Professional Documents
Culture Documents
PHANTOM PHANTOM
POWER POWER
TIP=OUT RING=IN
SUBMASTER INSERT
1 2 3 4 5 6 7 8
AUX SEND
1 2 3 4 5 6 L R
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 MAIN
INSERTS
MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MONO MONO MONO MONO MONO MONO
L L L L L L L R
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN
BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL-
UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
R R R R R R L R
DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT
RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN
L R L R L R L R
2-TRACK EXTERNAL STUDIO MIX-B
INPUT INPUT OUTPUT OUTPUT
PHONES
1 2
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL
MIC
1 MIC
2 MIC
3 MIC
4 MIC
5 MIC
6 MIC
7 MIC
8 MIC
9 MIC
10 MIC
11 MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S/LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
16x8x2 8-BUS MIXING CONSOLE
NENSITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NENSITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
EN
EN
EN
EN
EN
EN
EN
EN
EN
EN
EN
EN
EN
EN
E
E
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP
U U U U U U U U U U U U U U U U U U
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
ASSIGN
4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U
4 U
6 U
4 U
6 U
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT
1 PRE
2 PRE
3 PRE
4 PRE
5 PRE
6 PRE
7 PRE
8 PRE
9 PRE
10 PRE
11 PRE
12 PRE
13 PRE
14 PRE
15 PRE
16 PRE SOLO AUX SENDS SOLO STEREO AUX RETURNS
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL
MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B
SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U U U U U U U U U U U U U
HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI
MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID
CNTRL RM CNTRL RM L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO +15 OO +15 OO
500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL OO +15 SOLO LITE
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE SUB
L/R MIX MASTERS
BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL PHONES
&
U U U U U U U U U U U U U U U U STUDIO
MIX B PHONES 1 PHONES 2 MONITOR SOLO TALKBACK
LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO MONITOR
MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID EXTERNAL EXTERNAL MONO
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 SOURCE SOURCE SOURCE
250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
22
45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k
+ + + + + + +
U U U U U U U U U U U U U U U U
10 10 10 10 10 10 10 10
HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 4 4 4 4 4 4 4 4
U U U U U U U U U U U U U U U U
2 2 2 2 2 2 2 2
LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO 0 0 0 0 0 0 0 0
80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 2 2 2 2 2 2 2 2
10 10 10 10 10 10 10 10
EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
L R L R L R L R
U U U U U U U U U U U U U U U U
MAIN
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL OR SOLO LEVEL
1 2 3 4 5 6 7 8
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ
9 10 11 12 13 14 15 16
TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
MIX-B
MONITOR
SPLIT EQ
17 18 19 20 21 22 23 24
FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL
SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE
OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL
-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO TALKBACK
L R MIC
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MUTE
1 MUTE
2 MUTE
3 MUTE
4 MUTE
5 MUTE
6 MUTE
7 MUTE
8 MUTE
9 MUTE
10 MUTE
11 MUTE
12 MUTE
13 MUTE
14 MUTE
15 MUTE
16 LEFT/RIGHT
L R L R L R L R
1
MIX
2 3
MIX
4 5
MIX
6 7
MIX
8
MIX
dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2
U U U U U U U U U U U U U U U U U U U U U U U U U
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 30 30 30 30 30 30 30 30
MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX
40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
1
C. The 8Bus Console and External Power Supply have been
CAUTION AVIS exposed to rain; or
RISK OF ELECTRIC SHOCK D. The 8Bus Console and External Power Supply does not appear
DO NOT OPEN to operate or exhibits a marked change in performance; or
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR E. The 8Bus Console and External Power Supply has been
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
dropped, or its chassis damaged.
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE 11. Servicing Do not attempt to service the 8Bus Console and
REFER SERVICING TO QUALIFIED PERSONNEL
External Power Supply beyond those means described in this operating
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN manual. All other servicing should be referred to the Mackie Service
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
Department.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE 12. To prevent electric shock, do not use the 8Bus Console and
A LA PLUIE OU A L'HUMIDITE External Power Supply polarized plug with an extension cord,
The lightning flash with arrowhead symbol within an equilateral
receptacle or other outlet unless the blades can be fully inserted to
triangle is intended to alert the user to the presence of uninsulated prevent blade exposure.
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole clair avec point de flche l'intrieur d'un triangle
Pour prvenir les chocs lectriques ne pas utiliser cette fiche polarise
quilatral est utilis pour alerter l'utilisateur de la prsence
l'intrieur du coffret de "voltage dangereux" non isol d'ampleur
avec un prolongateur, un prise de courant ou une autre sortie de
suffisante pour constituer un risque d'lctrocution. courant, sauf si les lames peuvent tre insres fond sans laisser
The exclamation point within an equilateral triangle is intended to aucune pariie dcouvert.
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation l'intrieur d'un triangle quilatral est
13. Grounding or Polarization Do not defeat the grounding or
employ pour alerter les utilisateurs de la prsence d'instructions polarization of the 8Bus Console and External Power Supply.
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
SAFETY INSTRUCTIONS set out in the radio interference regulations of the Canadian
Department of Communications.
1. Read Instructions Read all the safety and operation instructions
before operating the 8Bus Console and External Power Supply. ATTENTION Le prsent appareil numrique nmet pas de bruits
radiolectriques dpassant las limites applicables aux appareils
2. Retain Instructions Keep the safety and operating instructions
numriques de class A/de class B (selon le cas) prescrites dans le
for future reference.
rglement sur le brouillage radiolectrique dict par les ministere des
3. Heed Warnings Follow all warnings on the 8Bus Console and communications du Canada.
External Power Supply and in these operating instructions.
14. Exposure to extremely high noise levels may cause permanent hearing
4. Follow Instructions Follow all operating and other instructions. loss. Individuals vary considerably in susceptibility to noise-induced hearing
loss, but nearly everyone will lose some hearing if exposed to sufficiently
5. Water and Moisture Do not use the 8Bus Console and intense noise for a period of time. The U.S. Governments Occupational
External Power Supply near water - for example, near a bathtub, Safety and Health Administration (OSHA) has specified the permissible noise
washbowl, kitchen sink, laundry tub, in a wet basement, near a level exposures shown in the following chart.
swimming pool, swamp or salivating St. Bernard dog, etc. According to OSHA, any exposure in excess of these permissible limits
6. Heat Locate the 8Bus Console and External Power Supply could result in some hearing loss. To ensure against potentially dangerous
away from heat sources such as radiators, or other devices that exposure to high sound pressure levels, it is recommended that all persons
produce heat. exposed to equipment capable of producing high sound pressure levels use
hearing protectors while the equipment is in operation. Ear plugs or protectors
7. Power Sources Connect the 8Bus Console and External Power in the ear canals or over the ears must be worn when operating the equip-
Supply only to a power supply of the type described in these operation ment in order to prevent a permanent hearing loss if exposure is in excess
instructions or as marked on the 8Bus Console and External Power of the limits set forth here.
Supply.
Duration Per Day Sound Level dBA, Typical
8. Power Cord Protection Route power supply cords so that they In Hours Slow Response Example
are not likely to be walked upon or pinched by items placed upon or 8 90 Duo in small club
against them, paying particular attention to cords at plugs, 6 92
convenience receptacles, and the point where they exit the 8Bus 4 95 Subway Train
Console and External Power Supply. 3 97
9. Object and Liquid Entry Do not drop objects or spill liquids into 2 100 Very loud classical music
1.5 102
the inside of the 8Bus Console and External Power Supply.
1 105 Patrice screaming at Ron about deadlines
10. Damage Requiring Service The 8Bus Console and 0.5 110
External Power Supply should be serviced only by qualified service 0.25 or less 115 Loudest parts at a rock concert
personnel when:
A. 8Bus Console and External Power Supply power-supply cord
or the plug has been damaged; or WARNING To reduce the risk of fire or electric shock,
B. Objects have fallen, or liquid has spilled into the 8Bus Console do not expose this appliance to rain or moisture.
and External Power Supply; or
1
TABLE OF CONTENTS
SECTION 2* MIX-B Output ........... 16 APPENDIX A: Connections .. 46
Phones ....................... 16 XLR CONNECTORS ......... 46
Panel Layout and Function .... 4 1/4" TRS PHONE PLUGS
INPUT CHANNELS ................ 4 Studio Output ........... 16
2-Track Input and & JACKS ............................. 46
Fader .............................. 4 1/4" TS PHONE PLUGS
Mute .............................. 4 External Input ........... 16
REAR PANEL & JACKS ............................. 46
Pan & Assignment switches 4 SWITCHED 1/4"
20 & OL LEDs ................. 5 CONNECTIONS ................... 17
Tape Returns .................. 17 PHONE JACKS ................... 46
Channel Solo .................... 5 RCA PLUGS & JACKS ........ 47
Phantom power ................ 5 Tape Return
Operating Level .............. 17 UNBALANCING A LINE ..... 47
Trim .............................. 5 SPECIAL CONNECTIONS .. 47
Mic/Line switch ................ 5 Submaster/Tape Outputs17
Submaster/Tape Output TRS Send/Return
The Flip Switch: Insert Jacks .................... 47
Mic/Line or Tape? ............ 6 Operating Level .............. 17
MIX-B / Monitor ............... 6 Main Bal. Outputs ......... 18 Using the send
MIX-B Pan ........................ 6 Expander Port ................ 18 only of an
MIX-B Level ...................... 6 DC Power in ................... 19 insert jack ............. 47
MIX-B Split ....................... 7 Using return only ...... 47
EQ Section ........................ 7 SECTION 3 AUX RETURNS: Mono, Stereo,
HI Mid EQ .................... 7 General Information ............. 20 Whatever ......................... 48
LO Mid EQ ................... 8 LEVELS ............................... 20 MULTS AND Ys ................ 48
HI EQ ........................... 8 Noise ................................ 20
LO EQ .......................... 8 Headroom ....................... 20 APPENDIX B: Options,
EQ In/Out .................... 8 Unity Gain ...................... 20 Add-Ons and Extra Stuff ...... 49
LO cut .......................... 8 Metering .......................... 20 METER BRIDGE ................ 49
AUX Sends ........................ 8 BUSES ................................ 21 EXPANDER CONSOLE ...... 49
AUX 1 & 2 .................... 9 SENDS & RETURNS .......... 21 CONSOLE STAND .............. 49
Pre (1&2) .................... 9 SOLO ................................... 21 SIDECAR ............................ 49
AUX 3, 4, 5, 6 ............... 9 EQ ....................................... 21 AUTOMATION .................... 49
Shift ............................. 9 CONNECTORS .................... 23 UN-CIGARETTE LIGHTER.. 49
Source ......................... 9 A BIT MORE ON MIXING SHOES ................. 49
Pre (3-6) ...................... 9 MIX-B/FLIP ......................... 23
OUTPUT SECTION .............. 10 APPENDIX C: Modifications . 50
SECTION 4 AUX SEND MOD ................. 50
8Bus Faders ................. 10 Recording ............................ 24
L Mix and R Mix ............ 10 PFL MOD ............................ 51
Mono L & R ..................... 10 RECORDING OVERVIEW .... 24 MIX-B SOURCE MOD......... 51
SETUP ................................. 24 MIX-B MUTE MOD ............. 52
Solo ............................ 10 RECORDING &
L/R Mix Fader ................ 10 AUX 1/2 SOURCE MOD ...... 53
Metering Bus OVERDUBBING ................... 24
Using Buses .................... 24 APPENDIX D:
Meters 1-8 ................ 11 Monitoring ..................... 24
Main/Solo Meters ........... 11 Specifications ....................... 54
AUX Sends ...................... 11 Cue Mix ........................... 24 GAIN/LEVEL CHART............54
Wet or Dry Monitor? ...... 25
AUX Solo ......................... 12 Lets Record! ................... 28
Stereo AUX Returns ....... 12 SERVICE .............................. 61
Returns 1 & 2 ............. 12 Overdub, Anyone? .......... 28 TROUBLESHOOTING ........ 61
MIXING OVERVIEW ............ 28 WHERE IT GETS FIXED ... 61
Assign (1&2) .............. 12 MIXING SETUP ................... 29
Returns 3 & 4 ............. 12 FACTORY SERVICE ........... 61
Assign (3&4) .............. 12 Pick a Model ................... 29 SERVICE FROM AN
Consider Compression .. 29 AUTHORIZED SERVICE
Returns 5 & 6 ............. 12 DOING THE MIX ................. 29
MIX-B/Monitor ........... 12 CENTER .............................. 64
Phones ....................... 13 Using External Processing 29
Insert Devices ................. 29 Track sheet ......................... 64
Monitor ...................... 13 Send / Return Devices .... 36
Solo ............................ 13 Session note sheet .............. 67
Talkback .................... 13 Using Subgroups ............ 36
Finding More Inputs:
Jack panels (input strip Mix-B to L & R Buses ..... 36
and Master output) ....... 14 Monitoring and Levels .. 37
Input Strip ................ 14 About Automation ......... 37
Phantom power ........ 14 SECTION 5:
BNC sockets .............. 14 PA and Sound Reinforcment
Mic In ........................ 14 Applications ......................... 39
Line In ....................... 14 SETUP ................................. 39
Direct Out .................. 14 HOUSE AND MONITOR MIX
Channel Insert ........... 14 TOGETHER ........................ 44
Output Panel .................. 15 Headphones .................... 44
Submaster Inserts .... 15 MAKING A SIMULTANEOUS
AUX Sends ................. 15 RECORDING ....................... 44
AUX Returns .............. 15 HOUSE MIX ONLY or * Why did we start with Section 2? As a
Main Inserts ............... 15 MONITOR MIX ONLY ......... 44 matter of policy, our Manual Table of Contents
always skip things that are on the facing page to
Control Room Output . 15 Mic Splitters ................... 45 the actual listing. Seems like were stating the
Main Mix ................... 16 FINDING MORE INPUTS ... 45 obvious to tell you that the Introduction is next
to your right hand.
2
SECTION 1: Introduction
The Mackie 8Bus Series is a flexible in-line
monitoring style console. They are available with LAYOUT
16, 24 or 32 microphone/line inputs fed into 8 sub- PANEL LAYOUT AND
mix buses, 2 stereo mix buses and 6 auxiliary send AND FUNCTION FUNCTION
buses. There are 16 (or 24 or 32) tape return in-
puts for multitrack monitoring and mixing or for
use as additional line inputs. The 8Bus Series is
designed to be the mixing and communications GENERAL
hub in a multitrack recording studio and is also GENERAL INFORMATION INFO
an excellent choice for sound reinforcement work.
Numerous inputs, flexible sends and terrific EQ
combined with the legendary Mackie headroom
and noise floor specs make your work easy. Its
clean. Its quiet. Its packed with features. Its af- RECORDING RECORDING
fordable So pat yourself on the back! Youre
doing something sensible here!
IF YOU IGNORE MANUALS...
Youll probably ignore this one, too. Thats OK,
the crack Mackie Documentation Department will
PA AND SOUND PA
&
get to go on their annual Typing Without Walls REINFORCEMENT SR
outing at campsite four in the Woodinville RV
Park anyway.
But this is a really great manual! Its got Where
ADD-ONS
It Is and What It Does and How To Use It covered APPENDICES SPECS
totally, with pictures and diagrams and absolutely (CONNECTIONS, ADD-ONS, SPECIFICATIONS, ETC.) ETC.
no pop quizzes.
Do yourself a favor and at least check out
Section 2 and the block diagram for starters. The
8Bus Series has a number of routing tricks that
could be hard to suss out without a guide. Then, if SERVICE SERVICE
thats all you can take without pumping some
sound through the console, put the manual in the
bathroom for future reference or read it while you
eat your lunch.
If youre even more terminally impatient, try to MASTER TRACK SHEETS TRACK
look for these two icons:
FOR DUPLICATION SHEETS
BLOCK
They cover information that is absolutely criti-
BLOCK DIAGRAM DIAGRAM
cal or is unique to the 8Bus Series. At some
point, its still a good idea to browse through the
rest of the manual.
In addition, sections marked
with the A CLOSER LOOK icon
include in-depth information
or at least our own opinions.
3
75 Hz
18dB/oct
LOW CUT SECTION 2: Panel Layout and Function
PAN
OVERVIEW INPUT CHANNELS (CHANNEL STRIPS)
L R
U
The panel layout of the Mackie 8Bus Series The 16, 24 or 32 input channel strips on the
LEVEL
follows the traditional arrangement: input chan- Mackie 8Bus consoles are identical, and contain all
OO
HI/LO EQ
+15
nel strips to the left, with a master output/ of the level, assignment and equalization controls for
TO MIX-B
MIX-B
monitoring/cue section to the right. Additionally, each input channel. This section describes the con-
MONITOR
SPLIT EQ
FLIP SW
CHANNEL
most of the Mackie input/output jack panel is trols and functions of each feature of an input
SOURCE located at the top of the mixing panel, for easy channel in detail.
OL accessibility and patching. The tape outputs and
-20
inputs are on the rear panel. FADER
PAN
SOLO
The channel fader (1) is 100 millimeters long,
with a precise logarithmic taper and attenuation in
MUTE
dBs printed along the slot for exact and repeatable
16 level adjustments. The fader affects either the mic or
line input to the channel (for recording) or the tape
dB
10
return to the channel (for mixing), depending on
CHANNEL INPUT/OUTPUT the position of the FLIP switch.
;;;;;
5
;;;;; 1-2
MUTE
;;;;; MASTER
;;;;;
U I/O
;;;;; 3-4 The MUTE switch, located at the top of the
;;;;;
5 CHANNEL STRIPS
fader (2), turns off the primary outputs of the
5-6
channel: the eight buses, the L & R buses, the
10
MASTER channel solo, the direct output and the post-
7-8
SECTION fader AUX sends. Pre-fader aux sends are not
20
muted. With the exception of lighting the mute
30 L/R
LED, pushing the MUTE switch is the same as
MIX
pulling the fader all the way down.
40
4
to achieve 87dB attenuation. You get far better On the Mackie 8Bus console, the SOLO PHANTOM
channel separation plus freedom from level shifts assignments are stereo except for the AUX sends. POWER
caused by channel assignment and panning. In SOLO maintains the perspective set up with the
addition, our pan pots are constant loudness. PAN controls. When any SOLO button on the con-
When you sit between a pair of monitors and pan sole is depressed, its associated SOLO LED will glow
from side to side, the apparent volume at your steadily, and the RUDE SOLO LITE above the CHANNEL
ears should stay the same, no matter where the 8Bus LED meters blinks annoyingly, serving as a 16
signal is positioned. Our special pan circuitry reminder with an attitude. MIC/LINE
LINE
maintains consistent apparent energy whether the The channel SOLO function is normally post- IN
BAL-
UNBAL
pot is dead center, hard left or hard right. fader/post-mute, but can be modified for PFL or
Pre-Fade (and pre-mute) Listen. See Appendix B: DIRECT
The two LEDs (5) next to the PAN control check Note: All the SOLO buttons on the 8Bus
INSERT
the channel strip signal level at three important cir- Series operate in the same way (although TIP = OUT
RING = IN
cuit points: at the output of the mic/line preamp, theyre not all stereo like the channel SOLO).
after the EQ and after the channel fader amplifier. SOLO does not interrupt recording; it only
The green LED marked 20 is there to assure affects the control room monitor.
you that, yes, something is plugged into the channel HIGHLY, MEGA-MONDO-
CHANNEL
(and yes, it does have some output). Most signals IMPORTANT: SOLO is 16
more interesting than tape noise will cause the intended for more than just C GAIN
MI10dBV
S
EN
E
LIN
SITIVITY
green LEDs to flicker, so they give you a good visual soloing. It is THE way to
indication of which channels are active. Any peaks set levels for best noise and +4
10dB
-40dBV MIC/LINE
50dB TAPE
TRIM
higher than 20dBu (@ 1kHz) trigger the indicator. headroom. Complete instructions on proper GAIN
FLIP
When we say channel, we mean the signal going level setting using SOLO are in Section 3: Gen-
through the channel fader but not the signal eral Information, starting on page 20.
