8•Bus Owner's Manual Mackie 24.8Bus 8bus Om

1

8•BUS OWNER'S MANUAL

10

MUTE

11

MUTE

12

MUTE

13

MUTE

14

MUTE

15

MUTE

16

MUTE

17

MUTE

18

MUTE

19

MUTE

20

MUTE

21

MUTE

22

MUTE

23

MUTE

24

MUTE

24x8x2 8-BUS MIXING CONSOLE

9

MUTE

2

MUTE

3

MUTE

4

MUTE

5

MUTE

6

MUTE

7

MUTE

8

MUTE

1

MUTE

CHANNEL

23

CHANNEL

24

CHANNEL

21

CHANNEL

22

CHANNEL

19

CHANNEL

20

CHANNEL

17

CHANNEL

18

CHANNEL

15

CHANNEL

16

CHANNEL

13

CHANNEL

14

CHANNEL

11

CHANNEL

12

CHANNEL

9

CHANNEL

10

PHANTOM

POWER

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE MIC/LINE MIC/LINE MIC/LINE

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE MIC/LINE

MIC/LINE

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE

CHANNEL

17

CHANNEL

18

CHANNEL

19

CHANNEL

20

CHANNEL

21

CHANNEL

22

CHANNEL

23

CHANNEL

24

CHANNEL

10

CHANNEL

11

CHANNEL

12

CHANNEL

13

CHANNEL

14

CHANNEL

15

CHANNEL

16

CHANNEL

9

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

FLIP

GAIN

TRIM

FLIP FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

TRIM

FLIP

TRIM

FLIP FLIP

GAIN

FLIP

GAIN

TRIM

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

910

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

11 12

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

13 14

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

OO

U

+15

OO

AUX

15 16

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

18 19

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

AUX

20 21

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

17 22

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

23 24

+15

AUX

4

+15

U

PRE

U

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVESOCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

111111111111111

1

OCTAVES

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

+15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

80

12k

80

12k

80

12k

LO

12k

80

12k

80

12k

80

12k

80

350

3k

–15

FREQ

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

CHANNEL CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW FLIP SW

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

FLIP SW FLIP SW

CHANNEL CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

MONITOR

LR

PAN

SOLO

OL

L

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

LEVEL

SPLIT EQ

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

HI/LO EQ

TO MON

O

HI/LO EQ

TO MON

-20

R

PAN

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

OO

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

OO

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

dB

30

20

5

10

L/R

MIX

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

UUUU UUUU

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

UUUU

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

UU

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

OO

UU

dB

30

20

5

10

OO

5

10

40

50

80

dB

30

20

5

10

OO

5

10

40

50

80

dB

30

20

5

10

O

5

10

40

50

80

dB

30

20

5

10

OO

5

10

40

50

80

1234

UUUU

dB

30

20

5

10

OO

5

10

40

50

80

dB

30

20

5

10

OO

5

10

40

50

80

dB

30

20

5

10

OO

5

10

40

50

80

dB

30

20

5

10

OO

5

10

40

50

80

5678

UUUU

MIX

dB

30

20

5

10

OO

5

10

40

50

80

U

SOLO SOLO SO LO SOLO SOLO SOLO SO LO SOLO TALKBACK

MIC

LEFT/RIGHT

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

L

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

LRLRLRL R

MAIN

OR SOLO LEVEL

1

9

17

2

10

18

3

11

19

4

12

20

5

13

21

6

14

22

7

15

23

8

16

24

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

7

4

2

0

2

10

7

10

20

30

40

–

22

+

MIX-B TO

L/R MIX

SOLO AUX SEND 3/4

MIX-B

CNTRL RM

AUX SEND 5/6

EXTERNAL

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

CNTRL RM

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

MIX-B

LEVEL

+15

OO

U

OOOO

MONO

TAPE SUB

MASTERS

AUX SEND 1

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR

CNTRL RM

STUDIO

SOLO TALKBACK

LEVEL LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

+15

OO

U

+15

OO

U

SOLO SOLO

AUX SENDS STEREO AUX RETURNS

4

35

6

PHONES

2

L/R MIX

PHONES

1

PHONES

2

L/R MIX

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

5

+20

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U

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SOLO

SOLO SOLO

LEVEL

L/R MIX

1-2 3-4 5-6 7-8

L/R MIX

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1

2

ASSIGN

+20

OO

U

+20

OO

U

LR

SOLO

LEVEL BALANCE

SOLO

2

1

+15

OO

U

+15

OO

U

LEVEL

POWER

EXTERNAL

INPUT

MIX-B

OUTPUT

AUX SEND

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

3456

PHONES 12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

1

R

L

2

R

2-TRACK

INPUT

12

MONO

L

MONO

L

MONO

TIP=OUT RING=IN

PHANTOM

POWER

TRIM

GAIN

TRIM TRIM TRIM TRIM TRIM TRIM

GAIN GAIN

TRIM TRIM TRIM TRIM

TRIM

CHANNEL

7

CHANNEL

8

CHANNEL

5

CHANNEL

6

CHANNEL

3

CHANNEL

4

CHANNEL

1

CHANNEL

2

MIC/LINE

LINE

IN

DIRECT

OUT

INSERT

BAL-

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TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE

CHANNEL

2

CHANNEL

3

CHANNEL

4

CHANNEL

5

CHANNEL

6

CHANNEL

7

CHANNEL

8

CHANNEL

1

TAPE

MIC/LINE

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

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I

T

Y

M

I

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/

L

I

N

E

G

A

I

N

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MIC/LINE

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

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MIC/LINE

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

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MIC/LINE

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

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/

L

I

N

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G

A

I

N

TAPE

MIC/LINE

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

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/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

+4

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

TAPE

MIC/LINE

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48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

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/

L

I

N

E

G

A

I

N

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MIC/LINE

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–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

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/

L

I

N

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G

A

I

N

FLIP

GAIN

TRIM

FLIP FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

12

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

34

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

56

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

PRE

1

2

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

OO

U

+15

OO

U

OO

U

+15

OO

AUX

78

+15

AUX

4

+15

U

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVESOCTAVES

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

1k 5k

3

2

12

NORMAL

OCTAVES

1111111

1

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45 3k

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

250

220 350 350

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

MONITOR

LR

PAN

SOLO

OL

L

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

LEVEL

SPLIT EQ

MONITOR

LR

PAN

SOLO

-20

OL

LR

FLIP SW

CHANNEL

HI/LO EQ

TO MON

O

HI/LO EQ

TO MON

-20

R

PAN

FLIP SW

CHANNEL

+15

OO

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

PAN

SOLO

-20

OL

LR

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

OO

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

OO

MUTE

5

10

40

50

80

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

UUUU UUUU

OO

PHANTOM

POWER

TRIM

GAIN

TRIM TRIM TRIM TRIM TRIM

TRIM

OO

Part No. 820-007-90 Rev. A 06/03

C. The 8•Bus Console and External Power Supply have been

exposed to rain; or

D. The 8•Bus Console and External Power Supply does not appear

to operate or exhibits a marked change in performance; or

E. The 8•Bus Console and External Power Supply has been

dropped, or its chassis damaged.

11. Servicing — Do not attempt to service the 8•Bus Console and

External Power Supply beyond those means described in this operating

manual. All other servicing should be referred to the Mackie Service

Department.

12. To prevent electric shock, do not use the 8•Bus Console and

External Power Supply polarized plug with an extension cord,

receptacle or other outlet unless the blades can be fully inserted to

prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé

avec un prolongateur, un prise de courant ou une autre sortie de

courant, sauf si les lames peuvent être insérées à fond sans laisser

aucune pariie à découvert.

13 . Grounding or Polarization — Do not defeat the grounding or

polarization of the 8•Bus Console and External Power Supply.

This apparatus does not exceed the Class A/Class B (whichever is

applicable) limits for radio noise emissions from digital apparatus as

set out in the radio interference regulations of the Canadian

Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils

numériques de class A/de class B (selon le cas) prescrites dans le

règlement sur le brouillage radioélectrique édicté par les ministere des

communications du Canada.

14. Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced hearing

loss, but nearly everyone will lose some hearing if exposed to sufficiently

intense noise for a period of time. The U.S. Government’s Occupational

Safety and Health Administration (OSHA) has specified the permissible noise

level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially dangerous

exposure to high sound pressure levels, it is recommended that all persons

exposed to equipment capable of producing high sound pressure levels use

hearing protectors while the equipment is in operation. Ear plugs or protectors

in the ear canals or over the ears must be worn when operating the equip-

ment in order to prevent a permanent hearing loss if exposure is in excess

of the limits set forth here.

CAUTION AVIS

RISK OF ELECTRIC

SHOCK

DO NOT OPEN

RISQUE DE

CHOC

ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral

triangle is intended to alert the user to the presence of uninsulated

"dangerous voltage" within the product's enclosure, that may be

of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle

équilatéral est utilisé pour alerter l'utilisateur de la présence à

l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur

suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to

alert the user of the presence of important operating and maintenance

(servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est

employé pour alerter les utilisateurs de la présence d'instructions

importantes pour le fonctionnement et l'entretien (service) dans le

livret d'instruction accompagnant l'appareil.

SAFETY INSTRUCTIONS

1. Read Instructions — Read all the safety and operation instructions

before operating the 8•Bus Console and External Power Supply.

2. Retain Instructions — Keep the safety and operating instructions

for future reference.

3. Heed Warnings — Follow all warnings on the 8•Bus Console and

External Power Supply and in these operating instructions.

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

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

External Power Supply near water - for example, near a bathtub,

washbowl, kitchen sink, laundry tub, in a wet basement, near a

swimming pool, swamp or salivating St. Bernard dog, etc.

6. Heat — Locate the 8•Bus Console and External Power Supply

away from heat sources such as radiators, or other devices that

produce heat.

7. Power Sources — Connect the 8•Bus Console and External Power

Supply only to a power supply of the type described in these operation

instructions or as marked on the 8•Bus Console and External Power

Supply.

8. Power Cord Protection — Route power supply cords so that they

are not likely to be walked upon or pinched by items placed upon or

against them, paying particular attention to cords at plugs,

convenience receptacles, and the point where they exit the 8•Bus

Console and External Power Supply.

9. Object and Liquid Entry — Do not drop objects or spill liquids into

the inside of the 8•Bus Console and External Power Supply.

10. Damage Requiring Service — The 8•Bus Console and

External Power Supply should be serviced only by qualified service

personnel when:

A. 8•Bus Console and External Power Supply power-supply cord

or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into the 8•Bus Console

and External Power Supply; or

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club

692

4 95 Subway Train

397

2 100 Very loud classical music

1.5 102

1 105 Patrice screaming at Ron about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fire or electric shock,

do not expose this appliance to rain or moisture.

1

IMPORTANT SENSITIVITY

ADJUSTMENT PROCEDURE!

24•8

32•8

Owner’s

Manual

Version

Rev. A

06/03

during mixdown, roll an already-recorded

track from your recorder.

4. The channel’s –20dB LED may light. The

L/R main meters will show the actual internal

operating level of soloed signals. Now you will

optimize levels.

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

control clockwise to get peaks that regularly

hit 0dB on the L/R meters. For mic inputs

this may require full CW rotation depending

on the sensitivity of the mic.

6. If desired (optional):

■■Press the EQ switch in.

■■Adjust the channel strip’s EQ to about

what you will be using during the session.

■■Re-perform Step 5.

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

its up position.

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

is being used.

To fully achieve the Mackie 8•Bus console’s

impressive headroom and specs, you should

“tune” channel sensitivity for each channel.

FOLLOW THIS PROCEDURE FOR

EACH CHANNEL IN USE:

1. Assign signal to channel fader:

■■If channel will be used with a micro–

phone, MIC/LINE switch should be up &

FLIP switch should be up.

■■If channel will be used with line input,

MIC/LINE switch should be down &

FLIP switch should be up.

■■If channel will be used with a tape

input keep the FLIP switch down.

2. Set channel strip controls as follows:

■■TRIM pot all the way counterclockwise

(+4dB)

■■AUX SEND controls all the way counter-

clockwise (off)

■■EQ switch up

■■LOW-CUT switch either on or off

(on recommended for mic inputs)

■■Pan hard left or right

■■Channel fader at UNITY

■■SOLO switch down

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

input. For example, have a performer play/

sing/strike something or someone, etc., at

the level at which they’re going to record or

perform. Don’t just play a single sustained

note, but rather, jam away as you would be

during recording or performance. If the

channel is being used for a tape input

Serial #

Please put your serial number

here for future reference (i.e.,

insurance claims, tech support,

return authorization, gloating

privileges, etc.):

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!

