8•BUSOWNER'S MANUAL
PHANTOM
POWER
PHANTOM
POWER
TIP=OUT RING=IN
SUBMASTER INSERT
1
1
2
2
3
3
4
5
6
6
7
L
L
L
8
AUX SEND
4
R
5
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CH1ANNEL
CH2ANNEL
CH3ANNEL
CH4ANNEL
CH5ANNEL
CH6ANNEL
CH7ANNEL
CH8ANNEL
CH9ANNEL
10
11
12
13
14
CHANNEL
CHANNEL
MAIN
15
16
INSERTS
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MIC/LINE
LINE
MONO
L
MONO
L
MONO
L
MONO
L
MONO
L
MONO
L
R
R
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
RM OUTPUT
1
2
3
4
5
6
R
R
R
R
R
L
R
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
DIRECT
OUT
AUX RETURN
MAIN MIX
MONO
L
MONO
L
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
RING = IN
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
R
R
R
L
1
R
2
STUDIO
OUTPUT
2-TRACK
INPUT
EXTERNAL
INPUT
MIX-B
OUTPUT
PHONES
CH1ANNEL
CH2ANNEL
CH3ANNEL
CH4ANNEL
CH5ANNEL
CH6ANNEL
CH7ANNEL
CH8ANNEL
CH9ANNEL
10
11
12
13
14
15
16
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
L
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
–
1
0
16x8x2 8-BUS MIXING CONSOLE
+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
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
GAIN
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
U
U
1
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
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7
-8
L/R MIX
L/R MIX
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
2
SOLO
SOLO
5-6
7-8
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+15
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
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
3
4
5
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
1
CHANNEL
MIX-B
2
CHANNEL
MIX-B
3
CHANNEL
MIX-B
4
CHANNEL
MIX-B
5
CHANNEL
MIX-B
6
CHANNEL
MIX-B
7
CHANNEL
MIX-B
8
CHANNEL
MIX-B
9
CHANNEL
MIX-B
10
CHANNEL
MIX-B
11
CHANNEL
MIX-B
13
CHANNEL
MIX-B
14
15
CHANNEL
MIX-B
12
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
CHANNEL
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
MIX-B
CNTRL RM
MIX-B
L/R MIX
AUX SEND
AUX SEND
1
2
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
–1
5
+1
5
O
O
+1
5
O
O
O
O
O
O
+1
5
O
O
+1
5
O
O
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
U
LEVEL
LEVEL
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
3k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
NORMAL
NORMAL
BAND
NORMAL
BAND
NORMAL
BAND
NORMAL
NORMAL
BAND
NORMAL
BAND
NORMAL
BAND
NORMAL
BAND
NORMAL
BAND
NORMAL
BAND
NORMAL
NORMAL
BAND
NORMAL
NORMAL
NORMAL
O O
+15
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
ASSIGN
1
1
1
1
1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
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
SOURCE
EXTERNAL
SOURCE
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
250
250
250
250
250
250
250
250
250
250
250
250
250
250
250
250
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
FREQ
+
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
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
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
10
10
10
10
10
10
10
10
7
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
7
4
7
4
7
4
7
4
7
4
7
4
7
4
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
4
–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
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–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
10
7
10
7
10
7
10
7
10
7
10
7
10
7
10
7
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
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
20
30
10
20
30
10
20
30
10
10
20
30
10
20
30
40
10
20
30
10
20
30
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
30
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
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
OR SOLO LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
2
3
4
5
6
7
8
1
9
O O
+15
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
O
O
+1
5
10
18
11
19
12
20
13
21
14
22
15
23
16
24
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L
O
EQ
HI/L EQ
O
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
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
MIX-B
MONITOR
17
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
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
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
TALKBACK
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
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
LEFT/RIGHT
MIX
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
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
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
1-2
3-4
5-6
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
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
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
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
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
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
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16•8
24•8
32•8
IMPORTANT SENSITIVITY
ADJUSTMENT PROCEDURE!
Owner’s
Manual
Version
2.3
during mixdown, roll an already-recorded
To fully achieve the Mackie 8•Bus console’s
track from your recorder.
8/99
impressive headroom and specs, you should
“tune” channel sensitivity for each channel.
4. The channel’s –20dB LED may light. The
L/R main meters will show the actual internal
operating level of soloed signals. Now you will
optimize levels.
FOLLOW THIS PROCEDURE FOR
EACH CHANNEL IN USE:
5. I For mic or line inputs, adjust the TRIM
control clockwise to get peaks that regularly
hit 0dB on the L/R meters. For mic inputs
this may require full CCW rotation depend-
ing on the sensitivity of the mic.
1. Assign signal to channel fader:
I If channel will be used with a micro–
phone, MIC/LINE switch should be up &
FLIP switch should be up.
I If channel will be used with line input,
MIC/LINE switch should be down &
FLIP switch should be up.
6. If desired (optional):
I Press the EQ switch in.
I Adjust the channel strip’s EQ to about
what you will be using during the session.
I Re-perform Step 5.
I If channel will be used with a tape
input keep the FLIP switch down.
2. Set channel strip controls as follows:
7. I Return the channel strip’s SOLO button to
I TRIM pot all the way counterclockwise
its up position.
(+4dB)
8. I Repeat Steps 1-7 on the next channel that
I AUX SEND controls all the way counter-
is being used.
clockwise (off)
Please put your serial number
here for future reference (i.e.
insurance claims, tech support,
return authorization, gloating
privileges etc.):
I EQ switch up
I LOW-CUT switch either on or off
(on recommended for mic inputs)
I Pan hard left or right
I Channel fader at UNITY
I SOLO switch down
Serial #
3. I Make appropriate “noise” into the channel
input. For example, have a performer play/
sing/strike something or someone, etc., at
the level at which they’re going to record or
perform. Don’t just play a single sustained
note, but rather, jam away as you would be
during recording or performance. If the
channel is being used for a tape input
PLEASE! SAVE THE
SHIPPING BOX!
Yes, we know it’s only slightly smaller than a
doublewide mobile home, but you will need the
entire carton and internal foam if your console
ever needs service at some time in the future.
If your kids make the box into a fort and cut
holes in it — or if you stuff it in the dumpster of
the fast-food place next door to your studio, we
may have to sell and ship you another packing
box later on. Don’t end up buying an empty box!
1
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TABLE OF CONTENTS
APPENDIX A: Connections ..46
“XLR” CONNECTORS ......... 46
1/4" TRS PHONE PLUGS
SECTION 2* —
MIX-B Output ........... 16
Phones....................... 16
Studio Output ........... 16
2-Track Input and
Panel Layout and Function .... 4
INPUT CHANNELS ................ 4
Fader .............................. 4
Mute .............................. 4
& JACKS ............................. 46
1/4" TS PHONE PLUGS
External Input ........... 16
& JACKS ............................. 46
SWITCHED 1/4"
REAR PANEL
Pan & Assignment switches 4
–20 & OL LEDs ................. 5
Channel Solo .................... 5
Phantom power ................ 5
Trim .............................. 5
Mic/Line switch ................ 5
The Flip Switch:
CONNECTIONS ................... 17
Tape Returns .................. 17
Tape Return
PHONE JACKS ................... 46
RCA PLUGS & JACKS ........ 47
UNBALANCING A LINE ..... 47
SPECIAL CONNECTIONS .. 47
TRS Send/Return
Operating Level .............. 17
Submaster/Tape Outputs17
Submaster/Tape Output
Operating Level .............. 17
Main Bal. Outputs ......... 18
Expander Port................ 18
DC Power in ................... 19
Insert Jacks .................... 47
Mic/Line or Tape? ............ 6
MIX-B / Monitor ............... 6
MIX-B Pan ........................ 6
MIX-B Level ...................... 6
MIX-B Split ....................... 7
EQ Section ........................ 7
HI Mid EQ.................... 7
LO Mid EQ ................... 8
HI EQ........................... 8
LO EQ .......................... 8
EQ In/Out.................... 8
LO cut .......................... 8
AUX Sends ........................ 8
AUX 1 & 2 .................... 9
Pre (1&2) .................... 9
AUX 3, 4, 5, 6 ............... 9
Shift ............................. 9
Source ......................... 9
Pre (3-6) ...................... 9
OUTPUT SECTION .............. 10
8•Bus Faders ................. 10
L Mix and R Mix ............ 10
Mono L & R ..................... 10
Solo ............................ 10
L/R Mix Fader ................ 10
Metering Bus
Meters 1-8 ................ 11
Main/Solo Meters ........... 11
AUX Sends ...................... 11
AUX Solo ......................... 12
Stereo AUX Returns ....... 12
Returns 1 & 2 ............. 12
Assign (1&2) .............. 12
Returns 3 & 4 ............. 12
Assign (3&4) .............. 12
Returns 5 & 6 ............. 12
MIX-B/Monitor ........... 12
Phones ....................... 13
Monitor ...................... 13
Solo............................ 13
Talkback .................... 13
Jack panels (input strip
and Master output) ....... 14
Input Strip ................ 14
Phantom power ........ 14
BNC sockets .............. 14
Mic In ........................ 14
Line In ....................... 14
Direct Out .................. 14
Channel Insert ........... 14
Output Panel .................. 15
Submaster Inserts .... 15
Using the send
only of an
insert jack ............. 47
Using return only ...... 47
SECTION 3 —
AUX RETURNS: Mono, Stereo,
Whatever ......................... 48
MULTS AND “Y”s ................ 48
General Information............. 20
LEVELS ............................... 20
Noise................................ 20
Headroom ....................... 20
Unity Gain...................... 20
Metering.......................... 20
BUSES ................................ 21
SENDS & RETURNS .......... 21
SOLO ................................... 21
EQ ....................................... 21
CONNECTORS .................... 23
A BIT MORE ON
APPENDIX B: Options,
Add-Ons and Extra Stuff ...... 49
METER BRIDGE ................ 49
EXPANDER CONSOLE ...... 49
CONSOLE STAND .............. 49
SIDECAR ............................ 49
AUTOMATION .................... 49
UN-CIGARETTE LIGHTER.. 49
MIXING SHOES ................. 49
MIX-B/FLIP ......................... 23
APPENDIX C: Modifications . 50
AUX SEND MOD................. 50
PFL MOD ............................ 51
MIX-B SOURCE MOD......... 51
MIX-B MUTE MOD ............. 52
AUX 1/2 SOURCE MOD ...... 53
SECTION 4 —
Recording ............................24
RECORDING OVERVIEW .... 24
SETUP ................................. 24
RECORDING &
OVERDUBBING ................... 24
Using Buses .................... 24
Monitoring ..................... 24
Cue Mix ........................... 24
Wet or Dry Monitor? ...... 25
Let’s Record! ................... 28
Overdub, Anyone? .......... 28
MIXING OVERVIEW ............ 28
MIXING SETUP ................... 29
Pick a Model ................... 29
Consider Compression .. 29
DOING THE MIX ................. 29
Using External Processing 29
Insert Devices ................. 29
Send / Return Devices .... 36
Using Subgroups ............ 36
Finding More Inputs:
APPENDIX D:
Specifications....................... 54
GAIN/LEVEL CHART............54
SERVICE .............................. 61
TROUBLESHOOTING ........ 61
WHERE IT GETS FIXED ... 61
FACTORY SERVICE ........... 61
SERVICE FROM AN
AUTHORIZED SERVICE
CENTER.............................. 64
Track sheet ......................... 64
Session note sheet .............. 67
Mix-B to L & R Buses ..... 36
Monitoring and Levels .. 37
About Automation ......... 37
SECTION 5:
PA and Sound Reinforcment
Applications ......................... 39
SETUP................................. 39
HOUSE AND MONITOR MIX
TOGETHER ........................ 44
Headphones .................... 44
MAKING A SIMULTANEOUS
RECORDING ....................... 44
HOUSE MIX ONLY or
AUX Sends ................. 15
AUX Returns .............. 15
Main Inserts............... 15
Control Room Output . 15
Main Mix ................... 16
* Why did we start with Section 2? As a
matter of policy, our Manual Table of Contents
always skip things that are on the facing page to
the actual listing. Seems like we’re stating the
obvious to tell you that the Introduction is next
to your right hand.
MONITOR MIX ONLY ......... 44
Mic Splitters ................... 45
FINDING MORE INPUTS... 45
2
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SECTION 1: Introduction
The Mackie 8•Bus Series is a flexible ‘in-line
monitoring’ style console. They are available with
16, 24 or 32 microphone/line inputs fed into 8 sub-
mix buses, 2 stereo mix buses and 6 auxiliary send
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 8•Bus Series is
designed to be the mixing and communications
hub in a multitrack recording studio and is also
an excellent choice for sound reinforcement work.
Numerous inputs, flexible sends and terrific EQ
combined with the legendary Mackie headroom
and noise floor specs make your work easy. It’s
clean. It’s quiet. It’s packed with features. It’s af-
fordable… So pat yourself on the back! You’re
doing something sensible here!
LAYOUT
AND
PANEL LAYOUT
FUNCTION
AND FUNCTION
GENERAL
INFO
GENERAL INFORMATION
RECORDING
RECORDING
IF YOU IGNORE MANUALS...
PA
&
SR
You’ll probably ignore this one, too. That’s OK,
the crack Mackie Documentation Department will
get to go on their annual “Typing Without Walls”
outing at campsite four in the Woodinville RV
Park anyway.
PA AND SOUND
REINFORCEMENT
But this is a really great manual! It’s got Where
It Is and What It Does and How To Use It covered
totally, with pictures and diagrams and absolutely
no pop quizzes.
ADD-ONS
SPECS
ETC.
APPENDICES
(CONNECTIONS, ADD-ONS, SPECIFICATIONS, ETC.)
Do yourself a favor and at least check out
Section 2 and the block diagram for starters. The
8•Bus Series has a number of routing tricks that
could be hard to suss out without a guide. Then, if
that’s all you can take without pumping some
sound through the console, put the manual in the
bathroom for future reference or read it while you
eat your lunch.
SERVICE
SERVICE
If you’re even more terminally impatient, try to
look for these two icons:
MASTER TRACK SHEETS
FOR DUPLICATION
TRACK
SHEETS
BLOCK
DIAGRAM
BLOCK DIAGRAM
They cover information that is absolutely criti-
cal or is unique to the 8•Bus Series. At some
point, it’s still a good idea to browse through the
rest of the manual.
In addition, sections marked
with the A CLOSER LOOK icon
include in-depth information…
or at least our own opinions.
3
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75 Hz
18dB/oct
LOW CUT
PAN
SECTION 2: Panel Layout and Function
OVERVIEW
INPUT CHANNELS (CHANNEL STRIPS)
L
R
U
The panel layout of the Mackie 8•Bus Series
The 16, 24 or 32 input channel strips on the
LEVEL
follows the traditional arrangement: input chan- Mackie 8•Bus consoles are identical, and contain all
nel strips to the left, with a master output/ of the level, assignment and equalization controls for
monitoring/cue section to the right. Additionally, each input channel. This section describes the con-
O O +15
HI/LO EQ
TO MIX-B
MIX-B
MONITOR
SPLIT EQ
SOURCE
most of the Mackie input/output jack panel is
located at the top of the mixing panel, for easy
accessibility and patching. The tape outputs and
inputs are on the rear panel.
trols and functions of each feature of an input
channel in detail.
FLIP SW
CHANNEL
OL
-20
FADER
PAN
The channel fader (1) is 100 millimeters long,
with a precise logarithmic taper and attenuation in
dBs printed along the slot for exact and repeatable
level adjustments. The fader affects either the mic or
line input to the channel (for recording) or the tape
return to the channel (for mixing), depending on
the position of the FLIP switch.
SOLO
MUTE
16
dB
10
CHANNEL INPUT/OUTPUT
5
1-2
3-4
5-6
7- 8
MUTE
MASTER
I/O
U
The MUTE switch, located at the top of the
fader (2), turns off the primary outputs of the
channel: the eight buses, the L & R buses, the
channel solo, the direct output and the post-
fader AUX sends. Pre-fader aux sends are not
muted. With the exception of lighting the mute
LED, pushing the MUTE switch is the same as
pulling the fader all the way down.
5
CHANNEL STRIPS
10
MASTER
SECTION
20
30
L/R
MIX
40
50
60
GOURMET PAN CONTROL AND
ASSIGNMENT SWITCHES
The PAN control (3), immediately above the
fader, pans the channel signal between the two sides
of the L/R Mix buses, and also between odd and even
pairs of buses 1 through 8.
The actual bus assignment of the PAN control
depends on the positions of the five assignment
switches located along the length of the fader.
With no switches depressed, the PAN control has
no effect (well, unless you solo the channel; it
still pans the solo).
O
CHANNEL INPUT/OUTPUT
MASTER
I/O
CHANNEL STRIPS
MASTER
SECTION
Pushing the L/R MIX switch (4) assigns the PAN
to the main L/R Mix buses. Panning from L to R
moves the sound smoothly (with constant loudness)
from the left channel to the right channel. Assigning
the PAN to a pair of the 8 buses has a similar effect.
For example, pushing the 1-2 switch assigns the PAN
to buses 1 and 2, and panning L to R will move the
sound from bus 1 to bus 2 (from odd to even).
If you want to equally assign a channel to both
buses 1 and 2, leave the PAN control at the top, or
center, of its travel. If you only want bus 2, turn the
PAN control fully clockwise (to the right).
CHANNEL INPUT/OUTPUT
MASTER
I/O
CHANNEL STRIPS
MASTER
SECTION
Other comparably-priced consoles provide as
little as 50dB attenuation/separation. We use active,
buffered circuitry and a custom-taper potentiometer
4
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to achieve 87dB attenuation. You get far better
On the Mackie 8•Bus console, the SOLO
PHANTOM
POWER
channel separation plus freedom from level shifts assignments are stereo except for the AUX sends.
caused by channel assignment and panning. In
addition, our pan pots are constant loudness.
When you sit between a pair of monitors and pan
from side to side, the apparent volume at your
ears should stay the same, no matter where the
signal is positioned. Our special pan circuitry
maintains consistent apparent energy whether the
pot is dead center, hard left or hard right.
SOLO maintains the perspective set up with the
PAN controls. When any SOLO button on the con-
sole is depressed, its associated SOLO LED will glow
steadily, and the RUDE SOLO LITE above the
8•Bus LED meters blinks annoyingly, serving as a
reminder with an attitude.
The channel SOLO function is normally post-
fader/post-mute, but can be modified for PFL or
Pre-Fade (and pre-mute) Listen. See Appendix B:
Options, Add-Ons, and Extra Stuff.
CHANNEL
16
MIC/LINE
LINE
IN
BAL-
UNBAL
DIRECT
OUT
–20 AND OL LEDs
The two LEDs (5) next to the PAN control check
the channel strip signal level at three important cir-
cuit points: at the output of the mic/line preamp,
after the EQ and after the channel fader amplifier.
The green LED marked –20 is there to assure
you that, yes, something is plugged into the channel
(and yes, it does have some output). Most signals
more interesting than tape noise will cause the
green LEDs to flicker, so they give you a good visual
indication of which channels are active. Any peaks
Note: All the SOLO buttons on the 8•Bus
Series operate in the same way (although
they’re not all stereo like the channel SOLO).
SOLO does not interrupt recording; it only
affects the control room monitor.
INSERT
TIP = OUT
RING = IN
HIGHLY, MEGA-MONDO-
IMPORTANT: SOLO is
intended for more than just
“soloing.” It is THE way to
CHANNEL
16
–10dBV
E
L
+4
-40dBV
MIC/LINE
TAPE
10dB
50dB
set levels for best noise and
TRIM
GAIN
higher than –20dBu (@ 1kHz) trigger the indicator. headroom. Complete instructions on proper
FLIP
When we say “channel”, we mean the signal going
through the channel fader… but not the signal
going through the MIX B Section. Please refer to the
MIX B section of this manual, starting on the next
page, for more details.