U
going through the MIX B Section. Please refer to the
MIX B section of this manual, starting on the next PHANTOM POWER HI
MID
15 +15
The red LED, labeled OL for overload, lights or off, wait 1 minute before changing any mic/line 1k 5k FREQ
when the signal level is high enough to cause clip- switch settings in that 8-channel block. 500 18k
NORMAL
2
ping at any of the three test points. In normal At the top of every eight channels is a PHAN- BAND
WIDTH
OCTAVES
operation it will almost never light. If it is flashing at TOM Power switch (7). Pressing it sends +48VDC 3 1
12
you, your level in that channel is much too high. You to the eight XLR sockets to the switchs left. For in- U
LO
need to turn something down. stance, depressing the PHANTOM switch above MID
15 +15
First try the mic/line trim. If that has no effect, Channel 8 sends phantom power to the XLRs on 250
Turn down the EQ and/or the insert device, channels 1 through 8. NOTE: It is always a good 220 350 FREQ
and if that doesnt fix it, idea to check with the Mic manufacturer to verify 45 3k
U
phantom power requirements.
Turn down the channel. If this doesnt fix it, your HI
12k
to reduce the level (see the sidebar on page 25). The TRIM control (8) sets the gain of the input LO
80
CHANNEL SOLO amplifier for the MIC and LINE inputs. Proper setting 15 +15
EQ
of the TRIM control is essential for good noise and EQ IN
The channel SOLO switch (6) assigns the output headroom performance. Trim pot settings may vary 75 Hz
18dB/oct
of the channel PAN control to the stereo solo buses widely depending upon the input level. The output of LOW CUT
and disconnects all other sources from the monitor different keyboards, drum machines, guitar effects PAN
section. SOLO does not interrupt the eight Submas- boxes, etc., vary from extremely weak to so hot that L R
ters, the L/R Mix or the AUX sends, and can be they can practically be connected directly to speak- U
used at any time without affecting the recording ers. See pages 1, 20, or 25 for advice.
LEVEL
process. OO +15
MIX-B
MONITOR
and quality of individual inputs while setting up, Now weve jumped back to the top of the FLIP SW
SPLIT EQ
CHANNEL
recording and mixing. More than one SOLO switch strip. Sorry, but logically the input to the chan- SOURCE
may be pressed at the same time, allowing you to nel is the next thing to talk about. Thats OL
listen to the blend of any combination of channels because its the source of the signal applied to
-20
throughout the console in stereo. the channel fader and PAN control. PAN
SOLO
5
PHANTOM
The MIC/LINE switch (9) is located way up strip (via the source switch), can be achieved
POWER
amongst the channel jacks. It selects whether by modifying the channels. See Appendix C:
the MIC jack (pin 2=hot[+], pin 3=cold[], Modifications on page 52.
pin 1=shield) or the LINE jack (balanced 1/4" 1. When the Mix-B SOURCE switch (11) is
phone tip=hot, ring=cold, sleeve=shield) is up, MIX-B receives its input from the FLIP
CHANNEL
connected to the input amplifier. switch. Remember, the FLIP switch alter-
16 nates MIC/LINE or TAPE to the channel
MIC/LINE
THE FLIP SWITCH: MIC/LINE OR TAPE strip and to MIX-B. With TAPE as an input
LINE
IN
BAL-
The switch labeled FLIP (SOURCE up to select the FLIP switch, and
UNBAL
(10) selects the input that FLIP in the up position), the MIX-B section
DIRECT is actually fed into the functions as a tape monitor submix,
OUT
channel fader (and the allowing you to listen to the inputs and
MIX-B control; see below). outputs of your multi-track recorder as you
INSERT
TIP = OUT
As the label indicates, the MIC/LINE input record. This is the most common use of the
RING = IN
(after Mic/Line preamp) is fed to the channel MIX-B section, during tracking and
fader when the FLIP switch is in the up posi- overdubbing.
tion. This is the normal mode for tracking and 2. With MIC/LINE as an input (SOURCE up to
overdubbing. In the down position, the TAPE re- select the FLIP switch, and FLIP in the down
CHANNEL
turn (the output signal from the corresponding position), MIX-B becomes an additional input
16 track of your recorder) is fed to the channel
C GAIN
MI10dBV
S
to add tracks or effects during a mixdown.
fader. This is the normal position for mixdown.
EN
SITIVITY
+4
10dB
-40dBV MIC/LINE
50dB
To recap - when the FLIP is up, the Mic/Line or LINE connector. Although they are nor-
TAPE
TRIM
GAIN
feeds channel and Tape return feeds MIX-B. When mally separate, a button (MIX-B TO L/R MIX)
the FLIP is down, the channel is Tape and MIX-B is in the Output Panel (see below) can add the
LOW CUT
MIC/LINE. FLIP... FLOP. OK? output of the MIX-B buses to the L/R Mix
PAN
For live PA, leave the FLIP switch up. buses. Voil! Double your mix inputs!
L R
MIX-B / MONITOR 3. With CHANNEL as an input (SOURCE down in
U
LEVEL
CHANNEL position), MIX-B taps its signal from
Each channel strip has a the channel strip, just before the channel fader.
OO
HI/LO EQ
+15
dual signal path (Enter MIX-B is separately pan-able, EQ-able and
TO MIX-B
MIX-B
Mix-B!) with extremely can be used as an alternative stereo mix, a
MONITOR
SPLIT EQ
FLIP SW
CHANNEL
flexible switching. This al- stereo auxiliary send, a mix-minus bus, a
SOURCE
lows either the mic/line quadraphonic or surround feed, you name
OL inputs or tape return inputs to be routed it. Mix B can also have its own aux send
-20
through either the channel fader path or (see Aux sends 3-6).
PAN Mix-B with separate EQ and monitoring. Both
SOLO Check out Section 3: General Info and the
of the signal paths can be combined into the
MUTE Block Diagram for more information on MIX-B
main mix by depressing the Mix-B to L/R
16 routing.
Switch in the master section. OK, now we
jump down the channel again to the MIX-B/ MIX-B PAN
dB
Monitor section. This handy and very simple
10
The PAN control (12) routes the channels
feature is also called in-line monitoring and is
MIX-B signal across the left and right MIX-B buses.
;;;;;
5
found on quite a few consoles. So were not
;;;;;
;;;;;
1-2
6
SHIFT
MIX-B SPLIT +15
When you put these consoles on
16
The SPLIT switch (14) in the
+10
the test bench, you see that the PRE
CHANNEL
HI
15 +15
gaged, in the primary channel 15 live situations, but thats about 1k 5k FREQ
+15 12
BAND
Now you know some of the de- +15 available. Its a fine bass control,
WIDTH
3 1
12
OCTAVES
sign philosophy behind our Hi +10 and is switched with HI EQ into
U Mid EQ. Its time to start experi- +5 the MIX-B circuit if the SPLIT
LO
MID menting with it yourself. Dont 0 button is depressed.
15
250
+15
forget to try the control at its 5 A low-frequency shelving
220 350 FREQ
bandwidth extremes espe- 10 equalizer will add or remove bass
45 3k
cially at the 3-octave end. Youll 15 in a smooth, musical fashion.
U
be pleasantly surprised. 20Hz 100Hz 1kHz 10kHz 20kHz
Good for working on bass drum
HI
Lo Mid EQ
12k Conversely, if you hate tech- 2 octave 15dB boost/cut and bass guitar, fattening up (or
15
U
+15
nology and yearn for the sound of thinning out) a piano or contour-
+15
LO
80
that old board you sold to buy an ing an entire mix.
+10
8Bus, you can achieve a semi-
EQ IN/OUT
15 +15
+5
EQ parametric sound by leaving the
EQ IN
75 Hz
18dB/oct
BANDWIDTH knob in the middle 0 The IN switch (22) bypasses the
LOW CUT at 2 octaves. 5 EQ (though not the LO CUT filter)
10 when up. Depress it to enable equal-
PAN
LO MID EQ 15 ization.
L R
20Hz 100Hz 1kHz 10kHz 20kHz
U
The LO MID EQ control (19) Lo Mid EQ sweeps
LEVEL
is a semi-parametric (sweepable) from 45Hz to 3kHz LO CUT
OO +15
equalizer with a broad, fixed +15
The LO CUT switch (23) inserts
bandwidth of 2 octaves, 15dB of
HI/LO EQ
TO MIX-B
MIX-B +10
an 18dB/octave low-cut (high-pass)
MONITOR
FLIP SW
SPLIT EQ
equalization and frequency filter with a 3dB point of 75Hz into
CHANNEL +5
SOURCE variable from 45Hz to 3kHz. the main channel signal. The LO
0
Boosting in this range can CUT filter is unaffected by the EQ IN
5
put warmth and body into vocals switch.
10
and instruments. Cutting can A low-cut filter is handy to get rid
really help the clarity of some 15
20Hz 100Hz 1kHz 10kHz 20kHz
of room rumble, traffic noise, wind
sounds by reducing boxy and Hi EQ 15dB boost/cut noise, popping, and other unwanted
boomy tones. above 12kHz very-low-frequency sounds. It can
+15 also be combined with LO EQ boosts
HI EQ to produce some interesting bass
+10
The HI EQ control (20) is a +5
curves as shown in the last EQ
fixed 12kHz shelving equalizer 0
graph on this page. It is highly rec-
with 15dB of equalization 5
ommended that this switch be
available. A great treble control, engaged for vocal microphones, es-
10
it is switched with LO EQ into pecially in a live P. A. situation.
15
the MIX-B circuit if the SPLIT
button is depressed.
20Hz 100Hz 1kHz
Lo EQ 15dB boost/cut
10kHz 20kHz
AUX SENDS
Shelving equalizers work on a below 80Hz Auxiliary sends are generally used
very broad range of frequencies, +15 to provide mixes for headphone cue-
and consequently, are very musi- +10 ing and for effects sends, and in
cal. In a 12kHz shelf like this +5 Sound Reinforcement use, can be as-
section, that means that all the 0 signed monitor submix duties. The
upper harmonics of a sound are 5 8Bus Series consoles provide 6
raised evenly, basically keeping 10
mono auxiliary sends with several
their original musical relation- 15
routing options.
ship to each other. A 20Hz 100Hz 1kHz 10kHz 20kHz Note: All of the 8Bus Series AUX
high-frequency shelving EQ is Lo cut (high pass filter) sends have a very wide range of gain
18dB/oct. at 75hz
great for putting shimmer into (just like the MIX-B Level control
+15
acoustic guitar and piano tracks discussed earlier). The first half of
and sizzle into vocals. +10
the controls rotation reaches from
+5 the off position to unity gain (U).
LO EQ 0 This half of the controls range corre-
The LO EQ control (20) is a 5 sponds to the full range of a
fixed 80Hz shelving equalizer 10 conventional mixer. The second half
with 15dB of equalization 15 of the controls rotation provides you
20Hz 100Hz 1kHz 10kHz 20kHz
Interaction of Lo Cut
with Lo EQ boost.
Verrry eenteresteeng, no?
8
L
AUX 3, 4, 5, 6
TIVITY
with even more gain, from unity to +15dB.
+4 -40dBV MIC/LINE
For example, when you want a super wet Auxiliary sends 3, 4, 5, and 6 (26) are very simi-
10dB
TRIM
50dB TAPE
GAIN
sound(mostly reverb), the extra gain allows you to lar to sends 1 & 2. The differences are in the FLIP
U
bring the channel fader part way down (and the SHIFT and SOURCE switches. Read on.
1
Dont worry about having mono effects sends: The SHIFT button (27) connects the two level
almost all effects units, mono or stereo, have mono controls, as a pair, to either
OO
AUX
+15
inputs. Even if there are two jacks labeled Left and sends 3 & 4 (in the up posi-
PRE
3 U
Right, they are almost always combined into mono tion) or to sends 5 & 6 (in 5
internally. In the rare cases when an effect actually the down position). Twice OO +15
has true stereo inputs, it is often more convenient the sends in half the space.
4 U
AUX
+15
sends from the console. Route AUX 1, for example, The SOURCE switch (28) breaks AUX Sends
SHIFT
just the stereo perspective by favoring one or the sends 1 & 2 are stuck in, and allows the sends to
CHANNEL
MIX-B
SOURCE
other send. For instance, if you have a stereo synth tap from another source: the MIX-B signal for that
into channels 23 and 24, use AUX 1 on channel 23 channel. This is a very handy thing, whatever you
and AUX 2 on channel 24. happen to be using MIX-B for.
Note: In PRE mode, all AUX SENDS are con- If MIX-B is an additional input for your mix-
nected pre-fader but post-EQ. This is usually the down, then (when the SOURCE switch is
most useful setup, but if you prefer, all AUX depressed) AUX Sends 3-6 are effects sends
SENDS can be modified to be pre-EQ, pre-fader. connected to that source. If MIX-B is your stu-
See Appendix C: Modifications on page 52. dio monitor submix from the recorder, then
AUX 1 & 2 AUX Sends 3-6 are a great source of head-
phone cue signals. They will follow playback,
Auxiliary sends 1 & 2 (24) have two indepen- record and punch-ins automatically as your
dent level controls and share a common PRE/ recorder does its stuff.
POST switch.
When in the normal post mode, sends 1 & 2 get PRE (3-6)
their signal after the channel fader and the MUTE The PRE switch (29) for Sends 3-4-5-6 func-
switch. This is the usual configuration for an effects tions just like the PRE switch sends 1 & 2, when
send, since the level of the effect should follow the the AUX SOURCE switch is in the CHANNEL (up)
volume adjustments made by the channel fader. position.
PRE (1&2) Additionally, the PREswitch will tap the pre-
level (and pre-mute) signal of whichever
With the PRE switch (25) depressed, AUX SOURCE you have selected-channel or MIX B.
SENDS 1 & 2 receive their input from a point
before the channel fader and MUTE switch,
and are not affected by changes in these con-
trols. This is the normal switch setting for
creating stage monitor and/or studio cue head-
phone sends.
9
OUTPUT SECTION cussed below, allows you to assign submix buses
The output section is the large area to the right of within your L/R mix.
the input channel strips. It contains the master fad- MONO L & R
LAYOUT ers and metering, as well as the send and return
AND masters, cue, monitoring and communication The MONO L & R switch (4) functions ONLY
FUNCTION controls. when you have first depressed the L MIX or R
MIX. If youve pushed L MIX or R MIX, pushing
8BUS FADERS MONO L & R will assign the bus to both channels
At the bottom of the output panel are the mas- of the Left and Right Mix buses, instead of just the
ter faders for each of the eight buses (1). Each Left, or just the Right. This is also for submixing,
fader controls the level of its mix, with precise dB but allows you to put your submix in the center
markings and a unity gain point marked on the rather than on either side.
panel. The fader is located in the circuit after the (Those of you with patch
submaster insert jack but before the final line cords have probably realized
amplifier. you can patch the bus into a
There is an Assign section associated with each channel and do even more
bus fader, detailed below. Note that no matter fun things, but well talk
what the selection of the assignment switches, the about that later.)
output of each bus is always present at its Sub- SOLO
master/Tape Output jack and is monitored on its
own bus meter. The SOLO button (5) solos the output of the bus
fader. When any SOLO button is pressed, the SOLO
L MIX and R MIX LED lights.
The odd-numbered buses have an L MIX but- This is a pretty trick SOLO, too. If you have not
ton above their faders (2); the even buses have an pushed the MONO L & R switch, the SOLO sends the
R-MIX button (3). Pressing this button assigns odd-numbered tracks to the left speaker and the
the bus to the L or R Mix bus, respectively. This even-numbered tracks to the right, whether or not
switch, along with the MONO L & R switch dis- the associated L MIX or R MIX is engaged. But if you
have pressed MONO L & R,
the SOLO circuit is smart
enough to send the bus to
both speakers and put the
stereo image in the middle.
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO TALKBACK
MIC
You will be the envy of your
ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN neighborhood.
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R L/R MIX FADER
The L/R MIX fader (6) is
L R L R L R L R LEFT/RIGHT
1
MIX
2 3
MIX
4 5
MIX
6 7
MIX
8 MIX
a stereo fader located at the
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
far right of the console. The
fader controls the level of
5 5 5 5 5 5 5 5 5 5 the L/R MIX bus, with pre-
cise dB markings and a
U U U U U U U U U U
unity gain point marked on
the panel. This fader, like
5 5 5 5 5 5 5 5 5 5
the bus faders, is located in
10 10 10 10 10 10 10 10 10 10 the circuit after the L/R in-
sert jack but before the final
20 20 20 20 20 20 20 20 20 20
line amplifier.