PLEASE! SAVE THE

SHIPPING BOX!

2

TABLE OF CONTENTS

SECTION 2* —

Panel Layout and Function .. 4

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

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

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

Pan & Assignment switches 4

–20 & OL LEDs ................. 5

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

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

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

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

The Flip Switch:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8•Bus Faders ................. 10

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

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

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

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

Metering Bus

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

Main/Solo Meters ..... 11

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

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

Stereo AUX Returns ....... 12

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

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

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

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

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

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

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

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

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

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

Jack panels (input strip

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

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

Phantom power ........ 14

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

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

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

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

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

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

Submaster Inserts .... 15

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

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

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

Control Room Output 15

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

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

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

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

2-Track Input and

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

REAR PANEL

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

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

Tape Return

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

Submaster/Tape Outputs17

Submaster/Tape Output

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

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

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

DC Power in ................... 18

SECTION 3 —

General Information ............. 19

LEVELS ............................... 19

Noise ................................ 19

Headroom ....................... 19

Unity Gain ...................... 19

Metering.......................... 19

BUSES ................................ 20

SENDS & RETURNS .......... 20

SOLO ................................... 20

EQ ....................................... 20

CONNECTORS .................... 22

A BIT MORE ON

MIX-B/FLIP ........................ 22

SECTION 4 —

Recording ............................23

RECORDING OVERVIEW .. 23

SETUP ................................. 23

RECORDING &

OVERDUBBING .................. 23

Using Buses .................... 23

Monitoring ..................... 23

Cue Mix ........................... 23

Wet or Dry Monitor? ...... 24

Let’s Record! ................... 27

Overdub, Anyone? .......... 27

MIXING OVERVIEW .......... 27

MIXING SETUP .................. 28

Pick a Model ................... 28

Consider Compression .. 28

DOING THE MIX ................ 28

Using External Processing 28

Insert Devices ................. 28

Send / Return Devices .... 35

Using Subgroups ............ 35

Finding More Inputs:

Mix-B to L & R Buses ..... 35

Monitoring and Levels .. 36

About Automation ......... 36

SECTION 5:

PA and Sound Reinforcment

Applications ......................... 37

SETUP ................................. 37

HOUSE AND MONITOR MIX

TOGETHER ........................ 42

Headphones .................... 42

MAKING A SIMULTANEOUS

RECORDING ....................... 42

HOUSE MIX ONLY or

MONITOR MIX ONLY ......... 42

Mic Splitters ................... 43

FINDING MORE INPUTS ... 43

APPENDIX A: Connections .. 44

“XLR” CONNECTORS ......... 44

1/4" TRS PHONE PLUGS

& JACKS ............................. 44

1/4" TS PHONE PLUGS

& JACKS ............................. 44

SWITCHED 1/4"

PHONE JACKS ................... 44

RCA PLUGS & JACKS ........ 45

UNBALANCING A LINE ..... 45

SPECIAL CONNECTIONS .. 45

TRS Send/Return

Insert Jacks .................... 45

Using the send

only of an

insert jack ............. 45

Using return only ...... 46

AUX RETURNS: Mono, Stereo,

Whatever ......................... 46

MULTS AND “Y”s ................ 46

APPENDIX B: Options,

Add-Ons and Extra Stuff ...... 47

METER BRIDGE ................ 47

SIDECAR ............................ 47

UN-CIGARETTE LIGHTER .. 47

MIXING SHOES ................. 47

APPENDIX C: Specifications .. 48

GAIN/LEVEL CHART............48

DIMENSIONS ..................... 49

BLOCK DIAGRAM .............. 52

SERVICE ..............................54

TROUBLESHOOTING ........ 54

FACTORY SERVICE ........... 54

SERVICE FROM AN

AUTHORIZED SERVICE

CENTER .............................. 55

TRACK SHEET .................... 56

8•BUS LIMITED WARRANTY 61

* 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.

3

RECORDING

SECTION 1: Introduction

The Mackie 8•Bus Series is a flexible ‘in-line

monitoring’ style console. They are available with

24 or 32 microphone/line inputs fed into 8 submix

buses, 2 stereo mix buses and 6 auxiliary send

buses. There are 24 or 32 tape return inputs for

multitrack monitoring and mixing or for use as

additional line inputs. The 8•Bus Series is de-

signed to be the mixing and communications hub

in a multitrack recording studio and is also an ex-

cellent 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!

IF YOU IGNORE MANUALS...

You’ll probably ignore this one, too. That’s OK,

the crack Mackie Documentation Department will

get to go on their annual “Typing Without Walls”

outing at campsite four in the Woodinville RV

Park anyway.

But this is a really great manual! It’s got Where

It Is and What It Does and How To Use It covered

totally, with pictures and diagrams and absolutely

no pop quizzes.

Do yourself a favor and at least check out

Section 2 and the block diagram for starters. The

8•Bus Series has a number of routing tricks that

could be hard to suss out without a guide. Then, if

that’s all you can take without pumping some

sound through the console, put the manual in the

bathroom for future reference or read it while you

eat your lunch.

If you’re even more terminally impatient, try to

look for these two icons:

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.

PANEL LAYOUT

AND FUNCTION

GENERAL INFORMATION

LAYOUT

AND

FUNCTION

GENERAL

INFO

RECORDING

PA AND SOUND

REINFORCEMENT PA & SR

APPENDICES

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

SERVICE

MASTER TRACK SHEETS

FOR DUPLICATION

TRACK

SHEETS

BLOCK DIAGRAM BLOCK

DIAGRAM

ADD-ONS

SPECS

ETC.

SERVICE

4

+15

OO

U

MIX-B

LOW CUT

EQ

IN

75 Hz

18dB/oct

SOURCE

FLIP SW

CHANNEL

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MIX-B

MONITOR

LR

PAN

dB

30

20

10

5-6

3-4

1-2

7- 8

L/R

MIX

-20

OL

OO

24

10

40

50

60

MUTE

5

SOLO

U

SECTION 2: Panel Layout and Function

INPUT CHANNELS (CHANNEL STRIPS)

The 24 or 32 input channel strips on the Mackie

8•Bus consoles are identical, and contain all of the

level, assignment and equalization controls for each

input channel. This section describes the controls

and functions of each feature of an input channel in

detail.

FADER

The channel fader (1) is 100 millimeters long,

with a precise logarithmic taper and attenuation in

dBs printed along the slot for exact and repeatable

level adjustments. The fader affects either the mic or

line input to the channel (for recording) or the tape

return to the channel (for mixing), depending on

the position of the FLIP switch.

MUTE

The MUTE switch, located at the top of the

fader (2), turns off the primary outputs of the

channel: the eight buses, the L & R buses, the

channel solo, the direct output and the 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.

GOURMET PAN CONTROL AND

ASSIGNMENT SWITCHES

The PAN control (3), immediately above the

fader, pans the channel signal between the two sides

of the L/R Mix buses, and also between odd and even

pairs of buses 1 through 8.

The actual bus assignment of the PAN control

depends on the positions of the five assignment

switches located along the length of the fader.

With no switches depressed, the PAN control has

no effect (well, unless you solo the channel; it

still pans the solo).

Pushing the L/R MIX switch (4) assigns the PAN

to the main L /R Mix buses. Panning from L to R

moves the sound smoothly (with constant loudness)

from the left channel to the right channel. Assigning

the PAN to a pair of the 8 buses has a similar effect.

For example, pushing the 1-2 switch assigns the PAN

to buses 1 and 2, and panning L to R will move the

sound from bus 1 to bus 2 (from odd to even).

If you want to equally assign a channel to both

buses 1 and 2, leave the PAN control at the top, or

center, of its travel. If you only want bus 2, turn the

PAN control fully clockwise (to the right).

Other comparably-priced consoles provide as

little as 50dB attenuation/separation. We use active,

buffered circuitry and a custom-taper potentiometer

OVERVIEW

The panel layout of the Mackie 8•Bus Series

follows the traditional arrangement: input chan-

nel strips to the left, with a master output/

monitoring/cue section to the right. Additionally,

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.

CHANNEL INPUT/OUTPUT

CHANNEL STRIPS

MASTER

SECTION

MASTER

SECTION

MASTER

I/O

MASTER

I/O

5

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

LO

MID

HI

MID

FREQ

75 Hz

18dB/oct

SOURCE

FLIP SW

CHANNEL

45 3k

PAN

LEVEL

BAND

WIDTH

OCTAVES

500 18k

3k

FREQ

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MIX-B

MONITOR

LR

–15 +15

U

–15 +15

U

–15 +15

U

1k 5k

250

220 350

3

2

1

12

NORMAL

PAN

-20

OL

SOLO

to achieve 87dB attenuation. You get far better

channel separation plus freedom from level shifts

caused by channel assignment and panning. In

addition, our pan pots are constant loudness.

When you sit between a pair of monitors and pan

from side to side, the apparent volume at your

ears should stay the same, no matter where the

signal is positioned. Our special pan circuitry

maintains consistent apparent energy whether the

pot is dead center, hard left or hard right.

–20 AND OL LEDs

The two LEDs (5) next to the PAN control check

the channel strip signal level at three important 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

higher than –20dBu (@ 1kHz) trigger the indicator.

When we say “channel”, we mean the signal going

through the channel fader… but not the signal

going through the MIX B Section. Please refer to the

MIX B section of this manual, starting on the next

page, for more details.

The red LED, labeled OL for overload, lights

when the signal level is high enough to cause 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.

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

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

and if that doesn’t fix it,

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

input signal is too hot (gasp). Use an external pad

to reduce the level (see the sidebar on page 24).

CHANNEL SOLO

The channel SOLO switch (6) assigns the output

of the channel PAN control to the stereo solo buses

and disconnects all other sources from the monitor

section. SOLO does not interrupt the eight 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.

TRIM

FLIP

TAPE

MIC/LINE

CHANNEL

24

GAIN

+4

–10

dBV

50

dB

10

dB

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

G

A

I

N

-40

dBV

CHANNEL

24

MIC/LINE

LINE

IN

DIRECT

OUT

BAL-

UNBAL

INSERT

TIP = OUT

RING = IN

PHANTOM

POWER

On the Mackie 8•Bus console, the SOLO

assignments are stereo except for the AUX sends.

SOLO maintains the perspective set up with the

PAN controls. When any SOLO button on the 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.

Note: All the SOLO buttons on the 8•Bus

Series operate in the same way (although

they’re not all stereo like the channel SOLO).

SOLO does not interrupt recording; it only

affects the control room monitor.

HIGHLY, MEGA-MONDO-

IMPORTANT: SOLO is

intended for more than just

“soloing.” It is THE way to set

levels for best noise and head-

room. Complete instructions on proper level

setting using SOLO are in Section 3: General In-

formation, starting on page 19.

PHANTOM POWER

CAUTION: After switching PHANTOM Power

on or off, wait 1 minute before changing any

mic/line switch settings in that 8-channel block.

At the top of every eight channels is a PHANTOM

Power switch (7). Pressing it sends +48VDC to

the eight XLR sockets to the switch’s left. For

instance, depressing the PHANTOM switch above

Channel 8 sends phantom power to the XLRs on

channels 1 through 8. NOTE: It is always a good

idea to check with the Mic manufacturer to

verify phantom power requirements.

TRIM

The TRIM control (8) sets the gain of the

input amplifier for the MIC and LINE inputs.

Proper setting of the TRIM control is essential

for good noise and headroom performance. Trim

pot settings may vary widely depending upon

the input level. The output of different key-

boards, drum machines, guitar effects boxes,

etc., vary from extremely weak to so hot that

they can practically be connected directly to

speakers. See pages 1, 19, or 24 for advice.

MIC/LINE SWITCH

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.

6

TRIM

TAPE

MIC/LINE

CHANNEL

24

GAIN

+4

–10

dBV

50

dB

10

dB

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

G

A

I

N

-40

dBV

CHANNEL

24

MIC/LINE

LINE

IN

DIRECT

OUT

BAL-

UNBAL

INSERT

TIP = OUT

RING = IN

PHANTOM

POWER

+15

OO

U

MIX-B

LOW

CUT

SOURCE

FLIP SW

CHANNEL

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MIX-B

MONITOR

LR

PAN

dB

30

20

10

5-6

3-4

1-2

7- 8

L/R

MIX

-20

OL

OO

24

10

40

50

60

MUTE

5

SOLO

U

strip (via the source switch), can be achieved

by modifying the channels. Instructions for this

modification can be found on our website at

www.mackie.com (click on Support). Or you can

call Tech Support at 1-800-258-6883 for assistance.

