Mackie D8B3.0 User Manual

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Page 1

DIGITAL 8•BUS

OWNER’S MANUAL

Version 3.0

™

MACKIE’S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE

Page 2

SAFETY INSTRUCTIONS

1. Read Instructions — All the safety and operation instructions should be read before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be kept for future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed.

4. Follow Instructions — All operating and other instructions should be followed.

5. Water and Moisture — This Mackie product should not be used 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. Ventilation — This Mackie product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings.

7. Heat — This Mackie product should be situated away from heat sources such as radiators or other devices which produce heat.

PORTABLE CART WARNING

Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer. A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.

8. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operating instructions or as marked on this Mackie product.

9. Power Cord Protection — Power supply cords should be routed 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 this Mackie product.

10. Object and Liquid Entry — Care should be taken so that objects do not fall into and liquids are not spilled into this Mackie product.

11. Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this Mackie

product; or

C. This Mackie product has been exposed to rain; or D. This Mackie product does not appear to operate normally or

exhibits a marked change in performance; or E. This Mackie product has been dropped, or its chassis

damaged.

12. Servicing — The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department.

13. Do not remove the cover on the console. It is permissible to remove the outer cover on the Remote CPU to install accessory cards. Do not remove the inner power supply cover.

14. To prevent electric shock, do not use this 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.

15. Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated.

16. 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.

FCC Information

NOTE: This equipment has been tested and found to comply

with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

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

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Note: The following notice concerns the lithium battery located on the motherboard inside the Remote CPU.

CAUTION: DANGER OF EXPLOSION IF BATTERY IS INCORRECTLY REPLACED. REPLACE ONLY WITH THE SAME OR

EQUIVALENT TYPE RECOMMENDED BY THE MANUFACTURER. DISPOSE OF USED BATTERIES ACCORDING TO THE MANUFACTURER’S INSTRUCTIONS.

ATTENTION: IL Y A DANGER D’EXPLOSION S’IL Y A REMPLACEMENT INCORRECT DE LA BATTERIE, REMPLACER UNIQUEMENT AVEC UNE BATTERIE DU MEME TYPE OU D’UN TYPE ÉQUIVALENT RECOMMANDÉ PAR LE CONSTRUCTEUR. METTRE AU REBUT LES BATTERIES USAGÉES CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT.

Statement of Conformity

Mackie Designs’ Digital 8•Bus has been tested and conforms to the following standards and directives of the European Council:

73/23/EEC Low Voltage Directive with amendments

91/263/EEC, 89/392/EEC, and 89/336/EEC 89/336/EEC EMC Directive IEC 950(1991)/EN60950:1992 Electrical Safety Requirements EN55103-1 and EN55103-2 Residential (E1) and Commercial (E2) Environments

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Table of Contents

Preface.................................................................................................................................... 1

Chapter 1: Getting Ready ................................................................................................. 3

Introduction .................................................................................................................................................................... 4

About This Manual ............................................................................................................................................ 4

Let’s Get It Working.......................................................................................................................................... 4

Hooking Stuff Up ............................................................................................................................................... 4

A New Way of Thinking: Four Consoles in One!................................................................................... 7

Fader Bank Selection........................................................................................................................................ 8

Let’s Get Some Sound Happening ..............................................................................................................8

Figure 1-1 Completing the Microphone Signal Path ....................................................................................................... 9

Signal Routing Concept ................................................................................................................................ 10

Figure 1-2 Simple Microphone Connection/Basic Live Setup ................................................................................... 11

Figure 1-3 Setting Up to Track ................................................................................................................................................11

Figure 1-4 Basic Mixdown Setup .......................................................................................................................................... 12

Keep Close Track of These Concepts...................................................................................................... 12

Figure 1-5 Signal-Flow Diagram ............................................................................................................................................. 13

Figure 1-6 D8B Block Diagram ...............................................................................................................................................14

Figure 1-7 D8B Gain Structure Diagram ............................................................................................................................. 16

Specifications.................................................................................................................................................... 17

Physical Dimensions ....................................................................................................................................... 18

Updating Software .......................................................................................................................................... 19

Windows-based Computers..................................................................................................................................................19

Macintosh Computers ............................................................................................................................................................. 19

Summary ............................................................................................................................................................ 20

Chapter 2: Where Is it?..................................................................................................... 21

It’s Time to Locate Everything ...............................................................................................................................22

Rear Panel Description .............................................................................................................................................22

Channels 1–12 Inputs ...................................................................................................................................... 22

Channels 13–24 Inputs ...................................................................................................................................22

Card Cage Section...........................................................................................................................................22

Master Input/Output Section................................................................................................................... 23

AUX OUT Section ...........................................................................................................................................24

Remote CPU Description.........................................................................................................................................25

Data and Synchronization I/O ..................................................................................................................25

Connecting a Mouse, Keyboard and SVGA Monitor.........................................................................25

Other Connections .........................................................................................................................................25

Control Surface Functions ..................................................................................................................................... 26

Channel Strip Section ................................................................................................................................... 26

Master Section Description .................................................................................................................................. 28

Master Fader/Bank Select Section ......................................................................................................... 28

Master V-Pot Section.................................................................................................................................... 29

V-Pot Assign Section ......................................................................................................................................30

Figure 2-1 Aux Sends 1-8 (Default—Mackie Stereo Effects [MFX]) .......................................................................... 31

Fat Channel Section........................................................................................................................................ 32

D8B Manual • Table of Contents • page i

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Studio/Solo Section ...................................................................................................................................... 33

Phones/Cue Mix Section ............................................................................................................................. 34

Control Room Section ..................................................................................................................................34

Clipboard Section ........................................................................................................................................... 35

Master L-R/Shortcuts Section ..................................................................................................................36

Bus Assignment Section................................................................................................................................36

Automation Section ....................................................................................................................................... 36

Session Setup Section ...................................................................................................................................38

Transport Section ............................................................................................................................................39

Chapter 3: What’s On TV?................................................................................................ 41

Using the Graphic User Interface (GUI).............................................................................................................42

The Beauty of It….............................................................................................................................................42

The Master Strip .............................................................................................................................................. 47

Signal Path Flexibility .................................................................................................................................... 49

May I See A Menu Please......................................................................................................................................... 51

The File Menu ................................................................................................................................................... 51

The Edit Menu................................................................................................................................................... 53

The Channel Menu .......................................................................................................................................... 56

The Options Menu ..........................................................................................................................................59

Automation Sub-menu...........................................................................................................................................................60

Transport Sub-menu .................................................................................................................................................................61

The Plugins Menu ............................................................................................................................................ 61

The Windows Menu........................................................................................................................................ 63

The Desktop Window (Ctrl+D) ................................................................................................................. 64

The Setup Window (Ctrl+1) .................................................................................................................................................. 64

General ............................................................................................................................................................................... 64

MDS Network ................................................................................................................................................................... 64

Digital I/O ......................................................................................................................................................................... 65

Licensing ............................................................................................................................................................................. 66

Mix Options ...................................................................................................................................................................... 66

Locator-MMC ...................................................................................................................................................................68

FTP Server .......................................................................................................................................................................... 68

The Snapshot Window (Ctrl+2)........................................................................................................................................... 69

The Surround Window (Ctrl+3) ........................................................................................................................................... 70

The Locator Window (Ctrl+4)...............................................................................................................................................74

The Mix Editor Window (Ctrl+5) ........................................................................................................................................ 75

The Fat Channel Window (Ctrl+6) ..................................................................................................................................... 78

The Panning Window (Ctrl+7) .............................................................................................................................................. 82

The Faders Window (Ctrl+8) ................................................................................................................................................ 82

Event Automation Track (Ctrl+9) ........................................................................................................................................ 83

The History List Window (Ctrl+H)...................................................................................................................................... 84

The MIDI Map Window (Ctrl+ –)........................................................................................................................................ 85

Erase UFX Memory... ................................................................................................................................................................86

Upgrade UFX Cards.................................................................................................................................................................. 86

D8B Manual • Table of Contents • page ii

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Chapter 4: Applications .................................................................................................. 87

Setting Up for a Session .......................................................................................................................................... 88

Listening Environment.................................................................................................................................. 88

Channel Configuration/Planning............................................................................................................. 88

Power-up Procedure ...................................................................................................................................... 88

Figure 4-1 Power-up Procedure............................................................................................................................................ 88

Figure 4-2 Basic Connection for Multitrack Recording .............................................................................................. 89

Setup Window ................................................................................................................................................. 89

Installation and Connection of Optional I/O and Effects Cards................................................ 91

Installation of FX Cards................................................................................................................................ 92

Installation of I/O Cards .............................................................................................................................. 93

Checklist for Basic Operational Functionality ...................................................................................94

Connecting Analog Multitrack(s)............................................................................................................. 94

Connecting ADAT (Lightpipe) Multitrack(s) ........................................................................................ 94

Connecting TASCAM (TDIF) Multitrack(s) .............................................................................................95

Multitrack Recording .................................................................................................................................... 96

Multitrack Tracking Checklist .............................................................................................................................................. 97

Sample Tracking Setup ............................................................................................................................... 100

Mixdown Setup ..............................................................................................................................................102

Effects/Plug-ins ............................................................................................................................................ 104

Dynamics and EQ Applications .............................................................................................................. 106

MIDI and the D8B ..........................................................................................................................................107

Word Clock and the D8B – The Kitchen Sync .................................................................................. 108

Dither – To UV22 or Not to UV22: That Is the Question............................................................... 111

D8B–HDR24/96 Setup ................................................................................................................................112

Using the Digital 8•Bus with ADATs ........................................................................................................ 117

Connecting the Digital 8•Bus to a BRC and ADATs ..........................................................................118

Connecting the Digital 8•Bus to ADATs Using an External Sync Box.......................................120

Connecting the D8B to TASCAM MDMs ............................................................................................. 122

Digital Audio Workstation Setup ...........................................................................................................124

Live Sound/Live Recording Setup .........................................................................................................126

Post-Production Setup ................................................................................................................................128

Bouncing/Summing Using Bus Outs ..................................................................................................... 128

Using Basic Automation..............................................................................................................................129

Automation Procedural Checklists ........................................................................................................ 132

Appendices ........................................................................................................................ 133

Appendix A: Service................................................................................................................................................. 134

Appendix B: IVL Vocal Studio .............................................................................................................................. 136

About the IVL Vocal Studio....................................................................................................................... 136

The Interface ...................................................................................................................................................136

Operation–Harmony ...................................................................................................................................138

Operation–Pitch Correction .................................................................................................................... 142

Appendix C: Plug-in Configuration and Routing.......................................................................................... 144

Appendix D: Shortcuts............................................................................................................................................150

Appendix E: MIDI Implementation Guide ...................................................................................................... 153

Appendix F: Compatible Cables.......................................................................................................................... 154

Colophon ..................................................................................................................................................................... 163

Index.................................................................................................................................... 156

D8B Manual • Table of Contents • page iii

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Preface

he Mackie Digital 8•Bus is an amazing digital audio tool. Its flexibility, depth, and creative pizazz

provides the engineer/artist with nearly limitless freedom to produce top quality work.

The D8B Version 3.0 upgrade offers a host of new features that can make your mixes sound better and

speed your workflow. Here’s a list of the newest features of the Mackie OS Version 3.0.

WHAT'S NEW WITH 3.0

• Third-party plug-ins via the Mackie UFX card

• Enhanced dynamics

• Input keying and EQ filter

• Soft knee compression toggle

• 48-channel overview screen

• 999 levels of Undo

• Automation Cut, Copy, and Paste

• 24-bit Alt I/O

• Advanced Mix Editor features including: New view-sizing arrows

Auto-loop SMPTE time code boxes

Loop-in/loop-out and Locate markers in the

time bar Contextual right mouse click for track

parameters and time bars

Event Automation Track

• Enhanced Surround Sound mixing environment

with:

Depth of Center Control

Surround LFE Gain Control for each channel

Surround-corrected bus/track assignment

Surround Front-to-Rear Pan Control via

control surface or MIDI Surround GUI update—new 72-channel

overview

• Triumphant Return of the Desktop—drag and drop file management between File windows

• Enhanced, flexible MIDI I/O mapping for all channel strip and master section parameters

• Assignable MIDI commands on transport (REW, FF, STOP, PLAY, REC) and on the D8B master control section

• Insert and patch point feature on channels— source either plug-ins, 8 aux sends, 8 buses, or 72 channels (pre-DSP only)

• 24-bit plug-in inserts across Main L/R buses

• Time offset (delay) on each channel 1-48 with 255 samples

• Channel Layout assigns channel strips in various orders

• Non-destructive Ungrouping

• Optional fader control of level to tape—direct out signal follows the source fader channel

• Multiple direct outs per channel

• Snapshot Library

• Pre/Post assignment of each aux send on each channel

• Improved BBT resolution and clocking accuracy

D8B Manual • Preface • page 1

Page 8

D8B Manual • Preface • page 2

Page 9

Chapter 1

Getting Ready

D8B Manual • Chapter 1 • page 3

Page 10

Introduction

his Guide reflects the newest and most progressive features and options available

on the Mackie Digital 8•Bus. The D8B is designed to grow with the audio industry. Each software revision provides new features and capabilities, updating your console and ensuring that your investment remains current for many years to come.

An increasing number of other manufacturers have jumped on the D8B band wagon. Through affiliations with companies like Apogee, TC Electronics, Massenburg, dbx, and Antares, Mackie Designs has provided an environment where third-party plug-ins let you design the perfect system for your needs—all within the Digital 8•Bus architecture!

Let’s Get It Working

This is a step-by-step guide to get the Digital 8•Bus working. We assume you’ve pulled everything out of the box and are ready to start working.

First, you’ll need:

• 1 Stereo Power Amplifier

• 1 pair of Monitor Speakers (you can substitute a pair of powered monitors for the power amplifier/ monitor speaker combo, or some stereo headphones)

• Miscellaneous cables

• 1 cup of coffee (we think any native Seattle-based beverage heightens the Mackie experience)

Hooking Stuff Up

First, connect the Remote CPU to the console.

About This Manual

This manual is the “let’s just do it” guide. Each chapter covers an important consideration:

• Chapter 1 describes basic setup procedures with an emphasis on achieving successful routing of an audio source to your monitors.

• Chapter 2 briefly describes all surface controls.

• Chapter 3 describes the on-screen interface.

• Chapter 4 highlights some typical applications.

If you’d like to move ahead at light-speed, try jumping directly to Chapter 4, using Chapters 2 and 3 as a reference. If you crave details, or if you’re new to recording—especially digital recording—don’ t forget to check out our website for more info at www .mackie.com.

TAPE 1-8 TAPE 9-16 TAPE 17-24

OUT

ANALOG I/O

BUS OUT 1-8

SURROUND OUT

ANALOG IN ANALOG OUT

MASTER OUT

WARNING:

SHUT OFF REMOTE POWER SUPPLY BEFORE CONNECTING

OR DISCONNECTING POWER SUPPLY CABLE FROM CONSOLE

POWER SUPPLY

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

CAUTION

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS:

RISQUE DE CHOC ÉLECTRIQUE — NE PAS OUVRIR

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

WARNING: SHUT OFF POWER TO UNIT BEFORE INSTALLING OR REMOVING CARDS!

INPUT72 CHANNEL

CONSOLE

DATA

SERIAL NUMBER

DIGITAL MIXER

A B C D

MANUFACTURING DATE

DIGITAL EFFECTS CARDS DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS

DIGITAL I/O

OUT

AES/EBU

S/PDIF

1. Connect the DC power cable between the Remote CPU and the console. Rotate the outer sleeve of the connector clockwise until the sleeve is snug and finger-tight.

Caution: The Remote CPU weighs 42 pounds, so we recommend that if you mount it in a rack, you place it at the bottom of the rack and provide additional support at the rear of the unit.

LINE INPUTS

(BAL/UNBAL)

172418

MASTER OUT

CR MAIN LR

NEAR FIELD

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS:

1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE AND

2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT MAY CAUSE UNDESIRED OPERATION

PHONES 1

2 TRACK IN A

2 TRACK IN B

2 TRACK IN C

PUNCH I/O

MACKIE DESIGNS

+48V

MIC MIC10MIC9MIC8MIC7MIC6MIC5MIC4MIC3MIC2MIC1MIC

2014211522

STUDIO OUT

LINE IN

PHONES 2

INSERT

TALKBACK

AUX11AUX

+48V

LINE IN

INSERT

AUX8AUX9AUX

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •

+48V

LINE IN

INSERT

AUX OUT

(BAL/UNBAL)

+48V

LINE IN

INSERT

AUX1AUX2AUX3AUX4AUX5AUX6AUX

PATENTS PENDING

Data Cable

DC Power

Cable

MACKIE DESIGNS

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO

THE FOLLOWING TWO CONDITIONS: 1) THIS DEVICE MAY NOT CAUSE HARMFUL

INTERFERENCE AND 2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT

MAY CAUSE UNDESIRED OPERATION

120V

60Hz, 2.8A

120/230V

1.0/0.5A

SERIAL NUMBER MANUFACTURING DATE

CONSOLE DATA

KEYBOARD

D8B Manual • Chapter 1 • page 4

PARALLEL

MOUSE

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •

Multi-Sync Video Monitor

PC-Compatible Keyboard

PS/2 Mouse

Page 11

CPU

PARALLEL

MIDI

CONSOLE DATA

MOUSE

Mouse

KEYBOARD

Keyboard

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •

2. Connect the data cable between the Remote CPU and the console. Rotate the thumbscrews on each connector clockwise until they are finger tight.

3. Make sure the POWER switch on the Remote CPU is off.

4. Connect the detachable linecord to the Remote CPU. Shortly, we’ll connect to AC power .

Ethernet

Video

Next, connect the keyboard, mouse, and video monitor.

These connections are optional, but we strongly recommend using them to get the most from your new Digital 8•Bus console.

PARALLEL

CONSOLE DATA

MOUSE

KEYBOARD

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •

D8B Manual • Chapter 1 • page 5

Page 12

1. Plug a PC-compatible keyboard into the KEY BOARD port on the back of the Remote CPU.

2. Plug a PS/2 compatible mouse into the MOUSE port on the back of the Remote CPU.

3. Plug an SVGA video monitor into the VIDEO port on the back of the Remote CPU.

Note: We highly recommend the use of a multisync monitor; however , if one is unavailable you must use a monitor capable of at least a 72Hz scan rate. We recommend using a 17-inch or larger monitor for best results.

Now connect the audio inputs and outputs to the console.

1. Connect the CR NEAR FIELD or CR MAIN outputs on the back of the Digital 8•Bus to the line inputs of the power amplifier . These outputs are wired balanced when using a tip-ring-sleeve connector or unbalanced when using a tip-sleeve connector . Use instrument/line-level cable for this connection.

2. Connect monitor speakers to the output of the power amplifier using speaker cable. Always use high quality wire. The sound you hear will be more reliable and accurate.

MASTER OUT

MAIN

NEAR FIELD

Line Cable Line CableLine Cable Line Cable

Powered Monitors

Connect directly from CR NEARFIELD or CR MAIN to powered reference monitors using line-level cable.

MASTER OUT

Note: If you’re using powered monitors, connect the Left and Right CR NEAR FIELD outputs directly to the line inputs on the powered monitors.

Optional Refreshments

Have a sip of java and a biscotti.

Details

Make sure the POWER switch on the Remote CPU is off. Now plug the linecord into an AC outlet properly configured for your model. Leave the POWER switch off while connecting the peripheral equipment to the console.

Note: The Remote CPU should be treated as you would any computer. We recommend that you use a UPS (Uninterruptible Power Supply) and a surge protector on the AC line.

Caution: Never connect or disconnect anything except microphone or line-level inputs while the console is powered up.

MAIN

NEAR FIELD

Line Cable Line Cable

Speaker Cable Speaker Cable

Non-powered

Monitors

Connect from D8B outputs to power amp using line cable, then from amp to non-powered speakers using speaker cable.

D8B Manual • Chapter 1 • page 6

Page 13

T urn on the power switch on the front panel of the Remote CPU, then turn on the power to all your peripheral equipment. The Digital 8•Bus takes a few moments to load the Mackie Real Time OS (Operating System) and initialize the DSPs. When the Vacuum Fluorescent Display (VFD) in the onboard Fat Channel Section indicates EQ settings for channel 1, the console is ready to use.

These buttons let you access four completely different sets of controls, referred to as Fader Banks. Even though only one Fader Bank is accessible at a time, all four are fully functional at all times. Use of a computer monitor provides on-screen control of two fader banks at a time.

Fast Track Power-Up

1. Switch D8B power on.

2. V erify that SPEAKER LEVEL V-Pot is turned all the way down.

3. Switch on all peripherals (processors, recorders,

AST RACK

interfaces, etc.).

4. Switch on monitor amplifier or powered monitors.

A New Way of Thinking: Four Consoles in One!

With the Digital 8•Bus, what you get is way more than what you see at first glance. Directly above the Master L/R fader, locate four buttons labeled MIC/LINE, TAPE IN, EFFECTS, and MASTERS.

ls 1

-2

MASTERS

1-24

MIC/LINE

(TRACK) (MONITOR)

BANK SELECT

SHIFT

25-48

TAPE IN

49-72

EFFECTS

Now that you’ve got the Digital 8•Bus powered up, try the different fader banks.

• Press the MIC/LINE button and set up a random set of fader levels.

• Press the TAPE IN button and set up a completely different set of fader levels.

• Do the same for EFFECTS and MASTER.

MASTERS

1-24

MIC/LINE

Fader Bank 1

Channels 1-24

Mic/Line

Tracking

(TRACK) (MONITOR)

49-72

EFFECTS

BANK SELECT

SHIFT

25-48

TAPE IN

MASTERS

1-24

MIC/LINE

TAPE IN

(TRACK) (MONITOR)

49-72

EFFECTS

BANK SELECT

MASTERS

1-24

MIC/LINE

(TRACK) (MONITOR)

SHIFT

25-48

49-72

EFFECTS

BANK SELECT

SHIFT

25-48

TAPE IN

Fader Bank 2

Channels 25-48

ls 2

-4

-1

; A

-8

s 1

-8

; M

I 1

-8

; B

s 1

-8

Monitor/Tape In

Mixdown

Fader Bank 3

Channels 49-72

FX Return 1-16

ALT Return 1-8

Fader Bank 4

Virtual Groups 1-8 MIDI Controllers 1-8 Bus 1-8 Masters

MASTERS

1-24

MIC/LINE

TAPE IN

(TRACK) (MONITOR)

49-72

EFFECTS

BANK SELECT

SHIFT

25-48

D8B Manual • Chapter 1 • page 7

Page 14

As you switch back and forth between all four fader banks, the faders will move to their respective settings for each bank. You’ll find that this becomes your most popular demonstration. Your friends will love it; your spouse will love it; your pet will be mildly amused.

This exercise demonstrates a process that will become second nature as you increase your skills on the Digital 8•Bus. The layered approach to digital mixing is actually very convenient, while at the same time providing tons of features in a compact package. This mixer contains more flexibility and features than most consoles taking up 12 or more feet of desk space and costing up to 50 times more!

Fader Bank Selection

• MIC/LINE button = Fader Bank 1

(Channels 1–24)

• T APE IN button = Fader Bank 2 (Channels 25–48)

• EFFECTS button = Fader Bank 3 (Channels 49–

72: Internal Effects Returns, FX 1–16, and ALT RET urns 1–8)

• MASTERS button = Fader Bank 4 (Virtual Groups

1–8, MIDI Controllers 1–8, Bus Masters 1–8)

This architecture provides a total of 56 inputs, with Fader Banks 1 and 2 providing 48 inputs, and the 8 ALT Returns in Fader Bank 3 providing another 8 inputs.

One of the primary applications the Digital 8•Bus was designed for is multitrack recording (generally up to 24 tracks). This involves tracking and monitoring, bouncing, overdubbing, and mixdown. You can think of Fader Bank 1 and Fader Bank 2 as two separate mixing consoles, where Fader Bank 1 is used for tracking and Fader Bank 2 is used for monitoring and mixdown.

T wo 24-track machines can easily be connected to the D8B for mixdown: one into the Fader Bank 1 line inputs, and the other into the Fader Bank 2 (T ape) I/O cards. This setup provides an amazing amount of control through automation, routing, and DSP!

Note: Although the D8B is perfectly set up for 24-track recording, it’ s possible to route channels to 46 outputs, all at the same time: 24 direct outputs (3 cards), 8 buses (Alt I/O), 2 main stereo outputs, and 12 auxes.

Let’s Get Some Sound Happening

• Mixer Power On.

• Monitors connected and on.

• Microphone or Instrument plugged into Channel One.

• Phantom Power button pushed in if required.

• Fader Bank 1 (MIC/LINE selected).

• Press the MIC button down when using a microphone; leave it up for an instrument.

• While sound source is active, adjust TRIM for a reading around –15 on the channel 1 meter .

• Select L–R in the ASSIGNMENT section, then verify that the ASSIGN button on Channel One lights up green.

• In the CONTROL ROOM section, select MASTER L–R.

• Select the desired SPEAKERS in the CONTROL ROOM section.

• Set the SPEAKER LEVEL V -pot to about 11:00.

• Turn the MASTER L/R fader up to unity.

• Slowly raise the level of the Channel One fader until you hear sound.

• The Master L/R meters should display levels.

• Rejoice in the sense of accomplishment while listening to crystal-clear audio.

Refer to Figure 1-1 for the Fast T rack Graphic

description of this procedure.

Details

1. Especially for digital connections, it’ s important that the Digital 8•Bus is powered up first. This procedure helps establish the mixer as a primary source in the digital sync scheme.

2. Be sure you’ve noted which output is connected to the monitor system(s) and be sure they’re powered up.

3. Be sure the microphone or instrument is plugged into Channel 1 and that Fader Bank 1 (MIC/LINE) is selected. It doesn’ t take long to get used to selecting the fader bank you really need to access; however, at first make a conscious effort to include this step in your routine.

4. Be sure the button below the gain trim labeled MIC is pressed down for a microphone or is in the up position for an instrument When working fast this button is sometimes overlooked. If it’s in the wrong position there won’ t be any signal to play with. That’s bad. Get in the habit of following the signal from the source to the destination—step by step. If you don’ t leave any steps out you’ll be successful every time.

AST

RACK

D8B Manual • Chapter 1 • page 8

Page 15

Figure 1-1 Completing the Microphone Signal Path

Follow this graphic map to quickly complete a signal path using a microphone to capture the sound source..

