Mackie 8-submaster mixer User Manual

8•BUS OWNER'S MANUAL

PHANTOM

POWER

CHANNEL

1

2

MIC/LINE

LINE

IN

BALUNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

CHANNEL

1

M

I

C

/

L

I

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

TRIM

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

1

2

PRE

CHANNEL

MIX-B

SOURCE

U

HI MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND

WIDTH

OCTAVES

1

3

12

U

LO MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

O

+15

HI/LO EQ

TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW

CHANNEL

SOURCE

OL

-20

LR

L

SOLO

PAN

MUTE

1

MUTE

dB

10

5

1-2

UUUU UUUU

3-4

5

5-6

10

7-8

20

30

30 L/R MIX

40

50

80

OO

CHANNEL

4

3

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT

RING = IN

CHANNEL2CHANNEL3CHANNEL4CHANNEL5CHANNEL6CHANNEL7CHANNEL

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

40

dB

MIC/LINE

U

dB

48

TAPE

TRIM

TRIM TRIM TRIM TRIM TRIM TRIM

GAIN

FLIP

FLIP FLIP

U

1

OO

+15

U

+15

U

+15

U

+15

MIX-B

U

3k

2

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 12

U

75 Hz

U

+15

R

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

3

4

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND

WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ

TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW

CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE3MUTE4MUTE5MUTE6MUTE7MUTE8MUTE9MUTE10MUTE11MUTE12MUTE13MUTE14MUTE15MUTE16MUTE

2

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30

L/R

MIX

40

50

80

OO

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

M

I

C

/

L

I

L

N

E

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

40

dB

MIC/LINE

dB

48

TAPE

U

+15

U

+15

PRE

U

5

+15

U

6

+15

SHIFT

PRE

MIX-B

SOURCE

U

HI

MID

3k

FREQ

NORMAL

2

BAND WIDTH

OCTAVESOCTAVES

12

U

LO

MID

FREQ

U

HI

12k

U

LO

80

EQ IN

75 Hz

LOW CUT

PAN

U

LEVEL

+15

SPLIT EQ

SOURCE

OL

-20

SOLO

1-2

3-4

5-6

7-8

L/R MIX

CHANNEL

5

6

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

56

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ

TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW

CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30

30 L/R MIX

40

50

80

OO

CHANNEL

7

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

M

I

C

/

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

GAIN

FLIP

1

OO

2

OO

AUX

PRE

3

5

OO

4

6

OO

AUX

SHIFT

7

PRE

CHANNEL

SOURCE

HI

MID

–15 +15

1k 5k

FREQ

500 18k

NORMAL

BAND WIDTH

OCTAVES

3

12

LO

MID

–15 +15

250

220

FREQ

45 3k

HI

12k

–15 +15

LO

80

–15 +15

EQ

EQ IN

18dB/oct

LOW CUT

PAN

LR

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

CHANNEL9CHANNEL

CHANNEL

8

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

8

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

350

FREQ

45 3k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

8

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

40

dB

MIC/LINE

U

dB

48

TAPE

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

9

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

10

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

CHANNEL

9

–10

G

A

I

N

+4

MIC/LINE

U

TAPE

TRIM

GAIN GAIN

FLIP

1

OO

2

OO

AUX

PRE

3

5

OO

4

6

OO

AUX

SHIFT

10

PRE

CHANNEL

SOURCE

HI

MID

–15 +15

1k 5k

FREQ

500 18k

NORMAL

BAND WIDTH

OCTAVES

3

LO

MID

–15 +15

250

220 350

FREQ

45 3k

HI

12k8012k8012k8012k

–15 +15

LO

–15 +15

EQ

EQ IN

18dB/oct

PAN

LR

LEVEL

OO

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

UU

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

CHANNEL

11

MIC/LINE MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

CHANNEL10CHANNEL11CHANNEL12CHANNEL13CHANNEL14CHANNEL15CHANNEL

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

TRIM

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

11

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45

U

HI

–15 +15

U

LO

–15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW FLIP SW CHANNEL CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

CHANNEL13CHANNEL

12

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT

RING = IN

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

40

dB

MIC/LINE

U

dB

48

TAPE

TRIM TRIM TRIM TRIM

GAIN

FLIP FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

13

12

PRE

CHANNEL

MIX-B

U

3k

2

U

+15

75 Hz

U

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND

WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

3k

45 3k

U

HI

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW FLIP SW CHANNEL CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30

L/R

MIX

40

50

80

OO

CHANNEL

14

15

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT

RING = IN

M

I

C

/

L

I

N

E

S

E

N

40

dB

48

GAIN

U

OO

+15

U

OO

+15

AUX

U

OO

+15

U

OO

+15

AUX

MIX-B

U

3k

2

3

12

U

250

U

EQ

75 Hz

18dB/oct

LR

U

OO

+15

HI/LO EQ TO MON

MONITOR

LR

PAN

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

TRIM

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

14

15

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND

WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

12k8012k8012k8012k

–15 +15

U

LO

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ

TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

UUUU

3-4

5

5-6

10

7-8

20

30

L/R

MIX

40

50

80

OO

PHANTOM

POWER

1

2

1

CHANNEL

16

MIC/LINE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

TIP = OUT RING = IN

M

I

C

/

L

I

L

N

E

–10

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

+4

40

dB

MIC/LINE

U

dB

48

TAPE

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

16

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15

3k

1k 5k

FREQ

500 18k

NORMAL

2

BAND WIDTH

OCTAVES

3

12

U

LO

MID

–15 +15

250

220 350

FREQ

45 3k

U

HI

–15 +15

U

LO

–15 +15

EQ

EQ IN

75 Hz

18dB/oct

LOW CUT

PAN

LR

U

LEVEL

OO

+15

HI/LO EQ TO MON

MIX-B

MONITOR

SPLIT EQ

FLIP SW CHANNEL

SOURCE

OL

-20

LR

SOLO

PAN

MUTE

dB

10

5

1-2

UU

3-4

5

5-6

10

7-8

20

30 L/R MIX

40

50

80

OO

2

MIC/LINE

MONO

L

LINE

IN

BAL-

UNBAL

12

R

DIRECT

OUT

MONO

INSERT

TIP = OUT RING = IN

L

2-TRACK

INPUT

16

M

I

C

/

L

N

E

I

N

S

E

N

G

S

A

I

T

I

N

I

V

I

T

Y

40

dB

MIC/LINE

dB

48

TAPE

POWER

FLIP

U

1

SOLO

OO

+15

U

2

SOLO

OO

+15

LEVEL

PRE

U

3

5

SOLO

OO

+15

U

4

6

SOLO

OO

+15

SHIFT

PRE

SOLO

AUX SENDS

SOURCE

HI

MID

OOUOOOO

+15

MIX-B

PHONES

LEVEL

FREQ

NORMAL

SOLO

MIX-B TO L/R MIX

BAND WIDTH

OCTAVES

ASSIGN

12

MIX B

PHONES 1

LO

MONITOR

MID

FREQ

+

10

HI

7

4

2

LO

0

80

2

10

EQ IN

7

10

LOW CUT

20

30

PAN

40

–

LRLRLRLR

LEVEL

2

1

+15

10

9

18

17

SPLIT EQ

SOURCE

OL

-20 SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

SOLO

MONO

L+R

MIX

RLRLRLR

L

1234

dB

10

5

1-2

3-4

5

5-6

10

7-8

20

30

30 L/R MIX

40

50

80

OO

TIP=OUT RING=IN

SUBMASTER INSERT

3

4

5

AUX SEND

3

4

5

MONO

L

3456

R

AUX RETURN

MONO

L

R

5

6

AUX SEND 3/4

AUX SEND 5/6

+

10

7

4

2

0

2

10

7

10

20

30

40

–

dB

10

5

10

20

30

40

50

80

L

EXTERNAL

INPUT

U

1

OO

+20

U

2

OO

+20

LEVEL BALANCE

U

3

SOLO

OO

+15

+20

U

4

SOLO

OO

+20

+15

LEVELLEVEL

LEVEL

SOLO

CNTRL RM

PHONES

LEVEL

MIX-B

AUX SEND 3/4

SOLO

AUX SEND 5/6

PHONES 2

EXTERNAL

SOURCE

+

10

7

4

2

0

2

10

7

10

20

30

40

–

4

5

3

12

13

11

20

21

19

ASSIGN

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MONO

L+R

MIX MIX MIX

5678

dB

10

5

UUUU

5

10

20

30

40

50

80

OO

CNTRL RM

+

10

7

4

2

0

2

10

7

10

20

30

40

–

6

MONOLMONO

R

STUDIO OUTPUT

PHONES

16x8x2 8-BUS MIXING CONSOLE

SOLO

LR

SOLO

LR

PHONES2L/R MIX

PHONES

SOLO

1

ASSIGN

PHONES1PHONES2L/R MIX

SOLO

ASSIGN

STEREO AUX RETURNS

U

L/R MIX

OO

+15

STUDIO

U

MIX-B

OO

+15

2-TK

EXTERNAL

MONITOR

MONO

SOURCE

+

10

7

4

2

0

2

10

7

10

20

30

40

–

6

7

14

15

22

23

MONO

L+R

dB

10

5

10

20

30

40

50

80

OO

8

7

L

R

MAIN

INSERTS

R

L

CNTRL

RM OUTPUT

R

L

MAIN MIX

R

L

MIX-B

OUTPUT

12

1-2

L/R MIX

3-4 5-6 7-8

ASSIGN

5-6

3-4

7-8

1-2

L/R MIX

ASSIGN

U

5

SOLO

OO

+20

U

6

SOLO

OO

+20

LEVEL

U

AUX SEND 1

OO

+15

LEVEL LEVEL

AUX SEND 2

RUDE

SOLO LITE

TAPE SUB MASTERS

PHONES

&

STUDIO

SOLO TALKBACK

+

22

+

10

7

4

2

0

2

10

7

10

20

30

40

–

MAIN

OR SOLO LEVEL

8

16

24

TALKBACK

MIC

MONO

L+R

LEFT/RIGHT

MIX

dB

10

5

UUUU

U

5

10

20

30

40

50

80

OO

1

CAUTION AVIS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

SAFETY INSTRUCTIONS

1. Read Instructions — Read all the safety and operation instructions before operating the 8•Bus Console and External Power Supply.

2. Retain Instructions — Keep the safety and operating instructions for future reference.

3. Heed Warnings — Follow all warnings on the 8•Bus Console and External Power Supply and in these operating instructions.

4. Follow Instructions — Follow all operating and other instructions.

5. Water and Moisture — Do not use the 8•Bus Console and

External Power Supply near water - for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.

