Applications
Chapter 4
D8B Manual • Chapter 4 • page 87
Setting Up for a Session
This section of the Digital 8•Bus Owner’s Manual provides very application-specific descriptions of some common usages. Follow the checklist format to help ensure everything is set just right for your configuration.
As your skills and knowledge increase, try new techniques. Build a system that’s optimized for your specific application.
Listening Environment
In any serious recording or live audio situation, the listening environment is one of the most important considerations. In a recording application, be sure the Digital 8•Bus is connected to excellent reference monitors, like the Mackie HR824’s. In addition, set up the system in an acoustically controlled and balanced environment. Avoid a control room with identical dimensions in any direction and set it up with a good mixture of absorption and reflection.
In a live-sound setting, place the console out in the house at a good visual and auditory vantage point. If you’re mixing in mono, it’s okay to sit in line with one of the speaker clusters. When mixing in stereo or surround, select the best location—typically called the “sweet spot”—to critically assess the entire mix. Eliminate guess work. Maximize efficiency.
Channel Configuration/Planning
This actually has a lot to do with how well any audio experience unfolds. If you know where you’re headed with track expectations and instrumentation, you’ll be able to make better choices along the way. Plan; plan again; think about it; then, plan some more.
Devise a mock up of the final track sheet before you begin recording. You’ll know more about how to get where you want to be.
Power-up Procedure
A well-thought-out power-up procedure saves wear and tear on all your gear. This procedure helps minimize the opportunity for equipment damage while maximizing the chance of success. Refer to Figure 4-1 for a Fast Track Graphic representation of this procedure.
Amplification system off: power amps or powered monitors
Master Fader down
Switch Console Power on
•The D8B will create a Startup file with default settings if the User-Set Template has not yet been specified.
Open and load a snapshot or a session (optional)
Figure 4-1 Power-up Procedure
Follow this procedure for a safe and sure startup routine. Deliberate, well-thought-out procedures help eliminate uncomfortable pauses in a session. They make recording a more enjoyable experience.
Amp or Powered Monitors Off
OR |
Master L/R |
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Fader Down |
Console |
Select A starting Snapshot or |
MASTER |
Open Your Master Template |
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L/R |
Power On |
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dB |
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10 |
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5 |
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U
5
10
20
30
40
50
60
Amp or Powered
Monitors On
Connect Instruments |
Set Sample |
Clock |
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and Microphones |
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Synth |
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OR |
D8B Manual • Chapter 4 • page 88
•It’s a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc.
Connect all mics and instruments
•Be sure all channel faders are down.
•Turn Master Fader down.
•Turn Speaker level down.
Set up sample clock
•Verify consistent sample rate settings throughout all digital multitrack recording devices.
•Word clock and digital data transfer connections are very important to the efficiency and functionality of any digital system. Verify them.
•Most systems work best when the D8B is the Master word clock source. Use the Apogee Clock I/O card to send word clock to slave devices.
Turn amplification system on
•Wait until all other gear is powered up before turning on the monitor system.
Enjoy the creative process
Setup Window
The Setup Window is very important to the functionality of the Digital 8•Bus. Its settings determine how the console functions within its own architecture as well as how it interfaces with other digital equipment.
Follow the checklist on the next page to verify that each Setup Window parameter is intentionally set. For specific recommendations for various parameter settings, refer to “The Setup Window” on page 64.
Figure 4-2 Basic Connection for Multitrack Recording
This diagram represents the fundamental connections in a D8B-based multitrack system. Sound sources feed Fader Bank 1 (MIC/LINE); Fader Bank 1 feeds the multitrack inputs via the AIO•8, DIO•8, or ADAT card outputs; the multitrack outputs feed Fader Bank 2 (TAPE) via the AIO•8, DIO•8, or ADAT card inputs; the mix output feeds the control room monitor system, master 2-track recorder, headphones, etc.
Multitracks
Audio Source |
To Monitors |
Fader Bank 1 |
Fader Bank 2 |
D8B Manual • Chapter 4 • page 89
Setup Window settings are automatically stored and are recalled in subsequent boot ups.
