Wet Or Dry Monitor - Mackie 16-8 BUS Owner's Manual

1.
RECORDING
2. Set channel strip controls as follows:
3.
4. The channel's –20dB LED should light. The L/R
5.
6. If desired (optional):
7.
8.
24
FOLLOW THIS LEVEL-SET-
TING PROCEDURE FOR EACH
CHANNEL IN USE:
I I
Assign signal to channel fader:
• If channel will be used with a micro-
phone, MIC/LINE switch should be up &
FLIP switch should be up.
• If channel will be used with line input,
MIC/LINE switch should be down &
FLIP switch should be up.
• If channel will be used with a tape input,
the FLIP switch should be down.
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TRIM pot all the way counterclockwise
(+4dB)
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AUX SEND controls all the way counter-
clockwise (off)
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EQ switch up
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LOW-CUT switch either on or off
(on recommended for mic inputs)
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Channel fader at UNITY
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SOLO switch down
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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.
main meters will show the actual internal
operating level of soloed signals. Now you will
optimize levels.
I I
• For mic or line inputs, adjust the TRIM
control clockwise to get peaks that
regularly hit 0dB on the L/R meters.
OR
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• 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.
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Press the EQ switch in.
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Adjust the channel strip's EQ to about what
you will be using during the session.
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Re-perform Step 5.
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Return the channel strip's SOLO button to
its up position.
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Repeat Steps 1-7 on the next channel that is
being used.
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.)
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