Mic into

Power On

Speakers On and

Connected to Mixer

Mic Input

Phantom

power

Select Fader

Bank 1

MASTERS

MIC/LINE

SHIFT

1-24

25-48

TAPE IN

(TRACK) (MONITOR)

49-72

EFFECTS

BANK SELECT

AST

RACK

Mic Button

Down

MIC

Trim Up Until

Channel Meter Reads

Around –15 dBFS

TRIM

060

20dB +40dB

2 4

7 10 15 20 25 30 40 50 60

Select L/R in ASSIGNMENT, then

Verify Assign on Channel Strip

ASSIGNMENT

ASSIGN ASSIGN

ASSIGN

BUS 7

ASSIGN ASSIGN

L-R

BUS 2

BUS 8

ROUTE TO

TAPE

5. Start with gain TRIM down. While talking into the mic or playing the instrument, turn it up until the level stays around –15 to –10 on the channel one meter .

TRIM

060

+40dB

20dB

MIC

REC/RDY REC/RDY

ASSIGN

WRITE

ASSIGN

WRITE

Verify

MASTER L/R

2 TRACK C

MONO

NEAR FIELD

SPEAKER S

SPEAKER LEVEL

Select Monitors/Set V-pot Around 11:00

MASTER

L-R

MAIN

Master Fader

at Unity

MASTER

L/R

Raise Channel

Level to Hear

6. In the CONTROL ROOM section, press the MASTER L–R button so the yellow light comes on. Assigning this button sends whatever is coming from the MASTER L/R fader to the selected speakers.

CONTROL ROOM

2 TRACK A

2 TRACK B

2 TRACK C

DIGITAL IN 1

DIGITAL IN 2

MASTER

L-R

GROUP 1

FX 1

Note: The TRIM and MIC button status are two of the only controls that are not written into automation or snapshot data. That’ s a disadvantage of analog circuitry , but these controls are necessary. Running a strip of white safe-release tape across the top label strip allows for careful recording of each channel’ s TRIM level and MIC button status. This kind of tape can be removed and folded for storage with session documentation, guaranteeing accurate settings whenever you need to restore the mix.

MONO

NEAR FIELD

SPEAKER LEVEL

DIM

SPEAKE RS

MAIN

TALK B AC K

D8B Manual • Chapter 1 • page 9

Page 16

7. In the ASSIGNMENT section, verify that when L–R is selected (green light on) the ASSIGN button in Channel One lights up green. This is basic bus assignment procedure. Anything you want to come out the MASTER L–R bus must light up on the assign button of each desired channel. In similar fashion, any channel that needs to be assigned to Bus 1 must have the channel assign button lit when Bus 1 is selected in the ASSIGNMENT section.

ASSIGNMENT

ASSIGN ASSIGN

BUS 1

ASSIGN ASSIGN

BUS 3 BUS 4

ASSIGN ASSIGN

BUS 5

ASSIGN ASSIGN

BUS 7

ASSIGN ASSIGN

L-R

BUS 2

BUS 6

BUS 8

ROUTE TO

TAPE

Signal Routing Concept

The Digital 8•Bus, with its multilayer technology, literally performs the work of at least four consoles. T o help organize the various connections, visualize each bank as a new console. The “V” or “Multi-V” diagrams that follow provide a simple and accurate mental image of the signal flow and/or processing while you put the Digital 8•Bus through its paces.

Figure 1-2 demonstrates a simple connection scheme utilizing a microphone that’s routed though the D8B to the monitor system.

Figure 1-3 demonstrates a tracking setup. Notice how the graphic representation of two separate fader banks supports the mental image of the D8B concept: sound source into the MIC/LINE bank, then routed to the multitrack, then back into the TAPE IN bank.

Figure 1-4 adds a mixdown recorder . The beauty of this concept lies in its flexibility. Start at the beginning, middle, or end of the signal path—it doesn’ t matter. When the routing concept is understood, the process is simple.

8. Be sure the SPEAKER button is lit that corresponds to your monitor system connection—that the yellow light shows on NEAR FIELD or MAIN.

9. T urn the SPEAKER LEVEL V-pot up to about 11:00.

10. Turn the MASTER L/R fader up to unity.

11. Slowly raise the level of the Channel One fader until you hear sound.

TRIM TRIM

REC/RDY REC/RDY

ASSIGN

WRITE

ASSIGN

WRITE

ASSIGNMENT

ASSIGN ASSIGN

ASSIGN

BUS 7

ASSIGN ASSIGN

L-R

BUS 2

BUS 8

ROUTE TO

TAPE

D8B Manual • Chapter 1 • page 10

Page 17

Figure 1-2 Simple Microphone Connection/Basic Live Setup

This setup illustrates the most fundamental use of the D8B. A very basic live setting might require only this limited level of complexity.

RACK

AST

Channel 1–24

Mic/Line In

Channels 1–24 Tracking Mixer

Fader Bank 1

Monitor Outs

to Speakers

Figure 1-3 Setting Up to Track

The graphic below highlights the simplicity of the D8B tracking procedure. Once levels to tape are set, using the Channel Trim controls, it’s typically best to monitor the mix from the TAPE IN Fader Bank throughout tracking.

RACK

AST

Channel 1–24

Mic/Line In

Channels 1–24 Tracking Mixer

Fader Bank 1

Multitrack

Tape or Bus Outs to

Multitrack Inputs

From Tape to Channel

25–48 Inputs

Channels 25–48

Tape Returns

Fader Bank 2

Monitor Outs

to Speakers

Channel Assign-

ments Routed to

L/R Mix

D8B Manual • Chapter 1 • page 11

Page 18

Figure 1-4 Basic Mixdown Setup

This is a basic mixdown setup. Live Mic/Line input source might be used for any audio source: live vocals, instruments, or effects returns.

Multitrack

RACK

AST

Outboard Effects,

MIDI Gear, Live Room Mics, etc.

Channels 1–24 Tracking Mixer

Fader Bank 1

Tape or Bus Outs

From Tape to Channel

25–48 Inputs

Channels 25–48

Monitor Tape

Fader Bank 2

Use this diagram for troubleshooting!

Signal Flow

The previous diagrams help create an accurate mental image of how the D8B functions. The signal flow diagram in Figure 1-5 (on the next page) looks more closely at the actual path the signal takes from a point of origin to a chosen destination. This is a simplified flow-diagram designed to provide a “bird’seye” view . Follow the signal from left to right. Notice the first thing the signal encounters, after the analog inputs (including the analog trim), is the analog-todigital converter . The audio remains in the digital domain from that point until it finally converts back to analog at the main outputs, bus outputs, and external aux sends. Simply follow the arrows to discover the path—you never know where you might end up. For a more detailed block diagram of the D8B signal path refer to Figure 1-6.

From Mix Playback to 2-Track Input (Analog

From Master Out to

or Digital)

Mixdown Recorder

Monitor Mixdown Machine

at CONTROL ROOM in the

Master Section

2 4

7 10 15 20 25 30 35 40 50

LEFT RIGHT

CHANNEL

2. Be sure you verify the Bank Selection whenever you need to make a change. At first it’s easy to forget to check the Fader Bank status. However, once you’ve adjusted to the layered consoles, maneuvering throughout the entire console will become second nature.

Monitor Outs

to Speakers

Phones

Keep Close Track of These Concepts

1. The Channel Select Display, next to the Master L/R meters, always displays the currently selected channel number no matter which Fader Bank is selected. If an adjustment is required in the Fat Channel, verify that the channel you intend to adjust is displayed here.

D8B Manual • Chapter 1 • page 12

49-72

EFFECTS

BANK SELECT

SHIFT

25-48

TAPE IN

MASTERS

1-24

MIC/LINE

(TRACK) (MONITOR)

Page 19

Figure 1-5 Signal-Flow Diagram

AUX 7

AUX 8

AUX 5

AUX 6

AUX 1

AUX 3

AUX 2

AUX 4

LEVEL TO TAPE

DIGITAL TRIM

1-24 1-48

Simply begin at the far left star and follow the route the signal must take to reach the master output. DSP includes all dynamics, equalization, and phase controls.

Main Inserts

Tracking/Routing

Pre-DSP

Insert

Post-DSP

Insert

Channel

Meter

Level to

Tape

To Tape Outputs

R L

AES/EBU Out

S/PDIF Out

Analog

Inputs

CH 1-48

Optional

Digital Tape

I/O Card

Monitoring

AES/EBU

S/PDIF

2 TRK A

2 TRK B

2 TRK C

Analog to

Digital

Converter

Auxes 9/10 Auxes 11/12

DAC

From

L/R Out

DSP (EQ, Comp, Gate, etc.)

Control

Room

Select

Ch. 49 54

Pre

Channel

Aux Send

Returns

Fader

Level

Internal

Main L/R

Meter

Channel

Pan

Post

Master Aux

Send Level

Near Field

Speaker

Level

Main

Speaker

Level

Studio

Level

Cue Mix 1

Level

Cue Mix 2

Level

Sends 1 – 8

Bus

Assign

Bus 1-8

Master L/R

Fader

Bus Master

Digital to

Analog

Converter

Digital to

Analog

Converter

Digital to

Analog

Converter

Lake Sammamish

6 miles

Nearfield

Out

Main

Out

Studio

Out

Phones 1

Out

Phones 2

Out

Main

Out

Bus 1-8

Outputs

Aux

Sends

3. When using the V-Pot to adjust a parameter , make sure it’s assigned to make the change you need. Since the V -Pot is a multifunction control, it’s easy to assume it’s doing the job you want when it might be changing a completely different setting. Intentionally check the status of the V-Pot before making a change.

AUX 9-10

PAN

MASTER

AUX 11

PAN

SOLO

D8B Manual • Chapter 1 • page 13

Page 20

MIC/LINE 1 (through 12)

MIC IN

MIC/LINE

48V

LINE IN

ANALOG STEREO

INSERT/RETURN

TRIM

A to D

PRE-DSP

INSERT (CHANNEL TAP AND PLUG-INS)

KEY INPUT

Default: Itself (the channel)

OR:

CHANNEL TAP

BUS TAP

AUX TAP

2-TRACK DIGITAL INPUT

POST-DSP

INSERT

(PLUG-INS

ONLY)

CHANNEL

TAP

METER

LINE 13 (through 24)

LINE IN

FROM TAPE 25 (through 32)

FROM TAPE 33 (through 40)

FROM TAPE 41 (through 48)

TRIM

Analog 8 channel TAPE CARD

(optional)

Analog 8 channel TAPE CARD

(optional)

Analog 8 channel TAPE CARD

(optional)

FX card A. inputs 49–52

Inputs 53–64

(optional — B, C, D cards)

ALT I/O CARD 65-72 (optional)

TDIF/ADAT 8 channel format

(optional)

A to D

DELAY DIG. TRIM

COMPEQGATE

PHASE HI PASS

FADER

DIRECT ASSIGN

TO TAPE OUT

PFL SOLO

MUTE

PAN

AES/EBU & S/PDIF STEREO INPUT

TO CONTROL ROOM

SELECT

Digital 8•Bus

Block Diagram

4 / 12 / 2001”

Figure 1-6 D8B Block Diagram

This diagram provides a detailed view of the D8B signal path.

“Mackie

PRE/

POST

AUX

LEVEL

AUX

LEVEL

AUX

LEVEL

AUX

LEVEL

AUX 1–8

AUX PAN

D8B Manual • Chapter 1 • page 14

Page 21

AUX 11/12

AUX 9/10

TAPE 1–8

TAPE 9–16

TAPE 17–24

PFL SOLO

SOLO L

SOLO R

MAIN LEFT

MAIN RIGHT

BUSES 1–8

AUX SEND 1–8

AUX SEND 9

AUX SEND 10

AUX SEND 11

AUX SEND 12

AUX

TAP

LEVEL

D / A

FX CARDS

AUX 1 (of 8)

MASTER

AUX SOLO 1 (of 8)

D8B Manual • Chapter 1 • page 15

TO FX METER SELECT

LEVEL TO TAPE

BUS LEVEL

MUTE

D / A

TAPE 1–8 TAPE 9–16 TAPE 17–24 PFL SOLO

MIXDOWN

SOLO

SOLO L SOLO R MAIN LEFT MAIN RIGHT BUSES 1–8 AUX SEND 1–8 AUX SEND 9 AUX SEND 10 AUX SEND 11 AUX SEND 12

ONLY SOLOED CHANNELS

MIXDOWN SOLO SENDS

TO MAIN L/R BUS

MASTER

FADER

MAIN INSERT R (L)

D8B OUTPUT SECTION

X2 LEFT AND (RIGHT)

D / A

AUX 9/10 MASTER

( )

AUX SOLO 9 (10)

LEVEL

D / A

SOLO

AFL

PFL

PFL/AFL/MIXDOWN

D / A

( )

2 TRK IN

2 TRK A

MASTER L-R

DIG IN 2

CONTROL ROOM

SELECT

LEVEL

AES/EBU IN

DIG IN 1

FROM

D / A

S/PDIF IN

FROM

D / A

(R)

TALKBACK TO STUDIO

TB LEVEL

TALKBACK

D / A

AUX 11/12 MASTER

D / A

9/10

11/12

PH 2 LEVEL

CTRL RM

11/12

PH 2

AUX SOLO 11 (12)

D / A

PHONES SELECT

CTRL RM

9/10

PH 1

PH 1 LEVEL

TO SOLO BUS

LEVEL

2 TRK B

2 TRK C

NEARFIELD

DIMMETERS

BUS SOLO

BUS

TAP

D / A

ASSIGN

CONTROL

SOLO

MONO

(R)

LEFT

MAIN

DIM

LEVEL

AUX 1 – AUX 8

ALT I/0

TAPE 17–24

TAPE 9–16

TAPE 1–8

SPKR LEFT

BUS 1–8

MAIN

(R)

NEARFIELD

SPKR LEFT

(R)

STUDIO OUT LEF

(R)

AUX 11/12

PHNS 2 LEFT

PHNS 1 LEFT

AUX 9/10

MAIN OUT LEFT

(R)

MAIN OUT LEFT

(R)

DIGITAL OUT LEF

AES / EBU

(R)

S/PDIF

(R)

DIGITAL OUT LEF

Page 22

mic in

1-12

+22 dBu max input

20 dB loss

40 dB gain

20 dB loss

20 dB gain

60 dB gain

line in

1-12

+2 dBu max input

+22 dBu max input

line in 13 - 24

Inputs 25-48, Returns 1-8, 2 Trk A-C

level up +10 dB

+22 dBu max input

level up +20 dB

gain up +15 dB

gain dn –15 dB

level up +10 dB

pan cntr –3 dB

fat DSP

digital trim compressor 4 band EQ channel fader pan

level up +10 dB

ch aux level mix

+22 dBu max out

Aux send

level up +10 dB

+22 dBu max out

Bus 1-8

Studio Out

Phones 1&2

st. aux pan cntr -3 dB

level up +10

TRS +22 dBu max out

Main L-R

XLR +28 dBu max out

+22 dBu max out

Control Room

Max Level @ Unity gain

Mackie Effects

gain up +12 dB

gain dn –12 dB

Mackie Designs

Digital 8•Bus

Gain Structure Diagram

5/15/01

Figure 1-7 D8B Gain Structure Diagram

D8B Manual • Chapter 1 • page 16

Page 23

Specifications

Meters:

• LED ladders displaying 24 channels, 24 LEDs per channel from –50 to 0 dBFS (0 dBFS = +20 dBu)

Frequency Response:

• 20Hz-20kHz +/-0.5 dB

Crosstalk (@ 1kHz)

• Adjacent channels: –90 dBu

• Aux sends feed through: –90 dBu

• Main outputs: –90 dBu

Equalizer

• Gain Range: ±15 dB

• Frequency range: 20Hz-20kHz

split into 4 bands

• Q: 1/12 to 3 octave

Compressor

• Threshold: –60 to –1 dB

• Attack: 0.3 ms to 2.6 sec

• Release: 80 ms to 2.6 sec

• Ratio: 1:1 to 20:1

• Output: 0.0 dB to 20 dB

Gate

• Threshold: –60 to –1 dB

• Attack: 0.1 ms to 0.6 sec

• Release: 80 ms to 2.6 sec

• Range: 0 dB to 100 dB

Analog Input/Output Section

• Output Level (0 dBu = 0.775V RMS)

• Left and Right Outputs: +22 dBu balanced 1/4" TRS +28 dBu balanced XLR

• Bus (Tape) out: +22 dBu balanced 1/4" TRS

• Aux sends: +22 dBu balanced 1/4" TRS

• Inserts: +22 dBu unbalanced 1/4" TRS

Channel Section (mic/line)

• Line input: balanced 1/4" TRS input

• Mic Input: balanced XLR input

• Preamp dynamic range:

114 dB max.

• E.I.N.:

–129.5 dBu, 150 ohm source –131.2 dBV, 150 ohm source

• CMRR: –83 dBu @1kHz

• Distortion: 0.005% @ 1kHz

+14 dBu output level (20Hz-20kHz filter)

• Mic gain range: Unity to +60 dB

• Line In gain range: –20 dB to +40 dB

(channels 1-12) –20 dB to +20 dB (channels 13-24)

• Input max. level: +4 dBu nominal

+22 dBu clipping

• Aux send gain range: off to +10 dB

• Bus out gain range: off to +10 dB

• Threshold: –60 to –1 dB

• Ch. fader gain range: –100 to +10 dB

Digital Specs

• Converters: 24-bit, 115 dB Signal-to-Noise-Ratio (EIAJ), 106 dB Dynamic Range, 128X oversampling

• DSP: 32 bit (>190 dB dynamic range)

• CPU: 300 MHz Celeron (166 MHz Pentium in earlier versions)

File Storage:

• Floppy drive, internal hard drive or 10-base-T Ethernet network

Dither:

• Apogee UV22 16-bit Super CD Encoding onboard

Physical Dimensions

• Console:

8.7" x 37.6" x 27.1" (221mm x 955mm x 688mm)

• Remote CPU:

5.25" x 19.0” x 20.0" (133mm x 483mm x 508mm)

Weight

• Console: 73 lbs. (33.1kg)

• Remote CPU: 50 lbs. (22.7kg)

Note: All specifications subject to change without notice.

D8B Manual • Chapter 1 • page 17

Page 24

Physical Dimensions

8.7" (221mm)

37.6" (955mm)

D8B CONSOLE SHIPPING

WEIGHT

73 lbs.

(33.1 kg)

D8B CPU

SHIPPING

WEIGHT

50 lbs.

(22.7 kg)

27.1" (688mm)

17.25" (43.8cm)

20" (50.8cm)

D8B Manual • Chapter 1 • page 18

CPU

19.00" (48.3cm)

5.25" (13.3cm)

Page 25

Updating Software

Software upgrades can easily be downloaded from the Mackie website at www.mackie.com. Find the D8B section and select “Downloads.”

Always read the Release notes that accompany the software downloads. They contain valuable infor-

mation specific to the current software revisions and install procedures.

Windows-based Computers

Follow these steps if you are downloading onto a Windows

1. Download the .ZIP files d8b3xxxx_PC.zip for

the operating system installation, and the D8B

Plug-in Demo Kit (Demo_Plugins_3xxx_PC.zip)

for the plug-ins installation.

2. W e recommend that you update the operating

system first. Double-click on the d8b3xxxx_PC.zip

file. This will launch the WinZip™ self-

extraction utility.

3. The default "Unzip T o" directory is set to C:\. If

you prefer to have the files extracted to a

different location, type the path into the provided

text box and then press the Unzip button. Quit

the WinZip™ self-extraction utility.

4. Locate the two extracted files, labeled

d8b3xxxx Install 1.exe and d8b3xxxx Install

2.exe, on your hard drive.

5. Double-click on the first file, d8b3xxxx Install

1.exe, and you'll see a "WinImage™ Self

Extractor" dialog box.

6. Ensure that the "Writing On Floppy" check box

is selected, then click the "OK" button in the

upper right corner of the dialog box.

7. When the "Batch Assistant" dialog box appears,

insert a double-sided, high-density 1.44MB

floppy disk into drive A:\ and then click the

"OK" button.

8. When the Winimage™ utility has completed

writing to the first disk, be sure to label your

disks so you know which is #1 and which is #2.

Additionally, be sure not to leave either disk in

your floppy drive. Rebooting your PC with the

disk in the drive can create problems with your

PC. Repeat steps 5 through 7 for the second

disk image file.

9. With the D8B console power supply turned off,

insert installation disk #1 into the floppy disk

drive.

10. Power on the console power supply.

11. Follow the instructions on the D8B control

surface. (Note: The installer no longer uses the

VGA screen; typical boot is about 30 seconds.)

12. Place the 2nd floppy disk in the drive when

prompted by the installation software.

-based computer:

13. Remove the 2nd floppy disk when prompted and power down the console power supply, then power back on.

14. You now have the updated D8B operating system installed.

15. Make sure you read the release notes. They have important info about this upgrade.

Note: Repeat the above procedure with the Demo_Plugins_3xxx_PC.zip file to install the plug-in update. After updating the plug-ins software on the D8B, you must perform the “Erase UFX Memory” and “Upgrade UFX Cards” procedures (under Windows in the upper menu bar) to upgrade the UFX cards that are installed in the D8B (see page 86).

Macintosh Computers

Follow these steps if you are downloading

onto a Mac OS

1. Download the self-extracting file d8b3xxxx_Mac.sea for the operating system installation, and the D8B Plug-in Demo Kit (Demo_Plugins_3xxx_Mac.sea) for the plug-ins installation.

2. W e recommend that you update the operating system first. Double-click on the Demo_Plugins_3xxxx_Mac.sea file to extract the two disk images.

3. Launch Apple's DiskCopy utility (you may need to download the DiskCopy utility from http:// www .apple.com or check the system installations disks that came with your system).

4. Depending on your version of DiskCopy, either click the "Load Image File..." button or choose "Make a Floppy" from the Utilities menu.

5. Locate the image file labeled d8b3xxxx Install

1.img that was extracted onto your hard drive.

6. DiskCopy will prompt you (depending on your version of DiskCopy) to insert a floppy disk into the floppy disk drive. With older versions of Disk Copy, you may need to click the "Make a copy" button first.

7. Once the disk has been ejected from the computer , be sure to label your disk so you know which is #1 and which is #2. Then follow steps 4 through 6 to create the second installation disk from the second disk image file (d8b3xxxx Install 2.img).

8. With the D8B console power supply turned off, insert installation disk #1 into the floppy disk drive.

9. Power on the console power supply.

10. Follow the instructions on the D8B control surface. (Note: The installer no longer uses the VGA screen; typical boot is about 30 seconds.)

11. Place the 2nd floppy disk in the drive when prompted by the installation software.

computer:

D8B Manual • Chapter 1 • page 19

Page 26

12. Remove the 2nd floppy disk when prompted and power down the console power supply, then power back on.

13. You now have the updated D8B operating system installed.

14. Make sure you read the release notes. They have important info about this upgrade.

Note: Repeat the above procedure with the Demo_Plugins_3xxx_Mac.sea file to install the plug-in update. After updating the plug-ins software on the D8B, you must perform the “Erase UFX Memory” and “Upgrade UFX Cards” procedures (under Windows in the upper menu bar) to upgrade the UFX cards that are installed in the D8B.

Note to Macintosh USB Floppy drive users:

Apple's Disk Copy program will not work

using the above method with a USB floppy drive because the menu option "Make a Floppy..." will not be available. You must use Aladdin Systems' ShrinkWrap program available for purchase and trial download from http://www.aladdinsys.com/ shrinkwrap/index.html. Once you have ShrinkWrap installed, substitute these steps for steps 3-6 in the above directions.

Summary

This chapter has been specifically designed to help you understand the basic concept of the Digital 8•Bus architecture. The following two chapters describe the physical surface controls and the software features and capabilities. The last chapter describes specific applications as they pertain to unique recording tasks and needs.

Chapters 2 and 3 support what you’ll encounter in Chapter 4. Feel free to jump ahead, but keep in mind that you’ll probably need to use these second two chapters as a reference for the terms and controls that are new to you.

3. Launch ShrinkWrap.

4. Select "Write Image back to Disk..." from the Image menu (command-B).

5. Locate the image file labeled d8b3xxxx Install

1.img that was extracted onto your hard drive.

6. ShrinkWrap will prompt you to insert a floppy disk into the floppy disk drive.

D8B Manual • Chapter 1 • page 20

Page 27

Where Is It?

Chapter 2

D8B Manual • Chapter 2 • page 21

Page 28

It’s Time to Locate Everything…

No matter how fast you want—or need—to get started, take advantage of this simple map of the territory: it provides the Fast Track overview of the D8B. It’s amazing how artistically supportive this console is. It’s well worth your time to take a look at all the controls so you can put them to work efficiently.

Rear Panel Description

This section describes rear panel connector types, their functions, and associated signal buses.

Card Cage Section

A B C D

DIGITAL I/O

AES/EBU

DIGITAL I/O

S/PDIF

DIGITAL EFFECTS CARDS

OUT

DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS

ADAT OPTICAL

ANALOG IN ANALOG OUT

TDIF

IN OUT

SYNC

OPT•8

PDI•8

ANALOG I/O

AES/EBU I/O

APOGEE

CLOCK I/O

OUT

WORD

CLOCK

OUT

WORD

CLOCK

Channels 1–12 Inputs

+48V

MIC

LINE IN

INSERT

+48V

MIC

LINE IN

INSERT

+48V

MIC

MIC2MIC

LINE IN

INSERT

+48V

MIC

LINE IN

INSERT

Each channel contains:

• XLR mic input. Be sure the MIC button is pressed down on the control surface channel strip.

• Phantom power On/Off button depending on mic requirements.

• 1/4" TRS line input—balanced or unbalanced. Be sure the MIC switch is in the up position on the control surface channel strip.

• 1/4" TRS channel insert/direct output jack.

Channels 13–24 Inputs

LINE INPUTS

(BAL /UNBAL)

Channels 13 through 24 have 1/4" TRS (Tip/Ring/ Sleeve) line input connectors that accept balanced and unbalanced signals.

D8B Manual • Chapter 2 • page 22

This is where you plug in the optional I/O cards of your choosing, to customize the Digital 8•Bus for your own application.

There are three slots assigned as TAPE IN/OUTS. Each slot provides I/O for 8 channels, so you can add up to 24 tape sends and returns, or additional inputs and outputs.