The red LED, labeled OL for overload, lights
when the signal level is high enough to cause clip-
ping at any of the three test points. In normal
operation it will almost never light. If it is flashing at
you, your level in that channel is much too high. You
need to turn something down.
level setting using SOLO are in Section 3: Gen-
eral Information, starting on page 20.
U
HI
MID
PHANTOM POWER
CAUTION: After switching PHANTOM Power on
or off, wait 1 minute before changing any mic/line
switch settings in that 8-channel block.
At the top of every eight channels is a PHAN-
TOM Power switch (7). Pressing it sends +48VDC
to the eight XLR sockets to the switch’s left. For in-
stance, depressing the PHANTOM switch above
Channel 8 sends phantom power to the XLRs on
channels 1 through 8. NOTE: It is always a good
idea to check with the Mic manufacturer to verify
phantom power requirements.
–15 +15
3k
1k
5k
FREQ
500 18k
2
NORMAL
BAND
WIDTH
OCTAVES
1
3
12
U
LO
MID
–15 +15
250
• First try the mic/line trim. If that has no effect,
• Turn down the EQ and/or the insert device,
and if that doesn’t fix it,
220
350
FREQ
45
3k
U
HI
• Turn down the channel. If this doesn’t fix it, your
input signal is too hot (gasp). Use an external pad
to reduce the level (see the sidebar on page 25).
12k
–15 +15
U
TRIM
LO
80
The TRIM control (8) sets the gain of the input
amplifier for the MIC and LINE inputs. Proper setting
of the TRIM control is essential for good noise and
headroom performance. Trim pot settings may vary
widely depending upon the input level. The output of
different keyboards, drum machines, guitar effects
boxes, etc., vary from extremely weak to so hot that
they can practically be connected directly to speak-
ers. See pages 1, 20, or 25 for advice.
–15 +15
CHANNEL SOLO
EQ
EQ IN
The channel SOLO switch (6) assigns the output
of the channel PAN control to the stereo solo buses
and disconnects all other sources from the monitor
section. SOLO does not interrupt the eight Submas-
ters, the L/R Mix or the AUX sends, and can be
used at any time without affecting the recording
process.
SOLO is handy for spot-checking the presence
and quality of individual inputs while setting up,
recording and mixing. More than one SOLO switch
may be pressed at the same time, allowing you to
listen to the blend of any combination of channels
throughout the console in stereo.
75 Hz
18dB/oct
LOW CUT
PAN
L
R
U
LEVEL
O O +15
HI/LO EQ
TO MIX-B
MIC/LINE SWITCH
MIX-B
MONITOR
SPLIT EQ
SOURCE
FLIP SW
CHANNEL
Now we’ve jumped back to the top of the
strip. Sorry, but logically the input to the chan-
nel is the next thing to talk about. That’s
because it’s the source of the signal applied to
the channel fader and PAN control.
OL
-20
PAN
SOLO
5
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The MIC/LINE switch (9) is located way up
amongst the channel jacks. It selects whether
the MIC jack (pin 2=hot[+], pin 3=cold[–],
pin 1=shield) or the LINE jack (balanced 1/4"
phone… tip=hot, ring=cold, sleeve=shield) is
connected to the input amplifier.
strip (via the source switch), can be achieved
by modifying the channels. See Appendix C:
Modifications on page 52.
PHANTOM
POWER
1. When the Mix-B SOURCE switch (11) is
up, MIX-B receives its input from the FLIP
switch. Remember, the FLIP switch alter-
nates MIC/LINE or TAPE to the channel
strip and to MIX-B. With TAPE as an input
(SOURCE up to select the FLIP switch, and
FLIP in the up position), the MIX-B section
functions as a tape monitor submix,
allowing you to listen to the inputs and
outputs of your multi-track recorder as you
record. This is the most common use of the
MIX-B section, during tracking and
overdubbing.
2. With MIC/LINE as an input (SOURCE up to
select the FLIP switch, and FLIP in the down
position), MIX-B becomes an additional input
to add tracks or effects during a mixdown.
Simply plug the additional signal into the MIC
or LINE connector. Although they are nor-
mally separate, a button (MIX-B TO L/R MIX)
in the Output Panel (see below) can add the
output of the MIX-B buses to the L/R Mix
buses. Voilà! Double your mix inputs!
CHANNEL
16
THE FLIP SWITCH: MIC/LINE OR TAPE
MIC/LINE
LINE
IN
The switch labeled FLIP
(10) selects the input that
is actually fed into the
channel fader (and the
MIX-B control; see below).
BAL-
UNBAL
DIRECT
OUT
INSERT
As the label indicates, the MIC/LINE input
(after Mic/Line preamp) is fed to the channel
fader when the FLIP switch is in the up posi-
tion. This is the normal mode for tracking and
overdubbing. In the down position, the TAPE re-
turn (the output signal from the corresponding
track of your recorder) is fed to the channel
fader. This is the normal position for mixdown.
To recap - when the FLIP is up, the Mic/Line
feeds channel and Tape return feeds MIX-B. When
the FLIP is down, the channel is Tape and MIX-B is
MIC/LINE. FLIP... FLOP. OK?
TIP = OUT
RING = IN
CHANNEL
16
G
A
I
I
N
M
–10dBV
S
E
N
E
S
IN
L
V
T
Y
+4
10dB
-40dBV
50dB
MIC/LINE
TAPE
TRIM
GAIN
For live PA, leave the FLIP switch up.
PAN
L
R
3. With CHANNEL as an input (SOURCE down in
CHANNEL position), MIX-B taps its signal from
the channel strip, just before the channel fader.
MIX-Bisseparately pan-able, EQ-able and
can be used as an alternative stereo mix, a
stereo auxiliary send, a “mix-minus” bus, a
quadraphonic or surround feed, you name
it. Mix B can also have its own aux send
(see Aux sends 3-6).
MIX-B / MONITOR
U
LEVEL
Each channel strip has a
dual signal path (Enter
Mix-B!) with extremely
flexible switching. This al-
lows either the mic/line
O O +15
HI/LO EQ
TO MIX-B
MIX-B
MONITOR
SPLIT EQ
SOURCE
FLIP SW
CHANNEL
OL
-20
inputs or tape return inputs to be routed
through either the channel fader path or
Mix-B with separate EQ and monitoring. Both
of the signal paths can be combined into the
main mix by depressing the Mix-B to L/R
Switch in the master section. OK, now we
jump down the channel again to the MIX-B/
Monitor section. This handy and very simple
feature is also called “in-line monitoring” and is
found on quite a few consoles. So we’re not
claiming that it’s anything new… we just added
some extra features for more flexibility. MIX-B/
Monitor routing options can get a bit compli-
cated, so pay attention. Also, we did add
something that other in-line monitoring systems
don’t have. So double pay attention.
The MIX-B buses are a stereo pair, indepen-
dent of the 8-plus-2 recording buses we’ve
talked about so far. There are three sources
available to MIX-B: MIC/LINE or TAPE (via the
FLIP switch) and the pre-fader output of the
channel strip (via the SOURCE switch). A
fourth source, post-fader output of the channel
PAN
SOLO
Check out Section 3: General Info and the
Block Diagram for more information on MIX-B
routing.
MUTE
16
MIX-B PAN
dB
10
The PAN control (12) routes the channel’s
MIX-B signal across the left and right MIX-B buses.
5
1-2
3-4
5-6
7- 8
MIX-B LEVEL
U
The LEVEL control (13) sets the level of
the channel sent to the MIX-B buses. The gain
structure of this circuit (like the AUX send
1–6 circuits, below) includes extra amplifica-
tion. What this means to you is that you will
always have plenty of gonadotropic gain avail-
able for the MIX-B buses. Full left on the
LEVEL control is off; the midpoint of travel is
“U”, or unity gain; full right is 15dB of boost.
5
10
20
30
L/R
MIX
40
50
60
O
6
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SHIFT
PRE
+15
+10
MIX-B SPLIT
When you put these consoles on
the test bench, you see that the
bandwidth of their EQ is sim-
ply too narrow — often
around one octave. This is OK
for extreme adjustments in
live situations, but that’s about
it. It’s just not wide enough to
gently alter the multiple oc-
taves that voices and
16
The SPLIT switch (14) in the
MIX-B section splits the EQ sec-
tion of the channel when
depressed. In the up position, all
four sections of EQ remain, if en-
gaged, in the primary channel
signal path feeding the channel
fader and the 8-plus-2 buses. In
this mode there is no equalization
in the MIX-B path.
When the SPLIT switch is de-
pressed, the HI and LO shelving
sections of the EQ are removed
from the channel signal and in-
serted into the MIX-B signal
path. The HI-MID and LO-MID
parametric sections of the EQ re-
main, if engaged, in the channel
signal path.
The SPLIT function allows you to
EQ the channel’s signal and its MIX-
B signal separately.
NOTE: When the EQ is split, the
main EQ IN/OUT switch only
switches the channel signal’s para-
metric sections. It does not affect
the shelving sections split to MIX-B.
CHANNEL
MIX-B
+5
0
SOURCE
U
HI
MID
–5
–15 +15
3k
–10
–15
1k
5k
FREQ
20Hz
Hz
1kHz
10kHz 20kHz
100 Freq. center: 1k;
Bandwidth: 1/12-octave;
15dB boost/cut
500 18k
2
NORMAL
BAND
WIDTH
OCTAVES
1
3
12
+15
+10
instruments span.
U
LO
This is just
the opposite
of “classic”
big-studio
MID
+5
0
–15 +15
250
220
350
FREQ
–5
45
3k
–10
U
consoles.
HI
–15
12k
Their EQ (including Hi Mid) can
be adjusted to be extremely
broad — three or more octaves
wide in many cases. When you
apply this wideband EQ, it
sounds far more “sweet” and
“natural.” Changes sound so
gradual and smooth that you can
add considerably more EQ than
would ever be possible with nar-
rower-band consoles, yet without
compromising the overall sound.
On the other hand, ultra-nar-
row-band EQ also has its place,
both as a corrective tool and for
special effects. So why not give
you even tighter control than
would be possible with a 1/3-oc-
tave graphic equalizer? Thus was
born the 8•Bus’ 1/12-octave to 3-
octave width range.
At this point, as we played
around with the Bandwidth and
Boost/Cut controls using actual
music, we realized that to limit
this circuit to just Hi Mid (typi-
cally above 2.5kHz) would
actually limit its usefulness. The
flexibility that true parametric
control provides is nice to have in
the octaves below the Hi Mid re-
gion as well. So we came up with
what is probably the first console
Hi Mid control that can be swept
all the way down to 500Hz. If Hi
Mid doesn’t do it for you as a
name, think of these three
controls as the Roving-
20Hz
Hz
1kHz
10kHz 20kHz
10kHz 20kHz
10kHz 20kHz
100 Freq. center: 1k;
Bandwidth: 1-octave;
15dB boost/cut
–15 +15
U
LO
80
–15 +15
+15
+10
EQ
EQ IN
75 Hz
+5
0
18dB/oct
LOW CUT
–5
–10
–15
20Hz
Hz
1kHz
100 Freq. center: 1k;
Bandwidth: 3-octave;
15dB boost/cut
EQ SECTION
+15
+10
Each 8•Bus channel strip equal-
izer section has four bands (HI MID,
LO MID, LO, and HI) plus a low-cut
filter. The equalizer can be split be-
tween main channel signal and
MIX-B signal.
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
Freq.: 500Hz-18kHz sweep;
Bandwidth: 1/12-octave;
15dB boost/cut
HI MID EQ
The HI MID EQ section (15) is a
true 3-control parametric design, of- +15
fering: A) bandwidth variable from 3 +10
+5
octaves to 1/12 octave (16); B)
15dB of equalization (17) and; C)
variable frequency center from
500Hz to 18kHz (18).
0
–5
–10
–15
We spent a lot of time on this
20Hz
100Hz
1kHz
10kHz 20kHz
part of the 8•Bus Series’ EQ. One
of the things we’ve always noticed
about lower-priced consoles was
how “drastic” their Hi Mid EQ
sounded. Even a little boost could
induce honkiness and nasality.
Frankly, Hi Mid EQ on many
Freq.: 500Hz-18kHz sweep;
Bandwidth: 1-octave;
15dB boost/cut
+15
+10
+5
0
–5
boards is not that useful in studio
applications for just this reason.
–10
–15
Parametric-Problem-Solver-O-Matic.
O-Rama.
10kHz 20kHz
20Hz
100Hz
1kHz
Freq.: 500Hz-18kHz sweep;
Bandwidth: 3-octave;
15dB boost/cut
7
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2
+15
+10
Now you know some of the de-
sign philosophy behind our Hi
Mid EQ. It’s time to start experi-
menting with it yourself. Don’t
forget to try the control at its
bandwidth extremes — espe-
cially at the 3-octave end. You’ll
be pleasantly surprised.
Conversely, if you hate tech-
nology and yearn for the sound of
that old board you sold to buy an
8•Bus, you can achieve a semi-
parametric sound by leaving the
BANDWIDTH knob in the middle
at 2 octaves.
available. It’s a fine bass control,
and is switched with HI EQ into
the MIX-B circuit if the SPLIT
button is depressed.
BAND
WIDTH
OCTAVES
1
3
12
+5
0
U
LO
MID
–15 +15
250
A low-frequency shelving
–5
equalizer will add or remove bass
in a smooth, musical fashion.
Good for working on bass drum
and bass guitar, fattening up (or
thinning out) a piano or contour-
ing an entire mix.
–10
220
350
FREQ
–15
45
3k
20Hz
100Hz
1kHz
10kHz 20kHz
U
Lo Mid EQ
HI
12k
2 octave 15dB boost/cut
–15 +15
U
+15
+10
LO
80
–15 +15
EQ IN/OUT
+5
0
EQ
EQ IN
The IN switch (22) bypasses the
EQ (though not the LO CUT filter)
when up. Depress it to enable equal-
ization.
10kHz 20kHz
75 Hz
18dB/oct
–5
LOW CUT
–10
PAN
LO MID EQ
–15
L
R
20Hz
100Hz
1kHz
U
The LO MID EQ control (19)
is a semi-parametric (sweepable)
equalizer with a broad, fixed
bandwidth of 2 octaves, 15dB of
equalization and frequency
variable from 45Hz to 3kHz.
Boosting in this range can
put warmth and body into vocals
and instruments. Cutting can
really help the clarity of some
sounds by reducing boxy and
boomy tones.
Lo Mid EQ sweeps
from 45Hz to 3kHz
LO CUT
LEVEL
O O +15
The LO CUT switch (23) inserts
an 18dB/octave low-cut (high-pass)
filter with a –3dB point of 75Hz into
the main channel signal. The LO
CUT filter is unaffected by the EQ IN
switch.
+15
+10
HI/LO EQ
TO MIX-B
MIX-B
MONITOR
SPLIT EQ
SOURCE
FLIP SW
CHANNEL
+5
0
–5
–10
A low-cut filter is handy to get rid
of room rumble, traffic noise, wind
10kHz 20k
–15
20Hz
100Hz
1kHz
Hz noise, popping, and other unwanted
very-low-frequency sounds. It can
also be combined with LO EQ boosts
to produce some interesting bass
curves as shown in the last EQ
graph on this page. It is highly rec-
ommended that this switch be
Hi EQ 15dB boost/cut
above 12kHz
+15
+10
HI EQ
The HI EQ control (20) is a
fixed 12kHz shelving equalizer
with 15dB of equalization
available. A great treble control,
it is switched with LO EQ into
the MIX-B circuit if the SPLIT
button is depressed.
Shelving equalizers work on a
very broad range of frequencies,
and consequently, are very musi-
cal. In a 12kHz shelf like this
section, that means that all the
upper harmonics of a sound are
raised evenly, basically keeping
their original musical relation-
ship to each other. A
+5
0
–5
engaged for vocal microphones, es-
pecially in a live P. A. situation.
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
AUX SENDS
Lo EQ 15dB boost/cut
below 80Hz
Auxiliary sends are generally used
to provide mixes for headphone cue-
ing and for effects sends, and in
Sound Reinforcement use, can be as-
signed monitor submix duties. The
8•Bus Series consoles provide 6
mono auxiliary sends with several
routing options.
Note: All of the 8•Bus Series AUX
sends have a very wide range of gain
(just like the MIX-B Level control
discussed earlier). The first half of
the control’s rotation reaches from
the off position to unity gain (U).
This half of the control’s range corre-
sponds to the full range of a
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Lo cut (high pass filter)
18dB/oct. at 75hz
high-frequency shelving EQ is
great for putting shimmer into
acoustic guitar and piano tracks
and sizzle into vocals.
+15
+10
+5
0
LO EQ
–5
The LO EQ control (20) is a
fixed 80Hz shelving equalizer
with 15dB of equalization
conventional mixer. The second half
of the control’s rotation provides you
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Interaction of Lo Cut
with Lo EQ boost.
Verrry eenteresteeng, no?
8
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L
with even more gain, from unity to +15dB.
For example, when you want a super “wet”
sound(mostly reverb), the extra gain allows you to
bring the channel fader part way down (and the
AUX send way up) so the sound is mostly reverb
with just a touch of “dry” signal.
AUX 3, 4, 5, 6
+4
10dB
-40dBV
50dB
MIC/LINE
TAPE
TRIM
Auxiliary sends 3, 4, 5, and 6 (26) are very simi-
lar to sends 1 & 2. The differences are in the
SHIFT and SOURCE switches. Read on.
GAIN
U
FLIP
1
2
O O +15
U
SHIFT
Don’t worry about having mono effects sends:
almost all effects units, mono or stereo, have mono
inputs. Even if there are two jacks labeled Left and
Right, they are almost always combined into mono
internally. In the rare cases when an effect actually
has true stereo inputs, it is often more convenient
to ignore that and treat it as mono anyway. If you
really need to send in stereo, just use two AUX
sends from the console. Route AUX 1, for example,
to the left input and AUX 2 to the right. Then ad-
just the stereo perspective by favoring one or the
other send. For instance, if you have a stereo synth
into channels 23 and 24, use AUX 1 on channel 23
and AUX 2 on channel 24.
The SHIFT button (27) connects the two level
controls, as a pair, to either
O O +15
AUX
PRE
U
sends 3 & 4 (in the up posi-
tion) or to sends 5 & 6 (in
the down position). Twice
3
4
5
O O +15
U
the sends in half the space.
6
O O +15
SOURCE
AUX
SHIFT
PRE
The SOURCE switch (28) breaks AUX Sends
3-6 away from the main channel strip world that
sends 1 & 2 are stuck in, and allows the sends to
tap from another source: the MIX-B signal for that
channel. This is a very handy thing, whatever you
happen to be using MIX-B for.
If MIX-B is an additional input for your mix-
down, then (when the SOURCE switch is
depressed) AUX Sends 3-6 are effects sends
connected to that source. If MIX-B is your stu-
dio monitor submix from the recorder, then
AUX Sends 3-6 are a great source of head-
phone cue signals. They will follow playback,
record and punch-ins automatically as your
recorder does its stuff.
16
CHANNEL
MIX-B
SOURCE
Note: In PRE mode, all AUX SENDS are con-
nected pre-fader but post-EQ. This is usually the
most useful setup, but if you prefer, all AUX
SENDS can be modified to be pre-EQ, pre-fader.
See Appendix C: Modifications on page 52.
AUX 1 & 2
Auxiliary sends 1 & 2 (24) have two indepen-
dent level controls and share a common PRE/
POST switch.
When in the normal post mode, sends 1 & 2 get
their signal after the channel fader and the MUTE
switch. This is the usual configuration for an effects
send, since the level of the effect should follow the
volume adjustments made by the channel fader.
PRE (3-6)
The PRE switch (29) for Sends 3-4-5-6 func-
tions just like the PRE switch sends 1 & 2, when
the AUX SOURCE switch is in the CHANNEL (up)
position.