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!

3. With CHANNEL as an input (SOURCE down in

CHANNEL position), MIX-B taps its signal from

the channel strip, just before the channel fader.

MIX-B is separately pan-able, EQ-able and

can be used as an alternative stereo mix, a

stereo auxiliary send, a “mix-minus” bus, a

quadraphonic or surround feed, you name

it. Mix B can also have its own aux send

(see Aux sends 3-6).

Check out Section 3: General Info and the

Block Diagram for more information on MIX-B

routing.

MIX-B PAN

The PAN control (12) routes the channel’s

MIX-B signal across the left and right MIX-B buses.

MIX-B LEVEL

The LEVEL control (13) sets the level of

the channel sent to the MIX-B buses. The gain

structure of this circuit (like the AUX send

1–6 circuits, below) includes extra 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.

The MIC/LINE switch (9) is located way up

amongst the channel jacks. It selects whether

the MIC jack (pin 2=hot[+], pin 3=cold[–],

pin 1=shield) or the LINE jack (balanced 1/4"

phone… tip=hot, ring=cold, sleeve=shield) is

connected to the input amplifier.

THE FLIP SWITCH: MIC/LINE OR TAPE

The switch labeled FLIP

(10) selects the input that is

actually fed into the channel

fader (and the MIX-B con-

trol; see below). As the label

indicates, the MIC/LINE input (after Mic/Line

preamp) is fed to the channel fader when the

FLIP switch is in the up position. This is the

normal mode for tracking and overdubbing. In

the down position, the TAPE return (the output

signal from the corresponding track of your re-

corder) 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?

For live PA, leave the FLIP switch up.

MIX-B / MONITOR

Each channel strip has a

dual signal path (Enter Mix-

B!) with extremely flexible

switching. This allows either

the mic/line 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

complicated, so pay attention. Also, we did add

something that other in-line monitoring sys-

tems 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

7

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

MID

FREQ

75 Hz

18dB/oct

45 3k

BAND

WIDTH

OCTAVES

500 18k

3k

FREQ

–15 +15

80

U

LO

–15 +15

U

–15 +15

U

–15 +15

U

1k 5k

250

220 350

3

2

1

12

NORMAL

24

Freq. center: 1k;

Bandwidth: 3-octave;

±15dB boost/cut

Freq. center: 1k;

Bandwidth: 1-octave;

±15dB boost/cut

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1-octave;

±15dB boost/cut

Freq. center: 1k;

Bandwidth: 1/12-octave;

±15dB boost/cut

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1/12-octave;

±15dB boost/cut

When you put these consoles on

the test bench, you see that the

bandwidth of their EQ is simply

too narrow — often around one

octave. This is OK for extreme

adjustments in live situations,

but that’s about it. It’s just not

wide enough to gently alter the

multiple octaves that voices and

instruments span.

This is just

the opposite

of “classic”

big-studio

consoles.

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-

octave 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-

Parametric-Problem-Solver-O-Matic.

O-Rama.

MIX-B SPLIT

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.

EQ SECTION

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.

HI MID EQ

The HI MID EQ section (15) is a

true 3-control parametric design,

offering: A) bandwidth variable

from 3 octaves to 1/12 octave (16);

B) ± 15dB of equalization (17) and;

C) variable frequency center from

500Hz to 18kHz (18).

We spent a lot of time on this

part of the 8•Bus Series’ EQ. One

of the things we’ve always noticed

about lower-priced consoles was

how “drastic” their Hi Mid EQ

sounded. Even a little boost could

induce honkiness and nasality.

Frankly, Hi Mid EQ on many

boards is not that useful in studio

applications for just this reason.

Freq.: 500Hz-18kHz sweep;

Bandwidth: 3-octave;

±15dB boost/cut

8

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

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.

LO MID EQ

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.

HI EQ

The HI EQ control (20) is a

fixed 12kHz shelving equalizer

with ±15dB of equalization avail-

able. A great treble control, it is

switched with LO EQ into the

MIX-B circuit if the SPLIT but-

ton 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

high-frequency shelving EQ is

great for putting shimmer into

acoustic guitar and piano tracks

and sizzle into vocals.

LO EQ

The LO EQ control (20) is a

fixed 80Hz shelving equalizer

with ±15dB of equalization avail-

able. It’s a fine bass control, and is

switched with HI EQ into the

MIX-B circuit if the SPLIT button

is depressed.

A low-frequency shelving

equalizer will add or remove bass

in a smooth, musical fashion.

Good for working on bass drum

and bass guitar, fattening up (or

thinning out) a piano or contour-

ing an entire mix.

EQ IN/OUT

The IN switch (22) bypasses the

EQ (though not the LO CUT filter)

when up. Depress it to enable equal-

ization.

LO CUT

The LO CUT switch (23) inserts

an 18dB/octave low-cut (high-pass)

filter with a –3dB point of 75Hz into

the main channel signal. The LO

CUT filter is unaffected by the EQ IN

switch.

A low-cut filter is handy to get rid

of room rumble, traffic noise, wind

noise, popping, and other unwanted

very-low-frequency sounds. It can

also be combined with LO EQ boosts

to produce some interesting bass

curves as shown in the last EQ

graph on this page. It is highly rec-

ommended that this switch be

engaged for vocal microphones, es-

pecially in a live P. A. situation.

AUX SENDS

Auxiliary sends are generally

used to provide mixes for head-

phone cueing and for effects sends,

and in Sound Reinforcement use,

can be assigned monitor submix

duties. The 8•Bus Series consoles

provide 6 mono auxiliary sends with

several routing options.

Note: All of the 8•Bus Series

AUX sends have a very wide range

of gain (just like the MIX-B Level

control discussed earlier). The

first half of the control’s rotation

reaches from the off position to

unity gain (U). This half of the

control’s range corresponds to the

full range of a conventional mixer.

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

SOURCE

FLIP SW

CHANNEL

45 3k

PAN

LEVEL

BAND

WIDTH

OCTAVES

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MIX-B

MONITOR

LR

–15 +15

U

–15 +15

U

250

220 350

3

2

1

12

NORMAL

Lo Mid EQ

2 octave ±15dB boost/cut

Lo Mid EQ sweeps

from 45Hz to 3kHz

Hi EQ ±15dB boost/cut

above 12kHz

Lo EQ ±15dB boost/cut

below 80Hz

Lo cut (high pass filter)

18dB/oct. at 75hz

Interaction of Lo Cut

with Lo EQ boost.

Verrry eenteresteeng, no?

The second half of the control’s

rotation provides you with even

more gain, from unity to +15dB.

9

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

50

dB

10

dB

L

T

I

V

I

T

Y

-40

dBV

24

For example, when you want a super “wet”

sound(mostly reverb), the extra gain allows you to

bring the channel fader part way down (and the

AUX send way up) so the sound is mostly reverb

with just a touch of “dry” signal.

Don’t worry about having mono effects sends:

almost all effects units, mono or stereo, have mono

inputs. Even if there are two jacks labeled Left and

Right, they are almost always combined into mono

internally. In the rare cases when an effect actually

has true stereo inputs, it is often more convenient

to ignore that and treat it as mono anyway. If you

really need to send in stereo, just use two AUX

sends from the console. Route AUX 1, for example,

to the left input and AUX 2 to the right. Then 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.

Note: In PRE mode, all AUX SENDS are

connected pre-fader but post-EQ. This is usu-

ally the most useful setup, but if you prefer, all

AUX SENDS can be modified to be pre-EQ,

pre-fader. Instructions for this modification

can be found on our website at www.mackie.com

(click on Support). Or you can call Tech Support

at 1-800-258-6883 for assistance.

AUX 1 & 2

Auxiliary sends 1 & 2 (24) have two inde-

pendent level controls and share a common

PRE/POST switch.

When in the normal post mode, sends 1 & 2

get their signal after the channel fader and the

MUTE switch. This is the usual configuration

for an effects send, since the level of the effect

should follow the volume adjustments made by

the channel fader.

PRE (1&2)

With the PRE switch (25) depressed, AUX

SENDS 1 & 2 receive their input from a point

before the channel fader and MUTE switch, and

are not affected by changes in these controls.

This is the normal switch setting for creating

stage monitor and/or studio cue headphone

sends.

AUX 3, 4, 5, 6

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.

SHIFT

The SHIFT button (27) con-

nects the two level controls,

as a pair, to either sends 3 &

4 (in the up position) or to

sends 5 & 6 (in the down

position). Twice the sends in half the space.

SOURCE

The SOURCE switch (28) breaks AUX Sends

3-6 away from the main channel strip world that

sends 1 & 2 are stuck in, and allows the sends to

tap from another source: the MIX-B signal for that

channel. This is a very handy thing, whatever you

happen to be using MIX-B for.

If MIX-B is an additional input for your 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.

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.

10

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

30

20

10

OO

10

40

50

dB

10

20

30

40

50

OO

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

5

55

5

LEFT/RIGHT

MIX

MIX MIX MIX MIX

UUUUUUUU U U

80 80 80 80 80 80 80 80 80 80

TALKBACK

MIC

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.

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.

L MIX and R MIX

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-

cussed below, allows you to assign submix buses

within your L/R mix.

MONO L & R

The MONO L & R switch (4) functions ONLY

when you have first depressed the L MIX or R

MIX. If you’ve pushed L MIX or R MIX, pushing

MONO L & R will assign the bus to both channels

of the Left and Right Mix buses, instead of just the

Left, or just the Right. This is also for submixing,

but allows you to put your submix in the center

rather than on either side.

(Those of you with patch

cords have probably realized

you can patch the bus into a

channel and do even more

fun things, but we’ll talk

about that later.)

SOLO

The SOLO button (5) solos the output of the bus

fader. When any SOLO button is pressed, the SOLO

LED lights.

This is a pretty trick SOLO, too. If you have not

pushed the MONO L & R switch, the SOLO sends the

odd-numbered tracks to the left speaker and the

even-numbered tracks to the right, whether or not

the associated L MIX or R MIX is engaged. But if you

have pressed MONO L & R,

the SOLO circuit is smart

enough to send the bus to

both speakers and put the

stereo image in the middle.

You will be the envy of your

neighborhood.

L/R MIX FADER

The L/R MIX fader (6) is

a stereo fader located at the

far right of the console. The

fader controls the level of

the L/R MIX bus, with 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.

LAYOUT

AND

FUNCTION

11

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7-8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

ASSIGN TO

L/R MIX SOLO AUX SEND

3/4

MIX-B

MONITOR

AUX SEND

5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

MASTER

MIX B / MONITOR PHONES 1

PHONES

LEVEL

SOLO

MIX-B

MONITOR

EXTERNAL

PHONES 2

PHONES

LEVEL

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR

CNTRL RM

STUDIO

OPERATING

LEVEL

INDICATOR

AND

TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

O

OOOOOO

+15

OO

U

BAL ANCE

AUX SEND

3/4

AUX SEND

5/6

SOURCESOURCE

SOLO

OO

+15

OO

U

12345678

169 101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

METERING

Bus Meters 1-8

Directly above each bus fader is a peak-reading

meter displaying the bus output level. Zero (0) on

the meter references a level of +4dBu (1.23 volts

RMS) at the output jack.

Note: If the –10dBV switches are engaged at the

Subgroup output jacks, then zero (0) on the meter

references a level of –10dBV at those outputs.

Note: When any SOLO switch is engaged, the

SUBMASTER meters will be extinguished in or-

der to divert your attention to the SOLO/MAIN

meters (discussed below).

MAIN OR SOLO LEVEL Meters

The MAIN OR SOLO LEVEL meters display the

L/R Main Mix levels and are similar to the bus

meters, with these exceptions:

• If a SOLO button is depressed, the meters

display the output of the soloed

signals; if not, the meters show the

level of the signal selected by the

MONITOR SOURCE switches. In

other words, you are always meter-

ing what you’re listening to.

IMPORTANT:

When the console

is in SOLO mode,

zero (0) on the

SOLO/MAIN

meters references the actual

internal operating level, or 0dBu

(.775v). If you have just one signal in

the main L/R path and you SOLO it,

the meter level will jump up 4dB.

Don’t be alarmed. If you’re mixing on

the L/R buses, that’s what you’ll

meter. If you’re checking a tape

playback, that’s what you’ll meter.

When the meters are following the

monitors (not in SOLO), zero (0) on

the meter references a level of

+4dBu (1.23 volts RMS) at the main

L/R outputs, just like the submaster

meters.

Note: The solo levels displayed on

the meters are PRE-solo level,

thus giving you an accurate

showing of the total level of the

soloed signals.This is also the way

to set initial console levels. See the

discussion of the SOLO function,

earlier in this section.

• Additional red LEDs per side at

the top of the meter show output

clipping at +28dBu balanced,

+22dBu unbalanced. (You don’t want these

to ever go on. If they do, try pulling down the

L/R master fader a little.)

AUX SENDS

The six auxiliary send outputs each have a

master level control. Like any level control, 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.

LAYOUT

AND

FUNCTION

12

AUX SOLO

The SOLO button next to each level control

(7) solos that send and allows you to check the

send level in the main meters. There is a solo

LED (8) in the Send section, to help you locate

what the heck you soloed.

Note: The six AUX Sends are each mono 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.

STEREO AUX RETURNS

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.

For extra flexibility, the AUX Returns have been

designed with an extremely wide range of available

gain, offering as much as 15dB boost over unity.

The return jacks are wired to provide both stereo

and mono operation. See AUX Returns under JACK

PANEL later in this section for details.

Returns 1 & 2

AUX Returns 1 & 2 (10) each have a stereo SOLO

switch, a stereo LEVEL control, a BALANCE control

and a bank of ASSIGN switches.

ASSIGN (1 & 2)

AUX Returns 1 & 2 are assigned in stereo pairs

(Return 1, L & R; Return 2, L & R) to the L / R MIX

buses or to odd-even pairs of the 8 submix buses

(11). If you would like an effects return to accom-

pany its dry signal on the multitrack (wet tracks),

these are the returns to use.

Returns 3 & 4

AUX Returns 3 & 4 (12) each have a stereo SOLO

switch, a stereo LEVEL control and a smaller bank of

ASSIGN switches.

ASSIGN (3 & 4)

Returns 3 & 4 are assigned in stereo pairs (Return

3, L & R; Return 4, L & R) to the L / R MIX buses or

to the PHONES 1 and PHONES 2 buses via 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.

MIX-B / MONITOR

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

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7-8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

ASSIGN TO

L/R MIX SOLO AUX SEND

3/4

MIX-B

MONITOR

AUX SEND

5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

MASTER

MIX B / MONITOR PHONES 1

PHONES

LEVEL

SOLO

MIX-B

MONITOR

EXTERNAL

PHONES 2

PHONES

LEVEL

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR

CNTRL RM

STUDIO

OPERATING

LEVEL

INDICATOR

AND

TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

O

OOOOOO

+15

OO

U

BAL ANCE

POWER

AUX SEND

3/4

AUX SEND

5/6

SOURCESOURCE

SOLO

OO

+15

OO

U

+

LAYOUT

AND

FUNCTION

13

PHONES

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

tions are identical. Each

contains a stereo level control

for the headphones outputs, a

stereo SOLO switch, and five

pushbuttons to select from the

following signal sources: MONITOR, MIX-B, AUX

SENDS 3 & 4, AUX SENDS 5 & 6, and EXTERNAL.

You can select any combination of sources.

• The MIX-B, AUX SENDS 3 & 4 and AUX SENDS

5 & 6 switches are connected directly from the

outputs of their respective circuits.

• MONITOR takes the signal from after the

MONITOR selection switches described below,

and therefore carries the same signal that is

applied to the control room monitors. (The

PHONES section is not affected by the CNTL RM

level control or the MONO switch in the MONI-

TOR section, though.)

• The EXTERNAL switch is connected directly

from the L and R EXTERNAL INPUTS in the jack

panel above. External is an independent cue

channel for click tracks, etc. Its signal DOES NOT

appear at any of the channels or buses.

Note: If MONITOR is selected as a PHONES

source and the solo button in the PHONES section is

depressed, nothing will happen except that the Solo

LEDs will light up. That’s because Solo is disabled

under these conditions to prevent a feedback loop

and its associated anguish.

Note: If nothing is selected, signal may still feed

the PHONES from AUX Return 3 & 4, via that

section’s ASSIGN TO PHONES switches.

MONITOR

The control room monitors and the studio

playback monitors are both controlled from the

MONITOR section of the console (18). There is

a stereo level control for the control room and

another for the studio.

Note: Fully clockwise equals unity gain.

A bank of switches selects the

stereo sources available to the

speakers from L/R Mix, MIX-B,

Tape and External. You can

select any combination 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.

The MONO switch sums the left and right

channels together to allow you to check your mix

in monaural. This affects only the control room

monitor speakers, the studio monitor speakers,

and the L/R meters (although the meters are not

monoed in solo mode.)

SOLO

The Solo section (19) contains the master

level control for the stereo Solo mix. Set at the

center detent, it will match the level of the soloed

signals to the same signals unsoloed. This section

also has the most obnoxious solo light allowed 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

postpaid to your door the bivalve pride of the North-

west, a Quilcene-smoked Geoduck filet, with our

compliments!)

TALKBACK

The talkback section has four momentary

pushbutton switches, which assign talkback to

any combination of AUX Send 1, AUX Send 2,

TAPE SUBGRPS (L/R MIX and the 8 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.

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.

LAYOUT

AND

FUNCTION

14

Mic In

The channel microphone input (1) is a stan-

dard 3-pin female mic connector (call me

Cannon or call me XLR, just don’t call me late

for dinner). Pin one is ground, pin two is signal

high (+), pin three is signal low (–), as per the

(finally) agreed-upon international standard.

Note: Don’t use these XLR’s for line level

signals — see “Line In”.

Line In

The channel Line Input (2) is a TRS (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

(tip-sleeve) unbalanced 1/4" phone plugs. See

Appendix A: Connections for more information.

Direct Out

The channel Direct Out (3) is a nominal

+4dBu unbalanced TS 1/4" phone jack, 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.

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.

CHANNEL

24

MIC/LINE

LINE

IN

DIRECT

OUT

BAL-

UNBAL

INSERT

TIP = OUT

RING = IN

PHANTOM

POWER

JACK PANELS (INPUT STRIP &

MASTER OUTPUT)

All of the inputs, outputs and insert points are

located on the jack panels on the top and the

rear panels of the mixer. An external patchbay is

not required, although it does make life easier.

Let’s start by listing what is NOT on the

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)

All other connections are made at the top of

the front panel, either above the channel Input

Strips or above the Output Panel.

INPUT STRIP

Each channel input strip has its inputs and

outputs located directly above the strip. The

connections are detailed next.

PHANTOM POWER

Microphone phantom power (+48 VDC) is 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 pro-

tect your microphones.

We suggest that before plug-

ging 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 stockbro-

ker. 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-intensity

version).

15

OUTPUT PANEL

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 Inserts

At the top of the panel are the eight

Submaster Insert jacks (1). These

patch points allow you to insert a serial

processing device (such as a compres-

sor or an equalizer) into any of the

8•Bus submaster circuits. See Appen-

dix A for more details on using external

processing.

The insert point is after the summing amplifier,

but before the fader. Like the Channel Insert

points, the connectors are 1/4" TRS jacks, wired

unbalanced with the output or send signal on the

tip, the input or return signal on the ring, and the

sleeve common or ground.

Note: These inserts can be used as pre-fader

direct outs, using an unbalanced (TS) 1/4” plug in

these two ways:

• Plugs are inserted just to the FIRST click.

There is no interruption of the signal; OR

• Plugs are inserted all the way in to the

SECOND click.This interrupts the signal

and routes it ONLY to the device you’re

sending to.

AUX Sends

The six AUX Sends (2) appear as six 1/4" jacks in

a row, just underneath the Sub Inserts.

AUX Sends 1 and 2 are balanced TRS outputs,

wired tip to high (+), ring to low (–), and sleeve to

ground. AUX Sends 1 and 2 are designed so that

1/4" unbalanced TS phone plugs can also be used,

with no loss of level. AUX Sends 3 through 6 are un-

balanced, with the tip high (+) and ring and sleeve

tied together as ground. Nominal level is +4dBu.

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

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.

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.

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.

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERT

2-TRACK

INPUT

1234 56

PHONES 12

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

(MONO) (MONO)

L

TIP = OUT RING = IN

16

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERT

2-TRACK

INPUT

1234 56

PHONES 12

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

L

(MONO)

(MONO) (MONO)

L

TIP = OUT RING = IN

Main Mix

The Main Mix jacks (6) on the top panel are 1/4"

TRS unbalanced, with tip high, and ring and sleeve

tied to ground. The nominal level is +4dBu. These

two jacks carry the L/R Main Mix, for connection to

your master 2-Track recorder’s inputs, for instance.

The same Main L/R Mix is also available, fully bal-

anced, at the two XLR connectors on the back panel.

MIX-B Output

The MIX-B jacks (7) are 1/4" TRS unbalanced,

with tip high, ring and sleeve tied together as ground,

nominal level +4dBu. These jacks make the MIX-B

signal available for external patching.

Phones

The two Phones jacks (8) are 1/4" TRS stereo,

with tip connected to left, ring to right and sleeve to

ground. The final output of Phones 1 and Phones 2

appear here. These jacks may be connected to exter-

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

PHONES level down before you plug your phones in,

and then bring the level up to where you want it.

Studio Output

The two Studio Output jacks (9) carry the signal

for the Studio speakers. They are 1/4" unbalanced,

wired tip high, ring and sleeve ground, nominal level

+4dBu. This is where you connect the inputs to your

studio monitor amplifier.

Alternatively, the Studio Output jacks can be

wired to a second Control Room amplifier and set of

speakers. Then, to switch between the two sets, turn

the CNTRL-RM level control fully down and turn up

the STUDIO level control — or vice versa. This con-

cept is very handy during mixdown. It won’t work

very well if you plan to use any of the talkback

switches, as you would during tracking/overdubbing.

2-Track Input and External Input

The 2-Track Input (10) and External Input (11)

are 1/4" TRS unbalanced jacks, with tip wired to high

and ring and sleeve tied together to ground. These

inputs offer you the ability to listen to two mono or

stereo sources directly, without patching through in-

put channels. Either input can be connected to any

stereo source you’d like to listen to. Usually, you will

have the 2-Track Input connected to the output of

your 2-Track master recorder, to check the mix.

The inputs are directly wired to the “2-TK” and

“EXTERNAL” source selection switches in the

Phones 1 and 2 and MONITOR sections of the

Output Panel. These are +4 dBu inputs.

LAYOUT

AND

FUNCTION

17

OPERATING

LEVEL CH. 17-24

TAPE RETU

R

15 13 11 9 7 5

16 14 12 10 68

17

18

19

20

21

22

TAPE RETURNS 9-16TAPE RETURNS 17-24

OUT +4dBu

IN –10dBV

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

U

OPERATING

LEVEL CH. 9-16

OUT +4dBu

IN –10dBV

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.

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.

REAR PANEL

CONNECTIONS

The connections to and from your multitrack re-

corder are on the Rear Panel of the 8•Bus Series.

There are 24 or 32 Tape Return jacks (depending on

the model) and 24 Submaster/Tape Out jacks.

Tape Returns

The Tape Return jacks (1) are 1/4" TRS balanced,

with tip wired to high (+), ring to low (–) and sleeve

to ground. These jacks are also wired to 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 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:

LEFTRIGHT

MAIN BAL OUTPUTS

+28dBu MAX OUT

SUBMASTER / TAPE OUTPUTS

+4dBu BALANCED / –10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBu

IN –10dBV

16

171820 1921222324

OPERATING

LEVEL

OUT +4dBu

IN –10dBV

OPERATING

LEVEL

18

LEFTRIGHT

MAIN BAL OUTPUTS

+28dBu MAX OUT

EXPANDER

PORT

THIS CONNECTION FOR MACKIE

8•BUS POWER SUPPLY ONLY !

DC POWER IN

USE MACKIE 8•BUS

EXPANDER CABLE

ONLY! KEEP COVERED

+18V

–18V

+48V

+12V

+5V

MAIN BALANCED OUTPUTS

Along with the unbalanced 1/4” TS Main Mix

jacks on the front panel, balanced Main XLR

Outputs (4) are also provided, wired pin 2 hot,

pin 3 cold, pin 1 shield. Maximum output is

+28dBu.

EXPANDER PORT

The Expander Port (5) connection is pro-

vided for the 24•E Expander console, which has

been discontinued as of this printing.

DC POWER IN

This is where the funny plug that looks like a

Supersoaker squirtgun nozzle fits (6). Your 8•Bus

console should ONLY be powered by the appropriate

Mackie 8•Bus Power Supply.

This concludes our guided tour of the 8•Bus

console’s controls and connections. Now it’s time for

hands-on use!

19

GENERAL

INFO

Do you need to read this section at all?

Many of you reading this manual have a lot

of experience in using large mixing consoles.

For you battle-scarred pros, Section 2 and the

Block Diagram will probably be all that you

need to look at.

Then there are those of you who have worked

extensively with smaller mixers such as our

1604-VLZ PRO — 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 chap-

ters cover some of the more unusual or less

familiar features of your new 8•Bus console.

Finally, there are those who are either new to

using mixers or just like to read even larger

quantities of our glib prose. For you, we have

provided this short section that discusses the 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.

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

Here is a primer covering a few important

ideas you should be on good terms with before

you sit down to a mixing console.

LEVELS

Microphones have very low

output levels. Power amplifi-

ers have very high output

levels. One of the functions

of a mixing console is to amplify or attenuate

(reduce) these signal levels properly. Since it’s

easy to degrade the signal by not handling levels

well, and since it’s your hand on the controls,

you should be sure you know how much gain to

apply and where to apply it.

Noise

Every electronic circuit produces noise or

hiss or hash or buzz, and any noise present on

the input of an electronic circuit will be faith-

fully passed through. Turn it up high enough,

and you will hear the noise.

Headroom

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-

grinding distortion.

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

your operating level and clipping is called head-

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 detailed

on page 1.

Metering

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,

and it will tell you if your level is in the ballpark,

so to speak.

Try to keep your signals in the middle range

of the meters, for the most part. If the signal is

always very low, you may not be getting the best

noise figures you can. If the meter LEDs are

always solidly lit from bottom to top, you are

likely distorting both the console and your re-

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

SECTION 3: GENERAL INFORMATION

20

HI MID Variable 1: Boost/Cut

HI MID Variable 2: Bandwidth

HI MID Variable 3: Band Center

3 HI MID VARIABLES

many recorders, and no amplifiers, that can tol-

erate such high signal levels. Therefore, it’s best

that the red LEDs never light up.

But, if your music is sounding good, don’t

worry if you’re in the yellow a lot or if some parts

of the track hardly read at all. You’ll quickly get a

feel for what works for you, when you can get

away with really smacking the tape or the elec-

tronics too much.

BUSES

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.”

The Mackie 8•Bus Series has, in fact, many

more than eight buses. The eight memorialized

in the name are important, but there are also six

AUXiliary buses, a pair of L/R Mix buses, the 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.

SENDS AND RETURNS

Sends are outputs, and returns are inputs. So

why don’t we call them outputs and inputs?

Well, actually, the terms send and return can

mean many things, but the way they are generally

used in mixing console parlance

is to refer to sends, which tap off

a little of a signal to send to some

effects device (like a reverbera-

tion unit), and returns, which

function to return that reverb

back into the mix.

Sends are also used to tap

some mix of signal from a collec-

tion 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.

SOLO

Solo is a standard console

function that allows you to listen

to one or more sources all by

themselves (soloed).

You can check EQ, possible distortion or buzz,

or just listen to see if a particular mic is open or

not. This function can also be handled by each

channel’s –20/OL LEDs. See Section 2 “–20 and

OL LEDs” for more details. When soloing more

than one source, you can listen to the blend of

just part of your mix: only the sopranos, for ex-

ample, or just the tom mics on the drums.

The solo circuits are designed not to inter-

rupt the recording process. The solo bus signal

is sent directly to the control-room monitors

without affecting any of the inputs, outputs or

recording buses.

When you are mixing or monitoring with 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.

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-

cies for a pleasing effect.

Bass and treble controls on your stereo are

EQ; so are the devices called parametrics and

graphics and notch filters.

A lot of how we refer to

equalization has to do with

what a graph of the frequency

response would look like. A flat

response (no EQ) is a straight

line; a peak looks like a hill, a

dip is a valley, a notch is a re-

ally skinny valley, and a shelf

looks like a plateau (or a

shelf). The slope is the grade

of the hill on the graph. For in-

stance, if you lived in Texas,

you would set y’all’s EQs flat.

Graphic equalizers have

enough frequency slider con-

trols to form a graph of the EQ

right on the front panel. Para-

metric EQs let you vary several

EQ parameters at once. A filter

is simply a form of equalizer

that allows certain frequencies

through unmolested and either

reduces other frequencies or

eliminates them entirely.

Fig.1

GENERAL

INFO

21

GENERAL

INFO

Finally, the bandwidth of the bell-shaped re-

sponse curve around the selected frequency

(also somewhat inaccurately referred to as a ra-

tio known as Q) can be selected with the lower

knob. The range is from as wide as 3 octaves to

as narrow as 1/12 octave. Leave it at the center

detent if you are unfamiliar with the bandwidth

feature. This setting will give you a semi-para-

metric type of EQ.

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

until you gain some experience recording and

mixing.

The LO MID EQ section is called a semi-para-

metric equalizer, because the bandwidth is not

adjustable (Figure 2). The frequency range is 45Hz

to 3kHz and the bandwidth is fixed at 2 octaves.

The equalizer on the 8•Bus Series combines

several different types of EQ into five different

sections.

The HI MID EQ section is a fully parametric

equalizer. This means all the significant

parameters can be varied, as you can see in Fig-

ure 1. The boost or cut of this section, through a

range of ±15dB,

is set with the

top knob. The

center fre-

quency is dialed

in with the

middle knob,

and can be set

anywhere be-

tween 500Hz

and 18kHz.

LO MID Variable 1: Boost/Cut

LO MID Variable 2: Band Center

2 LO MID VARIABLES

Fig. 2

2

3

1

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

TIPSLEEVETIPSLEEVE

TIP

(SEND)

RING (IN)

TIP (OUT)

RING

(RETURN)

TO MIXER

CHANNEL INSERT

TIP (RETURN)

TIP (SEND)

TO

PROCESSOR

INPUT

FROM

PROCESSOR

OUTPUT

2

31

1

COMMON

COLD

HOT

COMMON

COLD

HOT

3

COMMON

COLD

HOT

Balanced XLR Connectors

RCA Plug used on some outboard gear

“Y” insert cable for connecting

signal processors’ inputs and

outputs to 8•Bus insert

Tip/Ring/Sleeve (TRS) Plug

Tip/Sleeve (TS) Plug

Female XLR

Male XLR

Figure 4: Common Connectors

22

The LO and HI

sections of the EQ

are shelving

equalizers, with a

family of curves

shown in Figure 3.

As you can see,

shelving EQs lift

or lower the en-

tire 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.

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

OO

5

10

40

50

60

U

TAPE IN

24

Channel

Tape Input Channel

Fader

Channel

Input

+15

OO

U

MIX-B

SOURCE

OUTPUT

INPUT

PAN

LEVEL

SHIFT

HI/LO EQ

MONITOR

LR

Channel

Mix B/Monitor

Mixdown DeckMulti-track Deck

(PLAYBACK)

Additional mic or line input

24

CHANNEL

LINE IN

MIC/LINE

Figure 5: FLIP/MIX-B signal path during tracking (“flip” switch up)

Figure 6: FLIP/MIX-B signal path during mixdown

showing additional input (“flip” switch down)

Channel

Input Channel

Fader

Channel

Tape Input

Channel

Mix B/Monitor

Speaker

Section

MONO

TAPE

MIX-B

L/R MIX

EXTERNAL

SOURCE

SPEAKERS

CNTRL RM

STUDIO

+15

OO

U

+15

OO

U

+15

OO

U

MIX-B

SOURCE

OUTPUT

INPUT

PAN

LEVEL

SHIFT

HI/LO EQ

MONITOR

LR

TAPE IN

24

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

OO

5

10

40

50

60

U

Multi-track Deck

(RECORD)

Control Room

Monitors

Mic

or

line

input

24

CHANNEL

LINE IN

MIC/LINE

1 LO & HI VARIABLE

(HI shown)

Only LO/HI Variable: Boost/Cut

Fig. 3

GENERAL

INFO

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

frequency, the greater the attenuation. The slope

of the filter is 18dB/octave.

Connectors

If you’ve used a Mackie VLZ PRO compact

mixer, you’re familiar with the various kinds of

connectors used with a mixing board. If you’re

new to this whole thing, review the drawings in

Figure 4 on Page 21. They’re also described in

detail in Appendix A on page 44 of this manual.

A BIT MORE ON MIX-B/FLIP

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 input

that is actually fed into the channel fader

(and the MIX-B control).

As the label indicates, the MIC/LINE input

(after Mic/Line preamp) is fed to the chan-

nel fader when the FLIP switch is in the up

position (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 sig-

nal as it comes back from the recorder. This is

the normal mode for tracking and overdubbing.

In the down position, the TAPE return (the

output signal from the corresponding track of

your recorder) is fed to the channel fader (Fig-

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.

For PA, leave the FLIP switch up.

23

RECORDING

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.

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.

SETUP

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 25 and 26.

If you have any careful submixing to do during

the recording, you might want to lay strips of 1/4"

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

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:

• 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.

• You are a purist and you think you can

hear the additional circuitry used in a bus.

Monitoring

The most straightforward way to monitor during

a recording or overdubbing session is by listening to

the output of the recorder, played through MIX-B.

Properly configured, your recorder will automati-

cally switch between source and playback as you

put the deck into stop, play, fast wind, record and

so on. That way, you’re always hearing your instru-

ments 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

right away so they can tune up and rehearse,

SECTION 4:

RECORDING WITH THE MACKIE 8•BUS CONSOLE

24

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 position, and

push the PRE button down (to bypass the MIX-B

level control). With the system configured 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.

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: You can modifiy the channel

Aux 1/2 sends to source the pre-fader information

from the tape returns. This would provide an ad-

ditional two aux sends that could be used as cue

mixes from Mix-B (tape returns), and allow all

six aux sends to access Mix-B during tracking or

overdubbing for cue mixes as well as effects. In-

structions for this modification can be found on

our website at www.mackie.com (click on Sup-

port). Or you can call Tech Support at

1-800-258-6883 for assistance.

Wet or Dry Monitor?

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.)

FOLLOW THIS LEVEL-SET-

TING PROCEDURE FOR EACH

CHANNEL IN USE:

1. ■■Assign signal to channel fader:

• If channel will be used with a micro-

phone, MIC/LINE switch should be up &

FLIP switch should be up.

• If channel will be used with line input,

MIC/LINE switch should be down &

FLIP switch should be up.

• If channel will be used with a tape input,

the FLIP switch should be down.

2. Set channel strip controls as follows:

■■TRIM pot all the way counterclockwise

(+4dB)

■■AUX SEND controls all the way counter-

clockwise (off)

■■EQ switch up

■■LOW-CUT switch either on or off

(on recommended for mic inputs)

■■Channel fader at UNITY

■■SOLO switch down

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

input. For example, have a performer play/

sing/strike something or someone, etc. at

the level 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.

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

control clockwise to get peaks that

regularly hit 0dB on the L/R meters.

OR

■■• 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):

■■Press the EQ switch in.

■■Adjust the channel strip’s EQ to about what

you will be using during the session.

■■Re-perform Step 5.

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

its up position.

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

being used.

Text continued on Page 27

RECORDING

25

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

20

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

OPERATING

LEVEL CH. 17-24

TAPE RETURNS 1-8

15 13 11 9 7 5 3 1

16 14 12 10 6 4 28

17

18

19

20

21

22

23

24

TAPE RETURNS 9-16

TAPE RETURNS 17-24

OUT +4dBU

IN –10dBV

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

OPERATING

LEVEL CH. 9-16

OUT +4dBU

IN –10dBV

OPERATING

LEVEL CH. 1-8

OUT +4dBU

IN –10dBV

SUBMASTER / TAPE OUTPUTS

+4dBU BALANCED / –10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBU

IN –10dBV

16

171820 1921222324

OPERATING

LEVEL

OUT +4dBU

IN –10dBV

OPERATING

LEVEL

CHANNEL

23

CHANNEL

22

To Multi-Track

(optional)

In

Power Amplifier

Control Rm Monitors

Reverb

Out

In

Out

In Out

Keyboard, or other line level input

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

3

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

2

Or from DIRECT OUTS

of individual channels

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

1

Reverb

In

Out

Mono Compressor

TRACKING PART 1: INPUT/OUTPUT

Guitar

Effects

Box

26

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

22

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/RIGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

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MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

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Y

M

I

C

/

L

I

N

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G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

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Y

M

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A

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LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

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Y

M

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/

L

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G

A

I

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LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE

SUBGRPS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR

CNTRL RM

STUDIO

SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OO

OOOOOO

+15

OO

U

BALANCE

POWER

TRACKING PART 2: THE BOARD CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169 101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

SOLO

-20

OL

OO

MUTE

20

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

20

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

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V

I

T

Y

M

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C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

Assign channels to the

appropriate bus for the

desired tape channel input.