General
•Mouse Speed
•Display Intensity
•Date and Time
•Smart Save selection
•Appearance style
Mackie Digital Systems (MDS) Network
•Network Channel
•Mixer Name
•Alt I/O 1–8 assignments
•Link Options across the digital network (connected Digital 8•Bus consoles)
Digital I/O (Tape 1–24)
•Sample rate
•Apogee Clock status: Internal/Word Clock
•Alt 1–8 Type, Inputs, and Outputs
•Stereo I/O settings
Licensing
•Displays authorization status (locked or unlocked) of D8B plug-ins
•Enables installation and authorization of plug-ins
•Displays mixer serial number
Mix Options
•Surround Mode selection and Bus arming
•Aux 1–8 global Pre/Post selection
•Selection of One Button Punch, Record Safe, Use PreRoll, Use Write Ready, Write Flyback, MIDI Snapshots, Solo Latch, Link Speakers, and Faders to Tape
•Fader Calibration
Locator-MMC
•MIDI File Tempo Map loading and resetting
•Default Tempo setting
•Device ID selection
•Song Offset
•Pre-Roll time
FTP Server
•Choose to allow FTP client
•Set IP Address, Subnet, and Gateway
D8B Manual • Chapter 4 • page 90
Installation and Connection of
Optional I/O and Effects Cards
The Input/Output cards are an essential part of the D8B multitrack system. These cards provided up to 24 tape outputs and inputs for use with any common analog and digital formats.
Since the I/O cards are optional and interchangeable, you probably need to install them before you begin creating hit recordings. If you install multiple types of I/O cards, note which slots they’re installed in. Making a note of each I/O card type and its exact slot will help avoid subsequent problems.
There are several optional cards available for the Digital 8•Bus which you can install into the card cage in the rear panel of the console. These cards provide additional inputs and outputs for specific applications, or additional digital signal processing power for effects.
AIO•8 (Analog Hookup)
This card provides 8 analog line-level inputs and outputs. Connections are made through two 25-pin D-Sub connectors. You can install this card in any of the Tape In/Out slots, or in the ALT I/O slot.
DIO•8 (Digital Hookup)
This card provides 8 digital inputs and 8 digital outputs. Connections are provided in both ADAT Multichannel Optical Interface and Tascam T/DIF-1 formats. You can install this card in any of the Tape In/Out slots, or in the ALT I/O slot. You can mix any combination of the AIO•8 and DIO•8 cards in the Tape I/O slots to suit your particular application. You can configure the card in the GUI (Setup>Digital I/O) and select the I/O connector you wish to use.
Connections for ADAT
The connection for ADAT is made with a fiber optic cable, sometimes referred to as “lightpipe.” This connection provides 8 channels of digital audio. You can purchase this cable from your Alesis dealer, Monster Cable, Hosa, or other cable manufacturer.
Connections for DA-88
The connection for T/DIF-1 is made with a 25-pin D-Sub connector. This connection provides 8 channels of bidirectional digital audio. This connection requires a 25-pin D-sub cable (Tascam Part Number PW-88D).
OPT•8 Card (ADAT Optical)
The inexpensive ADAT optical card functions with any device incorporating the ADAT format digital optical lightpipe. The OPT•8 card configures itself automatically; it doesn’t need to be adjusted in the Setup>Digital I/O window. Lightpipe connections between the D8B and the connected record/ playback device are clean and efficient.
PDI•8 Card (AES/EBU)
This card provides 8 digital inputs and 8 digital outputs in the AES/EBU standard format. Connection is made through a 25-pin D-Sub connector. You can install this card in any of the Tape In/Out slots, or in the ALT I/O slot.
AES/EBU is a standard two-channel digital protocol used for long balanced cable applications. Thus, each conductor actually transmits two channels of digital audio data.
MFX Effects Card
This card provides two additional DSP engines for running internal effects. The Digital 8•Bus is shipped with one MFX card installed in Slot A. You can install up to three more MFX cards in Slots B, C, and D.
UFX Effects Card
This card provides up to four additional DSP engines for running internal effects. The UFX architecture provides access to the newest and coolest third-party plug-ins, as well as an array of groovy new Mackie plug-ins. The D8B effects card slots accommodate any combination of UFX and MFX cards.
D8B Manual • Chapter 4 • page 91
Installation of FX Cards
IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. Also, install your FX cards in order. For example, put your first FX card in the slot marked “A,” your second FX card in slot “B,” etc.
1. Loosen the four spring-loaded screws on the blank cover plate to the FX card slot you want to fill.
FX Card Cover Plate Removal
2. With your finger in the hole on the FX card (and the components on the circuit board facing to the left), push the card firmly into the white connector slots so it fits snugly. Do not touch any of the circuit board components or solder joints.
3. Replace the cover plate and tighten the screws securely using a slotted screwdriver. DO NOT
OVERTIGHTEN THE SCREWS, or you run the risk of stripping the threads in the D8B.
FX Card Installation
D8B Manual • Chapter 4 • page 92
Installation of I/O Cards
IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards.
