from 1.00:1 to C . A t t a c k C . R e l e a s e C . R a t i o C .

  • Page 118: Saving, Loading, And Resetting The Compressor Settings

    Saving, Loading, and Resetting the Compressor Settings Compressor settings can be saved and recalled from the hard drive. You can save and load files from either Memory A or Memory B. TO SAVE A COMPRESSOR PATCH From the console: 56 INPUT / 72 CHANNEL DIGITAL MIXER 1.
  • Page 119 TO LOAD A COMPRESSOR PATCH 56 INPUT / 72 CHANNEL DIGITAL MIXER c o m p # 1 ( L O A D C o m p r e s s o r ) From the console: < < S c a n >...

  • Page 120: Editing Compressor Settings

    5. Click on INTERNAL if the file is on the internal hard drive, or click on FLOPPY if the file is on a floppy disk. 6. Click on the name of the file to high- light the one you want to load. 7.
  • Page 121 TO CUT COMPRESSOR SETTINGS From the screen: 1. Click and hold on the MENU button in the Compressor control panel. 2. Drag down to “Cut.” The compressor settings for that channel are tempo- rarily stored in the clipboard memory in case you want to paste them to an- other channel.
  • Page 122 TO PASTE COMPRESSOR SETTINGS From the console: 1. Press the SELECT button on the channel you want to edit. CLIPBOARD 2. Press the PASTE button in the Clipboard Section. CUT/ZERO SET COPY 3. Press the SELECT button below UNDO “Paste” in the Fat Channel Display, or PASTE press the PASTE button again.

  • Page 123: Using The Gate

    Using the Gate • Attack: This determines how fast the gate A gate is used to turn off a microphone or sig- opens once the threshold has been exceeded. nal source when the signal drops below the It is calibrated in milliseconds (ms), with a threshold setting.

  • Page 124: Adjusting The Gate Settings

    TO SELECT THE GATE From the screen: 1. Click on the GATE button near the top of the channel strip you want to gate. 2. To use the graphic view, click on the GATE button in the lower menu bar (or press Ctrl-7 on the keyboard).
  • Page 125 TO ADJUST THE GATE SETTINGS From the screen: 1. Click on the Gate button in the lower menu bar. The GATE control panel ap- pears on the screen. 2. The first control in the GATE window adjusts the gate threshold, with a range from –60.00 dB to –1.00 dB.

  • Page 126: Saving, Loading, And Resetting The Gate Settings

    Saving, Loading, and Resetting the Gate Settings Gate settings can be saved and recalled from the hard drive. You can save and load files from either Memory A or Memory B. TO SAVE A GATE PATCH From the console: 56 INPUT / 72 CHANNEL DIGITAL MIXER 1.
  • Page 127 TO LOAD A GATE PATCH From the console: 1. With GATE selected for channel pro- cessing, press the SELECT button on the channel you want to load with the 56 INPUT / 72 CHANNEL DIGITAL MIXER Gate file. Press and hold the SHIFT g a t e # 1 ( L O A D G a t e )

  • Page 128: Editing The Gate Settings

    TO RESET THE GATE From the console: Refer to the instructions below for cutting Gate settings. TO RESET THE GATE From the screen: 1. Click and hold on the MENU button in the Gate window. 2. Drag down to “Reset” and release. Editing the Gate Settings You can cut, copy, and paste gate set- tings from one channel to another.
  • Page 129 TO CUT GATE SETTINGS From the screen: 1. Click and hold on the MENU button in the Gate control panel. 2. Drag down to “Cut.” The gate settings for that channel are temporarily stored in the clipboard memory in case you want to paste them to another channel.

  • Page 130: Using Internal Effects

    Mid Frequency: This adjusts the center fre- to eight mono-in, stereo-out internal effects quency of the parametric EQ. This is calibrated available simultaneously. The console ships with the Mackie FX in Hertz (Hz), with a range from 100Hz to (MFX•8 ™...
  • Page 131 Decay: This adjusts the amount of time that Left and Right Feedback: This adjusts the reflections continue to propagate. A “live” room amount of signal that is fed back to the input of will have a longer decay time than a “dead” room. the delay.

  • Page 132: Selecting Internal Effects

    Selecting Internal Effects TO SELECT INTERNAL EFFECTS 1-24 1-48 LEVEL TO TAPE DIGITAL TRIM From the console: 1. Select the Aux Send in the V-Pot Select AUX 1 AUX 2 Section corresponding to the effect pro- cessor you want to use. AUX 3 AUX 4 AUX 5...