Additionally, the PREswitch will tap the pre-
level (and pre-mute) signal of whichever
SOURCE you have selected-channel or MIX B.
PRE (1&2)
With the PRE switch (25) depressed, AUX
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
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cussed below, allows you to assign submix buses
within your L/R mix.
OUTPUT SECTION
The output section is the large area to the right of
the input channel strips. It contains the master fad-
ers and metering, as well as the send and return
masters, cue, monitoring and communication
controls.
MONO L & R
LAYOUT
AND
FUNCTION
The MONO L & R switch (4) functions ONLY
when you have first depressed the L MIX or R
MIX. If you’ve pushed L MIX or R MIX, pushing
MONO L & R will assign the bus to both channels
of the Left and Right Mix buses, instead of just the
Left, or just the Right. This is also for submixing,
but allows you to put your submix in the center
rather than on either side.
8•BUS FADERS
At the bottom of the output panel are the mas-
ter faders for each of the eight buses (1). Each
fader controls the level of its mix, with precise dB
markings and a unity gain point marked on the
panel. The fader is located in the circuit after the
submaster insert jack but before the final line
amplifier.
There is an Assign section associated with each
bus fader, detailed below. Note that no matter
what the selection of the assignment switches, the
output of each bus is always present at its Sub-
master/Tape Output jack and is monitored on its
own bus meter.
(Those of you with patch
cords have probably realized
you can patch the bus into a
channel and do even more
fun things, but we’ll talk
about that later.)
SOLO
The SOLO button (5) solos the output of the bus
fader. When any SOLO button is pressed, the SOLO
LED lights.
L MIX and R MIX
This is a pretty trick SOLO, too. If you have not
pushed the MONO L & R switch, the SOLO sends the
odd-numbered tracks to the left speaker and the
even-numbered tracks to the right, whether or not
the associated L MIX or R MIX is engaged. But if you
have pressed MONO L & R,
The odd-numbered buses have an L MIX but-
ton above their faders (2); the even buses have an
R-MIX button (3). Pressing this button assigns
the bus to the L or R Mix bus, respectively. This
switch, along with the MONO L & R switch dis-
the SOLO circuit is smart
enough to send the bus to
both speakers and put the
stereo image in the middle.
You will be the envy of your
TALKBACK
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
MIC
neighborhood.
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
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
a stereo fader located at the
far right of the console. The
fader controls the level of
the L/R MIX bus, with pre-
cise dB markings and a
unity gain point marked on
the panel. This fader, like
the bus faders, is located in
the circuit after the L/R in-
sert jack but before the final
line amplifier.
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
LEFT/RIGHT
1
2
3
4
5
6
7
8
MIX
dB
dB
dB
10
dB
dB
10
dB
dB
10
dB
dB
dB
10
10
10
10
10
10
10
5
5
5
5
5
5
5
5
5
5
U
U
U
U
U
U
U
U
U
U
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O
O
O
O
O
O
O
O
O
O O
10
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METERING
+22dBu unbalanced. (You don’t want these
to ever go on. If they do, try pulling down the
L/R master fader a little.)
Bus Meters 1-8
Directly above each bus fader is a peak-reading
meter displaying the bus output level. Zero (0) on
the meter references a level of +4dBu (1.23 volts
RMS) at the output jack.
NOTE: If the -10dBV switches are engaged at
the Subgroup output jacks, then zero (0) on the
meter references a level of –10dBV at those out-
puts. Note: When any SOLO switch is engaged, the
SUBMASTER meters will be extinguished in order
to divert your attention to the SOLO/MAIN meters
(discussed below).
LAYOUT
AND
FUNCTION
AUX SENDS
The six auxiliary send outputs each have a
master level control. Like any level control, turn-
ing the knob turns the volume up or down.
However, the gain of the AUX Sends has been
optimized at the unity (center detent) setting
and should not need adjustment.
The output of each bus is available at its AUX
Send Out jack in the jack panel above. Addition-
ally, AUX Sends 3 & 4 and AUX Sends 5 & 6 are
fed as stereo pairs to the two PHONES SOURCE
switching matrices, for headphone cueing
purposes.
MAIN OR SOLO LEVEL Meters
The MAIN OR SOLO LEVEL meters display the
L/R Main Mix levels and are similar to the bus
meters, with these exceptions:
• If a SOLO button is depressed, the meters
display the output of the soloed
U
U
signals; if not, the meters show the
1
1
level of the signal selected by the
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
SOLO
SOLO
O O +15
O O +20
U
L
L
R
R
ASSIGN
MONITOR SOURCE switches. In
other words, you are always meter-
ing what you’re listening to.
IMPORTANT: When the console is
in SOLO mode,
U
2
2
5-6
L/R MIX
O O +15
O O +20
ASSIGN
LEVEL
LEVEL
BALANCE
U
U
U
U
3
4
5
6
3
4
5
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O O +15
U
O O +15
U
O O +20
U
O O +20
U
zero (0) on the
SOLO/MAIN
meters references
ASSIGN
6
PHONES
1
PHONES
2
L/R MIX
O O +15
O O +15
O O +20
O O +20
LEVEL
LEVEL
LEVEL
ASSIGN
LEVEL
the actual internal
operating level, or 0dBu (.775v). If
you have just one signal in the main
L/R path and you SOLO it, the meter
level will jump up 4dB. Don’t be
alarmed. If you’re mixing on the L/R
buses, that’s what you’ll meter. If
you’re checking a tape playback,
that’s what you’ll meter. When the
meters are following the monitors
(not in SOLO), zero (0) on the
meter references a level of +4dBu
(1.23 volts RMS) at the main L/R
outputs, just like the submaster
meters.
Note: The solo levels displayed on
the meters are PRE-solo level,
thus giving you an accurate
showing of the total level of the
soloed signals.This is also the way
to set initial console levels. See the
discussion of the SOLO function,
earlier in this section.
SOLO
AUX SENDS
SOLO
STEREO AUX RETURNS
U
U
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
O O +15
AUX SEND 1
AUX SEND 2
O O +15
O O
O O
O O
O O
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
MIX-B
RUDE
O O
SOLO LITE
2-TK
ASSIGN TO
L/R MIX
SOLO
AUX SEND
3/4
SOLO
AUX SEND
3/4
TAPE SUB
MASTERS
CNTRL RM
AUX SEND
5/6
AUX SEND
5/6
EXTERNAL
PHONES
&
STUDIO
OPERATING
LEVEL
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
INDICATOR
AND
MASTER
MIX B/MONITOR PHONES 1
PHONES 2
MONITOR
SOURCE
SOLO
TALKBACK
+
22
+
10
+
10
+
10
+
10
+
10
+
10
+
10
10
7
7
4
7
4
7
4
7
7
4
7
4
7
4
4
4
2
2
2
2
2
2
2
2
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
4
4
4
4
4
4
4
4
7
7
7
7
7
7
7
7
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
40
40
–
40
–
40
–
40
–
40
–
40
–
40
–
–
L
R
L
R
L
R
L
R
L
R
• Additional red LEDs per side at
the top of the meter show output
clipping at +28dBu balanced,
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
OR SOLO LEVEL
11
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AUX SOLO
Returns 1 & 2
The SOLO button next to each level control
(7) solos that send and allows you to check the
send level in the main meters. There is a solo
LED (8) in the Send section, to help you locate
what the heck you soloed.
AUX Returns 1 & 2 (10) each have a stereo SOLO
switch, a stereo LEVEL control, a BALANCE control
and a bank of ASSIGN switches.
LAYOUT
AND
FUNCTION
ASSIGN (1 & 2)
Note: The six AUX Sends are each mono sig-
nals, and they are soloed in mono. If you are
using a stereo pair of sends for headphone cue,
use the SOLO button in the PHONES 1 or 2 ar-
eas to check the sends in stereo.
AUX Returns 1 & 2 are assigned in stereo pairs
(Return 1, L & R; Return 2, L & R) to the L / R MIX
buses or to odd-even pairs of the 8 submix buses
(11). If you would like an effects return to accom-
pany its dry signal on the multitrack (wet tracks),
these are the returns to use.
STEREO AUX RETURNS
Returns 3 & 4
The AUX Returns (9) provide 12 additional
inputs to the console for return from effects and re-
verb devices. The returns have switch matrices to
allow easy assignment to headphones or mix buses.
When any return is soloed, the solo LED in the lower
left-hand corner of the Return area lights.
AUX Returns 3 & 4 (12) each have a stereo SOLO
switch, a stereo LEVEL control and a smaller bank of
ASSIGN switches.
ASSIGN (3 & 4)
For extra flexibility, the AUX Returns have been
designed with an extremely wide range of available
gain, offering as much as 15dB boost over unity.
The return jacks are wired to provide both stereo
and mono operation. See AUX Returns under JACK
PANEL later in this section for details.
Returns 3 & 4 are assigned in stereo pairs (Return
3, L & R; Return 4, L & R) to the L/R MIX buses or
to the PHONES 1 and PHONES 2 buses via respec-
tive banks of buttons for each return(13). If you
want additional effects returns preset in the head-
phone mixes, these are the returns to use.
Returns 5 & 6
AUX Returns 5 & 6 (14)
each have a stereo SOLO switch
and a stereo LEVEL control. Re-
turns 5 & 6 are permanently
assigned to the L/R MIX bus.
All returns are useful in a mix-
down situation, as they are all
assignable to the L/R mix.
POWER
U
U
1
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O +15
U
O O +20
U
L
L
R
R
ASSIGN
2
5-6
O O +15
O O +20
ASSIGN
LEVEL
LEVEL
BALANCE
MIX-B / MONITOR
U
U
U
U
3
4
5
6
3
4
5
The MIX-B / MONITOR sec-
tion (15) is quite straightfor-
ward. It offers a stereo level
control for the MIX-B output,
and an ASSIGN: MIX-B TO
L/R MIX switch, which can
add the MIX-B bus signal to the
main L/R Mix. This essentially
doubles the inputs available for
mixdown. Avoid this pitfall: If
you are monitoring the L/R
mix in the control room and
have the MIX-B to the L/R mix
assigned, do not also select
MIX-B in the monitor source
switch matrix. If you do, MIX-B
will sound twice as loud in the
control room as it is in the L/R
mix!
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O O +15
U
O O +15
U
O O +20
U
O O +20
U
ASSIGN
6
PHONES
1
PHONES
2
L/R MIX
O O +15
O O +15
O O +20
O O +20
LEVEL
LEVEL
LEVEL
ASSIGN
LEVEL
SOLO
AUX SENDS
SOLO
STEREO AUX RETURNS
U
U
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
O O +15
AUX SEND 1
AUX SEND 2
O O +15
O O
O O
O O
O O
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
MIX-B
RUDE
O O
SOLO LITE
2-TK
ASSIGN TO
L/R MIX
SOLO
AUX SEND
3/4
SOLO
AUX SEND
3/4
TAPE SUB
MASTERS
CNTRL RM
AUX SEND
5/6
AUX SEND
5/6
EXTERNAL
PHONES
&
STUDIO
OPERATING
LEVEL
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
INDICATOR
AND
MASTER
MIX B/MONITOR PHONES 1
PHONES 2
MONITOR
SOURCE
SOLO
TALKBACK
+
12
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PHONES
The MONO switch sums the left and right
channels together to allow you to check your mix
in monaural. This affects only the control room
monitor speakers, the studio monitor speakers,
and the L/R meters (although the meters are not
monoed in solo mode.)
The PHONES 1 (16) and PHONES 2 (17) sec-
tions are identical. Each
contains a stereo level control
for the headphones outputs, a
stereo SOLO switch, and five
LAYOUT
AND
FUNCTION
pushbuttons to select from the
SOLO
following signal sources: MONITOR, MIX-B, AUX
SENDS 3 & 4, AUX SENDS 5 & 6, and EXTERNAL.
You can select any combination of sources.
• The MIX-B, AUX SENDS 3 & 4 and AUX SENDS
5 & 6 switches are connected directly from the
outputs of their respective circuits.
The Solo section (19) contains the master
level control for the stereo Solo mix. Set at the
center detent, it will match the level of the soloed
signals to the same signals unsoloed. This section
also has the most obnoxious solo light allowed un-
der international trade and safety regulations. We
hope it gets your attention. The monitor switch in
the phones section must be pushed in (selected)
or the solo bus will not feed the phones. (By the
way, if your console has two little tiny Death’s Heads
above your RUDE SOLO LITE, you are very lucky.
Only one in 10,000 Mackie consoles has what we call
“Grim Greg” on it, and if you send in the top panel of
your console with proof of purchase, we will ship
• MONITOR takes the signal from after the
MONITOR selection switches described below,
and therefore carries the same signal that is
applied to the control room monitors. (The
PHONES section is not affected by the CNTL RM
level control or the MONO switch in the MONI-
TOR section, though.)
• The EXTERNAL switch is connected directly
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.
NOTE: If MONITOR is selected as a PHONES
TALKBACK
The talkback section has four momentary
source and the solo button in the PHONES section is
depressed, nothing will happen except that the Solo
LEDs will light up. That’s because Solo is disabled
under these conditions to prevent a feedback loop
and its associated anguish.
NOTE: if nothing is selected, signal may still feed
the PHONES from AUX Return 3 & 4, via that
section’s ASSIGN TO PHONES switches.
pushbutton switches, which assign talkback to
any combination of AUX Send 1, AUX Send 2,
TAPE SUBGRPS (L/R MIX and the 8 SUBMAS-
TERS) and PHONES/STUDIO. Try setting the
talkback level at the center detent for starters. It
can be tweaked up or down to your liking.
Note: When talkback is engaged, only the con-
trol room outputs are padded by 20dB to avoid
feedback, yet still allow the engineer to hear the
musicians. The studio output is not padded. In
situations where either the control room level is
set way up, or there is a speaker pointing at the
console, there may still be feedback. To prevent
this, turn down the talkback level, the control
room level, or change the angle of the control
room speakers.
MONITOR
The control room monitors and the studio play-
back monitors are both controlled from the
MONITOR section of the console (18). There is a
stereo level control for the control room and an-
other for the studio. NOTE: Fully clockwise
equals unity gain.
A bank of switches selects
The Talkback Microphone is located just above
the L/R MIX fader. This ain’t no Neumann, so
don’t attempt vocals through it (we wanted it to
sound gritty and generally talkback-esque). Appli-
cation of chewing gum to this orifice will degrade
performance further to simulate really beat-up
AM radio production studios.
the stereo sources available to
the speakers from L/R Mix,
MIX-B, Tape and External.
You can select any combina-
tion of signal sources.
The L/R MIX and MIX-B switches are con-
nected from the outputs of the L/R and MIX-B
buses. The TAPE and EXTERNAL switches are
connected from the 2-TRACK INPUTS and the
EXTERNAL INPUTS, respectively, on the jack
panel above.
13
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JACK PANELS (INPUT STRIP &
MASTER OUTPUT)
Mic In
PHANTOM
POWER
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 don’t call me late
rear panels of the mixer. An external patchbay is for dinner). Pin one is ground, pin two is signal
not required, although it does make life easier.
Let’s start by listing what is NOT on the
FRONT jack panel:
• The console outputs to the multitrack tape
recorder (the Submaster/Tape outputs)
• The console inputs from the multitrack tape
recorder
• The balanced main L/R (XLR connector)
outputs (on the rear panel)
high (+), pin three is signal low (–), as per the
(finally) agreed-upon international standard.
NOTE: Don’t use these XLR’s for line level sig-
nals — see “Line In”.
CHANNEL
16
MIC/LINE
LINE
IN
BAL-
UNBAL
Line In
DIRECT
OUT
The channel Line Input (2) is a TRS (tip-
ring-sleeve) balanced 1/4" phone jack, with
ground wired to the sleeve, signal high (+) to
the tip and signal low (–) to the ring. Nominal
input level is +4dBu, with a wide range of levels
accommodated by adjustment of the TRIM con-
trol. These jacks also accommodate TS
INSERT
TIP = OUT
RING = IN
All other connections are made at the top of
the front panel, either above the channel Input
Strips or above the Output Panel.
(tip-sleeve) unbalanced 1/4" phone plugs. See
Appendix A: Connections for more information.
INPUT STRIP
Each channel input strip has its inputs and
outputs located directly above the strip. The
connections are detailed next.
Direct Out
The channel Direct Out (3) is a nominal
+4dBu unbalanced TS 1/4" phone jack, con-
nected to the output of the channel line
amplifier post-EQ/post-fader/post-mute. The out-
put signal of each channel strip is always
available at the Direct Out jack. Using the Direct
Out does not interrupt the normal signal flow
through the channel.
PHANTOM POWER
Microphone phantom power (+48 VDC) is ap-
plied to the channel strips in groups of eight. The
phantom on/off switch for channels 1-8 is located
above channel 8; the switch for 9-16 above chan-
nel 16, and so on. It has a “ramping” function,
which means it gradually ramps from 0 to 48V
when you turn it on, and ramps back down when
you turn it off. This helps
Channel Insert
The channel Insert jack (4) allows you to in-
sert external processing equipment (such as a
compressor, gate, you name it) into the main sig-
nal path of the input channel strip. The insert
point is after the FLIP switch (which also means
that it is after the MIC/LINE or TAPE IN pream-
plifiers) but before the LO CUT filter, EQ and
fader MUTE switch. The TRS jack is configured
for the Tip (send), Ring (return) and Sleeve
(signal ground). See Appendix A for more details
on using external processing and channel inserts.
protect your microphones.
We suggest that before
plugging or unplugging mics,
you turn off the PHANTOM
power. Give it about a minute
to settle while you get a Diet YooHoo or call your
stockbroker. Then connect or disconnect the
microphone(s) and turn PHANTOM power back on.
CAUTION: After switching PHANTOM Power
on or off, wait 1 minute before changing any mic/
line switch settings in that eight-channel block.
Another safe alternative is to turn both TRIM
and Channel Faders down for that bank of eight
channels before switching.
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 doesn’t offer
lamps, but most dealers do. We recommend
LittleLite lamps #12G or #12G-HI (a high-inten-
sity version).
14
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OUTPUT PANEL
TIP = OUT RING = IN
The input and output jacks that cor-
respond to most of the functions in the
Output Panel are, logically, located in
the jack panel directly above the Output
Panel. The 8•Bus outputs to tape (and
the inputs from tape) are located on the
rear panel.
SUBMASTER INSERT
1
1
2
2
3
3
4
5
6
6
7
8
AUX SEND
4
5
L
L
L
R
R
R
MAIN
INSERT
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
CNTRL
1
2
R
3
R
4
R
5
6
RM OUTPUT
Submaster Inserts
R
R
R
R
At the top of the panel are the eight
Submaster Insert jacks (1). These
patch points allow you to insert a serial
processing device (such as a compres-
sor or an equalizer) into any of the
8•Bus submaster circuits. See Appen-
dix A for more details on using external
processing.
MAIN MIX
AUX RETURN
(MONO)
(MONO)
L
L
R
L
R
L
1
R
2
STUDIO
OUTPUT
EXTERNAL
INPUT
MIX-B
2-TRACK
INPUT
OUTPUT
PHONES
The insert point is after the summing amplifier,
but before the fader. Like the Channel Insert
points, the connectors are 1/4" TRS jacks, wired
unbalanced with the output or send signal on the
tip, the input or return signal on the ring, and the
sleeve common or ground.
right return inputs and end up centered in your ste-
reo image. When a jack is plugged into the Right
input of the return, this mono feature is disabled: the
left input is fed to the left return, and the right input
is fed to the right return.
NOTE: These inserts can be used as pre-fader
direct outs, using an unbalanced (TS) 1/4” plug in
these two ways:
• Plugs are inserted just to the FIRST click.
There is no interruption of the signal; OR
• Plugs are inserted all the way in to the
SECOND click.This interrupts the signal
and routes it ONLY to the device you’re
sending to.