30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO
10
METERING +22dBu unbalanced. (You dont want these
Bus Meters 1-8 to ever go on. If they do, try pulling down the
Directly above each bus fader is a peak-reading L/R master fader a little.)
meter displaying the bus output level. Zero (0) on AUX SENDS LAYOUT
the meter references a level of +4dBu (1.23 volts AND
RMS) at the output jack. The six auxiliary send outputs each have a FUNCTION
NOTE: If the -10dBV switches are engaged at master level control. Like any level control, turn-
the Subgroup output jacks, then zero (0) on the ing the knob turns the volume up or down.
meter references a level of 10dBV at those out- However, the gain of the AUX Sends has been
puts. Note: When any SOLO switch is engaged, the optimized at the unity (center detent) setting
SUBMASTER meters will be extinguished in order and should not need adjustment.
to divert your attention to the SOLO/MAIN meters The output of each bus is available at its AUX
(discussed below). Send Out jack in the jack panel above. Addition-
ally, AUX Sends 3 & 4 and AUX Sends 5 & 6 are
MAIN OR SOLO LEVEL Meters fed as stereo pairs to the two PHONES SOURCE
The MAIN OR SOLO LEVEL meters display the switching matrices, for headphone cueing
L/R Main Mix levels and are similar to the bus purposes.
meters, with these exceptions:
If a SOLO button is depressed, the meters
display the output of the soloed
signals; if not, the meters show the 1
U
1 U
level of the signal selected by the SOLO SOLO 1-2 3-4 5-6 7-8 L/R MIX
+15 +20
MONITOR SOURCE switches. In 2
OO
U
2
OO
U
L R
ASSIGN
LEVEL
+20 L
BALANCE
R
ASSIGN
in SOLO mode,
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
zero (0) on the OO
U
+15 OO
U
+15 OO +20
U
1 2
ASSIGN
OO +20
U
4 6 4 6
SOLO/MAIN
meters references LEVEL
OO +15
LEVEL
SOLO
OO +15
SOLO
OO
LEVEL
+20
SOLO PHONES
1
PHONES
2
L/R MIX
OO +20
SOLO
ASSIGN LEVEL
the actual internal
operating level, or 0dBu (.775v). If
AUX SENDS
SOLO SOLO STEREO AUX RETURNS
you have just one signal in the main
L/R path and you SOLO it, the meter U U
level will jump up 4dB. Dont be MONITOR MONITOR L/R MIX AUX SEND 1
OO +15 OO OO OO OO +15 OO
buses, thats what youll meter. If MIX-B MIX-B MIX-B AUX SEND 2
youre checking a tape playback, ASSIGN TO SOLO AUX SEND SOLO AUX SEND
OO
CNTRL RM 2-TK
RUDE
SOLO LITE
TAPE SUB
L/R MIX 3/4 3/4 MASTERS
thats what youll meter. When the
meters are following the monitors AUX SEND
5/6
AUX SEND
5/6
EXTERNAL
PHONES
&
AND
MASTER
meter references a level of +4dBu MIX B/MONITOR PHONES 1 SOURCE PHONES 2 SOURCE MONITOR SOURCE SOLO TALKBACK
meters. 10 10 10 10 10 10 10 10
7 7 7 7 7 7 7 7
Note: The solo levels displayed on 4 4 4 4 4 4 4 4
0 0 0 0 0 0 0 0
thus giving you an accurate 2 2 2 2 2 2 2 2
7 7 7 7 7 7 7 7
soloed signals.This is also the way 10 10 10 10 10 10 10 10
40
30
40
30
40
30
40
30
40
30
40
30
40
30
40
earlier in this section. L
R
L
R
L
R
L
R L
R
Additional red LEDs per side at 1 2 3 4 5 6 7 8 MAIN
OR SOLO LEVEL
the top of the meter show output 9 10 11 12 13 14 15 16
17 18 19 20 21 22 23 24
clipping at +28dBu balanced,
11
AUX SOLO Returns 1 & 2
The SOLO button next to each level control AUX Returns 1 & 2 (10) each have a stereo SOLO
(7) solos that send and allows you to check the switch, a stereo LEVEL control, a BALANCE control
LAYOUT send level in the main meters. There is a solo and a bank of ASSIGN switches.
AND LED (8) in the Send section, to help you locate
FUNCTION what the heck you soloed. ASSIGN (1 & 2)
Note: The six AUX Sends are each mono sig- AUX Returns 1 & 2 are assigned in stereo pairs
nals, and they are soloed in mono. If you are (Return 1, L & R; Return 2, L & R) to the L / R MIX
using a stereo pair of sends for headphone cue, buses or to odd-even pairs of the 8 submix buses
use the SOLO button in the PHONES 1 or 2 ar- (11). If you would like an effects return to accom-
eas to check the sends in stereo. pany its dry signal on the multitrack (wet tracks),
these are the returns to use.
STEREO AUX RETURNS
The AUX Returns (9) provide 12 additional Returns 3 & 4
inputs to the console for return from effects and re- AUX Returns 3 & 4 (12) each have a stereo SOLO
verb devices. The returns have switch matrices to switch, a stereo LEVEL control and a smaller bank of
allow easy assignment to headphones or mix buses. ASSIGN switches.
When any return is soloed, the solo LED in the lower
left-hand corner of the Return area lights. ASSIGN (3 & 4)
For extra flexibility, the AUX Returns have been Returns 3 & 4 are assigned in stereo pairs (Return
designed with an extremely wide range of available 3, L & R; Return 4, L & R) to the L/R MIX buses or
gain, offering as much as 15dB boost over unity. to the PHONES 1 and PHONES 2 buses via respec-
The return jacks are wired to provide both stereo tive banks of buttons for each return(13). If you
and mono operation. See AUX Returns under JACK want additional effects returns preset in the head-
PANEL later in this section for details. phone mixes, these are the returns to use.
Returns 5 & 6
AUX Returns 5 & 6 (14)
POWER
each have a stereo SOLO switch
and a stereo LEVEL control. Re-
1
U
1 U turns 5 & 6 are permanently
assigned to the L/R MIX bus.
OO +15
SOLO
OO +20 L R
SOLO 1-2 3-4 5-6
ASSIGN
7-8 L/R MIX
All returns are useful in a mix-
U U
2 2
down situation, as they are all
OO +15
SOLO
OO +20 L R
SOLO 1-2 3-4 5-6 7-8 L/R MIX assignable to the L/R mix.
ASSIGN
LEVEL LEVEL BALANCE
U U U U
MIX-B / MONITOR
3 5 3 5
The MIX-B / MONITOR sec-
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO
U
+15 OO
U
+15 OO +20
U
1 2
ASSIGN
OO +20
U
tion (15) is quite straightfor-
4 6 4 6
ward. It offers a stereo level
OO +15
SOLO
OO +15
SOLO
OO +20
SOLO PHONES
1
PHONES
2
L/R MIX
OO +20
SOLO control for the MIX-B output,
LEVEL LEVEL LEVEL ASSIGN LEVEL and an ASSIGN: MIX-B TO
L/R MIX switch, which can
SOLO AUX SENDS SOLO STEREO AUX RETURNS
add the MIX-B bus signal to the
main L/R Mix. This essentially
U U
doubles the inputs available for
MONITOR MONITOR L/R MIX AUX SEND 1
mixdown. Avoid this pitfall: If
OO +15 OO OO OO OO +15 OO
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO LEVEL LEVEL you are monitoring the L/R
MIX-B MIX-B MIX-B AUX SEND 2 mix in the control room and
OO
RUDE
have the MIX-B to the L/R mix
SOLO LITE
ASSIGN TO
L/R MIX
SOLO AUX SEND
3/4
SOLO AUX SEND
3/4
CNTRL RM 2-TK TAPE SUB
MASTERS assigned, do not also select
MIX-B in the monitor source
AUX SEND AUX SEND EXTERNAL
5/6 5/6
PHONES
&
switch matrix. If you do, MIX-B
STUDIO
12
PHONES The MONO switch sums the left and right
The PHONES 1 (16) and PHONES 2 (17) sec- channels together to allow you to check your mix
tions are identical. Each in monaural. This affects only the control room
monitor speakers, the studio monitor speakers,
contains a stereo level control LAYOUT
for the headphones outputs, a and the L/R meters (although the meters are not AND
stereo SOLO switch, and five monoed in solo mode.) FUNCTION
pushbuttons to select from the SOLO
following signal sources: MONITOR, MIX-B, AUX
SENDS 3 & 4, AUX SENDS 5 & 6, and EXTERNAL. The Solo section (19) contains the master
You can select any combination of sources. level control for the stereo Solo mix. Set at the
center detent, it will match the level of the soloed
The MIX-B, AUX SENDS 3 & 4 and AUX SENDS
signals to the same signals unsoloed. This section
5 & 6 switches are connected directly from the
also has the most obnoxious solo light allowed un-
outputs of their respective circuits.
der international trade and safety regulations. We
MONITOR takes the signal from after the hope it gets your attention. The monitor switch in
MONITOR selection switches described below, the phones section must be pushed in (selected)
and therefore carries the same signal that is or the solo bus will not feed the phones. (By the
applied to the control room monitors. (The way, if your console has two little tiny Deaths Heads
PHONES section is not affected by the CNTL RM above your RUDE SOLO LITE, you are very lucky.
level control or the MONO switch in the MONI- Only one in 10,000 Mackie consoles has what we call
TOR section, though.) Grim Greg on it, and if you send in the top panel of
The EXTERNAL switch is connected directly your console with proof of purchase, we will ship
from the L and R EXTERNAL INPUTS in the jack postpaid to your door the bivalve pride of the North-
panel above. External is an independent cue west, a Quilcene-smoked Geoduck filet, with our
channel for click tracks, etc. Its signal DOES NOT compliments!)
appear at any of the channels or buses.
TALKBACK
NOTE: If MONITOR is selected as a PHONES
source and the solo button in the PHONES section is The talkback section has four momentary
depressed, nothing will happen except that the Solo pushbutton switches, which assign talkback to
LEDs will light up. Thats because Solo is disabled any combination of AUX Send 1, AUX Send 2,
under these conditions to prevent a feedback loop TAPE SUBGRPS (L/R MIX and the 8 SUBMAS-
and its associated anguish. TERS) and PHONES/STUDIO. Try setting the
NOTE: if nothing is selected, signal may still feed talkback level at the center detent for starters. It
the PHONES from AUX Return 3 & 4, via that can be tweaked up or down to your liking.
sections ASSIGN TO PHONES switches. Note: When talkback is engaged, only the con-
trol room outputs are padded by 20dB to avoid
MONITOR feedback, yet still allow the engineer to hear the
The control room monitors and the studio play- musicians. The studio output is not padded. In
back monitors are both controlled from the situations where either the control room level is
MONITOR section of the console (18). There is a set way up, or there is a speaker pointing at the
stereo level control for the control room and an- console, there may still be feedback. To prevent
other for the studio. NOTE: Fully clockwise this, turn down the talkback level, the control
equals unity gain. room level, or change the angle of the control
A bank of switches selects room speakers.
the stereo sources available to The Talkback Microphone is located just above
the speakers from L/R Mix, the L/R MIX fader. This aint no Neumann, so
MIX-B, Tape and External. dont attempt vocals through it (we wanted it to
You can select any combina- sound gritty and generally talkback-esque). Appli-
tion of signal sources. cation of chewing gum to this orifice will degrade
The L/R MIX and MIX-B switches are con- performance further to simulate really beat-up
nected from the outputs of the L/R and MIX-B AM radio production studios.
buses. The TAPE and EXTERNAL switches are
connected from the 2-TRACK INPUTS and the
EXTERNAL INPUTS, respectively, on the jack
panel above.
13
JACK PANELS (INPUT STRIP & Mic In
PHANTOM
POWER MASTER OUTPUT) The channel microphone input (1) is a stan-
All of the inputs, outputs and insert points are dard 3-pin female mic connector (call me
located on the jack panels on the top and the Cannon or call me XLR, just dont call me late
rear panels of the mixer. An external patchbay is for dinner). Pin one is ground, pin two is signal
CHANNEL
not required, although it does make life easier. high (+), pin three is signal low (), as per the
16 Lets start by listing what is NOT on the (finally) agreed-upon international standard.
MIC/LINE
FRONT jack panel: NOTE: Dont use these XLRs for line level sig-
LINE
IN
BAL-
The console outputs to the multitrack tape nals see Line In.
UNBAL
recorder (the Submaster/Tape outputs)
Line In
DIRECT
OUT The console inputs from the multitrack tape
recorder The channel Line Input (2) is a TRS (tip-
ring-sleeve) balanced 1/4" phone jack, with
INSERT
The balanced main L/R (XLR connector)
TIP = OUT ground wired to the sleeve, signal high (+) to
RING = IN outputs (on the rear panel)
the tip and signal low () to the ring. Nominal
All other connections are made at the top of input level is +4dBu, with a wide range of levels
the front panel, either above the channel Input accommodated by adjustment of the TRIM con-
Strips or above the Output Panel. trol. These jacks also accommodate TS
INPUT STRIP (tip-sleeve) unbalanced 1/4" phone plugs. See
Appendix A: Connections for more information.
Each channel input strip has its inputs and
outputs located directly above the strip. The Direct Out
connections are detailed next. The channel Direct Out (3) is a nominal
PHANTOM POWER +4dBu unbalanced TS 1/4" phone jack, con-
nected to the output of the channel line
Microphone phantom power (+48 VDC) is ap- amplifier post-EQ/post-fader/post-mute. The out-
plied to the channel strips in groups of eight. The put signal of each channel strip is always
phantom on/off switch for channels 1-8 is located available at the Direct Out jack. Using the Direct
above channel 8; the switch for 9-16 above chan- Out does not interrupt the normal signal flow
nel 16, and so on. It has a ramping function, through the channel.
which means it gradually ramps from 0 to 48V
when you turn it on, and ramps back down when Channel Insert
you turn it off. This helps The channel Insert jack (4) allows you to in-
protect your microphones. sert external processing equipment (such as a
We suggest that before compressor, gate, you name it) into the main sig-
plugging or unplugging mics, nal path of the input channel strip. The insert
you turn off the PHANTOM point is after the FLIP switch (which also means
power. Give it about a minute that it is after the MIC/LINE or TAPE IN pream-
to settle while you get a Diet YooHoo or call your plifiers) but before the LO CUT filter, EQ and
stockbroker. Then connect or disconnect the fader MUTE switch. The TRS jack is configured
microphone(s) and turn PHANTOM power back on. for the Tip (send), Ring (return) and Sleeve
CAUTION: After switching PHANTOM Power (signal ground). See Appendix A for more details
on or off, wait 1 minute before changing any mic/ on using external processing and channel inserts.
line switch settings in that eight-channel block.
Another safe alternative is to turn both TRIM
and Channel Faders down for that bank of eight
channels before switching.
Let there be light (sockets)
Additionally, one or two BNC connectors (de-
pending upon the number of input channels on
the console) are provided above the input strips
for gooseneck lamps. The BNCs are wired with
the center post at +12 VDC. Mackie doesnt offer
lamps, but most dealers do. We recommend
LittleLite lamps #12G or #12G-HI (a high-inten-
sity version).
14
OUTPUT PANEL
TIP = OUT RING = IN
The input and output jacks that cor- SUBMASTER INSERT
1 2 3 4 5 6 7 8
respond to most of the functions in the
Output Panel are, logically, located in
AUX SEND
the jack panel directly above the Output 1 2 3 4 5 6
rear panel.
L R
CNTRL
Submaster Inserts R
1
R
2
R
3
R
4
R
5
R
6 RM OUTPUT
15
TIP = OUT RING = IN
SUBMASTER INSERT
1 2 3 4 5 6 7 8
AUX SEND
1 2 3 4 5 6
L R
MAIN
(MONO) (MONO) (MONO) (MONO) (MONO) (MONO) INSERT
L L L L L L
LAYOUT L
CNTRL
R
AND R
1
R
2
R
3
R
4
R
5
R
6 RM OUTPUT
FUNCTION L R
AUX RETURN MAIN MIX
(MONO) (MONO)
L R L R L R L R
2-TRACK EXTERNAL STUDIO MIX-B
INPUT INPUT OUTPUT OUTPUT
PHONES 1 2
16
21 19 17 15 13 11 9 7 5
OPERATING OPERATING
LEVEL CH. 17-24 LEVEL CH. 9-16
IN 10dBV IN 10dBV
OUT +4dBu OUT +4dBu
22 20 18 16 14 12 10 8 6
+4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / U
RIGHT LEFT 8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV
OUT +4dBu OUT +4dBu
OPERATING OPERATING
16 15 14 13 LEVEL 12 11 10 9 LEVEL
24 23 22 21 20 19 18 17
+28dBu MAX OUT +4dBu BALANCED / 10dBV UNBALANCED
MAIN BAL OUTPUTS SUBMASTER / TAPE OUTPUTS
17
RIGHT LEFT
EXPANDER
PORT
USE MACKIE 8BUS
EXPANDER CABLE
+18V ONLY! KEEP COVERED
18V
+48V
+12V
+5V
18
THIS PAGE LEFT BLANK INTENTIONALLY!
19
SECTION 3: GENERAL INFORMATION
Do you need to read this section at all? Headroom
Many of you reading this manual have a lot Every electronic circuit also has a point of
of experience in using large mixing consoles. overload a clip point, where the voltage sim-
For you battle-scarred pros, Section 2 and the ply cannot rise any higher, no matter what the
Block Diagram will probably be all that you input signal and your fader move would like.
need to look at. This overload, or clipping, will show up as tooth-
GENERAL Then there are those of you who have worked grinding distortion.
INFO extensively with smaller mixers such as our Somewhere between the noise and the clip-
CR-1604 but who have less experience with ping is an optimum level for your signal: high
a larger, multi-bus console with lots of gazintas enough above the noise floor to render the hiss
and gozoutas. For you, we recommend at least inaudible, and far enough below the distortion
adding Section 4 (Recording) and/or Section 5 point to allow range for loud peaks of music to
(PA) to your reading list. These chapters cover pass without clipping. This safe operating zone
some of the more unusual or less familiar fea- might be called operating level or nominal level
tures of your new 8Bus console. or zero or perhaps line level. The range between
Finally, there are those who are either new to your operating level and clipping is called head-
using mixers or just like to read even larger room, which defines just how tall your signal can
quantities of our glib prose. For you, we have be without having to duck for the rafters.
provided this short section that discusses the ba- Your mission as a designated Master of the Lev-
sic concepts and procedures used in recording, els is to get the low-level signals up to line-level as
mixing and sound reinforcement work. If you soon as possible and to keep them there as much
can make some sense of it, youre ready for the as possible. But dont turn them up too loud.
next two sections, which relate these concepts
to actually configuring and using a Mackie Unity Gain
8Bus Series mixing console. On a Mackie 8Bus console, the easy way to
Also, if the system Block Diagram does not do this is to set all the level controls according
look as familiar to you as the menu at McDs, to the Sensitivity Adjustment procedure de-
spend a little time in this section. tailed on page 1.
GENERAL INFORMATION Metering
Here is a primer covering a few important When the meters read 0dB, the level will ac-
ideas you should be on good terms with before tually be +4dBu at the outputs (or 10dBV at
you sit down to a mixing console. the submaster outputs, if youve engaged their
+4/10 switches). Dont pay too much attention
LEVELS to the meters. A meter is an aid, a window look-
Microphones have very ing onto part of the dynamic range of your signal,
low output levels. Power am- and it will tell you if your level is in the ballpark,
plifiers have very high so to speak.
output levels. One of the Try to keep your signals in the middle range
functions of a mixing console is to amplify or at- of the meters, for the most part. If the signal is
tenuate (reduce) these signal levels properly. always very low, you may not be getting the best
Since its easy to degrade the signal by not han- noise figures you can. If the meter LEDs are
dling levels well, and since its your hand on the always solidly lit from bottom to top, you are
controls, you should be sure you know how much likely distorting both the console and your re-
gain to apply and where to apply it. cording tape regularly. Keep the signal in the
middle, with occasional peaks into the yellow.
Noise Remember, the top yellow LED of the meter
Every electronic circuit produces noise or (+10) represents an audio level of +14dBu, and
hiss or hash or buzz, and any noise present on the Mackie 8Bus doesnt clip until +28dBu.
the input of an electronic circuit will be faith- Even banging the meters hard, you still have
fully passed through. Turn it up high enough, around 14dB of headroom for your peaks. (The
and you will hear the noise. L/R meters have an additional red LED segment
to show clipping at +28dBu.). There are not
20
many recorders, and no amplifiers, that can tol- ample, or just the tom mics on the drums.
erate such high signal levels. Therefore, its best The solo circuits are designed not to inter-
that the red LEDs never light up. rupt the recording process. The solo bus signal
But, if your music is sounding good, dont is sent directly to the control-room monitors
worry if youre in the yellow a lot or if some parts without affecting any of the inputs, outputs or
of the track hardly read at all. Youll quickly get a recording buses.
feel for what works for you, when you can get When you are mixing or monitoring with re-
away with really smacking the tape or the elec- verb, remember to not only solo the channel
tronics too much. youd like to hear, but also the AUX Return carry-
ing your reverb. Otherwise, you will hear the
BUSES channel soloed dry, without its echo. GENERAL
More often than not, the goal in a mixing con- INFO
sole is to mix two or more inputs into one EQ
output. Like a coach who has two or more play- Everybody knows what EQ is, but just in case
ers to get to the same ballgame, console youd like a refresher, well put in a few para-
designers use a bus. Even Websters Unabridged graphs here.