6. Heat — Locate the 8•Bus Console and External Power Supply away from heat sources such as radiators, or other devices that produce heat.

7. Power Sources — Connect the 8•Bus Console and External Power Supply only to a power supply of the type described in these operation instructions or as marked on the 8•Bus Console and External Power Supply.

8. Power Cord Protection — Route power supply cords so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit the 8•Bus Console and External Power Supply.

9. Object and Liquid Entry — Do not drop objects or spill liquids into the inside of the 8•Bus Console and External Power Supply.

10. Damage Requiring Service — The 8•Bus Console and External Power Supply should be serviced only by qualified service personnel when:

A. 8•Bus Console and External Power Supply power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into the 8•Bus Console and External Power Supply; or

C. The 8•Bus Console and External Power Supply have been exposed to rain; or

D. The 8•Bus Console and External Power Supply does not appear to operate or exhibits a marked change in performance; or

E. The 8•Bus Console and External Power Supply has been dropped, or its chassis damaged.

11. Servicing — Do not attempt to service the 8•Bus Console and External Power Supply beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department.

12. To prevent electric shock, do not use the 8•Bus Console and External Power Supply polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

13 . Grounding or Polarization — Do not defeat the grounding or polarization of the 8•Bus Console and External Power Supply.

This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

14 . Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent a permanent hearing loss if exposure is in excess of the limits set forth here.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Patrice screaming at Ron about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

Part No. 820-007-00 V2.3 8/99

IMPORTANT SENSITIVITY

ADJUSTMENT PROCEDURE!

To fully achieve the Mackie 8•Bus console’s impressive headroom and specs, you should “tune” channel sensitivity for each channel.

FOLLOW THIS PROCEDURE FOR EACH CHANNEL IN USE:

1. Assign signal to channel fader:

■■ If channel will be used with a micro–

phone, MIC/LINE switch should be up & FLIP switch should be up.

■■ If channel will be used with line input,

MIC/LINE switch should be down & FLIP switch should be up.

■■ If channel will be used with a tape

input keep the FLIP switch down.

2. Set channel strip controls as follows:

■■ TRIM pot all the way counterclockwise

(+4dB)

■■ AUX SEND controls all the way counter-

clockwise (off)

■■ EQ switch up

■■ LOW-CUT switch either on or off

(on recommended for mic inputs)

■■ Pan hard left or right

■■ Channel fader at UNITY

■■ SOLO switch down

3. ■■ Make appropriate “noise” into the channel

input. For example, have a performer play/ sing/strike something or someone, etc., at the level at which they’re going to record or perform. Don’t just play a single sustained note, but rather, jam away as you would be during recording or performance. If the channel is being used for a tape input

during mixdown, roll an already-recorded track from your recorder.

4. The channel’s –20dB LED may light. The L/R main meters will show the actual internal operating level of soloed signals. Now you will optimize levels.

5. ■■ For mic or line inputs, adjust the TRIM

control clockwise to get peaks that regularly hit 0dB on the L/R meters. For mic inputs this may require full CCW rotation depending on the sensitivity of the mic.

6. If desired (optional):

■■ Press the EQ switch in.

■■ Adjust the channel strip’s EQ to about

what you will be using during the session.

■■ Re-perform Step 5.

7. ■■ Return the channel strip’s SOLO button to

its up position.

8. ■■ Repeat Steps 1-7 on the next channel that

is being used.

Please put your serial number here for future reference (i.e. insurance claims, tech support, return authorization, gloating privileges etc.):

Serial #

16•8 24•8 32•8

Owner’s

Manual Version

2.3

8/99

PLEASE! SAVE THE

SHIPPING BOX!

Yes, we know it’s only slightly smaller than a doublewide mobile home, but you will need the entire carton and internal foam if your console ever needs service at some time in the future.

If your kids make the box into a fort and cut holes in it — or if you stuff it in the dumpster of the fast-food place next door to your studio, we may have to sell and ship you another packing box later on. Don’t end up buying an empty box!

1

TABLE OF CONTENTS

SECTION 2* —

Panel Layout and Function .... 4

INPUT CHANNELS ................4

Fader .............................. 4

Mute .............................. 4

Pan & Assignment switches 4

–20 & OL LEDs ................. 5

Channel Solo .................... 5

Phantom power ................5

Trim .............................. 5

Mic/Line switch ................5

The Flip Switch:

Mic/Line or Tape? ............ 6

MIX-B / Monitor ............... 6

MIX-B Pan ........................ 6

MIX-B Level ...................... 6

MIX-B Split ....................... 7

EQ Section ........................ 7

HI Mid EQ.................... 7

LO Mid EQ ................... 8

HI EQ ...........................8

LO EQ .......................... 8

EQ In/Out .................... 8

LO cut .......................... 8

AUX Sends ........................ 8

AUX 1 & 2 .................... 9

Pre (1&2) .................... 9

AUX 3, 4, 5, 6 ............... 9

Shift ............................. 9

Source .........................9

Pre (3-6) ...................... 9

OUTPUT SECTION .............. 10

8•Bus Faders ................. 10

L Mix and R Mix ............ 10

Mono L & R ..................... 10

Solo ............................ 10

L/R Mix Fader ................ 10

Metering Bus

Meters 1-8 ................ 11

Main/Solo Meters ........... 11

AUX Sends ...................... 11

AUX Solo ......................... 12

Stereo AUX Returns ....... 12

Returns 1 & 2 ............. 12

Assign (1&2) .............. 12

Returns 3 & 4 ............. 12

Assign (3&4) .............. 12

Returns 5 & 6 ............. 12

MIX-B/Monitor ........... 12

Phones ....................... 13

Monitor ...................... 13

Solo............................ 13

Talkback .................... 13

Jack panels (input strip

and Master output) ....... 14

Input Strip ................ 14

Phantom power ........ 14

BNC sockets .............. 14

Mic In ........................ 14

Line In ....................... 14

Direct Out .................. 14

Channel Insert ........... 14

Output Panel .................. 15

Submaster Inserts .... 15

AUX Sends ................. 15

AUX Returns .............. 15

Main Inserts ............... 15

Control Room Output . 15

Main Mix ................... 16

REAR PANEL

CONNECTIONS ................... 17

SECTION 3 —

General Information ............. 20

LEVELS ............................... 20

BUSES ................................ 21

SENDS & RETURNS .......... 21

SOLO ................................... 21

EQ ....................................... 21

CONNECTORS ....................23

A BIT MORE ON

MIX-B/FLIP ......................... 23

SECTION 4 —

Recording ............................24

RECORDING OVERVIEW .... 24

SETUP ................................. 24

RECORDING &

OVERDUBBING ................... 24

MIXING OVERVIEW ............ 28

MIXING SETUP ................... 29

DOING THE MIX ................. 29

SECTION 5: PA and Sound Reinforcment

Applications ......................... 39

SETUP ................................. 39

HOUSE AND MONITOR MIX

TOGETHER ........................ 44

MAKING A SIMULTANEOUS

RECORDING .......................44

HOUSE MIX ONLY or

MONITOR MIX ONLY .........44

FINDING MORE INPUTS ... 45

MIX-B Output ........... 16

Phones ....................... 16

Studio Output ........... 16

2-Track Input and

External Input ........... 16

Tape Returns .................. 17

Tape Return

Operating Level .............. 17

Submaster/Tape Outputs17 Submaster/Tape Output

Operating Level .............. 17

Main Bal. Outputs ......... 18

Expander Port................ 18

DC Power in ................... 19

Noise ................................ 20

Headroom ....................... 20

Unity Gain ...................... 20

Metering.......................... 20

Using Buses .................... 24

Monitoring ..................... 24

Cue Mix ........................... 24

Wet or Dry Monitor? ...... 25

Let’s Record! ................... 28

Overdub, Anyone? .......... 28

Pick a Model ................... 29

Consider Compression .. 29

Using External Processing 29

Insert Devices ................. 29

Send / Return Devices .... 36

Using Subgroups ............ 36

Finding More Inputs:

Mix-B to L & R Buses ..... 36

Monitoring and Levels .. 37

About Automation ......... 37

Headphones .................... 44

Mic Splitters ................... 45

APPENDIX A: Connections .. 46

“XLR” CONNECTORS ......... 46

1/4" TRS PHONE PLUGS

& JACKS ............................. 46

1/4" TS PHONE PLUGS

& JACKS ............................. 46

SWITCHED 1/4"

PHONE JACKS ................... 46

RCA PLUGS & JACKS ........ 47

UNBALANCING A LINE ..... 47

SPECIAL CONNECTIONS .. 47

TRS Send/Return

Insert Jacks .................... 47

Using the send

only of an

insert jack ............. 47

Using return only ...... 47

AUX RETURNS: Mono, Stereo,

Whatever ......................... 48

MULTS AND “Y”s ................ 48

APPENDIX B: Options,

Add-Ons and Extra Stuff ...... 49

METER BRIDGE ................ 49

EXPANDER CONSOLE ...... 49

CONSOLE STAND .............. 49

SIDECAR ............................ 49

AUTOMATION .................... 49

UN-CIGARETTE LIGHTER .. 49

MIXING SHOES ................. 49

APPENDIX C: Modifications . 50

AUX SEND MOD ................. 50

PFL MOD ............................ 51

MIX-B SOURCE MOD......... 51

MIX-B MUTE MOD ............. 52

AUX 1/2 SOURCE MOD ...... 53

APPENDIX D:

Specifications ....................... 54

GAIN/LEVEL CHART............54

SERVICE .............................. 61

TROUBLESHOOTING ........ 61

WHERE IT GETS FIXED ... 61

FACTORY SERVICE ........... 61

SERVICE FROM AN AUTHORIZED SERVICE

CENTER .............................. 64

Track sheet ......................... 64

Session note sheet .............. 67

* Why did we start with Section 2? As a matter of policy, our Manual Table of Contents always skip things that are on the facing page to the actual listing. Seems like we’re stating the obvious to tell you that the Introduction is next to your right hand.

2

SECTION 1: Introduction

The Mackie 8•Bus Series is a flexible ‘in-line monitoring’ style console. They are available with 16, 24 or 32 microphone/line inputs fed into 8 submix buses, 2 stereo mix buses and 6 auxiliary send buses. There are 16 (or 24 or 32) tape return inputs for multitrack monitoring and mixing or for use as additional line inputs. The 8•Bus Series is designed to be the mixing and communications hub in a multitrack recording studio and is also an excellent choice for sound reinforcement work. Numerous inputs, flexible sends and terrific EQ combined with the legendary Mackie headroom and noise floor specs make your work easy. It’s clean. It’s quiet. It’s packed with features. It’s affordable… So pat yourself on the back! You’re doing something sensible here!