  • Page 133: Adjusting The Effects Settings

    TO SELECT INTERNAL EFFECTS From the screen: 1. Click on the CARD A, B, C, or D button in the lower menu bar to open the Effects Control Panel. Alternately, Ctrl-9, Ctrl-0, Ctrl-(–), and Ctrl-(=) on the keyboard will open and close the respective control panels.

  • Page 134: Turning The Effects On And Off

    3. The parameters associated with the se- lected effect appear in the display. Rotate their corresponding V-Pots to adjust their parameters to taste. TO ADJUST THE EFFECTS SETTINGS From the screen: 1. Click on the CARD A, B, C, or D button in the lower menu bar to open the con- trol panel for the FX card you want to program.

  • Page 135: Saving, Loading, And Resetting The Effects Settings

    Saving, Loading, and Resetting the Effects Settings Effects settings can be saved and re- called from the hard drive. You can save and load files from either Memory A or B. TO SAVE AN EFFECTS PATCH From the console: 1. With PLUG-INS selected for channel processing, press SAVE PATCH in the SUPER CD ENCODING SELECT...
  • Page 136 TO LOAD AN EFFECTS PATCH SUPER CD ENCODING From the console: SELECT SELECT SELECT SELECT HELP 1. With PLUG-INS selected for channel pro- cessing, press MEMORY A or MEMORY B to choose the memory location to PREVIOUS LOW MID HI MID NEXT which you want to load the file.

  • Page 137: Editing Effects Settings

    TO RESET THE EFFECTS From the screen: 1. Click and hold on the MENU button in the Effects Control Panel. 2. Drag down to “Reset” and release. Editing Effects Settings You can cut, copy, and paste effects set- tings from one patch to another. TO CUT EFFECTS SETTINGS From the console: This feature is not available from the...
  • Page 138 TO COPY EFFECTS SETTINGS From the console: This feature is not available from the console. TO COPY EFFECTS SETTINGS From the screen: 1. Click and hold on the MENU button in the Effects Control Panel. 2. Drag down to “Copy.” The effects set- tings for that patch are temporarily stored in the clipboard memory in case you want to paste them to another...

  • Page 139: Using External Processing

    (post-TRIM and pre-EQ). In fact, Mackie mic preamps have become so fa- This plug connects to one of the “ring” mous that people buy our compact mixers just to mixer’s Channel Insert jacks.

  • Page 140: Configuring An Aux Send

    Configuring an Aux Send TO CONFIGURE AN AUX SEND TO BE PRE- OR POST-FADER SETUP From the console: SAVE SAVE AS... LOAD 1. Press the GENERAL button in the Setup Section. The General Setup Menu GROUP GENERAL PLUG INS DIGITAL I/O appears in the Fat Channel display.

  • Page 141: Adjusting For Nominal Input And Output Levels

    +4 dBu level which corresponds to –15 dB FS. If Live Mixing it has RCA-type connectors on it, it will probably One of Mackie Designs’ primary product need a –10 dBV level, which corresponds to philosophies is to make our mixing consoles as –30 dB FS.

  • Page 142: Adjusting Input Signals

    the drum mics next to each other, the vocals to- they’re going to play/sing/strike. Don’t just gether and so on. Label your cables, color-code play a single sustained note, but rather, jam your windscreens, lay tape across the arm rest, away as you would be during a recording or make a cheat sheet, iron your shorts, give yourself performance.

  • Page 143: Routing Channels To Mains And Subs

    Routing Channels to Mains and Subs You should normally use the L-R Mix buses as ing all eight submaster outputs to connect to an your main or house feed. Patch out from the L-R 8-track recorder. But you can use them to create outputs (preferably the balanced XLR outputs) a separate submix for special monitoring pur- into the input to your amp stack (usually your...

  • Page 144: Assigning Channels To Bus 1-8

    Assigning Channels to BUS 1-8 TO ASSIGN CHANNELS TO BUS 1–8 ASSIGNMENT From the console: ASSIGN ASSIGN 1. Select the Fader Bank containing the BUS 1 BUS 2 channels you want to assign to the bus. ASSIGN ASSIGN BUS 3 BUS 4 2.

  • Page 145: Setup Of Monitor Mixes For Performers

    Setup of Monitor Mixes for Performers If you need to provide a simultaneous Any of the aux buses can be used to feed a stage monitor mix. Set the aux sends in each channel to pre- independent mix for a stereo recording, fader (see page 6-63) and patch the aux send outputs to use the stereo Aux 9–10 or Aux 11–12 Sends.

  • Page 146: Headphones

    5. To monitor the aux send mix, click on the SOLO button in the Master V-Pot Section. The aux send is routed to the Control Room Output. Use the V-Pot in the Studio/Solo Section to adjust the Solo level (make sure the SOLO button is on).

  • Page 147: Adding Compression

    TO ADD EQ From the screen: 1. Click on the EQ button in the lower menu bar and the EQ control panel appears. 2. Select the channel you want to EQ by clicking on its SELECT button. 3. Adjust the EQ as desired. Adding Compression TO ADD COMPRESSION SUPER CD ENCODING...

  • Page 148: Adding Gate

    Adding Gate TO ADD GATE SUPER CD ENCODING From the console: SELECT SELECT SELECT SELECT HELP 1. Select the channel you want to gate by pressing its SELECT button. PREVIOUS LOW MID HI MID NEXT 2. Press the GATE button in the Fat SETUP MEMORY A MEMORY B...
  • Page 149 TO ADD EFFECTS From the screen: 1. Click on the CARD A, B, C, or D but- ton in the lower menu bar to open the Effects control panel. 2. Select the type of effect you want to use with the selected FX card, and ad- just the parameters for the selected effect.

  • Page 150: Adding Effects To The Main Outputs

    Adding Effects to the Main Outputs Making a Recording While Doing a Live Mix If you want to add an external effect to the main outputs, you have two options. You’re all set up, ready to go, when the For a serial processing device: band’s manager comes up to you with a DAT Feed the Master Outputs from the console di- machine and goes “The producer wants us to...

  • Page 151: Recalling Console Snapshots During A Performance

    3. Click and drag on the V-Pot for all the channels you want to send to the aux- iliary mix. 4. Click on the CUE 1 (or CUE 2) PAN button in the V-Pot Select Section. 5. Click and drag on the V-Pot for all the channels you are sending to the auxil- iary mix to control the amount of left or right panning for each channel.
  • Page 152 Vocal Enhancer Reverb Stereo Effects Procesor TAPE TAPE FROM TAPE TAPE FROM TAPE TAPE FROM 6-75 Starting a New Session...
  • Page 153 Vocal Enhancer Reverb MIDI Controlled Stereo Effects Processor OPTICAL ADAT OPTICAL ADAT OPTICAL ADAT ADATS 6-76 Starting a New Session...
  • Page 154 TAPE TAPE FROM TAPE TAPE FROM TAPE TAPE FROM Optional AIO•8 Cards 6-77 Starting a New Session...
  • Page 155 OPTICAL ADAT OPTICAL ADAT OPTICAL ADAT DA-88 6-78 Starting a New Session...
  • Page 156 Vocal Enhancer Digital Delay Stereo Reverb Processor Stereo Processor TAPE TAPE FROM Mic Preamps TAPE TAPE FROM TAPE TAPE FROM 6-79 Starting a New Session...
  • Page 157 OPTICAL ADAT OPTICAL ADAT OPTICAL ADAT DA-88 6-80 Starting a New Session...

  • Page 158: Automation

    (or playback, if any exists). The Digital 8•Bus is powered by Mackie’s Upon completion of an automated mix, ™ Real Time OS automation software.

  • Page 159: Trim Levels Mode

    Snapshot Automation You can punch-out a channel while in Auto Touch Mode by turning off its WRITE button, and reen- Snapshot automation operates independently gage Write mode by altering a control on the of dynamic automation. A snapshot is a singular, channel at another time.

  • Page 160: Automation Filters

    Faders As an example, an automation pass is made that consists of a smooth dynamic fader level fade- Engaging the FADERS button makes it pos- in from –30 dB to Unity gain (0 dB), over a five sible to write automated fader moves when second period.

  • Page 161: Write Standby And Master Record

    off regardless of whether tape is rolling, which a certain point by punching-in (write-engaging by allows this filter to act as a real-time write safety pressing the PLAY and Master RECORD buttons) operation for automation writing other than at a specific point in time (with tape rolling), faders, mutes and pans.

  • Page 162: Writing Fader Moves

    When this switch is engaged, the faders drop to the off po- All previously written automated fader sition (all the way down), regardless of which fader bank moves still play back when the fader mo- is selected. tors are off, but the faders are disabled and will not accept new dynamic automation changes until the fader motors are turned back on.

  • Page 163: Writing Fader Moves In Trim Levels Mode

    4. Click on the PLAY transport control, or press Play on the recorder, to initiate timecode. 5. If you’re using Absolute Write mode instead of AUTO TOUCH, make sure to click on the WRITE button on the channels that are to be automated. 6.