Dictionary agrees, defining the word bus in elec- Equalization (EQ) refers to purposely chang-
tronics as a conductor serving as a common ing the frequency response of a circuit,
connector for three or more circuits. sometimes to correct for previous unequal re-
The Mackie 8Bus Series has, in fact, many sponse (hence the term, equalization), and more
more than eight buses. The eight memorialized often to add or subtract level at certain frequen-
in the name are important, but there are also six cies for a pleasing effect.
AUXiliary buses, a pair of L/R Mix buses, the al- Bass and treble controls on your stereo are
ternate pair of MIX-B buses, and a pair of Solo EQ; so are the devices called parametrics and
buses. We will try to be clear just what bus we graphics and notch filters.
are talking about when we do talk about buses. A lot of how we refer to equalization has to do
with what a graph of the frequency response
SENDS AND RETURNS would look like. A flat response (no EQ) is a
Sends are outputs, and returns are inputs. So straight line; a peak looks like a hill, a dip is a
why dont we call them outputs and inputs? valley, a notch is a really skinny valley, and a
Well, actually, the terms send and return can shelf looks like a plateau (or a
mean many things, but the way they are gener- shelf). The slope is the grade
ally used in mixing console parlance is to refer to of the hill on the graph. For in- 3 HI MID VARIABLES
sends, which tap off a little of a signal to send to stance, if you lived in Texas,
some effects device (like a reverberation unit), you would set yalls EQs flat.
and returns, which function to return that reverb Graphic equalizers have
back into the mix. enough frequency slider con-
Sends are also used to tap some mix of signal trols to form a graph of the EQ
from a collection of channels for a headphone right on the front panel. Para-
cue mix. For that matter, sends can be used as metric EQs let you vary several
additional mix buses, if needed. EQ parameters at once. A fil- HI MID Variable 1: Boost/Cut
In the same way, if you dont need them for ter is simply a form of
reverb or effects, returns can be used as addi- equalizer that allows certain
tional inputs to your mix. frequencies through unmo-
lested and either reduces
SOLO other frequencies or elimi-
Solo is a standard console function that al- nates them entirely.
lows you to listen to one or more sources all by The equalizer on the 8Bus
HI MID Variable 2: Bandwidth
themselves (soloed). Series combines several differ-
You can check EQ, possible distortion or buzz, ent types of EQ into five
or just listen to see if a particular mic is open or different sections.
not. This function can also be handled by each The HI MID EQ section is a
channels -20/OL LEDs. See Section 2 20 and fully parametric equalizer.
OL LEDs for more details. When soloing more This means all the significant
than one source, you can listen to the blend of parameters can be varied, as
just part of your mix: only the sopranos, for ex- you can see in Figure 1. The HI MID Variable 3: Band Center
Fig.1
21
2 LO MID VARIABLES
boost or cut of this section, detent if you are unfamiliar with the bandwidth
through a range of 15dB, is feature. This setting will give you a semi-para-
set with the top knob. The cen- metric type of EQ.
ter frequency is dialed in with The 8Bus consoles set of three HI-MID con-
the middle knob, and can be trols (boost/cut, frequency center and
set anywhere between 500Hz bandwidth) is VERY powerful in its effects.
and 18kHz. Finally, the band- Rarely if ever will you need more than a few dB
width of the bell-shaped of boost and cut or, as noted above, will you want
LO MID Variable 1: Boost/Cut response curve around the to stray from the NORMAL (2 octave) bandwidth
selected frequency (also some- until you gain some experience recording and
what inaccurately referred to mixing.
as a ratio known as Q) can be The LO MID EQ section is called a semi-para-
selected with the lower knob. metric equalizer, because the bandwidth is not
The range is from as wide as 3 adjustable (Figure 2). The frequency range is 45Hz
octaves to as narrow as 1/12 to 3kHz and the bandwidth is fixed at 2 octaves.
octave. Leave it at the center
LO MID Variable 2: Band Center
Fig. 2
TIP
COLD 3 1
TIP
Female XLR COMMON 1
SLEEVE
Tip/Sleeve (TS) Plug
COLD 3 2
HOT
1 COMMON
3 COLD
RING SLEEVE SLEEVE RING TIP 2
HOT
RING
TIP
SLEEVE TIP SLEEVE TIP
SLEEVE
RING TIP
TIP (RETURN) (RETURN) (SEND)
TIP (OUT)
TO MIXER
FROM CHANNEL INSERT
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
22
1 LO & HI VARIABLE (Figure 5). When FLIP is up, the channel is fed
(HI shown) MIC/LINE and MIX-B gets TAPE. That way, you
can use MIX-B to monitor the signal as it comes
back from the recorder. This is the normal mode
for tracking and overdubbing.
In the down position, the TAPE return (the
output signal from the corresponding track of
your recorder) is fed to the channel fader (Fig-
Only LO/HI Variable: Boost/Cut ure 6). When FLIP is down, the channel input is
TAPE and MIX-B receives MIC/LINE. That en-
Fig. 3 ables you to use each channels MIC/LINE input GENERAL
for another input during mix down. Thus down INFO
The LO and HI sections of the EQ are shelv- is the normal position for mixing.
ing equalizers, with a family of curves shown in For PA, leave the FLIP switch up.
Figure 3. As you can see, shelving EQs lift or
lower the entire range of frequencies above or dB
;;;;;
5
;;;;;
;;;;;
U
10
Multi-track Deck
7-8 (RECORD)
The EQ IN/OUT SWITCH will completely re- 20
or 24
path when disengaged, and activate the EQ line CHANNEL
40
50
input
when engaged.
60
MIC/LINE
OO
LINE IN
L R
LEVEL
HI/LO EQ
+15
MIX-B
frequency, the greater the attenuation. The slope EXTERNAL
MONITOR
OUTPUT
INPUT
SHIFT
SOURCE
SOURCE
Connectors Figure 5: FLIP/MIX-B signal path during tracking (flip switch up)
10
;;;;;
board. If youre new to this whole thing, review ;;;;;
;;;;;
U
;;;;;
3-4
;;;;;
the drawings in Figure 4 on Page 22. Theyre also 5
5-6
10
20
48 of this manual. 30
L/R
MIX
50
60
OO
In Section 2, we described FLIPs use Multi-track Deck Channel Channel Mixdown Deck
during tracking and mixdown. Before you (PLAYBACK) Tape Input Fader
actually get involved with recording, wed Channel Channel
Input Mix B/Monitor
like to spring a couple of block diagrams PAN
MIX-B
MONITOR
SHIFT
LINE IN SOURCE
23
SECTION 4:
RECORDING WITH THE MACKIE 8BUS CONSOLE
RECORDING OVERVIEW white paper tape alongside each fader slot (bus
The recording process can be as simple as one faders too, if you need them). Then you can mark
microphone recorded on a monaural tape re- your place as you rehearse your fader moves.
corder. Not much advice needed for that. RECORDING AND OVERDUBBING
But since youve bought such a large mixing
console, we expect youll occasionally be doing Using Buses
pretty big sessions. This section will describe at
least one way of approaching a large session If you have to combine two or more inputs
for example, a big drum set, bass, guitar, piano, into one output (two trumpets on one track, five
scratch vocal and horns, with background vocals drum mics panned across a pair of tracks), you
and synthesizer overdubs. Lets assume there is a must assign the inputs to a common bus or pair
RECORDING 16-track recorder already patched in to the first of buses.
16 Tape In and the 16 Tape Out jacks on the If you have only one source going to one tape
8Bus Console. There is a set of Master Track- track, you have a choice: you can assign the chan-
ing, Overdub and Mixdown drawings farther on nel to the bus feeding that track, or you can patch
in this section for general reference. the tape track into the channels Direct Out.
Rationale for using a bus:
SETUP Its there, its easy, it sounds great.
Okay, now lets get ready for your session. You meet interesting people on the bus.
Make a diagram of your studio setup showing Rationale for using a Direct Out:
mic positioning. Then assign an input channel to Youve already assigned all eight of your buses
each mic. to other duties.
Trying to make your microphone-to-input layout You are a purist and you think you can
sensible now will avoid confusion later. Group hear the additional circuitry used in a bus.
similar instruments together. If there is a left-to-
right pattern to the mics (like drums mics or a Monitoring
vocal group), keep the same left-to-right sequence The most straightforward way to monitor dur-
on the console. Plan your basic track assignments ing a recording or overdubbing session is by
the same way. Its very confusing to have inputs listening to the output of the recorder, played
randomly strewn across a mixing console. through MIX-B. Properly configured, your re-
Now, normal your console (also called zero- corder will automatically switch between source
ing). This means check the position of every and playback as you put the deck into stop, play,
switch and every knob to be sure they are in the fast wind, record and so on. That way, youre al-
normal position. Your normal may be different from ways hearing your instruments after they travel
someone elses, but generally it means all switches through the multitrack deck, regardless of
off or up, all knobs either all the way down or at whether or not the tape is rolling.
their Unity detent. If you are working in a certain MIX-B allows you to set up a custom mix of
mode, say, for example, all AUX 3-4 SHIFT switches the tape tracks, independent of your recording
in TAPE, this is the time to set them all. levels. You can set level, pan, reverb and even EQ
Lay a piece of 1/2" or 3/4" white paper tape in your monitor mix while you record. You can
across the top of the input faders and label all your even patch a cassette recording into the outputs
inputs. (By the way, avoid masking tape. It will of MIX-B for a rough mix of the session.
slime your console. Take the time to go to an art Both the FLIP and MIX-B SOURCE buttons
supply store or a recording supply store and get should be in their up positions. This connects
some better-quality low tack tape.) the Tape In amplifier to the MIX-B level control,
Since your multitrack returns will be coming and MIX-B will monitor the recording machine.
into the MIX-B inputs on some of the same input
strips, you might want to divide your label into Cue Mix
multitrack track labeling and input labeling. See Initially, as you are setting up, set the Phones
TRACKING drawings 1&2 on pages 26 and 27. source to the MIX-B selection. This way, the mu-
If you have any careful submixing to do during sicians will at least have something to listen to
the recording, you might want to lay strips of 1/4"
24
right away so they can tune up and rehearse,
providing all your chosen tracks are in record
mode and auto-switching to input when tape is
not rolling.
Keeping the Phones on MIX-B may work for
the entire session, but usually the musicians will FOLLOW THIS LEVEL-SETTING
PROCEDURE FOR EACH
want one or even two custom mixes. The bass CHANNEL IN USE:
player and drummer may want bass and drums
featured very loud in their cans, which may be 1. Assign signal to channel fader:
If channel will be used with a micro-
killing the vocalist. Likely, as soon as you are phone, MIC/LINE switch should be up &
close, you will be required to come up with some FLIP switch should be up.
new cue feeds for the players. If channel will be used with line input,
AUXiliary Sends 3-4 and 5-6 are designed to MIC/LINE switch should be down &
FLIP switch should be up.
set up two different cue mixes from the same
If channel will be used with a tape input,
source as MIX-B, which should be the signal the FLIP switch should be down.
from your recorder. Simply push the SOURCE 2. Set channel strip controls as follows: RECORDING
button by Sends 3-4-5-6 down to the MIX-B posi- TRIM pot all the way counterclockwise
tion, and push the PRE button down (to bypass (+4dB)
the MIX-B level control). With the system config- AUX SEND controls all the way counter-
ured like this, you will be able to send a custom clockwise (off)
mix from each tape track to either Sends 3-4 or EQ switch up
LOW-CUT switch either on or off
Sends 5-6, depending on the position of the AUX (on recommended for mic inputs)
SHIFT switch. Its like having an extra Mix B Channel fader at UNITY
section. SOLO switch down
Sends 3 and 5 are set to feed the left head- 3. Make appropriate noise into the channel
phone, and 4 and 6 the right headphone. An input. For example, have a performer play/
equal setting on both knobs will place the sound sing/strike something or someone, etc. at
the level theyre going to record or perform.
in the center of the image. Dont just play a single sustained note,
Additional Note: By using modification V (Aux but rather, jam away as you would be during
1/2 source mod, page 55) an additional 2 Aux recording or performance. If the channel is
sends can be used as cue mixes from Mix-B being used for a tape input during mixdown,
roll an already-recorded track from your
(tape returns). This would allow all 6 Aux sends recorder.
to access Mix-B during tracking or overdubbing 4. The channels 20dB LED should light. The L/R
for cue mixes as well as effects. main meters will show the actual internal
operating level of soloed signals. Now you will
Wet or Dry Monitor? optimize levels.
Usually, you will not record wet (with reverb) 5. For mic or line inputs, adjust the TRIM
control clockwise to get peaks that
onto your multitrack master. You cant undo it regularly hit 0dB on the L/R meters.
later. However, it is nice to hear a little echo on OR
the tracks as you are working, and with the 8Bus For tape inputs, set the +4/10 switch on
Series, you have the option of wet monitoring. the console back panel to its in position
(10) if the signalpeaks are below 10dB
Since you are using MIX-B as your monitor sub- on the L/R main meters.
mix, you should derive the reverb send from the
6. If desired (optional):
same source. When the SOURCE button next to Press the EQ switch in.
Sends 3/4/5/6 is depressed but the PRE button is Adjust the channel strips EQ to about what
not, the sends are connected after the MIX-B level you will be using during the session.
control and make great wet monitor reverb sends. Re-perform Step 5.
Once you have your sends happening, you can 7. Return the channel strips SOLO button to
assign the return from your reverb into the head- its up position.
phone cues by using Stereo Returns 3 or 4, which 8. Repeat Steps 1-7 on the next channel that is
can directly assign into the phones. (Even if you being used.
are using Send 6, there is no reason not to patch
the output of the reverb into Returns 3 & 4. The
Send and Return numbers do not have to match.)
25
Keyboard, or other line level input
Reverb
To Multi-Track In Out
In
(optional)
Guitar Reverb
Effects
Box Out In
Out
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL PHANTOM
12 13 14 15 16
26
Out
1 2 3 4 5 6 7 8 Control Rm Monitors
SUBMASTER INSERT
1 2 3 4 5 6 L R
Mono Compressor
MAIN
AUX SEND INSERTS
MONO MONO MONO MONO MONO MONO
L L L L L L L R
LINE LINE LINE LINE LINE
IN IN IN IN IN
In BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
R R R R R R L R Power Amplifier
DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT
1 2
PHONES
8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV 23 21 19 17 15 13 11 9 7 5 3 1
OUT +4dBU OUT +4dBU
24 23 22 21 20 19 18 17 24 22 20 18 16 14 12 10 8 6 4 2
+4dBU BALANCED / 10dBV UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED
SUBMASTER / TAPE OUTPUTS TAPE RETURNS 17-24 TAPE RETURNS 9-16 TAPE RETURNS 1-8
Multi-Trac
3 Recorder
k
Multi-Trac
2 Recorder
k
Multi-Trac
1 Recorder
k
MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
E
E
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP
U U U U U U U
1 1 1 1 1 1 1
5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
ASSIGN
4 U 4 U 4 U 4 U 4 U
4 U
6 U
4 U
6 U
6 6 6 6 6
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT
12 13 14 15 16
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOLO AUX SENDS SOLO STEREO AUX RETURNS
MIX-B MIX-B MIX-B MIX-B MIX-B
in this application
SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U
HI HI HI HI HI
MID MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
500 18k 500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL NORMAL OO SOLO LITE
2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE
L/R MIX SUBGRPS
BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 3 1 3 1 3 1
12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U U PHONES
&
MIX B
OO
PHONES 1 PHONES 2 MONITOR SOLO TALKBACK STUDIO
LO LO LO LO LO MONITOR
MID MID MID MID MID EXTERNAL EXTERNAL MONO
Tinted buttons
250 250 250 250 250
are pressed IN
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
22
45 3k 45 3k 45 3k 45 3k 45 3k
+ + + + + + +
U U U U U
10 10 10 10 10 10 10 10
HI HI HI HI HI
12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
CNTRL RM
15 +15 15 +15 15 +15 15 +15 15 +15
2 2 2 2 2 2 2 2
4 4 4 4 4 4 4 4
EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R
L R L R L R L R L R
U U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MIX
MUTE MUTE MUTE MUTE MUTE L MIX R L MIX R L MIX R L MIX R
1 2 3 4 5 6 7 8
appropriate bus for the
Assign channels to the
dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10
;;;;
5
;;;; 1-2
;;;;;
5
;;;; 1-2
;;;;
5
;;;; ;;;;
5
;;;; ;;;;
;;;; ;;;;;
;;;;; ;;;;
5
;;;; ;;;;
;;;;
5 5 5
;;;;
5
;;;; ;;;;
;;;;
5
;;;;
5
;;;;
;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U ;;;;;
;;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U U;;;;
;;;; ;;;;
;;;; ;;;;;
;;;;; ;;;;
;;;;
U ;;;;
;;;; U U U ;;;;
;;;;
U ;;;;
;;;; U ;;;;
;;;;
U
;;;; 3-4
;;;; 3-4
;;;; 3-4
;;;;; 3-4
;;;; 3-4
;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;;;;;; ;;;;
;;;;
5
5-6
;;;;
5
5-6
;;;;
5
5-6
;;;;;
5
5-6
;;;;
5
5-6
;;;;
5 ;;;;;;;;;;;;;;;;;;;;;
5 5 5 5 5 ;;;;;;;;
5 5 ;;;;
5
10 10 10 10 10 10 10 10 10 10 10 10 10 10
7-8 7-8 7-8 7-8 7-8
20 20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO
27
Getting reverb into the monitors is a little Overdub, Anyone?
more involved, since there is no return assign- See the OVERDUB drawings on page 30 and 31.
ment switch to MIX-B. You have three choices: Once youve got your basic tracks down, take
Assign MIX-B to L/R Mix in the MIX-B master a moment and log all your settings, right down to
section. Then, select L/R Mix as your only source headphone sends and outboard compressor
in the monitor section. Finally, use Stereo AUX thresholds. You may be back next week doing it
Returns 1-6 to bring the reverb into the L/R Mix all over again, and you wont remember it all. It
buses. Make sure that none of the channel L/R seems some engineers use a camera for this
switches are engaged. There is no disadvantage to step, but our Polaroids never come out that well.
this patch, unless you are already using the L/R One easy way to do this is to copy the 8Bus
Mix buses for some other function. panel layouts from the end of the manual and
Patch the returns into unused tape returns, using mark your settings on them in color.
the Tape In jacks on the rear of the console. Then Now, normal all the channel inputs and EQs
route them into MIX-B, just as if they were and sendsanything that does not affect your
additional tape tracks. MIX-B monitor and cue submix. Do not change
RECORDING Patch the returns into unused channel strips, the FLIP switch settings yet.
using the Line In jacks. Then you can route Then, pick a convenient input channel or two
the reverb anywhere your heart desires. and use them as your input for overdubs. As you
record on different tracks, just reassign the bus
Lets Record! outputs from the channels, no sweat. Remember,
Heres one way to set the board up (another with the triple busing feature, explained in Sec-
option is shown in the hook-up drawingseither tion 2 (Submaster/Tape Outputs), you wont
works just fine): have to repatch anything to feed up to a 24-track
recorder. And your monitor mix and cue mix
Kick Drum ............ to Channel 1 ......... Direct Out to Track 1 havent changed. At the end of the night, you can
Snare Drum .......... to Channel 2 ........... Direct Out to Track 2
Cymbals Left ......... to Channel 3 ........... Bus 3 to Track 3 run the monitor mix into a cassette or DAT and
Cymbals Right ....... to Channel 4 ........... Bus 4 to Track 4 take a rough mix home.