• TO TAPE (OUTPUT) – The D8B can route any

channel in Fader Banks 1, 2 and 3 to the multitrack through these connectors. In addition, the bus outputs in Fader Bank 4 (MASTERS) can be routed out the tape outputs.

• FROM TAPE (INPUT) – Multitrack outputs are

fed back into channels 25–48 (Fader Bank 2) through these connectors. Depending on the specific I/O card, these inputs will receive any line-level analog or digital signal.

Each I/O card contains its own labeling protocol, but the fundamental concepts described above pertain to all.

1 Analog I/O (AIO•8)

• Each 25-pin D-sub connector handles 8 balanced analog channels.

• Top connectors send line-level outputs to the multitrack (or other line-level equipment).

• Bottom connectors receive line-level analog signal from the multitrack outputs (or other line-level equipment).

• Each card offers I/O for 8 channels.

• Connectors are compatible with TASCAM DA-88, 25-pin analog connectors.

2 Apogee Digital I/O (DIO•8)

• Two digital-format ins and outs: ADAT optical (fiber optic connections) and TASCAM TDIF (25-pin D-sub connections).

• Select one digital format at a time in the Setup screen.

• One BNC sync connector for master clock connection from the D8B to TASCAM clock recipient.

• Use the DIO•8 card as a format converter between either optical and/or TDIF.

Page 29

3 ADAT Optical (OPT•8)

• Two digital ADAT optical (fiber optic) connections.

• Each card offers I/O for 8 channels.

4 AES/EBU (PDI•8)

• One 25-pin D-sub connector in digital AES/EBU format.

• Each card offers I/O for 8 channels.

5 ALT I/O Card Slot

• Using the configurable plug-in architecture, insert plug-in capability is available for channels 1–48 (Pre- and Post-DSP), and Main Mix L-R, in addition to internal effects sends (Auxes 1–12).

• Effects return to the main L-R mix at Fader Bank 3 (FX 1–16)

Reminder: Power down the system before installing any cards!

• Separate input/output card slot offering 8 more ins and outs.

• Holds any card: AIO•8, DIO•8, OPT•8, or PDI•8.

• Inputs show up at RETURNS faders (channels 65–72).

• Outputs are assignable to either the 8 bus outputs (BUS 1–8), the 12 Aux Sends (AUX 1–12), or the MASTER L-R outputs.

• Assignments are made in the Digital I/O menu.

6 The Clock I/O Card

• Provides word clock in and out to connect with other digital equipment.

• For use as a master or slave clock source.

• Supports 48kHz and 44.1kHz internal sample rates, with vari-speed capabilities.

• Supports external sample rates between 32kHz and 50kHz.

Note: The Apogee Clock I/O card replaces the standard clock card that is shipped in the SYNC slot with the D8B.

7 The Digital I/O Card (2-track)

• AES/EBU digital I/O. Stereo interconnect for master record machine. Input is connected to DIGITAL 1 in the CONTROL ROOM monitor section.

• S/PDIF digital I/O. Input is connected to DIGITAL 2 in the CONTROL ROOM monitor section.

• Same source output as MASTER L-R.

8 Digital Effects Card Slots

• Room for four separate effects cards.

• MFX – Mackie Effects card with two stereo processors.

• UFX – Universal DSP engine with functions dependent on specific plug-in effects. Each card is capable of four discrete mono, two stereo, or one stereo and two mono effects.

• Aux sends 1–12 internally route to the four card locations.

Master Input/Output Section

BUS OUT 1-8

SURROUND OUT

MASTER OUT

MAIN

NEAR FIELD

2 TRACK IN B

2 TRACK IN C

PHONES 12 TRACK IN A

STUDIO OUT

PUNCH I/O

bp bq

MASTER OUT

9 MASTER OUTputs (1/4" TRS and XLR)

• Fed from the Master L/R fader on the console surface.

• Both sets deliver balanced line-level signals. However, the TRS Master Outputs also provide unbalanced line-level signals.

• Post fader, DSP, and D/A converter.

bl BUS OUT 1–8 (SURROUND OUT)

• 25-pin D-sub connector provides eight balanced line-level outputs.

• Any channel (1–48), internal effects return, or ALT IN can be assigned to one or more bus outputs.

• Output level is controlled by the BUS 1–8 MASTERS (Fader Bank 4).

• Carries Surround monitoring channel outputs.

D8B Manual • Chapter 2 • page 23

PHONES 2

TALKBACK

Page 30

bm CR MAIN and CR NEAR FIELD

AUX

AUX OUT

(BAL /UNBAL)

br 2 TRACK A, B, and C

• Pairs of 1/4" TRS stereo line-level outputs for sending signals to control room speakers.

• Both outputs carry the same signal (as selected in the Control Room section).

• Levels can be adjusted independently or linked together.

• Balanced 1/4" TRS inputs for receiving linelevel analog signals from a 2-track recorder.

• The separate left/right pairs feed the 2 TRACK A, B, and C buses in the control room monitoring section.

• Can accept balanced and unbalanced signals.

• Post-DSP, Master L/R fader, and D/A converter.

• The signal fed to these outputs is selected in the CONTROL ROOM section of the control surface.

bn PHONES 1 and 2

• Each jack carries an unbalanced stereo signal through a 1/4" TRS jack.

• Designed to connect to virtually any stereo headphones. Phones 1 and 2 V-Pots adjust to compensate for headphones with exceptionally high or low impedances.

AUX OUT Section

• There are 12 Aux sends available.

• Auxes 1–8 provide mono 1/4" TRS analog line-level outputs.

• Auxes 9 and 10 are linked together as a stereo pair of 1/4" TRS analog line-level outputs.

• Auxes 11 and 12 are linked together as a stereo pair of 1/4" TRS analog linelevel outputs.

• The signal at these outputs is determined by the PHONES/CUE MIX 1 and PHONES/CUE MIX 2 source selection on the control surface.

• Aux 9–10, Aux 11–12, or the CONTROL ROOM selection can feed either or both Phones/Cue outputs.

• The Master L/R mix can be copied to either or both Aux 9–10 or 11–12 Cue Mixes.

bo STUDIO OUT L-R

• Signal at these outputs is determined by the CONTROL ROOM source selection.

• Balanced analog stereo-paired outputs for sending signals to the studio.

• 1/4" TRS outputs can drive a balanced or unbalanced input.

• Level controlled by the V-Pot in the SOLO/STUDIO section of the control surface, when STUDIO LEVEL is selected.

bp PUNCH I/O

Note: Auxes 1–12 simultaneously feed the analog Aux sends and the internal effects cards.

Each MFX card handles two separate mono inputs, so auxes are paired. MFX effects returns are stereo, so each card, while receiving two discrete mono inputs, returns two sets of stereo outputs to the EFFECTS Bank. Internally, Aux 1 returns to FX 1/2; Aux 2 returns to FX 3/4; Aux 3 returns to FX 5/6; continuing through Aux 8, which returns at FX 15/16.

UFX cards handle 4 mono, two stereo, or one stereo and two mono inputs.

For each UFX card, no matter what the Aux input selection, returns appear at the FX faders numbered the same as their respective slots.

If all UFX effects are mono, each return correlates directly to the Slot number ( 9 to 9, 10 to 10, etc.)

• A remote switch connection for activating the MMC master record function—to punch in or out of record.

• Use with a normally-open switch.

bq TALKBACK

• A remote switch connection for engaging the talkback function.

• When stereo effects are selected, regardless of the Aux input selection, returns appear at the FX faders numbered the same as their respective slots. For stereo effects with mono inputs, the effects return at the respective slot numbered pair (input 9 returns at FX 9/ 10; input 11 returns at FX 11/12, etc.)

• Duplicates the Talkback switch in the CONTROL ROOM section.

• Use with a normally-open switch.

Note: Patching from an Aux output does not interrupt the internal sends to the FX Cards, so it’s possible to run both internal and outboard effects at the same time.

D8B Manual • Chapter 2 • page 24

Page 31

PARALLEL

CONSOLE DATA

KEYBOARD

MOUSE

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •

Remote CPU Description

Data and Synchronization I/O

These connections are specifically pertinent to non-audio functions (or, in plain English, these aren’t audio connections!).

Connecting a Mouse, Keyboard and SVGA Monitor

The Digital 8•Bus is designed to work as a standalone console. However, you’ll increase your options and productivity by using a mouse, keyboard, and SVGA monitor. Simply connect them to the corresponding ports on the back of the Remote CPU for access to point-and-click commands with the mouse, as well as key commands and text entry from the keyboard.

3 The SVGA Monitor

• A hi-density 15-pin D-Sub connector is provided to connect an SVGA monitor.

• Use at least a 17" multisync SVGA monitor capable of 1024 X 768 resolution and a 72Hz refresh rate. Larger monitors provide greater viewing pleasure.

• Use of monitor provides graphic display and control of most console functions, including equalization, compression, gating, internal effects, automation editing, and file management.

• The SVGA monitor can be connected without turning off the Digital 8•Bus (hot-plugable).

Other Connections

4 Console Data

1 The Mouse Port

• Connect a PC-compatible mouse (PS/2 style).

• A two-button mouse is sufficient.

2 The Keyboard

• Connect any PC-compatible keyboard (QWERTY style).

• Must have a 5-pin DIN connector. An adapter can be used for the 9-pin keyboard connector.

Note: Turn the Digital 8•Bus OFF before connecting these devices. The Digital 8•Bus must boot up with these peripheral devices connected in order for them to work properly.

• A 25-pin D-sub connector connects the console to the Remote CPU using the cable supplied.

5 MIDI

• MIDI card in the remote CPU uses a 9-pin D-sub connector.

• Install the supplied 9-pin to dual 5-pin adapter to facilitate connection to your MIDI network using standard MIDI cables. This could be a plastic housing adapter or a rattail 9-pin split to 5-pin I/O connection.

• MIDI IN receives MTC, program changes, and controller, note, and poly aftertouch messages.

• MIDI OUT sends MMC commands, program changes, and controller, note, and poly aftertouch messages.

D8B Manual • Chapter 2 • page 25

Page 32

6 Ethernet Port

• Accepts an RJ45 telco connector.

• Connects to PC/Mac for FTP file transfer through a network or peer-to-peer.

• Can be used to make peer-to-peer connections with other Digital 8•Bus consoles.

• Use CAT5 for standard network FTP connections; use crossover CAT5 for peer-to-peer connections.

Control Surface Functions

For a road map to the various knobs, buttons, and faders, refer to the D8B Overview section of this manual.

2 Mic/Line Button

• On channels 1–12 only.

• This button selects between the Mic Input (XLR) and the Line Input (1/4" TRS).

• Up position selects the line input (1/4" TRS).

• Down position selects the microphone input (XLR).

3 REC/RDY

• The Record Ready button arms the corresponding tape track to record.

• Communicates via MMC (MIDI Machine Control).

20dB

REC/RDY

ASSIGN

TRIM

MIC

WRITE

+40dB

Channel Strip Section

The channel strip on the Digital 8•Bus is very much like the channel strip on an analog mixer. Each channel offers the same set of controls, with a few exceptions. Even with a brief overview of each control, you’ll find your understanding of the digital mixing concept closely related to what you already know about analog mixers—that’s the beauty of this console design.

• There are 24 channel strips.

• There are four layers (Fader Banks) of feature sets: MIC/LINE (1–24), TAPE IN (25–48), EFFECTS (49–72), and MASTERS.

• Channels 1–12 have both mic and line input capabilities.

• Channels 13–24 have line input capabilities only.

• Channels 25–48 receive signal only from the I/O card inputs.

1 Trim Level

• At the top of each channel strip

• The Trim Level controls only input levels for channels 1–24.

• Regardless of bank selection, trims are active and available for channel inputs 1–24. This is handy for tweaking without having to switch banks.

• Used to adjust and optimize input levels.

• This control is one of the few not written in a snapshot.

Note: The TRIM levels at the top of each of the 24 channel strips and the MIC buttons at the top of the first 12 channel strips are not written into automation or snapshots. Careful notes as to their status should be manually archived—as in written down—for future reference. However, if TRIMs are all left at unity gain— or at least left untouched—throughout the entire session, the console is capable of perfect, total recall! We highly recommend this technique.

4 Assign

• Routes audio to output buses 1–8.

• Routes audio to the Master L-R bus.

• Assigns the selected channel to the channel strip’s corresponding tape track for recording. For example, after selecting ROUTE TO TAPE in the ASSIGNMENT section, press SELECT on channel 2, then press the ASSIGN button on channel 12 to route the signal from channel 2 to tape track 12.

5 Write

• Manually enables a channel for recording to automation.

• Blinks when on standby; solid when active.

• Automatically lights when Auto Touch automation has been activated.

6 Channel V-Pot

• A multifunctional digital control and level display.

• Controls channel pan when PAN is selected in the Master V-Pot section (just to the right of channel 24).

• Controls Aux send levels when Aux 1–12 is selected in the AUX section (just above the Master V-Pot).

• Controls panning between stereo Auxes 9/10 and 11/12 when PAN is selected below either send.

• Controls channel Level to Tape and Digital Trim whenever they’re selected (immediately above Aux 1 and 2 select buttons).

• Displays return fader levels (Bank 2) when level to tape follows faders.

MIDI 4

12 36

SELECT

SOLO

MUTE

FX 12

12 36

D8B Manual • Chapter 2 • page 26

Page 33

7 Fader Bank Select LEDs

• Just below the channel V-Pots.

• When the green LEDs are on, Fader Bank 1 is selected (MIC/LINE).

• When the red LEDs are on, Fader Bank 2 is selected (TAPE IN).

• When both LEDs are on, Fader Bank 3 is selected (EFFECTS).

• When neither LED is on, Fader Bank 4 is selected (MASTERS).

8 Select

• Chooses a channel to be edited.

• Enables onboard or on-screen Fat Channel control over the selected channel.

• Operative for copying and pasting data between channel strips.

• Part of the grouping and linking procedures.

• Double-clicking the SELECT button opens and closes the strip’s on-screen Fat Channel.

• Pressing and holding opens a channels preferences page in the VFD, which controls basic channel parameters.

• Pressing and holding two SELECT buttons at once opens a Link options page in the VFD.

• Aux Solo is accomplished by selecting an aux bus, then pressing the SOLO button by the Master V-Pot. When this solo light is on, the Master V-Pot adjusts the solo level.

• Soloing multiple channels is accomplished by holding the shift key (onboard or keyboard) while pressing the solo buttons on all desired channels or, by holding one solo down while pressing others. Also, selecting “Solo Latch” in Setup > Mix Options keeps solos selected until they’re manually switched off.

• Solo Isolate mode is accomplished by holding down the Alt key on the keyboard or control surface while pressing a channel’s solo(s). A solo isolated channel is always active to the solo bus and therefore will not mute when other channels are soloed. Only PFL solo mode overrides Solo Isolate mode.

bl Mute

• Mutes the signal after the channel fader.

• Prior to the L-R output bus.

• Prior to Bus 1–8 outputs.

• Does not affect the Direct Out to Tape unless console is configured for Faders to Tape mode.

bm Channel Fader

9 Solo

• Pressing Solo on any channel lets you hear only the soloed channel.

• Mackie’s exclusive Rude Solo Light flashes incessantly whenever any channel is soloed.

• There are three different types of soloing available: PFL, AFL, and Mixdown.

• PFL (Pre-Fader Listen) solos the signal before it gets to the fader. PFL is a monitor function only and has no effect on the Master L-R mix send. Any channel is soloed in mono, regardless of pan position. PFL solo level is unaffected by fader changes.

• AFL (After-Fader Listen) solos the signal af- ter the fader in the signal path. Therefore, solo level is affected by fader movement. AFL solos the accurate pan positioning and, like PFL, is only a monitor function not affecting the Master L-R mix.

• Mixdown Solo is a post-fader, pan-accurate solo that overrides the Master L-R mix.

• Clear Solo, in the Solo/Studio section, re- leases any solo selections. This is particularly useful when working with solos across multiple fader banks.

• Controls the signal level from the channel to the bus or buses it is assigned to (typically the L/R Master Fader and the Bus 1–8 output).

• Doesn’t affect the signal level to the Tape Outputs unless specifically routed to do so, or if console is configured for Faders to Tape mode.

Channel Meters

• Indicate post-EQ, pre-fader levels.

• The audio level display is scaled in digital dBFS (decibels full-scale).

• 0 dBFS = +20 dBu (Clipping occurs at +22 dBu.)

• –15 dBFS = +5 dBu

• The minimum displayed level is –50 dBFS.

• Markings next to the LED ladders are denoted as –50 dBFS to OL; they are similar in function to those of digital recorders. Each LED-segment is accurate within ±1 dB.

Note: Typically, in digital recording devices such as MDMs, HDRs, or DATs, there is a built-in overhead of 3–4 dB above the 0 dBFS mark to match the typical maximum unbalanced analog console bus output value of +22 dBu. The OL LED lights at +22 dBu.

D8B Manual • Chapter 2 • page 27

Page 34

Master Section Description

The Master Section—everything to the right of channel strip 24—is divided into 13 subsections. They are:

• Master Fader/Bank Select Section

• Master V-Pot Section

• V-Pot Assign Section

• Fat Channel Section

• Studio/Solo Section

• Phones/Cue Mix Section

• Control Room Section

• Clipboard Section

• Master Fader/Shortcuts Section

• Bus Assignment Section

• Automation Section

• Session Setup Section

• Transport Section

Master Fader/Bank Select Section

This section consists of:

• The four buttons used to select the four Fader Banks.

• The SHIFT button, which is primarily used to select and deselect multiple channels.

• The Master L/R Fader, which controls the signal level going to the L-R stereo bus.

All 96 channels are always active. However only 24 are available at a time from the control surface (up to 48 are available through the onscreen interface). The buttons used to select the active fader set are:

• MIC/LINE (TRACK)

• TAPE IN (MONITOR)

• EFFECTS

• MASTERS

V-Pot Select

Master Section

Fat Channel

MIC/LINE (TRACK)

• Fader Bank 1.

• Selects channels 1–24.

• Combination of Microphone inputs 1–12 and line inputs 1–24.

TAPE IN (MONITOR)

• Fader Bank 2.

• Selects channels 25–48.

• Requires 1–3 Tape I/O cards installed in the card cage for input signals.

D8B Manual • Chapter 2 • page 28

Master V-Pot

Bus Assignment,

Control Room

Master Fader,

Bank Selection

Clipboard, Master L/R,

Shortcuts

Solo/Studio,

Phones 1 & 2

Automation,

Setup

Transport

Page 35

49-72

EFFECTS

BANK SELECT

SHIFT

25-48

TAPE IN

MASTERS

1-24

MIC /LINE

(TRACK) (MONITOR)

MASTER

L/R

SHIFT Button

The SHIFT button serves multiple functions. It provides a way to select multiple channels and multiple solo buttons. It also serves as a fine-tune selector for Aux levels and Pan adjustments. Try adjusting an Aux level with and without the SHIFT button depressed—notice the difference in numerical scrolling speed.

• Allows more than one channel SELECT button to be engaged simultaneously.

• Allows more then one SOLO button to be engaged simultaneously.

• When SHIFT is pressed, the Rude Solo Light illuminates.

• Allows fine-tuning of Aux send levels and pan adjustments.

• Allows independent control of channel parameters with linked channels.

• Double-clicking selects all channels on the active fader bank.

Master L/R Fader

• 100mm logarithmically-tapered fader for smooth fades.

• Remotely controls level via DSP—doesn’t pass audio like a traditional fader.

• dB level ranges from +10 dB (fully on) to –∞ (fully off).

• Mixdown Solo level control.

• Provides level adjustment to tape outputs (if desired).

EFFECTS

• Fader Bank 3.

• Selects channels 49–72.

• Effects bank controls sixteen internal effects returns and eight ALT I/O returns.

MASTERS

• Fader Bank 4.

• Selects channels 73–96.

• Faders 1–8 control the virtual group levels.

• Faders 9–16 are assignable MIDI controllers.

• Faders 17–24 control the eight bus or surround outputs (BUS 1–8), which are output via the 25-pin D-sub connector labeled BUS OUT 1–8 & SURROUND OUT on the rear of the console. The BUS 1–8 outputs can also be assigned to the 24 tape outputs, or the ALT I/O slot.

Master V-Pot Section

MASTER

PAN

MASTER V-Pot

• Acts as the Master level control for the currently selected Aux bus.

• In all surround mode settings, the MASTER V-Pot acts as the front/rear pan control for the selected channel (provided the PAN button is lit). When used along with the channel pan V-Pot, the D8B acts like an audio rendition of the family favorite Etch-A-Sketch

D8B Manual • Chapter 2 • page 29

SOLO

Page 36

MASTER PAN

AUX 1–8 Buttons (Default Operation)

• Assigns all applicable channel V-Pots to act as pan controls (channels 1–72 and 81–88).

• Stays lit continuously until an Aux Select, Level to Tape, or Digital Trim button is engaged.

MASTER SOLO (Aux)

• Solos the currently selected Aux.

• Only one Aux can be soloed at a time.

• Master solo can be active at the same time a channel is soloed.

• Aux bus remains soloed until it is manually disengaged or until the CLEAR SOLO button is pressed.

• Solo level is post the MASTER V-Pot.

• Master Solo is not affected by the PFL or AFL Solo status selected in the Studio/Solo section.

V-Pot Assign Section

These buttons:

• Assign the channel V-Pots to control individual aux send levels.

• Assign the channel V-Pots to control individual channel trim or tracking output levels.

1-24 1-48

LEVEL TO TAPE

AUX 1

AUX 3

DIGITAL TRIM

AUX 2

AUX 4

This description highlights the default configuration for aux sends and effects returns. Keep in mind that the new D8B plug-in architecture provides maximum flexibility and awesome creative capabilities with respect to plug-ins, aux sends, and returns.

• Pressing any Aux 1–8 assigns channel V-Pots to control individual send levels to AUX 1–8 output.

• Each Aux 1–8 is simultaneously routed to the corresponding 1/4" jack on the rear of the console and to an internal effects processor.

• Patching from the Aux 1–8 jacks does not interrupt the signal flow to the internal processors.

• Each Aux 1–8 acts as a mono send to a stereo internal effects processor (MFX card only). UFX cards offer complete flexibility.

• Auxes patched to the IVL Vocal Studio effects return to four channels, either in stereo pairs (second pair is the reverb return) or as four separate channels.

AUX 9–10 and 11–12

• Configured differently than Auxes 1–8.

• Each channel has a stereo pair of controls: one level and one pan. This is ideal for phones/cue mixes or for an additional recording feed in a live setting.

• Pressing Aux 9–10 assigns the channel V-Pot to control the send level for the stereo pair.

• Pressing Pan under Aux 9–10 assigns the channel V-Pot to adjust pan positioning between the stereo pair.

• Aux 9–10 are not routed to the internal effects processor by default, but may be assigned as such in the plug-in configuration window.

• Aux 11–12 operates identically to Aux 9–10.

AUX 5

AUX 7

AUX 9-10

PAN

AUX 6

AUX 8

AUX 11

PAN

D8B Manual • Chapter 2 • page 30

LEVEL TO TAPE

• Level to Tape assigns the channel V-Pots as tape output level controls via the I/O cards.

• This control is post channel DSP and prefader. Fader adjustments don’t affect tape

output levels.

• Facilitates optimizing the gain structure from the beginning to the end of the signal path, when used correctly.

• When Faders to Tape is active, the level to tape is derived from the source channel faders instead of the channel V-Pots—the level is post-fader.

Page 37

Figure 2-1 Aux Sends 1-8 (Default – Mackie Stereo Effects [MFX])

OUT

Internal Effects Processor 1

OUT

Internal Effects Processor 2

OUT

Internal Effects Processor 3

Internal Effects Processor 4

OUT

FX 1 FX 2

FX 3 FX 4

FX 5 FX 6

Aux 1 – 4

TRS Out

1-24 1-48

LEVEL TO TAPE

AUX 1

AUX 3

AUX 5

AUX 7

AUX 9-10

PAN

FX 7 FX 8

DIGITAL TRIM

AUX 2

AUX 4

AUX 6

AUX 8

AUX 11

PAN

FX 9 FX 10

Aux 5 – 8

TRS Out

FX 11 FX 12

Internal Effects Processor 5

Internal Effects Processor 6

Internal Effects Processor 7

Internal Effects Processor 8

OUT

FX 13 FX 14

OUT

FX 15 FX 16

Eight mono aux sends, each returning a stereo effect

DIGITAL TRIM

• Pressing the DIGITAL TRIM button assigns the channel V-Pots to become digital trim (digital input level) controls.

• Functionally located immediately after the A/D converter in the signal path for channels 1–48.

• When using digital I/O cards, for channels 25–48, there is no A/D converter, so the digital trim is simply the first control in the signal path after the card.

• Digital Trim is a recallable function, unlike the analog Trim control. It can be automated or stored in a snapshot.

• Digital Trim is the only input trim control for channel inputs 25–48.

Talkback Mic

• Located just above the LEVEL TO TAPE and DIGITAL TRIM buttons.

• The Talkback mic is activated two different

ways: 1) by pressing Talkback in the Control Room section, 2) by pressing a foot pedal connected to the Talkback jack in the rear of the console.

• Talkback audio is sent to the Phones/Cue Mixes when pressing Talkback or depressing the foot pedal, or to the Studio monitor system when pressing Talkback to Studio.

Left/Right LED Ladders (Master Meters)

• Located above the Talkback Mic.

• Indicates the signal level of whatever is selected in the Control Room section.

• When Solo is selected, the Master Meters indicate the level of the combined soloed channels.

• When Mono is selected in the Control Room section, both Left and Right meters indicate the mono level.

D8B Manual • Chapter 2 • page 31

Page 38

CHANNEL Select Display

V-Pots and SELECT buttons

• Just to the right of the L-R Meters.

• Numeric readout indicates the selected channel —the currently editable channel in the VFD.

CHANNEL

2 4 7 10 15 20 25 30 35 40 50

LEFT RIGHT

Fat Channel Section

The onboard Fat Channel provides access to all those really cool dynamics and EQ functions. It also provides for configuring Setup parameters, loading, and saving patch information.

The on-screen Fat Channel is an amazing interface that provides the look and feel of a vintage tool as well as precision control and recall.

Fat Channel Display

• VFD Vacuum Fluorescent Display.

• Provides a text interface to console operation. Nearly all static functions and controls are accessible.

• Four Select buttons and V-Pots used to select and adjust options that show up in the Fat Channel VFD.