Main Inserts
On the upper right of the panel are two Main In-
sert jacks (4). These patch points allow you to insert
a serial processing device, such as a compressor or
an equalizer, into the Main L/R Mix. See Section 4 for
more details on using external processing.
The Main Insert’s insert point (try saying that fast
three times backward) is after the summing ampli-
fier but before the master fader. Like the Submaster
Insert points, the connectors are 1/4" TRS jacks,
wired unbalanced with the output or send signal on
the tip, the input or return signal on the ring, and the
sleeve common or ground.
AUX Sends
The six AUX Sends (2) appear as six 1/4" jacks in
a row, just underneath the Sub Inserts.
AUX Sends 1 and 2 are balanced TRS outputs,
wired tip to high (+), ring to low (–), and sleeve to
ground. AUX Sends 1 and 2 are designed so that
1/4" unbalanced TS phone plugs can also be used,
with no loss of level. AUX Sends 3 through 6 are un-
balanced, with the tip high (+) and ring and sleeve
tied together as ground. Nominal level is +4dBu.
Control Room Output
The two Control Room Output jacks (5) carry the
signal for the Control Room speakers. They are 1/4"
unbalanced, wired tip high, ring and sleeve ground.
Nominal level is +4dBu. This is where you connect
your control room monitor amplifier inputs.
AUX Returns
The AUX Returns (3) are stereo, with a L&R in-
put for each return channel. Inputs are 1/4"
unbalanced jacks, nominal level (+4dBu).
One special feature: The Left input jack to each
return is also labeled “MONO.” If you have only one
return signal, plugging it into the “MONO/L” jack only
will cause it to be connected to both the left and
15
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TIP = OUT RING = IN
SUBMASTER INSERT
1
1
2
2
3
3
4
5
6
6
7
8
AUX SEND
4
5
L
L
L
R
R
R
MAIN
INSERT
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
LAYOUT
AND
FUNCTION
CNTRL
1
2
R
3
R
4
R
5
6
RM OUTPUT
R
R
R
R
MAIN MIX
AUX RETURN
(MONO)
(MONO)
L
L
R
L
R
L
1
R
2
STUDIO
OUTPUT
2-TRACK
INPUT
EXTERNAL
INPUT
MIX-B
OUTPUT
PHONES
Main Mix
Studio Output
The Main Mix jacks (6) on the top panel are 1/4"
TRS unbalanced, with tip high, and ring and sleeve
tied to ground. The nominal level is +4dBu. These
two jacks carry the L/R Main Mix, for connection to
The two Studio Output jacks (9) carry the signal
for the Studio speakers. They are 1/4" unbalanced,
wired tip high, ring and sleeve ground, nominal level
+4dBu. This is where you connect the inputs to your
your master 2-Track recorder’s inputs, for instance. studio monitor amplifier.
The same Main L/R Mix is also available, fully bal-
Alternatively, the Studio Output jacks can be
anced, at the two XLR connectors on the back panel. wired to a second Control Room amplifier and set of
speakers. Then, to switch between the two sets, turn
MIX-B Output
the CNTRL-RM level control fully down and turn up
The MIX-B jacks (7) are 1/4" TRS unbalanced,
the STUDIO level control — or vice versa. This con-
with tip high, ring and sleeve tied together as ground, cept is very handy during mixdown. It won’t work
nominal level +4dBu. These jacks make the MIX-B
signal available for external patching.
very well if you plan to use any of the talkback
switches, as you would during tracking/overdubbing.
Phones
2-Track Input and External Input
The two Phones jacks (8) are 1/4" TRS stereo,
with tip connected to left, ring to right and sleeve to
ground. The final output of Phones 1 and Phones 2
The 2-Track Input (10) and External Input (11)
are 1/4" TRS unbalanced jacks, with tip wired to high
and ring and sleeve tied together to ground. These
appear here. These jacks may be connected to exter- inputs offer you the ability to listen to two mono or
nal power amplifiers for headphone distribution, or
you may plug your phones directly into the jacks.
There is plenty of level. In fact, you should turn the
stereo sources directly, without patching through in-
put channels. Either input can be connected to any
stereo source you’d like to listen to. Usually, you will
PHONES level down before you plug your phones in, have the 2-Track Input connected to the output of
and then bring the level up to where you want it.
your 2-Track master recorder, to check the mix.
The inputs are directly wired to the “2-TK” and
“EXTERNAL” source selection switches in the
Phones 1 and 2 and MONITOR sections of the
Output Panel. These are +4 dBu inputs.
16
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21
19
17
15
16
13
11
12
9
7
8
5
OPERATING
OPERATING
LEVEL CH. 9-16
IN –10dBV
LEVEL CH. 17-24
IN –10dBV
OUT +4dBu
OUT +4dBu
22
20
18
14
10
6
+4 / –10 BALANCED / UNBALANCED
TAPE RETURNS 17-24
+4 / –10 BALANCED / UNBALANCED
TAPE RETURNS 9-16
+4 / –10 BALANCED / U
TAPE RETUR
REAR PANEL
CONNECTIONS
The connections to and from your multitrack re-
corder are on the Rear Panel of the 8•Bus Series.
There are 16, 24 or 32 Tape Return jacks (depending
on the model) and 24 Submaster/Tape Out jacks.
Console Bus 1: Submaster 1, 9 and 17
Console Bus 2: Submaster 2, 10 and 18
Console Bus 3: Submaster 3, 11 and 19
Console Bus 4: Submaster 4, 12 and 20
Console Bus 5: Submaster 5, 13 and 21
Console Bus 6: Submaster 6, 14 and 22
Console Bus 7: Submaster 7, 15 and 23
Console Bus 8: Submaster 8, 16 and 24
Connect the inputs of your multitrack recorder to
the Tape Output jacks.
Why are there 24 submaster output jacks on
an 8-submaster mixer? This is called “triple-bus-
sing.” When you send a signal to Submaster 1
output, for instance, it will appear at Submaster
Outputs #1, #9 and #17. Now, whichever tracks
on your multitrack are in RECORD mode will ac-
cept the signal, while the tracks in SAFE mode
won’t. That way, you can feed a 24-track deck
without having to constantly re-patch. Connect
the Submaster/Tape Outputs to the correspond-
ing inputs on your multitrack, using only
Submasters 1 through 8 for an 8-track deck, or
1-16 for a 16-track deck.
Tape Returns
The Tape Return jacks (1) are 1/4" TRS balanced,
with tip wired to high (+), ring to low (–) and sleeve
to ground. These jacks are also wired to accommo-
date 1/4" TS unbalanced connections. Each jack is
connected to the Tape input on the corresponding
channel, and is selected by the FLIP switch on that
channel.
Connect the outputs of your multitrack recorder
to the Tape In jacks. Note that they are grouped in
sets of eight: 1-8, 9-16 and17-24.
Tape return OPERATING LEVEL
Nominal level for the Tape Return jacks is
switched to either +4dBu (switch out) or -10dBV
(switch in) in groups of 8 channels. If you aren’t sure
of your multitrack recorder’s operating output level,
check the specifications section of the recorder’s
owner’s manual.
Submaster/Tape Output
OPERATING LEVEL
Nominal level for the Submaster jacks is
switched to either +4dBu (switch out) or
–10dBV (switch in) in groups of 4 channels (3).
If you aren’t sure of your multitrack recorder’s
operating input level, check the specifications
section of the recorder’s owner’s manual.
Submaster/Tape Outputs
The Tape Out jacks (2) are 1/4" TRS balanced,
with tip wired to high, ring to low and sleeve to
ground. These jacks are also wired to accommodate
1/4" TS unbalanced connections. The Submaster
Outputs of the console appear on these jacks in the
following pattern:
RIGHT
LEFT
8
7
6
5
4
3
2
1
IN –10dBV
IN –10dBV
OUT +4dBu
OUT +4dBu
13OPERATING
12
11
19
10
18
9OPERATING
LEVEL
LEVEL
16
24
15
23
14
22
21
20
17
+28dBu MAX OUT
+4dBu BALANCED / –10dBV UNBALANCED
MAIN BAL OUTPUTS
SUBMASTER / TAPE OUTPUTS
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RIGHT
LEFT
EXPANDER
PORT
USE MACKIE 8•BUS
EXPANDER CABLE
+18V
–18V
+48V
+12V
+5V
ONLY! KEEP COVERED
+28dBu MAX OUT
THIS CONNECTION FOR MACKIE
8•BUS POWER SUPPLY ONLY !
DC POWER IN
MAIN BAL OUTPUTS
MAIN BALANCED OUTPUTS
DC POWER IN
Along with the unbalanced 1/4” TS Main Mix
jacks on the front panel, balanced Main XLR
Outputs (4) are also provided, wired pin 2 hot,
pin 3 cold, pin 1 shield. Maximum output is
+28dBu.
This is where the funny plug that looks like a
Supersoaker squirtgun nozzle fits (6). Your 8•Bus
console should ONLY be powered by the appropriate
Mackie 8•Bus Power Supply.
This concludes our guided tour of the 8•Bus
console’s controls and connections. Now it’s time for
hands-on use!
EXPANDER PORT
Need 24 more channels without buying a
completely new board? Mackie has made provi-
sions for a 24-channel Expander Console, the
(24•E), which can be plugged into the Ex-
pander Port (5). Basically, it’s 24 more channel
strips with inputs that feed your existing 8•Bus
console submasters. Consult your Mackie dealer
or the factory for more information.
18
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THIS PAGE LEFT BLANK INTENTIONALLY!
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SECTION 3: GENERAL INFORMATION
Do you need to read this section at all?
Headroom
Many of you reading this manual have a lot
of experience in using large mixing consoles.
For you battle-scarred pros, Section 2 and the
Block Diagram will probably be all that you
need to look at.
Every electronic circuit also has a point of
overload — a clip point, where the voltage sim-
ply cannot rise any higher, no matter what the
input signal and your fader move would like.
This overload, or clipping, will show up as tooth-
Then there are those of you who have worked grinding distortion.
GENERAL
INFO
extensively with smaller mixers such as our
CR-1604 — but who have less experience with
a larger, multi-bus console with lots of gazintas
and gozoutas. For you, we recommend at least
adding Section 4 (Recording) and/or Section 5
(PA) to your reading list. These chapters cover
some of the more unusual or less familiar fea-
tures of your new 8•Bus console.
Somewhere between the noise and the clip-
ping is an optimum level for your signal: high
enough above the noise floor to render the hiss
inaudible, and far enough below the distortion
point to allow range for loud peaks of music to
pass without clipping. This safe operating zone
might be called operating level or nominal level
or zero or perhaps line level. The range between
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
quantities of our glib prose. For you, we have
provided this short section that discusses the ba-
sic concepts and procedures used in recording,
mixing and sound reinforcement work. If you
can make some sense of it, you’re ready for the
next two sections, which relate these concepts
to actually configuring and using a Mackie
8•Bus Series mixing console.
room, which defines just how tall your signal can
be without having to duck for the rafters.
Your mission as a designated Master of the Lev-
els is to get the low-level signals up to line-level as
soon as possible and to keep them there as much
as possible. But don’t turn them up too loud.
Unity Gain
On a Mackie 8•Bus console, the easy way to
do this is to set all the level controls according
to the Sensitivity Adjustment procedure de-
tailed on page 1.
Also, if the system Block Diagram does not
look as familiar to you as the menu at McD’s,
spend a little time in this section.
GENERAL INFORMATION
Metering
Here is a primer covering a few important
ideas you should be on good terms with before
you sit down to a mixing console.
When the meters read 0dB, the level will ac-
tually be +4dBu at the outputs (or –10dBV at
the submaster outputs, if you’ve engaged their
+4/–10 switches). Don’t pay too much attention
to the meters. A meter is an aid, a window look-
ing onto part of the dynamic range of your signal,
LEVELS
Microphones have very
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.
Since it’s easy to degrade the signal by not han-
always very low, you may not be getting the best
noise figures you can. If the meter LEDs are
dling levels well, and since it’s 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.
Remember, the top yellow LED of the meter
(+10) represents an audio level of +14dBu, and
the Mackie 8•Bus doesn’t clip until +28dBu.
Even banging the meters hard, you still have
around 14dB of headroom for your peaks. (The
L/R meters have an additional red LED segment
to show clipping at +28dBu.). There are not
Noise
Every electronic circuit produces noise or
hiss or hash or buzz, and any noise present on
the input of an electronic circuit will be faith-
fully passed through. Turn it up high enough,
and you will hear the noise.
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many recorders, and no amplifiers, that can tol-
erate such high signal levels. Therefore, it’s best
that the red LEDs never light up.
ample, or just the tom mics on the drums.
The solo circuits are designed not to inter-
rupt the recording process. The solo bus signal
is sent directly to the control-room monitors
But, if your music is sounding good, don’t
worry if you’re in the yellow a lot or if some parts without affecting any of the inputs, outputs or
of the track hardly read at all. You’ll quickly get a recording buses.
feel for what works for you, when you can get
away with really smacking the tape or the elec-
tronics too much.
When you are mixing or monitoring with re-
verb, remember to not only solo the channel
you’d like to hear, but also the AUX Return carry-
ing your reverb. Otherwise, you will hear the
channel soloed dry, without its echo.
BUSES
GENERAL
INFO
More often than not, the goal in a mixing con-
sole is to mix two or more inputs into one
output. Like a coach who has two or more play-
ers to get to the same ballgame, console
designers use a bus. Even Webster’s Unabridged
Dictionary agrees, defining the word bus in elec-
tronics as “a conductor serving as a common
connector for three or more circuits.”
EQ
Everybody knows what EQ is, but just in case
you’d like a refresher, we’ll put in a few para-
graphs here.
Equalization (EQ) refers to purposely chang-
ing the frequency response of a circuit,
sometimes to correct for previous unequal re-
sponse (hence the term, equalization), and more
often to add or subtract level at certain frequen-
The Mackie 8•Bus Series has, in fact, many
more than eight buses. The eight memorialized
in the name are important, but there are also six cies for a pleasing effect.
AUXiliary buses, a pair of L/R Mix buses, the al-
ternate pair of MIX-B buses, and a pair of Solo
buses. We will try to be clear just what bus we
are talking about when we do talk about buses.
Bass and treble controls on your stereo are
EQ; so are the devices called parametrics and
graphics and notch filters.
A lot of how we refer to equalization has to do
with what a graph of the frequency response
would look like. A flat response (no EQ) is a
SENDS AND RETURNS
Sends are outputs, and returns are inputs. So straight line; a peak looks like a hill, a dip is a
why don’t we call them outputs and inputs?
Well, actually, the terms send and return can
mean many things, but the way they are gener-
valley, a notch is a really skinny valley, and a
shelf looks like a plateau (or a
shelf). The slope is the grade
ally used in mixing console parlance is to refer to of the hill on the graph. For in-
sends, which tap off a little of a signal to send to stance, if you lived in Texas,
3 HI MID VARIABLES
some effects device (like a reverberation unit),
and returns, which function to return that reverb
back into the mix.
you would set y’all’s EQs flat.
Graphic equalizers have
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
cue mix. For that matter, sends can be used as
additional mix buses, if needed.
In the same way, if you don’t need them for
reverb or effects, returns can be used as addi-
tional inputs to your mix.
right on the front panel. Para-
metric EQs let you vary several
EQ parameters at once. A fil-
ter is simply a form of
equalizer that allows certain
frequencies through unmo-
lested and either reduces
other frequencies or elimi-
nates them entirely.
HI MID Variable 1: Boost/Cut
SOLO
Solo is a standard console function that al-
lows you to listen to one or more sources all by
themselves (soloed).
The equalizer on the 8•Bus
Series combines several differ-
HI MID Variable 2: Bandwidth
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
channel’s -20/OL LEDs. See Section 2 “–20 and
OL LEDs” for more details. When soloing more
than one source, you can listen to the blend of
just part of your mix: only the sopranos, for ex-
The HI MID EQ section is a
fully parametric equalizer.
This means all the significant
parameters can be varied, as
you can see in Figure 1. The
HI MID Variable 3: Band Center
Fig.1
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boost or cut of this section,
through a range of 15dB, is
detent if you are unfamiliar with the bandwidth
feature. This setting will give you a semi-para-
2 LO MID VARIABLES
set with the top knob. The cen- metric type of EQ.
ter frequency is dialed in with
the middle knob, and can be
set anywhere between 500Hz
and 18kHz. Finally, the band-
width of the bell-shaped
The 8•Bus console’s set of three HI-MID con-
trols (boost/cut, frequency center and
bandwidth) is VERY powerful in its effects.
Rarely if ever will you need more than a few dB
of boost and cut or, as noted above, will you want
to stray from the NORMAL (2 octave) bandwidth
LO MID Variable 1: Boost/Cut
response curve around the
selected frequency (also some- until you gain some experience recording and
what inaccurately referred to
as a ratio known as Q) can be
selected with the lower knob.
mixing.
The LO MID EQ section is called a semi-para-
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
octave. Leave it at the center
to 3kHz and the bandwidth is fixed at 2 octaves.
LO MID Variable 2: Band Center
Fig. 2
Male XLR
2
COMMON
HOT
SLEEVE
SLEEVE
TIP
TIP
1
3
COLD
TIP
SLEEVE
Female XLR
COMMON
1
Tip/Sleeve (TS) Plug
3
COLD
2
HOT
COMMON
COLD
1
3
2
RING SLEEVE
TIP
SLEEVE RING TIP
HOT
Balanced XLR Connectors
RING
TIP
SLEEVE TIP SLEEVE TIP
SLEEVE
Tip/Ring/Sleeve (TRS) Plug
RCA Plug used on some outboard gear
“Y” insert cable for connecting
signal processors’ inputs and
outputs to 8•Bus insert
RING (IN)
RING
TIP
TIP (RETURN)
(RETURN)
(SEND)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Figure 4: Common Connectors
22
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(Figure 5). When FLIP is up, the channel is fed
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.
1 LO & HI VARIABLE
(HI shown)
In the down position, the TAPE return (the
output signal from the corresponding track of
your recorder) is fed to the channel fader (Fig-
ure 6). When FLIP is down, the channel input is
TAPE and MIX-B receives MIC/LINE. That en-
ables you to use each channel’s MIC/LINE input
for another input during mix down. Thus down
is the normal position for mixing.
Only LO/HI Variable: Boost/Cut
Fig. 3
GENERAL
INFO
The LO and HI sections of the EQ are shelv-
ing equalizers, with a family of curves shown in
Figure 3. As you can see, shelving EQs lift or
lower the entire range of frequencies above or
below a certain point. Most tone controls on
stereos are shelving EQs, often set at 100Hz for
the bass and 10kHz for the treble. The LO EQ on
the 8•Bus is at 80Hz and the HI is at 12kHz.
The EQ IN/OUT SWITCH will completely re-
move the EQ circuit from the channels signal
path when disengaged, and activate the EQ
when engaged.
When the EQ section is split between the
channel strip and Mix B, the EQ IN/OUT switch
will only shut off the HI MID and LO MID bands.
The LOW CUT filter (also known as a high-
pass filter) reduces everything below about
100Hz. 75Hz is -3dB, and the lower the
For PA, leave the FLIP switch up.
dB
10
5
1-2
U
3-4
5
5-6
Multi-track Deck
(RECORD)
10
7- 8
20
L/R
MIX
Mic
or
30
24
CHANNEL
40
50
60
line
input
MIC/LINE
O
O
LINE IN
Channel
Input
Channel
Fader
Control Room
Monitors
Speaker
Channel
Channel
Section Mix B/Monitor Tape Input
U
TAPE IN
24
PAN
L/R MIX
O O
+15
L
R
CNTRL RM
U
U
MIX-B
TAPE
LEVEL
O
O
+15
O
O
+15
STUDIO
HI/LO EQ
MIX-B
MONITOR
SHIFT
frequency, the greater the attenuation. The slope
of the filter is 18dB/octave.