Tom 1 ..................... to Channel 6 ........... panned between Buses 3 & 4 to Tracks 3 & 4
Tom 2 ..................... to Channel 7 ........... panned between Buses 3 & 4 to Tracks 3 & 4 If youre going to do your final mix right away,
Tom 3 ..................... to Channel 8 ........... panned between Buses 3 & 4 to Tracks 3 & 4 you have another option during overdubbing.
Bass Amp ............... to Channel 9 ........... Bus 5 to Track 5
Bass Direct ............ to Channel 10 ......... Bus 5 to Track 5 First, pick an input channel for your overdub
Scratch Vocal ......... to Channel 11 ......... Direct Out to Track 11 mics beyond the number of tape tracks you have.
Guitar near ........... to Channel 12 ......... Bus 6 to Track 6
Guitar far .............. to Channel 13 ......... Bus 6 to Track 6
If you have a 16-Track, choose channels 17 and
Piano L .................. to Channel 14 ......... Bus 7 to Track 7 18. These will be your inputs, which you will
Piano R .................. to Channel 15 ......... Bus 8 to Track 8 then assign to open tape tracks for the overdubs.
Trombone I ............ to Channel 16 ......... panned between Buses 1 & 2 to tracks 9 & 10
Trombone II ........... to Channel 17 ......... panned between Buses 1 & 2 to tracks 9 & 10 Now, push the FLIP buttons on channels 1-16.
Flugelhorn ............. to Channel 18 ......... panned between Buses 1 & 2 to tracks 9 & 10 This will bring the Tape Inputs into the main
Trumpet ................. to Channel 19 ......... panned between Buses 1 & 2 to tracks 9 & 10
channel faders, and you can begin working on
your mix while you monitor on the L/R Bus.
Your monitoring and cue signals come from
Headphones can still be fed via the AUX Send of
the MIX-B inputs corresponding to the tape
your choice, or by assigning monitor to the
tracks:
phones. When youre done overdubbing, your mix
Kick .................. Track 1 .............. Tape Return 1 ............ MIX-B is ready.
Snare ................ Track 2 .............. Tape Return 2 ............ MIX-B
Drums L ........... Track 3 .............. Tape Return 3 ............ MIX-B MIXING OVERVIEW
Drums R .......... Track 4 .............. Tape Return 4 ............ MIX-B
Bass .................. Track 5 .............. Tape Return 5 ............ MIX-B See the MIXDOWN drawings on pages 32 and 33.
Guitar .............. Track 6 .............. Tape Return 6 ............ MIX-B Recording and overdubbing require care from
Piano L ............ Track 7 .............. Tape Return 7 ............ MIX-B
Piano R ............ Track 8 .............. Tape Return 8 ............ MIX-B the recording engineer, but the focus really has
Horns L ............ Track 9 .............. Tape Return 9 ............ MIX-B to be on the performances. Its important to get a
Horns R ............ Track 10 ............ Tape Return 10 .......... MIX-B
Scratch Vocal ... Track 11 ............ Tape Return 11 .......... MIX-B good sound, but its more important to keep the
musicians really in it, keep the pace up, be ready
At this point, your recording should pretty to snag that killer track when it happens.
well take care of itself. Keep on top of the play- Good mixing, however, focuses solely on the
ers: be sure theyre in tune, keep them tight. engineer and requires an emphasis on precision
Youll have great tracks before midnight. and meticulous setup. Creatively, you must blend
the tracks so they at least sound like music
again; technically, you must take into account
28
the sound of home and car speakers, mono com- There is a tendency for levels to creep upwards as
patibility, human perception changes under you add more and more tracks to your mix. One way
different listening conditions, matching similar to keep a handle on this is to set the L/R master
product in your market, not to mention tonal fader a few dB above unity, and to set your initial
and level balance between songs, and meeting monitor levels pretty high. As you get closer and
the criteria for tape and disc mastering. closer to your final, you can ease the monitor levels
down and easeup the master fader to unity, which is
MIXING SETUP where it should be.
Clean and align your mixing machine accord- If your multitrack tape machine will do it, put it in
ing to the manufacturers instructions. If its a the loop mode so it will just play the song over and
digital machine, sacrifice a full floppy disk in its over. Start mixing a group of tracks that run through-
presence to ensure smooth operation during out the song, maybe drums or the rhythm section.
mixdown. Set the panning, level, EQ, reverb and delay,
Group all your inputs in some sensible way, keep- and bring in more tracks as the mix begins to
ing drums, vocals and synths next to each other. jell. Dont make any level marks on your fader
Youll probably have to repatch some of your tapes yet, but as the mix comes together, try to
RECORDING
tape returns to do this. Lay a strip of 1/2" white note which sections work without a lot of fader
tape across all the console input channels for la- moves. Look for what appears to be the loudest
beling. Put 1/4" strips of tape vertically along part. Sometimes turning the Control Room Level
each fader to mark levels. way down, so the mix is very quiet, will reveal
what sounds are clearly louder than others.
Pick a Model Now take a listen to your model on CD or DAT.
Get copies of music youd like to approximate in Make some adjustments in your mix to put it
your mix, and patch the CD or DAT machine into the closer. When you think its getting reasonable, find
external jacks on the console. Then you can A-B your that loudest section that you located, and pull the
mix against your model at the flick of a switch to see master fader back to get the levels close to normal
if youre really getting that snare sound or not. on the main meters. Then go to the section that
works by itself and start making little marks on
Consider Compression the fader strips. Youre getting close.
You can mix an entire project without a lick of Listen to the model again. Start making more
compression; many engineers do. The dynamic marks for the moves. Repeat until it sounds like
range of a CD can certainly handle it. But con- a hit. Serves four adults.
sider: most people listen to what you mix under
less than ideal conditions. There is background Using External Processing
noise and road noise, and most people dont Compressors, gates and equalizers are gener-
listen as loud as you mix. A little gentle compres- ally inserted into the signal path. They are
sion, whether on individual tracks or on the referred to as serial devices, used in series
entire mix, can reduce the dynamic range a bit with the signal path. All the signal goes into the
and pull your mix together. Also, if you want to device, then out and back to the mixers signal path.
simulate what your mix will sound like over the Reverb, echo, delay, aural excitement and
airwaves, you can compresss the heck out of it, spatial enhancement are usually set up as send/
like they do. They use very fancy compressors, return devices. These are referred to as parallel
but any compressor will give you an idea of what devices. Some amount of signal is borrowed
will happen. This is good for checking things out, from a channel via an AUX Send, sent to the de-
but not for your final mix. vice, processed and returned to the mixer as a
new, wet signal via the AUX Returns, to be mixed
DOING THE MIX with the original, dry signal.
Assuming the console has been normalled, all
you have to do to get ready to mix is to engage Insert Devices
the FLIP and L/R MIX switches (unless you are A compressor/limiter after EQ will compress
using the submasters to group channels) on differently than one inserted before the EQ. A
each of the input channels and select L/R MIX compressor/limiter inserted before a master fader
as your Monitor Source. Pull all the channel in- will limit consistently, but one after the same
put faders down. fader will effectively have its threshold moved by
the fader level. None of these choices are right or
wrong, they just have different effects.
Text continued on Page 36
29
Keyboard, or other line level input
To Multi-Track
(optional)
In
Guitar Reverb
Effects
Box Out In
Out
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL PHANTOM
12 13 14 15 16
30
1 2 3 4 5 6 7 8 Control Rm Monitors
Out
SUBMASTER INSERT
1 2 3 4 5 6 L R
Mono Compressor
IN IN IN IN IN
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
In R R R R R R L R Power Amplifier
DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT
1 2
PHONES
8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV 23 21 19 17 15 13 11 9 7 5 3 1
OUT +4dBU OUT +4dBU
24 23 22 21 20 19 18 17 24 22 20 18 16 14 12 10 8 6 4 2
+4dBU BALANCED / 10dBV UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED
SUBMASTER / TAPE OUTPUTS TAPE RETURNS 17-24 TAPE RETURNS 9-16 TAPE RETURNS 1-8
Multi-Trac
3 Recorder
k
Multi-Trac
2 Recorder
k
In
Multi-Trac
1 Recorder
k
Out In
Out
MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
16x8x2 8-BUS MIXING CONSOLE
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
E
E
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP
U U U U U U U
1 1 1 1 1 1 1
5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
ASSIGN
4 U 4 U 4 U 4 U 4 U
4 U
6 U
4 U
6 U
6 6 6 6 6
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT
12 13 14 15 16
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOLO AUX SENDS SOLO STEREO AUX RETURNS
MIX-B MIX-B MIX-B MIX-B MIX-B
in this application
SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U
HI HI HI HI HI
MID MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
500 18k 500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL NORMAL OO
SOLO LITE
2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 2-TK TAPE SUB
L/R MIX CNTRL RM MASTERS
BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 1 3 1 3 1
12 12 3 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U U PHONES
MIX B &
PHONES 1 PHONES 2 MONITOR SOLO TALKBACK
OO
STUDIO
LO LO LO LO LO MONITOR
MID MID MID MID MID EXTERNAL EXTERNAL MONO
Tinted buttons
250 250 250 250 250
are pressed IN
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
22
45 3k 45 3k 45 3k 45 3k 45 3k
+ + + + + + +
U U U U U
10 10 10 10 10 10 10 10
HI HI HI HI HI
12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
CNTRL RM
15 +15 15 +15 15 +15 15 +15 15 +15
2 2 2 2 2 2 2 2
4 4 4 4 4 4 4 4
EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R
L R L R L R L R L R
U U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MIX
MUTE MUTE MUTE MUTE MUTE L MIX R L MIX R L MIX R L MIX R
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10
;;;;
U
;;;;
U
;;;;
U
;;;;;
U
;;;;
U
;;;;
U U
;;;;;;;;;;;;;;;;;;;;;
U U U U
;;;;;;;;
U U
;;;;
U
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10
7-8 7-8 7-8 7-8 7-8
20 20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO
31
Stereo Reverb
In Out
10 11 15 16
32
1 2 3 4 5 6 7 8
Mono Compressor
Stereo
Compressor In
Out
SUBMASTER INSERT
In
1 2 3 4 5 6 L R Out
Noise Gate
LINE LINE LINE LINE
MAIN
AUX SEND INSERTS
MONO MONO MONO MONO MONO MONO
CNTRL
1 2 3 4 5 6 RM OUTPUT
In R R R R R R L R
DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT
1 2
PHONES
RIGHT LEFT 8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV 23 21 19 17 15 13 11 9
OUT +4dBU OUT +4dBU
MAIN BAL OUTPUTS SUBMASTER / TAPE OUTPUTS TAPE RETURNS 17-24 TAPE RETURNS 9-16
Multi-Trac 3 Recorder
k
DAT or Multi-Trac
2 Recorder
k
2-track
In Deck
In Out
Out 1 Recorder
Multi-Trac
k
In Out
Out
MIC
10 MIC
11 MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
16x8x2 8-BUS MIXING CONSOLE
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
E
E
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP FLIP FLIP
U U U U U U U U U
1 1 1 1 1 1 1 1 1
5 5 5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
in this application
6 6 6 6 6 6 6
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT
10 PRE
11 PRE
12 PRE
13 PRE
14 PRE
15 PRE
16 PRE
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOLO AUX SENDS SOLO STEREO AUX RETURNS
MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B
SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U U U
HI HI HI HI HI HI HI
MID MID MID MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
OO
1k 5k FREQ 1k 5k FREQ 1k 5k FREQ 1k 5k FREQ 1k 5k FREQ 1k 5k FREQ 1k 5k FREQ MIX-B MIX-B MIX-B AUX SEND 2
500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL OO
SOLO LITE
Tinted buttons
2 2 2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 2-TK TAPE SUB
CNTRL RM
are pressed IN
L/R MIX MASTERS
BAND BAND BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 3 1 3 1 3 1 3 1 3 1
12 12 12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U U U U PHONES
MIX B &
LO LO LO LO LO LO LO MONITOR PHONES 1 PHONES 2 MONITOR SOLO TALKBACK STUDIO
MID MID MID MID MID MID MID EXTERNAL EXTERNAL MONO
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 SOURCE SOURCE SOURCE
250 250 250 250 250 250 250
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
CNTRL RM
22
45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k
+ + + + + + +
U U U U U U U
10 10 10 10 10 10 10 10
HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
4 4 4 4 4 4 4 4
EQ EQ EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R L R L R
L R L R L R L R L R
U U U U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
10 11 12 13 14 15 16 LEFT/RIGHT
MUTE MUTE MUTE MUTE MUTE MUTE MUTE L MIX R L MIX R L MIX R L MIX R MIX
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
;;;;; ;;;; ;;;; ;;;; ;;;; ;;;;; ;;;; ;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;;;;;; ;;;;
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
;;;;; ;;;; ;;;; ;;;; ;;;; ;;;;; ;;;; ;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;;;;;; ;;;;
1-2 1-2 1-2 1-2 1-2 1-2 1-2
;;;;;
U
;;;;
U
;;;;
U
;;;;
U
;;;;
U
;;;;;
U
;;;;
U
;;;;
U U
;;;;;;;;;;;;;;;;;;;;;
U U U U
;;;;;;;;
U U
;;;;
U
;;;;;
;;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;;
3-4
;;;;;
;;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;; ;;;;
;;;;;;;;
;;;;;;;;;
;;;;;;;;;
;;;;;;;;
;;;; ;;;;
;;;;;;;;
;;;; ;;;;
;;;;
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5-6 5-6 5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
Bass Guitar
Vocal Delay
Keys 2
Vocals
Drums
Keys 1
Guitar
Drum
Drum
Rev 1
Rev 1
Keys
Keys
Vox
Vox
R
R
R
L
L
33
Video Deck 1 Video Deck 2
Cue Mix 1
Sync
Out Out
Cue Mix 2
Sound FX CD Player
Drum
34
Machine
Reverb
In Out
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL PHANTOM
12 13 14 15 16
1 2 3 4 5 6 7 8 Control Rm Monitors
Mono Compressor
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
In R R R R R R L R Power Amplifier
DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT
1 2
PHONES
R Out
In
RIGHT LEFT 8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV
OUT +4dBU OUT +4dBU
OPERATING OPERATING
16 15 14 13 LEVEL 12 11 10 9 LEVEL
24 23 22 21 20 19 18 17
+28dBU MAX OUT +4dBU BALANCED / 10dBV UNBALANCED
MAIN BAL OUTPUTS SUBMASTER / TAPE OUTPUTS
VIDEO/BROADCAST 1: INPUT/OUTPUT
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL
MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
16x8x2 8-BUS MIXING CONSOLE
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
NENSITIVITY
E
E
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP
U U U U U U U
1 1 1 1 1 1 1
5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
ASSIGN
4 U 4 U 4 U 4 U 4 U
4 U
6 U
4 U
6 U
in this application
AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT
12 PRE
13 PRE
14 PRE
15 PRE
16 PRE
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOLO AUX SENDS SOLO STEREO AUX RETURNS
MIX-B MIX-B MIX-B MIX-B MIX-B
SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U
HI HI HI HI HI
MID MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
500 18k 500 18k 500 18k 500 18k 500 18k RUDE
OO
NORMAL NORMAL NORMAL NORMAL NORMAL OO SOLO LITE
2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE SUB
L/R MIX MASTERS
BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
Tinted buttons
are pressed IN
3 1 3 1 3 1 3 1 3 1
12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U U PHONES
MIX B &
PHONES 1 PHONES 2 MONITOR SOLO TALKBACK STUDIO
LO LO LO LO LO MONITOR
MID MID MID MID MID EXTERNAL EXTERNAL MONO
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
22
45 3k 45 3k 45 3k 45 3k 45 3k
+ + + + + + +
U U U U U
10 10 10 10 10 10 10 10
CNTRL RM
HI HI HI HI HI
12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
4 4 4 4 4 4 4 4
EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R
L R L R L R L R L R
U U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
12 13 14 15 16 LEFT/RIGHT
MUTE MUTE MUTE MUTE MUTE L MIX R L MIX R L MIX R L MIX R MIX
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10
;;;;
5
;;;;
5
;;;;
5
;;;;;
5
;;;;
5
;;;;
5
;;;;;;;;;;;;;;;;;;;;;
5 5 5 5 5
;;;;;;;;
5 5
;;;;
5
;;;; 1-2
;;;; 1-2
;;;; 1-2
;;;;; 1-2
;;;; 1-2
;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;;;;;; ;;;;
;;;; ;;;; ;;;; ;;;;; ;;;; ;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;;;;;; ;;;;
;;;;
U
;;;;
U
;;;;
U
;;;;;
U
;;;;
U
;;;;
U U
;;;;;;;;;;;;;;;;;;;;;
U U U U
;;;;;;;;
U U
;;;;
U
;;;;
;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;;
3-4
;;;;;
;;;;;
3-4
;;;;
;;;;
3-4
;;;;
;;;; ;;;;
;;;;;;;;
;;;;;;;;;
;;;;;;;;;
;;;;;;;;
;;;; ;;;;
;;;;;;;;
;;;; ;;;;
;;;;
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO
35
There are three common points for inserting as reverb returns. Simply patch the return into a
processing devices in the signal path during mix- Line Input, if you have enough inputs to handle
ing: this. (Bonus: you now have console EQ available
In a pre-EQ channel insert point (for one on your reverb return. Be sure the AUX Send
channel only) feeding that reverb is turned fully down on the
In a sub-master bus insert point (for a channels being used as reverb returns. If you
subgroup) dont, every dog in the neighborhood will want to
hump your leg.)
In the L/R Mix insert point (to affect the
whole mix) Using Subgroups
Send / Return Devices There will be many times during mixing that
you will want to set up subgroups within your
Since youre not setting up custom phone cue-
mix. A subgroup allows you use just one or two
ing while youre mixing, you will normally have all
(for stereo) faders on a larger group of tracks
six AUXiliary sends available. Use a couple as your
(say, drums or horns or background vocals). This
primary reverb sends, perhaps one for a bright
makes for easier control (especially if you do not
RECORDING plate and the second the same with a slap or pre-
have automation), and also allows you to patch
delay. That leaves you four for special effects. You
a single (or a matched pair for stereo) EQ or
can also use the MIX-B outputs or an unused 8-
compressor on the set of tracks.
track bus as additional sends. If you only need to
The Mackie 8Bus console offers you several
put the effect on one channel, you can use the
options using subgroups, depending on the
channel Direct Out as a send (and the effects in-
situation.
put level as the send level).