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

OCTAVES

OCTAVESOCTAVES

21 22 23 2420

24x8x2 8•BUS MIXING CONSOLE

27

RECORDING

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:

• 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.

• Patch the returns into unused channel strips,

using the Line In jacks. Then you can route

the reverb anywhere your heart desires.

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):

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.

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.

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 over-

dub 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.

MIXING OVERVIEW

See the MIXDOWN drawings on pages 31 and 32.

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

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

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.

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

28

and meticulous setup. Creatively, you must blend

the tracks so they at least sound like music

again; technically, you must take into account

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.

MIXING SETUP

Clean and align your mixing machine accord-

ing to the manufacturer’s instructions. If it’s a

digital machine, sacrifice a full floppy disk in its

presence to ensure smooth operation during

mixdown.

Group all your inputs in some sensible way, keep-

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

tape across all the console input channels for la-

beling. Put 1/4" strips of tape vertically along

each fader to mark levels.

Pick a Model

Get copies of music you’d like to approximate in

your mix, and patch the CD or DAT machine into the

external jacks on the console. Then you can A-B your

mix against your model at the flick of a switch to see

if you’re really getting that snare sound or not.

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 as loud as you mix. A little gentle compres-

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,

but any compressor will give you an idea of what

will happen. This is good for checking things out,

but not for your final mix.

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.

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.

If your multitrack tape machine will do it, put it in

the loop mode so it will just play the song over and

over. Start mixing a group of tracks that run through-

out the song, maybe drums or the rhythm section.

Set the panning, level, EQ, reverb and delay,

and bring in more tracks as the mix begins to

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

moves. Look for what appears to be the loudest

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

closer. When you think it’s getting reasonable, find

that loudest section that you located, and pull the

master fader back to get the levels close to normal

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.

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-

ally inserted into the signal path. They are

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

devices.” Some amount of signal is “borrowed”

from a channel via an AUX Send, sent to the de-

vice, processed and returned to the mixer as a

new, wet signal via the AUX Returns, to be mixed

with the original, dry signal.

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 35

RECORDING

29

OVERDUBBING PART 1: INPUT/OUTPUT

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

20

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

OPERATING

LEVEL CH. 17-24

TAPE RETURNS 1-8

15 13 11 9 7 5 3 1

16 14 12 10 6 4 28

17

18

19

20

21

22

23

24

TAPE RETURNS 9-16

TAPE RETURNS 17-24

OUT +4dBU

IN –10dBV

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

OPERATING

LEVEL CH. 9-16

OUT +4dBU

IN –10dBV

OPERATING

LEVEL CH. 1-8

OUT +4dBU

IN –10dBV

SUBMASTER / TAPE OUTPUTS

+4dBU BALANCED / –10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBU

IN –10dBV

16

171820 1921222324

OPERATING

LEVEL

OUT +4dBU

IN –10dBV

OPERATING

LEVEL

CHANNEL

23

CHANNEL

22

To Multi-Track

(optional)

In

Power Amplifier

Control Rm Monitors

Reverb

Out

Keyboard, or other line level input

M

u

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t

i

-

T

r

a

c

k

R

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r

d

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3

M

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t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

2

Or from DIRECT OUTS

of individual channels

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

1

Mono Compressor

In

Out

In

Guitar

Effects

Box

Out

In

Out

In

Out

In

30

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

L/R

MIX

SOLO

-20

OL

OO

MUTE

21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

L/R

MIX

SOLO

-20

OL

OO

MUTE

22

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

L/R

MIX

SOLO

-20

OL

OO

MUTE

23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

L/R

MIX

SOLO

-20

OL

OO

MUTE

24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/RIGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

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MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

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S

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N

S

I

T

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Y

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G

A

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LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

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S

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S

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T

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V

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MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

BALANCE

POWER

OVERDUBBING PART 2: THE BOARD

CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169 101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

L/R

MIX

SOLO

-20

OL

OO

MUTE

20

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

20

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

Assign channels and adjust

panpot to the appropriate bus

for the desired tape channel input.

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

5-6

3-4

1-2

7- 8

CNTRL RM

STUDIO

O

OO

OCTAVES

OCTAVESOCTAVES

OCTAVES

20 21 22 23 24

24x8x2 8•BUS MIXING CONSOLE

31

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

23

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

22

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

OPERATING

LEVEL CH. 17-24

15 13 11 9

16 14 12 10

17

18

19

20

21

22

23

24

TAPE RETURNS 9-16

TAPE RETURNS 17-24

OUT +4dBU

IN –10dBV

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

OPERATING

LEVEL CH. 9-16

OUT +4dBU

IN –10dBV

SUBMASTER / TAPE OUTPUTS

+4dBU BALANCED / –10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBU

IN –10dBV

16

171820 1921222324

OPERATING

LEVEL

OUT +4dBU

IN –10dBV

OPERATING

LEVEL

LEFTRIGHT

MAIN BAL OUTPUTS

+28dBU MAX OUT

In

Out

In Out

In

Out

In

Out

Mono Compressor

Keyboard, or other line level input

In Out

Reverb

Out In

In Out

Reverb

Digital Delay

In Out

Digital Delay

Stereo Reverb

In Out

In

Power Amplifier

Control Rm Monitors

Stereo

Compressor

Out

Processor

In Out

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

2

Or from DIRECT OUTS

of individual channels

Connections same

as for Multi-Track

Recorders 2 & 3

Extra input during mixdown

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

1

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

3

DAT or

2-track

Deck

Noise Gate

In

Out

MULTITRACK MIXING PART 1: INPUT/OUTPUT

32

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

22

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/RIGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

Keys

Vocals

Vocal Delay

Drum

L

Drum

R

Rev 1

L

Rev 1

R

Keys 1

Keys 2

Keys

Vox

L

Vox

R

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

BALANCE

POWER

MULTITRACK MIXING PART 2: THE BOARD

CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

20

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

Guitar

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

20

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

–15 +15

U

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

19

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

Bass Guitar

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

19

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

U

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

250

220 350

PAN

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

SOLO

-20

OL

OO

MUTE

18

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

Drums

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

18

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

–15 +15

U

CNTRL RM

STUDIO

O

OO

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

24

2322

2120

1918

OCTAVES

OCTAVESOCTAVESOCTAVES

24x8x2 8•BUS MIXING CONSOLE

33

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

23

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

19

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

22

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

LEFTRIGHT

MAIN BAL OUTPUTS

+28dBU MAX OUT

SUBMASTER / TAPE OUTPUTS

+4dBU BALANCED / –10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBU

IN –10dBV

16

171820 1921222324

OPERATING

LEVEL

OUT +4dBU

IN –10dBV

OPERATING

LEVEL

Mono Compressor

In

Out

VIDEO/BROADCAST 1: INPUT/OUTPUT

Power Amplifier

Control Rm Monitors

Video Deck 1 Cue Mix 1

Cue Mix 2

Sync

Video Deck 2

Drum

Machine

Reverb

Master Deck

Sound FX CD Player

In

Out

L Out

R Out

Out Out

34

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

22

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/RIGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

BALANCE

POWER

VIDEO/BROADCAST PART 2: THE BOARD

CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169 101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

20

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

20

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

CNTRL RM

STUDIO

O

OO

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

OCTAVESOCTAVESOCTAVESOCTAVESOCTAVES

21 22 23 2420

24x8x2 8•BUS MIXING CONSOLE

35

Line Input, if you have enough inputs to handle

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.)

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.

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

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.

• 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

pair of Leslie speakers or keying a gated set of

There are three common points for inserting pro-

cessing devices in the signal path during mixing:

• 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)

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).

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!

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.

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.

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

as reverb returns. Simply patch the return into a

36

reindeer bells with the snare signal.

The Mackie 8•Bus consoles can’t give you the

infinite number of channels you dream of, but

you can very easily double the number of inputs

by using the MIX-B buses.

If you are mixing off tape as we set it up a few

pages ago, you have engaged the FLIP switch to

put the tape returns into the main channel fader

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

the extras using the SOURCE switch in the AUX

Send 3/4/5/6 area, and you can SPLIT the EQ if

you need to.

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!

Monitoring and Levels

Check your speakers and amplifiers to be sure

that they’re balanced left-to-right and mounted

symmetrically to your mixing position. A 2dB

shift in monitor balance will produce a 2dB shift

in the opposite direction in your mix.

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.

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.

Take a hint from the film mixers and set your

dialog or lead vocals to about 85dB/c at the mix-

ing position. This is a moderate, normal volume;

not quiet but definitely not thundering. If you

have a sound pressure meter available you can

take a measurement to get a feel for how loud

85dB is. If you don’t, run down to Radio Shack

and say: “I want #33-2050 or #32-2055. Here’s

$34.99 or $49.99 plus applicable taxes.” Every

set of self-respecting ears should own one.

This monitoring volume will keep you honest,

and keep your mixes balanced for playback.

Sure, listen at very low levels, too, and crank it

from time to time to remember why you’re in this

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.

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

that comes with the automation components.

For those of you without automation, there is

hope. Billions and billions of great mixes have

been done on non-automated consoles. Here are

a few tips:

• 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.

RECORDING

37

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.

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).

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).

SETUP

Refer to the STEREO LIVE MIX drawings on

page 40 and 41.

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).

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

RECORDING.

SECTION 5:

PA AND SOUND REINFORCEMENT APPLICATIONS

WITH THE MACKIE 8•BUS CONSOLE

Text continued on Page 42

FOLLOW THIS SENSITIVITY

ADJUSTMENT PROCEDURE

FOR EACH CHANNEL IN

USE:

1. ■■Assign signal to channel fader:

• If channel will be used with a micro-

phone, MIC/LINE switch should be up &

FLIP switch should be up.

• If channel will be used with line input,

MIC/LINE switch should be down &

FLIP switch should be up.

2. Set channel strip controls as follows:

■■TRIM pot all the way counterclockwise

(+4dB)

■■AUX SEND controls all the way counter-

clockwise (off)

■■EQ switch up

■■LOW-CUT switch either on or off

(on recommended for mic inputs)

■■Channel fader at UNITY

■■PAN pot hard left or right

■■SOLO switch down

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

input. For example, have a performer play/

sing/strike something or someone, etc. at

the level 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.

5. ■■Adjust the TRIM control clockwise to get

peaks that regularly hit 0dB on the L/R

meters.

6. If desired (optional):

■■Press the EQ switch in.

■■Adjust the channel strip’s EQ to about what

you will be using during the session.

■■Re-perform Step 5.

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

its up position, and set the PAN pot back

where you found it.

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

being used.

PA & SR

38

AUX RETURN

LEFTRIGHT

MAIN BAL OUTPUTS

+28dBU MAX OUT

OPERATING

LEVEL CH. 17-24

TAPE RETURNS 1-8

15 13 11 9 7 5 3 1

16 14 12 10 6 4 28

17

18

19

20

21

22

23

24

TAPE RETURNS 9-16

TAPE RETURNS 17-24

OUT +4dBU

IN –10dBV

+4 / –10 BALANCED / UNBALANCED

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

OPERATING

LEVEL CH. 9-16

OUT +4dBU

IN –10dBV

OPERATING

LEVEL CH. 1-8

OUT +4dBU

IN –10dBV

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

23

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

22

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

EXTRA INPUTS!