OUTPUT
INPUT
EXTERNAL
SOURCE
MONO
SOURCE
SPEAKERS
Figure 5: FLIP/MIX-B signal path during tracking (“flip” switch up)
Connectors
If you’ve used a Mackie CR-1604 or
MicroSeries 1202, you’re familiar with the vari-
ous kinds of connectors used with a mixing
board. If you’re new to this whole thing, review
the drawings in Figure 4 on Page 22. They’re also
described in detail in Appendix A on page
48 of this manual.
dB
10
5
1-2
U
3-4
5
5-6
10
7- 8
20
L/R
MIX
30
40
50
60
TAPE IN
24
A BIT MORE ON MIX-B/FLIP
O
O
In Section 2, we described FLIP’s use
during tracking and mixdown. Before you
actually get involved with recording, we’d
like to spring a couple of block diagrams
on you that may clarify things further.
The switch labeled FLIP selects the
Multi-track Deck
(PLAYBACK)
Channel
Fader
Mixdown Deck
Channel
Tape Input
Channel
Input
Channel
Mix B/Monitor
PAN
L
R
U
LEVEL
O O
+15
24
CHANNEL
HI/LO EQ
MIX-B
input that is actually fed into the channel
fader (and the MIX-B control).
MONITOR
SHIFT
Additional mic or line input
OUTPUT
INPUT
MIC/LINE
SOURCE
LINE IN
As the label indicates, the MIC/LINE input
(after Mic/Line preamp) is fed to the channel
fader when the FLIP switch is in the up position
Figure 6: FLIP/MIX-B signal path during mixdown
showing additional input (“flip” switch down)
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SECTION 4:
RECORDING WITH THE MACKIE 8•BUS CONSOLE
RECORDING OVERVIEW
The recording process can be as simple as one
microphone recorded on a monaural tape re-
corder. Not much advice needed for that.
white paper tape alongside each fader slot (bus
faders too, if you need them). Then you can mark
your place as you rehearse your fader moves.
RECORDING AND OVERDUBBING
But since you’ve bought such a large mixing
console, we expect you’ll occasionally be doing
pretty big sessions. This section will describe at
least one way of approaching a large session—
for example, a big drum set, bass, guitar, piano,
scratch vocal and horns, with background vocals
and synthesizer overdubs. Let’s assume there is a
16-track recorder already patched in to the first
16 Tape In and the 16 Tape Out jacks on the
8•Bus Console. There is a set of Master Track-
ing, Overdub and Mixdown drawings farther on
in this section for general reference.
Using Buses
If you have to combine two or more inputs
into one output (two trumpets on one track, five
drum mics panned across a pair of tracks), you
must assign the inputs to a common bus or pair
of buses.
If you have only one source going to one tape
track, you have a choice: you can assign the chan-
nel to the bus feeding that track, or you can patch
the tape track into the channel’s Direct Out.
Rationale for using a bus:
RECORDING
SETUP
• It’s there, it’s easy, it sounds great.
• You meet interesting people on the bus.
Rationale for using a Direct Out:
• You’ve already assigned all eight of your buses
to other duties.
Okay, now let’s get ready for your session.
Make a diagram of your studio setup showing
mic positioning. Then assign an input channel to
each mic.
Trying to make your microphone-to-input layout
sensible now will avoid confusion later. Group
similar instruments together. If there is a left-to-
right pattern to the mics (like drums mics or a
vocal group), keep the same left-to-right sequence
on the console. Plan your basic track assignments
the same way. It’s very confusing to have inputs
randomly strewn across a mixing console.
Now, normal your console (also called “zero-
ing”). This means check the position of every
switch and every knob to be sure they are in the
normal position. Your normal may be different from
someone else’s, but generally it means all switches
off or up, all knobs either all the way down or at
their Unity detent. If you are working in a certain
mode, say, for example, all AUX 3-4 SHIFT switches
in TAPE, this is the time to set them all.
Lay a piece of 1/2" or 3/4" white paper tape
across the top of the input faders and label all your
inputs. (By the way, avoid masking tape. It will
slime your console. Take the time to go to an art
supply store or a recording supply store and get
some better-quality “low tack” tape.)
Since your multitrack returns will be coming
into the MIX-B inputs on some of the same input
strips, you might want to divide your label into
multitrack track labeling and input labeling. See
TRACKING drawings 1&2 on pages 26 and 27.
If you have any careful submixing to do during
the recording, you might want to lay strips of 1/4"
• You are a purist and you think you can
hear the additional circuitry used in a bus.
Monitoring
The most straightforward way to monitor dur-
ing a recording or overdubbing session is by
listening to the output of the recorder, played
through MIX-B. Properly configured, your re-
corder will automatically switch between source
and playback as you put the deck into stop, play,
fast wind, record and so on. That way, you’re al-
ways hearing your instruments after they travel
through the multitrack deck, regardless of
whether or not the tape is rolling.
MIX-B allows you to set up a custom mix of
the tape tracks, independent of your recording
levels. You can set level, pan, reverb and even EQ
in your monitor mix while you record. You can
even patch a cassette recording into the outputs
of MIX-B for a rough mix of the session.
Both the FLIP and MIX-B SOURCE buttons
should be in their up positions. This connects
the Tape In amplifier to the MIX-B level control,
and MIX-B will monitor the recording machine.
Cue Mix
Initially, as you are setting up, set the Phones
source to the MIX-B selection. This way, the mu-
sicians will at least have something to listen to
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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
want one or even two custom mixes. The bass
player and drummer may want bass and drums
featured very loud in their cans, which may be
killing the vocalist. Likely, as soon as you are
close, you will be required to come up with some
new cue feeds for the players.
AUXiliary Sends 3-4 and 5-6 are designed to
set up two different cue mixes from the same
source as MIX-B, which should be the signal
from your recorder. Simply push the SOURCE
button by Sends 3-4-5-6 down to the MIX-B posi-
tion, and push the PRE button down (to bypass
the MIX-B level control). With the system config-
ured like this, you will be able to send a custom
mix from each tape track to either Sends 3-4 or
Sends 5-6, depending on the position of the AUX
SHIFT switch. It’s like having an extra Mix B
section.
FOLLOW THIS LEVEL-SETTING
PROCEDURE FOR EACH
CHANNEL IN USE:
1. I Assign signal to channel fader:
• If channel will be used with a micro-
phone, MIC/LINE switch should be up &
FLIP switch should be up.
• If channel will be used with line input,
MIC/LINE switch should be down &
FLIP switch should be up.
• If channel will be used with a tape input,
the FLIP switch should be down.
2. Set channel strip controls as follows:
RECORDING
I TRIM pot all the way counterclockwise
(+4dB)
I AUX SEND controls all the way counter-
clockwise (off)
I EQ switch up
I LOW-CUT switch either on or off
(on recommended for mic inputs)
I Channel fader at UNITY
I SOLO switch down
Sends 3 and 5 are set to feed the left head-
phone, and 4 and 6 the right headphone. An
equal setting on both knobs will place the sound
in the center of the image.
Additional Note: By using modification V (Aux
1/2 source mod, page 55) an additional 2 Aux
sends can be used as cue mixes from Mix-B
(tape returns). This would allow all 6 Aux sends
to access Mix-B during tracking or overdubbing
for cue mixes as well as effects.
3. I Make appropriate “noise” into the channel
input. For example, have a performer play/
sing/strike something or someone, etc. at
the level they’re going to record or perform.
Don’t just play a single sustained note,
but rather, jam away as you would be during
recording or performance. If the channel is
being used for a tape input during mixdown,
roll an already-recorded track from your
recorder.
4. The channel’s –20dB LED should light. The L/R
main meters will show the actual internal
operating level of soloed signals. Now you will
optimize levels.
Wet or Dry Monitor?
5. I • For mic or line inputs, adjust the TRIM
control clockwise to get peaks that
Usually, you will not record wet (with reverb)
onto your multitrack master. You can’t undo it
later. However, it is nice to hear a little echo on
the tracks as you are working, and with the 8•Bus
Series, you have the option of wet monitoring.
Since you are using MIX-B as your monitor sub-
mix, you should derive the reverb send from the
same source. When the SOURCE button next to
Sends 3/4/5/6 is depressed but the PRE button is
not, the sends are connected after the MIX-B level
control and make great wet monitor reverb sends.
Once you have your sends happening, you can
assign the return from your reverb into the head-
phone cues by using Stereo Returns 3 or 4, which
can directly assign into the phones. (Even if you
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.)
regularly hit 0dB on the L/R meters.
OR
I • For tape inputs, set the +4/–10 switch on
the console back panel to its in position
(–10) if the signalpeaks are below –10dB
on the L/R main meters.
6. If desired (optional):
I Press the EQ switch in.
I Adjust the channel strip’s EQ to about what
you will be using during the session.
I Re-perform Step 5.
7. I Return the channel strip’s SOLO button to
its up position.
8. I Repeat Steps 1-7 on the next channel that is
being used.
Text continued on Page 28
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Mono Compressor
26
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
12
13
14
15
16
–10
–10
–10
–10
–10
N
N
N
N
N
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
U
U
U
U
U
U
U
U
U
3
4
3
4
3
4
3
4
3
4
3
4
5
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
12
CHANNEL
MIX-B
13
CHANNEL
MIX-B
14
CHANNEL
MIX-B
15
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
AUX SENDS
SOLO
STEREO AUX RETURNS
U
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
HI
HI
HI
HI
HI
MID
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
O O
NORMAL
BAND
NORMAL
BAND
NORMAL
NORMAL
BAND
NORMAL
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE
SUBGRPS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
WIDTH
WIDTH
WIDTH
OCTAVES
OCTAVES
OCTAVES
ASSIGN
1
1
1
1
1
3
3
3
3
3
12
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
MONITOR
SOLO
TALKBACK
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
U
10
7
HI
HI
HI
HI
HI
7
4
7
7
4
7
7
4
7
7
4
12k
12k
12k
12k
12k
4
4
4
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/oct
18dB/oct
18dB/oct
18dB/oct
18dB/oct
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
LEFT/RIGHT
MIX
12
13
14
15
16
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
5-6
7- 8
3-4
5-6
7- 8
3-4
5-6
7- 8
3-4
5-6
7- 8
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5-6
7- 8
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
27
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Getting reverb into the monitors is a little
more involved, since there is no return assign-
ment switch to MIX-B. You have three choices:
Overdub, Anyone?
See the OVERDUB drawings on page 30 and 31.
Once you’ve got your basic tracks down, take
a moment and log all your settings, right down to
headphone sends and outboard compressor
thresholds. You may be back next week doing it
all over again, and you won’t remember it all. It
seems some engineers use a camera for this
step, but our Polaroids never come out that well.
One easy way to do this is to copy the 8•Bus
panel layouts from the end of the manual and
mark your settings on them in color.
• Assign MIX-B to L/R Mix in the MIX-B master
section. Then, select L/R Mix as your only source
in the monitor section. Finally, use Stereo AUX
Returns 1-6 to bring the reverb into the L/R Mix
buses. Make sure that none of the channel L/R
switches are engaged. There is no disadvantage to
this patch, unless you are already using the L/R
Mix buses for some other function.
• Patch the returns into unused tape returns, using
the Tape In jacks on the rear of the console. Then
route them into MIX-B, just as if they were
additional tape tracks.
Now, normal all the channel inputs and EQs
and sends—anything that does not affect your
MIX-B monitor and cue submix. Do not change
the FLIP switch settings yet.
• Patch the returns into unused channel strips,
using the Line In jacks. Then you can route
the reverb anywhere your heart desires.
RECORDING
Then, pick a convenient input channel or two
and use them as your input for overdubs. As you
record on different tracks, just reassign the bus
outputs from the channels, no sweat. Remember,
with the triple busing feature, explained in Sec-
tion 2 (“Submaster/Tape Outputs”), you won’t
have to repatch anything to feed up to a 24-track
recorder. And your monitor mix and cue mix
haven’t changed. At the end of the night, you can
run the monitor mix into a cassette or DAT and
take a rough mix home.
If you’re going to do your final mix right away,
you have another option during overdubbing.
First, pick an input channel for your overdub
mics beyond the number of tape tracks you have.
If you have a 16-Track, choose channels 17 and
18. These will be your inputs, which you will
then assign to open tape tracks for the overdubs.
Now, push the FLIP buttons on channels 1-16.
This will bring the Tape Inputs into the main
channel faders, and you can begin working on
your mix while you monitor on the L/R Bus.
Headphones can still be fed via the AUX Send of
your choice, or by assigning monitor to the
phones. When you’re done overdubbing, your mix
is ready.
Let’s Record!
Here’s one way to set the board up (another
option is shown in the hook-up drawings…either
works just fine):
Kick Drum ............ to Channel 1 ......... Direct Out to Track 1
Snare Drum .......... to Channel 2 ........... Direct Out to Track 2
Cymbals Left ......... to Channel 3 ........... Bus 3 to Track 3
Cymbals Right ....... to Channel 4 ........... Bus 4 to Track 4
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
Tom 3 ..................... to Channel 8 ........... panned between Buses 3 & 4 to Tracks 3 & 4
Bass Amp ............... to Channel 9 ........... Bus 5 to Track 5
Bass Direct ............ to Channel 10 ......... Bus 5 to Track 5
Scratch Vocal ......... to Channel 11 ......... Direct Out to Track 11
Guitar near ........... to Channel 12 ......... Bus 6 to Track 6
Guitar far .............. to Channel 13 ......... Bus 6 to Track 6
Piano L .................. to Channel 14 ......... Bus 7 to Track 7
Piano R .................. to Channel 15 ......... Bus 8 to Track 8
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
Flugelhorn ............. to Channel 18 ......... panned between Buses 1 & 2 to tracks 9 & 10
Trumpet ................. to Channel 19 ......... panned between Buses 1 & 2 to tracks 9 & 10
Your monitoring and cue signals come from
the MIX-B inputs corresponding to the tape
tracks:
Kick .................. Track 1 .............. Tape Return 1 ............ MIX-B
Snare ................ Track 2 .............. Tape Return 2 ............ MIX-B
Drums L ........... Track 3 .............. Tape Return 3 ............ MIX-B
Drums R .......... Track 4 .............. Tape Return 4 ............ MIX-B
Bass .................. Track 5 .............. Tape Return 5 ............ MIX-B
Guitar .............. Track 6 .............. Tape Return 6 ............ MIX-B
Piano L ............ Track 7 .............. Tape Return 7 ............ MIX-B
Piano R ............ Track 8 .............. Tape Return 8 ............ MIX-B
Horns L ............ Track 9 .............. Tape Return 9 ............ MIX-B
Horns R ............ Track 10 ............ Tape Return 10 .......... MIX-B
Scratch Vocal ... Track 11 ............ Tape Return 11 .......... MIX-B
MIXING OVERVIEW
See the MIXDOWN drawings on pages 32 and 33.
Recording and overdubbing require care from
the recording engineer, but the focus really has
to be on the performances. It’s important to get a
good sound, but it’s more important to keep the
musicians really in it, keep the pace up, be ready
to snag that killer track when it happens.
Good mixing, however, focuses solely on the
engineer and requires an emphasis on precision
and meticulous setup. Creatively, you must blend
the tracks so they at least sound like music
again; technically, you must take into account
At this point, your recording should pretty
well take care of itself. Keep on top of the play-
ers: be sure they’re in tune, keep them tight.
You’ll have great tracks before midnight.
28
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the sound of home and car speakers, mono com-
patibility, human perception changes under
different listening conditions, matching similar
product in your market, not to mention tonal
and level balance between songs, and meeting
the criteria for tape and disc mastering.
There is a tendency for levels to creep upwards as
you add more and more tracks to your mix. One way
to keep a handle on this is to set the L/R master
fader a few dB above unity, and to set your initial
monitor levels pretty high. As you get closer and
closer to your final, you can ease the monitor levels
down and easeup the master fader to unity, which is
where it should be.
MIXING SETUP
Clean and align your mixing machine accord-
ing to the manufacturer’s instructions. If it’s a
If your multitrack tape machine will do it, put it in
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
mixdown.
out the song, maybe drums or the rhythm section.
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.
You’ll probably have to repatch some of your
tape returns to do this. Lay a strip of 1/2" white
jell. Don’t make any level marks on your fader
tapes yet, but as the mix comes together, try to
note which sections work without a lot of fader
RECORDING
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
each fader to mark levels.
part. Sometimes turning the Control Room Level
way down, so the mix is very quiet, will reveal
what sounds are clearly louder than others.
Now take a listen to your model on CD or DAT.
Make some adjustments in your mix to put it
Pick a Model
Get copies of music you’d like to approximate in
your mix, and patch the CD or DAT machine into the closer. When you think it’s 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 you’re 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
the fader strips. You’re getting close.
Consider Compression
You can mix an entire project without a lick of
compression; many engineers do. The dynamic
range of a CD can certainly handle it. But con-
sider: most people listen to what you mix under
less than ideal conditions. There is background
noise and road noise, and most people don’t
Listen to the model again. Start making more
marks for the moves. Repeat until it sounds like
a hit. Serves four adults.
Using External Processing
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
entire mix, can reduce the dynamic range a bit
and pull your mix together. Also, if you want to
simulate what your mix will sound like over the
airwaves, you can compresss the heck out of it,
like they do. They use very fancy compressors,
referred to as “serial devices,” used in series
with the signal path. All the signal goes into the
device, then out and back to the mixer’s signal path.
Reverb, echo, delay, aural excitement and
spatial enhancement are usually set up as send/
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
with the original, dry signal.
DOING THE MIX
Assuming the console has been normalled, all
you have to do to get ready to mix is to engage
the FLIP and L/R MIX switches (unless you are
using the submasters to group channels) on
each of the input channels and select L/R MIX
as your Monitor Source. Pull all the channel in-
put faders down.
Insert Devices
A compressor/limiter after EQ will compress
differently than one inserted before the EQ. A
compressor/limiter inserted before a master fader
will limit consistently, but one after the same
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
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Mono Compressor
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
12
13
14
15
16
–10
–10
–10
–10
–10
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
U
U
U
U
U
U
U
U
U
3
4
3
4
3
4
3
4
3
4
3
4
5
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
12
CHANNEL
MIX-B
13
CHANNEL
MIX-B
14
CHANNEL
MIX-B
15
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
U
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
HI
HI
HI
HI
HI
MID
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
LEVEL
LEVEL
STUDIO
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
BAND
O O
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
WIDTH
OCTAVES
ASSIGN
1
1
1
1
1
3
3
3
3
3
12
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
MONITOR
SOLO
TALKBACK
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
U
10
7
HI
HI
HI
HI
HI
7
4
7
4
7
4
7
4
7
4
7
4
7
4
12k
12k
12k
12k
12k
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
40
10
20
30
10
20
30
40
10
20
30
10
20
30
40
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/oct
18dB/oct
18dB/oct
18dB/oct
18dB/oct
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
PAN
PAN
PAN
PAN
PAN
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
LEFT/RIGHT
MIX
12
13
14
15
16
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
31
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Extra input during mixdown
Mono Compressor
Noise Gate
32
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
10
11
12
13
14
15
16
–10
–10
–10
–10
–10
–10
–10
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
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
5
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
U
U
6
6
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
10
11
CHANNEL
MIX-B
12
CHANNEL
MIX-B
13
CHANNEL
MIX-B
14
CHANNEL
MIX-B
15
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
U
CHANNEL
MIX-B
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
U
U
HI
HI
HI
HI
HI
HI
HI
MID
MID
MID
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
LEVEL
LEVEL
STUDIO
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
O O
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
ASSIGN
1
1
1
1
1
1
1
3
3
3
3
3
3
3
12
12
12
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
SOLO
TALKBACK
MONITOR
LO
LO
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
U
U
U
U
10
7
HI
HI
HI
HI
HI
HI
HI
7
4
7
4
7
4
7
7
4
7
7
4
12k
12k
12k
12k
12k
12k
12k
4
4
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
40
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
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
PAN
PAN
PAN
PAN
PAN
PAN
PAN
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
10
11
12
13
14
15
16
LEFT/RIGHT
MIX
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
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
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5-6
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
33
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Mono Compressor
34
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
12
13
14
15
16
–10
–10
–10
–10
–10
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
U
U
U
U
U
U
U
U
U
3
4
3
4
3
4
3
4
3
4
3
4
5
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
12
CHANNEL
MIX-B
13
CHANNEL
MIX-B
14
CHANNEL
MIX-B
15
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
U
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
HI
HI
HI
HI
HI
MID
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
O O
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
ASSIGN
1
1
1
1
1
3
3
3
3
3
12
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
MONITOR
SOLO
TALKBACK
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
U
10
7
HI
HI
HI
HI
HI
7
4
7
7
4
7
7
4
7
7
4
12k
12k
12k
12k
12k
4
4
4
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/oct
18dB/oct
18dB/oct
18dB/oct
18dB/oct
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
12
13
14
15
16
LEFT/RIGHT
MIX
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O
O O
O
O O
O
O O
O
O O
35
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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
on your reverb return. Be sure the AUX Send
feeding that reverb is turned fully down on the
channels being used as reverb returns. If you
don’t, every dog in the neighborhood will want to
hump your leg.)