  • Page 164: Writing Mutes

    TO WRITE FADER MOVES IN TRIM MODE From the screen: 1. Click on the Locator button in the lower menu bar. The Locator window appears. 2. Click on the TRIM button in the Locator window. All the faders jump to their unity positions.

  • Page 165: Writing Channel V-Pot Moves

    4. If you’re using Absolute Write mode instead of AUTO TOUCH, make sure WRITE WRITE to engage the WRITE button on the channels that are to be automated. 5. At the desired times, mute the channels you want to automate. 6.
  • Page 166 2. Press the ALL and AUTO TOUCH AUTOMATION buttons. V-Pots are automated using Auto Touch mode. BYPASS FADERS MUTES AUTO TOUCH 3. Press the PLAY button in the Transport Section, or press Play on the recorder to initiate timecode. FADER MOTORS TRIM LEVELS 4.

  • Page 167: Writing Bus Assignments

    Alternatively, click on a bar in the individual channel’s AUXES section to adjust an aux send level. A numerical representation of the aux send level appears in place of the channel number just above the AUXES box. 6. Upon completion of the automation pass, if you’re satisfied with the auto- mated fader moves, make sure to save the session (click on “File”...

  • Page 168: Writing Snapshots Into Automation

    4. Begin rolling tape by either clicking on PLAY in the Locator window or on the recorder. 5. At the desired times, click on a bus button at the top of the channel strip. 6. Upon completion of the automation pass, if you’re satisfied with the automated bus assignments, make sure to save the session (click on “File”...

  • Page 169: Undo Edit

    TO WRITE SNAPSHOTS INTO AUTOMATION From the screen: 1. Click on the Locator button in the lower menu bar. The Locator window appears in the screen. 2. Click on the ALL and TOUCH buttons (make sure the BYPASS button is off). 3.

  • Page 170: Looping

    Looping and the right two digits indicate the ending loop You can create a loop between two cue points point (TO). Loop points are cues that send an on the tape to repeat over and over again. This is MMC command message out of the MIDI OUT useful when you need to make several passes connector on the back of the computer to the over a section of the tape in order to get multiple...

  • Page 171: The Mix Editor

    Just The rectangular area below the From and To to give you an idea, Mackie Real Time OS auto- boxes contains a list of all the automation mation writes just one single fader move by events in the current session.

  • Page 172: Using The Mix Editor

    Using The Mix Editor The Event List The Event List portion of the Mix Editor (main To familiarize you with the Mix Editor, let’s area of the box) is a scrollable, temporal display first take a look at what the various functions of all events, as determined by both the event fil- do for the edit process.

  • Page 173: Selecting Events By Type

    Creating a Fade-In and Fade-Out Event Mackie Real Time OS automation includes a special feature that lets you trigger fade-ins and fade-outs of any length, on any faders, and at any point during your mix.

  • Page 174: Editing Fade-In And Fade-Out Events

    MIDI world, is likely the case. A Little Mackie Real Time OS Automation Edit Example… The Delete Fade Curves box appears. Select One of the most powerful things about the...

  • Page 175: Inserting Blank Time/Delete Time

    However, require some tweaking if the inserted time falls Mackie OS Real Time automation does not in- in the middle of events, as noted previously.) terpolate if you insert time in the middle of an event.

  • Page 176: Modify Events

    Event List. This not only affects what- ever events are contained in the time window that is deleted, but, because Mackie Real Time OS automation is a “preceding-event” applica- tion — meaning each event is based on the prior event —...
  • Page 177 7-20 Automation...

  • Page 178: Advanced Automation

    After you’ve racked up some automation experience you’ll live by this saying: effects. Once you begin to automate these param- eters, Mackie Real Time OS automation thinks Just because it can be automated doesn’t mean it you prefer the recorded settings over the static has to be.
  • Page 179 Before we leave this subject, there’s one other required time. The change is recorded in the option you should know about. Mackie Real Time session. You can switch back and forth between OS automation allows you to automate switching MEMORY A and B as many times as you want.
  • Page 180 TO RECORD EFFECTS CHANGES Remember, any changes made to the in- ternal effects affect all channels assigned to the aux send feeding the effect. AUTOMATION From the console: 1. Turn off the Bypass button (button light off) in the Automation Section to BYPASS FADERS MUTES...

  • Page 181: Virtual Grouping/Ungrouping

    TO RECORD EFFECTS CHANGES From the screen: 1. Click on the Locator button in the lower menu bar. The Locator dialog box appears on the screen. 2. Click on the TOUCH button in the Locator window to initiate AUTO TOUCH mode (make sure the Bypass button is turned off).
  • Page 182 TO ASSIGN CHANNELS TO VIRTUAL GROUPS SETUP From the console: 1. Press the GROUP button in the Session Setup Section of the console. SAVE SAVE AS... LOAD GROUP GENERAL PLUG INS DIGITAL I/O The Group menu appears in the Fat Channel Display.

  • Page 183: Auto Fading

    TO ASSIGN CHANNELS TO VIRTUAL GROUPS From the screen: 1. Click on the SELECT buttons on the channel(s) you want to add to a group. Use the SHIFT key to select more than one channel. You can select channels SELECT SELECT from more than one fader deck.
  • Page 184 TO SET AN AUTO FADE From the screen: 1. Click on the SELECT button on the channel you want to fade. You can auto-fade any channel’s fader, including the master fader. 2. Click on “Channel” in the upper menu bar, and drag down to select “Edit Fade.” The Fade Curves window appears.

  • Page 185: Stereo Paired Faders

    Stereo Paired Faders Under some circumstances, it may be de- sirable to move two faders together as a stereo pair. Any two adjacent odd/even fad- ers can be linked so they move in tandem. TO CREATE A STEREO FADER PAIR From the console: 1.

  • Page 186: Surround Sound

    Surround-Sound Controlling External Effects Processors from the Console via MIDI The Mackie Real Time OS automation system provides a powerful method for automating Fader Bank 4 includes 8 MIDI controllers surround-sound mixes by using the Surround (channels 81-88), which can be used to transmit Control Panel (on-screen only).

  • Page 187: Surround Modes

    Stereo Panning Surround Modes 0 dB The surround modes available include –3 dB the following: A. Stereo Level Left Front = Bus 1 Out Right Front = Bus 2 Out This is separate from the main stereo L-R output. The channel’s V-Pot pan con- –100 dB trol indicates the position between Bus 1 Left...

  • Page 188: Lcrs

    LCRS Panning 0 dB C. LCRS Left Front = Bus 1 Out –3 dB Right Front = Bus 2 Out Level Center = Bus 3 Out Surround = Bus 4 Out Constant-power panning is between the Left Front and Center buses (Bus 1 and Bus 3) and between the Center and Right –100 dB Front buses (Bus 3 and Bus 2).

  • Page 189: Surround Sound Control Panel

    E. 7:1 7.1 Panning Left Front = Bus 1 Out Center Right Front = Bus 2 Out Left Right 0 dB Center = Bus 3 Out 0 dB 0 dB Sub = Bus 4 Out Left Rear = Bus 5 Out –3 dB Right Rear = Bus 6 Out Left Side = Bus 7 Out...

  • Page 190: Ball Icon

    icons represent the bus outputs and may be toggled on and off by clicking on them to re- strict the pan access (hard on/off bus output) of the signal, on a per-channel basis. This is stored and recalled with the session. Ball icon Displays the relative signal position in the pan grid.
  • Page 191 3. If you’re using the analog inputs on your your surround amplifiers and speakers. multitrack recorder, you can go directly from Remember, you can’t assign the monitor the SURROUND OUT 25-pin D-Sub connector channels to the same Tape I/O card as you’re on the rear panel of the console to your using to input the channels (this is a safe- multitrack recorder’s analog inputs.

  • Page 192: Service

    Woodinville, WA 98072 suffering. Of all Mackie products returned for service 8. We’ll try to fix the product within three (which is hardly any at all), roughly 50% are business days. We normally send everything coded “CND”...

  • Page 193: Bad Sound

    all the way down? See “Input Sensitivity Adjustment Procedure” in Chapter 6. • Is the MIC/LINE switch set to the correct position? • Is the channel fader control turned up? • Has the channel been assigned to an output bus in the Bus Assignment Section? •...