Lots of options at this point. Post-fader is al- To assign channels to a subgroup during
most always the preferred mode for reverb mixing, first de-assign the channels you want
sends. Keep the sends in post unless you dont to subgroup from the L/R MIX. Then choose
want the reverb to follow the fader moves. If you the bus or pair of buses youd like to use as a
want the wet sound (lots of reverb), turn the subgroup and reassign the channels to that
fader down a bit, and turn up the appropriate subgroup. The channel pan controls the
AUX Send to compensate. Now you have less selection of buses for a mono subgroup, and
dry signal and more wet. Dreamy! the position between buses for a stereo
Patch the output of the reverb units to the AUX subgroup. For example, if you want a mono
Return inputs, which offer level and pan controls, subgroup using Bus #1, select 1/2 assign and
and assign switches to put your effect where you pan those channels fully left. Now, in the
want it. Notice that each of the six returns has two Assign area above the submaster faders,
inputs, for a total of twelve. This allows you to send select the combination of L MIX, R MIX and
and return to six stereo effects units and bring all MONO L+R switches that suit you. The L MIX
the reverbs and echoes back in. and R MIX switches are upstream of the
Also note: There is no rule against sending on 3 MONO L+R switches, and must be engaged to
and patching the returns into 5 and 6. If your re- make the Mono switches work. Compressors
verb has stereo inputs, try feeding a mono signal, or EQs can be inserted into the Submaster
using just one AUX Send, into its mono input. Insert jacks at the top of the Output section.
Most reverbs are not true stereo, input-wise. Youll Another option is to bypass the bus assign
lose nothing and get back an AUX Send. switching above the 8Bus masters and
If you are using a mono effect or only one instead patch the output of the bus(es) back
channel of a stereo effect, using only the Left in- into the inputs of a channel fader or two.
put jack of a return will place the effect in the Then assign those channels only to the L/R
center of your mix. If you use the Right jack, the MIX to reinsert the subgroup into the mix. If
effect will be placed on the right side in your you have enough input channels, this configu-
mix. To put the effect on the left side only, patch ration gives you console EQ and Sends on
the return into the Left jack, and place an your subgroup, which may be handy.
unwired dummy plug into the Right jack. That
Finding More Inputs: MIX-B to L & R Buses
will defeat the left-goes-to-center normalling
and allow the signal to remain on the left in the There are never enough tracks on your re-
mix. corder, and there are never enough inputs on
As mentioned above, you can use the AUX Re- your console. Its always the case. Your unbridled
turn inputs as additional inputs to the console if creativity will find ways to use up everything,
you wish. You can also use channel input strips whether you are routing the vocals through a
36
pair of Leslie speakers or keying a gated set of Take a hint from the film mixers and set your
reindeer bells with the snare signal. dialog or lead vocals to about 85dB/c at the mix-
The Mackie 8Bus consoles cant give you the ing position. This is a moderate, normal volume;
infinite number of channels you dream of, unless not quiet but definitely not thundering. If you
you buy an infinite number of expander consoles, have a sound pressure meter available you can
but you can very easily double the number of take a measurement to get a feel for how loud
inputs by using the MIX-B buses. 85dB is. If you dont, run down to Radio Shack
If you are mixing off tape as we set it up a few and say: I want #33-2050 or #32-2055. Heres
pages ago, you have engaged the FLIP switch to $31.99 or $59.99 plus applicable taxes. Every
put the tape returns into the main channel fader set of self-respecting ears should own one.
and EQ. The FLIP switch also switches the Line This monitoring volume will keep you honest,
Input to the MIX-B circuitry, and that provides and keep your mixes balanced for playback.
your extra inputs. You can get an AUX Send for Sure, listen at very low levels, too, and crank it
the extras using the SOURCE switch in the AUX from time to time to remember why youre in this
Send 3/4/5/6 area, and you can SPLIT the EQ if line of work, but stay at the moderate 85dB/c
you need to. setting most of the time. You will save your hear-
RECORDING
Check over in the MIX-B/MONITOR section ing and also make better mixes.
above the Sub meters and youll see the MIX-B
TO L/R MIX ASSIGN button, which will bring all A Word About Automation
your MIX-B inputs back into the main mix. Voila! There is an optional MIDI automated mixing
Twice as many inputs! capability that will be available for the Mackie
8Bus Series Consoles, so we wont talk about
Monitoring and Levels automated mixing here. Thats in the manual
Check your speakers and amplifiers to be sure that comes with the automation components.
that theyre balanced left-to-right and mounted For those of you without automation, there is
symmetrically to your mixing position. A 2dB hope. Billions and billions of great mixes have
shift in monitor balance will produce a 2dB shift been done on non-automated consoles. Here are
in the opposite direction in your mix. a few tips:
Also, check your speaker polarity (sometimes Use subgroups, discussed earlier.
inaccurately called phase). This is a basic thing Mult tracks that need drastic EQ or reverb
we all know about, but its amazing the times changes to two channels, and alternate
weve found studio speakers (especially near- between them with the MUTE switches.
field monitors, which are often plugged and (Multing means connecting one output to
unplugged regularly) connected with opposing two or more inputs by simply paralleling the
polarity. You should train your ears to notice out- connections. Some patch bays have paralleled
of-polarity conditions instantly. Its easy to hear mult strips available. You can also make mult
(to us it sounds like a combination of not hear- boxes or just use Y adapters. Note: Never
ing enough bass and feeling like our eyes are mult two or more outputs into one input.
slightly crossed), and getting polarity right will Thats what mixers are for. Only mult one
save you much grief in mixing. output into two or more inputs. See Appendix
Remember that you need to mix so that your A: Connections.)
music or program sounds good on anybodys sys-
Enlist several sets of hands.
tem. Be sure you have some real-world monitor
speakers in addition to the monitors you like so And last, most terrifying, but most powerful
well, and check back and forth frequently. See and effective: edit between sections of your
Section 2 (Studio Output), for details on how mix. It would be wise to make two passes of
to use two sets of control room monitors. Check your mix before you chop up your only one.
at different monitoring levels, too. A mix that If youve been wildly editing mixes for years
sounds great loud will not necessarily sound and years, you know what were talking about. If
good at low volume. Listen at a barely audible not, learn to do it. Whether you do it digitally or
level from time to time. You should still be able you use a razor blade, you can fix that tiny detail
to hear the essential pieces of your mix. in an otherwise perfect mix; you can mix a com-
Also, check your stereo mixes in mono regu- plicated track in sections rather than like a
larly during your mix. Much television and radio marathon; you can go from 200 instruments to a
is still heard in mono, and your mix has to sound single whispered vocal and back again in a heart-
its best both ways. beat; you can even fix a mix weeks later without
losing the original magicyou just remix the one
chorus that needs fixing and cut it in.
37
THIS PAGE LEFT BLANK INTENTIONALLY!
38
SECTION 5:
PA AND SOUND REINFORCEMENT APPLICATIONS
WITH THE MACKIE 8BUS CONSOLE
One of Mackie Designs primary product phi-
losophies is to make its mixers as multi-purpose
as possible to make them more affordable. This
sounds like a contradiction in terms, but it isnt.
By creating consoles JUST for recording and
other models JUST for PA, other companies com- FOLLOW THIS SENSITIV-
plicate the manufacturing process and reduce ITY ADJUSTMENT PROCE-
their economies of scale. DURE FOR EACH CHANNEL
We designed the 8Bus Series from the IN USE:
ground up for both recording and PA sound rein- 1. Assign signal to channel fader:
forcement applications. If you have any doubt as If channel will be used with a micro-
to the durability of your new console, just think phone, MIC/LINE switch should be up &
of how many smaller Mackie mixers have logged FLIP switch should be up.
literally millions of air miles on grueling tours If channel will be used with line input,
(and how many vintage Tapco mixers that Greg
MIC/LINE switch should be down & PA
FLIP switch should be up.
Mackie designed are still around and in day-to- &
2. Set channel strip controls as follows: SR
day use). TRIM pot all the way counterclockwise
From a features standpoint, Mackie 8Bus Se- (+4dB)
ries consoles are easy to configure for public AUX SEND controls all the way counter-
address and sound reinforcement applications, clockwise (off)
whether you are mixing the house, stage monitors EQ switch up
LOW-CUT switch either on or off
or both at once. Use the L/R main mix buses and (on recommended for mic inputs)
your main L/R outputs as your main signal path. Channel fader at UNITY
If you want a headphone cue mix, either PAN pot hard left or right
patch the Control Room outputs to a suitable SOLO switch down
headphone amplifier, or select MONITOR as the 3. Make appropriate noise into the channel
source for Phones 1 or Phones 2. This will allow input. For example, have a performer play/
you to listen to any source you can select for the sing/strike something or someone, etc. at
the level theyre going to record or perform.
Control Room. You can also use the solo buses as Dont just play a single sustained note,
headphone cue. If you prefer, you can modify the but rather, jam away as you would be during
solo circuits for PFL (Pre-Fade Listen). recording or performance.
4. The channels 20dB LED should light. The L/R
SETUP main meters will show the actual internal
operating level of soloed signals. Now you will
Refer to the STEREO LIVE MIX drawings on optimize levels.
page 42 and 43. 5. Adjust the TRIM control clockwise to get
You should normally use the L/R Mix buses as peaks that regularly hit 0dB on the L/R
your Main or House feed. Patch out from the L/R meters.
outputs (peferbly the balanced XLR outputs) 6. If desired (optional):
into the input to your amp stack (usually your Press the EQ switch in.
House graphic equalizer). Adjust the channel strips EQ to about what
you will be using during the session.
Any of the AUX buses can be used to feed a Re-perform Step 5.
stage monitor mix, but AUX Send 1 and 2 are
7. Return the channel strips SOLO button to
balanced, so they would be the best choice for its up position, and set the PAN pot back
several different stage monitor mixes. Set the where you found it.
AUX Sends in each channel to PRE and patch the 8. Repeat Steps 1-7 on the next channel that is
AUX Send outputs to the appropriate amplifiers. being used.
If you need to provide a simultaneous mix for
a stereo recording, use the MIX-B buses as
described in MAKING A SIMULTANEOUS
RECORDING. Text continued on Page 44
39
Same As Aux 2
Equalizer or
Keyboard, or other line level input other processor In
Power Amplifier
Out
Stereo
Compressor In
Stage Monitor
Digital Delay
Out
In Reverb 1
Out Out Equalizer or
Out Procesor
In In Out
CHANNEL CHANNEL CHANNEL CHANNEL PHANTOM
40
13 14 15 16 In
1 2 3 4 5 6 7 8
Mono Compressor
Out
SUBMASTER INSERT
In
1 2 3 4 5 6 L R
Noise Gate
LINE LINE LINE LINE
MAIN
AUX SEND INSERTS
MONO MONO MONO MONO MONO MONO
L L L L L L L R
LINE LINE LINE LINE
IN IN IN IN
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
In R R R R R R L R
DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT
1 2
PHONES
Reverb 2
DAT or 2-track Deck
RIGHT LEFT
23 21 19 17 15 13 11 9 7 5 3 1
24 22 20 18 16 14 12 10 8 6 4 2
+28dBU MAX OUT +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED +4 / 10 BALANCED / UNBALANCED
MAIN BAL OUTPUTS TAPE RETURNS 17-24 TAPE RETURNS 9-16 TAPE RETURNS 1-8
Power
Amplifier
EXTRA INPUTS!
Returns 1-24 can be used as
extra line level inputs
Keyboard, or other line level input when FLIP is in UP position Keyboard, or other line level input
and MIX B to L/R MIX button
is down
MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
NE SITIVITY 16x8x2 8-BUS MIXING CONSOLE
NE SITIVITY
NE SITIVITY
NE SITIVITY
EN
EN
EN
EN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP
U U U U U U
1 1 1 1 1 1
5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
6 6 6 6
in this application
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT
13 PRE
14 PRE
15 PRE
16 PRE
CHANNEL CHANNEL CHANNEL CHANNEL SOLO AUX SENDS SOLO STEREO AUX RETURNS
MIX-B MIX-B MIX-B MIX-B
SOURCE SOURCE SOURCE SOURCE
U U U U U U
HI HI HI HI
MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
OO
500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL OO SOLO LITE
2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE SUB
L/R MIX MASTERS
Tinted buttons
are pressed IN
BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 3 1 3 1
12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U PHONES
&
MIX B PHONES 1 PHONES 2 MONITOR SOLO TALKBACK STUDIO
LO LO LO LO MONITOR
MID MID MID MID EXTERNAL EXTERNAL MONO
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ +
22
45 3k 45 3k 45 3k 45 3k
CNTRL RM
+ + + + + + +
U U U U
10 10 10 10 10 10 10 10
HI HI HI HI
12k 12k 12k 12k 7 7 7 7 7 7 7 7
4 4 4 4 4 4 4 4
EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
18dB/oct 18dB/oct 18dB/oct 18dB/oct
LOW CUT LOW CUT LOW CUT LOW CUT
20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30
PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R
L R L R L R L R L R
U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MUTE
13 MUTE
14 MUTE
15 MUTE
16 MIX
L MIX R L MIX R L MIX R L MIX R
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5 5
1-2 1-2 1-2 1-2
U U U U U U U U U U U U U
3-4 3-4 3-4 3-4
5 5 5 5 5 5 5 5 5 5 5 5 5
5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO
Typical Drum
Typical Vocal
Typical Line
(Key) Input
or Instrument
Vox Delay
Tape Input
Drum
Drum
Rev 2
Rev 2
Keys on
Rev 1
Rev 1
Keys
Keys
Mic
Mic
R
R
R
L
L
41
Keyboard, or other line level input Same as AUX 2
Reverb 1
42
Digital Delay
In
Out
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL PHANTOM
11 12 13 14 15 16
1 2 3 4 5 6 7 8
Mono Compressor
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
CNTRL
1 2 3 4 5 6 RM OUTPUT
In R R R R R R L R
DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT OUT
1 2
PHONES
RIGHT LEFT
8 7 6 5 4 3 2 1
IN 10dBV IN 10dBV
OUT +4dBU OUT +4dBU
OPERATING OPERATING
16 15 14 13 LEVEL 12 11 10 9 LEVEL
24 23 22 21 20 19 18 17
+28dBU MAX OUT
+4dBU BALANCED / 10dBV UNBALANCED
MAIN BAL OUTPUTS SUBMASTER / TAPE OUTPUTS
Power
Amplifier
Multi-Trac Recorder
k
MIC
11 MIC
12 MIC
13 MIC
14 MIC
15 MIC
16
10 LINE S/LI 10 LINE S/LI 10 LINE S/LI 10 LINE S/LI 10 LINE S/LI 10 LINE S/LI
16x8x2 8-BUS MIXING CONSOLE
NENSITI ITY
NENSITI ITY
NENSITI ITY
NENSITI ITY
NENSITI ITY
NENSITI ITY
E
E
GAINV
GAINV
GAINV
GAINV
GAINV
GAINV
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE
POWER
TRIM TRIM TRIM TRIM TRIM TRIM
GAIN GAIN GAIN GAIN GAIN GAIN
FLIP FLIP FLIP FLIP FLIP FLIP
U U U U U U U U
1 1 1 1 1 1 1 1
in this application
PRE PRE PRE PRE PRE PRE
3 U 3 U 3 U 3 U 3 U 3 U
3 U
5 U
3 U
5 U
5 5 5 5 5 5
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
ASSIGN
4 U 4 U 4 U 4 U 4 U 4 U
4 U
6 U
4 U
6 U
6 6 6 6 6 6
SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 1 2 OO +20
AUX AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT
11 PRE
12 PRE
13 PRE
14 PRE
15 PRE
16 PRE
OO
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOLO
MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B
SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE
U U U U U U U U
Tinted buttons
are pressed IN
HI HI HI HI HI HI
MID MID MID MID MID MID
MONITOR MONITOR L/R MIX AUX SEND 1
15 +15 15 +15 15 +15 15 +15 15 +15 15 +15 OO +15 OO OO OO OO +15 OO
500 18k 500 18k 500 18k 500 18k 500 18k 500 18k RUDE
NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL OO SOLO LITE
2 2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE SUB
L/R MIX MASTERS
BAND BAND BAND BAND BAND BAND
WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH
OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN
3 1 3 1 3 1 3 1 3 1 3 1
CNTRL RM
12 12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL
U U U U U U PHONES
&
MIX B PHONES 1 PHONES 2 TALKBACK STUDIO
LO LO LO LO LO LO MONITOR MONITOR SOLO
MID MID MID MID MID MID EXTERNAL EXTERNAL MONO
4 4 4 4 4 4 4 4
EQ EQ EQ EQ EQ EQ
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10
18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30
PAN PAN PAN PAN PAN PAN
40 40 40 40 40 40 40 40
L R L R L R L R L R L R
L R L R L R L R L R
U U U U U U
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ SPLIT EQ
OL OL OL OL OL OL
PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MUTE
11 MUTE
12 MUTE
13 MUTE
14 MUTE
15 MUTE
16 LEFT/R IGHT
L MIX R L MIX R L MIX R L MIX R MIX
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
;;;; ;;;; ;;;; ;;;; ;;;; ;;;; ;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;; ;;;;;
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
;;;; ;;;; ;;;; ;;;; ;;;; ;;;; ;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;; ;;;;;
1-2 1-2 1-2 1-2 1-2 1-2
;;;;
U
;;;;
U
;;;;
U
;;;;
U
;;;;
U
;;;;
U
;;;;;;;;
U U
;;;;;;;;;;;;;;;;;;;;;
U U U U U U
;;;; ;;;;;
U
;;;; 3-4
;;;; 3-4
;;;; 3-4
;;;; 3-4
;;;; 3-4
;;;; 3-4
;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; ;;;; ;;;;;
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;;;;;
5 5
;;;;;;;;;;;;;;;;;;;;;
5 5 5 5 5
;;;;
5
;;;;;
5
5-6 5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
7-8 7-8 7-8 7-8 7-8 7-8
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
40 40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80 80
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
43
HOUSE AND MONITOR MIX TOGETHER Piece of cake.
Its a big board, but its the only one you own. Refer to the drawings on pages 42 and 43.
So you find yourself mixing house and monitors MIX-B to the rescue! L/R Mix is your house mix,
all from the same panel. you will use the AUX buses for stage monitor mix,
First, lets take a moment and set everything and MIX-B will provide a stereo recording feed.
up sensibly. Just like in a recording session, its Simply depress each of the MIX-B SOURCE
good to group your inputs and sub-mix buses by switches to CHANNEL, patch the MIX-B outputs
instruments, stage position or whatever else into the recorder inputs and set up your recording
suits you. Try to keep the drum mics next to mix with the MIX-B level controls. To monitor,
each other, the vocals together and so on. Label select MIX-B on the Phones output youre using
your cables, color-code your windscreens, lay and route the output of the recorder back into
tape across the arm rest, make a cheat sheet, EXTERNAL to check playback.
iron your shorts, give yourself a break. It can be Its true, there are no meters on the MIX-B
confusing enough mixing a big show without buses. Try using the recorder meters. If you cant
wondering which channel is which. see them from where you sit, there are a couple
Using AUX Send-Return loops and inserting of patches you can try to get metering:
outboard gear is the same as when recording, Since youre not using the CONTROL RM or
unless you want to use the AUX Sends as inde- STUDIO outputs, you can use the MONITOR
pendent cue mixes, by engaging the PRE switch section for metering only. Simply engage only
for those AUX Sends. the Mix-B Switch in that section.