• Pressing Select above a Fat Channel V-Pot lets the user adjust or scroll through the pertinent options.

• V-Pots rotate 360˚ and display the relative adjustment positions as provided by eleven discrete LEDs.

PREVIOUS and NEXT arrows

• Pages the VFD to more parameters whenever more than four adjustments can be made.

• The PREVIOUS button scrolls the VFD to the left.

• The NEXT button scrolls the VFD to the right.

• An arrow on the left-hand side of the VFD, pointing left, indicates a previous page is available.

• An arrow on the right-hand side of the VFD, pointing right, indicates the next page is available.

SUPER CD ENCODING

GAIN

-1.0 dB

SELECT

LOWPREVIOUS

D8B

+2.2 dB

LOW MID HI MID

COMPRESSORGATE

56 INPUT / 72 CHANNEL DIGITAL MIX ER

GAIN

0.0 dB

SELECT SELECT

SETUP

MEMORY A

PLUG-INS

GAIN

+3.1 dB

SELECT HELP

HI NEXT

MEMORY B

LOAD PATCH

SAVE PATCH

The Fat Channel

D8B Manual • Chapter 2 • page 32

Page 39

ON button

SAVE PATCH button

Toggles the selected Fat Channel DSP control

parameters on and off in bypass fashion.

SETUP button

When EQ is selected in the Fat channel, the Setup button lets you select the type of equalization and activate the “EQ to Dynamics” mode.

MEMORY A and B buttons

• Each channel has two memory locations for EQ, compressor, gate, plug-ins, and surround parameter comparisons.

• Any changes to the above controls are temporarily stored in the selected Memory A or B buffers.

• Simply press Memory A to instantly recall the settings you developed while Memory A was selected. Press Memory B to instantly switch to alternate settings.

• Automation of the parameters will overwrite the buffers unless bypassed.

EQ button

Press this button to store an individual EQ, compressor, or gate into the current Fat Channel or plug-in setting to the onboard library. You must choose EQ, Gate, Compressor, or a plug-in before trying to save a patch.

Studio/Solo Section

This section contains a V-Pot to control Studio, Solo, and Talkback levels, along with buttons to select various solo functions and talkback to the studio monitor system.

MIXDOWN SOLO button

• This solo status interrupts the L-R Main outputs to front-of-house speakers or 2-track recorders. It is the destructive solo.

• Use this mode whenever you want the soloed track(s) to be the complete mix—a rhythm breakdown is a good example of this.

• Mixdown Solo is post-fader and DSP. Level to tape (e.g., 2-track mixdown recorders) is controlled by the Master L/R fader.

Press this button to see EQ parameters for the

selected channel in the onboard Fat Channel display.

GATE button

Press this button to see Gate parameters for the

selected channel in the onboard Fat Channel display.

COMPRESSOR button

Press this button to see Compressor parameters for the selected channel in the onboard Fat Channel display.

Note: Fat Channel SELECT and page (PREVIOUS and NEXT) buttons are used as additional view tools.

PLUG-INS button

• Press this button and use the prompts from the VFD to select and navigate through the various plug-in specific parameters.

• Use the “Next” and “Previous” buttons to page through all available parameters.

Onboard control of plug-ins is intuitive for basic functionality. Refer to the individual Plug-ins Manual for details regarding the use of each plugin via the control surface or on screen.

LOAD PATCH button

STUDIO/SOLO

MIXDOWN SOLO

PFL SOLO

AFL SOLO

TALKBACK TO

STUDIO

RUDE SOLO

LIGHT

LEVEL

CLEAR SOLO

SOLO LEVEL

STUDIO LEVEL

TALKBACK LEVEL

PFL SOLO button

• Activates Pre-Fader Listen on the solo bus.

• Accesses the signal before it gets to the fader, so the fader has no effect on the soloed signal.

• This is a mono-centered solo feature. Pan has no control over this solo feature.

AFL SOLO button

• Activates After-Fader Listen on the solo bus.

• Accesses the signal after the fader, so fader moves do affect the soloed signal.

• This is a stereo—post-pan control—bus so soloed channels are heard in their correct pan position.

Press this button to load an individual EQ, compressor, or gate into the currently selected channel. Plug-in settings previously stored in the onboard library can be loaded into an FX card. DSP type must be selected first.

Note: PFL/AFL only affects channel soloing and has no effect on aux send soloing.

D8B Manual • Chapter 2 • page 33

Page 40

TALKBACK TO STUDIO button

AUX 11-12

Routes sound arriving at the in-panel Talkback

mic to the Studio outputs.

Note: Make sure the speakers that are connected to the Studio Outs are located in another room to avoid feedback when the TALKBACK TO STUDIO button is depressed.

CLEAR SOLO button

Disengages all engaged solo buttons throughout the entire console. This is especially convenient considering sections may be soloed across multiple fader banks.

SOLO LEVEL button

Assigns the V-Pot in the Studio/Solo section to adjust the solo level being fed to the Control Room outputs. Not applicable to mixdown solo (use L/R fader to adjust mixdown solo level).

STUDIO LEVEL button

Assigns the V-Pot in the Studio/Solo section to adjust the output level being fed to the Studio monitor system.

TALKBACK LEVEL button

Assigns the V-Pot in the Studio/Solo section to control the preamp level for the in-panel Talkback Mic.

Assigns the Aux 11-12 mix to the Phones output.

COPY MIX TO CUE button

Pressing this causes all channel settings to be copied to the channel V-Pots for the selected CUE MIX 1 (Aux 9-10) or CUE MIX 2 (Aux 11-12). This is a very quick way to copy the MASTER L-R mix, including effects, to the phones output, which can then be easily fine-tuned.

CONTROL ROOM button

Assigns whatever is selected in the Control Room section to the Phones output. Solos are also routed to the Phones output when Control Room is selected.

LEVEL V-Pot

Adjusts the Phones output level.

Control Room Section

These buttons:

• Select the source for the control room outputs.

• Select Main or Nearfield control room outputs.

• Adjust the listening level.

CONTROL ROOM

2 TRACK A

2 TRACK B

DIGITAL IN 1

DIGITAL IN 2

RUDE SOLO LIGHT

• Blinks whenever a Solo button is engaged.

Phones/Cue Mix Section

PHONES/CUE MIX 1

COPY MIX TO CUEAUX 9-10

AUX 11-12

CONTROL ROOM

LEVEL

Phones/Cue Mix 1 and 2 select the sources and sets levels for the Phones outputs.

AUX 9-10

Assigns the Aux 9-10 mix to the Phones output.

PHONES/CUE MIX 2

AUX 9-10

COPY MIX TO CUE

AUX 11-12

CONTROL ROOM

LEVEL

2 TRACK C

NEAR FIELD

SPEAKER LEVEL

DIM

MONO

SPEAK ERS

MASTER

L-R

MAIN

TAL KB AC K

2 TRACK A, B, and C buttons

• Selects the signal at the 2 Track A, B, or C input as the Control Room source.

• These inputs can be selected independently or together for simultaneous playback along with the MASTER L-R button.

Note: When DIGITAL IN 1 or DIGITAL IN 2 are selected, MASTER L-R and 2-TRACK inputs are unavailable.

D8B Manual • Chapter 2 • page 34

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DIGITAL IN 1 button

PAS TE

UNDO

CUT/ZERO SET

COPY

CLIPBOARD

TALKBACK button

Selects the AES/EBU digital input as the Control

Room source.

DIGITAL IN 2 button

Selects the S/PDIF digital input as the Control

Room source.

MASTER L-R button

Selects the main L-R output bus as the Control

Room source.

MONO button

Combines the left and right channels to a monaural signal and sends it to the left and right Control Room outputs (Near Field or Main). This provides for a quick check on the sound of the mix in mono.

NEAR FIELD button

Turns on the Control Room Near Field output.

MAIN button

Turns on the Control Room Main output.

Routes the signal arriving at the in-panel Talkback Mic to Phones/Cue Mixes 1 and 2 (and to Studio Out if Talkback to Studio is selected).

Clipboard Section

Provides cut, copy, paste, and undo functions for specific fader operations, channel parameters, and automation events.

CUT/ZERO SET button

• Deletes edited parameters from the currently selected channel(s) and returns them to their default settings.

• Static or automated options are selected in the Fat Channel display.

• The parameter settings are placed on the clipboard for desired paste operations.

Note: The Near Field and Main speaker selections cannot both be on at the same time.

SPEAKER LEVEL V-Pot

• Adjusts the individual level of the selected Control Room output (Near Field or Main).

• This control does not affect the level sent to the Phones/Cue, or Master L-R mix outputs.

• Near Field and Main levels are completely independent of one another unless linked together in the Mix Options of the on-screen Setup window.

• When linked, the level control is identical for Near Field and Main. The link can be temporarily broken by pressing the Shift key and adjusting the Speaker Level V-Pot. This is an excellent way to set a fixed level offset between monitor sets.

DIM button

Quickly attenuates the control room monitors by 20 dB. This is very useful for phone calls or visits from the neighborhood volume cop.

COPY button

• Copies parameters from the currently selected channel(s).

• Static or automated options are selected in the Fat Channel display.

• The parameter settings are placed on the clipboard for desired paste operations.

PASTE button

Pastes copied parameters to the currently selected channels.

UNDO button

• Reverts the currently selected channels to their previous status, before a cut, copy, or paste.

• Multiple Undo and Redo operations are available by pressing UNDO in the Clipboard section then Undo and Redo in the control surface Fat Channel VFD.

D8B Manual • Chapter 2 • page 35

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Master L–R/Shortcuts Section

L-R button

MASTER L/R SHORTCUTS

SELECT

WRITE

CONTROL

ALT

SELECT button

Selects the Master Fader and Aux Master for

edit operations.

WRITE button

Displays automation status and engages the Master Fader and Aux Master to record automation events—dependent on the automation mode.

CONTROL button

Used in combination with other buttons as a modifier key. See Shortcuts (Appendix D) for a list of applications.

ALT button

Used in combination with other buttons as a modifier key. See Shortcuts (Appendix D) for a list of applications.

Bus Assignment Section

• When L-R is selected, the individual channels can be assigned or removed from the Master L-R bus.

• Mic, Line, FX, and Returns (Channels 1–72) can all be assigned in this way to the L-R Master bus.

ROUTE TO TAPE button

• Assigns a selected channel to any or all of the 24 tape outputs.

• Any of the 48 channels, as well as any internal FX returns, Alt I/O return, or Bus 1–8 can be assigned to one or more, or all (24) Tape Outputs.

• When ROUTE TO TAPE is selected, press the SELECT button on the channel you want to route to tape, then press ASSIGN on the channel strip that corresponds to the desired Tape Output.

• No two channels can be assigned to the same tape output (you can assign two or more channels to a bus, and route the bus to tape). As soon as a channel is assigned to a previously assigned output, it takes over the output, thus removing the previous assignment.

Note: Great care should be taken whenever a channel is assigned to its own tape track. Beware the dreaded feedback loop. Ouch!

This is a quick and easy way to assign, or tell what’s been assigned to, Bus 1–8 or the Master L-R bus.

ASSIGNMENT

ASSIGN ASSIGN

BUS 1

ASSIGN ASSIGN

BUS 3 BUS 4

ASSIGN ASSIGN

BUS 5

ASSIGN ASSIGN

BUS 7

ASSIGN ASSIGN

L-R

BUS 2

BUS 6

BUS 8

ROUTE TO

TAPE

BUS 1–8 buttons

• Only one bus may be selected in the assignment section at a time.

• Bus assigns are used along with the individual channel Assign buttons.

• Press any Bus 1–8 button. Any channel that’s assigned to the selected bus will have its Assign button lit on the individual channel strip (on the currently selected bank).

• Pressing the channel Assign button so the light stays on will assign that channel to the selected bus. Pressing Assign so the light goes off removes the assignment.

Automation Section

What Is Automation All About?

Even if you’ve never worked with an automation system, you’ll find the controls in the Mackie Real Time OS intuitive and powerful. Spend a little time grasping the concepts, then start mixing.

If you’ve worked with other automation systems you’ll find the Mackie OS incredibly quick and easy to master. A complete digital system that’s been designed well is amazingly powerful and easy to use. Have fun!

AUTOMATION

BYPASS

FADER MOTORS

OFF

FADERS

PAN

MUTES

ALL

BYPASS button

• Bypasses the playback of all currently written automation moves.

AUTO TOUCH

TRIM LEVELS

D8B Manual • Chapter 2 • page 36

Page 43

• This button must be turned off before any automation can be recorded or played back.

• Toggling Bypass doesn’t affect the automation filter LEDs (Faders, Mutes, Pan, All). However, when Bypass is on no automation data will be recorded.

FADER MOTORS OFF button

• Pressing this button (so the yellow light is on) disengages fader motors, which prevents any automated fader movement during automated playback.

• When the button is engaged, all faders snap to off.

• Turning fader motors off does not affect changes that have been recorded during automation record passes. All automated levels still play back even though the faders don’t move.

• The on-screen faders still show movement even when the physical faders are off. Fader moves may still be written to automation using the mouse.

FADERS button

Allows writing of Fader moves during an automation pass. When FADERS is activated, all fader moves on write-enabled channels are written into automation. Can be used in conjunction with MUTES, PAN, and ALL.

MUTES button

Allows writing of mutes during an automation pass. When MUTES is activated, all mutes on writeenabled channels are written into automation. Can be used in conjunction with FADERS, PAN, and ALL.

PAN button

Allows writing of Pan moves (stereo and surround) during an automation pass. When PAN is activated, all pan changes on write-enabled channels are written into automation. Can be used in conjunction with FADERS, MUTES, and ALL.

AUTO TOUCH Mode

• Activates Auto Touch write mode for automation data.

• All activated automation control points become write-enabled and enter automation record mode at the instant they’re modified from their current state.

• It’s not necessary to engage individual channel WRITE buttons in this mode. Manually engaging WRITE in this mode only affects fader, mute, and pan writing (if they’re activated in the Automation section).

• The channel WRITE button illuminates as soon as a channel function is manually adjusted (and the corresponding filter is activated).

• One or more of the automation buttons (FADERS, MUTES, PAN, or ALL) must be activated or nothing will be written to automation.

Note: Fader, mute, and pan data may be overwritten if these filters are activated and the channel is write-engaged.

TRIM LEVELS button

• Activates Trim Level automation on all writeenabled channels. This refers to trimming automated moves up or down, not to analog or digital level trim controls.

• All faders move to unity (U) and fader motors are turned off.

• Previously recorded automation remains intact. However, fader and V-Pot changes are simply added to or subtracted from existing data.

• This is a good way to edit parts of an automation track. See “Modify Levels” on page 55 for level-adjusting an entire track.

ALL button

• Allows writing of all automation parameters other than faders, mutes, and pan.

• In order to record an automation pass, recording every automatable parameter, FADERS, MUTES, PAN, and ALL must be activated.

• Parameters selected by the ALL button are Aux 1–12 levels, Aux 9–12 pans, Master Aux levels, Digital Trim, all channel DSP functions (EQ and Dynamics), plus Plug-in/Effects parameters, bus assignments, surround panning, etc.

D8B Manual • Chapter 2 • page 37

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Session Setup Section

GROUP button

SETUP

SAVE

GROUP

SAVE AS... NEW

GENERAL P LUG INS DIGITAL I/O

LOAD

Buttons in this section are used for file maintenance and for setting up system functions such as Virtual Groups, Digital I/O, meter assignment, and MIDI parameters.

SAVE button

• Saves the currently active session to the internal hard drive or floppy drive. We recommend using the floppy only for backup.

• Saves all snapshot and automation data as well as the status of all digital parameters at the time of saving.

SAVE AS… button

• Saves the currently active session under a new name.

• Uses the V-Pots and SELECT buttons in the Fat Channel display to rename and complete the operation.

• To finish the SAVE AS… either press Select beneath SAVE in the onboard Fat Channel display or simply press SAVE AS… a second time.

• To quick-save the proposed file name, simply double-click SAVE AS…

• Brings up the Group menu in the Fat Channel display.

• This is a virtual group function where faders and mutes are linked to one master fader, solo, and mute button in the Master fader bank.

• After pressing GROUP, press the SELECT buttons on each channel strip to be included in the group, then press Exit to complete the action.

• Control the group from the Master fader bank, where faders strips 1–8 control groups 1–8.

GENERAL button

Brings up the General menu in the Fat Channel

display. Provides access to:

• Solo settings

• The surround sound matrix

• MIDI Machine Control settings

• Console layout (channel reassignment)

• Record Safe and Write Ready status settings

• VFD display brightness

• Network cascading and Alt I/O assignments

• One-button record status

• About current OS version

PLUG-INS button

Brings up the Plug-In menu in the Fat Channel display for selecting the effects package to load into the internal FX card. Refer to the individual Plug-ins manuals for specific implementation.

NEW button

• Press this button to start a new session. This is the same as New Session… in the on-screen File menu.

• The New Session menu appears in the onboard Fat Channel.

• All Template preferences are loaded at the beginning of a New session.

LOAD button

• Brings up the LOAD menu in the onboard Fat Channel display. This is the same as Open Session… in the on-screen File menu.

• Facilitates the loading of previously saved session files from the hard drive or floppy disk.

• Sessions can be scanned in the Fat Channel display by pressing the first two SELECT buttons on the left or by turning the far left V-Pot.

D8B Manual • Chapter 2 • page 38

DIGITAL I/O button

• Brings up the Digital I/O configuration menu in the Fat Channel display.

• For selecting Tape I/O, Alt I/O, and Stereo I/O settings.

• For selecting and setting the internal sample rate or assigning the console to sync to external word clock.

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Transport Section

SMPTE VIEW button

This section provides control for external recorder transports, time display, snapshots, locates, and loops.

POSITION display

• Shows the numeric representation of SMPTE or MIDI Time Code (Hours: Minutes: Seconds: Frames) or a musically referenced display (Bars: Beats: Ticks).

• When the console is receiving time code, this display continually updates according to the time code position.

• Displays entered values for Locate storage.

RANGE display

• Shows the snapshot number in Snapshot mode.

• Shows the most recently entered MMC locate point when in Locator mode.

• When looping it shows the beginning (FROM) and ending (TO) locate points for the loop.

SET TIME button

• Press this button to enter a new time in the Position Display (in Hours: Minutes: Seconds: Frames or Bars: Beats: Ticks)

• The number buttons are used to enter the time.

• Press ENTER to complete the action. This sends an MMC locate command.

FROM TO

LOCATOR

PLAY

RANGE

SET TIME

SMPTE VIEW

ENTER

REWIND

BARS

SHUTTLE

POSITION

MINUTESHOURS

SECONDS FRAMES

TICKS

BEATS LOOP

LOOP

FAST FWD

STORE

STOP

This button toggles between SMPTE/MTC time

and BBT (Bars/Beats/Ticks) in the Position display.

Number Buttons 0–9

• Used to numerically enter Snapshot, Locate, and Loop points in the Range display, and time values in the Position display.

• When numeric buttons are used to enter data, you must press ENTER to complete the action.

• Pressing the number keys while holding CONTROL scrolls through the on-screen interface windows.

ENTER button

• Initiates numeric changes that have been typed into the snapshot, locate, position, or range display from the console number buttons (or standard IBM-style keyboard connected to the console).

• Pressing CONTROL and ENTER increases the SNAPSHOT or LOCATOR selection (control surface only).

• Pressing ALT and ENTER decreases the SNAPSHOT or LOCATOR selection (control surface only).

LOCATOR button

• Allows the number buttons to be used for entering specific location numbers.

• Each location number (00 – 99) may represent a specific time during an MTC-referenced playback or recording, if previously stored.

• When in this mode, the left two digits in the Range display indicate the locate point number.

• Locate points can be captured while tape is moving. Simply hit STORE, the Locate number, and then ENTER at the instant you wish to store a location.

LOOP button

• Used to set the start and end Locate points in a Loop.

• To loop a segment, first enter the locate start point using the numeric buttons (onboard or computer keyboard), then press ENTER.

• Next, press LOOP, enter the ending locate point number, then press ENTER.

MODE

JOG & SHUTTLE

SNAPSHOT

RECORD

JOG

D8B Manual • Chapter 2 • page 39

Page 46

STORE button

This button is used to save locate points and console automation snapshots to the currently displayed number or a user-entered number.

SNAPSHOT button

• Allows the number buttons to be used for entering snapshot numbers.

• When in this mode, the left two digits in the Range display indicate snapshot numbers.

• Onboard snapshot range is from 00–99, equivalent to MIDI program changes 00–99.

• More snapshots are available from the onscreen interface.

SET TIME

SMPTE VIEW

ENTER

REWIND

BARS

SHUTTLE

POSITION

MINUTESHOURS

SECONDS FRAMES

TICKS

BEATS LOOP

LOOP

FAST FWD

STORE

STOP

FROM TO

LOCATOR

PLAY

RANGE

MODE

SNAPSHOT

RECORD

Transport Controls

• These buttons control external devices that respond to MIDI Machine Control (MMC). MMC is transmitted from the MIDI output port on the rear panel of the remote CPU to MMC-compatible devices.

• Transport controls can be programmed to export specific MIDI messages other than standard MMC protocol. See MIDI Mapping on page 85 for more details.

Note: MMC is not bidirectional. The D8B sends

out MMC commands to your tape recorder(s), but if you arm tracks or operate transport controls from the tape recorders, the activity is not transmitted back to the D8B via MMC. You can, however, press Play on your recorder and, as soon as time code is received by the D8B, it reverts to PLAY mode.

REWIND button

Engages external machine to fast rewind with no

given locate point.

FAST FWD button

Engages external machine to fast forward with no

given locate point.

STOP button

Stops external machines at the current position.

Note: The STOP button lights when time code is not being received by the D8B.

JOG & SHUTTLE

JOG

Note: The PLAY button lights when time code is being received. It flashes when you press it and no MTC is received.

RECORD button

• Engages Master record function on external machines and Write Ready engaged automation channels.

• Must be pressed with PLAY to engage record mode unless One Button Punch mode is active.

• One Button Punch allows punching into record without hitting PLAY (see “Mix Options” on page 66).

• Pressing any transport button takes the D8B and peripherals out of record status.

JOG & SHUTTLE button

Engages the rotary dial (below the REWIND, FAST FWD, STOP, and PLAY buttons) to advance external machines forward or backward with singleframe accuracy when using MMC.

When Jog & Shuttle is enabled, the REWIND and FAST FWD transport buttons send out MMC shuttle commands, usually corresponding to fixed speed increments (i.e., 1/4x, 1/2x, 2x, etc.).

Rotary Dial Encoder

PLAY button

Engages external machine to play at normal

speeds from the current location.

D8B Manual • Chapter 2 • page 40

This multifunction dial enables the scrub function.

Page 47

Chapter 3

What’s On TV?

D8B Manual • Chapter 3 • page 41

Page 48

Using the Graphic User Interface (GUI)

The Beauty of It…

The Digital 8•Bus provides exceptional power from the control surface alone. However, when combined with an on-screen Graphic User Interface (GUI) the console offers yet another facet of audio bliss.

Some features are only available onscreen and are much easier to perform on-screen. Yet some control surface features are more efficient, like multiple fader moves or inverse fader moves.

The software functions included herein are definitely in the “I always wanted to be able to do that” category. In this section, we touch each control and parameter—section by section.

The Mouse

All references to mouse clicks imply left-click on the PS/2 mouse unless otherwise specified. Certain keyboard commands combine with mouse clicks to increase capabilities of the OS and to help increase speed and accuracy.

• Control-click implies holding the Control (Ctrl) key down while clicking on an item.

• Alt-click implies holding the Alt key down while clicking on an item.

• Drag implies holding the mouse button down while moving it across the screen or across channels.

• T o jump the fader to a specific point in the fader throw, simply click the mouse on that point.

• This fader has no effect on the channel input level. It controls channel level to bus 1-8, L/R mix, and the aux outputs or , if Faders to Tape is selected, level to tape.

Label Fader (Scribble Strip)

• Double-click in the channel name region.

• T ype in track name.

• T ab to next channel or shift+tab to previous channel.

• Press enter or click anywhere else on-screen to exit “track” naming.

FADER

• Directly mirrors the onboard fader .

• Click and hold on fader; drag up and down to adjust fader level.

• When FADER MOTORS is turned off in the automation section, fader level can only be adjusted on-screen.

• Fader Bank 2 can be viewed onscreen along with any other selected Fader Bank (Ctrl-8 or on-screen Faders button.

• To set fader to unity gain, click anywhere in the fader throw region while holding down Control on the keyboard.

• Right-click a channel fader and drag across several adjacent faders to copy its level position to each.

D8B Manual • Chapter 3 • page 42

MUTE

• Highlighting the MUTE button turns the channel off in the main mix and bus 1–8 outputs.

• Use the mouse to click the MUTE button and highlight it.

• Simply click on more MUTE buttons to mute more channels.

• T o select or deselect multiple adjacent MUTE buttons, click and hold on any MUTE, then drag across the desired channels.

SOLO

• The function of the SOLO button (PFL, AFL, or MIXDOWN) is dependent on the solo mode selection in the onboard SOLO/STUDIO section.

• Click the on-screen SOLO button to hear one channel alone.

Page 49

• Hold the Shift key to solo more channels or select Solo Latch mode in the Options menu.

• With the Shift key held, click and drag across multiple SOLO buttons to select them all.

Quick Select Fat Channel

Simply double click the onboard SELECT button to instantly open or close the Fat Channel. On screen, double-click the select button, click on the Fat Channel tab at the bottom of the screen, or press Ctrl-6 to open the Fat Channel. To close it, press Ctrl-6 again or, select the Fat Channel or Close All tabs at the bottom of the screen.

SHIFT = Multiple Solos

Solo Isolate Mode

This feature is useful when you want a track, or tracks, to remain on, even when a solo button is pressed. For instance, if you want to individually solo each track along with the drums, simply isolate the drum channels, then press individual solo buttons.

ALT

• Hold the Alt key and click—or click and drag

across—any number of channel SOLO buttons to isolate them from the solo action.

• Alt-click on a Solo that’s in Isolate mode to remove

it from Isolate status.

• Channels in Solo Isolate mode have blinking

SOLO buttons. In AFL and MIXDOWN solo modes they’ll be heard even when other channels are soloed.

• For example, if you always want to hear the FX

along with any soloed channels, put the FX channel in Solo Isolate mode.

• Not active during PFL solo status.

• Can also be turned on and off in the Channel List

(Ctrl+B).

Drag (opt.)