  • Page 194: Appendix A Glossary

    A cause of severe audio distortion that is the switch settings, and all send, EQ, dynamics, result of excessive gain requiring the peaks of and effects settings on a console. Mackie’s the audio signal to rise above the capabilities of Real Time OS™ automation is a powerful the amplifier circuit.
  • Page 195 D/A converter slapback, echo, regenerative echo, chorusing, and hall-like reverberation. Signal time delay is Digital-to-analog converter, a device that central to many audio effects units. transforms incoming digital signals into analog form. dither This is an interesting technique used to re- duce low-level distortion by adding random Digital Audio Tape is a recording/playback noise to the analog signal before the sampling...
  • Page 196 effects devices of pitch, harmonics, tone, and overtones. Fre- quency is measured in units called Hertz (Hz). External signal processors used to add re- One Hertz is one repetition or cycle per second. verb, delay, spatial, or psychoacoustic effects to an audio signal. An effects processor may be gain used as an insert processor (serial) on a par- The measure of how much a circuit ampli-...
  • Page 197 For example, a peaking EQ cen- a way that is “invisible” to ordinary dynamic tered at 10kHz whose –3 dB points are 7.5kHz microphones. Mackie mixers use standard +48 and 12.5kHz has a Q of 2. volt DC power, switchable on or off. Most qual-...
  • Page 198 (or fall) at ing an external processor into the signal path. some frequency and continues to fall (or rise) In Mackie mixers, the tip is send, ring is re- until it reaches the shelf frequency, at which turn, and sleeve is ground.
  • Page 199 A signal will leave a unity gain circuit at the same level at which it entered. In Mackie mixers, unity gain is achieved by setting all variable controls to the marked “U” setting. Mackie mixers are optimized for best headroom and noise figures at unity gain.
  • Page 200 Appendix B Digital 101 The Binary Number System If you’ve been involved in the audio biz for a while, chances are you have at least some You probably know that in the digital world, fundamental knowledge of the physics of sound the language spoken consists of ones and zeros.
  • Page 201 Time One Sampling Period Figure B-2. Sampling Sampling Experiments have shown that if still pic- The sampling rate is defined as the number tures are shown at a rate of less than 20 per of samples, or snapshots, the ADC takes of the second, the eye can distinguish between indi- analog audio signal per second.
  • Page 202 24-bit converters in the Digital 8•Bus provide a theoretical 144 dB of dynamic range! To put this in perspective, the noise level of a jet engine is around 140 dB at close range, while the background noise in a quiet recording studio might be 20 dB, for a total dynamic range of 120 dB.
  • Page 203 Clipping ADAT Optical Now that we have a general understanding Alesis introduced the ADAT modular digital of how an audio signal is represented in the multitrack recorder (MDM) in 1992, capable of digital domain, it’s time to talk about clipping. recording eight tracks of digital audio on an This is important because clipping takes on a S-VHS videocassette.

  • Page 204: Appendix C : Synchronization

    Appendix C other even if they don’t start at the same time or Synchronization the same place in the program. In this case, the slaves in the system chase to the location indi- Synchronization is a topic that is often con- cated by the master, and then lock to it.
  • Page 205 MIDI LTC vs. VITC Before we delve into the MIDI world, let’s There are two common methods for recording explore the concept of absolute timing versus time code, described as follows: relative timing. SMPTE provides absolute tim- Longitudinal T ime Code — LTC can be ing , based on actual hours, minutes, seconds, used on either audio or video tape.

  • Page 206: Appendix D : Apogee Uv22

    “dither.” The word literally means to in Apogee’s converters and now, for the first tremble or quiver—a reference presumably to the time, in your Mackie Digital 8•Bus console. least significant bits turning on and off at random. UV22 does not constitute a “new flavor” of The disadvantage of this process: you dither noise.
  • Page 207 Apogee UV22...

  • Page 208: The Interface

    Appendix E The Interface IVL Vocal Studio About the IVL Vocal Studio The IVL Vocal Studio is a truly unique tool that offers natural sounding harmonies, wild vo- cal effects, and vocal utilities. You will hear that Vocal Studio can help you to quickly create killer vocal tracks.