PA Subgroups can be very helpful in Sound Rein- If you have two free submaster buses, patch
& forcement (SR) work. Remember, when you the MIX-B buses into the submaster insert
SR assign a channel to a subgroup, de-assign that point. (Push the 1/4" plug only halfway in to
channel from the L/R Mix. the Insert Jack, to the first click. See
Appendix A: Connections for details.) Set
Headphones
the submaster faders to 6dB to adjust for the
If you like to check things out in your phones, insert point gain difference. Now you will
and especially if you want to use the 8Bus solo have MIX-B levels showing on those two
or (modified) PFL functions as a cue circuit, set submaster meters, and you can use the
your phones up like this: SUBMASTER OUTPUTS as feeds to your
Be sure the MONITOR SOURCE switch is set recorder.
to what you want to listen to (usually L/R Mix, If you have the optional meter bridge fitted
your House feed). You can keep the two and you have two extra inputs, patch the
Monitor LEVEL controls turned down, output of MIX-B into the open channels
though, because you are not feeding amplifi- (either Line In or Tape In, depending on how
ers from the Control Room or Studio outputs. you have set the global source switch on the
Plug your phones into one of the two meter bridge), set the levels at unity and
Phones output jacks; lets say Phones 1. watch those two channel meters for recording
Now select MONITOR on the PHONES 1 levels. You can now use the two channels
SOURCE switch. That should give you L/R DIRECT OUTS as feeds to your recorder.
Mix bus plus solo. See, the solo bus only Make sure all the channel bus and AUX
feeds the Control Room and Studio Speak- assign switches and controls are off, so you
ers circuits, so we had to poke a few dont accidentally assign your signal back into
buttons to make it work. the mix. Also, this way you could add a little
EQ or compression via the channel inserts.
MAKING A SIMULTANEOUS RECORDING In either of the above cases, you may want
Youre all set up, ready to go, when the bands to keep the extra circuitry out of your
manager comes up to you with a DAT machine recording signal path. If so, just mult the
and goes The producer wants us to send him a MIX-B outputs to both your recorder and to
recording of tonights gig, and you go, Ill patch the patch point for metering.
it in to the house mix, and he goes, No, Id
rather get a special mix just for the tape, and HOUSE MIX ONLY or MONITOR MIX
you roll your eyes and go, You should really get ONLY
a remote truck, and he rolls his eyes and goes, Much easier than both at once, but requires
Heres the tape. Make it good and we might two mixers. Simply split the mics, set one mixer
hire you next time. up for house (on the L/R Mix buses, as above)
44
and the other one up for stage monitor. If you FINDING MORE INPUTS
need to do some combination of house/recorder You bought a 32-channel mixer and you still
feed or vocal/drum/keyboard monitors, divide dont have enough inputs. Well, before you go to
the functions up between L/R Mix, AUX buses the bank again, remember that the Mackie
and MIX-B buses as described above. 8Bus Series has some options for you:
Mic Splitters You can get up to 32 additional line inputs using
the Tape In to MIX-B path. You can even split
If you are using one mixing console for your
the EQ and Aux Buses to the MIX-B inputs if
main or house mix and another for stage moni-
you want. Then assign Mix-B to L/R Mix.
tors, the best way to distribute the microphone
signals to both consoles is by using a good quality Any unused AUX returns (there are 12
mic splitter box. Splitters use transformers spe- inputs) can be used as additional line inputs.
cially designed to split the signal and keep the In a pinch, you can use the eight Submasters
impedance match correct while rejecting noise inserts providing the sub is currently unused
and preventing ground loops. You can get split- (no channels assigned to it). Use a 1/4 TS
ters with as many input channels as you need, cable and plug in only to the first click. Signals
each with from two to five outputs for each mic entering here will be kicked up by +6dB.
input. Expand your mixer with the Mackie
Mic splitter transformers are expensive, but 24-Channel Expander Console.
are well worth the investment. They will provide You can hook up several expanders to your
the most consistent trouble-free performance 24 or 32 channel 8Bus console. PA
with multiple mixers. &
If you need to split your inputs but do not SR
have splitter transformers, you can make a spe-
cial harness of cables to split out of the Mackie
channel insert. This technique is not always as
flexible or ground-loop-proof as splitter trans-
formers, but is much less expensive. See Figure
11 in Appendix A: Connections.
45
APPENDIX A: Connections
XLR CONNECTORS plug (Figure 9). TS jacks and plugs are used in
Mackie mixers use 3-pin female XLR connec- many different applications, always unbalanced.
tors on all microphone inputs, with pin 1 wired to The tip is connected to the audio signal and the
the grounded shield, pin 2 wired to the hot sleeve to ground. Some examples:
(positive polarity) side of the audio signal and Unbalanced microphones
pin 3 wired to the cold (negative polarity) side Electric guitars and electronic instruments
of the signal (Figure 7). Unbalanced line-level connections
Use a male XLR-type connector, usually found
on the nether end of what is called a mic cable, SWITCHED 1/4" PHONE JACKS
to connect to these inputs. 1/4" phone jacks can incorporate switches that
Mackie occasionally uses 3-pin male XLRs for are activated by inserting the plug. These switches
balanced line outputs. The Main L/R Outs on the may open an insert loop in a circuit, change the
8Bus, for example, are available on XLRs. These are input routing of the signal or serve other func-
also wired pin 1 ground, pin 2 high and pin 3 low. tions. The Mackie 8Bus Series uses switches in
1/4" TRS PHONE PLUGS AND JACKS the channel and bus Insert Jacks, and in the
mono/stereo AUX Return Jacks. See Special
TRS stands for Tip-Ring-Sleeve, the three Mackie Connections on page 49. We also use these
connections available on a stereo 1/4" phone switches to ground the inputs of most line level
jack or plug (Figure 8). TRS jacks and plugs are ins/outs when nothing is plugged into them.
used in several different applications:
Stereo headphones, and rarely, stereo micro-
SLEEVE SLEEVE TIP
phones and stereo line connections. When
wired for stereo, a 1/4" TRS jack or plug is
ADD-ONS connected tip to left, ring to right and sleeve to
TIP
46
Y insert cable RING (IN)
RING TIP
TIP (RETURN) (RETURN) (SEND)
TIP (OUT)
TO MIXER
FROM CHANNEL INSERT
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Figure 11 : Hybrid connector with Send & Return com-
bined on a TRS plug with the separate Send & Return on
the TS plug ends (Plugis Insertis Hybridus)
47
Figure 12: Ycord (a.k.a MULT) for splitting signal
(Plugis Makus Doublis). Note that all three plugs are the
same either TS (shown) or TRS. Dont confuse this
off the shelf connector with hybrid insert plugs as
shown in Figure 11.
Using the Return Only on Sub and Main A stereo return, having two return plugs,
Insert Jacks should be patched into the LEFT (MONO) and
If you insert a TS (mono) 1/4 plug only the RIGHT Return Jacks. A jack switch in the
partially (to the first click) into an 8Bus RIGHT Jack will disable the mono function, and
Series Submaster or Main insert jack, the plug the returns will show up in stereo.
will not activate the jack switch and will not MULTS AND Ys
open the insert loop in the circuit.
This allows you to insert signal into the A mult or Y connector allows you to route one
submaster or main at that point in the circuit. output to two or more inputs by simply providing
Note: Only unused buses can be used in this parallel wiring connections. You can make Ys and
manner. Do not insert signal into a bus with mults for both unbalanced and balanced circuits.
signal on it, or unpredictable results may occur. See Figure 12 for an example. Remember: Only
ADD-ONS mult or Y an output into several inputs. If you
SPECS MACKIE AUX RETURNS: Mono, Stereo, need to combine several outputs into one input,
ETC. Whatever you must use a mixer, not a mult or a Y.
The Stereo AUX Returns are a fine example of
the Mackie philosophy (which we just made up)
of Maximum Flexibility with Minimum Headache.
The returns will automatically be mono or stereo,
depending upon what you plug into the Return
Jacks. Heres how it works:
A mono return should be patched into the Re-
turn Jack labeled LEFT (MONO). The signal will
be routed to both the left and right sides of the
return circuit, and will show up in the center in
any stereo pair of buses you assign it to.
48
APPENDIX B: Options, Add-Ons and Extra Stuff
OPTIONS Automation
Full-fader and muting MIDI automation for
Meter Bridge Mackie 8Bus Series mixers will be available in
You can order an optional Mackie meter bridge 1995. Although Mackie 8Bus Series automation
for any 8Bus Series console. The meter bridge is extremely affordable and very effective, we dont
extends across the width of the mixer and pro- want you to think that it includes flying faders or
vides a 12-LED bar-graph meter (identical to the automated equalization. It DOES let you fine-
8 submaster bus meters) for each channel strip. tune, store, recall and re-fine-tune complex mixes
The meters can be globally switched, metering in ways that can significantly enhance your cre-
either the Tape Return signals to the mixer, post- ativity and mix quality.
tape-in level switch (for watching multitrack
source and tape levels) or the post-fader/post- Un-Cigarette Lighter
mute switch channel signals (handy for live An automobile-type cigarette lighter can be
sound mixing). mounted on the front panel of your mixer, but
NOT CONNECTED! What a joke for your smok-
Expander Console ing friends!
Make your 24 into a 48! Your 32 into a 56, or an
80, or a 104... See the pattern? The Mackie 24E Mixing Shoes
Expander Console adds 24 input channel strips to The Mackie Kotoor Coallectshun of fine
the existing bus structure of your mixer. You can wearables includes our way-cool, lightweight Mix-
connect another Expander console to the first, ing Shoes. Theyre designed for long hours and
and another, and so on. Check local ordinances superior traction so that a little slip never ruins
for limitations on mixer inputs. your mix.
Insist that everyone in the control room wear ADD-ONS
Console Stand Mackie Brand Mixing Shoes. Theyre available in SPECS
ETC.
An astonishingly affordable stand is available Rock, Soft Rock, Metal, Alternative, Country, Jazz,
for all the 8bus consoles. It turns these consoles Gospel, Insufferable Audiophile and special
into standalone mixers to eliminate the need for spiked-steel-toe Producer/Client-Booters.
a large countertop on which to place the console.
Consult your Mackie 8Bus Dealer for details.
The Mackie Sidecar
The Sidecar provides eleven rack spaces for
patchbays, the Mackie power supply, etc. At the
back is a cable storage rack for organizing
connection cords.
49
APPENDIX C: Modifications
CAUTION These modification instructions are for use by qualified personnel only. To avoid electric shock, do not perform any
servicing other than changing the fuse unless you are qualified to do so. Refer all servicing and modifying to qualified personnel.
We have included step-by-step instructions for I. AUX Send mod
five different 8Bus console modifications. This modification changes the tap point of all
Before we go any farther, consider that perform- pre AUX sends from post-EQ to pre-EQ. It must
ing ANY modification will place your factory be done on each channel. For example, if you
warranty in jeopardy. Here is the Official Mackie have a 248, the modification must be done on
Statement: all 24 input channels.
Official Disclaimer See Figure 8. This modification takes place on
each channel strip in an area under the AUX 1/2
Any modification of any Mackie Designs Pre/Post switch.
product must be done by a competent
1. Remove power cable.
electronic technician. Mackie Designs, Inc.,
accepts no responsibility for any damages or 2. Cut the conductor at Point A.
injuries caused by any modification, regard- 3. Add a jumper at Point B.
less of the source of the modification 4. Repeat for all input channels.
instructions or the qualifications of the tech-
nician performing them. In the case of such
damages, Mackie Designs may declare war-
ranty privileges void. BE CAREFUL!
To clarify
These modifications are extremely easy, rela-
tive to what a real technician is used to doing.
ADD-ONS However, they are extremely difficult and dan-
SPECS gerous for the inexperienced. If youre not a
ETC. qualified, experienced technician, dont even
think about considering the possibility of con-
ceiving of doing these mods yourself.
One of them (Mod V) actually changes the func-
tion of a switch so it no longer performs as labeled.
Ask around to find a decent repair/modifica-
tion shop that guarantees its own work in
writing (even then, your Mackie Limited War-
ranty can be in jeopardy). Better yet, wait until
the Warranty expires. BEFORE
A note about adding jumpers during
these modifications cut here (A)
Jumper
BEFORE Figure 8: Modification I Aux Send
Holes
Figure 7
AFTER Solder
50
II. PFL mod III. Mix-B Source mod
This modification changes the tap point of the This modification changes the tap point of the
SOLO bus from post-fader/post-mute (stereo) to Mix-B Source switch (engaged) from pre-fader/
pre-fader/pre-mute (mono). It must be done on pre-mute to post-fader/post-mute. It must be
each channel. For example, if you have a 248, done on each channel. For example, if you have
the modification must be done on all 24 input a 248, the modification must be done on all 24
channels. input channels.
See Figure 9. This modification takes place on See Figure 10. This modification takes place
each channel strip in an area under the channel on each channel strip in an area under the Mix-
fader. B Source switch.
1. Remove power cable. 1. Remove power cable.
2. Cut the conductor at Point C. 2. Cut the conductor at Point G.
3. Cut the conductor at Point D. 3. Add a jumper at Point H.
4. Add a jumper at Point E. 4. Repeat for all input channels.
5. Add another jumper at Point F.
6. Repeat for all input channels.
ADD-ONS
SPECS
ETC.
BEFORE BEFORE
cut here (C&D)
cut here (G)
AFTER
AFTER
51
IV. Mix-B Mute mod
This modification converts the Mix-B Source
switch to a Mix-B MUTE switch. The switch will
no longer be able to source the channel signal.
This modification must be done on each channel.
For example, if you have a 248, the modification
must be done on all 24 input channels.
See Figure 11. This modification takes place
on each channel strip in an area under Mix-B
Source switch.
1. Remove power cable.
2. Cut the conductor at Point G.
3. Add Jumper to point H.
4. Repeat for all input channels. BEFORE
cut here (G)
AFTER
add jumper (H)
ADD-ONS
SPECS
ETC.
52
BEFORE AFTER
(K) (K)
add jumper (B)
(P) (P)
Figure 13:
The infamous and dreaded but-if-we-hadnt-included-it-wed-just-have-to-fax-it-to-the-foolhardy-anyway Modification V.
ADD-ONS
SPECS
ETC.
V. AUX 1/2 Source mod
This modification should only be performed if
the console is being used strictly for recording.
A. When the Aux 1/2 Pre Switch is engaged,
Aux Send 1 and 2 will tap the Pre-Fader
information from the tape returns.
B. When the Aux 1/2 Pre Switch is not engaged,
Aux Send 1 and 2 function normally, as post
fader channel sends..
All that said, heres the mod. A note about adding jumpers during
See Figure 13 (appropriately numbered) these modifications
above. This modification takes place on each When a jumper or jumpers are called for, they
channel strip in the area under the AUX 3/4 should NOT go into holes in the PCB. Rather,
Mix-V Source switch and also under and near they should be soldered to the flat, tinned area
the AUX 1/2 PRE switch. around the hole (called a pad) and bowed
1. Remove power cord. slightly over to the other pad (see right). Make
sure the ends of these jumpers do not extend be-
2. Cut two (2) traces at point (A).
yond the pad.
Note: The wire used in the next three steps
should be 24-28 gauge insulated jumper wire. BEFORE
Jumper
53
APPENDIX D: Specifications
168, 248, 328 Specifications 95dBu; submaster output w/channel muted,
Noise.(Measured 20Hz to 20kHz bandwidth, 96dBu; L/R mix output w/channel unassigned,
Tape Returns selected, no EQ, Channel Pans 91dBu; submaster output w/channel
alternating L/R, L/R. Faders up refers to Unity unassigned, 95dBu; L/R mix output w/adjacent
Because Mackie gain, 0dBu position.) channel assigned, 92dBu; submaster output w/
Designs is always
Main L/R Output Noise. Master fader down, adjacent channel assigned, 94dBu; L/R mix out-
trying to improve its
products with new 101dBu; master fader up/no ch.s assigned, put pan pot attenuation, 87dBu; submaster
components and output pan pot attenuation, 87dBu
manufacturing 95dBu; master fader up/24 chs. assigned,
methods, these
90dBu; master fader up/24 chs. assigned, ch. Frequency Response. +0dB/1dB, any input to
specifications may
change at any time. faders up, 86dBu; +4dB operating level S/N any output 20Hz to 60kHz; +0dB/-3dB, any input
But you can bet your
ratio, 90dBu to any output, 10Hz to 120kHz
left monitor speaker
that the specs wont Submaster Output Noise. Master fader down, E.I.N. Mic input (150 termination, 20Hz-
be any worse than 20kHz) 129.5dBm
they are here. 99dBu; master fader up/no ch.s assigned,
96dBu; master fader up/24 chs. assigned, C.M.R.R. Mic input, max gain @1kHz, 83dBu;
90dBu; master fader up/24 chs. assigned, ch. line input, minimum gain @1kHz, 45dBu; tape
faders up, 86dBu; +4dB operating level S/N input, no gain @1kHz, 45dBu
ratio, 90dB Maximum Levels. Mic input, +14dBu; all other
Total Harmonic Distortion. (1kHz @14dBu inputs, +22dBu; L/R Mix balanced output,
measured 20Hz-20kHz, mic input, 1 channel as- +28dBu, all other outputs, +22dBu
signed). Direct output, 0.0013% typical; L/R Mix Impedances. Microphone input, 1.5 k; channel
output, 0.0014% typical; Submaster output, insert return, 2.5 k; all other inputs, 10 k or
0.0015% typical greater; all outputs, 120
Crosstalk. (1kHz measured relative to 0dBu, Equalization. Hi Mid, full parametric, +/-15dB
measured 20Hz to 20kHz.) Line In to Adjacent freq. sweep from 500Hz-18kHz, bandwidth (Q)
ADD-ONS variable from 1/12 octave to 3 octaves; Lo Mid,
SPECS Channel, 91dBu; L/R mix output w/channel
swept, 45Hz-3kHz +/-15dB; Hi, shelving, 12kHz
ETC. down, 95dBu; submaster output w/channel
down, 96dBu; L/R mix output w/channel muted, +/-15dB; Lo, shelving 80Hz +/-15dB; Lo Cut
(HPF) 75Hz,18dB/octave (Tchebechev)
0 0 0 0 0 0 0
-10 trim dn to point (B) from point (A)
MIC INPUT AUX RETURN CH. LEVEL MIX O/P LEVEL OUTPUT
0 switch @+4 0 0 0 0 0 0
1-8 from point (C) -4
-12.3 @-10 gain dn -15 L/R from point (D) to meters
TAPE INPUT SPLIT EQ CH. LEVEL MIX O/P LEVEL OUTPUT METER FEED (+4 @ O/P = 0 @ METERS)
MIX B
54
16x8x2 8-BUS MIXING CONSOLE
V. 1.5 6/4/95 1995 MACKIE DESIGNS INC.
5.50"
9.00"
6.00 "
4.78"
4.25"
3.67"
2.70"
2.50"
2.65" 0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
1.00"
4.78"
0.54"
168
1.00" console
27.17" WEIGHT*
29.17" 50 lbs.
*exclusive
of
meter
bridge
28.74"
29.20"
3.38"
6.00"
5.50"
55
24x8x2 8-BUS MIXING CONSOLE
5.50"
V. 1.5 6/4/95 1995 MACKIE DESIGNS INC.
9.00"
6.00"
4.78"
4.25"
3.67"
2.70"
2.50"
2.65" 0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
1.00"
4.78"
0.54"
248
1.00" console
35.02" WEIGHT*
37.02" 64 lbs.