• In a pre-EQ channel insert point (for one
channel only)
• In a sub-master bus insert point (for a
subgroup)
• In the L/R Mix insert point (to affect the
whole mix)
Using Subgroups
There will be many times during mixing that
you will want to set up subgroups within your
mix. A subgroup allows you use just one or two
(for stereo) faders on a larger group of tracks
(say, drums or horns or background vocals). This
makes for easier control (especially if you do not
have automation), and also allows you to patch
a single (or a matched pair for stereo) EQ or
compressor on the set of tracks.
Send / Return Devices
Since you’re not setting up custom phone cue-
ing while you’re mixing, you will normally have all
six AUXiliary sends available. Use a couple as your
primary reverb sends, perhaps one for a bright
plate and the second the same with a slap or pre-
delay. That leaves you four for special effects. You
can also use the MIX-B outputs or an unused 8-
track bus as additional sends. If you only need to
put the effect on one channel, you can use the
channel Direct Out as a send (and the effects in-
put level as the send level).
RECORDING
The Mackie 8•Bus console offers you several
options using subgroups, depending on the
situation.
• To assign channels to a subgroup during
mixing, first de-assign the channels you want
to subgroup from the L/R MIX. Then choose
the bus or pair of buses you’d like to use as a
subgroup and reassign the channels to that
subgroup. The channel pan controls the
selection of buses for a mono subgroup, and
the position between buses for a stereo
Lots of options at this point. Post-fader is al-
most always the preferred mode for reverb
sends. Keep the sends in post unless you don’t
want the reverb to follow the fader moves. If you
want the “wet” sound (lots of reverb), turn the
fader down a bit, and turn up the appropriate
AUX Send to compensate. Now you have less
“dry” signal and more “wet.” Dreamy!
subgroup. For example, if you want a mono
subgroup using Bus #1, select 1/2 assign and
pan those channels fully left. Now, in the
Assign area above the submaster faders,
select the combination of L MIX, R MIX and
MONO L+R switches that suit you. The L MIX
and R MIX switches are upstream of the
MONO L+R switches, and must be engaged to
make the Mono switches work. Compressors
or EQs can be inserted into the Submaster
Insert jacks at the top of the Output section.
Patch the output of the reverb units to the AUX
Return inputs, which offer level and pan controls,
and assign switches to put your effect where you
want it. Notice that each of the six returns has two
inputs, for a total of twelve. This allows you to send
and return to six stereo effects units and bring all
the reverbs and echoes back in.
Also note: There is no rule against sending on 3
and patching the returns into 5 and 6. If your re-
verb has stereo inputs, try feeding a mono signal,
using just one AUX Send, into its “mono” input.
Most reverbs are not true stereo, input-wise. You’ll
lose nothing and get back an AUX Send.
If you are using a mono effect or only one
channel of a stereo effect, using only the Left in-
put jack of a return will place the effect in the
center of your mix. If you use the Right jack, the
effect will be placed on the right side in your
mix. To put the effect on the left side only, patch
the return into the Left jack, and place an
unwired dummy plug into the Right jack. That
will defeat the left-goes-to-center normalling
and allow the signal to remain on the left in the
mix.
• Another option is to bypass the bus assign
switching above the 8•Bus masters and
instead patch the output of the bus(es) back
into the inputs of a channel fader or two.
Then assign those channels only to the L/R
MIX to reinsert the subgroup into the mix. If
you have enough input channels, this configu-
ration gives you console EQ and Sends on
your subgroup, which may be handy.
Finding More Inputs: MIX-B to L & R Buses
There are never enough tracks on your re-
corder, and there are never enough inputs on
your console. It’s always the case. Your unbridled
creativity will find ways to use up everything,
whether you are routing the vocals through a
As mentioned above, you can use the AUX Re-
turn inputs as additional inputs to the console if
you wish. You can also use channel input strips
36
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pair of Leslie speakers or keying a gated set of
reindeer bells with the snare signal.
Take a hint from the film mixers and set your
dialog or lead vocals to about 85dB/c at the mix-
The Mackie 8•Bus consoles can’t 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
inputs by using the MIX-B buses.
take a measurement to get a feel for how loud
85dB is. If you don’t, 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. Here’s
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
Input to the MIX-B circuitry, and that provides
your extra inputs. You can get an AUX Send for
This monitoring volume will keep you honest,
and keep your mixes balanced for playback.
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 you’re in this
Send 3/4/5/6 area, and you can SPLIT the EQ if
you need to.
line of work, but stay at the moderate 85dB/c
setting most of the time. You will save your hear-
ing and also make better mixes.
RECORDING
Check over in the MIX-B/MONITOR section
above the Sub meters and you’ll see the MIX-B
TO L/R MIX ASSIGN button, which will bring all
your MIX-B inputs back into the main mix. Voila!
Twice as many inputs!
A Word About Automation
There is an optional MIDI automated mixing
capability that will be available for the Mackie
8•Bus Series Consoles, so we won’t talk about
automated mixing here. That’s in the manual
Monitoring and Levels
Check your speakers and amplifiers to be sure that comes with the automation components.
that they’re balanced left-to-right and mounted
symmetrically to your mixing position. A 2dB
For those of you without automation, there is
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
inaccurately called phase). This is a basic thing
we all know about, but it’s amazing the times
we’ve found studio speakers (especially near-
field monitors, which are often plugged and
unplugged regularly) connected with opposing
polarity. You should train your ears to notice out-
of-polarity conditions instantly. It’s easy to hear
(to us it sounds like a combination of not hear-
ing enough bass and feeling like our eyes are
slightly crossed), and getting polarity right will
save you much grief in mixing.
Remember that you need to mix so that your
music or program sounds good on anybody’s sys-
tem. Be sure you have some real-world monitor
speakers in addition to the monitors you like so
well, and check back and forth frequently. See
Section 2 (“Studio Output”), for details on how
to use two sets of control room monitors. Check
at different monitoring levels, too. A mix that
sounds great loud will not necessarily sound
good at low volume. Listen at a barely audible
level from time to time. You should still be able
to hear the essential pieces of your mix.
• Use subgroups, discussed earlier.
• “Mult” tracks that need drastic EQ or reverb
changes to two channels, and alternate
between them with the MUTE switches.
(Multing means connecting one output to
two or more inputs by simply paralleling the
connections. Some patch bays have paralleled
mult strips available. You can also make mult
boxes or just use “Y” adapters. Note: Never
mult two or more outputs into one input.
That’s what mixers are for. Only mult one
output into two or more inputs. See Appendix
A: Connections.)
• Enlist several sets of hands.
• And last, most terrifying, but most powerful
and effective: edit between sections of your
mix. It would be wise to make two passes of
your mix before you chop up your only one.
If you’ve been wildly editing mixes for years
and years, you know what we’re talking about. If
not, learn to do it. Whether you do it digitally or
you use a razor blade, you can fix that tiny detail
in an otherwise perfect mix; you can mix a com-
plicated track in sections rather than like a
marathon; you can go from 200 instruments to a
single whispered vocal and back again in a heart-
beat; you can even fix a mix weeks later without
losing the original magic—you just remix the one
chorus that needs fixing and cut it in.
Also, check your stereo mixes in mono regu-
larly during your mix. Much television and radio
is still heard in mono, and your mix has to sound
its best both ways.
37
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THIS PAGE LEFT BLANK INTENTIONALLY!
38
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SECTION 5:
PA AND SOUND REINFORCEMENT APPLICATIONS
WITH THE MACKIE 8•BUS 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 isn’t.
By creating consoles JUST for recording and
other models JUST for PA, other companies com-
plicate the manufacturing process and reduce
their economies of scale.
FOLLOW THIS SENSITIV-
ITY ADJUSTMENT PROCE-
DURE FOR EACH CHANNEL
IN USE:
We designed the 8•Bus Series from the
ground up for both recording and PA sound rein-
forcement applications. If you have any doubt as
to the durability of your new console, just think
of how many smaller Mackie mixers have logged
literally millions of air miles on grueling tours
(and how many vintage Tapco mixers that Greg
Mackie designed are still around and in day-to-
day use).
1. I Assign signal to channel fader:
• If channel will be used with a micro-
phone, MIC/LINE switch should be up &
FLIP switch should be up.
• If channel will be used with line input,
MIC/LINE switch should be down &
FLIP switch should be up.
PA
&
SR
2. Set channel strip controls as follows:
I TRIM pot all the way counterclockwise
From a features standpoint, Mackie 8•Bus Se-
ries consoles are easy to configure for public
address and sound reinforcement applications,
whether you are mixing the house, stage monitors
or both at once. Use the L/R main mix buses and
your main L/R outputs as your main signal path.
If you want a headphone cue mix, either
patch the Control Room outputs to a suitable
headphone amplifier, or select MONITOR as the
source for Phones 1 or Phones 2. This will allow
you to listen to any source you can select for the
Control Room. You can also use the solo buses as
headphone cue. If you prefer, you can modify the
solo circuits for PFL (Pre-Fade Listen).
(+4dB)
I AUX SEND controls all the way counter-
clockwise (off)
I EQ switch up
I LOW-CUT switch either on or off
(on recommended for mic inputs)
I Channel fader at UNITY
I PAN pot hard left or right
I SOLO switch down
3. I Make appropriate “noise” into the channel
input. For example, have a performer play/
sing/strike something or someone, etc. at
the level they’re going to record or perform.
Don’t just play a single sustained note,
but rather, jam away as you would be during
recording or performance.
4. The channel’s –20dB LED should light. The L/R
main meters will show the actual internal
operating level of soloed signals. Now you will
optimize levels.
SETUP
Refer to the STEREO LIVE MIX drawings on
page 42 and 43.
5. I Adjust the TRIM control clockwise to get
peaks that regularly hit 0dB on the L/R
meters.
You should normally use the L/R Mix buses as
your Main or House feed. Patch out from the L/R
outputs (peferbly the balanced XLR outputs)
into the input to your amp stack (usually your
House graphic equalizer).
6. If desired (optional):
I Press the EQ switch in.
I Adjust the channel strip’s EQ to about what
you will be using during the session.
Any of the AUX buses can be used to feed a
stage monitor mix, but AUX Send 1 and 2 are
balanced, so they would be the best choice for
several different stage monitor mixes. Set the
AUX Sends in each channel to PRE and patch the
AUX Send outputs to the appropriate amplifiers.
If you need to provide a simultaneous mix for
a stereo recording, use the MIX-B buses as
described in MAKING A SIMULTANEOUS
I Re-perform Step 5.
7. I Return the channel strip’s SOLO button to
its up position, and set the PAN pot back
where you found it.
8. I Repeat Steps 1-7 on the next channel that is
being used.
RECORDING.
Text continued on Page 44
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Mono Compressor
Noise Gate
40
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
13
14
15
16
–10
–10
–10
–10
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
U
U
U
U
U
U
U
U
3
4
3
4
3
4
3
4
3
4
5
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
13
14
15
16
CHANNEL
SOLO
SOLO
CHANNEL
CHANNEL
CHANNEL
AUX SENDS
STEREO AUX RETURNS
U
MIX-B
MIX-B
MIX-B
MIX-B
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
HI
HI
HI
HI
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
NORMAL
NORMAL
NORMAL
NORMAL
BAND
O O
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
WIDTH
OCTAVES
ASSIGN
1
1
1
1
3
3
3
3
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
MONITOR
SOLO
TALKBACK
LO
LO
LO
LO
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
10
7
HI
HI
HI
HI
7
4
7
7
4
7
7
4
7
7
4
12k
12k
12k
12k
4
4
4
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
18dB/oct
18dB/oct
18dB/oct
18dB/oct
LOW CUT
LOW CUT
LOW CUT
LOW CUT
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
LEFT/RIGHT
MIX
13
14
15
16
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
7- 8
5-6
7- 8
5-6
7- 8
5-6
7- 8
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
41
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Mono Compressor
42
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CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
11
12
13
14
15
16
–10
–10
–10
–10
–10
–10
16x8x2 8-BUS MIXING CONSOLE
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
POWER
U
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
U
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O
O
+20
L
L
R
R
ASSIGN
U
U
U
U
U
U
U
U
5-6
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
BALANCE
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
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
6
3
4
5
6
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
2
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+20
O
O
+20
ASSIGN
U
U
U
U
U
U
U
U
U
U
6
6
6
6
6
6
PHONES
1
PHONES
2
L/R MIX
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
+20
O
O
+20
ASSIGN
AUX
AUX
AUX
AUX
AUX
AUX
LEVEL
LEVEL
LEVEL
LEVEL
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
11
CHANNEL
MIX-B
12
CHANNEL
MIX-B
14
CHANNEL
MIX-B
13
CHANNEL
MIX-B
15
CHANNEL
MIX-B
16
CHANNEL
MIX-B
SOLO
STEREO AUX RETURNS
U
AUX SENDS
SOLO
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
U
HI
HI
HI
HI
HI
HI
MID
MID
MID
MID
MID
MID
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
AUX SEND 1
AUX SEND 2
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
O
O
O
O
O
O
O
O
O
O
O
O
+15
+15
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
STUDIO
LEVEL
LEVEL
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
MIX-B
2-TK
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
RUDE
SOLO LITE
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
O O
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
TAPE SUB
MASTERS
CNTRL RM
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
BAND
WIDTH
OCTAVES
ASSIGN
1
1
1
1
1
1
3
3
3
3
3
3
12
12
12
12
12
12
EXTERNAL
PHONES
&
STUDIO
U
U
U
U
U
U
MIX B
MONITOR
PHONES 1
PHONES 2
TALKBACK
MONITOR
SOLO
LO
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
MID
EXTERNAL
SOURCE
EXTERNAL
SOURCE
MONO
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
SOURCE
220
350
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
+
22
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
+
10
+
10
+
10
+
10
+
10
+
10
+
10
U
U
U
U
U
U
10
7
HI
HI
HI
HI
HI
HI
7
4
7
4
7
4
7
7
4
7
7
4
12k
12k
12k
12k
12k
12k
4
4
4
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
2
2
2
2
2
2
2
2
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
4
4
4
4
4
4
4
4
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
7
7
7
7
7
7
7
7
10
20
30
10
20
30
40
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/oct
18dB/oct
18dB/oct
18dB/oct
18dB/oct
18dB/oct
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
PAN
PAN
PAN
PAN
PAN
PAN
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
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
OR SOLO LEVEL
O O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
O
O
+15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
SPLIT EQ
SOURCE
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
FLIP SW
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
L
R
L
R
L
R
L
R
L
R
L
R
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
PAN
PAN
PAN
PAN
PAN
PAN
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
11
12
13
14
15
16
LEFT/R IGHT
MIX
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
dB
dB
dB
10
dB
dB
dB
dB
dB
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
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
1-2
3-4
5-6
7- 8
U
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
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
MIX
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
40
50
80
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
43
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HOUSE AND MONITOR MIX TOGETHER
It’s a big board, but it’s the only one you own.
So you find yourself mixing house and monitors
all from the same panel.
Piece of cake.
Refer to the drawings on pages 42 and 43.
MIX-B to the rescue! L/R Mix is your house mix,
you will use the AUX buses for stage monitor mix,
and MIX-B will provide a stereo recording feed.
Simply depress each of the MIX-B SOURCE
switches to CHANNEL, patch the MIX-B outputs
into the recorder inputs and set up your recording
mix with the MIX-B level controls. To monitor,
select MIX-B on the Phones output you’re using
and route the output of the recorder back into
EXTERNAL to check playback.
It’s true, there are no meters on the MIX-B
buses. Try using the recorder meters. If you can’t
see them from where you sit, there are a couple
of patches you can try to get metering:
• Since you’re not using the CONTROL RM or
STUDIO outputs, you can use the MONITOR
section for metering only. Simply engage only
the Mix-B Switch in that section.
First, let’s take a moment and set everything
up sensibly. Just like in a recording session, it’s
good to group your inputs and sub-mix buses by
instruments, stage position or whatever else
suits you. Try to keep the drum mics next to
each other, the vocals together and so on. Label
your cables, color-code your windscreens, lay
tape across the arm rest, make a cheat sheet,
iron your shorts, give yourself a break. It can be
confusing enough mixing a big show without
wondering which channel is which.
Using AUX Send-Return loops and inserting
outboard gear is the same as when recording,
unless you want to use the AUX Sends as inde-
pendent cue mixes, by engaging the PRE switch
for those AUX Sends.
PA
&
SR
Subgroups can be very helpful in Sound Rein-
forcement (SR) work. Remember, when you
assign a channel to a subgroup, de-assign that
channel from the L/R Mix.
• If you have two free submaster buses, patch
the MIX-B buses into the submaster insert
point. (Push the 1/4" plug only halfway in to
the Insert Jack, to the first ‘click.’ See
Appendix A: “Connections” for details.) Set
the submaster faders to –6dB to adjust for the
insert point gain difference. Now you will
have MIX-B levels showing on those two
submaster meters, and you can use the
SUBMASTER OUTPUTS as feeds to your
recorder.
• If you have the optional meter bridge fitted
and you have two extra inputs, patch the
output of MIX-B into the open channels
(either Line In or Tape In, depending on how
you have set the global source switch on the
meter bridge), set the levels at unity and
watch those two channel meters for recording
levels. You can now use the two channel’s
DIRECT OUTS as feeds to your recorder.
Make sure all the channel bus and AUX
assign switches and controls are off, so you
don’t accidentally assign your signal back into
the mix. Also, this way you could add a little
EQ or compression via the channel inserts.
Headphones
If you like to check things out in your phones,
and especially if you want to use the 8•Bus solo
or (modified) PFL functions as a cue circuit, set
your phones up like this:
• Be sure the MONITOR SOURCE switch is set
to what you want to listen to (usually L/R Mix,
your House feed). You can keep the two
Monitor LEVEL controls turned down,
though, because you are not feeding amplifi-
ers from the Control Room or Studio outputs.
• Plug your phones into one of the two
Phones output jacks; let’s say Phones 1.
Now select MONITOR on the PHONES 1
SOURCE switch. That should give you L/R
Mix bus plus solo. See, the solo bus only
feeds the Control Room and Studio Speak-
ers circuits, so we had to poke a few
buttons to make it work.
MAKING A SIMULTANEOUS RECORDING
• In either of the above cases, you may want
to keep the extra circuitry out of your
recording signal path. If so, just mult the
MIX-B outputs to both your recorder and to
the patch point for metering.
You’re all set up, ready to go, when the band’s
manager comes up to you with a DAT machine
and goes “The producer wants us to send him a
recording of tonight’s gig,” and you go, “I’ll patch
it in to the house mix,” and he goes, “No, I’d
rather get a special mix just for the tape,” and
you roll your eyes and go, “You should really get
a remote truck,” and he rolls his eyes and goes,
“Here’s the tape. Make it good and we might
hire you next time.”