  • Page 209: Control Mode

    a second aux send, is used for reverb. The Edit–Harmony Ensemble input to the reverb effects block comes from a mix of its assigned aux send and the output of the harmony effects block. Each effects block then returns its processed signal to an individual stereo return.
  • Page 210 Pitch Correct Mode Interval Using the interval sliders, you can adjust the interval of each of the four harmony voices. Pitch Bender: Use the bender to manually Basically, “Interval” controls the voicing of the raise or lower the pitch of the shifted voices. harmonies relative to your lead note.
  • Page 211 Gender 1. Harmonies: Detuning each harmony voice can create natural-sounding harmonies. In real life nobody sings perfectly in tune, so why should the IVL Vocal Studio have to? 2. Doubling: Detuning unison harmony voices can create the fattest of phat vocal sounds without singing a vocal line four times.
  • Page 212 Styles Vibrato adds another level of human quality to the harmony voices. The majority of singers use some amount of vibrato. Basically, Vibrato is like the modulation wheel on a keyboard, which modulates a harmony voice’s pitch by a small amount. The Vibrato presets are based on the amount of modulation, the rate of the modulation, and when the modulation starts.
  • Page 213 2. Intelligent Harmonies: IVL Vocal triggered through MIDI. Adjusting the release Studio uses intelligence to help create natural time will vary the slope on the trailing edge of harmonies. the graph. A shallow slope will fade the har- mony notes out after the MIDI trigger is Smart Smart Pitch released.
  • Page 214 Reverb When any of the harmony modes are being used, you can also add a reverb harmony effect. However, to engage the reverb harmony effect you must be in Stereo Output mode. This sends your harmonies to one set of stereo returns on your D8B, and your reverb to another set of stereo returns.
  • Page 215 Slope controls the switching rate between the pitch corrected sound and the original sound when using the Vocal Studio’s keyboard Pitch Bend Range sets a maximum amount control graphic. Use the red circle in the Slope the pitch can be corrected using the Pitch window to adjust the slope.
  • Page 216 Appendix F Installation and Connection of Optional I/O Cards Connections for ADAT There are several optional cards available for the Digital 8•Bus which you can install into The connection for ADAT is made with a the card cage in the rear panel of the console. fiber optic cable, sometimes referred to as a These cards provide additional inputs and “lightpipe.”...

  • Page 217: Appendix F : Optional I/O Cards

    Signal Description Signal Description This card provides Pin 1 Ch 7&8 Out (+) Pin 14 Ch 7&8 Out (–) two additional DSP Pin 2 Ch 7&8 Out (Gnd) Pin 15 Ch 5&6 Out (+) engines for running internal effects. The Pin 3 Ch 5&6 Out (–) Pin 16...
  • Page 218 Installation Instructions for I/O Cards IMPORTANT: Shut off power to the Digital 8•Bus’s remote CPU before installing or removing cards. Also, install your I/O cards in order. That is, put your first I/O card in the slot marked “Tape 1-8,” your second card in the slot marked “Tape 9-16,”...
  • Page 219 Optional I/O Cards...
  • Page 220 Appendix G Technical Info Digital 8•Bus Gain Structure Diagram Technical Info...
  • Page 221 Digital 8•Bus Block Diagram MIC/LINE 1 (through 12) INS/RET TRIM PHASE HI PASS COMP GATE MIC/LINE TRIM MIC IN METER A to D LINE IN LINE 13 (through 24) TRIM PHASE HI PASS COMP GATE TRIM LINE IN A to D DIRECT ASSIGN FROM TAPE 25 (through 32) TRIM...
  • Page 222 D8B OUTPUT SECTION S/PDIF DIGITAL OUT LEFT X2 LEFT AND (RIGHT) SOLO TO AES / EBU MAINS MASTER DIGITAL OUT LEFT FADER SOLO/PFL MAIN OUT LEFT D / A MAIN OUT LEFT SOLO LEVEL D / A AUX SOLO 9 (10) AUX 9/10 MASTER D / A AUX 9/10...
  • Page 223 Specifications Analog Input/Output Section Outputs Inputs Maximum Output Levels Frequency Response (0 dBu = 0.775v rms) 20Hz-20kHz 0.5 dB Left and Right Outputs: +22dBu balanced 1/4" TRS Crosstalk +28dBu balanced XLR (0 dBu @ 1kHz) Bus (Tape) out: +22dBu balanced 1/4" TRS Adjacent channels –90 dBu Aux send:...
  • Page 224 Japan 100VAC, 50/60Hz Korea 240VAC, 60Hz Mackie Designs is always striving to improve it’s products by incorporating new and improved materials, components, and manufacturing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time without notice.
  • Page 225 Digital 8•Bus and Remote CPU Dimensions 37.6" (955mm) CONSOLE SHIPPING WEIGHT 73 lbs. (33.1 kg) 17.25" (43.8cm) D8B CPU SHIPPING WEIGHT 50 lbs. (22.7 kg) 19.00" (48.3cm) Technical Info...

  • Page 226: Appendix H : Upgrading

    Upgrading Your Mackie Digital 8•Bus console came with a package containing, among other things, a floppy disk with the current Mackie OS at the time of manufacture. From time to time, the operating software for the Digital 8•Bus may be revised to improve its performance and add more features.
  • Page 227 Upgrading...
  • Page 228 Appendix I Shortcuts Feature Surface Keyboard Mouse (click or pull down) New Session [New] Ctrl-N File > New session Open Session [Load] Ctrl-O File > File Manager Save Session [Save Session] Ctrl-S File > Save session Save Session As [Save Session As] File >...