= Solo Isolate

SELECT

• Activates a channel for modification of any F AT Channel parameters.

• Double-click Select to view on-screen Fat Channel.

V-Pots

The onscreen V-Pots, like the onboard V-Pots, are multifunctional. Click-Drag up to increase, pan right, etc.; Click-Drag down to decrease, pan left, etc. Control-click to set default value.

Increase

Decrease

D8B Manual • Chapter 3 • page 43

Page 50

• Selects channel for cut, copy, and paste actions.

• Press shift, then click or drag across multiple SELECT buttons to choose more than one.

• Right-clicking the mouse highlights multiple channel SELECT buttons in the same way as Shift-click.

V-Pot

• Controls pan, aux level, aux pan, digital trim, or level to tape, depending on selection in the MASTER section.

• Click and hold on knob, then drag to change setting.

• Drag up to turn knob clockwise or down to turn knob counterclockwise.

• Control-click any V-Pot to set it to default value (center , unity gain, etc.).

WRITE

• Activates channel to record automation data.

RECord

• Arms record on up to 24 tracks of any properly connected multitrack(s). The machines must respond to MIDI Machine Control (MMC) and they must have proper MIDI device ID settings.

• Blinking lights indicate tracks are in record-ready mode—as in, they aren’ t recording yet.

• Solid red lights indicate that the multitrack is running and active—as in, you better hope you’re not erasing something you didn’ t want to lose.

• Click, hold, and drag to select or unselect multiple record buttons.

Note: If the RECord process isn’ t working as expected, verify that Record Safe is not checked in the Options/ T ransport menu. With Record Safe selected (checked), neither the D8B or any connected devices will enter record mode.

Point and Click Aux Sends

To increase the send level, click to the right of any Aux and drag to the right; drag to the left to decrease the send. Control-click any Aux to set it to unity gain.

Decrease

AUX Send Levels

• Click and drag on the level indicator bar from left to right to increase the Aux send, and drag from right to left to decrease the level.

• The red bar indicates post-fader Aux level.

• The yellow bar indicates pre-fader Aux level.

• Control-click next to any channel Aux to set level to unity.

• T o copy an Aux level across multiple channels, right-click on a level indicator , then drag across several channels.

• A numerical Aux level readout displays directly below the Aux grid where channel numbers normally display.

• Pre/post Aux status is selected per channel or globally in the Setup/Mix Options window .

Increase

D8B Manual • Chapter 3 • page 44

Individual Pre- and Post-Aux Selection

Each individual Aux send can be either pre-fader or post-fader.

• Alt-click on any Aux send to change its pre/post status.

• Post-Fader Aux sends are indicated by red bars.

• Pre-Fader Aux sends are indicated by yellow bars.

Page 51

Aux Pans 9-10 and 11-12

• The blue bars after Aux levels 9 and 11 are pan controls for Auxes 9/10 and 11/12.

• Click and drag left to pan left; click and drag right to pan right.

• Center pan position puts the blue indicator half way across the Aux level grid (the default setting).

• Control-clicking sets the pan to center position.

• T o copy an Aux pan across contiguous multiple channels, Alt-Click or Right-Click on a pan position indicator , then drag across several channels.

EQ On/Off

• Highlight to turn EQ on.

Cool Quick EQ Box

The blue box directly below the EQ on/off icon offers lightning-fast access to powerful equalization.

• When EQ is on, adjustments to the

overall EQ curve can be performed quickly without entering the Fat Channel.

• Click on the EQ line and drag up or

down to boost or cut frequency ranges. All four bands can be adjusted here.

• Click on any boost or cut, then drag

right to raise the selected frequency or left to lower it.

• Control-click on any boost or cut, then

drag left to increase bandwidth or right to decrease it.

Quick EQ

Bypass the Fat Channel by Click-dragging directly in the main screen EQ box. This procedure doesn’ t provide immediate pinpoint accuracy but is very quick in the heat of battle.

Increase

Decrease

Bass

Wide Q

Control+Click

Treble

Narrow Q

Note: Right-click in the box to open an edit menu. This menu provides options to Undo, Redo, Open, Save, Cut, Copy, Paste, and Reset the channel EQ status.

Compressor On/Off

• Highlight the Compressor button (C) to

turn the compressor on.

Gate On/Off

• Highlight the Gate button (G) to turn

the gate on.

Phase

• Highlight Phase button (ø) to invert

the channel polarity 180˚.

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Digital Trim

• The blue bar above the Compressor , Gate, EQ, and Phase buttons graphically indicates the digital trim level.

• While adjusting Digital T rim, the track number window below the Auxes displays the digital trim level whenever Digital T rim is selected for the V-Pot on the control surface or on-screen.

Multitrack Direct Outs

• A hyphen in the OUT box indicates no direct out assignment.

• Click and hold in the OUT box to see the T ape Out list.

• Drag down the list to the desired output, then release the mouse button.

• Click and drag left or right to change the trim level.

• Control-click to set trim level to unity.

• Right-click and drag to copy trim level across multiple channels.

Level To Tape

• The red bar above the Digital T rim indicates Level T o Tape.

• Click and drag left or right to change the level.

• Control-click to set level to unity.

• Right-click and drag to copy trim level across multiple channels.

• Faders to T ape mode (Options menu) ties the source channel fader to the tape level output. Notice, in this mode when the T APE Bank is selected a change in the fader displays a change in the T ape Output level indicator.

• Fader Banks 1, 2, 3, and the BUS OUTS 1–8 (in Bank 4) can be routed to the direct outs 1–24.

• Click on “Reset Channel Only” to deselect all tape output assignments for the selected channel.

• Click on “Reset All” to globally deselect all channel and bank tape output assignments.

• Click on “Set Channel to All” to send the selected channel to all 24 tape outputs. This is a convenient way to track a single mic or instrument while overdubbing (for the umpteenth time) to multiple tracks. Simply select the desired record track on the multitrack recorder . The signal will always be there for you.

• Click on “Bank to Outputs” to send all 24 channels on the current bank to consecutive tape tracks.

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The Feedback Loop

CautionCaution

Caution: When Bank to Outputs is selected from the TAPE IN bank—or anytime you assign

CautionCaution to a tape track from a tape return channel, then monitor the correlating fader—there is potential for a nasty feedback loop. To create the feedback loop:

• Select the TAPE IN bank.

• Place the multitrack in record-ready.

• Assign a channel to its correlating multitrack input (Channel 25 to Tape Output 1, Channel 26 to Tape Output 2, etc.)

• Slowly raise the Level to Tape V-Pot—or if you’re in Faders to Tape mode, raise the level of the TAPE bank channel fader—correlating to the tape track (Channel 25, 26, etc.)

• Watch the nasty feedback loop on the meter bridge. You might not even be able to hear the loop, but it’s there.

• Finally, try to never do that again!

NoteNote

Note: This phenomenon is not specific to the D8B OS; it’s just the way interconnecting gear

NoteNote works. To eliminate the possibility of a feedback loop is to rob creative flexibility from the system. We all learn to avoid creating feedback loops in our working environment. But it helps to be alerted to the possibility from time to time.

• T o assign multiple channels to a mono or stereo set of tape outs, assign them to buses, or a pair of buses, then send the bus output(s) to tape.

• Stereo pairing is selected by assigning a channel to any odd/

• Any channel can be sent to any number of tape outputs by simply selecting multiple tape outputs: however, only the last selected output is displayed in the OUT window .

• No two channels can be assigned to the same tape output. T o sum channels to an output, assign them to a bus, then route the bus to a tape out.

BUS and L/R Output Assignments

• Highlight any BUS out 1–8 to route the channel through the selected bus out.

• Highlight the L/R button to route the channel to the Main L/R mix output.

even bus pair (1/2, 3/4, 5/6, 7/8, L/R, etc.) In this case, the PAN control positions the channel between the bus pairs.

The Master Strip

Master Fader

• Controls the Master Mix level.

• Ideally set at unity gain. Controlclick anywhere in the fader throw to automatically set the fader to unity.

• Click anywhere in the fader throw to instantly snap to that level.

• Click and hold on any BUS or L/R button, then sweep across adjacent channels to assign the selected bus output to multiple channels.

MASTERS, EFFECTS, TAPE, AND LINE buttons

These are the on-screen fader bank selectors.

• LINE is Fader Bank 1

• T APE is Fader Bank 2

• EFFECTS is Fader Bank 3

• MASTERS is Fader Bank 4

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MASTER V-Pot

• Functional as a master Aux level control when any of the Auxes are selected in the Master Strip.

• When the PAN icon is highlighted, the Master V-Pot functions as a front/rear pan position control for any selected channel in all Surround Modes (not stereo).

• The Master V-Pot SOLO button solos any selected Aux bus.

CUE LEVEL and CUE PAN 1 and 2

• These buttons activate the channel V-Pots for L-R and level adjustments for Auxes 9/10 and 11/12.

• Selecting CUE LEVEL 1 or 2 activates the channel V-Pots for individual stereo send levels and the Master V-Pot for the selected cue master volume/level.

• Selecting CUE PAN 1 or 2 activates the channel pan V-Pots for L/R placement.

• Click-drag the channel V-Pot up to move right; click-drag down to move left.

• Control-click any channel V-Pot to set it to center position (in PAN) or to unity (for LEVEL).

• Right-click a channel V-Pot and drag across several channels to copy its level or pan to each.

AUX buttons 1–8

• Each button activates the channel V-Pots for Aux send level adjustment.

• When any AUX button is highlighted in the Master Strip, the Master V-Pot is activated to control Master Aux output level.

• Click on the channel V-Pot and drag up to increase level; drag down to decrease level.

• Control-click on the channel V-Pot to set it to unity gain.

• Right-click a channel V-Pot and drag across several channels to copy its level to each.

• When Faders to T ape is selected, the tracking source channel’s fader and T racking Level V-Pot are equivalent functions.

WRITE

• Activates the Master Strip to record selected automation data by the Main Fader or Aux Masters.

• Any moves in the Master Strip will be recorded into automation if the automation settings are set to receive them.

SELECT

• Activates the Master Fader in the Fat Channel display.

• Enables the Master Fader and Aux Masters status to be included in the “Set Default Levels…” prompt or in the clipboard operations.

Master INSERT L/R

• Allows any plug-in to be patched into the main mix outputs.

• Simply choose the desired plug-ins from the list that pops up when mouse-clicking the INSERT icon.

• This is a post-master-fader insert.

DIGITAL TRIM

• This button activates the channel V-Pot to control the digital input level—pre DSP.

• Click on the channel V-Pot and drag up to increase level; drag down to decrease level.

• Control-click on the channel V-Pot to set it to unity gain.

• Right-click a channel V-Pot and drag across several channels to copy its level to each.

TRACKING LEVEL

• This button activates the channel V-Pots to adjust final post-DSP output level to the multitrack outputs.

• Same control as the onboard LEVEL TO T APE.

• This control fine tunes the channel output levels to the multitrack.

• Click on the channel V-Pot and drag up to increase level; drag down to decrease level.

• Control-click on the channel V-Pot to set it to unity gain.

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Signal Path Flexibility

The D8B version 3.0 software provides many new and exciting capabilities—check out these new flexible routing options. Selecting an insert on-screen is exactly the same as patching from the signal path into an external effect, then back through a patch bay or dedicated physical insert point. Of course, digital patching induces no extraneous noise, crackles, or degradation—so, in that way it’s not like a patch bay at all.

A review of the signal path is helpful at this point:

Tape/Line/Mic Input A/D Converter Pre-Insert Channel Delay Digital Trim Phase Compressor, Gate (Dynamics) Dynamics Meter Dynamics Output Meter EQ Post-Insert Channel Metering

Signal Path (INSERTS)

POST Insert

The POST Insert accesses the signal immediately past the EQ circuit and before the channel meter and fader. This an excellent patch point for individual channel effects, where it’s appropriate to send the equalized and dynamically controlled signal to effects like reverb or delay. The POST insert is also a good choice when inserting an EQ in place of—or in addition to—the existing channel EQ.

PRE Insert

• Patch nearly any channel in through this insert. This is a great place to insert dynamic controls since the level is constant and unaffected by EQ, dynamics, or fader adjustments.

• Insert any plug-in.

• Source any channel, Aux Send or Return, FX Send, Bus Out, or Digital Playback device at this point.

• This insert is a great choice for bus mastering, with channel DSP and subsequent routing to the Main L/R output.

 Assign Channels (Vox,

Drums, etc.) to Bus 1/2

 Select Bus 1 and 2 as

Pre-Inserts for Channels 47/48

 Use Channel Dynamics and

EQ for 47/48

 Select a Really Cool Post-

Insert Plug-in for 47/48

 Assign 47/48 to the Main L/R

Output

Bus Mastering

Using PRE-Insert for

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The PRE and POST insert selections are displayed in the readout windows immediately above the INSERT icons. Clicking on the window displays the assigned plug-in module.

• To reset the channel to its original layout configuration, simply select the original channel number . Notice the Mackie OS places the original number to the right of the main list for your convenience.

Notice, the channels below have been moved

around to provide a better mixing configuration.

Channel Layout Reconfiguration

The Channel number indicator buttons provide the capability to move channel strips around and reconfigure the channel layout. This is a very convenient feature, especially during mixdown. For example, it helps to have all the vocals together, so just reconfigure the channels so they’re all on adjacent channels.

Anytime you need to have immediate access to faders from another bank, this feature is a life saver. Simply click on the channel number and select the desired channel.

• Press the on-screen

channel number icon to

reveal the Channel List.

• Drag to select the desired

channel for this location

and release.

• When a different channel is

selected for a location, there

is no effect on any other

channels. For example, if

you select to move channel

30 to the channel 10

position, channel 30 still

remains in its original

position between 29 and 31.

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May I See A Menu Please

There’s amazing power and flexibility in the Menus and Screens built into the Mackie OS. This guide will serve as an excellent Quick Reference for each menu and screen.

Open Session (Ctrl+O)

• Press Ctrl+O or click the File menu, drag down to Open Session, and release.

• Use this to open a preexisting session file.

• As soon as the session is opened, the faders and all other parameters move to their proper settings for the opened mix or snapshot.

The File Menu

Contains:

• New Session (Ctrl+N)

• Open Session (Ctrl+O)

• Close Window (ESC)

• Save Session (Ctrl+S)

• Save Session As…

• Save As Template

• Reset Template

• Desktop (Ctrl+D)

• Shutdown (Ctrl+Q)

Close Window (ESC)

• Press Ctrl+W, ESC, or click the File menu, drag down to Close Window, and release.

• Closes the front window (Setup, Snapshots, Locator , Surround, Event List, Mix Editor Fat Channel, or any menu screen with a CLOSE icon in the upper right corner).

Save Session (Ctrl+S)

• Press Ctrl+S or click the File menu, drag down to Save, and release.

• Saves the current session to its assigned hard drive or floppy disk.

• If you don’ t choose to activate the D8B automatic save feature, press Ctrl+S often to ensure against lost work—stuff happens.

Save Session As…

• Click the File menu, drag down to Save Session As…, and release.

• Enter a new file name (or use the default name) and select destination folder and/or drive.

• An extremely useful feature for saving variations of a session.

• Lets the current session be saved under a new name, leaving the original file untouched from that point on.

• Good for backing up session data under a new file name, or to a floppy or external drive.

Let’s take a quick look at each menu item.

New Session (Ctrl+N)

• Select this to—wait, let me guess—start a new session.

• The OS will ask you to save changes to the current session.

• Next, you get the chance to name the session, select which folder it ends up in, create a new folder to put it in, or cancel.

• The session can be saved to the internal hard drive or to a 3.5" floppy disk.

• A session consists of all snapshots, automation data, and—if you choose—custom EQ, effects, and dynamics patches.

• A new session uses the T emplate as its initial status.

Save As Template

The Startup session is no longer the “template” for new sessions, as it was in v2.0. The startup file is like any other; it is only created and named “Startup” if no other file exists.

The Template is stored separately, but it can be updated at any point with the current static mix levels, setup parameters, and track attributes of any given mix. Simply pull down the File menu and initiate the Save Template operation.

The following are stored in the Template:

• Channel Name

• Noise Filter setting (in Channel List)

• Channel Layout (rearrangement)

• MDS Network settings

• Stereo/Surround setting

• Current Tempo (default to 120 bpm)

• T ime V iew (SMPTE/BBT/Milliseconds)

• Mix Editor – Grid Setting (resolution—called

Snap Grid in the pull-down), Enable Snapping,

Snap to Cues, Snap to Grid

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Many other functions carry over from session to session when opening a new session (e.g., sample rate).

If you require a more finely tuned template, try these approaches:

1) Import a snapshot of your favorite settings

(you must save one to the snapshot library first).

2) Do a “Save As...” of the current file. Keep a primary snapshot on tap in this file to reset everything. Then select all channels and apply the Edit/Clear Automation. This doesn't clear any dynamic automation in the plug-ins, so you have to click on any MODE button in the Plugin Configuration window to clear plug-ins of assignment and automation.

Note: Currently, it’s not possible to update or delete the T emplate from the control surface VFD. If you are working from the control surface without an on-screen interface, you may want to save a session with all of your favorite parameters in place, then after powering up, recall this session as the starting point for the new session. Remember to immediately save the new session under a different name so your original settings remain intact.

Gain access to the Desktop by:

• Clicking the File menu and dragging down to Desktop.

• Pressing Control+D from the computer keyboard.

• Clicking Desktop in the window selection bar along the bottom of the on-screen interface.

T o close open windows:

• Press Control+W to close the active window (click once in a window to be sure it’s active).

• Click in the triangle-shaped icon in the upper left-hand corner of the active window .

• Click Close All in the window selection bar along the bottom of the on-screen interface.

T o exit the Desktop:

• Click Mixer in the window selection bar along the bottom of the on-screen interface.

• Press Control+D.

Reset Template

Restores a new session to the factory default

settings for all static parameters.

To reset the Template to the factory default settings, select the File menu Reset Template command.

The Desktop Window (Ctrl+D)

The Desktop offers file management features unavailable from the onboard Fat Channel VFD, such as deleting files, flushing the Toilet, mounting and refreshing drives, and copying multiple files or folders.

Use the Desktop to:

• Copy files between floppy disks and the internal hard drive.

• Flush files to the toilet (delete).

• Create new files.

• Rename files.

• Duplicate files.

• Mount/Refresh drives.

• Drag and drop files and folders between any two open windows. Note: The destination drive or folder must be opened and displaying its contents for proper placement to occur . In other words, don’t drop files or folders onto closed folders.

Hard Disk

• Click the Hard Disk icon to open the internal hard drive.

• Common navigation procedures apply through folders and sub-folders.

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Floppy Disk

• Click the on-screen Floppy Disk icon to open the floppy disk window .

• Common navigation procedures apply through folders and sub-folders.

Desktop File Menu

Use the Desktop File Menu to:

• Close windows (ESC)

• Go Back to Mixer (Ctrl+D)

• Shutdown (Ctrl+Q)

Mount/Refresh Drives

Any time a file doesn’t seem to have ended up where you thought you put it, or you’ve swapped floppy disks, selecting Mount/Refresh Drives will update a file directory window to display its current contents.

Select All

Selects everything that’s selectable in the open window.

Note: Anytime you save patches (EQ, compressor , gate, plug-ins, etc.) the Mackie OS defaults to the User Presets folder. Don’t fight this procedure! To guarantee that your file will be around through various OS and plugin updates, keep your presets in the default locations.

Shutdown (Ctrl+Q)

Use the shutdown function to close the Mackie Real Time OS prior to shutting off the D8B.

The Edit Menu

The primary edit window (faders overview screen) contains some functions common to normal computer use (Cut, Copy, Paste, Undo, Clear) along with several very useful features unique to the D8B operating system.

The Edit Menu within the hard disk and floppy

disk windows contain the same options.

New Folder (Ctrl+N)

• This action creates a new folder in the active window .

Cut, Copy, Paste, Rename, Duplicate Files

You guessed it! All these items do all these things

to any selected file or folder .

Delete Files (DELETE)

• Highlight the file or folder and select Delete from the Edit menu.

• Drag any file or folder to the toilet icon to remove it from the disk.

•A W arning window stands between you and complete erasure of the file to verify the action.

Note: Once a file is put in the toilet (DELETED), there is no way to recover it. It’s flushed!

The Edit Menu Contains:

• Undo (Ctrl+Z)

• Redo (Ctrl+Shift+Z)

• Cut Channels (Ctrl+X)

• Copy Channel(s) (Ctrl+C)

• Paste Channels (Ctrl+V)

• Delete Events (DEL)

• Set Default Levels…

• Modify Levels (Alt+M)

• Insert Time

• Delete Time

• Insert Global Time

• Delete Global Time

• Clear Automation...

• Clear Edit History

• Play From Selection (Ctrl+Space)

• Select All (Ctrl+A)

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• Information in the clipboard can be pasted to another channel, track, region, etc.

• Cutting data typically restores selected channels or regions to their default settings or to off.

• The History List keeps a running list of the Edit choices for later recall.

Copy Channel(s) (Ctrl+C)

• Places selected data on the clipboard, awaiting reassignment.

• Copying data has no effect on the data being copied.

• Copied data is reassigned using the Paste command (Paste Channels, or the Paste button in the onboard Clipboard section).

Paste Channels (Ctrl+V)

• Replaces the data in a selected channel, region, or area with relevant data residing in the clipboard.

• When multiple channels are on the clipboard, data from the lower channel numbers are pasted first when there are fewer number of target tracks selected.

• Paste can be undone.

Delete Events (DEL)

This action deletes any selected events or range of events. This action is entered on the History List and available for Undo, as long as it remains on the list.

Let’s take a quick look at each menu item.

Undo (Ctrl+Z)

• Reverses an action. If you’ve made a bad automation pass, cut something you didn’ t really want cut, pasted somewhere you didn’ t want to paste, etc., simply select Undo and the D8B reverts to its previous status.

• Selecting Undo multiple times steps back through the history list (list of actions taken), all the way back to the T op Level (starting point) if necessary. Open the History List (Ctrl+H) to check it out.

Redo (Ctrl+Shift+Z)

• Reverses an Undo. If you’ve undone an action, or set of actions, you might determine that your original guess was best.

• Redo is a multilevel command, like Undo, so multiple redo commands retrace your steps through any undone actions in reverse order—the last is first and the first is last.

Cut Channel (Ctrl+X)

• Removes selected data: channel, track, automation, dynamics, etc.

• Information that’s been Cut is stored on the clipboard, awaiting reassignment or purging.

Set Default Levels…

• This is a very useful automation tool and is the primary starting point for the automation process.

• For use in automation, this feature sets the current levels of the faders on the selected channels as the default through the range of SMPTE time code.

• Changes to automation data can be selected to retain their adjusted status until another automation move is written, or to snap back to the default level upon exiting Write mode (see Write Flyback on page 60).

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Modify Levels (Alt+M)

Insert Global Time

• With the Mix Editor open, this feature globally inserts a region of no data change at the selected start point (on all channels for all data).

• Selecting Insert Global Time in the Edit menu opens a window with settings for the insert start point and length of time inserted.

Delete Global Time

• With the Mix Editor open, this feature globally deletes a region of data change at the selected start point (on all channels for all data).

• Selecting Delete Global Time in the Edit menu opens a window with settings for the deletion start point and length of time deleted.

• Use this control to modify all selected channels for the user-selected parameter.

• Choose the type of parameter in the top pull-down button.

Set the action to Trim, Set, Min, or Max.

• T rim adds or subtracts the selected value from all selected channels for the selected parameter .

• Set moves the selected parameter to the specified value for all selected channels.

• Min limits the minimum parameter setting to the specified value for all selected channels.

• Max limits the maximum parameter setting to the specified value for all selected channels.

Note: The Modify Levels command affects automation data only if the Include Automation box is checked. If the box is checked, levels are modified globally across the complete SMPTE time line on selected channels, for the selected parameter.

Insert Time

• Within the Mix Editor, this inserts a region of no data change in the selected channel region.

• The amount of blank time inserted is equal to the length of the selected region.

• Functional on any number of selected tracks.

Delete Time

• Deletes a selected time region in the Mix Editor window , including all data and changes.

• The amount of deleted time is equal to the length of the selected region.

• Functions on any number of selected channel regions.

Clear Automation

• Removes all automation data globally for the selected channels and the selected categories.

• This action can be undone.

• This action is listed in the History List and remains available for an Undo at any point, as long as it remains in the list.

• Plug-in automation is cleared by removing the plug-in from its assigned slot.

Clear Edit History

• Removes all items from the History window .

• This cannot be undone!

Play From Selection (Ctrl+Space)

• This action starts playback of the onboard D8B transport from the start time entered in the Mix Editor start time window .

Select All (Ctrl+A)

• Operates on list type windows (Snapshot, Locator , MIDI Map, etc.) for selecting all list items for deletion.

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The Channel Menu

The Channel menu contains:

• Channel List (Ctrl+B)

• Open Channel…

• Save Channel As…

• Group (Ctrl+G)

• Ungroup

• Channel Link… (Ctrl+L)

• Unlink (Ctrl+U)

• Faders to Unity (Ctrl+])

• Faders to Off (Ctrl+[)

• Adjust Channel Delay…

• Reset Channel Delay…

• Reset Channel Layout...

• Select Fader Bank (Alt+A)

• Select All Faders (Alt+Shift+A)

Let’s take a quick look at each menu item.

Channel List (Ctrl+B)

• Allows for quick and easy setting of global channel parameters.

• Change the channel name.

• Easily set groups.

• Set playback status to Run, Punch-Run, or Disabled.

• Solo isolate channels.

• Quickly set channel links.

• Set individual channel delays of up to 255 samples (see “Adjust Channel Delay” on page 59).

• T urn digital filter on or off (to eliminate analog channel noise). Playback—Allows automation playback enable

and bypass for the individual channels. This feature is used in addition to the global automation bypass, but works on a per-channel basis. There are three modes within Playback: Run, Punch-Run and Disabled.

Note: The three different Playback modes, Run,

Punch-Run, and Disabled, all operate in the same manner for MIDI I/O as they do for automation. Remember that MIDI I/O pertains only to Fader , Mute, and Pan automation and control.

Run: This is the default mode, and if dynamic

automation is present on the channel, automation moves play back when time code is received and the global automation bypass is disabled.

Disabled: This mode simply disables automation

playback on the individual channel, regardless of the global Bypass status. “Disabled” is a safe area that you can use to prevent automation playback from chasing and overwriting your latest edits before you get a chance to commit the settings. The “Disabled” feature is also handy for setting up parameters within the context of a mix, relative to whether other individual channels or sections are automation bypassed.