*exclusive
of
meter
bridge
28.74"
37.00"
3.38"
6.00"
5.50"
56
32x8x2 8-BUS MIXING CONSOLE
5.50"
V. 1.5 6/4/95 1994 MACKIE DESIGNS INC.
9.00"
4.78"
6.00"
..
4.25"
ne.
3.67"
2.70"
2.50"
elp his o
h t
me ting
2.65" et sore lif
0.69" G fo
be
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
1.00"
4.77"
0.54"
328
1.00" console
43.82" WEIGHT*
45.82" 78 lbs.
*exclusive
of
meter
bridge
28.74"
45.80"
3.38"
5.50"
6.00"
57
24-CH. EXPANSION CONSOLE FOR 248 & 328
V. 1.5 6/4/95 1994 MACKIE DESIGNS INC.
5.50"
9.00"
6.00 "
4.78"
4.25"
3.67"
2.70"
2.50"
2.65" 0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply plug and expander cable clearance 24E
console
1.00"
WEIGHT*
50 lbs.
4.78"
0.54"
1.00" 27.17"
29.17" *exclusive
of
meter
bridge
ADD-ONS
SPECS
ETC.
28.74"
29.15"
3.35"
6.00"
5.50"
58
STAND FOR 248 & 328 CONSOLES
V. 1.0 4/4/94 1995 MACKIE DESIGNS INC.
Stand
WEIGHT
44 lbs.
26.80"
29.00"
28.40"
ADD-ONS
SPECS
ETC.
22.50"
(2 rack spaces)
3.50"
19.0"
10.1"
220-W
Power Supply
WEIGHT
24 lbs.
59
8BUS SIDE CAR RACK 28.75"
V. 1..1 6/5/95 1995 MACKIE DESIGNS INC.
29.88"
28.25"
28.12"
Side Car
WEIGHT*
45 lbs.
22.5"
SIDE VIEW
ADD-ONS
SPECS
ETC.
[existing console]
CABLE HANGER
28.75"
11 RACK SPACES
BRACE
23.13"
60
SERVICE
Intermittent signal problems. Faulty plugs
and cables are often the culprits. A TRS plug can
PLEASE! SAVE THE sit in a socket for months doing its job and then
SHIPPING BOX! suddenly decide (based on the phase of the
moon and barometric pressure) to short or stop
Yes, we know its only
conducting. If youre having trouble with an indi-
slightly smaller than a
vidual channel, send or return, for gosh sakes
doublewide mobile home, but you will need
swap cables before sending the board in for ser-
the entire carton and internal foam if your
vice.
console ever needs service at some time in
Check switch positions. Multi-bus consoles
the future.
are pretty complicated. Switches like MIC/LINE,
If your kids make the box into a fort and
FLIP and EQ SPLIT can give the impression that
cut holes in it or if you stuff it in the
something isnt working right, if youre not ex-
dumpster of the fast-food place next door to
pecting them to be engaged.
your studio, we may have to sell and ship
Finally, it doesnt hurt to call our Technical
you another packing box later on.
Support Department at 800/258-6883 (8AM-
Dont end up buying an empty box!
4:30PM Pacific time) to see if they have any
ideas as to what might be wrong.
Note: For best results have unit in front of
you. (or close by)
Mackie mixing systems are notoriously bullet-
proof and reliable. But, heystuff happens. Any How to get Mackie service
electronic product with as many parts as an Service and repairs of Mackie 8Bus products
8Bus console can occasionally have a minor are to be performed only :
casualty somewhere inside. A. at our factory OR
And even if we could build our products to
B. at an Authorized Mackie 8Bus Warranty
never break, there are those acts of nature that
Service Center
tend to visit consoles on occasion: spilled coffee,
toppling monitors, etc. This section covers how Unauthorized service, repairs or
to get your Mackie 8Bus console healthy again. modification will void your warranty.
To obtain factory service: SERVICE
Troubleshooting
It benefits everyone if you do a bit of basic 1. Call Mackie Technical Support at 800/258-6883,
troubleshooting first, to determine whether or 8AM to 4:30PM Monday through Friday (Pacific
not your board is really malfunctioning. First, it Time) to get a Return Authoriza-
saves you downtime and embarassment if, for ex- tion (RA).
ample, you discover that the only thing wrong is Please have your serial numbers
an unplugged power supply. Second, it will save ready.[Products returned
money. If you ship your console to Mackie or an without an RA number will be refused.]
Authorized Service Center and they cant dupli- 2. Pack the 8Bus Series Console and Power Supply
cate the problem, you may get slapped with a in their original shipping cartons. If you do not
service charge (plus shipping costs). have the carton, request one when you get your
We could write a whole manual on trouble- RA number, and well send a shipping carton out
shooting, but our main point is that there are a promptly. There may be a charge for this gigantic
few obvious things you can easily look for: bale of white cardboard, however we put those
Power connections. This sounds insultingly huge SAVE THE BOX warnings in this manual
simple, but if the whole board is completely for a reason.
dead, its time to make sure that the power cable Make sure that you encase the console in its
is connected, that the console power supply is plastic wrapper and insert all the foam blocks
turned on, plugged in, etc. You may also need to to properly protect the console.
unplug the AC cord from the power supply to 3. In some cases, the problem might be the
gain access to the little drawer (in the AC re- console OR the power supply. Just to be sure,
ceptacle) in send both.
order to check the AC fuse.
61
4. When packing the Console, include: An offer we hope that you wont refuse
A. A note explaining exactly how to dupli- Were always interested in whats being pro-
cate the problem. (If we cannot duplicate duced on our mixers. If you track and mix down
the problem at the Mackie Factory or a compact disc using a Mackie 8Bus console,
establish the starting date of your Limited well trade you a copy of the CD for a genuine
Warranty, we may, at our option, charge for Mackie
service time.) T-shirt. Send it to Mackie CD-for T-Shirt Offer,
B. A copy of the sales receipt with price Communications Department, 16220 Wood-Red
and date showing. Road NE, Woodinville, WA 98072. Add a note
C. Your return street address (no P.O. specifying XL, L or Medium size T-shirt and your
boxes or route numbers, please!). RETURN STREET ADDRESS (we ship garments
5. Write the RA number plainly on the UPS, so P.O. Boxes are a hassle). We run our pro-
outside of the shipping carton. motional garments in batches, so if you dont
6. Ship the product in its original shipping immediately get a shirt back, dont worry. You
carton, freight prepaid to: will get your Mackie shirt as soon as we have
your size in stock.
Mackie Designs
16220 Wood-Red Road N.E.
Woodinville, WA, 98072, USA
62
THIS PAGE LEFT BLANK INTENTIONALLY!
63
TRACK SHEETS
Some of you folks are meticulous and do
things like keep your checkbook reconciled and
cross-file each tape. For you we have included
master Track and Master sheets. They are in-
tended for duplication purposes (unless you
bought this console just to do one session).
Draw a picture here of someone making off with your Mackie 8Bus board and send it to your
local Police Department. (Just in case...)
TRACK
SHEETS
ON
FOLLOWING
PAGES
64
CH. CH. CH. CH. CH. CH. CH. CH. Page _____
SESSION of _____
MIC MIC MIC MIC MIC MIC MIC MIC
10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI 10 LINE S /LI
______________________
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
NE SITIVITY
EN
EN
EN
EN
EN
EN
EN
EN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE
DATE ___/___/___ U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE U
TRIM
GAIN
48dB TAPE
2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U
TRACK COMMENTS: OO
AUX
+15 OO
AUX
+15 OO
AUX
+15 OO
AUX
+15 OO
AUX
+15 OO
AUX
+15 OO
AUX
+15 OO
AUX
+15
Tk. ___ 3 U
5
3 U
5
3 U
5
3 U
5
3 U
5
3 U
5
3 U
5
3 U
______________________ 4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
4
OO
U
+15
6 6 6 6 6 6 6 6
______________________ OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
AUX AUX AUX AUX AUX AUX AUX AUX
______________________ HI
MID
HI
MID
HI
MID
HI
MID
HI
MID
HI
MID
HI
MID
HI
MID
______________________ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ 1k
3k
5k FREQ
______________________ 500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
500
2
18k
NORMAL
Tk. ___ 3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
3 1
12
WIDTH
U U U U U U U U
______________________ LO
MID
LO
MID
LO
MID
LO
MID
LO
MID
LO
MID
LO
MID
LO
MID
______________________ 220
250
350 FREQ
______________________ 45
U
3k 45
U
3k 45
U
3k 45
U
3k 45
U
3k 45
U
3k 45
U
3k 45
U
3k
HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k
Tk. ___ 15
U
+15 15
U
+15 15
U
+15 15
U
+15 15
U
+15 15
U
+15 15
U
+15 15
U
+15
______________________ 15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
15 +15
LO
80
______________________ EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
EQ
EQ IN
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz
______________________ LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
Tk. ___ L R L R L R L R L R L R L R L R
U U U U U U U U
______________________ HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
HI/LO EQ
TO MON
MIX-B
MONITOR MONITOR MONITOR MONITOR MONITOR MONITOR MONITOR MONITOR
SPLIT SPLIT SPLIT SPLIT SPLIT SPLIT SPLIT SPLIT
Tk. ___ OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
L R L R L R L R L R L R L R L R
______________________ PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO
______________________ dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10
Tk. ___ 1-2
9-10
1-2
9-10
1-2
9-10
1-2
9-10
1-2
9-10
1-2
9-10
1-2
9-10
1-2
9-10
______________________ ;;;;;
5
;;;;; ;;;;;
5
;;;;; ;;;;;
5
;;;;; ;;;;;
5
;;;;; ;;;;;
5
;;;;; ;;;;;
5
;;;;; ;;;;
5
;;;; ;;;;
5
;;;;
;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;; ;;;;
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4
11-12 11-12 11-12 11-12 11-12 11-12 11-12 11-12
;;;;;
U
;;;;; ;;;;;
U
;;;;; ;;;;;
U
;;;;; ;;;;;
U
;;;;; ;;;;;
U
;;;;; ;;;;;
U
;;;;; ;;;;
U
;;;; ;;;;
U
;;;;
______________________ ;;;;;
5
5-6
13-14
;;;;;
5
5-6
13-14
;;;;;
5
5-6
13-14
;;;;;
5
5-6
13-14
;;;;;
5
5-6
13-14
;;;;;
5
5-6
13-14
;;;;
5
5-6
13-14
;;;;
5
5-6
13-14
______________________ 10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
10
7-8
15-16
Tk. ___ 20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
MIX MIX MIX MIX MIX MIX MIX MIX
______________________ 30 30 30 30 30 30 30 30
______________________ 40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
60 60 60 60 60 60 60 60
______________________ OO OO OO OO OO OO OO OO
65
This is the back of a master track
sheet, which came in the Mackie
8Bus console manual.
66
Page _____
of _____
SESSION 1
U
1 U
______________________ OO +15
U
SOLO
OO
U
+20 L R
SOLO 1-2 3-4 5-6
ASSIGN
7-8 L/R MIX
2 2
U U U U
3 5 3 5
U U U ASSIGN U
you spare some change? 4 6 4 6
Bus___ SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO
OO +15 OO +15 OO +20 1 2 OO +20
______________________
SOLO AUX SENDS SOLO STEREO AUX RETURNS
______________________ U U
Bus ___ OO
MIX-B
LEVEL
+15 OO
PHONES
LEVEL
OO
PHONES
LEVEL
OO
STUDIO
OO
LEVEL
+15 OO
LEVEL
______________________ OO
RUDE
SOLO LITE
MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 2-TK TAPE
L/R MIX
CNTRL RM
______________________ ASSIGN
SUBGRPS
EXTERNAL
Bus___ MIX B/MONITOR PHONES 1 SOURCE PHONES 2 SOURCE MONITOR SOURCE SOLO TALKBACK
______________________ + + + + + + +
22
10 10 10 10 10 10 10 10
______________________ 7
4
7
4
7
4
7
4
7
4
7
4
7
4
7
______________________ 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
2 2 2 2 2 2 2 2
Bus___ 4 4 4 4 4 4 4 4
7 7 7 7 7 7 7 7
______________________ 10
20
10
20
10
20
10
20
10
20
10
20
10
20
10
20
30 30 30 30 30 30 30 30
______________________ 40 40 40 40 40 40 40 40
L R L R L R L R L R
______________________ 1 2 3 4 5 6 7 8 MAIN
OR SOLO LEVEL
9 10 11 12 13 14 15 16
Bus___ 17 18 19 20 21 22 23 24
______________________
______________________
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO TALKBACK
Bus___ MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
L/R
MIX
______________________ L MIX R L MIX R L MIX R L MIX R
1 2 3 4 5 6 7 8
dB dB dB dB dB dB dB dB dB
______________________ 10 10 10 10 10 10 10 10 10
______________________ ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;; ;;;;
5
;;;;
;;;;
;;;;
U U;;;;
;;;; ;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U ;;;;
;;;;
U
Bus___ ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; ;;;;
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
;;;;
5
______________________
10 10 10 10 10 10 10 10 10
______________________
20 20 20 20 20 20 20 20 20
______________________ 30 30 30 30 30 30 30 30 30
Bus___ 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50
______________________ 60
OO
60
OO
60
OO
60
OO
60
OO
60
OO
60
OO
60
OO
60
OO
______________________
______________________
67
This is the back of a master track
sheet, which came in the Mackie
8Bus console manual.
68
Whaddya say on the
last page of a manual?
Well, wed like to roll the
credits.
This manual is copy-
righted by Mackie
Designs, 1995, all
rights reserved.
It is printed in the USA.
Lino output by Artworks of Woodinville.
Set in ITC Century Condensed and Adobe
Futura Condensed via PageMaker 5.0 for the
Macintosh.
The bulk of this manual was written by David
Mathew. Additional editing and sillies by Ron
Koliha. Propellor-head technical revisions by Jeff
Gilbert. Practical end-user revisions by Keith
Medley. Additional enhancements by Paul
Larson and Scott Garside. Proofreading (where
possible considering our usual state of confu-
sion) by Linn Compton and Technical Support.
Page layout and Adobe Illustrator 5.5 techni-
cal drawings by Bobby Hougham, Bruce Yunker,
Ron Koliha, Gene Endicott and Sara Drake.
Additional help from P.D., the Mackie Corpo-
rate Chihuahua who shredded several drawings at
various points during the development of this
manual.
We appreciate users who take the time to write
us with suggestions and corrections to this manual.
It is in a steady state of revision and we DO read
and listen to the comments. Send them to the
Mackie Communications Department, c/o James
Fowler, Minister of Propaganda (yes, thats really
his title), 16220 Wood-Red Road NE, Woodinville,
WA 98072.
69
R-BUS
L-BUS
L-MIX-B
L-SOLO
BUS 3
BUS 5
BUS 7
AUX 3
AUX 5
BUS 1
AUX 1
R-MIX-B
R-SOLO
BUS 8
BUS 6
BUS 4
BUS 2
AUX 6
AUX 4
AUX 2
8BUS CONSOLE
OPTIONAL 24E
BLOCK DIAGRAM 24-CHANNEL MACKIE 8BUS
EXPANDER CONSOLE
Rev. 5.1- 6/6/95 1995 Mackie Designs
0L 20dB
1
3
1-2
PAN
EQ
IN/OUT
PHANTOM POWER
LO CUT
(PER 8 CH'S) IN/OUT 3-4
PARAMETRIC SHELVING
+
- 75Hz EQ EQ
CHAN
HPF HI MID LO MID HI LO FADER
PRE EQ MUTE 5-6
LINE TO AUX MOD
TRIM FLIP
IN
GAIN FREQ "Q" GAIN FREQ
HI/LO EQ
TO MIX B 7-8
SPLIT
POST L/R
PRE
TAPE + AUX 1
-
IN
POST
PRE SOLO
+4dBU/10dBV Select AUX 2
(PER 8 CH'S) AUX 3
POST
PRE
SOURCE PFL MOD
AUX 5
POST AUX 4
DIRECT PRE
OUT SHIFT AUX 6
MIX-B PAN
INPUT SOURCE FLIP SW
1 OF 16 (24) (32) MIX-B SOURCE MOD CHANNEL LEVEL
1-2
3-4
LEFT
(MONO)
5-6
BALANCE
7-8
RIGHT LEVEL
L/R
SOLO
STEREO AUX RETURN 1
(#2 IDENTICAL)
LEFT PHONES 1
(MONO)
PHONES 2
RIGHT LEVEL
L/R
STEREO AUX RETURN 3 SOLO
(#4 IDENTICAL)
LEFT
(MONO) LEVEL L/R
RIGHT SOLO
STEREO AUX RETURN 5 To on-ramp #257
(#6 IDENTICAL) of the Santa Ana Freeway MIC
2-TK IN
L
2-TK IN
R
EXTERNAL
IN L
EXTERNAL
IN R
70
R-BUS
L-BUS
L-MIX-B
L-SOLO
BUS 3
BUS 5
BUS 7
AUX 3
AUX 5
BUS 1
AUX 1
METER SUB OUTS 1, 9 & 17
+4/-10
R-MIX-B
R-SOLO
BUS 8
BUS 6
BUS 4
BUS 2
AUX 6
AUX 4
AUX 2
INSERT
L MIX
-
L+R
SUB MSTR
+
NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION FADER
SOLO
METER
SUB OUTS 2, 10 & 18
INSERT
+4/-10
R MIX
- L+R
SUB MSTR
+
FADER
SOLO
SUB(#3MASTER
- 8 IDENTICAL)
1&2
LEVEL
AUX OUT
SOLO
AUX SEND 3
(#4, 5, 6 IDENTICAL)
AUX OUT
+
LEVEL
-
SOLO
AUX SEND 1
(#2 IDENTICAL)
GLOBAL OPTIONAL METER BRIDGE
SELECT
vu vu
TAPE IN
PHONES 1
CH. OUT SOURCE
MONITOR
PHONES 1
LEVEL
LEVEL L PHONES 1
L
MIX-B
OUTPUT
MIX B MIX-B OUTPUT
MASTER AUX 3/4
R
R
AUX 5/6
EXTERNAL SOLO
MIX-B (DEFEATED WHEN
CNTRL RM SOURCE
TO IS SELECTED)
L/R MIX L UNBAL OUTPUT
INSERT PHONES 2
L METER SOURCE
R METER
+ 2 1 MONITOR
INSERT
- 3
L BAL OUTPUT PHONES 2
LEVEL PHONES 2
L/R L
FADER
INSERT AUX 3/4
R
+
2
1 AUX 5/6
- 3
R BAL OUTPUT EXTERNAL SOLO
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
STUDIO
SOLO LEVEL
CONTROL MONO L
STUDIO
OUTPUT
R
SOLO STUDIO
LEVEL OUTPUT
TALKBACK:
MIC LEVEL TO AUX 1
L
7 TO AUX 2 L/R MIX CNTRL RM
eeway MIC CNTRL RM OUTPUT
TO TAPE/ LEVEL
SUBMASTER MIX-B
TO PHONES
(AND STUDIO) R
2-TK CNTRL RM
OUTPUT
MONITOR
EXTERNAL
SOURCE
CONTROL ROOM
PAD LOGIC
71
Some of the
people at our
Woodinville,
Washington factory
who helped
design, build, sell,
and support your
product.