HOUSE MIX ONLY or MONITOR MIX
ONLY
Much easier than both at once, but requires
two mixers. Simply split the mics, set one mixer
up for house (on the L/R Mix buses, as above)
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and the other one up for stage monitor. If you
need to do some combination of house/recorder
feed or vocal/drum/keyboard monitors, divide
the functions up between L/R Mix, AUX buses
and MIX-B buses as described above.
FINDING MORE INPUTS
You bought a 32-channel mixer and you still
don’t have enough inputs. Well, before you go to
the bank again, remember that the Mackie
8•Bus Series has some options for you:
• You can get up to 32 additional line inputs using
the Tape In to MIX-B path. You can even split
the EQ and Aux Buses to the MIX-B inputs if
you want. Then assign Mix-B to L/R Mix.
• Any unused AUX returns (there are 12
inputs) can be used as additional line inputs.
• In a pinch, you can use the eight Submaster’s
inserts providing the sub is currently unused
(no channels assigned to it). Use a 1/4” TS
cable and plug in only to the first click. Signals
entering here will be kicked up by +6dB.
Mic Splitters
If you are using one mixing console for your
main or house mix and another for stage moni-
tors, the best way to distribute the microphone
signals to both consoles is by using a good quality
mic splitter box. Splitters use transformers spe-
cially designed to split the signal and keep the
impedance match correct while rejecting noise
and preventing ground loops. You can get split-
ters with as many input channels as you need,
each with from two to five outputs for each mic
input.
• Expand your mixer with the Mackie
24-Channel Expander Console.
Mic splitter transformers are expensive, but
are well worth the investment. They will provide
the most consistent trouble-free performance
with multiple mixers.
You can hook up several expanders to your
24 or 32 channel 8•Bus console.
PA
&
SR
If you need to split your inputs but do not
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
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APPENDIX A: Connections
“XLR” CONNECTORS
plug (Figure 9). TS jacks and plugs are used in
many different applications, always unbalanced.
The tip is connected to the audio signal and the
sleeve to ground. Some examples:
Mackie mixers use 3-pin female “XLR” connec-
tors on all microphone inputs, with pin 1 wired to
the grounded shield, pin 2 wired to the “hot”
(positive polarity) side of the audio signal and
pin 3 wired to the “cold” (negative polarity) side
of the signal (Figure 7).
Use a male “XLR”-type connector, usually found
on the nether end of what is called a “mic cable,”
to connect to these inputs.
Mackie occasionally uses 3-pin male “XLRs” for
balanced line outputs. The Main L/R Outs on the
8•Bus, for example, are available on XLRs. These are
also wired pin 1 ground, pin 2 high and pin 3 low.
• Unbalanced microphones
• Electric guitars and electronic instruments
• Unbalanced line-level connections
SWITCHED 1/4" PHONE JACKS
1/4" phone jacks can incorporate switches that
are activated by inserting the plug. These switches
may open an insert loop in a circuit, change the
input routing of the signal or serve other func-
tions. The Mackie 8•Bus Series uses switches in
the channel and bus Insert Jacks, and in the
mono/stereo AUX Return Jacks. See Special
Mackie Connections on page 49. We also use these
switches to ground the inputs of most line level
ins/outs when nothing is plugged into them.
1/4" TRS PHONE PLUGS AND JACKS
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1/4" phone
jack or plug (Figure 8). TRS jacks and plugs are
used in several different applications:
• Stereo headphones, and rarely, stereo micro-
phones and stereo line connections. When
wired for stereo, a 1/4" TRS jack or plug is
connected tip to left, ring to right and sleeve to
ground. Mackie mixers do not directly accept
1-plug-type stereo microphones. They must be
separated into a left cord and a right cord that
are plugged into two channels.
SLEEVE
SLEEVE
TIP
TIP
ADD-ONS
SPECS
ETC.
TIP
SLEEVE
Figure 9: TS connectors (Plugis Biconnectorus)
• Balanced mono circuits. When wired as a
balanced connector, a 1/4" TRS jack or plug is
connected tip to signal high, ring to signal low,
and sleeve to ground.
• Unbalanced Send/Return circuits. When
wired as send/
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
Figure 8: TRS connectors (Plugis Triconnectorus)
return connector,
a 1/4" TRS jack or
MONO PLUG
plug is connected
tip to signal send
(output from
mixer), ring to
signal return
2
Channel Insert jack
COMMON
Male XLR
HOT
Direct out with no signal interruption to master.
Insert only to first “click”
1
3
COLD
COMMON
1
Female XLR
(input back into
mixer), and
sleeve to ground.
MONO PLUG
3
COLD
2
HOT
Channel Insert jack
COMMON
COLD
1
3
Direct out with signal interruption to master.
1/4" TS PHONE
PLUGS AND
JACKS
2
HOT
Insert all the way in to the second “click”
Figure 7 (above): XLR connectors (Exelaris Triptipus)
Figure 10 (below): RCA connector (Plugis Amateuris)
“TS” stands for
Tip-Sleeve, the two
connections avail-
able on a “mono”
1/4" phone jack or
STEREO
PLUG
SLEEVE TIP SLEEVE TIP
Channel Insert jack
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effects)
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RING (IN)
“Y” insert cable
RING
TIP
TIP (RETURN)
(RETURN)
(SEND)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
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)
unbalanced ground connection only to the
input low connection, and leaving the input
ground connection disconnected.
In most cases, the plug must be inserted fully
to activate the switch. Mackie takes advantage of
this in some circuits, specifying circumstances
where you are only to partially insert the plug.
Once again, see Special Mackie Connections, on
the next page.
In some cases, you will have to make up spe-
cial adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1/4" TS phone plug.
RCA PLUGS AND JACKS
SPECIAL MACKIE CONNECTIONS
RCA “phono” plugs and jacks are often used in
home stereo and video equipment and in many
other applications (Figure 10). They are unbal-
anced, and electrically identical to a 1/4" TS
phone plug or jack. Connect the signal to the cen-
ter post and the ground or shield to the
The balanced-to-unbalanced connection has
been anticipated in the wiring of the Mackie
8•Bus Series jacks. A 1/4" TS plug inserted into a
1/4" TRS balanced input, for example, will auto-
matically unbalance the input and make all the
right connections. Conversely, a 1/4” TRS plug
ADD-ONS
SPECS
ETC.
surrounding “basket.” There are no RCA jacks on
the Mackie 8•Bus Series Mixing Consoles. Adapt- inserted into a 1/4” unbalanced input will auto-
ers to convert an RCA male plug to male 1/4” TS
plug are available at any electronic shop, like
Radio Shack.
matically tie the ring (low) to ground.
TRS Send/Return Insert Jacks
The Insert Jacks on both the 8•Bus input
channels and on the Submaster and Main Mix
UNBALANCING A LINE
In most studios, there is a mix of balanced and buses are the three-conductor, TRS type 1/4"
unbalanced inputs and outputs on the various
pieces of equipment. This usually will not be a
problem in making connections.
• When connecting a balanced output to an
unbalanced input, be sure the signal high
connections at each end are wired together,
and the balanced signal low goes to the ground
connection at the unbalanced input. In most
cases, the balanced ground will also be
phone. They are unbalanced, but have both the
mixer output (send) and the mixer input (re-
turn) signals in one connector (Figure 11 above).
The sleeve is the common ground for both sig-
nals. The send from the mixer to the external unit
is carried on the tip, and the return from the
external unit to the mixer is on the ring.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1/4" plug only
partially (to the first “click”) into an 8•Bus Se-
ries Insert Jack, the plug will not activate the
jack switch and will not open the insert loop in
the circuit.
This allows you to borrow the channel or bus
signal at that point in the circuit, without inter-
rupting normal operation. Note: Do not overload
or short-circuit the signal you are tapping from
the mixer. That will affect the internal signal in
the 8•Bus Series.
connected to the ground at the unbalanced
input. If there are hum or radio frequency
ground-loop problems, this connection may be
left disconnected at the unbalanced end.
• When connecting an unbalanced output to a
balanced input, be sure that the signal high
connections at each end are wired together.
The unbalanced ground connection should
be wired to the low and the ground connec-
tions of the balanced input. If there are
ground-loop problems, try connecting the
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Figure 12: “Y”cord (a.k.a MULT) for splitting signal
(Plugis Makus Doublis). Note that all three plugs are the
same — either TS (shown) or TRS. Don’t confuse this
“off the shelf” connector with hybrid insert plugs as
shown in Figure 11.
Using the Return Only on Sub and Main
Insert Jacks
If you insert a TS (mono) 1/4” plug only
partially (to the first “click”) into an 8•Bus
Series Submaster or Main insert jack, the plug
will not activate the jack switch and will not
open the insert loop in the circuit.
A stereo return, having two return plugs,
should be patched into the LEFT (MONO) and
the RIGHT Return Jacks. A jack switch in the
RIGHT Jack will disable the mono function, and
the returns will show up in stereo.
MULTS AND “Y”s
A mult or “Y” connector allows you to route one
output to two or more inputs by simply providing
parallel wiring connections. You can make Ys and
mults for both unbalanced and balanced circuits.
See Figure 12 for an example. Remember: Only
mult or “Y” an output into several inputs. If you
need to combine several outputs into one input,
you must use a mixer, not a mult or a “Y.”
This allows you to insert signal into the
submaster or main at that point in the circuit.
Note: Only unused buses can be used in this
manner. Do not insert signal into a bus with
signal on it, or unpredictable results may occur.
ADD-ONS
SPECS
ETC.
MACKIE AUX RETURNS: Mono, Stereo,
Whatever
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. Here’s 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.
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APPENDIX B: Options, Add-Ons and Extra Stuff
OPTIONS
Automation
Full-fader and muting MIDI automation for
Mackie 8•Bus Series mixers will be available in
Meter Bridge
You can order an optional Mackie meter bridge 1995. Although Mackie 8•Bus Series automation
for any 8•Bus Series console. The meter bridge
extends across the width of the mixer and pro-
vides a 12-LED bar-graph meter (identical to the
8 submaster bus meters) for each channel strip.
The meters can be globally switched, metering
is extremely affordable and very effective, we don’t
want you to think that it includes “flying faders” or
automated equalization. It DOES let you fine-
tune, store, recall and re-fine-tune complex mixes
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
Un-Cigarette Lighter
source and tape levels) or the post-fader/post-
mute switch channel signals (handy for live
sound mixing).
An automobile-type cigarette lighter can be
mounted on the front panel of your mixer, but
NOT CONNECTED! What a joke for your smok-
ing friends!
Expander Console
Make your 24 into a 48! Your 32 into a 56, or an
80, or a 104... See the pattern? The Mackie 24•E
Expander Console adds 24 input channel strips to
the existing bus structure of your mixer. You can
connect another Expander console to the first,
and another, and so on. Check local ordinances
for limitations on mixer inputs.
Mixing Shoes
The Mackie Kotoor Coallectshun of fine
wearables includes our way-cool, lightweight Mix-
ing Shoes. They’re designed for long hours and
superior traction so that a little slip never ruins
your mix.
Insist that everyone in the control room wear
Mackie Brand Mixing Shoes. They’re available in
Rock, Soft Rock, Metal, Alternative, Country, Jazz,
ADD-ONS
SPECS
ETC.
Console Stand
An astonishingly affordable stand is available
for all the 8•bus 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 8•Bus 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
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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 8•Bus 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 24•8, the modification must be done on
Statement:
all 24 input channels.
See Figure 8. This modification takes place on
each channel strip in an area under the AUX 1/2
Pre/Post switch.
1. Remove power cable.
2. Cut the conductor at Point A.
3. Add a jumper at Point B.
4. Repeat for all input channels.
Official Disclaimer
Any modification of any Mackie Designs
product must be done by a competent
electronic technician. Mackie Designs, Inc.,
accepts no responsibility for any damages or
injuries caused by any modification, regard-
less of the source of the modification
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.
However, they are extremely difficult and dan-
gerous for the inexperienced. If you’re not a
qualified, experienced technician, don’t even
think about considering the possibility of con-
ceiving of doing these mods yourself.
ADD-ONS
SPECS
ETC.
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
cut here (A)
these modifications
When a jumper or jumpers are called for, they
should NOT go into holes in the PCB. Rather,
they should be soldered to the flat, tinned area
around the hole (called a pad) and bowed
slightly over to the other pad (see Figure 7 be-
low). Make sure the ends of those jumpers do
not extend beyond the pad.
AFTER
add jumper (B)
Jumper
BEFORE
Figure 8: Modification I — Aux Send
Holes
Figure 7
Solder
AFTER
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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 24•8,
the modification must be done on all 24 input
channels.
done on each channel. For example, if you have
a 24•8, the modification must be done on all 24
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.
3. Cut the conductor at Point D.
4. Add a jumper at Point E.
5. Add another jumper at Point F.
6. Repeat for all input channels.
2. Cut the conductor at Point G.
3. Add a jumper at Point H.
4. Repeat for all input channels.
ADD-ONS
SPECS
ETC.
BEFORE
cut here (G)
BEFORE
cut here (C&D)
AFTER
AFTER
add jumpers
(E&F)
add jumper (H)
Figure 10: Modification III — Mix-B Source
Figure 9: Modification II — PFL
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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 24•8, 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.
Figure 11: Modification IV — Mix-B Mute
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BEFORE
AFTER
(K)
(K)
add jumper (B)
cut here (A)
(L)
(L)
(AUX SEND 1&2)
PRE SWITCH
(Q)
(Q)
add jumper (D)
(P)
(P)
(AUX SEND 3&4/5/6)
PRE SWITCH
Figure 13:
The infamous and dreaded but-if-we-hadn’t-included-it-we’d-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..
A note about adding jumpers during
these modifications
When a jumper or jumpers are called for, they
should NOT go into holes in the PCB. Rather,
All that said, here’s the mod.
See Figure 13 (appropriately numbered)
above. This modification takes place on each
channel strip in the area under the AUX 3/4
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
slightly over to the other pad (see right). Make
sure the ends of these jumpers do not extend be-
yond the pad.
1. Remove power cord.
2. Cut two (2) traces at point (A).
Note: The wire used in the next three steps
should be 24-28 gauge insulated jumper wire.
Do not strip off any more insulation than is
absolutely necessary.
Jumper
BEFORE
Holes
3. Add a 1-1/2” jumper (B), connected at
Solder
AFTER
points K and L.
4. Add a 2-1/4” jumper (D), connected at
points P and Q.
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APPENDIX D: Specifications
16•8, 24•8, 32•8 Specifications
–95dBu; submaster output w/channel muted,
–96dBu; L/R mix output w/channel unassigned,
–91dBu; submaster output w/channel
Noise.(Measured 20Hz to 20kHz bandwidth,
Tape Returns selected, no EQ, Channel Pans
alternating L/R, L/R. “Faders up” refers to Unity
gain, 0dBu position.)
Main L/R Output Noise. Master fader down,
–101dBu; master fader up/no ch.’s assigned,
–95dBu; master fader up/24 chs. assigned,
–90dBu; master fader up/24 chs. assigned, ch.
faders up, –86dBu; +4dB operating level S/N
ratio, –90dBu
Submaster Output Noise. Master fader down,
–99dBu; master fader up/no ch.’s assigned,
–96dBu; master fader up/24 chs. assigned,
–90dBu; master fader up/24 chs. assigned, ch.
faders up, –86dBu; +4dB operating level S/N
ratio, 90dB
Total Harmonic Distortion. (1kHz @14dBu
measured 20Hz-20kHz, mic input, 1 channel as-
signed). Direct output, 0.0013% typical; L/R Mix
output, 0.0014% typical; Submaster output,
0.0015% typical
unassigned, –95dBu; L/R mix output w/adjacent
channel assigned, –92dBu; submaster output w/
adjacent channel assigned, –94dBu; L/R mix out-
put pan pot attenuation, –87dBu; submaster
output pan pot attenuation, –87dBu
Frequency Response. +0dB/–1dB, any input to
any output 20Hz to 60kHz; +0dB/-3dB, any input
to any output, 10Hz to 120kHz
Because Mackie
Designs is always
trying to improve its
products with new
components and
manufacturing
methods, these
specifications may
change at any time.
But you can bet your
left monitor speaker
that the specs won’t
be any worse than
they are here.
E.I.N. Mic input (150Ω termination, 20Hz-
20kHz) –129.5dBm
C.M.R.R. Mic input, max gain @1kHz, –83dBu;
line input, minimum gain @1kHz, –45dBu; tape
input, no gain @1kHz, –45dBu
Maximum Levels. Mic input, +14dBu; all other
inputs, +22dBu; L/R Mix balanced output,
+28dBu, all other outputs, +22dBu
Impedances. Microphone input, 1.5 kΩ; channel
insert return, 2.5 kΩ; all other inputs, 10 kΩ or
greater; all outputs, 120Ω
Equalization. Hi Mid, full parametric, +/-15dB
freq. sweep from 500Hz-18kHz, bandwidth (Q)
variable from 1/12 octave to 3 octaves; Lo Mid,
swept, 45Hz-3kHz +/-15dB; Hi, shelving, 12kHz
+/-15dB; Lo, shelving 80Hz +/-15dB; Lo Cut
(HPF) 75Hz,18dB/octave (Tchebechev)
Crosstalk. (1kHz measured relative to 0dBu,
measured 20Hz to 20kHz.) Line In to Adjacent
Channel, –91dBu; L/R mix output w/channel
down, –95dBu; submaster output w/channel
down, –96dBu; L/R mix output w/channel muted,
ADD-ONS
SPECS
ETC.
max out +22
level up +20
+14 max in
-10 trim dn
level up +15
level up +15
0
0
0
0
0
0
0
to point (B)
from point (A)
MIC INPUT
AUX RETURN
CH. LEVEL
MIX
O/P LEVEL
OUTPUT
-50 trim up
AUX SEND
L/R bal max out +28
max out +22
+22 max in
max out +22
level up
gain up +15
fader up +10
FADER
fader up +10
1-8 bal/unbal
L/R unbal
0
0
trim dn
0
0
(A)
0
(B)
0
0
(D)
0
-6 -6
(C)
pan center -3
PAN
gain dn -15
EQ
LINE INPUT
-40 trim up
INSERT
MIX
FADER
OUTPUT
SUBMASTER or MAIN MIX
CONTROL ROOM
SUB INSERT
CHANNEL
max out +22
+22 max in
gain up +15
level up +15
level up +15
0
switch @+4
-12.3 @-10
0
0
0
0
0
0
-4
to meters
1-8 from point (C)
L/R from point (D)
gain dn -15
SPLIT EQ
TAPE INPUT
CH. LEVEL
MIX
MIX B
O/P LEVEL
OUTPUT
METER FEED (+4 @ O/P = 0 @ METERS)
54
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16x8x2 8-BUS MIXING CONSOLE
V. 1.5 6/4/95
©1995 MACKIE DESIGNS INC.
2.65"
0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
16•8
console
WEIGHT*
50 lbs.
1.00"
27.17"
29.17"
*exclusive
of
meter
bridge
29.20"
MB16•8 Optional Meter Bridge
55
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24x8x2 8-BUS MIXING CONSOLE
©1995 MACKIE DESIGNS INC.
V. 1.5 6/4/95
2.65"
0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
24•8
console
WEIGHT*
64 lbs.
1.00"
35.02"
37.02"
*exclusive
of
meter
bridge
37.00"
MB24•8 Optional Meter Bridge
56
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32x8x2 8-BUS MIXING CONSOLE
©1994 MACKIE DESIGNS INC.
V. 1.5 6/4/95
2.65"
0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
32•8
console
WEIGHT*
78 lbs.
1.00"
43.82"
45.82"
*exclusive
of
meter
bridge
45.80"
MB32•8 Optional Meter Bridge
57
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24-CH. EXPANSION CONSOLE FOR 24•8 & 32•8
V. 1.5 6/4/95
©1994 MACKIE DESIGNS INC.