1. Using a #2 Philips screwdriver, unscrew the blank cover plate corresponding to the I/O card slot you want to fill.
Remove Cover Plate for Tape I/O Card
2.Holding the I/O card so that the components on the green circuit board face to the left (see diagram), line up the card so the top and bottom edges fit into the white guide slots. Do not touch any of the circuit board components or solder joints.
3.Be sure to push the card in all the way—until the front of the I/O card is flush with the back panel of the D8B. This may require a good, solid push, so don’t be shy.
4.Tighten the spring-loaded screws on the
I/O card securely using a slotted screwdriver. DO NOT OVERTIGHTEN THE SCREWS, or you run the risk of stripping the threads in the D8B.
Installing a Tape I/O Card
Tighten Screws on Tape I/O Card
D8B Manual • Chapter 4 • page 93
Checklist for Basic
Operational Functionality
Basic system functionality depends greatly on the accurate selection of a few key items. Work through this checklist to verify console settings. The previous chapters provide an explanation of each item. This checklist simply provides a mental road map to verify proper functionality.
Control Room selection correct
Monitor Speaker selection correct
Input source
Mic/DI
Line/Instrument
The Fat Channel
EQ
Compression
Gate
Busing/Routing
Signal Routing
To L/R
To Tape
To Bus
Connecting Analog Multitrack(s)
Install AIO•8 card(s) into one or more of the D8B TAPE CARD slots. This provides up to 32 tracks of I/O (including the ALT I/O card).
Using the appropriate cable, connect 25-pin D-sub TAPE OUT connector to the multitrack inputs.
Using the appropriate cable, connect the multitrack outputs to the 25-pin D-sub TAPE INPUT connector.
Make sure all connections are tightly secured.
Connecting ADAT (Lightpipe)
Multitrack(s)
Install DIO•8 or OPT•8 card into one or more of the D8B TAPE CARD slots.
Using a fiber-optic lightpipe cable, connect the D8B Optical output to the ADAT Digital input connector.
Using a fiber-optic lightpipe cable, connect the ADAT Digital output connector to the D8B optical input.
If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input.
Connecting the
Analog Multitrack
Simply connect the AIO•8 outputs to an analog console’s inputs for up to 32 channels (8 channels per card) of flexible and assignable audio routing, (including the ALT I/O).
AIO•8 Card
ANALOG I/O
OUTPUT INPUTS
INPUT |
OUTPUTS Analog |
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Multitrack |
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Connecting ADAT Lightpipe
Using two fiber-optic lightpipe cables, simply connect the DIO•8 digital outputs the ADAT lightpipe inputs, and the ADAT outputs to the DIO•8 inputs, for up to 32 tracks (8 channels per card) of flexible and assignable digital audio (including the ALT I/O).
APOGEE
DIGITAL I/O
DIO•8 Card
8-track ADAT
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TDIF |
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rear panel |
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OPTICAL |
OUT |
ADAT OPTICAL |
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ADAT |
IN |
IN |
OUT |
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SYNC |
Fiber-optic |
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Lightpipe
D8B Manual • Chapter 4 • page 94
Connecting TASCAM (TDIF)
Multitrack(s)
Install DIO•8 card into one or more of the D8B TAPE card slots.
Using a 25-pin D-sub digital cable (TDIF), connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector.
Install BNC clock cable and make sure all connections are tightly secured.
If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input and the D8B Apogee Clock should be set to External in the Setup>Digital I/O window.
Connecting TDIF Digital
Use a 25-pin D-sub digital cable (TDIF) to connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector, for up to 32 tracks (8 channels per card) of flexible and assignable digital audio, including the ALT I/O.
In addition, connect the Sync output from the DIO•8 card to the Word Sync input of the DA-88. This connection indicates use of a DIO•8 Card with firmware version 127v2.
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DIO•8 Card |
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Sync Cable |
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APOGEE |
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DIGITAL I/O |
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Tascam |
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TDIF |
DA-98 |
rear panel |
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REMOTE INSYNC IN |
SYNC OUT |
WORD SYNC |
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(FROM RC848/DA-88) |
(TO DA-88) |
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OPTICAL |
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IN |
OUT |
OUT |
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METER UNIT |
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DIGITAL I/O |
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ADAT |
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TDIF - 1 |
IN |
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SYNC |
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TDIF Interconnect Cable
D8B Manual • Chapter 4 • page 95
Multitrack Recording
Multitrack recording involves a continuous assessment of signal flow. If you follow a wellplanned thought process from the beginning of the signal path to the end, you’ll succeed in each audio task.