IF YOU IGNORE MANUALS...

You’ll probably ignore this one, too. That’s OK, the crack Mackie Documentation Department will get to go on their annual “Typing Without Walls” outing at campsite four in the Woodinville RV Park anyway.

But this is a really great manual! It’s got Where It Is and What It Does and How To Use It covered totally, with pictures and diagrams and absolutely no pop quizzes.

Do yourself a favor and at least check out Section 2 and the block diagram for starters. The 8•Bus Series has a number of routing tricks that could be hard to suss out without a guide. Then, if that’s all you can take without pumping some sound through the console, put the manual in the bathroom for future reference or read it while you eat your lunch.

If you’re even more terminally impatient, try to look for these two icons:

PANEL LAYOUT

AND FUNCTION

GENERAL INFORMATION

RECORDING

PA AND SOUND

REINFORCEMENT

APPENDICES

(CONNECTIONS, ADD-ONS, SPECIFICATIONS, ETC.)

SERVICE

MASTER TRACK SHEETS

FOR DUPLICATION

LAYOUT

AND

FUNCTION

GENERAL

INFO

RECORDING

PA

&

SR

ADD-ONS

SPECS

ETC.

SERVICE

TRACK

SHEETS

They cover information that is absolutely critical or is unique to the 8•Bus Series. At some point, it’s still a good idea to browse through the rest of the manual.

In addition, sections marked with the A CLOSER LOOK icon include in-depth information… or at least our own opinions.

BLOCK DIAGRAM

3

BLOCK

DIAGRAM

18dB/oct

;

75 Hz

LOW CUT

SECTION 2: Panel Layout and Function

TO MIX-B

MIX-B

MONITOR

dB

10

5

;;;

U

;;;

5

10

20

30

40

50

60

OO

LR

U

OO

+15

HI/LO EQ

FLIP SW

CHANNEL

PAN

SOLO

PAN

OVERVIEW

The panel layout of the Mackie 8•Bus Series

LEVEL

follows the traditional arrangement: input channel strips to the left, with a master output/ monitoring/cue section to the right. Additionally,

SPLIT EQ

most of the Mackie input/output jack panel is

SOURCE

located at the top of the mixing panel, for easy accessibility and patching. The tape outputs and

OL

-20

inputs are on the rear panel.

MUTE

16

CHANNEL INPUT/OUTPUT

1-2

3-4

5-6

7- 8

L/R MIX

CHANNEL INPUT/OUTPUT

CHANNEL STRIPS

CHANNEL INPUT/OUTPUT

CHANNEL STRIPS

MASTER

I/O

MASTER SECTION

MASTER

I/O

MASTER SECTION

MASTER

I/O

MASTER SECTION

INPUT CHANNELS (CHANNEL STRIPS)

The 16, 24 or 32 input channel strips on the Mackie 8•Bus consoles are identical, and contain all of the level, assignment and equalization controls for each input channel. This section describes the controls and functions of each feature of an input channel in detail.

FADER

The channel fader (1) is 100 millimeters long, with a precise logarithmic taper and attenuation in dBs printed along the slot for exact and repeatable level adjustments. The fader affects either the mic or line input to the channel (for recording) or the tape return to the channel (for mixing), depending on the position of the FLIP switch.

MUTE

The MUTE switch, located at the top of the fader (2), turns off the primary outputs of the channel: the eight buses, the L & R buses, the channel solo, the direct output and the postfader AUX sends. Pre-fader aux sends are not muted. With the exception of lighting the mute LED, pushing the MUTE switch is the same as pulling the fader all the way down.

GOURMET PAN CONTROL AND ASSIGNMENT SWITCHES

The PAN control (3), immediately above the fader, pans the channel signal between the two sides of the L/R Mix buses, and also between odd and even pairs of buses 1 through 8.

The actual bus assignment of the PAN control depends on the positions of the five assignment switches located along the length of the fader. With no switches depressed, the PAN control has no effect (well, unless you solo the channel; it still pans the solo).

Pushing the L/R MIX switch (4) assigns the PAN to the main L /R Mix buses. Panning from L to R moves the sound smoothly (with constant loudness) from the left channel to the right channel. Assigning the PAN to a pair of the 8 buses has a similar effect. For example, pushing the 1-2 switch assigns the PAN to buses 1 and 2, and panning L to R will move the sound from bus 1 to bus 2 (from odd to even).

If you want to equally assign a channel to both buses 1 and 2, leave the PAN control at the top, or center, of its travel. If you only want bus 2, turn the PAN control fully clockwise (to the right).

Other comparably-priced consoles provide as little as 50dB attenuation/separation. We use active, buffered circuitry and a custom-taper potentiometer

4

to achieve 87dB attenuation. You get far better channel separation plus freedom from level shifts caused by channel assignment and panning. In addition, our pan pots are constant loudness. When you sit between a pair of monitors and pan from side to side, the apparent volume at your ears should stay the same, no matter where the signal is positioned. Our special pan circuitry maintains consistent apparent energy whether the pot is dead center, hard left or hard right.

–20 AND OL LEDs

The two LEDs (5) next to the PAN control check the channel strip signal level at three important circuit points: at the output of the mic/line preamp, after the EQ and after the channel fader amplifier.

The green LED marked –20 is there to assure you that, yes, something is plugged into the channel (and yes, it does have some output). Most signals more interesting than tape noise will cause the green LEDs to flicker, so they give you a good visual indication of which channels are active. Any peaks higher than –20dBu (@ 1kHz) trigger the indicator. When we say “channel”, we mean the signal going through the channel fader… but not the signal going through the MIX B Section. Please refer to the MIX B section of this manual, starting on the next page, for more details.

The red LED, labeled OL for overload, lights when the signal level is high enough to cause clipping at any of the three test points. In normal operation it will almost never light. If it is flashing at you, your level in that channel is much too high. You need to turn something down.

• First try the mic/line trim. If that has no effect,

• Turn down the EQ and/or the insert device,

and if that doesn’t fix it,

• Turn down the channel. If this doesn’t fix it, your

input signal is too hot (gasp). Use an external pad to reduce the level (see the sidebar on page 25).

CHANNEL SOLO

The channel SOLO switch (6) assigns the output of the channel PAN control to the stereo solo buses and disconnects all other sources from the monitor section. SOLO does not interrupt the eight Submasters, the L/R Mix or the AUX sends, and can be used at any time without affecting the recording process.

SOLO is handy for spot-checking the presence and quality of individual inputs while setting up, recording and mixing. More than one SOLO switch may be pressed at the same time, allowing you to listen to the blend of any combination of channels throughout the console in stereo.

On the Mackie 8•Bus console, the SOLO assignments are stereo except for the AUX sends. SOLO maintains the perspective set up with the PAN controls. When any SOLO button on the console is depressed, its associated SOLO LED will glow steadily, and the RUDE SOLO LITE above the 8•Bus LED meters blinks annoyingly, serving as a reminder with an attitude.

The channel SOLO function is normally postfader/post-mute, but can be modified for PFL or Pre-Fade (and pre-mute) Listen. See Appendix B: Options, Add-Ons, and Extra Stuff.

Note: All the SOLO buttons on the 8•Bus Series operate in the same way (although they’re not all stereo like the channel SOLO). SOLO does not interrupt recording; it only affects the control room monitor.

HIGHLY, MEGA-MONDOIMPORTANT: SOLO is intended for more than just “soloing.” It is THE way to

set levels for best noise and headroom. Complete instructions on proper level setting using SOLO are in Section 3: General Information, starting on page 20.

PHANTOM POWER

CAUTION: After switching PHANTOM Power on or off, wait 1 minute before changing any mic/line switch settings in that 8-channel block.

At the top of every eight channels is a PHANTOM Power switch (7). Pressing it sends +48VDC to the eight XLR sockets to the switch’s left. For instance, depressing the PHANTOM switch above Channel 8 sends phantom power to the XLRs on channels 1 through 8. NOTE: It is always a good idea to check with the Mic manufacturer to verify phantom power requirements.

TRIM

The TRIM control (8) sets the gain of the input amplifier for the MIC and LINE inputs. Proper setting of the TRIM control is essential for good noise and headroom performance. Trim pot settings may vary widely depending upon the input level. The output of different keyboards, drum machines, guitar effects boxes, etc., vary from extremely weak to so hot that they can practically be connected directly to speakers. See pages 1, 20, or 25 for advice.

MIC/LINE SWITCH

Now we’ve jumped back to the top of the strip. Sorry, but logically the input to the channel is the next thing to talk about. That’s because it’s the source of the signal applied to the channel fader and PAN control.

PHANTOM

POWER

CHANNEL

16

G

A

C

I

N

M

–10

dBV

S

E

N

I

L

+4

-40

dBV

10

dB

50

dB

TRIM

GAIN

U

–15 +15

3k

1k 5k

500 18k

2

1

3

12

U

–15 +15

250

220 350

45 3k

U

–15 +15

U

–15 +15

EQ

75 Hz

18dB/oct

LR

U

OO

+15

HI/LO EQ TO MIX-B

MIX-B

MONITOR

FLIP SW

CHANNEL

PAN

SOLO

MIC/LINE

TIP = OUT RING = IN

E

N

S

I

T

I

V

I

T

Y

MIC/LINE

LOW CUT

SPLIT EQ

SOURCE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

INSERT

CHANNEL

16

TAPE

FLIP

HI

MID

FREQ

NORMAL

BAND WIDTH

OCTAVES

LO

MID

FREQ

HI

12k

LO

80

EQ IN

PAN

LEVEL

OL

-20

5

LOW CUT

;

PHANTOM

CHANNEL

16

M

E

N

I

L

+4

10

dB

TRIM

HI/LO EQ TO MIX-B

MIX-B

CHANNEL

dB

10

5

;;;

U

;;;

5

10

20

30

40

50

60

OO

POWER

G

A

C

I

–10

dBV

-40

GAIN

LR

U

OO

+15

MONITOR

FLIP SW

PAN

SOLO

I

N

S

dBV

50

dB

MUTE

16

MIC/LINE

TIP = OUT RING = IN

E

N

S

I

T

I

V

I

T

Y

MIC/LINE

SPLIT EQ

SOURCE

The MIC/LINE switch (9) is located way up amongst the channel jacks. It selects whether the MIC jack (pin 2=hot[+], pin 3=cold[–], pin 1=shield) or the LINE jack (balanced 1/4" phone… tip=hot, ring=cold, sleeve=shield) is connected to the input amplifier.

THE FLIP SWITCH: MIC/LINE OR TAPE

LINE

IN

BAL-

UNBAL

DIRECT

OUT

The switch labeled FLIP (10) selects the input that is actually fed into the channel fader (and the MIX-B control; see below).

INSERT

As the label indicates, the MIC/LINE input (after Mic/Line preamp) is fed to the channel fader when the FLIP switch is in the up position. This is the normal mode for tracking and overdubbing. In the down position, the TAPE re-

CHANNEL

turn (the output signal from the corresponding

16

track of your recorder) is fed to the channel fader. This is the normal position for mixdown.

TAPE

To recap - when the FLIP is up, the Mic/Line

feeds channel and Tape return feeds MIX-B. When the FLIP is down, the channel is Tape and MIX-B is MIC/LINE. FLIP... FLOP. OK?

PAN

For live PA, leave the FLIP switch up.

MIX-B / MONITOR

LEVEL

OL

inputs or tape return inputs to be routed

-20

through either the channel fader path or Mix-B with separate EQ and monitoring. Both of the signal paths can be combined into the main mix by depressing the Mix-B to L/R Switch in the master section. OK, now we jump down the channel again to the MIX-B/ Monitor section. This handy and very simple feature is also called “in-line monitoring” and is found on quite a few consoles. So we’re not

1-2

claiming that it’s anything new… we just added some extra features for more flexibility. MIX-B/

3-4

Monitor routing options can get a bit compli-

5-6

cated, so pay attention. Also, we did add something that other in-line monitoring systems

7- 8

don’t have. So double pay attention.

The MIX-B buses are a stereo pair, indepen-

dent of the 8-plus-2 recording buses we’ve

L/R

MIX

talked about so far. There are three sources available to MIX-B: MIC/LINE or TAPE (via the FLIP switch) and the pre-fader output of the channel strip (via the SOURCE switch). A fourth source, post-fader output of the channel

Each channel strip has a

dual signal path (Enter

Mix-B!) with extremely flexible switching. This allows either the mic/line

strip (via the source switch), can be achieved by modifying the channels. See Appendix C: Modifications on page 52.

1. When the Mix-B SOURCE switch (11) is

up, MIX-B receives its input from the FLIP switch. Remember, the FLIP switch alternates MIC/LINE or TAPE to the channel strip and to MIX-B. With TAPE as an input (SOURCE up to select the FLIP switch, and FLIP in the up position), the MIX-B section functions as a tape monitor submix, allowing you to listen to the inputs and outputs of your multi-track recorder as you record. This is the most common use of the MIX-B section, during tracking and overdubbing.

2. With MIC/LINE as an input (SOURCE up to select the FLIP switch, and FLIP in the down position), MIX-B becomes an additional input to add tracks or effects during a mixdown. Simply plug the additional signal into the MIC or LINE connector. Although they are normally separate, a button (MIX-B TO L/R MIX) in the Output Panel (see below) can add the output of the MIX-B buses to the L/R Mix buses. Voilà! Double your mix inputs!

3. With CHANNEL as an input (SOURCE down in CHANNEL position), MIX-B taps its signal from the channel strip, just before the channel fader. MIX-B is separately pan-able, EQ-able and can be used as an alternative stereo mix, a stereo auxiliary send, a “mix-minus” bus, a quadraphonic or surround feed, you name it. Mix B can also have its own aux send (see Aux sends 3-6).

Check out Section 3: General Info and the Block Diagram for more information on MIX-B routing.

MIX-B PAN

The PAN control (12) routes the channel’s MIX-B signal across the left and right MIX-B buses.

MIX-B LEVEL

The LEVEL control (13) sets the level of the channel sent to the MIX-B buses. The gain structure of this circuit (like the AUX send 1–6 circuits, below) includes extra amplification. What this means to you is that you will always have plenty of gonadotropic gain available for the MIX-B buses. Full left on the LEVEL control is off; the midpoint of travel is “U”, or unity gain; full right is 15dB of boost.

6

SHIFT

MIX-B SPLIT

The SPLIT switch (14) in the MIX-B section splits the EQ section of the channel when depressed. In the up position, all four sections of EQ remain, if engaged, in the primary channel signal path feeding the channel fader and the 8-plus-2 buses. In this mode there is no equalization in the MIX-B path.

When the SPLIT switch is depressed, the HI and LO shelving sections of the EQ are removed from the channel signal and inserted into the MIX-B signal path. The HI-MID and LO-MID parametric sections of the EQ remain, if engaged, in the channel signal path.

The SPLIT function allows you to EQ the channel’s signal and its MIXB signal separately.

NOTE: When the EQ is split, the main EQ IN/OUT switch only switches the channel signal’s parametric sections. It does not affect the shelving sections split to MIX-B.

EQ SECTION

Each 8•Bus channel strip equalizer section has four bands (HI MID, LO MID, LO, and HI) plus a low-cut filter. The equalizer can be split between main channel signal and MIX-B signal.

HI MID EQ

The HI MID EQ section (15) is a true 3-control parametric design, offering: A) bandwidth variable from 3 octaves to 1/12 octave (16); B) ± 15dB of equalization (17) and; C) variable frequency center from 500Hz to 18kHz (18).

We spent a lot of time on this part of the 8•Bus Series’ EQ. One of the things we’ve always noticed about lower-priced consoles was how “drastic” their Hi Mid EQ sounded. Even a little boost could induce honkiness and nasality. Frankly, Hi Mid EQ on many boards is not that useful in studio applications for just this reason.

+15

+10

+5

0

–5

–10

–15

Hz

20

+15

+10

+5

0

–5

–10

–15

20

+15

+10

+5

0

–5

–10

–15

20

+15

+10

+5

0

–5

–10

–15

20

+15

+10

+5

0

–5

–10

–15

20

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Freq. center: 1k;

Bandwidth: 1/12-octave;

±15dB boost/cut

100

Hz

Freq. center: 1k;

Bandwidth: 1-octave;

±15dB boost/cut

Hz

100

Freq. center: 1k;

Bandwidth: 3-octave;

±15dB boost/cut

Hz

100

Hz

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1/12-octave;

±15dB boost/cut

Hz

100

Hz

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1-octave;

±15dB boost/cut

Hz

100

Hz

Freq.: 500Hz-18kHz sweep;

Bandwidth: 3-octave;

±15dB boost/cut

When you put these consoles on the test bench, you see that the bandwidth of their EQ is simply too narrow — often around one octave. This is OK for extreme adjustments in

Hz

1k

live situations, but that’s about

Hz

10kHz20k

it. It’s just not wide enough to gently alter the multiple octaves that voices and instruments span.

This is just the opposite of “classic” big-studio consoles.

1k

Hz

Their EQ (including Hi Mid) can

10kHz20k

Hz

be adjusted to be extremely broad — three or more octaves wide in many cases. When you apply this wideband EQ, it sounds far more “sweet” and “natural.” Changes sound so

16

CHANNEL

MIX-B

U

–15 +15

3k

1k 5k

500 18k

2

1

3

12

U

–15 +15

250

220 350

45 3k

U

–15 +15

U

–15 +15

EQ

75 Hz

18dB/oct

PRE

SOURCE

HI

MID

FREQ

NORMAL

BAND WIDTH

OCTAVES

LO

MID

FREQ

HI

12k

LO

80

EQ IN

LOW CUT

gradual and smooth that you can add considerably more EQ than would ever be possible with nar-

Hz

1k

rower-band consoles, yet without

Hz

10kHz20k

compromising the overall sound.

On the other hand, ultra-narrow-band EQ also has its place, both as a corrective tool and for special effects. So why not give you even tighter control than would be possible with a 1/3-octave graphic equalizer? Thus was born the 8•Bus’ 1/12-octave to 3-

1k

Hz

octave width range.

10kHz20k

Hz

At this point, as we played around with the Bandwidth and Boost/Cut controls using actual music, we realized that to limit this circuit to just Hi Mid (typically above 2.5kHz) would actually limit its usefulness. The flexibility that true parametric control provides is nice to have in

1k

Hz

10kHz20k

Hz

the octaves below the Hi Mid region as well. So we came up with what is probably the first console Hi Mid control that can be swept all the way down to 500Hz. If Hi Mid doesn’t do it for you as a name, think of these three controls as the RovingParametric-Problem-Solver-O-Matic.

1k

Hz

10kHz20k

O-Rama.

Hz

7

NORMAL

2

1

3

12

U

–15 +15

250

220 350

45 3k

U

–15 +15

U

–15 +15

EQ

75 Hz

18dB/oct

LR

U

OO

+15

HI/LO EQ TO MIX-B

MIX-B

MONITOR

FLIP SW

CHANNEL

BAND WIDTH

OCTAVES

Now you know some of the design philosophy behind our Hi Mid EQ. It’s time to start experi-

LO

menting with it yourself. Don’t

MID

forget to try the control at its bandwidth extremes — espe-

FREQ

cially at the 3-octave end. You’ll be pleasantly surprised.

HI

12k

Conversely, if you hate technology and yearn for the sound of that old board you sold to buy an

LO

80

8•Bus, you can achieve a semiparametric sound by leaving the

EQ IN

BANDWIDTH knob in the middle

LOW CUT

at 2 octaves.

PAN

LO MID EQ

The LO MID EQ control (19)

LEVEL

is a semi-parametric (sweepable) equalizer with a broad, fixed bandwidth of 2 octaves, ±15dB of

SPLIT EQ

equalization and frequency

SOURCE

variable from 45Hz to 3kHz.

Boosting in this range can put warmth and body into vocals and instruments. Cutting can really help the clarity of some sounds by reducing boxy and boomy tones.

HI EQ

The HI EQ control (20) is a fixed 12kHz shelving equalizer with ±15dB of equalization available. A great treble control, it is switched with LO EQ into the MIX-B circuit if the SPLIT button is depressed.

Shelving equalizers work on a very broad range of frequencies, and consequently, are very musical. In a 12kHz shelf like this section, that means that all the upper harmonics of a sound are raised evenly, basically keeping their original musical relationship to each other. A high-frequency shelving EQ is great for putting shimmer into acoustic guitar and piano tracks and sizzle into vocals.

LO EQ

The LO EQ control (20) is a fixed 80Hz shelving equalizer with ±15dB of equalization

8

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

Lo Mid EQ

2 octave ±15dB boost/cut

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

Lo Mid EQ sweeps

from 45Hz to 3kHz

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

Hi EQ ±15dB boost/cut

above 12kHz

+15

+10

+5

0

–5

–10

–15

20

100

Hz

Lo EQ ±15dB boost/cut

below 80Hz

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

Lo cut (high pass filter)

18dB/oct. at 75hz

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

Interaction of Lo Cut

with Lo EQ boost.

Verrry eenteresteeng, no?

available. It’s a fine bass control, and is switched with HI EQ into the MIX-B circuit if the SPLIT button is depressed.

A low-frequency shelving equalizer will add or remove bass in a smooth, musical fashion.

1k

Hz

10kHz20k

Hz

Good for working on bass drum and bass guitar, fattening up (or thinning out) a piano or contouring an entire mix.

EQ IN/OUT

The IN switch (22) bypasses the EQ (though not the LO CUT filter) when up. Depress it to enable equal-

1k

Hz

10kHz20k

ization.

Hz

LO CUT

The LO CUT switch (23) inserts an 18dB/octave low-cut (high-pass) filter with a –3dB point of 75Hz into the main channel signal. The LO CUT filter is unaffected by the EQ IN switch.

A low-cut filter is handy to get rid

1k

Hz

1k

Hz

1k

Hz

1k

Hz

of room rumble, traffic noise, wind

10kHz20k

Hz

noise, popping, and other unwanted very-low-frequency sounds. It can also be combined with LO EQ boosts to produce some interesting bass curves as shown in the last EQ graph on this page. It is highly rec-

ommended that this switch be engaged for vocal microphones, especially in a live P. A. situation.

10kHz20k

Hz

AUX SENDS

Auxiliary sends are generally used to provide mixes for headphone cueing and for effects sends, and in Sound Reinforcement use, can be assigned monitor submix duties. The 8•Bus Series consoles provide 6 mono auxiliary sends with several routing options.

10kHz20k

Hz

Note: All of the 8•Bus Series AUX sends have a very wide range of gain (just like the MIX-B Level control discussed earlier). The first half of the control’s rotation reaches from the off position to unity gain (U). This half of the control’s range corresponds to the full range of a conventional mixer. The second half of the control’s rotation provides you

10kHz20k

Hz

L

T

I

V

I

T

with even more gain, from unity to +15dB.

For example, when you want a super “wet”

sound(mostly reverb), the extra gain allows you to bring the channel fader part way down (and the AUX send way up) so the sound is mostly reverb with just a touch of “dry” signal.

Don’t worry about having mono effects sends: almost all effects units, mono or stereo, have mono inputs. Even if there are two jacks labeled Left and Right, they are almost always combined into mono internally. In the rare cases when an effect actually has true stereo inputs, it is often more convenient to ignore that and treat it as mono anyway. If you really need to send in stereo, just use two AUX sends from the console. Route AUX 1, for example, to the left input and AUX 2 to the right. Then adjust the stereo perspective by favoring one or the other send. For instance, if you have a stereo synth into channels 23 and 24, use AUX 1 on channel 23 and AUX 2 on channel 24.

Note: In PRE mode, all AUX SENDS are connected pre-fader but post-EQ. This is usually the most useful setup, but if you prefer, all AUX SENDS can be modified to be pre-EQ, pre-fader. See Appendix C: Modifications on page 52.

AUX 1 & 2

Auxiliary sends 1 & 2 (24) have two independent level controls and share a common PRE/ POST switch.

When in the normal post mode, sends 1 & 2 get their signal after the channel fader and the MUTE switch. This is the usual configuration for an effects send, since the level of the effect should follow the volume adjustments made by the channel fader.

PRE (1&2)

With the PRE switch (25) depressed, AUX SENDS 1 & 2 receive their input from a point

AUX 3, 4, 5, 6

Auxiliary sends 3, 4, 5, and 6 (26) are very similar to sends 1 & 2. The differences are in the SHIFT and SOURCE switches. Read on.

SHIFT

The SHIFT button (27) connects the two level

controls, as a pair, to either sends 3 & 4 (in the up position) or to sends 5 & 6 (in the down position). Twice

the sends in half the space.

SOURCE

The SOURCE switch (28) breaks AUX Sends 3-6 away from the main channel strip world that sends 1 & 2 are stuck in, and allows the sends to tap from another source: the MIX-B signal for that channel. This is a very handy thing, whatever you happen to be using MIX-B for.

If MIX-B is an additional input for your mixdown, then (when the SOURCE switch is depressed) AUX Sends 3-6 are effects sends connected to that source. If MIX-B is your studio monitor submix from the recorder, then AUX Sends 3-6 are a great source of headphone cue signals. They will follow playback, record and punch-ins automatically as your recorder does its stuff.

PRE (3-6)

The PRE switch (29) for Sends 3-4-5-6 functions just like the PRE switch sends 1 & 2, when the AUX SOURCE switch is in the CHANNEL (up) position.

Additionally, the PREswitch will tap the prelevel (and pre-mute) signal of whichever SOURCE you have selected-channel or MIX B.

Y

+4

-40

dBV

MIC/LINE

10

dB

50

dB

TAPE

TRIM

GAIN

FLIP

U

1

OO

+15

U

2

OO

+15

AUX

PRE

U

3

5

OO

+15

U

4

6

OO

+15

AUX

SHIFT

16

PRE

CHANNEL

MIX-B

SOURCE

before the channel fader and MUTE switch, and are not affected by changes in these controls. This is the normal switch setting for creating stage monitor and/or studio cue headphone sends.

9

LAYOUT

AND

FUNCTION

OUTPUT SECTION

The output section is the large area to the right of the input channel strips. It contains the master faders and metering, as well as the send and return masters, cue, monitoring and communication controls.

8•BUS FADERS

At the bottom of the output panel are the master faders for each of the eight buses (1). Each fader controls the level of its mix, with precise dB markings and a unity gain point marked on the panel. The fader is located in the circuit after the submaster insert jack but before the final line amplifier.

There is an Assign section associated with each bus fader, detailed below. Note that no matter what the selection of the assignment switches, the output of each bus is always present at its Submaster/Tape Output jack and is monitored on its own bus meter.

L MIX and R MIX

The odd-numbered buses have an L MIX button above their faders (2); the even buses have an R-MIX button (3). Pressing this button assigns the bus to the L or R Mix bus, respectively. This switch, along with the MONO L & R switch dis-

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

ASSIGN

MONO

dB

10

5

10

20

30

MONO

L+R

MIX

L

1

dB

10

5

10

20

30

MONO

L+R

RLRLRLR

2345678

dB

10

5

10

20

30

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MONO

L+R

MIX MIX MIX

dB

10

5

10

20

30

MONO

L+R

dB

10

5

10

20

30

MONO

L+R

dB

10

5

10

20

30

MONO

L+R

dB

10

5

10

20

30

cussed below, allows you to assign submix buses within your L/R mix.

MONO L & R

The MONO L & R switch (4) functions ONLY when you have first depressed the L MIX or R MIX. If you’ve pushed L MIX or R MIX, pushing MONO L & R will assign the bus to both channels of the Left and Right Mix buses, instead of just the Left, or just the Right. This is also for submixing, but allows you to put your submix in the center rather than on either side.

(Those of you with patch cords have probably realized you can patch the bus into a channel and do even more

fun things, but we’ll talk

about that later.)

SOLO

The SOLO button (5) solos the output of the bus fader. When any SOLO button is pressed, the SOLO LED lights.

This is a pretty trick SOLO, too. If you have not pushed the MONO L & R switch, the SOLO sends the odd-numbered tracks to the left speaker and the even-numbered tracks to the right, whether or not the associated L MIX or R MIX is engaged. But if you

have pressed MONO L & R, the SOLO circuit is smart enough to send the bus to both speakers and put the stereo image in the middle. You will be the envy of your neighborhood.

L/R MIX FADER

The L/R MIX fader (6) is a stereo fader located at the far right of the console. The fader controls the level of the L/R MIX bus, with precise dB markings and a unity gain point marked on the panel. This fader, like the bus faders, is located in the circuit after the L/R insert jack but before the final line amplifier.

MONO

L+R

dB

10

5

UUUUUUUU U

5

10

20

30

TALKBACK

MIC

LEFT/RIGHT

MIX

dB

10

5

10

20

30

dB

10

5

U

5

10

20

30

40

50

80 80 80 80 80 80 80 80 80 80

OO

40

50

40

50

OO

40

50

OO

40

50

OO

40

50

OO

40

50

OO

40

50

OO

40

50

OO

10

40

50

OO

METERING

Bus Meters 1-8

Directly above each bus fader is a peak-reading meter displaying the bus output level. Zero (0) on the meter references a level of +4dBu (1.23 volts RMS) at the output jack.

NOTE: If the -10dBV switches are engaged at the Subgroup output jacks, then zero (0) on the meter references a level of –10dBV at those outputs. Note: When any SOLO switch is engaged, the SUBMASTER meters will be extinguished in order to divert your attention to the SOLO/MAIN meters (discussed below).

MAIN OR SOLO LEVEL Meters

The MAIN OR SOLO LEVEL meters display the L/R Main Mix levels and are similar to the bus meters, with these exceptions:

• If a SOLO button is depressed, the meters

display the output of the soloed signals; if not, the meters show the level of the signal selected by the MONITOR SOURCE switches. In other words, you are always metering what you’re listening to. IMPORTANT: When the console is

in SOLO mode, zero (0) on the SOLO/MAIN meters references

the actual internal operating level, or 0dBu (.775v). If you have just one signal in the main L/R path and you SOLO it, the meter level will jump up 4dB. Don’t be alarmed. If you’re mixing on the L/R buses, that’s what you’ll meter. If you’re checking a tape playback, that’s what you’ll meter. When the meters are following the monitors (not in SOLO), zero (0) on the meter references a level of +4dBu (1.23 volts RMS) at the main L/R outputs, just like the submaster meters. Note: The solo levels displayed on the meters are PRE-solo level, thus giving you an accurate showing of the total level of the soloed signals.This is also the way to set initial console levels. See the discussion of the SOLO function, earlier in this section.

• Additional red LEDs per side at the top of the meter show output clipping at +28dBu balanced,

ASSIGN TO

MASTER

MIX B / MONITOR

+22dBu unbalanced. (You don’t want these to ever go on. If they do, try pulling down the L/R master fader a little.)

AUX SENDS

The six auxiliary send outputs each have a master level control. Like any level control, turning the knob turns the volume up or down. However, the gain of the AUX Sends has been optimized at the unity (center detent) setting and should not need adjustment.

The output of each bus is available at its AUX Send Out jack in the jack panel above. Additionally, AUX Sends 3 & 4 and AUX Sends 5 & 6 are fed as stereo pairs to the two PHONES SOURCE switching matrices, for headphone cueing purposes.