Returns 1-24 can be used as

extra line level inputs

when FLIP is in UP position

and MIX B to L/R MIX button

is down

Same As Aux 2

Keyboard, or other line level input

Keyboard, or other line level input Keyboard, or other line level input

Digital Delay

Power Amplifier

Out In

Stage Monitor

Reverb 1

Equalizer or

other processor

Stereo

Compressor

In

Out

In

OutInIn

PA Cabinet PA Cabinet

Power

Amplifier

DAT or 2-track Deck

Reverb 2

Out Out Out OutIn

In

Out

Mono Compressor

Noise Gate

In

Out

STEREO LIVE MIX PART 1: INPUT/OUTPUT

Equalizer or

Procesor

In

Out

39

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

22

5

10

40

50

80

U

LR

MUTE

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE

24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/RIGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

Typical Drum

Mic

Typical Vocal

or Instrument

Mic

Typical Line

(Key) Input

Vox Delay

Drum

L

Keys on

Tape Input

Drum

R

Rev 1

L

Rev 1

R

Keys

L

Keys

R

Rev 2

L

Rev 2

R

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

BALANCE

POWER

STEREO LIVE MIX PART 2: THE BOARD

CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–LR

MAIN

OR SOLO LEVEL

CNTRL RM

STUDIO

O

OO

LR

+15

OO

U

21 22 23 24

OCTAVES

OCTAVESOCTAVESOCTAVES

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

24x8x2 8•BUS MIXING CONSOLE

40

LEFT

RIGHT

MAIN BAL OUTPUTS

+28dBU MAX OUT

EXTERNAL

INPUT MIX-B

OUTPUT

1

AUX SEND

1

R

L

2

R

3

R

L

4

R

5

R

L

6

R

L

7

L

R

8

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

2-TRACK

INPUT

123456

PHONES

12

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO

L

MONO MONO

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

23

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

PHANTOM

CHANNEL

24

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

19

BAL/UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

20

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

22

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

IN

DIRECT

OUT

INSERT

CHANNEL

21

BAL/UNBAL

TIP = OUT

RING = IN

MIC

LINE

SUBMASTER / TAPE OUTPUTS

+4dBU BALANCED / ±10dBV UNBALANCED

87

15

6

14

5

13

4

12

3

11

2

10

1

9

OUT +4dBU

IN ±10dBV

16

1718

20 19

212223

24

OPERATING

LEVEL

OUT +4dBU

IN ±10dBV

OPERATING

LEVEL

LIVE MIX+2tk RECORDING+8tk RECORDING 1: INPUT/OUTPUT

PA Cabinet PA Cabinet

Power

Amplifier

Keyboard, or other line level input

Power Amplifier

Same as AUX 2

Graphic Equalizer

In Out

Stage Monitor

Guitar

DAT

M

u

l

t

i

-

T

r

a

c

k

R

e

c

o

r

d

e

r

Stereo

Digital Delay

Reverb 1

Out In

Out

In

Out In

Mono Compressor

In

Out

41

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE 21

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE 22

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE 23

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

3-4

1-2

7- 8

L/R

MIX

SOLO

-20

OL

OO

MUTE 24

5

10

40

50

80

U

LR

MUTE

TALKBACK

MIC

MIX

LEFT/R IGHT

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

dB

30

20

5

10

OO

5

10

40

50

80

U

FLIP SW

CHANNEL FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

21

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

22

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

23

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

24

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE 19

5

10

40

50

80

U

LR

MUTE

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

18dB/oct

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

SOLO

-20

OL

OO

MUTE 20

5

10

40

50

80

U

LR

MUTE

FLIP SW

CHANNEL FLIP SW

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

19

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

CHANNEL

20

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE SUB

MASTERS

AUX SEND 1

SOURCE

MIX B

MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

BALANCE

POWER

3

+15

OO

U

LIVE MIX+2tk RECORDING+8tk RECORDING 2: THE BOARD

CNTRL RM

OO

Tinted buttons

are pressed IN Tinted knobs are used

in this application

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

MAIN

OR SOLO LEVEL

CNTRL RM

STUDIO

O

OO

24

23

22

21

20

19

OCTAVESOCTAVESOCTAVESOCTAVESOCTAVESOCTAVES

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

5-6

3-4

1-2

7- 8

L/R

MIX

24x8x2 8•BUS MIXING CONSOLE

42

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.

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.

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.

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

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.”

Piece of cake.

Refer to the drawings on pages 40 and 41.

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.

• 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.

• 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.

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)

PA & SR

43

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.

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.

Mic splitter transformers are expensive, but

are well worth the investment. They will provide

the most consistent trouble-free performance

with multiple mixers.

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.”

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.

PA & SR

44

“XLR” CONNECTORS

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.

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.

• 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/

return connector,

a 1/4" TRS jack or

plug is connected

tip to signal send

(output from

mixer), ring to

signal return

(input back into

mixer), and

sleeve to ground.

1/4" TS PHONE

PLUGS AND

JACKS

“TS” stands for

Tip-Sleeve, the two

connections avail-

able on a “mono”

1/4" phone jack or

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:

• 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 45. We also use these

switches to ground the inputs of most line level

ins/outs when nothing is plugged into them.

Figure 10 (below): RCA connector (Plugis Amateuris)

Figure 7 (above): XLR connectors (Exelaris Triptipus)

APPENDIX A: Connections

Female XLR

2

3

1

TIPSLEEVETIPSLEEVE

2

31

1

COMMON

COLD

HOT

COMMON

COLD

HOT

3

COMMON

COLD

HOT

Male XLR

ADD-ONS

SPECS

ETC.

Direct out with no signal interruption to master.

Insert only to first “click”

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click”

For use as an effects loop.

(TIP = SEND to effect, RING = RETURN from effects)

MONO PLUG

STEREO

PLUG

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

Figure 9: TS connectors (Plugis Biconnectorus)

Figure 8: TRS connectors (Plugis Triconnectorus)

45

TIP

(SEND)

RING (IN)

TIP (OUT)

RING

(RETURN)

TO MIXER

CHANNEL INSERT

TIP (RETURN)

TIP (SEND)

TO

PROCESSOR

INPUT

FROM

PROCESSOR

OUTPUT

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)

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.

RCA PLUGS AND JACKS

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

surrounding “basket.” There are no RCA jacks on

the Mackie 8•Bus Series Mixing Consoles. Adapt-

ers to convert an RCA male plug to male 1/4” TS

plug are available at any electronic shop, like

Radio Shack.

UNBALANCING A LINE

In most studios, there is a mix of balanced and

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

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

unbalanced ground connection only to the

input low connection, and leaving the input

ground connection disconnected.

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.

SPECIAL MACKIE CONNECTIONS

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

inserted into a 1/4” unbalanced input will auto-

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

buses are the three-conductor, TRS type 1/4"

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.

ADD-ONS

SPECS

ETC.

“Y” insert cable

46

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.

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.

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.

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.”

ADD-ONS

SPECS

ETC.

47

APPENDIX B: Options, Add-Ons and Extra Stuff

OPTIONS

Meter Bridge

You can order an optional Mackie meter bridge

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

either the Tape Return signals to the mixer, post-

tape-in level switch (for watching multitrack

source and tape levels) or the post-fader/post-

mute switch channel signals (handy for live

sound mixing).

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.

Un-Cigarette Lighter

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!

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,

Gospel, Insufferable Audiophile and special

spiked-steel-toe Producer/Client-Booters.

ADD-ONS

SPECS

ETC.

48

level up +20

level up +15 level up +15

0000000

00000000

0000000

max out +22

+14 max in

-10 trim dn

MIC INPUT AUX RETURN CH. LEVEL MIX O/P LEVEL OUTPUT

OUTPUT

MIX

MIX O/P LEVEL

-50 trim up

+22 max in

trim dn

-40 trim up

+22 max in

switch @+4

-12.3 @-10

LINE INPUT

TAPE INPUT

to point (B)

gain up +15 fader up +10

(A) (B)

pan center -3

gain dn -15

(C)

INSERT EQ FADER PAN SUB INSERT

-6 -6

gain up +15 level up +15 level up +15

gain dn -15

SPLIT EQ CH. LEVEL

MIX B

1-8 from point (C)

L/R from point (D)

-4

to meters

METER FEED (+4 @ O/P = 0 @ METERS)

SUBMASTER or MAIN MIX

CHANNEL

FADER CONTROL ROOM

(D)

level up

fader up +10

L/R bal max out +28

max out +22

1-8 bal/unbal

L/R unbal

from point (A)

AUX SEND

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.

APPENDIX C: Specifications

24•8 and 32•8 Specifications

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

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,

–95dBu; submaster output w/channel muted,

–96dBu; L/R mix output w/channel unassigned,

–91dBu; submaster output w/channel

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

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)

ADD-ONS

SPECS

ETC.

49

2.65"

28.58"

2.50"

0.69"

4.25"

6.00"

9.00"

4.78"

25.24"

28.74"

35.02"

37.02"

1.00"

4.78"

6.00"

37.00"

0.54"

28.74"

MB24•8 Optional Meter Bridge

24x8x2 8-BUS MIXING CONSOLE

*

exclusive

of

meter

bridge

24•8

console

WEIGHT*

64 lbs.

Note: add 3.75" to depth for

power supply cable clearance

2.70"

V. 1.5 6/4/95

5.50"

3.38"

3.67" 5.50"

50

Get some help

before lifting this one...

2.65"

28.58"

2.50"

0.69"

4.25"

6.00"

9.00"

4.78"

25.24"

28.74"

43.82"

45.82"

1.00"

4.77"

0.54"

28.74"

32x8x2 8-BUS MIXING CONSOLE

*exclusive

of

meter

bridge

32•8

console

WEIGHT*

78 lbs.

6.00"

45.80"

MB32•8 Optional Meter Bridge

Note: add 3.75" to depth for

power supply cable clearance

2.70"

V. 1.5 6/4/95

5.50"

3.38"

3.67" 5.50"

51

V. 1..1 6/5/95

8•BUS SIDE CAR RACK

28.12"

28.25"

22.5"

29.88"

SIDE VIEW

28.75"

Side Car

WEIGHT*

45 lbs.

19.00"

10.1"

3.50"

(2 rack spaces)

19.0"

220-W

Power Supply

WEIGHT

24 lbs.

V. 1.2 4/4/94

220-WATT POWER SUPPLY FOR

8•BUS CONSOLES & EXPANDER

23.13"

28.75"

11 RACK SPACES

TOP VIEW

CABLE HANGER

FRONT VIEW

[existing console]

BRACE

52

8•BUS CONSOLE

BLOCK DIAGRAM

Rev. 5.1- 6/6/95

GAIN

HI

BUS 1

BUS 2 BUS 3

BUS 4 BUS 5

BUS 6 BUS 7

BUS 8 L-BUS

R-BUS

L-SOLO

R-SOLO

AUX 1

AUX 2 AUX 3

AUX 4 AUX 5

AUX 6

L-MIX-B

R-MIX-B

MIC IN

LINE

IN

TAPE

IN

FLIP

POST

SOURCE

AUX 1

AUX 2

AUX 3

AUX 5

AUX 4

AUX 6

CHAN

FADER

TRIM

EQ

IN/OUT

PAN

LEVEL

PAN

1-2

3-4

5-6

7-8

L/R

SOLO

INPUT

1 OF 16 (24) (32)

STEREO AUX RETURN 1

LEVEL

BALANCE

1-2

3-4

5-6

7-8

L/R

SOLO

LEVEL

PHONES 1

PHONES 2

L/R

2-TK IN

L

2-TK IN

R

MIC

FREQ

PRE

POST

LEFT

(MONO)

RIGHT

LEFT

(MONO)

LEFT

(MONO)

RIGHT

(PER 8 CH'S)

+4dBU/–10dBV Select

+

-

+

-

PHANTOM POWER

(PER 8 CH'S)

•

MIC/LINE INSERT

•

PRE

POST

PRE

•

PARAMETRIC

EQ

SHELVING

EQ

MID

"Q"

MIDLO LOHI

GAIN FREQ

•

HI/LO EQ

TO MIX B

SPLIT

PRE EQ

TO AUX MOD

•

•• ••

•

••

•

••

•

••

•

••

•

SOLO

•

SOLO

•

••••••••

•

••

•

••

•

75Hz

HPF

0L

MUTE

MIX-B

SOURCE

•

PFL MOD

•

LO CUT

IN/OUT

•

••••••••••••••••••••

OPTIONAL 24•E

24-CHANNEL MACKIE 8•BUS

EXPANDER CONSOLE

To on-ramp #257

of the Santa Ana Freeway

–20dB

•

PRE

POST

•

1

2

3

•

DIRECT

OUT

(#2 IDENTICAL)

STEREO AUX RETURN 3

(#4 IDENTICAL)

STEREO AUX RETURN 5

(#6 IDENTICAL)

L/R

•

SHIFT

•

••

•

FLIP SW

CHANNEL MIX-B SOURCE MOD

•

EXTERNAL

IN L

EXTERNAL

IN R

LEVEL

53

BUS 1

BUS 2 BUS 3

BUS 4 BUS 5

BUS 6 BUS 7

BUS 8 L-BUS

R-BUS

L-SOLO

R-SOLO

AUX 1

AUX 2 AUX 3

AUX 4 AUX 5

AUX 6

L-MIX-B

R-MIX-B

L/R MIX

MIX-B

2-TK

EXTERNAL

SUB MASTER 1 & 2

AUX SEND 1

SOLO

CONTROL

SUB MSTR

FADER

(#3 - 8 IDENTICAL)