Punch-Run: Once you’ve automated a channel, you

might want to preset a punch-in level to drop or boost the parameter of interest (especially a fader). In Absolute mode (Auto Touch off), the parameter cannot be altered if it is chasing automation, as you can see when you grab a fader knob during automation playback and it “fights” you. For this purpose, we created the Punch-Run mode. Place the channel in Punch-Run, which releases the playback chase mechanism until the channel has been placed in any automation Write mode. When Punch-Run is engaged, you can roll back the tape, freely adjust the parameter level and, when the punch-in point arrives to set the new level, press the WRITE button on the channel and the parameter level will be written to the track. At punch-out, two things will occur: the parameter level jumps to any preexisting level on the track (similar to Write Flyback, but the level is not necessarily the original level) and the channel parameters now chase on subsequent playback.

You cycle through the modes by clicking on the

Playback column in the specific channel’s row. From the console, hold down an individual channel strip’s SELECT button for 2 seconds, and then press the

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SELECT button under the Playback mode to toggle between the Disabled, Punch-Run, and Run states.

Shortcuts: Note the “previous-click” shortcut (the last click has a memory if it was on a “like” parameter , and copies the previous-click setting to the next click). Also you can click and swipe down the list to change the column to the value that’s toggled by the click.

From the control surface (or the keyboard) press the CONTROL button (or Ctrl key) and the channel SELECT button simultaneously to enter or exit (toggle) Punch-Run mode. The red bank LED (for Ch 25-48) above the SELECT button blinks to indicate Punch-Run status.

Note: The Disabled state does not automatically reengage itself. Remember to toggle it to Playback status if you want automation moves to play once again.

Write—This in an individual channel write-safe function that is independent of the global Automation Bypass and Automation filters. There are two modes, Enabled and Locked, where Enabled allows automation to be written, and Locked prohibits the overwriting of moves on the channels dynamic automation track.

Note: The two modes, Enabled and Locked, operate in the same manner for MIDI I/O as they do for automation.

T oggle the Write mode by clicking on the Write column in the specific channel’s row. From the console, hold down an individual channel strip’s SELECT button for 2 seconds, and then press the SELECT button under the Write mode in the Fat Channel Display to toggle between the enabled and locked states.

Shortcuts: Note the “previous-click” shortcut (the last click has a memory if it was on a “like” parameter). You can also click and swipe down the list to change the column to the value that’s toggled by the click.

Isolate—This turns Solo Isolate on and off. When Solo Isolate is on, the channel or track remains on when another channel is soloed.

Filter—This noise-shaping filter can improve the signal-to-noise ratio for particularly noisy analog input sources. If you have Digital I/O cards (DIO•8, PDI•8, OPT•8) installed in channels 26 through 48, leave the filter off for those channels. Save the settings in your template so they carry over from session to session.

Open Channel…

• Static channel parameter settings can now be saved and recalled.

• The Open Channel window provides access to previously saved channels on either a floppy disk or the internal hard drive.

• Highlight the desired item and click Open to send the saved channel data to the selected channel.

• Enable Auto T ouch and All filters to write a channel setting into automation. On subsequent operations, use Punch-Run in the channel list to avoid automation chase conflicts.

Save Channel As…

• Allows static channel parameter settings to be named and saved for instant recall at a later time.

• Descriptive naming provides for stress-free recall of a finely-honed channel status.

• Save channel status to either a floppy disk or the internal hard drive.

• Select New Folder to organize channels into logical groups: band name, instrument type, singers, drums, guitars, etc.

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Group… (Ctrl+G)

• Provides a very convenient way to group faders for control by a group master fader in the MASTERS fader bank.

• Simply select all the desired channels for a specific group by Shift+Selecting throughout the Bank or Banks you choose, then use the pulldown menu to assign them all to a group.

• This does not override any previous group settings outside the selected channels, however , a channel can only be assigned to one group. The most current group selection does override a previous channel group assignment.

• This feature provides a way to add faders to an already existing group.

Ungroup

• Provides an easy way to remove channels from a previously established group.

• Select some or all of the grouped channels to remove the selected channel from the group status.

• Select “Retain All Levels” to keep the selected channel fader levels at their group-adjusted levels. This adds or subtracts the group master setting from the originally set channel levels in order to maintain the mix setting even when the faders are removed from the group.

Channel Link… (Ctrl+L)

• Link is still initiated by either first selecting two channels and then selecting “Channel Link…” under Channels in the upper menu bar , or by pressing and holding two adjacent channel SELECT buttons for two seconds, and then

following directions in the Fat Channel Display. An additional link initiation may be made using the Channel List feature.

Note: You can select each channel in a linked pair individually. If you want to copy channel settings to a linked pair , you must select both channels (ShiftSelect) and then paste the settings.

The features are outlined as follows:

Any two (Odd/even or Even/odd) contiguous channel strips may be linked:

(For example, channels 5 and 6, or FX1 and FX2; or channels 6 and 7, or Group Masters 2 and 3.) A channel may be paired with only one other channel strip in its bank. If channel 5 is linked with channel 4, it may not be simultaneously linked with channel 6. Channels may be paired across banks (e.g., Ch 24 and Ch 25) if necessary, but it’ s not recommended for typical applications.

• Link Setup provides a means to select the

parameters that are linked between channels.

• Choose only the parameters that need to be

linked. For instance, in many cases only the

faders need to link; all other parameters should

remain intact in the way that they’ve been fine-

tuned for the individual track.

• Relative offset: Pressing [Shift] on the console or

keyboard while moving any controller function on

the D8B console surface or with the mouse allows

a relative distance (or relative offset) of ANY

linked parameter . For example, on two linked

faders, press and hold [Shift], move one fader , let

go of [Shift], and a new relative position is

maintained. T o maintain a pan spread, press and

hold [Shift], move a linked pan V-Pot, release the

[Shift} and the pans will maintain the offset spread

to the extent of the maximum left or right value.

• Remember that pressing [Ctrl] and moving a

controller resets it to a normal, or default,

position, so you can always realign and match the

relative link to a zeroed offset.

• Inverse Pan linking: Pan can be set to link inversely.

This means that rotating the Pan control on one

channel causes the Pan control on the linked

channel to rotate in the opposite direction.

• Inverse Switch toggling: You can press [Shift] and

then press the MUTE button on a channel, and it

will toggle oppositely to the other linked mute.

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This feature can be especially handy for applications such as vocal comps and bus switching. Inverse switching is set and recalled individually on all parameters, so Bus 1 and the linked Bus 1 can be inversely locked, while Bus 2 and mutes are locked to the same value.

• Holding down [Shift] and enabling a linked channel mute, Bus 1-8 and L-R assigns, EQ on/off, Gate on/off and Comp on/off assignment enables the inverse function. T o leave this mode, press [Shift] and the linked button again. The mode may also be initiated by using the keyboard [Shift] and clicking on a linked channel’s button.

Unlink (Ctrl+U)

• Select the channels that will remain at the original position; all unselected channels will be offset by the selected number of samples (±255).

• This feature helps compensate for phase and timing discrepancies in a synchronization scenario or any multi-playback/record device setup.

Reset Channel Delay…

• This resets the time-altered channels to a status of no offset.

Reset Channel Layout…

• This action resets all channels to the default contiguous channel layout (1-97). It “undoes” all channel rearrangements across the board.

• Removes a link between channels.

• Initiate by selecting the linked channels and then selecting “Unlink” under Channels in the upper menu bar , or by pressing and holding the linked channels’ SELECT buttons for two seconds, and then choosing Link Off in the Fat Channel Display.

Faders to Unity (Ctrl+])

• Sets the selected channel faders to unity.

• Affects faders only (including the MASTER L/R fader). Does not affect other channel parameters.

Faders to Off (Ctrl+[)

• Instantly sets selected channel faders to off.

• Affects faders only (including the MASTER L/R fader). Does not affect other channel parameters.

Adjust Channel Delay…

Select Fader Bank (Alt+A)

• Selects all 24 channels in the currently selected fader bank for clipboard, automation, and other operations pertaining to multiple channel modifications.

Select All Faders (Alt+Shift+A)

• Selects all 97 channels (96 plus the L/R mains) in all four fader banks for clipboard, automation, and other operations pertaining to multiple channel modifications.

The Options Menu

• This feature provides a means to shift channels in time, relative to each other .

Solo Latch

To activate Solo Latch, simply select it in the Options Menu, so a check mark appears beside Solo Latch.

Solo may be set to latch (i.e., more than one solo can be enabled as they are swiped across the screen

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or on the panel) or to radio button (only one allowable at a time).

If solo latch is not set (no check mark), multiple

solos may be manually latched by either:

1) Pressing and holding another solo switch, while initiating more solos, or pressing multiple solos at one time.

2) Pressing and holding [Shift], while initiating more solos.

Link Speakers

• Links the Near Field and Main speaker levels

• Changing the speaker level when either speaker set is selected changes the level on the other set.

• Hold Shift on the control surface or keyboard while adjusting the speaker level to create an offset between the speaker levels. This is a convenient way to match monitor levels between speaker systems while still linking the overall volume changes.

• Hold Ctrl while adjusting Speaker Level to delete the offset.

Faders to Tape

• Direct out levels (Level to T ape) from the tape out follow the sourced channels’ faders. For example, if channel 12 is assigned to direct out 24, adjusting channel 12’s fader directly affects the tape output level.

• Switch this off for independent Level to T ape settings.

Automation Sub-menu

Trim Levels

• This mode sets all faders to unity position and assigns all parameter controls (except mutes) to globally add or subtract from existing settings and recorded moves.

• This is perfect for raising or lowering a complete set of moves.

• For example, if the vocal track automation is perfectly crafted and structured, yet the entire track needs to come up a couple dB in the mix, fear not. Select T rim Levels, start time code, enter WRITE mode, and, with one move, increase vocal track fader 2 dB, throughout the duration of the pass.

Note: T rim Levels automation writes linked parameters independently on linked channels.

Auto Touch

• Called AUTO TOUCH on the control surface.

• Readies all selected automation parameters to enter write mode the instant the parameter is adjusted.

• As soon as a selected channel parameter is altered, the channel strip enters write mode for the adjusted parameter . However, adjustments of parameters that haven’ t be selected for automation in the onboard AUTOMA TION or Automation Menu do not cause the channel to enter write mode.

Faders

• This readies the automation computer to record all fader movements for any write-selected channel.

Mutes

• This action readies the automation computer to record all mute activity.

Bypass

• With this command selected (Bypass button lit in the Automation section), automation data is neither recorded or played back

• With this command deselected (no light), all write-selected parameter adjustments are written into automation data and referenced to time code.

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Pan

• This readies the automation computer to record all Pan movements for the write-selected channels.

• All surround pans are recorded as well as L/R positioning. However , surround output, depth of center , and LFE assignments are not written with this selection.

All

• Sets the automation computer to record all parameter changes for the write selected channels, other than the individually selectable FADERS, MUTES, and PAN.

Write Flyback

• This controls what happens to the parameter levels upon punch-out of automation record.

• With Write Flyback selected, each parameter recorded into automation returns to its previously adjusted status at the end of a record pass. A track that was off for an entire arrangement snaps back to off, after the level is increased, when punched out of record.

• When Write Flyback mode is not selected, parameter adjustments in automation remain at their last user-adjusted setting, even after the end of the automation pass.

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Write Ready Mode

• This option does not function when Auto T ouch is selected.

• When Write Ready is selected, channels are manually engaged to write automation data.

• Write Ready mode assigns the transport RECORD button to punch the Write Ready channels into and out of automation record.

• When the channel WRITE button is pressed, the yellow light blinks, signifying that the channel is ready to record automation. No automation will be recorded until the RECORD Master is enabled in the transport section.

Transport Sub-menu

All three of these menu items are available in

the Mix Options section of the Setup window.

Use Pre-Roll

• Sets machine location a specified amount ahead of the locate point.

• The amount of Pre-roll is set in the Locator-MMC section of the Setup window .

• Pre-roll is used to provide a set time period for all synchronized device transports to lock together.

• Ideally, pre-roll is equal to the sync-lock time for the recording system’s transports, so that synchronized playback is a reality by the time the devices roll past the locate position.

Record Safe

• In Record Safe, the channel RECord/ReaDY buttons will not engage. However , automation data can still be written.

One Button Punch

• With this option selected, record mode is activated by pressing the RECORD button in the control surface’s transport section. When One Button Punch is not selected, the PLAY button must be held down while pressing RECORD to engage record mode.

• T o punch out of record status, simply press PLAY, STOP, REWIND or FAST FWD.

• One Button Punch affects only the punch-in procedure.

• The punch-out procedure is the same no matter what the status of One Button Punch (hit any other transport button to punch out).

The Plugins Menu

Plugins (Ctrl+P)

• This command opens the Plugin Configuration window . It is here that plug-ins are selected, inputs are chosen to feed plug-ins, and stereo or mono modes are selected.

• There are sixteen plug-in slots—four dedicated to each FX card. Card one is allocated plug-in slots 1–4. Card 2 is allocated plugin slots 5–8. Card three is allocated slots 9–12. Card four is allocated slots 13–16.

• For each active plug-in, the SLOT number button opens and closes the plug-in window .

• MODE toggles between STEREO and MONO when using the UFX card. Each UFX card is divisible into two halves. Either half can be selected as stereo or two-channel mono. In other words, each UFX card can be configured as two stereo, four mono, or one stereo and two mono plugins.

• The MODE selection is not applicable to the MFX cards.

• MODE selection determines the plug-in options from the UFX card.

• Select the desired plug-ins in the PLUGIN column. The available options are dependent on the installed plug-in card(s).

• Each of the four card slots is allocated four possible inputs and four possible outputs. MFX cards are automatically configured with two mono inputs, each feeding a separate user-selected effect. Each MFX effect has a stereo output, automatically returning to two faders in the control surface EFFECTS bank. UFX cards offer a potential of four discrete inputs and outputs, configurable into plugin-specific stereo and mono configurations.

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• When using the MFX card, each mono input feeds a stereo effect; each stereo effect returns to two faders on the EFFECTS bank. For example, with an MFX card installed in mixer card slot 1 and selected in the Plugin Configuration window , INPUT s are available at slots 1 and 2. If Aux 1 is selected for SLOT 1, the Aux 1 send feeds the input to Stereo Effect 1, whereas the returns enter the mixer at EFFECTS bank faders 1 and 2.

• Once the plug-in is selected, the plug-in-specific input options appear in the INPUT menu.

• A plug-in can also receive its input from a channel pre- or post-DSP insert or the main stereo left and right bus. When a plug-in is inserted “in-line” in this manner , its output is routed directly back into the channel or bus.

• T o deactivate a plug-in, select “none” in the associated PLUGIN column pull-down assignment menu. Click “OK” in the Alert dialog box.

Warning: Deactivating a plug-in erases all automation data for the plug-in.

Basic MFX Use Procedure

1. Open the Plugin Configuration window .

2. Select MFX 3.0 in the PLUGIN menu. When a

plug-in card slot contains an MFX card, a single box covers the four plug-in slots allocated to that card.

3. Once MFX is selected, two mono inputs become

available in the INPUT menu.

4. Click and hold on the input box to open a drop-

down menu; drag to select the desired input.

5. Open the STEREO EFFECTS windows by

clicking on the SLOT buttons to the left of each active input.

6. Verify audio send to the plug-in at the STEREO

EFFECTS input meter , and that the ON button below the input meter is yellow.

7. Manually set up the desired effect or select from

effects presets.

8. T o hear the effect, unmute the appropriate

channels and then raise the appropriate faders in the control surface EFFECTS bank.

Basic UFX Use Procedure

1. Open the Plugin Configuration window .

2. Select the desired Stereo or Mono MODE status. Change status by simply clicking on the current MODE status button.

3. Click and hold in the plug-in list to open the dropdown list of available plug-ins. Drag to select the desired plug-in(s) from the PLUGIN menu.

4. Once a UFX plug-in is selected, the plugin-specific inputs become available in the INPUT menu.

5. Click and hold on the input to open a drop-down menu; drag to select the desired input.

6. Open the selected plug-in window by clicking the SLOT buttons to the left of each active input.

7. Verify audio send to the plug-in at the input meter , and that the plug-in is ON.

8. Manually set up the desired effect or select from effects presets.

9. T o hear the effect, unmute the appropriate channels and then raise the appropriate faders in the control surface EFFECTS bank.

Shortcut to Plug-in Windows

Plug-in windows can be opened and closed

from the keyboard by using a combination of the shift, number, and Alt keys. Plug-in windows correspond to the active input slots in the Plugin Configuration window.

• To open and close plug-in windows for SLOTS 1–9 press: Alt 1–9

• To open and close plug-in windows for SLOTS 10–16 press: Alt+Shift 0–6

Plug-ins Selector

Toggle between Windows menu selections and

Plug-ins Menu selections by clicking the 1/4" TRS icon on the far left end of the window selector strip.

See Appendix C (Plug-in Configuration and

Routing) for more information about configuring and routing plug-ins.

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The Windows Menu

Contains:

• About

• Hot Keys

• Close All (Ctrl+\)

• Desktop (Ctrl+D)

• Setup (Ctrl+1)

• Snapshot (Ctrl+2)

• Surround (Ctrl+3)

• Locator (Ctrl+4)

• Mix Editor (Ctrl+5)

• FatChannel (Ctrl+6)

• Panning (Ctrl+7)

• Faders (Ctrl+8)

• Event Track (Ctrl+9)

• History List (Ctrl+H)

• MIDI Map (Ctrl+ –)

• Upgrade UFX Cards...

• Erase UFX Memory ...

About

This window displays the OS version, software

authors, artist, etc.

Hot Keys

The more of these key commands you learn, the faster and more efficient you’ll be at recording. Some adjustments are necessary on the control surface or with the mouse, but many control settings flow very quickly from the keyboard. Once you begin to incorporate these into your routine you’ll quickly realize the power and creative freedom they offer.

Let’s take a quick look at each menu item.

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Close All (Ctrl+\)

This command closes all open windows. The main faders overview backdrop is always displayed unless the Desktop is selected.

The Desktop Window (Ctrl+D)

The Desktop is where files are saved, named, copied, and organized. See the description in this chapter under the File menu (page 52).

The Setup Window (Ctrl+1)

General

These personal preference settings are straight ahead. What’s the date and time? Do you like the mouse to be quick and nimble or a bit more deliberate? Do you want the on-screen interface to look more Mac-like (Gray Motif) or PC-esque (PC/UNIX)?

Smart Save is a function that automatically saves your session every five minutes. Check the Create New Files box to save the session as a new session without overwriting the previously saved version.

Display Intensity refers to the control surface VFD display, not the computer monitor display.

MDS Network

MDS Network (Mackie Digital Systems Network) allows any number of consoles that are on the same MDS Network Channel to either generate or receive common Link Option controller actions. There are 8 MDS Channels, that are not unlike TV channels via ethernet, where the console has a unique Device Name (like 'Jolene' or 'Spike') and after setting the Device Name and assigning one of the 8 MDS Channels, the console may then join the party.

Consoles are normally linked audio-wise via the ALT I/O 1–8 card slot where audio buses are configured to be transferred from a slave console to a master console for further mix processing. If using the buses for digital audio, all allowances for word sync must be made (both consoles need to be clocked from the same source).

Note: All of these Ethernet messages are broadcast from any given control surface that is on-line and transmitting or receiving. Updating only occurs after the connection is established and the link parameters are modified.

Network Channel

• Each Digital 8•Bus assigned to the same Network

Channel is linked according to the functions selected under Link Options.

• Communication between devices is dependent on

common network channel numbers. All devices assigned to Network Channel 1 communicate together and act as one console across the selected Link Options. All devices on Network Channel 2 communicate; all devices on Network Channel 3 communicate; etc.

• Communication between all devices sharing a

common Network Channel is bidirectional on common Link Option selections.

Device Name

• This simply allows the D8B to be given a unique

name for identification purposes across the network.

Alt I/O 1–8

• This provides for the routing of the audio signals

from Aux 1–12, Bus 1–8, or L/R output through any I/O card installed in the Alt I/O slot.

Link Options

• This provides the selection of control signals that

are sent or received on the ethernet connection.

• When multiple D8Bs are linked together via their

individual ethernet connections, they communicate and respond according to the selections in the Link Options list.

• Whichever parameters are selected are

transmitted and received across the network on two or more D8Bs.

• Whichever parameters are not selected act

independently on each individual D8B.

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Link Options are enabled and disabled according to what control surface actions you want to have linked on two or more consoles assigned to the same Network Channel.

• Fader Banks: This option provides for bank selection across the network from any Digital 8•Bus sharing a common Network Channel number.

• Aux Strip: This option links the selection of any aux bus across the network. For example, if Aux 1 is selected on any networked Digital 8•Bus console, it will be selected on all networked Digital 8•Bus consoles with Aux Strip selected.

• Bus Assign: This links the BUS ASSIGN selection across the network. For example, selecting Bus 1– 8, L–R, or Route to Tape in the ASSIGNMENT section selects that assignment status in each networked D8B with Bus Assign selected. This allows the ASSIGN buttons to function identically on each D8B.

• Cue Controls: This links the Phones/Cue selection across the network. For example, selecting any parameter in the PHONES/CUE MIX 1 section selects that parameter in each networked D8B with Cue Controls selected.

• Solo Logic: This links the SOLO/STUDIO selection across the network. For example, selecting any solo or studio status in the SOLO/ STUDIO section selects that status in each networked D8B with Solo Logic selected.

• Speakers: This links the Speaker selection across the network, including NEAR FIELD, MAIN, MONO, and DIM.

• Sample Rate: This links the sample rate setting across the network. Selection of a sample rate status on any networked Digital•8 Bus sets the sample rate on the others with Sample Rate selected. This link syncs the sample rate setting but not the source setting (Apogee Clock Internal or Word Clock setting). Word clock connections must still be made using real live cables.

• Automation: This links the automation control across the network. For example, enabling automation by selecting ALL in the AUTOMA TION section, enables ALL automation in each networked D8B with Automation selected.

• Load/Save: This links the Load and Save commands across the network. If the Load or Save commands are initiated on one networked Digital 8•Bus, each networked D8B loads or saves a session.

Digital I/O

The Digital I/O setup window allows you to make input and output settings for the I/O cards that are installed in the Tape In/Out card slots. The D8B automatically senses the card configurations and provides selection and patching options accordingly.

Tape Banks

Any of the following tape I/O cards can be installed in the three Tape In/Out slots and the Alt I/O slot in the back of the Digital 8•Bus.

• DIO•8: This digital card provides input and output

connections via ADA T and T/DIF protocol. Tape bank I/O selections are completely selectable on both inputs and outputs. The DIO•8's provide direct dubbing capabilities from ADA T optical to T/DIF format, and vice versa. Powerful patching options interconnect the Alesis ADA T format and the T ASCAM DA series format.

• PDI•8: The PDI•8 AES/EBU card connects to any

digital device that supports the AES/EBU digital audio format. The PDI•8 allows for real-time sample rate conversion and status bit designation on its four pairs of inputs (click the Setup button in the Digital I/O Setup window).

• OPT•8: The low-cost OPT•8 I/O card provides

8 channels of ADAT light pipe digital I/O.

• AIO•8: This analog card offers 8 balanced line-

level inputs and outputs per card through a 25-pin D-Sub connector .

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Alt I/O

• The Alt I/O 1–8 operates according to the type of I/O card installed (AIO•8, DIO•8, PDI•8, OPT•8).

• The Alt Inputs feed the 8 Alt Return channels on Fader Bank 3.

• The Alt Outputs are configured via the Alt I/O 1–8 pull-downs in the MDS Network Setup window.

Stereo I/O

• These settings apply to the Stereo Digital I/O AES/EBU and S/PDIF connections on the back of the Digital 8•Bus.

• The Stereo I/O is configurable for three levels of UV22 dither: Off, Low, and Normal.

• In addition, Status Bits can be designated as Pro or Consumer , usually applicable to DAT mastering. Check with the device manufacturer (i.e., DAT , CD-R, MiniDisc) for the proper setting.

• The Digital In toggles between AES/EBU and S/PDIF. This selection determines which Digital source is displayed on the Pre Insert>Channel Patch list.

Licensing

3. To obtain the unlock code, have the ESN and plugin serial number ready . Then you have two options:

• Log on to the Mackie plug-in authorization web page: (http://www .mackie.com/d8bauthorize.htm), or

• Phone Mackie T ech Support at 800-258-6883.

4. When you have obtained an unlock code, click Authorize in the Licensing window and enter your unlock code in the UNLOCK CODE box. Click Enter , and enjoy your newly expanded console.

Mix Options

• This window provides an interface to install and authorize plug-ins.

• T o install a new plug-in, click Install, then insert the floppy disk provided by the plug-in manufacturer and click OK.

• Authorized plug-ins are indicated by an opened padlock icon.

• Locked plug-ins are indicated by a closed padlock icon.

• T o authorize a locked plug-in, highlight it in the Licensing window and click Authorize.

• Enter a valid UNLOCK CODE to authorize each locked plug-in. Unlock codes are furnished by Mackie Designs.

Unlock Procedure

1. Locate your D8B’s Electronic Serial Number

(ESN). This is displayed at the bottom of the Licensing window . The 12 digit ESN is made from numbers 0–9 and letters A–F. It is unique to the D8B processor , and is not the serial number label on the rear of the control surface or CPU chassis.

2. You will also need your plug-in’s serial number

which is printed on the floppy disk label.

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Note: Most of these option items are also found under the Options menu at the top of the screen.

Surround Mode

• This pull-down list provides access to the various Surround Sound modes available on the D8B.

• All standard mix modes are selectable through the Surround Mode list, including Stereo, Quad, LCRS, 5.1, and 7.1.

Auto Arm

• Once the Surround Mode is selected, Auto Arm provides a quick and easy way to arm all the channel buses to feed the appropriate outputs.

• Stereo automatically activates all L/R assignments for all appropriate channels.

• Quad automatically activates bus assignments 1, 2, 5, and 6.

• LCRS automatically activates bus assignments 1, 2, 3, and 4.

• 5.1 automatically activates bus assignments 1–6.

• 7.1 automatically activates bus assignments 1–8.

Clear

• Automatically clears all bus assignments (whether set manually or activated automatically through the Auto Arm feature).

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Aux Select - Pre/Post

• Select the desired Aux bus using the Aux Select pull-down list.