U

1

SOLO

OO

+15

U

2

SOLO

OO

+15

LEVEL LEVEL

U

3

SOLO

OO

+15

U

4

SOLO

OO

+15

SOLO SOLO

AUX SENDS

U

OO

LEVEL

L/R MIX

+15

OOOOOO

PHONES

LEVEL

SOLO

PHONES 1

+

10

7

4

2

0

2

4

7

10

20

30

40

–

LR

U

5

SOLO

OO

+15

U

6

SOLO

OO

+15

LEVELLEVEL

MONITOR

MIX-B

AUX SEND

3/4

AUX SEND

5/6

EXTERNAL

PHONES 2

+

10

7

4

2

0

2

4

7

10

20

30

40

–

LR

PHONES

LEVEL

SOLO

12345678

U

1

OO

+20

U

2

OO

+20

U

3

OO

+20

U

4

OO

+20

LEVEL

MONITOR

MIX-B

AUX SEND

3/4

AUX SEND

5/6

EXTERNAL

SOURCESOURCE

+

10

7

4

2

0

2

4

7

10

20

30

40

–

LR

BALANC E

SOLO

OO

STUDIO

O

OO

CNTRL RM

MONITOR

1-2

SOLO

1-2

SOLO

PHONES2L/R MIX

PHONES

1

ASSIGN

PHONES1PHONES

2

ASSIGN

STEREO AUX RETURNS

L/R MIX

MIX-B

2-TK

EXTERNAL

MONO

SOURCE

+

10

7

4

2

0

2

4

7

10

20

30

40

–

LR

3-4 5-6 7-8

3-4

L/R MIX

U

OO

+15

OO

+15

LEVEL LEVELMIX-B

RUDE

SOLO LITE

OPERATING

LEVEL

INDICATOR

AND

SOLO

169 101112131415 2417 18 19 20 21 22 23

ASSIGN

5

6

5-6

OO

LEVEL

L/R MIX

7-8

L/R MIX

U

SOLO

+20

U

SOLO

+20

AUX SEND 1

AUX SEND 2

TAPE SUB MASTERS

PHONES

STUDIO

TALKBACK

+

22

10

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

LAYOUT

AND

FUNCTION

&

11

LAYOUT

AND

FUNCTION

AUX SOLO

The SOLO button next to each level control (7) solos that send and allows you to check the send level in the main meters. There is a solo LED (8) in the Send section, to help you locate what the heck you soloed.

Note: The six AUX Sends are each mono signals, and they are soloed in mono. If you are using a stereo pair of sends for headphone cue, use the SOLO button in the PHONES 1 or 2 areas to check the sends in stereo.

STEREO AUX RETURNS

The AUX Returns (9) provide 12 additional inputs to the console for return from effects and reverb devices. The returns have switch matrices to allow easy assignment to headphones or mix buses. When any return is soloed, the solo LED in the lower left-hand corner of the Return area lights.

For extra flexibility, the AUX Returns have been designed with an extremely wide range of available gain, offering as much as 15dB boost over unity.

The return jacks are wired to provide both stereo and mono operation. See AUX Returns under JACK PANEL later in this section for details.

Returns 1 & 2

AUX Returns 1 & 2 (10) each have a stereo SOLO switch, a stereo LEVEL control, a BALANCE control and a bank of ASSIGN switches.

ASSIGN (1 & 2)

AUX Returns 1 & 2 are assigned in stereo pairs (Return 1, L & R; Return 2, L & R) to the L / R MIX buses or to odd-even pairs of the 8 submix buses (11). If you would like an effects return to accompany its dry signal on the multitrack (wet tracks), these are the returns to use.

Returns 3 & 4

AUX Returns 3 & 4 (12) each have a stereo SOLO switch, a stereo LEVEL control and a smaller bank of ASSIGN switches.

ASSIGN (3 & 4)

Returns 3 & 4 are assigned in stereo pairs (Return 3, L & R; Return 4, L & R) to the L / R MIX buses or to the PHONES 1 and PHONES 2 buses via respective banks of buttons for each return(13). If you want additional effects returns preset in the headphone mixes, these are the returns to use.

POWER

U

1

SOLO

OO

+15

U

2

SOLO

OO

+15

LEVEL LEVEL

U

3

SOLO

OO

+15

U

4

SOLO

OO

+15

SOLO SOLO

U

OO

+15

LEVEL

ASSIGN TO

L/R MIX

MASTER

MIX B / MONITOR

AUX SENDS

OOOOOO

PHONES

LEVEL

SOLO

PHONES 1

5

6

U

OO

U

OO

LEVELLEVEL

MONITOR

MIX-B

AUX SEND

3/4

AUX SEND

5/6

EXTERNAL

SOLO

+15

SOLO

+15

PHONES

LEVEL

PHONES 2

SOLO

1

2

3

4

U

OO

U

OO

U

OO

U

OO

LEVEL

MONITOR

MIX-B

AUX SEND

3/4

AUX SEND

5/6

EXTERNAL

SOURCESOURCE

Returns 5 & 6

AUX Returns 5 & 6 (14) each have a stereo SOLO switch and a stereo LEVEL control. Returns 5 & 6 are permanently

LR

SOLO

OO

STUDIO

O

OO

SOLO

PHONES2L/R MIX

PHONES

1

PHONES1PHONES2L/R MIX

STEREO AUX RETURNS

L/R MIX

MIX-B

2-TK

EXTERNAL

MONO

SOURCE

+20

BAL ANCE

+20

CNTRL RM

MONITOR

ASSIGN

1-2

OO

LEVEL LEVELMIX-B

RUDE

SOLO LITE

OPERATING

LEVEL

INDICATOR

AND

SOLO

3-4 5-6 7-8

ASSIGN

5-6

3-4

ASSIGN

5

6

LEVEL

U

+15

U

OO

+20

U

OO

+20

TALKBACK

L/R MIX

7-8

L/R MIX

SOLO

AUX SEND 1

AUX SEND 2

TAPE SUB MASTERS

PHONES

&

STUDIO

+

1-2

assigned to the L/R MIX bus. All returns are useful in a mixdown situation, as they are all assignable to the L /R mix.

MIX-B / MONITOR

The MIX-B / MONITOR section (15) is quite straightforward. It offers a stereo level control for the MIX-B output, and an ASSIGN: MIX-B TO L /R MIX switch, which can add the MIX-B bus signal to the main L /R Mix. This essentially doubles the inputs available for mixdown. Avoid this pitfall: If you are monitoring the L/ R mix in the control room and have the MIX-B to the L / R mix assigned, do not also select MIX-B in the monitor source switch matrix. If you do, MIX-B will sound twice as loud in the control room as it is in the L /R mix!

12

PHONES

The PHONES 1 (16) and PHONES 2 (17) sec-

tions are identical. Each

contains a stereo level control for the headphones outputs, a stereo SOLO switch, and five pushbuttons to select from the

following signal sources: MONITOR, MIX-B, AUX SENDS 3 & 4, AUX SENDS 5 & 6, and EXTERNAL.

You can select any combination of sources.

• The MIX-B, AUX SENDS 3 & 4 and AUX SENDS 5 & 6 switches are connected directly from the outputs of their respective circuits.

• MONITOR takes the signal from after the MONITOR selection switches described below, and therefore carries the same signal that is applied to the control room monitors. (The PHONES section is not affected by the CNTL RM level control or the MONO switch in the MONITOR section, though.)

• The EXTERNAL switch is connected directly from the L and R EXTERNAL INPUTS in the jack panel above. External is an independent cue channel for click tracks, etc. Its signal DOES NOT appear at any of the channels or buses.

NOTE: If MONITOR is selected as a PHONES source and the solo button in the PHONES section is depressed, nothing will happen except that the Solo LEDs will light up. That’s because Solo is disabled under these conditions to prevent a feedback loop and its associated anguish.

NOTE: if nothing is selected, signal may still feed the PHONES from AUX Return 3 & 4, via that section’s ASSIGN TO PHONES switches.

MONITOR

The control room monitors and the studio playback monitors are both controlled from the MONITOR section of the console (18). There is a stereo level control for the control room and another for the studio. NOTE: Fully clockwise equals unity gain.

A bank of switches selects

the stereo sources available to the speakers from L/R Mix, MIX-B, Tape and External. You can select any combina-

tion of signal sources.

The L/ R MIX and MIX-B switches are connected from the outputs of the L/R and MIX-B buses. The TAPE and EXTERNAL switches are connected from the 2-TRACK INPUTS and the EXTERNAL INPUTS, respectively, on the jack panel above.

The MONO switch sums the left and right channels together to allow you to check your mix in monaural. This affects only the control room monitor speakers, the studio monitor speakers, and the L/R meters (although the meters are not monoed in solo mode.)

SOLO

The Solo section (19) contains the master level control for the stereo Solo mix. Set at the center detent, it will match the level of the soloed signals to the same signals unsoloed. This section also has the most obnoxious solo light allowed under international trade and safety regulations. We hope it gets your attention. The monitor switch in the phones section must be pushed in (selected) or the solo bus will not feed the phones. (By the way, if your console has two little tiny Death’s Heads above your RUDE SOLO LITE, you are very lucky. Only one in 10,000 Mackie consoles has what we call “Grim Greg” on it, and if you send in the top panel of your console with proof of purchase, we will ship postpaid to your door the bivalve pride of the Northwest, a Quilcene-smoked Geoduck filet, with our compliments!)

TALKBACK

The talkback section has four momentary pushbutton switches, which assign talkback to any combination of AUX Send 1, AUX Send 2, TAPE SUBGRPS (L/R MIX and the 8 SUBMASTERS) and PHONES/STUDIO. Try setting the talkback level at the center detent for starters. It can be tweaked up or down to your liking.

Note: When talkback is engaged, only the control room outputs are padded by 20dB to avoid feedback, yet still allow the engineer to hear the musicians. The studio output is not padded. In situations where either the control room level is set way up, or there is a speaker pointing at the console, there may still be feedback. To prevent this, turn down the talkback level, the control room level, or change the angle of the control room speakers.

The Talkback Microphone is located just above the L/R MIX fader. This ain’t no Neumann, so don’t attempt vocals through it (we wanted it to sound gritty and generally talkback-esque). Application of chewing gum to this orifice will degrade performance further to simulate really beat-up AM radio production studios.

LAYOUT

AND

FUNCTION

13

PHANTOM

POWER

CHANNEL

16

JACK PANELS (INPUT STRIP & MASTER OUTPUT)

All of the inputs, outputs and insert points are located on the jack panels on the top and the rear panels of the mixer. An external patchbay is not required, although it does make life easier.