When multitrack recording using the D8B, it’s helpful to visualize the basic signal flow between fader banks. For any multitrack setup, it’s important to keep track of the signal path from the console to the multitrack, then from the multitrack back into the console. The illustration below is a review demonstrating an important signal flow concept.
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MIC/LINE Bank |
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TAPE IN Bank |
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Work your way though this checklist for multitrack recording.
Connect multitrack ins and outs to D8B.
Follow basic power-up procedure.
Select Mic/Line fader bank.
MASTERS |
SHIFT |
1-24 |
25-48 |
MIC/LINE |
TAPE IN |
(TRACK) |
(MONITOR) |
49-72
EFFECTS
BANK SELECT
Press phantom power button on the rear of the console for necessary mic inputs. .
12 |
11 |
+48V |
+48V |
PH |
PH |
MIC |
MIC |
LINE IN |
LINE IN |
INSERT |
INSERT |
Press Mic button on channels using microphone inputs.
MIC
Configure Auxes for desired Pre/Post status, select Surround Mode, set Mix Options.
Test each instrument and mic to verify sufficient level at console input meter.
1
OL
2
4
7
10
15
20
25
30
40
50 60
25
Adjust input trim for a reading around –15 on the meter.
TRIM
LI NE |
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MIC |
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0 |
60 |
-20dB |
+40dB |
1
Select L/R in the ASSIGNMENT section to confirm Assign lights on for all desired channels, or look on-screen to verify that all necessary channels have L/R button highlighted in Bus Assign section.
ASSIGNMENT |
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REC/RDY |
REC/RDY |
ASSIGN |
ASSIGN |
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BUS 2 |
ASSIGN |
ASSIGN |
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ASSIGN |
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WRITE |
WRITE |
BUS 7 |
BUS 8 |
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ASSIGN |
ASSIGN |
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L-R |
ROUTE TO |
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TAPE |
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Note: Condenser mics and active DIs use phantom power. Moving coil mics, ribbon mics, and most electronic instruments don’t need phantom power.
D8B Manual • Chapter 4 • page 96
Multitrack Tracking Checklist
Connect multitrack ins and outs to D8B.
Follow basic power-up procedure.
Select Mic/Line fader bank.
Press phantom power button on the rear of the console for necessary mic inputs.
Press Mic button on channels using microphone inputs.
Set pre-fader auxes in Setup Window for monitor use.
Test each instrument and mic to verify sufficient level at console input meter.
Adjust input trim for a reading around –15 on the meter.
Press L/R in the ASSIGNMENT section to confirm Assign lights on for all desired channels. Or, look onscreen to verify all necessary channels have L/R button highlighted in Bus Assign section.
Set Master Fader to Unity position.
Turn channel faders up to hear instrument or mic.
As each channel is verified and audible, press channel mute.
Assign Fader Bank 1 channels to desired tape track inputs.
Place tape inputs in record/ready to verify
signal at machine. It’s typically best to monitor
signal from the multitrack rather than from the channel input.
If levels on the multitrack appear too hot or cold, adjust level with the LEVEL TO TAPE control. Select TRACKING LEVEL. This sets the channel V-Pots to adjust the D8B output level to tape.
Remove Fader Bank 1 from the L/R mix.
Adjust control room monitor mix from Tape return in Fader Bank 2.
Set levels in headphone system for musicians.
Adjust headphone monitor volume in the PHONES/CUE MIX section.
Adjust channel aux levels to onboard or outboard effects from Fader Bank 2.
Verify that Master Output is connected to the mixdown machine.
Record a pass on the multitrack.
Play multitrack back.
Set Master Fader to Unity position.
MASTER
L/R
dB
10
5 |
U |
5 |
10
20
30
40
50
60
Turn channel faders up to hear instrument or mic.
GROUP 1
FX 1
1
25
dB
10
5
U
5
10
20
30
40
50
60
Once each channel is verified and audible, press channel mute.
SELECT |
SELECT |
SELECT |
SOLO |
SOLO |
SOLO |
MUTE |
MUTE |
MUTE |
BUS 5 |
BUS 6 |
BUS 7 |
RET 5 |
RET 6 |
RET 7 |
21 |
22 |
23 |
45 |
46 |
47 |
dB |
dB |
dB |
10 |
10 |
10 |
5 |
5 |
5 |
U |
U |
U |
5 |
5 |
5 |
10 |
10 |
10 |
20 |
20 |
20 |
30 |
30 |
30 |
40 |
40 |
40 |
50 |
50 |
50 |
60 |
60 |
60 |
D8B Manual • Chapter 4 • page 97
Assign MIC/LINE bank channels to desired tape tracks.
Place tape inputs in record/ready to verify signal at machine.
It’s typically best to monitor signal from the multitrack rather than from the channel input.
Modular Digital Multitrack |
Record Ready Buttons |
TAPE IN Bank |
If levels on the multitrack appear too hot or cold, adjust level with the LEVEL TO TAPE control.
Select TRACKING LEVEL. This sets the channel V-Pots to adjust the D8B output level to tape.
If you want to monitor from the multitrack, remove the MIC/LINE Bank from the L/R mix. This has no effect on the output to tape.
Adjust control room monitor mix from TAPE IN Bank. Verify channel assignment to the L/R bus.
Set levels in headphone system for musicians.
Aux 9/10 and 11/12 are perfect for stereo headphone sends. It’s often convenient for the musicians to, at first, monitor the L/R mix in the cue section (PHONES/CUE MIX 1 and 2). Once the initial L/R mix is established, copy it to the appropriate cue, then customize for individual monitoring needs.
D8B Manual • Chapter 4 • page 98
Adjust headphone monitor volume in the PHONES/CUE MIX section.
PHONES/CUE MIX 1 |
PHONES/CUE MIX 2 |
||
AUX 9-10 |
COPY MIX TO CUE |
AUX 9-10 |
COPY MIX TO CUE |
AUX 11-12 |
CONTROL ROOM |
AUX 11-12 |
CONTROL ROOM |
LEVEL |
LEVEL |
Adjust channel aux levels to onboard or outboard effects from Fader Bank 2 (TAPE IN).
Verify that Master Output is connected to the mixdown machine.
The mix should be arriving at the mixdown recorder. It’s good to check this as part of your tracking process. At the conclusion of a session the artist will probably want to take a rough mix for evaluation—you’ll look better if it’s already set to go.
BUS OUT 1-8
&
SURROUND OUT
MASTER OUT
L R
CR
MAIN
L R
L
CR
NEAR FIELD
L R
R
MASTER OUT
Record a pass on the multitrack
Play multitrack back—playback should sound identical to tracking and you’re ready to print a rough mix.
D8B Manual • Chapter 4 • page 99
Sample Tracking Setup
This diagram shows a typical hookup for tracking. Four microphones are connected to channels 1–4 for vocals. Two of them are condenser mics, which require phantom power, so the +48V PH switch is pushed in on those channels. A vocal enhancer is connected to the channel 1 INSERT jack to add a special effect to the lead vocal.
Note: During tracking, dynamics control, like compression and limiting, are often included (insert or onboard) at the beginning of a signal path. Effects, like reverb, delay, and chorus are best left for adjustment during mixdown, or during tracking for monitor use only.
Various instruments are connected to the line inputs of channels 11–14, either directly from their line-level outputs or through effects boxes or direct boxes.
Each input from channels 1–24 is assigned to a tape output, which can be connected to an 8-, 16-, or 24-track recorder—simply use the appropriate I/O card for your setup. You can assign any input (1–48), any return (FX 1–16, RET 1–8), and Bus 1–8 to any unused tape out using the ROUTE TO TAPE button in the Bus Assignment Section (refer to Chapter 2 for review).
Monitoring
Connect the outputs from the recorders to the TAPE Inputs on the Digital 8•Bus. This allows you to monitor the signal as it’s being recorded (assuming your recorder has that capability).
To do this:
•Assign channels 25–48 (or whatever channels are being used for tape returns) to the L-R bus.
•In the Control Room Section, assign MASTER L-R as the Control Room Source.
The configuration shown has two external effects devices connected for monitoring. Aux 8 send goes to a digital reverb, which has stereo outputs that feed into the line inputs of channels 19 and 20. Aux 11–12 goes out to a multi-effects stereo processor, which then comes back to the Digital 8•Bus through the line inputs of channels 23 and 24.
In addition, Aux 1 and 2 are routed to the internal FX Card, which processes the signal with whatever plug-in has been downloaded to it. The processed signal is returned to the L-R bus via the FX 1–4 channel strips in Fader Bank 3.
The signal at the CR MAIN, CR NEAR FIELD, and the STUDIO OUT is determined by the Control Room Source selection in the Control Room Section.
You can connect a pair of headphones to the PHONES 1 or 2 jack and monitor the signal there as well. Select CONTROL ROOM as the source in the PHONES/CUE MIX 1 or 2 Section.
D8B Manual • Chapter 4 • page 100