2.65"
0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply plug and expander cable clearance
24•E
console
WEIGHT*
50 lbs.
1.00"
27.17"
29.17"
*exclusive
of
meter
bridge
ADD-ONS
SPECS
ETC.
29.15"
MB•E Optional Meter Bridge
58
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STAND FOR 24•8 & 32•8 CONSOLES
©1995 MACKIE DESIGNS INC.
V. 1.0 4/4/94
Stand
WEIGHT
44 lbs.
ADD-ONS
SPECS
ETC.
22.50"
19.0"
220-W
Power Supply
WEIGHT
24 lbs.
220-WATT POWER SUPPLY FOR
8•BUS CONSOLES & EXPANDER
19.00"
V. 1.2 4/4/94
©1994 MACKIE DESIGNS INC.
59
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28.75"
8•BUS SIDE CAR RACK
V. 1..1 6/5/95
©1995 MACKIE DESIGNS INC.
Side Car
WEIGHT*
45 lbs.
22.5"
SIDE VIEW
ADD-ONS
SPECS
ETC.
[existing console]
CABLE HANGER
BRACE
23.13"
TOP VIEW
FRONT VIEW
*ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE
60
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SERVICE
Intermittent signal problems. Faulty plugs
and cables are often the culprits. A TRS plug can
sit in a socket for months doing its job and then
suddenly decide (based on the phase of the
moon and barometric pressure) to short or stop
conducting. If you’re having trouble with an indi-
vidual channel, send or return, for gosh sakes
swap cables before sending the board in for ser-
vice.
Check switch positions. Multi-bus consoles
are pretty complicated. Switches like MIC/LINE,
FLIP and EQ SPLIT can give the impression that
something isn’t working right, if you’re not ex-
pecting them to be engaged.
PLEASE! SAVE THE
SHIPPING BOX!
Yes, we know it’s only
slightly smaller than a
doublewide mobile home, but you will need
the entire carton and internal foam if your
console ever needs service at some time in
the future.
If your kids make the box into a fort and
cut holes in it — or if you stuff it in the
dumpster of the fast-food place next door to
your studio, we may have to sell and ship
you another packing box later on.
Finally, it doesn’t hurt to call our Technical
Support Department at 800/258-6883 (8AM-
4:30PM Pacific time) to see if they have any
ideas as to what might be wrong.
Don’t end up buying an empty box!
Note: For best results have unit in front of
you. (or close by)
Mackie mixing systems are notoriously bullet-
proof and reliable. But, hey…stuff happens. Any
electronic product with as many parts as an
8•Bus console can occasionally have a minor
casualty somewhere inside.
How to get Mackie service
Service and repairs of Mackie 8•Bus products
are to be performed only :
A. at our factory OR
And even if we could build our products to
never break, there are those acts of nature that
tend to visit consoles on occasion: spilled coffee,
toppling monitors, etc. This section covers how
to get your Mackie 8•Bus console healthy again.
B. at an Authorized Mackie 8•Bus Warranty
Service Center
Unauthorized service, repairs or
modification will void your warranty.
SERVICE
To obtain factory service:
Troubleshooting
1. Call Mackie Technical Support at 800/258-6883,
8AM to 4:30PM Monday through Friday (Pacific
Time) to get a Return Authoriza-
tion (RA).
It benefits everyone if you do a bit of basic
troubleshooting first, to determine whether or
not your board is really malfunctioning. First, it
saves you downtime and embarassment if, for ex-
ample, you discover that the only thing wrong is
an unplugged power supply. Second, it will save
money. If you ship your console to Mackie or an
Authorized Service Center and they can’t dupli-
cate the problem, you may get slapped with a
service charge (plus shipping costs).
We could write a whole manual on trouble-
shooting, but our main point is that there are a
few obvious things you can easily look for:
Power connections. This sounds insultingly
simple, but if the whole board is completely
dead, it’s time to make sure that the power cable
is connected, that the console power supply is
turned on, plugged in, etc. You may also need to
unplug the AC cord from the power supply to
gain access to the little “drawer” (in the AC re-
ceptacle) in
Please have your serial numbers
ready.[Products returned
without an RA number will be refused.]
2. Pack the 8•Bus Series Console and Power Supply
in their original shipping cartons. If you do not
have the carton, request one when you get your
RA number, and we’ll send a shipping carton out
promptly. There may be a charge for this gigantic
bale of white cardboard, however — we put those
huge “SAVE THE BOX” warnings in this manual
for a reason.
Make sure that you encase the console in its
plastic wrapper and insert all the foam blocks
to properly protect the console.
3. In some cases, the problem might be the
console OR the power supply. Just to be sure,
send both.
order to check the AC fuse.
61
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4. When packing the Console, include:
A. A note explaining exactly how to dupli-
cate the problem. (If we cannot duplicate
the problem at the Mackie Factory or
establish the starting date of your Limited
Warranty, we may, at our option, charge for
service time.)
B. A copy of the sales receipt with price
and date showing.
C. Your return street address (no P.O.
boxes or route numbers, please!).
5. Write the RA number plainly on the
outside of the shipping carton.
An offer we hope that you won’t refuse
We’re always interested in what’s being pro-
duced on our mixers. If you track and mix down
a compact disc using a Mackie 8•Bus console,
we’ll trade you a copy of the CD for a genuine
Mackie
T-shirt. Send it to Mackie CD-for T-Shirt Offer,
Communications Department, 16220 Wood-Red
Road NE, Woodinville, WA 98072. Add a note
specifying XL, L or Medium size T-shirt and your
RETURN STREET ADDRESS (we ship garments
UPS, so P.O. Boxes are a hassle). We run our pro-
motional garments in batches, so if you don’t
immediately get a shirt back, don’t worry. You
will get your Mackie shirt as soon as we have
your size in stock.
6. Ship the product in its original shipping
carton, freight prepaid to:
Mackie Designs
16220 Wood-Red Road N.E.
Woodinville, WA, 98072, USA
To obtain service from an Authorized
Mackie Service Center:
1. Call Mackie Designs at 800/258-6883, 8AM to
5PM Monday through Friday (Pacific time) to
obtain an RA number and the name and
address of your nearest Mackie Authorized
8•Bus Service Center.
2. Make sure that you have a copy of your 8•Bus
Series Console sales receipt from the store
where you bought the board. It is necessary to
establish purchase date and thus determine
whether or not your 8•Bus Series Console is
still under warranty. If you can’t find it, the
Authorized Service Center may charge you for
repairs even if your 8•Bus Series Console is
still covered by Mackie’s 1-Year Limited
Warranty.
SERVICE
3. Make sure that the problem can be dupli-
cated. If you bring or ship your 8•Bus Series
Console to an Authorized Service Center and
they can’t find anything wrong with it, you
may be charged a service fee, plus shipping.
4. If the Mackie Authorized Service Center is
located in another city, pack the 8•Bus Series
Console and Power Supply in their original
shipping cartons (be sure to write the RA
number plainly on the outside of the
shipping carton).
62
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THIS PAGE LEFT BLANK INTENTIONALLY!
63
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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 8•Bus board and send it to your
local Police Department. (Just in case...)
TRACK
SHEETS
ON
FOLLOWING
PAGES
64
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Page _____
of _____
CH.
CH.
CH.
CH.
CH.
CH.
CH.
CH.
SESSION
______________________
DATE ___/___/___
N
N
N
N
–10
–10
–10
–10
–10
–10
–10
–10
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
+4
U
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
40dB
48dB
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
MIC/LINE
TAPE
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
GAIN
U
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
FLIP
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
TRACKS _____ thru _____
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
TRACK COMMENTS:
Tk. ___
______________________
______________________
______________________
Tk. ___
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
PRE
5
U
U
U
U
U
U
U
U
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +15
U
6
6
6
6
6
6
6
6
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
O O +15
AUX
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
SHIFT
PRE
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
CHANNEL
MIX-B
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
U
U
U
U
U
U
U
U
HI
HI
HI
HI
HI
HI
HI
HI
______________________
______________________
______________________
Tk. ___
______________________
______________________
______________________
Tk. ___
MID
MID
MID
MID
MID
MID
MID
MID
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
–15 +15
3k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
1k
5k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
500 18k
2
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
NORMAL
BAND
BAND
BAND
BAND
BAND
BAND
BAND
BAND
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
WIDTH
1
1
1
1
1
1
1
1
3
3
3
3
3
3
3
3
12
12
12
12
12
12
12
12
U
U
U
U
U
U
U
U
LO
LO
LO
LO
LO
LO
LO
LO
MID
MID
MID
MID
MID
MID
MID
MID
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
–15 +15
250
220
350
220
350
220
350
220
350
220
350
220
350
220
350
220
350
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
45
3k
U
U
U
U
U
U
U
U
HI
HI
HI
HI
HI
HI
HI
HI
12k
12k
12k
12k
12k
12k
12k
12k
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
–15 +15
U
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
LO
80
______________________
______________________
______________________
Tk. ___
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
–15 +15
EQ
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
EQ IN
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
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
U
U
U
U
U
U
U
U
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
______________________
______________________
______________________
Tk. ___
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
HI/LO EQ
TO MON
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MIX-B
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
MONITOR
SPLIT
SPLIT
SPLIT
SPLIT
SPLIT
SPLIT
SPLIT
SPLIT
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
FLIP SWITCH
CHANNEL
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
SOURCE
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
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
______________________
______________________
______________________
Tk. ___
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
CHANNEL
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
9-10
9-10
9-10
9-10
9-10
9-10
9-10
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
______________________
______________________
______________________
Tk. ___
______________________
______________________
______________________
11-12
11-12
11-12
11-12
11-12
11-12
11-12
11-12
U
U
U
U
U
U
U
U
5-6
5-6
5-6
5-6
5-6
5-6
5-6
5-6
13-14
13-14
13-14
13-14
13-14
13-14
13-14
13-14
5
5
5
5
5
5
5
5
7- 8
7- 8
7- 8
7- 8
7- 8
7- 8
7- 8
7- 8
15-16
15-16
15-16
15-16
15-16
15-16
15-16
15-16
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
MIX
MIX
MIX
MIX
MIX
MIX
MIX
MIX
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
CH.
CH.
CH.
CH.
CH.
CH.
CH.
CH.
65
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This is the back of a master track
sheet, which came in the Mackie
8•Bus console manual.
If you find this sheet in a copy
machine, please return it to the
engineer/owner of the console.
If you find this sheet in the back of a
gloomy tavern, buy it a cold one.
66
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Page _____
of _____
U
U
SESSION
______________________
DATE ___/___/___
1
2
1
2
SOLO
SOLO
1-2
1-2
3-4
3-4
5-6
7-8
7-8
L/R MIX
L/R MIX
SOLO
SOLO
O O +15
U
O O +20
U
L
L
R
R
ASSIGN
5-6
O O +15
O O +20
ASSIGN
LEVEL
LEVEL
PAN
U
U
U
U
3
4
5
6
3
4
5
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PHONES
1
PHONES
L/R MIX
SOLO
SOLO
BUS COMMENTS:
Bus___
2
Hey buddy can
O O +15
U
O O +15
U
O O +20
U
O O +20
U
ASSIGN
6
you spare some change?
PHONES
1
PHONES
2
L/R MIX
O O +15
O O +15
O O +20
O O +20
ASSIGN
LEVEL
LEVEL
LEVEL
LEVEL
______________________
______________________
______________________
Bus ___
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
U
U
MONITOR
MIX-B
MONITOR
MIX-B
L/R MIX
O O +15
AUX SEND 1
AUX SEND 2
O O +15
O O
O O
O O
O O
MIX-B
LEVEL
PHONES
LEVEL
PHONES
LEVEL
LEVEL
LEVEL
STUDIO
MIX-B
______________________
______________________
______________________
Bus___
RUDE
SOLO LITE
O O
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
AUX SEND 5/6
SOLO
AUX SEND 3/4
AUX SEND 5/6
2-TK
TAPE
CNTRL RM
SUBGRPS
ASSIGN
EXTERNAL
MONO
PHONES
&
STUDIO
EXTERNAL
SOURCE
EXTERNAL
SOURCE
SOURCE
SOLO
MIX B/MONITOR
PHONES 1
PHONES 2
MONITOR
TALKBACK
+
22
______________________
______________________
______________________
Bus___
______________________
______________________
______________________
Bus___
+
10
+
10
+
10
+
10
+
10
+
10
+
10
10
7
7
7
7
4
7
7
4
7
7
4
4
4
4
4
4
2
2
2
2
2
2
2
2
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
4
4
4
4
4
4
4
4
7
7
7
7
7
7
7
7
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
10
20
30
40
–
40
–
40
–
40
–
40
–
40
–
40
–
40
–
L
R
L
R
L
R
L
R
L
R
MAIN
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
OR SOLO LEVEL
______________________
______________________
______________________
Bus___
______________________
______________________
______________________
Bus___
TALKBACK
MIC
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
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
MIX
MIX
MIX
MIX
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
dB
10
dB
dB
dB
10
dB
dB
dB
dB
dB
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
5
5
5
5
5
5
5
5
5
______________________
______________________
______________________
Bus___
______________________
______________________
______________________
10
10
10
10
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
40
50
60
40
50
60
40
50
60
40
50
60
O O
60
O O
O O
O O
O O
O O
O O
O O
O O
67
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This is the back of a master track
sheet, which came in the Mackie
8•Bus console manual.
If you find this sheet in a copy
machine, please return it to the
engineer/owner of the console.
If you find this sheet in the back of a
gloomy tavern, buy it a cold one.
68
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Whaddya say on the
last page of a manual?
Well, we’d 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, that’s really
his title), 16220 Wood-Red Road NE, Woodinville,
WA 98072.
69
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•
•
•
•
8•BUS CONSOLE
BLOCK DIAGRAM
•
•
•
OPTIONAL 24•E
24-CHANNEL MACKIE 8•BUS
EXPANDER CONSOLE
•
•
•
•
•
•
•
•
•
Rev. 5.1- 6/6/95
©1995 Mackie Designs
•
•
•
•
•
•
MIC/LINE
INSERT
MIC IN
2
•
•
0L
–20dB
1
3
•
1-2
•
•
PAN
•
EQ
•
IN/OUT
•
PHANTOM POWER
(PER 8 CH'S)
LO CUT
IN/OUT
•
•
•
•
•
3-4
PARAMETRIC
EQ
SHELVING
EQ
+
-
•
•
75Hz
HPF
•
•
••
•
•
•
CHAN
HI MID
LO MID
HI LO
•
•
FADER
•
•
•
•
•
•
•
•
5-6
7-8
L/R
MUTE
•
PRE EQ
•
LINE
IN
TO AUX MOD
•
•
•
TRIM
FLIP
•
GAIN
"Q"
FREQ
GAIN
HI/LO EQ
TO MIX B
SPLIT
FREQ
•
•
•
•
•
•
•
•
•
•
POST
PRE
•
•
+
-
TAPE
IN
•
AUX 1
•
•
•
POST
PRE
•
SOLO
•
AUX 2
•
•
+4dBU/–10dBV Select
AUX 3
(PER 8 CH'S)
POST
PRE
SOURCE
PFL MOD
•
AUX 5
AUX 4
POST
PRE
•
•
•
DIRECT
OUT
•
•
AUX 6
SHIFT
•
•
•
•
•
•
PAN
MIX-B
FLIP SW
•
•
•
SOURCE
INPUT
1 OF 16 (24) (32)
•
LEVEL
MIX-B SOURCE MOD
CHANNEL
•
•
1-2
3-4
5-6
7-8
L/R
•
•
•
•
•
•
•
•
•
•
•
•
•
•
LEFT
•
(MONO)
BALANCE
•
•
•
•
•
•
•
LEVEL
•
RIGHT
•
•
•
•
SOLO
•
STEREO AUX RETURN 1
(#2 IDENTICAL)
•
•
•
•
•
LEFT
PHONES 1
(MONO)
PHONES 2
L/R
•
•
LEVEL
RIGHT
•
•
•
•
•
SOLO
STEREO AUX RETURN 3
•
•
(#4 IDENTICAL)
•••••••• ••
•
•
•
•
LEFT
(MONO)
L/R
LEVEL
•
•
•
RIGHT
SOLO
•
•
STEREO AUX RETURN 5
To on-ramp #257
of the Santa Ana Freeway
(#6 IDENTICAL)
MIC
2-TK IN
L
2-TK IN
R
EXTERNAL
IN L
EXTERNAL
IN R
70
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METER
SUB OUTS 1, 9 & 17
+4/-10
•
•
•
INSERT
•
•
•
L MIX
∑
•
•
•
-
L + R
•
•
SUB MSTR
FADER
+
•
NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION
•
•
•
•
SOLO
•
•
•
METER
•
•
SUB OUTS 2, 10 & 18
•
•
INSERT
•
+4/-10
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
∑
R MIX
•
•
-
L + R
•
•
•
SUB MSTR
FADER
•
+
•
•
•
SOLO
SUB MASTER 1 & 2
•
•
•
(#3 - 8 IDENTICAL)
•
•
LEVEL
•
AUX OUT
SOLO
•
•
•
•
•
∑
•
AUX SEND 3
•
(#4, 5, 6 IDENTICAL)
•
•
AUX OUT
•
•
•
•
+
-
LEVEL
•
•
•
•
•
•
∑
•
•
•
SOLO
AUX SEND 1
•
•
(#2 IDENTICAL)
•
•
•
•
•
•
•
OPTIONAL METER BRIDGE
GLOBAL
SELECT
•
vu
vu
TAPE IN
CH. OUT
PHONES 1
SOURCE
MONITOR
MIX-B
•
•
•
•
•
•
•
•
•
PHONES 1
LEVEL
•
LEVEL
PHONES 1
OUTPUT
L
•
•
•
L
•
•
∑
∑
•
•
•
•
MIX B
MASTER
MIX-B OUTPUT
AUX 3/4
AUX 5/6
•
•
•
•
•
R
R
•
•
•
•
•
•
•
•
•
EXTERNAL
SOLO
•
•
•
•
•
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
•
MIX-B
TO
•
L UNBAL OUTPUT
L/R MIX
•
•
PHONES 2
SOURCE
•
INSERT
INSERT
L METER
R METER
•
+
-
2
3
MONITOR
MIX-B
1
•
•
•
•
•
•
•
•
PHONES 2
LEVEL
•
L BAL OUTPUT
PHONES 2
OUTPUT
L
L/R
MIX
FADER
•
•
•
•
•
•
•
R UNBAL OUTPUT
•
•
•
•
•
•
•
•
INSERT
AUX 3/4
AUX 5/6
R
•
+
-
2
•
•
1
•
3
R BAL OUTPUT
•
SOLO
EXTERNAL
•
•
•
•
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
•
•
•
•
•
•
•
•
STUDIO
LEVEL
•
SOLO
L
CONTROL
MONO
STUDIO
OUTPUT
•
•
•
•
•••••••• ••
•
R
•
•
•
•
STUDIO
OUTPUT
•
•
•
SOLO
LEVEL
•
•
•
TALKBACK:
•
•
•
MIC LEVEL
TO AUX 1
TO AUX 2
•
L
•
•
•
7
CNTRL RM
OUTPUT
L/R MIX
eeway
MIC
•
•
•
•
•
•
•
CNTRL RM
LEVEL
TO TAPE/
•
SUBMASTER
MIX-B
2-TK
•
•
•
•
•
TO PHONES
(AND STUDIO)
R
•
CNTRL RM
OUTPUT
MONITOR
SOURCE
EXTERNAL
•
•
CONTROL ROOM
PAD LOGIC
71
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Some of the
people at our
Woodinville,
®
Washington factory
who helped
design, build, sell,
and support your
product.
®
™
®
Mackie Designs Inc.
16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA
800/898-3211 • Outside the US: 425/487-4333
E-mail: sales@mackie.com
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