Let’s start by listing what is NOT on the

MIC/LINE

FRONT jack panel:

LINE

IN

• The console outputs to the multitrack tape

BAL-

UNBAL

DIRECT

OUT

recorder (the Submaster/Tape outputs)

• The console inputs from the multitrack tape

recorder

• The balanced main L/R (XLR connector)

INSERT

TIP = OUT RING = IN

outputs (on the rear panel)

All other connections are made at the top of the front panel, either above the channel Input Strips or above the Output Panel.

INPUT STRIP

Each channel input strip has its inputs and outputs located directly above the strip. The connections are detailed next.

PHANTOM POWER

Microphone phantom power (+48 VDC) is applied to the channel strips in groups of eight. The phantom on/off switch for channels 1-8 is located above channel 8; the switch for 9-16 above channel 16, and so on. It has a “ramping” function, which means it gradually ramps from 0 to 48V when you turn it on, and ramps back down when

you turn it off. This helps protect your microphones.

We suggest that before

plugging or unplugging mics, you turn off the PHANTOM

power. Give it about a minute to settle while you get a Diet YooHoo or call your stockbroker. Then connect or disconnect the microphone(s) and turn PHANTOM power back on.

CAUTION: After switching PHANTOM Power

on or off, wait 1 minute before changing any mic/ line switch settings in that eight-channel block.

Another safe alternative is to turn both TRIM and Channel Faders down for that bank of eight channels before switching.

Mic In

The channel microphone input (1) is a standard 3-pin female mic connector (call me Cannon or call me XLR, just don’t call me late for dinner). Pin one is ground, pin two is signal high (+), pin three is signal low (–), as per the (finally) agreed-upon international standard.

NOTE: Don’t use these XLR’s for line level signals — see “Line In”.

Line In

The channel Line Input (2) is a TRS (tipring-sleeve) balanced 1/4" phone jack, with ground wired to the sleeve, signal high (+) to the tip and signal low (–) to the ring. Nominal input level is +4dBu, with a wide range of levels accommodated by adjustment of the TRIM control. These jacks also accommodate TS (tip-sleeve) unbalanced 1/4" phone plugs. See Appendix A: Connections for more information.

Direct Out

The channel Direct Out (3) is a nominal +4dBu unbalanced TS 1/4" phone jack, connected to the output of the channel line amplifier post-EQ/post-fader/post-mute. The output signal of each channel strip is always available at the Direct Out jack. Using the Direct Out does not interrupt the normal signal flow through the channel.

Channel Insert

The channel Insert jack (4) allows you to insert external processing equipment (such as a compressor, gate, you name it) into the main signal path of the input channel strip. The insert point is after the FLIP switch (which also means that it is after the MIC/LINE or TAPE IN preamplifiers) but before the LO CUT filter, EQ and fader MUTE switch. The TRS jack is configured for the Tip (send), Ring (return) and Sleeve (signal ground). See Appendix A for more details on using external processing and channel inserts.

Let there be light (sockets)

Additionally, one or two BNC connectors (depending upon the number of input channels on the console) are provided above the input strips for gooseneck lamps. The BNCs are wired with the center post at +12 VDC. Mackie doesn’t offer lamps, but most dealers do. We recommend LittleLite lamps #12G or #12G-HI (a high-intensity version).

14

OUTPUT PANEL

The input and output jacks that correspond to most of the functions in the Output Panel are, logically, located in the jack panel directly above the Output Panel. The 8•Bus outputs to tape (and the inputs from tape) are located on the rear panel.

Submaster Inserts

At the top of the panel are the eight Submaster Insert jacks (1). These patch points allow you to insert a serial processing device (such as a compressor or an equalizer) into any of the 8•Bus submaster circuits. See Appendix A for more details on using external processing.

The insert point is after the summing amplifier, but before the fader. Like the Channel Insert points, the connectors are 1/4" TRS jacks, wired unbalanced with the output or send signal on the tip, the input or return signal on the ring, and the sleeve common or ground.

NOTE: These inserts can be used as pre-fader direct outs, using an unbalanced (TS) 1/4” plug in these two ways:

• Plugs are inserted just to the FIRST click.

There is no interruption of the signal; OR

• Plugs are inserted all the way in to the

SECOND click.This interrupts the signal and routes it ONLY to the device you’re sending to.

AUX Sends

The six AUX Sends (2) appear as six 1/4" jacks in a row, just underneath the Sub Inserts.

AUX Sends 1 and 2 are balanced TRS outputs, wired tip to high (+), ring to low (–), and sleeve to ground. AUX Sends 1 and 2 are designed so that 1/4" unbalanced TS phone plugs can also be used, with no loss of level. AUX Sends 3 through 6 are unbalanced, with the tip high (+) and ring and sleeve tied together as ground. Nominal level is +4dBu.

1

(MONO)

L

R

(MONO) (MONO)

L

TIP = OUT RING = IN

2

(MONO)

L

1234 56

R

2-TRACK

INPUT

3

(MONO)

L

R

L

4

AUX SEND

4

(MONO)

L

R

AUX RETURN

EXTERNAL

INPUT

SUBMASTER INSERT

5

(MONO)

L

R

L

(MONO)

STUDIO

OUTPUT

6

R

L

7

L

R

L

12

PHONES

right return inputs and end up centered in your stereo image. When a jack is plugged into the Right input of the return, this mono feature is disabled: the left input is fed to the left return, and the right input is fed to the right return.

Main Inserts

On the upper right of the panel are two Main Insert jacks (4). These patch points allow you to insert a serial processing device, such as a compressor or an equalizer, into the Main L/R Mix. See Section 4 for more details on using external processing.

The Main Insert’s insert point (try saying that fast three times backward) is after the summing amplifier but before the master fader. Like the Submaster Insert points, the connectors are 1/4" TRS jacks, wired unbalanced with the output or send signal on the tip, the input or return signal on the ring, and the sleeve common or ground.

Control Room Output

The two Control Room Output jacks (5) carry the signal for the Control Room speakers. They are 1/4" unbalanced, wired tip high, ring and sleeve ground. Nominal level is +4dBu. This is where you connect your control room monitor amplifier inputs.

8

MAIN

INSERT

CNTRL

RM OUTPUT

MAIN MIX

MIX-B

OUTPUT

R

AUX Returns

The AUX Returns (3) are stereo, with a L&R input for each return channel. Inputs are 1/4" unbalanced jacks, nominal level (+4dBu).

One special feature: The Left input jack to each return is also labeled “MONO.” If you have only one return signal, plugging it into the “MONO/L” jack only will cause it to be connected to both the left and

15

TIP = OUT RING = IN

1

2

3

SUBMASTER INSERT

4

5

6

7

8

LAYOUT

AND

FUNCTION

1

(MONO)

L

R

(MONO) (MONO)

L

2

(MONO)

L

1234 56

R

2-TRACK

INPUT

R

3

(MONO)

R

L

AUX SEND

4

(MONO)

L

R

AUX RETURN

EXTERNAL

INPUT

R

Main Mix

The Main Mix jacks (6) on the top panel are 1/4" TRS unbalanced, with tip high, and ring and sleeve tied to ground. The nominal level is +4dBu. These two jacks carry the L/R Main Mix, for connection to your master 2-Track recorder’s inputs, for instance. The same Main L/R Mix is also available, fully balanced, at the two XLR connectors on the back panel.

MIX-B Output

The MIX-B jacks (7) are 1/4" TRS unbalanced, with tip high, ring and sleeve tied together as ground, nominal level +4dBu. These jacks make the MIX-B signal available for external patching.

5

(MONO)

R

L

6

(MONO)

R

STUDIO

OUTPUT

L

MAIN

INSERT

L

CNTRL

RM OUTPUT

L

MAIN MIX

R

L

MIX-B

OUTPUT

12

PHONES

R

Studio Output

The two Studio Output jacks (9) carry the signal for the Studio speakers. They are 1/4" unbalanced, wired tip high, ring and sleeve ground, nominal level +4dBu. This is where you connect the inputs to your studio monitor amplifier.

Alternatively, the Studio Output jacks can be wired to a second Control Room amplifier and set of speakers. Then, to switch between the two sets, turn the CNTRL-RM level control fully down and turn up the STUDIO level control — or vice versa. This concept is very handy during mixdown. It won’t work very well if you plan to use any of the talkback switches, as you would during tracking/overdubbing.

Phones

The two Phones jacks (8) are 1/4" TRS stereo, with tip connected to left, ring to right and sleeve to ground. The final output of Phones 1 and Phones 2 appear here. These jacks may be connected to external power amplifiers for headphone distribution, or you may plug your phones directly into the jacks. There is plenty of level. In fact, you should turn the PHONES level down before you plug your phones in, and then bring the level up to where you want it.

16

2-Track Input and External Input

The 2-Track Input (10) and External Input (11) are 1/4" TRS unbalanced jacks, with tip wired to high and ring and sleeve tied together to ground. These inputs offer you the ability to listen to two mono or stereo sources directly, without patching through input channels. Either input can be connected to any stereo source you’d like to listen to. Usually, you will have the 2-Track Input connected to the output of your 2-Track master recorder, to check the mix.

The inputs are directly wired to the “2-TK” and “EXTERNAL” source selection switches in the Phones 1 and 2 and MONITOR sections of the Output Panel. These are +4 dBu inputs.

R

21

U

19

17

15

13 11 9 7 5

OPERATING

LEVEL CH. 17-24

IN –10dBV

OUT +4dBu

22

20

18

REAR PANEL CONNECTIONS

The connections to and from your multitrack recorder are on the Rear Panel of the 8•Bus Series. There are 16, 24 or 32 Tape Return jacks (depending on the model) and 24 Submaster/Tape Out jacks.

Tape Returns

The Tape Return jacks (1) are 1/4" TRS balanced, with tip wired to high (+), ring to low (–) and sleeve to ground. These jacks are also wired to accommodate 1/4" TS unbalanced connections. Each jack is connected to the Tape input on the corresponding channel, and is selected by the FLIP switch on that channel.

Connect the outputs of your multitrack recorder to the Tape In jacks. Note that they are grouped in sets of eight: 1-8, 9-16 and17-24.

Tape return OPERATING LEVEL

Nominal level for the Tape Return jacks is switched to either +4dBu (switch out) or -10dBV (switch in) in groups of 8 channels. If you aren’t sure of your multitrack recorder’s operating output level, check the specifications section of the recorder’s owner’s manual.

Submaster/Tape Outputs

The Tape Out jacks (2) are 1/4" TRS balanced, with tip wired to high, ring to low and sleeve to ground. These jacks are also wired to accommodate 1/4" TS unbalanced connections. The Submaster Outputs of the console appear on these jacks in the following pattern:

OPERATING

LEVEL CH. 9-16

IN –10dBV

OUT +4dBu

16 14 12 10 68

+4 / –10 BALANCED / UNBALANCED+4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED /

TAPE RETURNS 9-16TAPE RETURNS 17-24

Console Bus 1: Submaster 1, 9 and 17 Console Bus 2: Submaster 2, 10 and 18 Console Bus 3: Submaster 3, 11 and 19 Console Bus 4: Submaster 4, 12 and 20 Console Bus 5: Submaster 5, 13 and 21 Console Bus 6: Submaster 6, 14 and 22 Console Bus 7: Submaster 7, 15 and 23 Console Bus 8: Submaster 8, 16 and 24

Connect the inputs of your multitrack recorder to

the Tape Output jacks.

Why are there 24 submaster output jacks on an 8-submaster mixer? This is called “triple-bussing.” When you send a signal to Submaster 1 output, for instance, it will appear at Submaster Outputs #1, #9 and #17. Now, whichever tracks on your multitrack are in RECORD mode will accept the signal, while the tracks in SAFE mode won’t. That way, you can feed a 24-track deck without having to constantly re-patch. Connect the Submaster/Tape Outputs to the corresponding inputs on your multitrack, using only Submasters 1 through 8 for an 8-track deck, or 1-16 for a 16-track deck.

Submaster/Tape Output

OPERATING LEVEL

Nominal level for the Submaster jacks is switched to either +4dBu (switch out) or –10dBV (switch in) in groups of 4 channels (3). If you aren’t sure of your multitrack recorder’s operating input level, check the specifications section of the recorder’s owner’s manual.

TAPE RETU

LEFTRIGHT

+28dBu MAX OUT

MAIN BAL OUTPUTS

87156

16

5

IN –10dBV

OUT +4dBu

OPERATING

14

SUBMASTER / TAPE OUTPUTS

LEVEL

13

+4dBu BALANCED / –10dBV UNBALANCED

4

3

2

1

IN –10dBV OUT +4dBu

OPERATING

LEVEL

12

11

9

10

171820 1921222324

17

+18V

–18V +48V +12V

+5V

EXPANDER

PORT

USE MACKIE 8•BUS

EXPANDER CABLE

ONLY! KEEP COVERED

LEFTRIGHT

DC POWER IN

THIS CONNECTION FOR MACKIE

8•BUS POWER SUPPLY ONLY !

MAIN BALANCED OUTPUTS

Along with the unbalanced 1/4” TS Main Mix jacks on the front panel, balanced Main XLR Outputs (4) are also provided, wired pin 2 hot, pin 3 cold, pin 1 shield. Maximum output is +28dBu.

EXPANDER PORT

Need 24 more channels without buying a completely new board? Mackie has made provisions for a 24-channel Expander Console, the (24•E), which can be plugged into the Expander Port (5). Basically, it’s 24 more channel strips with inputs that feed your existing 8•Bus console submasters. Consult your Mackie dealer or the factory for more information.

+28dBu MAX OUT

MAIN BAL OUTPUTS

DC POWER IN

This is where the funny plug that looks like a Supersoaker squirtgun nozzle fits (6). Your 8•Bus console should ONLY be powered by the appropriate Mackie 8•Bus Power Supply.

This concludes our guided tour of the 8•Bus console’s controls and connections. Now it’s time for hands-on use!

18

THIS PAGE LEFT BLANK INTENTIONALLY!

19

SECTION 3: GENERAL INFORMATION

GENERAL

INFO

Do you need to read this section at all?

Many of you reading this manual have a lot of experience in using large mixing consoles. For you battle-scarred pros, Section 2 and the Block Diagram will probably be all that you need to look at.

Then there are those of you who have worked extensively with smaller mixers such as our CR-1604 — but who have less experience with a larger, multi-bus console with lots of gazintas and gozoutas. For you, we recommend at least adding Section 4 (Recording) and/or Section 5 (PA) to your reading list. These chapters cover some of the more unusual or less familiar features of your new 8•Bus console.

Finally, there are those who are either new to using mixers or just like to read even larger quantities of our glib prose. For you, we have provided this short section that discusses the basic concepts and procedures used in recording, mixing and sound reinforcement work. If you can make some sense of it, you’re ready for the next two sections, which relate these concepts to actually configuring and using a Mackie 8•Bus Series mixing console.

Also, if the system Block Diagram does not look as familiar to you as the menu at McD’s, spend a little time in this section.

Headroom

Every electronic circuit also has a point of overload — a clip point, where the voltage simply cannot rise any higher, no matter what the input signal and your fader move would like. This overload, or clipping, will show up as toothgrinding distortion.

Somewhere between the noise and the clipping is an optimum level for your signal: high enough above the noise floor to render the hiss inaudible, and far enough below the distortion point to allow range for loud peaks of music to pass without clipping. This safe operating zone might be called operating level or nominal level or zero or perhaps line level. The range between your operating level and clipping is called headroom, which defines just how tall your signal can be without having to duck for the rafters.

Your mission as a designated Master of the Levels is to get the low-level signals up to line-level as soon as possible and to keep them there as much as possible. But don’t turn them up too loud.

Unity Gain

On a Mackie 8•Bus console, the easy way to do this is to set all the level controls according to the Sensitivity Adjustment procedure detailed on page 1.

GENERAL INFORMATION

Here is a primer covering a few important ideas you should be on good terms with before you sit down to a mixing console.

LEVELS

Microphones have very low output levels. Power amplifiers have very high output levels. One of the

functions of a mixing console is to amplify or attenuate (reduce) these signal levels properly. Since it’s easy to degrade the signal by not handling levels well, and since it’s your hand on the controls, you should be sure you know how much gain to apply and where to apply it.

Noise

Every electronic circuit produces noise or hiss or hash or buzz, and any noise present on the input of an electronic circuit will be faithfully passed through. Turn it up high enough, and you will hear the noise.

Metering

When the meters read 0dB, the level will actually be +4dBu at the outputs (or –10dBV at the submaster outputs, if you’ve engaged their +4/–10 switches). Don’t pay too much attention to the meters. A meter is an aid, a window looking onto part of the dynamic range of your signal, and it will tell you if your level is in the ballpark, so to speak.

Try to keep your signals in the middle range of the meters, for the most part. If the signal is always very low, you may not be getting the best noise figures you can. If the meter LEDs are always solidly lit from bottom to top, you are likely distorting both the console and your recording tape regularly. Keep the signal in the middle, with occasional peaks into the yellow. Remember, the top yellow LED of the meter (+10) represents an audio level of +14dBu, and the Mackie 8•Bus doesn’t clip until +28dBu. Even banging the meters hard, you still have around 14dB of headroom for your peaks. (The L/R meters have an additional red LED segment to show clipping at +28dBu.). There are not

20

many recorders, and no amplifiers, that can tolerate such high signal levels. Therefore, it’s best that the red LEDs never light up.

But, if your music is sounding good, don’t worry if you’re in the yellow a lot or if some parts of the track hardly read at all. You’ll quickly get a feel for what works for you, when you can get away with really smacking the tape or the electronics too much.

BUSES

More often than not, the goal in a mixing console is to mix two or more inputs into one output. Like a coach who has two or more players to get to the same ballgame, console designers use a bus. Even Webster’s Unabridged Dictionary agrees, defining the word bus in electronics as “a conductor serving as a common connector for three or more circuits.”

The Mackie 8•Bus Series has, in fact, many more than eight buses. The eight memorialized in the name are important, but there are also six AUXiliary buses, a pair of L/R Mix buses, the alternate pair of MIX-B buses, and a pair of Solo buses. We will try to be clear just what bus we are talking about when we do talk about buses.

SENDS AND RETURNS

Sends are outputs, and returns are inputs. So why don’t we call them outputs and inputs?

Well, actually, the terms send and return can mean many things, but the way they are generally used in mixing console parlance is to refer to sends, which tap off a little of a signal to send to some effects device (like a reverberation unit), and returns, which function to return that reverb back into the mix.

Sends are also used to tap some mix of signal from a collection of channels for a headphone cue mix. For that matter, sends can be used as additional mix buses, if needed.

In the same way, if you don’t need them for reverb or effects, returns can be used as additional inputs to your mix.

SOLO

Solo is a standard console function that allows you to listen to one or more sources all by themselves (soloed).

You can check EQ, possible distortion or buzz, or just listen to see if a particular mic is open or not. This function can also be handled by each channel’s -20/OL LEDs. See Section 2 “–20 and OL LEDs” for more details. When soloing more than one source, you can listen to the blend of just part of your mix: only the sopranos, for ex-

ample, or just the tom mics on the drums.

The solo circuits are designed not to interrupt the recording process. The solo bus signal is sent directly to the control-room monitors without affecting any of the inputs, outputs or recording buses.

When you are mixing or monitoring with reverb, remember to not only solo the channel you’d like to hear, but also the AUX Return carrying your reverb. Otherwise, you will hear the channel soloed dry, without its echo.

EQ

Everybody knows what EQ is, but just in case you’d like a refresher, we’ll put in a few paragraphs here.

Equalization (EQ) refers to purposely changing the frequency response of a circuit, sometimes to correct for previous unequal response (hence the term, equalization), and more often to add or subtract level at certain frequencies for a pleasing effect.

Bass and treble controls on your stereo are EQ; so are the devices called parametrics and graphics and notch filters.

A lot of how we refer to equalization has to do with what a graph of the frequency response would look like. A flat response (no EQ) is a straight line; a peak looks like a hill, a dip is a valley, a notch is a really skinny valley, and a shelf looks like a plateau (or a shelf). The slope is the grade of the hill on the graph. For instance, if you lived in Texas, you would set y’all’s EQs flat.

Graphic equalizers have enough frequency slider controls to form a graph of the EQ right on the front panel. Parametric EQs let you vary several EQ parameters at once. A filter is simply a form of equalizer that allows certain frequencies through unmolested and either reduces other frequencies or eliminates them entirely.

The equalizer on the 8•Bus Series combines several different types of EQ into five different sections.

The HI MID EQ section is a fully parametric equalizer. This means all the significant parameters can be varied, as you can see in Figure 1. The

3 HI MID VARIABLES

HI MID Variable 1: Boost/Cut

HI MID Variable 2: Bandwidth

HI MID Variable 3: Band Center

GENERAL

INFO

21

Fig.1