Mackie D8B User Manual

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.

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.

Listening Environment

Power-up Procedure

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.

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

Master L/R

Fader Down

MASTER

L/R

Connect Instruments

and Microphones

Synth

D8B Manual • Chapter 4 • page 88

Console

Power On

Set Sample

Select A starting Snapshot or

Open Your Master Template

Amp or Powered

Monitors On

Clock

• 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.

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.

❏ Turn amplification system on

• Wait until all other gear is powered up before turning on the monitor system.

❏ Enjoy the creative process

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.

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.

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).

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.

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.

Remove Cover Plate for Tape I/O Card

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 T ape 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

❏

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 multi-

track 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

INPUTS

INPUT OUTPUT

OUTPUTS

Analog

Multitrack

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

ADAT OPTICAL

IN OUT

ADAT OPTICAL

TDIF

IN OUT

SYNC

rear panel

Fiber-optic

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 connec-

tions 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.

APOGEE

DIGITAL I/O

ADAT OPTICAL

DIO•8 Card

TDIF

IN OUT

SYNC

Tascam

DA-98

REMOTE INSYNC IN

(FROM RC848/DA-88)

TDIF Interconnect Cable

Sync Cable

rear panel

SYNC OUT (TO DA-88)

METER UNIT DIGITAL I/O

WORD SYNC

IN OUT

TDIF - 1

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.

❏ Press Mic button on channels using microphone

inputs.

MIC

❏ Configure Auxes for desired Pre/Post status, se-

lect Surround Mode, set Mix Options.

❏ Test each instrument and mic to verify sufficient

level at console input meter.

MIC/LINE Bank TAPE IN Bank

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.

SHIFT

MASTERS

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. .

+48V

MIC MIC

LINE IN

INSERT

2 4

7 10 15 20 25 30 40 50 60

❏ Adjust input trim for a reading around –15 on the

meter.

TRIM

060

20dB +40dB

❏ 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

ASSIGN ASSIGN

ASSIGN

BUS 7

ASSIGN ASSIGN

BUS 2

BUS 8

L-R

ROUTE TO

TAPE

REC/RDY REC/RDY

ASSIGN

WRITE

ASSIGN

WRITE

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

RACK

AST

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

❏ Turn channel faders up to hear instrument or mic.

GROUP 1

FX 1

❏ Once each channel is verified and audible, press

channel mute.

SELECT

SOLO

MUTE

BUS 5

BUS 6

RET 5

2145224623

BUS 7

RET 6

RET 7

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.

❏ 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.

Modular Digital Multitrack

TAPE IN Bank

Record Ready Buttons

❏ 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.

❏ 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

COPY MIX TO CUEAUX 9-10

AUX 11-12

CONTROL ROOM

LEVEL

PHONES/CUE MIX 2

AUX 9-10

AUX 11-12

COPY MIX TO CUE

CONTROL ROOM

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

MAIN

MASTER OUT

NEAR FIELD

❏ 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

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