  • Page 229: Appendix I : Shortcuts

    FUNCTIONS on SELECT(ed) Channel Example: Select channels 1–5 and type the letter [M] and these channels will mute. To unmute these same selected channels, type either a comma [ , ] or hold down the shift key and type the letter [M]. Feature Surface Keyboard...

  • Page 230: Appendix J: Screen Shots

    Appendix J Screen Shots Here are some of the panels and dialog boxes you will be using on-screen: Startup Screen EQ Control Panel Gate Control Panel Compressor Control Panel Screen Shots...
  • Page 231 General Setup Aux/Surround Setup Digital Setup MIDI Setup Plug-Ins Setup Mix Editor Locator Window Snapshot Window Screen Shots...
  • Page 232 Surround Sound Matrix Mackie FX Control Panel IVL Vocal Studio Control Panel Screen Shots...
  • Page 233 Disk Manager File Menu Channel Menu Edit Menu Automation Menu Windows Menu Screen Shots...

  • Page 234: Appendix K: Recommended Books

    • The Art of Digital Audio , by John Watkinson • The Audio Dictionary , by Glenn White • Handbook for Sound Engineers , by GlenBallou • Mackie Mixer Book , by Rudy Trubitt • Modern Recor ding Techniques , by Huber & Runstein •...

  • Page 236: Colophon

    No animals were harmed during the Naked Mole Rats; (adult super)vision provided production of this manual. by Greg Mackie, Bob Tudor, and Peter Watts. ADAT is a trademark of Alesis Corporation. TASCAM is a registered trademark of TEAC Corporation. Apogee and UV22 Super CD Encoding are trademarks of Apogee Electronics.
  • Page 238 Session: Date: TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB 20dB +40dB TRIM TRIM TRIM TRIM TRIM...
  • Page 240 Index Binary Number System ............ B-1 Bit ................... A-1 ADAT Connection ............F-1 Blank Time, Inserting ........... 7-18 ADAT Optical ..............B-4 Block Diagrams ............G-2, G-3 Advanced Techniques ............8-1 Books, Recommended ........Appendix K AES/EBU ..............B-4, F-1 Bouncing Down Tracks ..........
  • Page 241 Creating Locate Points ......... 5-13 Edit Menu ............. 7-14 Creating a New Folder ..........5-2 Mackie Real Time OS Automation Event Insight . 7-14 Creating a Session ..........5-5 To enter time values in the From/To boxes: ..7-14 Creating Snapshots ..........5-11 To select multiple events in the Event List: ..
  • Page 242 Floppy Disk IVL, Vocal Studio ..........Appendix E Copying Files to Floppy Disk ........5-4 Editing ..............E-3 Floppy Drive, Internal ..........1-3 Harmony Control Mode ........... E-5 Saving Sessions to a Floppy Disk ......5-9 Interface ..............E-1 Frame ................C-1 Pitch Corrector Mode ..........
  • Page 243 Mix Effects, Adding to Main Outputs ......6-64 Operating System, Determining the Version ....3-10 Mixing, Live ..............6-64 Mackie Real Time OS Automation ....7-14, 7-17 Mixer Channels, Routing to Tape Outputs and Buses ..6-8 Upgrading the Operating System ....Appendix H Mix Editor ..............
  • Page 244 Power Failure, Rebooting After ........3-2 Fat Channel Section ..........2-5 Power Up, Initial ............. 3-1 Master Fader/Bank Select Section ......2-3 Preparing for a Session ........... 5-1 Master Input/Output Section ........ 2-13 Master L-R Section ..........2-8 PREVIOUS and NEXT Arrow Buttons ......2-5 Processing, External .............
  • Page 245 Talkback ............... 2-14, 6-19 Warranty/Registration Card ..........1-4 TALKBACK LEVEL Button ........2-7 Warranty Service ............. 9-1 Talkback Mic ............2-4 Wet .................. A-6 Talkback System ............ A-5 Write ............. see Recording TALKBACK TO STUDIO Button ......2-7 WRITE Button ..........2-1, 2-8, 7-4 Tape Write Fader Moves ............
  • Page 246 Addendum The following notes may prove helpful: Powering Up- see Chapter 3 If you are using Digital I/O cards, you should power-up the console first, then turn on your Tape machines, or whatever is connected to the cards. The console is the synch master and so must be on before the slaves are powered up.
  • Page 247 ™ Mackie Designs Inc. 16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA 800/898-3211 • Outside the US: 425/487-4333 Fax: 425/487-4337 • www.mackie.com email: sales@mackie.com ©1998 Mackie Designs Inc. All rights reserved. #820-076-00...

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