• Set global pre/post status for the selected aux bus by clicking PRE or POST under “Aux 1–8 Pre/Post Assign Macros:”.

• Individual channel aux pre/post assignments are performed by Alt+clicking on the Aux Send’s level bar in the overview screen.

One Button Punch

• With this option checked, connected record devices are placed into record mode by simply pressing the RECORD button in the T ransport section. Note: The record devices must be in play mode.

• When this option is cleared, both PLAY and RECORD must be pressed at the same time to enter record mode on connected record devices.

Record Safe

• When this option is checked, the D8B is prohibited from engaging connected record devices into record active status.

• Use this mode when you want to guard against inadvertently erasing previously recorded material.

Use PreRoll

• Checking this option instructs the playback transports to begin before the specified locate point based on the Pre-Roll time specified in the LOCA TOR-MMC Setup window.

Use Write Ready

• When this function is enabled, the transport Master Record button becomes a Master Write button and functions as a global Master write enable for the absolute and (absolute) trim dynamic automation modes.

• When “Use Write Ready” is toggled (in the Mix Options Setup window , or under the GENERAL MIDI Setup menu in the Fat Channel Display), the Write LEDs begin flashing (when enabled) to indicate Write Standby mode. Individual channels remain in Write Standby (if write armed) up until the point that the Write Master is engaged (time code must be rolling), and returns to standby mode when the Write Master is toggled off. “Standby” is indicated by flashing LEDs, and “Armed” is indicated by solidly lit LEDs (actively writing).

• Conversely, when “Use Write Ready” is disabled, and absolute and (absolute) trim dynamic automation is enabled, any channel Write may be immediately punched in and out of armed status. There is no standby mode. The transport Record Master only applies to MMC control (Record enable).

Please Note: The Record Safe and Master W rite functions provide protection against the accidental overwriting of audio and automation data.

Write Flyback

• This feature provides a choice for the punch-out

ending level of an automation pass. Y ou can choose to either leave levels at the current state or to snap levels back to the original punch-in state.

• The purpose of the Write Flyback feature is to establish a rough mix on any given channel at the point when the channel is first punched in, so that a default level may be maintained right up to 23:59:59:29. Whether Write Flyback is enabled or not, any subsequent punches that occur after the last dynamic event on a track will always “rubber band” snap back to the original level state upon punch out.

There are also applications when you may not necessarily want to have the automation track return to the original level, such as an ending track fade, where the levels started high but end low, or for an effects parameter that goes from one state to another and remains that way for the rest of a song. Disable Write Flyback when you don’t want the OS to create final levels for you.

As a default, this box is checked (enabled), and acts similarly to the Set Default Levels function, although Write Flyback is a real-time process, whereas Set Default Levels is an off-line operation.

MIDI Snapshots

• When enabled, incoming MIDI program changes

(received on any MIDI channel) can recall Snapshots numbered 0-99 on the console.

• The D8B sends MIDI Program changes on MIDI

channel 1 (by default, selectable in the Snapshot Window) when snapshots are recalled on the console, either via the dynamic automation snapshot track or by manually recalling a snapshot from either the snapshot window or via the front panel.

• Incoming program changes may be used to write

snapshot events into the dynamic automation track.

Please note that incoming program changes do not currently update the snapshot number displayed on the panel transport 7-segment displays.

To avoid a snapshot thru MIDI feedback loop, we recommend (as is normal practice with any MIDI instrument) that you avoid looping the MIDI Out to the MIDI In, unless it is meant to be done intentionally (e.g., a normal exception is master keyboard control over a workstation type instrument, through a sequencer). Bottom line—avoid mapping the D8B to control itself through a sequencer.

Solo Latch

• When Solo Latch is checked, SOLO buttons

remain engaged even when a new SOLO button is pressed.

• When Solo Latch is not checked, new SOLO

selections disengage previous SOLO selections.

• If Solo Latch is not set (checkbox not selected),

multiple solos may be manually latched by either:

pressing and holding another solo switch while

initiating more solos, or pressing multiple solos at one time. pressing and holding [Shift] while initiating

more solo’s.

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To allow this operation, set the “Solo Latch” checkbox in the Mix Options Setup window, or press GENERAL in the Setup Section and, under Solo, select “SOLO LATCH” ON or OFF in the Fat Channel Display.

Link Speakers

• When the Link Speakers checkbox is enabled, the

Mains and Near Field SPEAKER LEVEL control is linked. Increasing or decreasing the SPEAKER LEVEL control simultaneously adjusts both the Near Field and the Main Control Room Output. This provides a consistent level when A/B’ing between speaker sets. The default option is an unlinked state (same as OSv1.0).

• Holding down the [Shift] key and spinning the

SPEAKER LEVEL V-Pot temporarily breaks the link. This can be used to establish a level offset between the two stereo output pairs. The level difference is maintained in the same operational manner as linked channel parameter offsets. The link offset may be updated at any time, using the [Shift] key.

Faders to Tape

• When this option is checked, source channel

faders control the level to the tape outputs 1–24.

• When this option is not checked, level to tape

outputs 1–24 are adjusted by selecting LEVEL TO T APE in the V-Pot Assign section and adjusting the channel V-pots.

Calibrate

• This operation resets the minimum and maximum

fader values for the OS.

• For optimum performance and positioning

response, the fader calibration may be used periodically. The calibration takes a few minutes to perform its routine, so take a break, will ya?

Caution: Do not touch the faders during the calibration procedure. Doing so could damage the servo motors.

Note: This procedure is only available from the Mix Options Setup window on the screen.

MIDI File Tempo Map

• Import a MIDI Tempo Map from a standard MIDI File to synchronize the D8B Bars/Beats/Ticks display with your MIDI sequencer MTC reference. Note: T empo Map only recognizes 4/4 meter.

Default Tempo

• Sets the automatically-set MIDI tempo reference for position alignments during an automation pass or locator activities.

Device ID selection

• Sets the Device ID reference for connected record devices such as the HDR24/96, ADA Ts, or DA Series multitracks.

Song Offset

• Sets the consistent time difference between the record device time code and the D8B reference time code.

• Generally used to ‘zero reference’ a song’s starting point in BBT. It’ s easier to jump to measure 1 than 2:01:23 (usually).

• Offset can be as little as one frame or as much as 23 hours, 59 minutes, 59 seconds, and 29 frames.

Pre-Roll

• Sets the time difference between a Locate point and the actual start point. Many record devices require a few seconds to

synchronize, so the Pre-Roll time allows a brief time period in advance of the locate point to ensure transport sync and accuracy.

FTP Server

Locator-MMC

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Allow FTP Clients

Check this option to enable the D8B for inter-

network communication and file transfer .

IP Address:

• Note the D8B IP address displayed. The factory default is 10.10.28.20

• If your computer is set up for dynamic IP addressing, you can leave the default address as is or enter an address of your choice. You will need to know the D8B IP address to set up your FTP client software.

• If your computer is set for a fixed IP address, set the first three fields of the D8B IP address to

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match your computer’s address, and set the last field to something different. Be sure you don’t set it to the address of another device that you have on your network.

Subnet:

• In the Subnet window type 255.255.0.0 (default value) unless your network requires a subnet mask.

Gateway:

• If no Gateway is being used you can usually leave this setting blank, though some FTP clients require an entry even for a simple network.

10.10.10.10 is the default value.

Apply

When all parameters are set properly, click

APPLY to instantly activate the changes.

The Snapshot Window (Ctrl+2)

Description

• Double click in the description column of the desired snapshot to enter a text description, which is then saved with the snapshot data.

• Don’t write your agent’s telephone number here, or say bad things about the guitar player ...

Snapshot Edit Window

This provides access to the snapshot edit parameters. Simply click on the word “Edit” to reveal the snapshot edit parameter pull-down list.

Selecting

• Click once on the snapshot name to highlight it.

• A highlighted snapshot can be saved as a selection for recall from within a different session, or it can be deleted from the list.

• T o make a snapshot active from the on-screen list, double click the snapshot number .

• T o make the snapshot active from the control surface, press SNAPSHOT in the transport section, use the numeric keys to type the snapshot number , then press ENTER.

Naming

• Each new snapshot is automatically given a number and the name “snapshot.”

• T o change its name, double click on “snapshot,” then type the new name. Press ENTER on the keyboard to complete the naming procedure.

Filtered

It’s often convenient to eliminate a parameter or set of parameters from a snapshot change. If, for example, you’ve set all the basic EQs in the first snapshot, it might be efficient to filter EQ changes out of any new, or subsequently recalled, snapshots. In this way the original equalization settings remain active throughout.

• Filters are selectable on each snapshot.

• Parameters which can be filtered from changes

are: Fader , EQ, Phase, Mute, Compression, Plugins, Pan, Gate, Direct Routing, Auxes and Buses.

New Snapshot (Alt+N)

• Creates a new snapshot of the current mixer status throughout all parameters (channel and plug-in settings) except analog TRIM and the selection of MIC or LINE on channels 1–12.

• Parameters not affected by snapshot recall are: Surround mode, Channel Key Input, ALT I/O Output assignment, Plug-in routing, Plug-in module type and parameter values (loading/unloading of configuration), and Channel List settings.

Open Snapshot…

• This opens a previously saved snapshot file from the disk. This is a very convenient feature that enables immediate recall over the mixer status for tracking, overdubs, mixdown, etc., such as a default mix setting.

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Save Selection As

• Saves current mixer snapshot selection (highlighted in the snapshot list) to a file for recall at a later date.

• This is different from a stored snapshot in that it saves data in a file for retrieval, even from a different session. Snapshots, on the other hand, are stored specifically as a portion of a session file.

MIDI Channel

• Determines the send channel for MIDI data contained in the snapshot.

Store Snapshot

• Stores all snapshot data in the snapshot list for immediate selection at any time during a session. Stored snapshot data is only available from within the session in which it’s stored.

Edit Playback Filter (Alt+I)

• Opens the Snapshot Filter window .

• Allows for elimination of specific parameter change information from snapshot data.

• This window can also be opened by doubleclicking the “Filtered:” field in the Snapshot window .

Unlock Snapshot

• Sets the snapshot status to receive updates.

• An unlocked snapshot can be overwritten by storing data in the same snapshot number .

• An unlocked snapshot is indicated by the open padlock to the left of the snapshot number in the snapshot list.

Lock Snapshot

• Sets the snapshot to ignore updates.

• A locked snapshot cannot be altered or overwritten.

• Once you’ve stored a snapshot you’d rather not lose, lock it. If you want to further adjust this snapshot, store it to a different snapshot number and alter it.

• A locked snapshot is indicated by a closed padlock to the left of the snapshot number in the snapshot list.

Delete (Alt+Delete)

• This removes the highlighted snapshot(s) from the snapshot list, even if they’re locked.

• This cannot be undone.

Renumber

• Renumbers the snapshot list in ascending numerical order .

Select All (Ctrl+A)

• Highlights all snapshots in the list.

The Surround Window (Ctrl+3)

The surround window offers precise control over image positioning in any mixing panorama along with individual subwoofer level and depth of center control.

Surround position control is available from the control surface by using the individual Channel pan for L/R positioning and the Master Pan V-Pot

as the selected channel’s front/rear position control. The control surface can perform surround pan positioning using the Etch-A-Sketch Mix) approach.

(Etch-A-

Panning

• Simply drag the colored ball to position a channel anywhere in the surround panorama.

• The top of the pan grid represents the front speakers.

• The bottom of the pan grid represents the rear speakers and the subwoofer .

• The subwoofer (Bus 4) is not affected by pan, but in the case of LCRS, Bus 4 is the rear (surround) panned bus output.

Flyback

• Adjust surround position as usual, by dragging the red or green ball. However , when FLYBACK is selected, the ball (surround position) immediately snaps (flies) back to its original position once the mouse button is released.

Output Assignment/Speaker Icons

• T oggles channel sends to individual speakers within the surround system, between on and off.

• Click the desired speaker position to include it in the channel’s surround pan position.

Pan Position (Green Ball)

• Selected by clicking the icon containing the green ball.

• Acts as a retrievable surround pan, depth-ofcenter level, and sub-effect level preset that is instantly selected when the icon containing the green ball is clicked.

Pan Position (Red Ball)

• Selected by clicking the icon containing the red ball.

• Acts as a retrievable surround pan, depth-ofcenter level, and sub-effect level preset that is instantly selected when the icon containing the red ball is clicked.

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Morph

• Activated by clicking the MORPH icon.

• Automatically pans between the red and green surround positions, depth-of-center level, and subeffect level.

Morph Time

• Controls the amount of time it takes for the MORPH process to move between the two preset positions (red and green balls).

• Can be adjusted between 1 and 121 seconds.

Depth of Center

• This control spreads (from the Center to the Left and Right) the channel surround pan position in the front half of the surround panorama.

• The resultant moves can be recorded into automation.

Depth of Center Level Meter

• This display indicates the width of the center image from 0 (Center) to 100 (Left and Right only—phantom center channel).

• 50 is an even level distribution among L, C, and R.

Low Freq Effect

• Acts as an individual channel level control to the subwoofer output.

• The number four speaker icon controls the subwoofer on and off status (except LCRS).

• Since low frequencies are omnidirectional, individual channel sends to the subwoofer are not controlled in the surround pan positioning grid. Their sends to the subwoofers are adjusted by the Low Freq Effect fader .

• The fader control attenuates from 0.0 (full level) to –100 (off).

• The level may be further boosted or attenuated at the Bus 4 fader for the entire subwoofer output.

Channel Number Display

• This numeric readout indicates the channel being affected.

Speaker Icons

Speaker icons are numbered consistently throughout the surround modes. Speakers 1 and 2 are always Front L/R; speaker 3 is always Front Center; speaker 4 is always the Subwoofer (except in the case of LCRS, when it’s the Mono Surround); speakers 5 and 6 are always Rear L/R; and speakers 7 and 8 are always Front Left Center and Front Right Center.

To set speaker status across a 12 channel row (or a portion of a row), open the Panning Overview window (Ctrl+7), click on a speaker icon, and drag parallel left or right—all channels in the row will adopt the speaker status of the originally selected icon.

Stereo

Surround Modes

There are five surround modes available:

• Stereo

• Quad

• LCRS

•5.1

•7.1 Surround mode selection is accomplished in

the Mix Options Setup window. The Surround Mode setting determines the look and functionality of the SURROUND SOUND pan window. Each Surround Mode shares similarities in functionality, yet there are also differences in functionality.

Surround modes other than stereo use 4 to 8

speakers. While mixing in surround, the main stereo L/R bus may still be available and active. Pan positions between various front and rear speakers are sent to the L/R mix as simple L/R positioning. For example, a channel panned fully right-rear (speaker 6) displays equal level in the L/R mix as a channel panned fully right-front.

• Since stereo is a two dimensional mix mode, there’s not much use in using the surround window to pan.

• MORPH and FLYBACK are available only in the surround pan window . These features offer creative possibilities in any multichannel mix mode.

• Low Freq Effect and Depth of Center are not functional in this mode.

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Quad

5.1

• Notice the speakers are numbered 1, 2, 5, and 6. This provides consistency throughout the available surround configurations. Speakers 1 and 2 are always Front L/R, and speakers 5 and 6 are always Rear L/R.

• Low Freq Effect and Depth of Center are not functional in this mode.

LCRS

• Notice the speakers are numbered 1, 3, 2, and 4. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center , and speaker 4 is Mono Surround.

Depth of Center

• This control continuously varies the center image from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).

• With a Depth of Center setting of “0,” the centerpanned channel is routed to the center speaker only (speaker 3).

• With a Depth of Center setting of “100” the centerpanned channel is routed equally to the left and right speakers (speakers 1 and 2).

Low Freq Effect

• This control has no effect in LCRS mode.

• Notice the speakers are numbered 1, 3, 2, 5, 4, and 6. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center , speaker 4 is the Subwoofer, and speakers 5 and 6 are Rear L/R.

Depth of Center

• This control continuously varies the center image from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).

• With a Depth of Center setting of “0” the centerpanned channel is routed to the center speaker only (speaker 3).

• With a Depth of Center setting of “100” the centerpanned channel is routed equally to the front left and right speakers (speakers 1 and 2).

Low Freq Effect

• This control varies the channel send level to the subwoofer (speaker 4).

• This is the only control over channel levels to the subwoofer (speaker 4).

• The pan grid has no effect on this adjustment.

• With this control set to OFF there is no send level to the subwoofer.

• Unity gain is achieved when this control is set to “0.0”.

7.1

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• Notice the speakers are numbered 1, 7, 3, 8, 2, 5, 4, and 6. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center , speaker 4 is the Subwoofer, speakers 5 and 6 are Rear L/R, and speakers 7 and 8 are Front L/R Center .

Depth of Center

• This control continuously varies the center image from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).

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• With a Depth of Center setting of “0” the centerpanned channel is routed to the center speaker only (speaker 3).

• With a Depth of Center setting of “100” the centerpanned channel is routed equally to the front left and right speakers (speakers 1 and 2).

• Note: Speakers 7 and 8 are unaffected by the Depth of Center control.

Low Freq Effect

• This control varies the channel send level to the subwoofer (speaker 4).

• This is the only control over channel levels to the subwoofer (speaker 4).

• The pan grid has no effect on this adjustment.

• With this control set to OFF there is no send level to the subwoofer .

• Unity gain is achieved when this control is set to “0.0”.

Right Click

Right click in the desired window to reveal the

Surround Menu. This menu provides opportunity to:

• Reset the channel surround parameters

• Undo previous action

• Open previously saved surround channel status

• Save existing surround channel parameters

• Cut, Copy, or Paste all channel settings

Surround Menu commands are only active on pannable channels. If a menu command is unavailable, it will display in gray upon Menu activation. Menu selections are not available in the Master Fader bank.

Undo

• This feature is available to Undo cut, copy, paste,

arm, and reset commands.

• As an added aid, the Undo command specifies the

target of its action.

• This feature does not undo changes in surround

pan positioning.

Reset

• Resets the selected channel to front-center pan

position.

• Deactivates all speaker selections.

• Sets Depth of Center status to “0” (center pan routes to speaker 3 only in surround or equally to L/R in stereo).

• Sets Low Freq Effect to 0.0 (unity gain).

• Reset affects only the selected morph setting (red ball/green ball).

• Channel settings that are reset are not stored on the Clipboard, and therefore they are not available for Paste functions. However , a reset can be reversed by selecting “Undo” in the Surround Sound window Menu or by pressing Ctrl+Z.

Open Surround…

• This action opens the Surround Files folder where previously saved surround settings are stored.

• Highlight the desired setting and click Open or simply double click on the item to activate it for the selected channel.

Save Surround As…

• Enables archival of specific surround positions.

• Opens the Surround folder and automatically names the file “Surround#X”.

• T o rename the file, simply type the desired text into the auto-highlighted File Name field or , if necessary, highlight the existing text and type the new file name.

• Click Save to complete the action.

Cut

• This action cuts all settings from the selected channel and resets it to the default settings. Pan is centered, speakers are deactivated, Depth of Center is set to “0”, and Low Freq Effect is set to “0.0”.

• Though the result of a cut is like the result of “Reset,” settings that are cut are stored on the Clipboard and can be pasted into a selected channel. (Channel settings that are Reset are not stored on the Clipboard.)

• Morph selection and time adjustments are not part of the Cut action. They are unaffected by cut, copy, or paste.

Copy

• This action copies all current surround channel settings to the Clipboard. Copied settings can be pasted to other selected channels.

• All Surround Sound parameters are copied and are part of the Paste function. However , only data for selected Morph (green ball/red ball) is copied.

• Morph selection and time adjustments are not part of the Copy action. They are unaffected by cut, copy, or paste.

Paste Surround

• This action replaces any current settings on a selected channel with previously copied or cut surround data.

• Morph selection and time adjustments are not part of the Paste action. They are unaffected by cut, copy, or paste.

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The Locator Window (Ctrl+4)

Transport Controls

Play, Stop, REWind, FFWD, Record

These controls operate any connected record or playback devices. Devices are controlled through MIDI Machine Control (MMC) and must be set properly to receive transport control commands.

Numeric Transport Position Indicator

• This window defaults to SMPTE time code

position, but can also indicate transport position in Bars/Beats/Ticks or Milliseconds.

• T o change the transport position readout, right-

click anywhere in its numeric window , then scroll and select from the pop-up menu.

• From the control surface, toggle between SMPTE

and Bars/Beats/Ticks by pressing the SMPTE VIEW button next to the POSITION readout.

Ways to Enter Locator SMPTE Position

• Click in desired field (Hours, Minutes, Seconds,

Frames) and drag up to increase and down to decrease. Press Enter or click out of the field to complete.

• Click in the desired field and enter the number

from the keyboard number row or numeric keypad. Press Enter or click out of the field to complete.

• Press T ab to enter the SMPTE window, starting at

the Hours field and enter the desired setting. Press T ab to move from field to field; press Return to complete action and to exit data entry mode.

• Press the SET TIME button (in the T ransport

section on the console) to enter a locate time. Using the numeric keypad on the control surface,

enter the desired time in hours, minutes, and seconds, then press Enter to complete. Store locate time by selecting LOCA TOR mode, entering the locate number , then pressing Store followed by Enter .

• Locate points can be entered on the fly by simply clicking the New button at the desired time during playback.

• Selected Locate points can be updated by clicking the Store button to overwrite with the current time.

Automation Parameters

These settings activate and deactivate the write status of all automation parameters. In addition, Bypass controls the read/playback status for all automation data.

BYPASS

• When this is highlighted, automation data is

completely ignored.

• When this icon is not highlighted, all previously

recorded automation data plays back and any selected automation data can be written, as long as channels are in automation write mode and time code is received at the MTC input.

• See the Playback column in the Channel List

(under Channel in the upper menu bar) for individual channel automation playback status.

FADER

• Highlight this button to enable the recording of

fader movements into automation.

MUTE

• Highlight this button to enable the recording of

mute on/off selections into automation.

PAN

• Highlight this button to enable the recording of

pan and surround positions into automation.

ALL

• Highlight this button to enable the recording of

all other automation parameters besides fader , mute, and pan, into automation.

TOUCH

• Highlight this button to enable automation data

recording by simply moving an automation parameter control.

• While automation is playing back, moving any

selected parameter control begins instant recording of that automation parameter .

TRIM

• Highlight this button to move all faders to unity

position for TRIM automation.

• This status adds or subtracts the TRIM fader

movement to or from all previous channel automation data.

• Use this feature anytime you want to keep all

previously recorded fader moves intact while offsetting the relative track level.

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LOCATOR Parameters

New

• Click this button to create a new cue point.

• The new cue point is created at the existing SMPTE, millisecond, or measure position.

• Cue point readout changes form depending on the readout format selected in the main Locator window (SMPTE, Bars, Milliseconds.)

Delete

• Click this button to Delete the highlighted cue point(s) from the Cue list.

Renum

• Cue points are ordered on the Cue list according to their Locator position (SMPTE, Bars, Milliseconds). If cue points are not created progressively from the beginning of the recording to the end, the Locator numbers (left of the Cue name) might become random. Click Renum to restructure the cue numbers into ascending order from the beginning of the recording to the end.

Store

• Click Store to enter the current Locator position into the highlighted Cue point.

• If multiple cue points are highlighted, the Locator position is stored in the earliest occurring Cue point only.

The Mix Editor Window (Ctrl+5)

The Mix Editor window contains a graphic representation of automation data. Though automation data is primarily entered through the control surface knobs, buttons, and faders, it can also be altered graphically in the Mix Editor. Precise level and timing information is easily entered and adjusted here. The resizable window supports various selectable views from 1 to 24 channels, or parameters, of data on the Y axis and any length of time region on the X axis (up to 24

hours). A vertical scroll bar allows for paging or incremental viewing of the channels or parameters, and the horizontal scroll bar allows for paging or scrolling time chunks, according to the current time resolution.

The Mix Editor can view a single channel with all of its parameters or, by selecting the “Channel View” checkbox, you can view multiple channels of one parameter type (plus a background event of a different type). This allows you to view, for example, 12 EQ parameter tracks stacked on top of one another, or 6 stacked pan automation curves.

Automation Event curves are displayed as dots (actually, small squares) that represent nodes, and lines that represent value ramping. The nodes represent editable points that are either created during the automation process in real time, or by the hand tool in the Mix Editor.

Note that on/off or radio button-type parameters (e.g., Mutes, EQ On/Off, or Snapshots, etc.) that aren’t of a ramping type, are displayed as stepped values.

Automation tracks may be cut, copied and pasted, in typical graphic editor fashion, using click and drag highlighting with the mouse cursor and ` (“I” icon). Single segment copy and multiple pasting may be performed easily with repeatable segments for a “groove” repetition approach. An entire time region across all parameters or channels (according to the current filter views) may be selected by clicking and dragging across the top time bar. Highlighted regions may be “nudged” up, down, left or right, for trim or offset needs, using the 4 nudge arrows (top center of the Mix Editor window).

Note: Refer to the History List as well. It’s of great value when using the Mix Editor.

Auto Follow

• This feature causes the Mix Editor to change

views on the fly. When enabled, Auto Follow updates the Mix Editor to focus on any parameter you touch (by channel and function). When enabled, “Auto Scroll” updates the Mix Editor to scroll the screen past the timeline cursor , located at the screen’s halfway point.

Edit Tools

Left-click on the Mix Editor tools to select them. At any time, right-click in the channel/ parameter list to open a pop-up list for quick and

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easy selection of the desired Edit Tool (I Beam, Hand, Magnify, or Eraser).

Time Code Displays

• Three time code displays indicate the highlighted region start and end points, and the current cursor position (displayed in either SMPTE or BBT).

• Values may be manually entered in the Start/End point fields for specific edits.

Pointer Tool (Hand Tool)

• Use this tool to enter new data nodes and to alter existing ones.

• While the Pointer tool is selected, press the Control key to momentarily select the Erase tool.

• The Pointer tool can create and move new or current automation nodes (curve turning points) while time code is being received (on the fly editing—before or to the left of the current time) or while time code isn’ t being received (at any point on the timeline).

Highlighter Tool (the I-Beam)

• Use this tool to select data by time and channel.

• Select the “I” tool and click and drag across a track to highlight a specific time region.

• Click on another track name field to move the current highlighted region (time segment) to the selected track.

• Click and drag across the top timeline bar to select specific sections of time across all tracks.

• Double-click on one track to select the entire 24 hours of data.