(#2 IDENTICAL)

LEVEL

AUX OUT

SOLO

MIX B

MASTER

MIX-B

TO

L/R MIX

L

R

L/R

MIX

FADER

MIC

MIC LEVEL

TO AUX 1

R BAL OUTPUT

SOLO

LEVEL

MONO

CONTROL ROOM

PAD LOGIC

L

STUDIO

OUTPUT

STUDIO

LEVEL

CNTRL RM

LEVEL

PHONES 2

LEVEL

SOLO

PHONES 2

SOURCE

PHONES 1

LEVEL

MONITOR

MIX-B

EXTERNAL

AUX 3/4

AUX 5/6

SOLO

EXTERNAL

MIX-B

MONITOR

PHONES 1

OUTPUT

PHONES 1

SOURCE

•

TO AUX 2

TO TAPE/

SUBMASTER

TO PHONES

(AND STUDIO)

••••••••

•

MONITOR

SOURCE

•

INSERT

•

••

•

••

•

••

•

SUB MSTR

FADER

INSERT

•

SOLO

•

L + R

•

SOLO

L + R

•

L METER

R METER

•

••

•

••

R

STUDIO

OUTPUT

L

CNTRL RM

OUTPUT

R

CNTRL RM

OUTPUT

•

(DEFEATED WHEN

CNTRL RM SOURCE

IS SELECTED)

(DEFEATED WHEN

CNTRL RM SOURCE

IS SELECTED)

•

••

•

••

•

AUX OUT

•

AUX SEND 3

(#4, 5, 6 IDENTICAL)

SOLO

•

NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION

TALKBACK:

MIX-B OUTPUT

L MIX

R MIX

••••••••••••••••••••

7

e

eway

•

SUB OUTS 1, 9 & 17

METER

•

vu

•

••

•

1

2

3

1

2

3

+

-

+

-

INSERT

vu

GLOBAL

SELECT

CH. OUT

•

INSERT

-

+

-

METER

•

+4/-10

••

•

+

-

•

••

•

R UNBAL OUTPUT

L BAL OUTPUT

L UNBAL OUTPUT

OPTIONAL METER BRIDGE

PHONES 2

OUTPUT

L

R

L

R

•

•••

•

+

INSERT

•

••

•

SUB OUTS 2, 10 & 18

•

••

•

TAPE IN

•

AUX 5/6

AUX 3/4

∑

LEVEL

54

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 con-

ducting. If you’re having trouble with an individual

channel, send or return, for gosh sakes swap

cables before sending the board in for service.

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.

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.

Note: For best results have unit in front of you

(or close by).

How to get Mackie service

Service and repairs of Mackie 8•Bus products

are to be performed only :

A. at our factory OR

B. at an Authorized Mackie 8•Bus Warranty

Service Center

Unauthorized service, repairs or

modification will void your warranty.

To obtain factory service:

1. Call Mackie Technical Support at 800/258-6883,

8AM to 4:30PM Monday through Friday (Pacific

Time) to get a Return Authorization (RA).

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.

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.

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.

Troubleshooting

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 order to check the AC fuse.

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!

SERVICE

55

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.

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.

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).

SERVICE

56

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).

TRACK

SHEETS

ON

FOLLOWING

PAGES

57

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

FLIP SWITCH

CHANNEL FLIP SWITCH

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

CH. CH. CH. CH.

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

+15

OO

U

12k

MIX-B

EQ

LOW CUT

EQ IN

HI

FREQ

75 Hz

SOURCE

45 3k

PAN

LEVEL

–15 +15

80

U

LO

SPLIT

HI/LO EQ

TO MON

MONITOR

LR

–15 +15

U

250

220 350

PAN

dB

30

20

5

10

5-6

13-14

3-4

11-12

1-2

9-10

7- 8

15-16

L/R

MIX

SOLO

-20

OL

OO

MUTE

5

10

40

50

60

U

LR

CHANNEL

FLIP SWITCH

CHANNEL FLIP SWITCH

CHANNEL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

AUX

PRE

TRIM

FLIP

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

TAPE

MIC/LINE

SOURCE

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

AUX

GAIN

+4

–10

48

dB

40

dB

U

L

I

N

E

S

E

N

S

I

T

I

V

I

T

Y

M

I

C

/

L

I

N

E

G

A

I

N

LO

MID

HI

MID

BAND

WIDTH

500 18k

3k

FREQ

–15 +15

U

–15 +15

U

1k 5k

3

2

1

12

NORMAL

CH. CH. CH. CH.

SESSION

______________________

DATE ___/___/___

TRACKS _____ thru _____

TRACK COMMENTS:

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Tk. ___

______________________

Page__

of ____

58

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.

59

TALKBACK

MIC

MIX

L/R

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

dB

30

20

5

10

OO

5

10

40

50

60

U

SOLO SOLO

SOLO

AUX SENDS STEREO AUX RETURNS

4

3

2

5

6

1

PHONES

2L/R MIX

L/R MIX

1-2 3-4 5-6 7- 8

L/R MIX

SOLO 1-2 3-4 5-6 7-8

PHONES

1PHONES

2L/R MIX

1

2

3

4

LEVEL

ASSIGN

LEVELLEVEL

PHONES

1

6

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

+20

OO

U

LR

5

+20

OO

U

+20

OO

U

SOLO

SOLO SOLO

LEVEL LEVEL

LEVEL

MIX-B TO

L/R MIX SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL MONO

TAPE

SUBGRPS

AUX SEND 1

SOURCE

MIX B / MONITOR PHONES 1

PHONES

LEVEL

SOLO AUX SEND 3/4

MIX-B

MONITOR

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR SOLO TALKBACK

LEVEL LEVELMIX-B

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

OO

U

OOOOOO

+15

OO

U

PAN

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

MONO

L+R

RLRLRLR

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

1

L

2345678

MONO

L+R

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGNASSIGNASSIGN

MIX MIX MIX MIX

12345678

169 101112131415

2417 18 19 20 21 22 23

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

LR

10

+

7

4

2

0

2

4

7

10

20

30

40

–

22

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–

10

+

7

4

2

0

2

4

7

10

20

30

40

–LR

MAIN

OR SOLO LEVEL

SESSION

______________________

DATE ___/___/___

BUS COMMENTS:

Bus___

______________________

Bus ___

______________________

Bus___

______________________

Bus___

______________________

Bus___

______________________

Bus___

______________________

Bus___

______________________

Bus___

______________________

CNTRL RM

STUDIO

O

OO

60

Whaddya say on the last page of a manual?

Well, we’d like to roll the credits.

This manual is copyrighted by Mackie De-

Set in ITC Century Condensed and Adobe

Futura Condensed via PageMaker

®

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

This is the back of a session note 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.

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

®

technical

drawings by Bobby Hougham, Bruce Yunker, Ron

Koliha, Gene Endicott and Sara Drake.

Additional “help” from P.D., the Mackie

Corporate Chihuahua who shredded several

drawings at various points during the develop-

ment of this manual.

8•BUS LIMITED WARRANTY

4. If the Mackie Authorized Service Center is

located in another city, pack the product in its

original shipping carton. More information on

packing can be found in the Service section of

this manual.

5. Contact the Mackie Authorized Service Center

to arrange service or bring the product to them.

F. Mackie and Mackie Authorized Service Centers

reserve the right to inspect any products that may

be the subject of any warranty claims before repair

or replacement is carried out. Mackie and Mackie

Authorized Service Centers may, at their option, re-

quire proof of the original date of purchase in the

form of a dated copy of the original dealer’s invoice

or sales receipt. Final determination of warranty cov-

erage lies solely with Mackie Designs Inc. or its

Authorized Service Centers.

G. Any Mackie product deemed eligible for repair or

replacement under the terms of this warranty will be

repaired or replaced within thirty days of receipt by

Mackie. Mackie may use refurbished parts for repair

or replacement of any product. Products returned to

Mackie that do not meet the terms of this Warranty

will be repaired and returned C.O.D. with billing for

labor, materials, return freight, and insurance. Prod-

ucts repaired under warranty at Mackie’s factory will

be returned freight prepaid by Mackie to any location

within the boundaries of the USA.

H. Mackie warrants all repairs performed for 90 days

or for the remainder of the original warranty period.

Mackie assumes no responsibility for the quality or

timeliness of repairs performed by Mackie Authorized

Service Centers.

I. This warranty is extended to the original purchaser

and to anyone who may subsequently purchase this

product within the applicable warranty period.

J. This is your sole warranty. Mackie does not authorize

any third party, including any dealer or sales represen-

tative, to assume any liability on behalf of Mackie

Designs or to make any warranty for Mackie Designs.

K. THE WARRANTY GIVEN ON THIS PAGE IS

THE SOLE WARRANTY GIVEN BY MACKIE AND

IS IN LIEU OF ALL OTHER WARRANTIES,

EXPRESS AND IMPLIED, INCLUDING THE

WARRANTIES OF MERCHANTABILITY AND

FITNESS FOR A PARTICULAR PURPOSE. THE

WARRANTY GIVEN ON THIS PAGE SHALL BE

STRICTLY LIMITED IN DURATION TO ONE

YEAR FROM THE DATE OF ORIGINAL PUR-

CHASE FROM AN AUTHORIZED MACKIE

DEALER. UPON EXPIRATION OF THE APPLI-

CABLE WARRANTY PERIOD, MACKIE SHALL

HAVE NO FURTHER WARRANTY OBLIGATION

OF ANY KIND. MACKIE SHALL NOT BE LIABLE

FOR ANY INCIDENTAL, SPECIAL, OR CONSE-

QUENTIAL DAMAGES THAT MAY RESULT

FROM ANY DEFECT IN THE MACKIE PROD-

UCT OR ANY WARRANTY CLAIM. Some states

do not allow exclusion or limitation of incidental,

special, or consequential damages or a limitation

on how long warranties last, so some of the above

limitations and exclusions may not apply to you.

This warranty provides specific legal rights and you

may have other rights which vary from state to state.

Please keep your sales receipt in a safe place.

A. Mackie warrants all materials, workmanship and

proper operation of this product for a period of one

year from the original date of purchase. If any de-

fects are found in the materials or workmanship or if

the product fails to function properly during the ap-

plicable warranty period, Mackie, at its option, will

repair or replace the product. This warranty applies

only to equipment sold and delivered within the

U.S. by Mackie or its authorized dealers.

B. Failure to register online or return the product

registration card will not void the 1-year warranty.

C. Service and repairs of Mackie products are to be

performed only at the factory (see D below) OR at an

Authorized Mackie Service Center (see E below).

Unauthorized service, repairs, or modification will

void this warranty.

D. To obtain factory service:

1. Call Mackie at 800/258-6883, 8AM to 5PM

Monday through Friday (Pacific Time) to get a

Return Authorization (RA). Products returned

without an RA number will be refused.

2. Pack the product in its original shipping car-

ton. If you do not have the carton, just ask for

one when you get your RA number, and we’ll

send a shipping carton out promptly. More infor-

mation on packing can be found in the Service

section of this manual. Do not use “packing pea-

nuts,” shredded newspapers, or other material

with small particles, old underwear, or socks.

Please seal the Mackie product in a plastic bag.

3. Also include a note explaining exactly how to

duplicate the problem, a copy of the sales receipt

with price and date showing, and your return

street address (no P.O. boxes or route numbers,

please!). 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.

4. Ship the product in its original shipping car-

ton, freight prepaid to:

Mackie Designs

Service Department

16220 Wood-Red Rd. NE

Woodinville, WA 98072 USA

IMPORTANT: Make sure that the RA number is

plainly written on the shipping carton.

E. To obtain service from an Authorized Mackie Ser-

vice Center:

1. Call Mackie at 800/258-6883, 8AM to 5PM

Monday through Friday (Pacific Time) to get:

1) The name and address of your nearest Mackie

Authorized Service Center and 2) A return au-

thorization (RA). You must have an RA number

before taking your unit to a service center.

2. Make sure that you have a copy of your

product’s sales receipt from the store where you

bought the product. It is necessary to establish

purchase date and thus determine whether or

not your product is still under warranty. If you

can’t find it, the Authorized Service Center may

charge you for repairs even if your product is still

covered by Mackie’s 3-Year Limited Warranty.

3. Make sure that the problem can be duplicated.

If you bring your product to an Authorized Service

Center and they can’t find anything wrong with

it, you may be charged a service fee.

Mackie Designs Inc.

16220 Wood-Red Road NE • Woodinville, WA 98071 • USA

US and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: sales@mackie.com

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