Note: You can select multiple adjacent channel parameters (in Channel View) or multiple adjacent parameters by pressing the Shift key on the keyboard while clicking on tracks.

Magnify Tool

• Use this tool to select specific data lengths and to

expand the data time to fill the overview screen.

• Click and drag with the Magnify tool to zoom into

a specific area. Double-click to double the magnification.

• Hold the Control key while in magnify mode to

toggle between zoom in and zoom out.

Zoom Arrows

• The four blue zoom arrows at the top of the channel/

parameter list expand and contract the time axis (left and right arrows) and change the displayed number of automation tracks or parameters (up and down arrows—choices are 1, 2, 3, 4, 6, 12, and 24 tracks) when clicked with the mouse.

• The keyboard arrows are mapped to control the

same view display changes when the Mix Editor is open, using modifier keys as follows:

• Press the Alt key on the keyboard along with the left/right arrows to scroll across the Mix Editor timeline.

• Press the Control key along with the left arrow on the keyboard to zoom out.

• Press the Control key along with the right arrow on the keyboard to zoom in.

• Press the Alt key along with the up/down arrows on the keyboard to scroll up and down the channel/parameter list.

• Press the Control key along with the up/down arrows on the keyboard to vertically zoom in on the channel/parameter list. The view varies between 2, 4, 8, 16, and 24 channels or parameters.

Eraser Tool

• Use this tool to click on and remove the data inflection nodes.

Page and Back Pull-downs

• Allows two automation types to be viewed as foreground and background data (great for seeing relational data like fader and pan, or surround front/rear pan vs. L-R pan). The foreground data curve is subject to all clipboard operations, while the back page curve remains untouched. To update either the foreground or background view, click on the drop-downs, drag across the type field or channel and release the mouse on the highlighted desired item.

Auto-scroll Checkbox

• When enabled, scrolls the data window along with the time code while the current time cursor remains centered in the window .

Auto-follow Checkbox

• When enabled, causes the screen to update and place the last selected, or ‘touched,’ channel strip or channel parameter to the topmost position in the window .

Channel View

• When disabled, provides a view of a single parameter across multiple channels. The parameter is selected in the Page pull-down box.

• When turned on, you can view multiple parameters of a single channel. The channels are selected in the Page pull-down box, which includes the Master Fader , groups, buses, plugins, FX, returns, and MIDI channels.

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When Channel View is highlighted, the Mix Editor Channel List changes to a parameter list. This mode views one channel, effect, bus, aux, group, MIDI channel, or plug-in at a time. The list then contains all parameters available for automation.

The six buttons to the left of the Page and Back pull-down lists act as filters for parameter selection:

• When none of these six buttons is pressed, all data is displayed for the selected channel.

• Highlight the EQ button to display EQ data only.

• Highlight the Comp button to display compression data only.

• Highlight the Gate button to display gate data only.

• Highlight the FMP button to display fader, mute, and pan data only.

• Highlight the Busses button to display bus data only.

• Highlight the Auxes button to display aux data only.

These buttons can be selected in combination with each other. For example, to view EQ and compression data, simply highlight both EQ and Comp.

Four Nudge Arrows

These arrows are located in the Mix Editor control palette immediately to the left of the Cursor, Start, and End time windows.

• When these arrows are clicked with the mouse,

highlighted data regions can be moved back and forth in time (left-right arrows), or values within the highlighted regions may be incrementally increased or decreased by using the up-down arrows.

• The resolution of these moves is relative to the

current screen resolution, so the greater the zoomin value, the finer the resolution of any modifications.

• Using the nudge arrows is a good way to toggle

mute events on and off by highlighting regions on a mute track and simply nudging up or down to change mute states.

Flip View Icon

This tool swaps the Page parameter views in the Mix editor. For example, if “Fader” is foreground and “Mute” is background, clicking on the flip icon will toggle the view to show “Mute” as foreground and “Fader” as background. Toggling the flip once more will flip the view back to the original view of “Fader” as foreground and “Mute” as background.

Cue Points

Tabs along the top of the time line indicate cue points. Simply click and drag the cue point tabs to reposition them in the Mix Editor window.

Performance Note: For optimum graphic update performance during automation and playback, it is best to close all windows other than the Mix Editor.

Automation Moves

• The box under the Auto-Follow button displays

Node usage and availability.

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The Fat Channel Window (Ctrl+6)

The Fat Channel overview is opened and closed by clicking on the “Fat Channel” button in the lower menu bar, or by pressing Ctrl+6 on the keyboard. The shortest way to open and close the Fat Channel is to double-click on a channel SELECT button.

There are four EQ types to choose from:

• 4 Band Parametric

• 20/20 EQ

• British EQ

• British H/P

The default EQ type is the “4 Band Parametric

EQ.” A quick summary of the EQ choices follows:

4-band Parametric

• 4 parametric bands with analog style overlaps

20/20 EQ

• 4 parametric bands with full 20Hz to 20kHz frequency sweep on each

British EQ

• Low-band hi-pass filter , 2 mid-parametric bands, and a high-band low-pass filter

British H/P

• Low-band hi-pass filter , 3 upper-parametric bands

EQ types are saved and recalled with patches, snapshots, and sessions, and transferred via clipboard operations.

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• Click the ON button near the bottom of the EQ window to turn on the EQ for the selected channel.

• There are three methods to modify parameters in the EQ.

• Click and drag on the graphic curve in the display window . Drag up and down to change the gain, left and right to change the frequency, and click and drag left and right while holding down the Alt key to change the Q.

• Click and drag up or down on a control knob below the display window .

• Click and drag up or down in the numeric display boxes (Gain, Freq, Q).

• Click the MENU button to Open, Save, Reset, Undo, Cut, Copy, and Paste an EQ patch.

MEM A/B

• Each MEMory stores the most recent MEM A or MEM B EQ settings made for the selected channel.

• Click either of these memory positions to instantly select the stored settings.

• Ideal for making quick A/B comparisons between EQ settings.

MORPH

• Click the MORPH button to smoothly fade from one MEMory setting to the other .

• The amount of time it takes for this transition is set in the time window directly below the MORPH button.

• MORPH time can be set as low as 1 second or as high as 121 seconds.

Compressor

The meter in the Compressor section indicates the amount of gain reduction applied by the Compressor. Thus, when there is no signal applied, the Reduction meter indicates 0 dB of reduction, with the needle all the way to the right. As the signal level increases above the Threshold setting of the Compressor , the needle moves down, indicating the amount of compression being applied at any given moment in time, to a maximum of 20 dB of reduction.

Note that the Reduction meter is triggered by the Compressor function only, and does not indicate the closing or opening of the gate.

Threshold

• Determines the level at which the compressor

begins to act on the incoming signal. It is calibrated in decibels, ranging from –60.00 dB to –1.00 dB.

Attack

• Determines how fast the compressor reacts once

the threshold has been exceeded. It is calibrated in milliseconds, ranging from 0.31 ms to 2560.00 ms (2.6 seconds).

Release

• Determines how fast the compressor turns off

once the signal falls below the threshold. It is calibrated in milliseconds, ranging from10.00 ms to 2500 ms (2.5 seconds).

Ratio

• Determines the change in output level as a

function of the change in input level, once the threshold has been exceeded. It is calibrated in decibels, ranging from 1.00:1 to 19.99:1. Thus, if the ratio is 10:1, an increase in input level of 10 dB (assuming the input is above the threshold level), results in a 1 dB in output level.

Output

• Determines the overall gain of the compressor from

input to output (as measured with the signal below the threshold level). Use this control to compensate for the loss of gain caused by the action of the compressor . It is calibrated in decibels, ranging from unity (00.00 dB) to +20.00 dB.

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SOFT

• This button turns on the soft-knee function, which determines the severity of the compression action. When highlighted, compression is smoother and more gentle.

• When SOFT is not highlighted, the compression or limiting action is more immediate and extreme.

• Click the ON button to turn on the compressor for the selected channel.

• Click the MENU button to Open, Save, Reset, Undo, Cut, Copy, and Paste an Compressor patch.

MEM A/B

• Each MEMory stores the most recent MEM A or MEM B EQ settings made for the selected channel.

• Click either of these memory positions to instantly select the stored settings.

• Ideal for making quick A/B comparisons between compressor settings.

Gate

The meter in the Gate section indicates either the input signal level or the output signal level, depending on the setting of the Meter switch next to the meter. This setting is global and is not recalled with any individual channel. The default meter setting is “In” (Input level).

The I/O Signal meter displays the channel input signal, as measured at the post-Digital Trim/ pre-Compressor point. The channel output is measured at the post-Gate/pre-EQ point, with a range of –20 dBFS to 0 dBFS (the best signal-tonoise range). Even though this meter occupies a chunk of screen real estate in the Gate region, the needle movement is not directly displaying the Gate operation, but instead reflects the total gain contribution from the Digital Trim, Compressor, and Gate functions (when “Out” is selected).

Additionally, on the I/O signal meter there is a “signal present” indicator (the green LED), which lights if the signal is above “minus infinity” dB (the same minimum range as the channel meter bars). At –20 dBFS, the needle movement kicks in.

The red LED, on the bottom right of the meter, is a “gate threshold” indicator and lights up to indicate when the Gate is on.

Remember that additional channel metering is found on the console’s channel strips (post-EQ, pre-Fader) and also at the dual-solo meters (sharing duties with the L/R meters), indicating either PFL (post-EQ) or AFL levels, as determined by the solo section assignment.

Threshold

• Determines the level at which the gate acts on t h e

incoming signal. It is calibrated in decibels, ranging from –60.00 dB to –1.00 dB.

Attack

• Determines how fast the gate opens once the

threshold has been exceeded. It is calibrated in milliseconds, ranging from 0.10 ms to 599.99 ms.

Release

• Determines how fast the gate closes once the

signal falls below the threshold. It is calibrated in milliseconds, ranging from10.00 ms to 2500 ms (2.5 seconds).

Range

• Determines the change in output level as a

function of the change in input level, once the signal level drops below the threshold. This is sometimes called downward expansion. It is calibrated in decibels, ranging from 0.00 dB to

100.00 dB.

• Click the ON button to turn on the gate for the

selected channel.

• Click the MENU button to Open, Save, Reset,

Undo, Cut, Copy, and Paste an Gate patch.

MEM A/B

• Each MEMory stores the most recent MEM A or

MEM B EQ settings made for the selected channel.

• Click either of these memory positions to instantly

select the stored settings.

• Ideal for making quick A/B comparisons between

gate settings.

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Additional Fat Channel Controls

Channel Select

• Use the arrows on either side of the channel number (or the arrow keys on the keyboard) to scroll up or down through the D8B channels.

• Click in the “Chan. Select” window for a pull-down of all the channels.

Channel Name

• This displays the channel name.

• Double-click on the name to highlight it, then type in the new channel name (up to 16 characters). Press Enter or click elsewhere to complete the operation.

Assignment

• Assign the channel to the main L/R bus or any of the 8 bus outputs.

Route to Tape

• Highlight the desired numbers to send the channel to one or many tape outputs.

• This is the most visual way to tell if a channel is routed to several tape outputs.

Phase

• Highlight PHASE to invert the channel polarity by 180 degrees.

Aux Sends

• Use the on-screen knobs to adjust any of the aux send levels.

• Press Control while clicking the Aux knob to set Aux send level to unity gain.

• Click in the window directly below the Aux send knob to toggle the individual Aux Pre/Post status.

• A yellow block beneath the Aux send level control indicates a Pre-Fader status for the Aux send.

Digital Trim

• Use the on-screen knob to adjust the channel digital trim.

• Press Control while clicking the knob to set the Digital T rim to unity gain.

Write

• Highlight this button to put the selected channel into automation Write Ready mode.

• This cannot be activated when the console is in automation BYPASS mode.

Pan

• Pan channel in the L/R spectrum.

• Hold Control and click on the PAN button to snap to center position.

Solo

• Highlight SOLO to solo the channel.

• Press “S” on the keyboard to solo the selected channel(s).

• Press “D” on the keyboard to release the SOLO status on the selected channels.

Mute

• Highlight MUTE to mute the channel.

• Press “M” on the keyboard to mute the selected channels.

• Press the comma key on the keyboard to release the mutes on the selected channels.

Fader

• Use the on-screen fader to adjust the selected channel level.

• Press Control while clicking anywhere in the fader throw area to snap the fader to unity gain.

Pre-DSP Insert

• Click and hold in this window to insert a channel, aux, bus, return or plug-in into the signal path before the DSP.

• This insert is at the beginning of the signal path, just after the A/D converter and before Digital T rim, EQ, Dynamics or other processing.

Post-DSP Insert

• Click and hold in this window to insert a plug-in into the signal path post EQ, Dynamics, and other processing.

Key Input

• Use another channel’s audio to trigger the dynamic processor of the selected channel.

• Click and hold in the Key Input window to select the key input source.

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Dynamics EQ

• Use this window to filter the key input. This is often necessary to properly trigger the dynamics processor . Accentuate the high frequencies of a key instrument with lots of attack to solidify the keying process.

• This EQ is edited as described for other EQ edit operations.

• Dynamics EQ borrows the highest band of the regular channel equalizer . As a trade off, you get to equalize the key audio. However , you’re left with only three bands of EQ for the specified channel.

The Panning Window (Ctrl+7)

L.F.E. (Low Freq Effect)

• This control varies the channel send level to the subwoofer (speaker 4).

• This is the only control over individual channel levels to the subwoofer (speaker 4).

• The pan grid has no effect on this adjustment.

• With this control set to OFF there is no send level to the subwoofer .

• Unity gain is achieved when this control is set to “0.0”.

Pan Ball

• Click and drag the pan ball to change surround pan positioning.

• T op of the pan grid is front; bottom of the pan grid is rear .

• Hold the Control key to restrict the pan ball to vertical movement.

• Hold the Alt key down to restrict the pan ball to horizontal movement.

Right Click

Right click in the desired window to reveal the

Surround Menu. This menu provides opportunity to:

• Reset the channel surround parameters

• Undo previous action

• Open previously saved surround channel status

• Save existing surround channel parameters

• Cut, Copy, or Paste all channel settings

This window is extremely useful in an active surround mixing environment. All the basic surround pan function are available for each channel (mics, tape, FX, and returns).

Speaker Select

• Highlight the desired speaker number icon to send

a specific channel to any or all speakers.

• Speakers are always numbered according to

function: Front L/R are speakers 1 and 2; Front Center is speaker 3; Rear L/R are speakers 5 and 6; Front L/R Center are speakers 7 and 8; Speaker 4 is the Subwoofer (or Mono Surround for LCRS).

• T o set speaker status across a 12 channel row (or

a portion of a row), click on a speaker icon and drag parallel left or right—all channels in the row will adopt the speaker status of the originally selected icon.

D.O.C. (Depth of Center)

• This control continuously varies the center image

from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).

• With a Depth of Center setting of “0” the center-

panned channel is routed to the center speaker only (speaker 3).

• With a Depth of Center setting of “100” the center-

panned channel is routed equally to the left and right speakers (speakers 1 and 2).

The Faders Window (Ctrl+8)

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TAPE Bank on top

This mode places the tape return fader bank in the upper half of the screen display. Now all input faders are available at all times. This offers incredible value in many practical applications, even though the tape fader bank masks the Aux Sends, Bus Assignments, Tape Outs, Digital Trims, as well as EQ, phase, Compressor and Gate on/off buttons.

• Record buttons are available on the tape fader

bank.

• Automation Write buttons are available on all 48

channels.

Channel Numbers

• Maintains previous channel layout. However, it’ s not possible to reconfigure channels, once the Faders option is selected.

Event Automation Track (Ctrl+9)

The Event List has been replaced by the Event Automation T rack, which allows for a new approach to time stamping snapshot recall and modular DSP recall. A list of events can be easily placed, moved, and edited from this handy window. Snapshots, Plug-ins, Channels, as well as EQ, Compressor, and Gate Patches can all be accessed from the disk and placed with frame-accurate precision.

Use this list to trigger files to load at a given timestamp. This is a handy way to automate an EQ, by the way, because you can edit the Patch and all references change. One way of looking at the patch event is as a mini snapshot.

New Event (Alt+N)

• Select this item to add a new event to the list.

Duplicate Event

• Highlight any list item, then select Duplicate

Event.

• This creates an identical copy of the selected

event.

• Use this feature to duplicate an action at a different time stamp. Simply duplicate the event, then edit the time stamp field by double-clicking on the time reference. Place the cursor on the desired time unit, then drag up to increase or down to decrease.

Capture Event Time (Alt+T)

• Highlight and release this Edit Menu item to copy the current Locator time position to the time reference window of the highlighted Event Automation T rack item.

Run Event (Alt+R)

• Click any where in the event row to highlight it.

• Choose Run Event from the Edit menu to activate (send) all event data to the designated destination. For example, when Run Event is selected while a snapshot event is highlighted, the snapshot data is instantly loaded into the D8B.

• Avoids having to run time code to preview the event.

Synchronize Events

Synchronize Events is used to match file data from the current opened session with the DSP patch files (EQ, Comp, Gate, Channel, Plug-in) on disks that are referenced by the Session’s Event Automation Track. In short, it is a ‘Disk to RAM’ correlation. DSP files that the Event track references may need to be resynchronized due to the files having been renamed, deleted, updated, or moved. An important thing to keep in mind is that a session saves all of the Event Automation Track parameters, whether or not the original referenced DSP files exist at all. This ‘safety net of reproducibility’ was an important design issue; a session should completely reproduce snapshots and dynamic automation playback, regardless of file dependencies outside of a session.

Synchronize Events does not act upon snapshots, because it does not directly reference snapshots from disk. Any changes to snapshots within a session operation will not be displayed as modified Event lines in the same manner as DSP patch file references.

Visually, when a session using Events is loaded, the OS performs a match against the dependent files, and displays any detected changes by adding an asterisk to the ‘Action:’ column to any or all Event lines. Event lines must be highlighted first before performing a sync operation.

Delete Events (Alt+Delete)

Guess what! Select this item to delete any selected automation events.

Select All (Ctrl+A)

Choose this item to select (highlight) all automation events on the list.

Mute Icon

Highlight any of the “M” icons to mute the triggering of automation event playback.

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Current List Item Arrow

• The arrow in the far left column represents the current or last triggered automation event.

• The arrow moves to the next event as soon as the time code reaches the automation event time; it remains there until another event time is passed.

New Event Type

This pop-up window lets the user select the specific type of automation event: Snapshot, EQ, Compressor, Gate, Channel, or Plug-in.

Load Target

• This pop-up window lets the user select a channel

destination for the selected data type.

• A snapshot event does not permit target selection;

it only requires the entry of the specific snapshot number .

Browse/Path

• Click the Browse button to search your D8B patch

files for the desired automation event.

• Highlight the proper patch in the list then press

“Open” to load the event into the automation event list.

Note: The folder that opens automatically for each event type contains user patches, so if you haven’t saved any patches, you won’t see any items on the list.

Time Window

• Enter the exact frame-accurate time for the

automation event data to be activated.

• Click each time segment and drag up or down to

increase the time setting.

• Time settings are also selectable by pressing the

T ab key until the appropriate time field is highlighted, then entering the number from the numeric keypad or number keys on the keyboard. T ab from field to field.

The History List Window (Ctrl+H)

• The History List Window lists actions taken in the Mix Editor . In addition, Automation Passes, Clear Automation…, Delete Global Time, Insert Global Time, Delete Events, and Modify Levels… commands are logged as single list items. Each of these actions is available for Undo, as long as they remain on the History List.

• Using this list, it is possible to regress to any point in the mix. If at some point things went in the wrong direction, it’s easy to go back to where the mix was on the right track.

• Highlight any item in the list to deactivate all forthcoming listed actions. When the mix is played, no actions listed below the selected event will occur .

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• If an event is selected in the list, then a change is made in the Mix Editor , all events following the selection will be replaced by the new event.

• Use the Undo command from the Edit Menu (Ctrl+Z) or the control surface to regress through the mix event steps one at a time.

• Use the Cut or Delete commands from the Edit Menu (Ctrl+X) to remove all events below the selected History List event. These actions are not replaced by Undo or Paste actions.

• Use the Clear Edit History command from the Edit Menu to remove all events from the History List.

This action cannot be undone.

The MIDI Map Window (Ctrl + –)

The MIDI Map window offers setup options for bidirectional MIDI control of practically the entire console’s parameter set. The MIDI Map is a complete feature revamp from the V2 Channel List, which consisted only of channel fader, mute, and pan MIDI routing. The V3 MIDI Map provides complete parameter access to channel functions, master fader, channel strip, and Aux master controls, and all plug-in parameters. In addition, the Master section and Transport controls are assignable to MIDI messages. Additionally, a ‘roving ’ Fat channel map routing may be added, so that MIDI control may follow the selected Fat Channel, which is great for external devices such as a joy stick or X-Y pad controlling (for example) a channel’s Surround Pan without hard mapping (and subsequent remapping). MIDI Maps may be created and saved to disk for subsequent recall.

MIDI continuous controller, polyphonic aftertouch, and note on messages are assigned to the various parameters via the MIDI Map, in a linear approach of one controller type per parameter. In V2, mapping was limited to fader control as continuous controller messages, mutes as note on and off messages, and pan as polyphonic aftertouch control messages. In V3, any variable controller may be a continuous control message or a poly aftertouch message, and any switch message (on/off or assignment switches) can be

assigned to a note on (or note off as note on of velocity 0) message.

In V2, messaging was selectable as In (receive) or Out (send) but not both, whereas in V3 messaging may be bidirectional. This means you can control the console from a sequencer or control a sequencer from the console. Note that MIDI program changes may also be used to trigger D8B snapshots. Snapshot program change messages may occur simultaneously with MIDI Map control messaging. The shorter length MIDI program change messages allow for much greater MIDI bandwidth utilization, and in some cases can accomplish the required control without totally mapping the console via the MIDI Map. Snapshot triggering via MIDI is not enabled in the MIDI Map, but is set via the GUI Setup>Mix Options window, by checking the MIDI Snapshot box.

A listing of D8B console parameters is found in the MIDI Implementation Chart at the end of this document. The off, minimum, and maximum values are listed with the associated MIDI controller values to aid in setting up a remote control map. Note that many of the console’s values are 8-bit resolution (255 values). Since MIDI conventionally sends only 128 values (two byte MSB/LSB precision is not supported by the D8B), intermediate steps will be interpolated by the D8B.

Applications for the MIDI Map include remote transport control from MIDI applications that don’t support MMC (but do allow their own internal parameter mapping), surround joystick control, or any continuous controller or two-state switch application (lighting, remote mixing, show controls, etc.). Any mapped control information may be transmitted via manual adjustment on the console, snapshot recall, and/or automation playback (which may include snapshot or other Event track playback).

Creating a Route

A Route is created by opening the MIDI Map from the Windows menu, then selecting “New MIDI Route” from the MIDI Map File menu or simply clicking the NEW button at the bottom of the MIDI Map screen. A Route is made up of the following attributes:

• (Selection): The first column (with no column

header) denotes the Route number and selected Route within the map list. The number is a simple identifier , as there is no sorting mechanism for the MIDI Routes. The selection paradigm is the same for any D8B listing function; Shift-click allows for multiple selections and Ctrl-click allows for discontinuous selections.

• MIDI Status: This choice offers the type of MIDI

message (as XNh, where X is the status type, N is the MIDI channel, and h denotes that it’s listed in hexadecimal values). If the Route is mapping a switch parameter with two value states, it will be

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assigned as a Note On (9Nh) message. If the parameter is continuously variable, the Continuous Controller (BNh) or Polyphonic Aftertouch (ANh) may be used.

• #(number): This assignment is in the range of 0127 decimal values (00h-7Fh) for the associated Status type.

• Channel: A static value is selectable for a switch message type, in the range of 0-127 decimal values (00h-7Fh). It is not selectable and is the implied variable (dynamic, changing, whatever) output when using the continuous type status messaging. Note that for D8B controls that use less than 256-step resolution, (e.g., EQ type uses 4 values, whereas a fader uses 256 values), the full range of 128 MIDI values may not be used.

• Route T o: This assigns the MIDI route to a console channel strip, master fader or aux send master , master section, or transport parameter. The actual Parameter within any chosen function is assigned in the Parameter column.

• Parameter: Available choices follow either the switch or variable control types of categories, as set by the MIDI status column selection.

• Mode: A value is displayed when the Route is a switch type. The displayed value is typically either On or Off, but may show some other type of descriptor , such as ‘Pre’ or ‘Post’ as an aid to determining the Status function.

• Direction: The MIDI Route is set to Receive, Send, or Both. T ake care to avoid MIDI feedback.

• The File menu inside of the map contains the following additional commands:

• Open MIDI Map: Recalls a saved MIDI Map from disk. If a map is currently in place, it will be entirely overwritten by the map from disk upon loading.

• Save MIDI Map As...: Saves the current MIDI map to disk as a Map file, which is available for recall at a later date.

• MIDI Channel: Sets the global MIDI channel for the entire map.

• Delete MIDI Route: Deletes the currently

selected Route(s) within the list. The DELETE button at the bottom of the MIDI Map window does the same. Multiple Routes may be selected using the Shift-Select or ControlSelect keyboard combinations.

Erase UFX Memory...

When you update the plug-ins software on the D8B, it is necessary to clear the flash memory in the UFX cards that are installed in the D8B, and upgrade their memory to the latest version of the software.

Note: This procedure requires you to reboot the D8B after it is completed.

1. Select “Erase UFX Memory...”.

2. Follow the on-screen instructions for erasing the

flash UFX OS.

3. When the procedure is completed, click

“Continue.”

4. Reboot the console by turning the power switch

off on the Remote CPU, wait 5 seconds, and turn

the power switch back on.

Upgrade UFX Cards...

After completing the procedure for erasing the UFX memory, it is necessary to upgrade the UFX cards to the newest software.

Note: This procedure requires you to reboot the D8B after it is completed.

1. Select “Upgrade UFX Cards...”.

2. Follow the on-screen instructions for

downloading the UDOS package to the UFX

cards.

3. When the upgrade is completed, click

“Continue.”

4. Reboot the console by turning the power switch

off on the Remote CPU, wait 5 seconds, and turn

the power switch back on.

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Applications

Chapter 4

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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

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Console

Power On

Set Sample

Select A starting Snapshot or

Open Your Master Template

Amp or Powered

Monitors On

Clock

Page 95

• 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

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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

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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

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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

Page 99

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

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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

Mackie D8B3.0 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual