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Mackie X.200 User Manual
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Mackie X.200 User Manual

Mackie X.200 User Manual

Mackie x.200 digital console: user guide
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Manual Rev 1.0.4
March 7, 2005
O W N E R ' S M A N U A L
X.200

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Summary of Contents for Mackie X.200

  • Page 1 Manual Rev 1.0.4 March 7, 2005 O W N E R ’ S M A N U A L X.200...
  • Page 2 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
  • Page 6 Start Automation... 74...
  • Page 7 Mac OS 9.x Users...91 Index...94 Digital X Bus Limited Warranty... 97 Don’t forget to visit our website at www.mackie.com for more information about this and other Mackie products. Part No. 0012121 Rev. 1.0.4 03/05 ©2005 LOUD Technologies Inc. All Rights Reserved.
  • Page 8 Thank you for choosing a Mackie Digital X Bus for your next-generation digital recording console. The Digital X Bus offers you the fl exibility to confi g- ure it for virtually any recording application through its extended card cage and I/O routing options.
  • Page 9 CAM standard pinout for analog signal connections (the same standard used on the analog cards for the Mackie D8B and Hard Disk Recorder). If you are connecting these to another device using the same DB25 standard, you can use a DB25-to-DB25 audio cable.
  • Page 10 They use the TASCAM standard pinout for analog signal connections (the same standard used on the analog cards for the Mackie D8B and Hard Disk Recorder). If you are connecting these to another device using the same DB25 standard, you can use a DB25-to-DB25 audio cable.
  • Page 11 At sampling rates up to 48 kHz, two channels of digital audio are transmitted on a single wire (one 3-pin XLR) at normal speed as specifi ed by the AES/EBU standard. At sampling rates of 88.2/96 kHz, two channels of digital audio are transmitted on a single wire (one 3-pin XLR) at twice the normal speed (2x).
  • Page 12 nect these outputs to the inputs of a 2-track recorder for mixdown, or to the inputs of a power amplifi er to drive a pair of speakers for the studio or whatever. Note: Remember that the level for the Main L/R Mix Out is always controlled by the Master Fader on the console.
  • Page 13 These are standard 3-prong IEC power connec- tors. Connect the detachable linecord (included with your X.200) to the male power receptacle, and plug the other end of the linecord into an AC outlet with the correct voltage for your particular Digital X Bus.
  • Page 14 This one is self-explanatory. When the POWER switch is turned ON, power is supplied to the Digital X Bus and it boots up. When turning off the Digital X Bus, you should select SHUTDOWN from the File menu. At the end of the shutdown procedure, the Digital X Bus lets you know when it is okay to turn off the power switch.

  • Page 15: Digital Trim

    Unlike an analog console where a rotary pot can control only one function, a digital console allows you to assign a V-Pot to many different functions. Using the buttons to the right of the...
  • Page 16 When one of the above buttons is selected (lit), all 24 V-Pots control that function for each of the 24 chan- nels in the selected bank. In addition, windows that contain adjustable param- eters, like the Dynamics and EQ windows, have their controls situated above the channel V-Pots, which temporarily become controls for the parameters in the window, overriding the V-Pot Assign selection.

  • Page 17: Control Room

    The Control Room section is where you defi ne the source for monitoring in your control room. Typi- cally, you would use the Speaker 1 and Speaker 2 outputs on the Mix Card for control room monitor- ing, giving you the choice of near-fi eld and far-fi eld monitoring through the two stereo line-level speak- er outputs.

  • Page 18: Enter Button

    • Click Talk to Phones 1 to send the talkback sig- nal to the Phones 1 output, and Talk to Phones to send the talkback signal to the Phones 2 output. • Adjust the talkback signal level with the Level slider in the Talkback Setup window.
  • Page 19 The Edit In and Edit Out points are used to copy, cut, and paste sections of automation data in the Mix Editor. To set the Edit In and Edit Out points: • Move the timeline cursor in the Mix Editor to the point where you want to start editing.
  • Page 20 58. SET • To move the timeline cursor to a new position in the Mix Editor, with LOCATE [57] lit, press SET, then enter the time you want to move the cursor to using the number buttons, then press ENTER [49]. Transport Controls These buttons control external devices that respond to MIDI Machine Control (MMC).
  • Page 21 The touchscreens provide an elegant user inter- face for accessing and controlling the signals as they are routed through the Digital X Bus. Before getting into the details of all the menu items and windows that are accessible on-screen, it’s worthwhile to mention at this point that a number of shortcuts are built into the touchscreen interface to quickly get to where you want to be.
  • Page 22 The channel number provides access to a hidden menu that allows you to move channel strips around and to lock a channel strip so it is visible no matter what fader bank you have selected. • Right-click on the channel number to open the channel assignment menu (or Alt+Touch the number).
  • Page 23 • Use this to open a pre-existing session fi le. • As soon as the session is opened, the faders and all other parameters move to their proper settings for the current time code location. • Press Ctrl+S on the keyboard, or touch File and then Save Session.
  • Page 24 Scans any attached USB peripheral for a Mackie-packaged installation fi le. • Reports the status of all installers detected. • Used for all Mackie-approved plug-in and soft- ware installations. • Press Ctrl+Q on the keyboard, or touch File and then Shutdown.
  • Page 25 Contains: Undo (Ctrl+Z) Redo (Ctrl+Shift+Z) Cut (Ctrl+X) Copy (Ctrl+C) Copy Filtered… (Ctrl+Shift+C) Paste (Ctrl+V) Modify Levels… Insert Global Time… Delete Global Time… Clear Automation History List (Ctrl+H) Clear History Copy Mix To Bus • Reverses an action. If you’ve made a bad automation pass, cut something you didn’t re- ally want to cut, pasted somewhere you didn’t want to paste, etc., simply select Undo (or type...
  • Page 26 • Choose the type of parameter from the top pull- down box. • Choose the action from Set, Trim, Min, and Max. Set moves the selected parameter setting to the specifi ed value for all selected channels. Trim adds or subtracts the specifi ed value from the selected parameter for all selected channels.
  • Page 27 • Using this list, it is possible to regress to any point in the mix. If at some point things went in the wrong direction, it is easy to go back to where the mix was on the right track. •...
  • Page 28 • Click Save to update the channel preset with the current selected channel’s settings. All the channel parameters (EQ, Dynamics, and DSP Insert patch points) are saved as well. • Highlight the desired preset and click Load to copy the preset settings to the selected channel. •...
  • Page 29 • Sets the selected channel faders to off. • Affects faders only (including Master L/R faders). Does not affect any other channel parameters. • This features provides a means to shift chan- nels in time, relative to each other. • Select the channels that will remain at the original position;...
  • Page 30 • This is perfect for raising or lowering a com- plete set of automation moves. For example, if the vocal track is perfectly crafted and struc- tured, yet the entire track needs to come up a couple of dB in the mix, fear not. Select Trim, start time code, enter WRITE mode and, with one move, increase the vocal track fader 2 dB throughout the duration of the pass.
  • Page 31 MIDI bank of the Digital X Bus. Since the Digital X Bus has 24 faders, when using the Mackie Control emulation mode, it works like a Mackie Control Universal with two eight-channel expanders. One of the following DAW software applications...
  • Page 32 Generic Mackie Control Emagic Logic Audio DigiDesign Pro Tools HUI MOTU Digital Performer Steinberg Nuendo Steinberg Cubase SX/SL Cakewalk SONAR Adobe Audition/Cool Edit Pro RML Labs SAWStudio Sony Vegas Magix Samplitude/Sequoia Soundscape • When Faders To Tape is selected, the Level To Tape V-Pot (Direct Out Level in the Assign win- dow) from the selected channel’s output follows...
  • Page 33 • This does just what it says, it closes all open windows in the display. The Setup window has four sub-windows: Gen- eral, Macros, Mix Options, and MIDI, all selectable with the buttons at the top of the Setup window. General The General Setup window provides access to the following functions:...
  • Page 34 • All standard surround sound modes are select- able, including Stereo (no surround), Quad, LCRS, 5.1, 7.1 (SDDS), and 7.1 (TP). Mixing Options Several of the Mixing Options are also available under the Options menu. One Button Record • When this option is selected, record mode is activated by press- ing the RECORD...
  • Page 35 Show All Meters • Select this option to display all 94 meters (in- cluding the L/R mix). • Touch the meter bridge in the display to toggle between showing the 24 meters in the currently selected bank and all meters. Peak Hold •...
  • Page 36 DAW Ext 2 In • Selects the MIDI interface used to receive MIDI commands for the last eight channels (17-24) when the MIDI fader bank is selected DAW Ext 2 Out • Selects the MIDI interface used to send MIDI commands for the last eight channels (17-24) when the MIDI fader bank is selected.

  • Page 37: Return Time

    Latch • This determines the action of overwriting auto- mation data during a pass. • When Latch is selected, automation data for the selected parameter begins to be overwritten as soon as the parameter’s control is adjusted and continues to be overwritten throughout a pass, even if the parameter’s control ceases to change.
  • Page 38 Store • To update and overwrite an existing snapshot, select the snapshot, then touch the Store button to overwrite the snapshots with the new settings. Menu • The drop-down menu list duplicates the New, Recall, Store, Edit, and Delete buttons in the Snapshot window.
  • Page 39 Store • To reassign an existing locate point, select the locate point, then touch the Store button to re- assign the locate point to the current time code position. Locate To • To move to a locate point, select the locate point and touch Locate To.
  • Page 40 This opens the Dynamics window for the selected channel, which contains controls for the Compres- sor and Gate. ON Button • The compressor and gate each have an On/Off button, located at the top of their respective dis- plays. It works as a bypass switch, so you can easily make an A/B comparison of the sound with and without compressor and gate.
  • Page 41 Release • Determines how fast the compressor turns off once the signal falls below the threshold. It is calibrated in milliseconds, ranging from 10 ms to 1000 ms (1 second). Ratio • Determines the change in output level as a function of the change in input level, once the threshold has been exceeded.
  • Page 42 Range • Determines the amount of gain reduction ap- plied to the signal once the signal level drops below the threshold. It is calibrated in percent, ranging from 0% (no attenuation) to 100% (full attenuation). Key (Trigger) Input • Uses the signal from another source to trigger the dynamics for a channel.
  • Page 43 LFE (Low-Frequency Effects) • The LFE feature makes it possible to handle all your bass management functions right from the channel panning, rather than purchasing an external surround bass management box. • Click the LFE Cutoff ON button to turn on the LFE channel (subwoofer).
  • Page 44 Floating Insert Send • Click the Floating Insert Send drop-down box to select where to send the channel’s fl oating insert send. You can use any I/O card’s output. Typically, you would use this to send the signal to an external processor, and return the signal to the channel using the Floating Insert Return.
  • Page 45 Pre Insert • The Pre Insert point is located just before the channel DSP section. • Used to insert a plug-in effect into the channel, pre-DSP. • Click the Pre Insert drop-down box to select a plug-in from the available effects in the Effects Rack.
  • Page 46 The MIX EDITOR window contains a graphic representation of automation data. Though automa- tion data is primarily entered through the control surface knobs, buttons, and faders, it can also be altered graphically in the Mix Editor. Precise level and timing information is easily entered and adjust- ed here.
  • Page 47 MENU • Click the MENU button to Cut, Copy, and Paste the selected region to and from the clipboard. • The Tool submenu allows you to select one of the editing tools (I-Beam, Pencil, Eraser, or Magnify). These tools can also be selected by clicking their icons in the bottom left corner of the Mix Editor.
  • Page 48 You can select multiple non-contiguous channels or parameters by pressing the Ctrl key on the keyboard (or on the console) while clicking on track names. Pencil Tool (Hand Tool) • Use this tool to enter new data nodes and to alter existing ones.
  • Page 49 The EFFECTS RACK window is where you select the plug-ins you want to use in your session. The Digital X Bus comes with a variety of plug-ins, ready to use. In addition, you can install any VST plug-in, a fi rst for any digital mixing console in this class.
  • Page 50 Applications for the MIDI Map include remote transport control from MIDI applications that don’t support MMC or the HUI protocol (but do allow their own internal parameter mapping), surround joystick control, or any continuous controller or two-state switch application (lighting, remote mixing, show controls, etc.) Any mapped control information may be transmitted via manual adjust- ment on the console, snapshot recall, and automa-...
  • Page 51 sign the output sources to virtually any signal path in the Digital X Bus, and confi gure other parameters specifi cally related to the card. The Mix Card setup allows you to select the out- put source for AES/EBU, Phones 1 and 2, Mix Out, and Speaker Out 1 and 2.
  • Page 52 DMA Load are displayed in percentages, along with other esoteric numbers including the measured sample rate and I/O latency. This section of the X.200 Owner's Manual pro- vides very application-specifi c descriptions of some common usages. As your skills and knowledge increase, try new techniques.
  • Page 53 Note: Do not remove or reposition the two cards that come with your Digital X Bus. The D-slot is not used on the X.200, and is described in the Digital X Bus X.400 manual. 4. Now is the time to install the new card. Move the bag containing the card close to the Digital X Bus.
  • Page 54 You can install the optional I/O cards in any of the slots labeled A, B, or C, in any combination to suit your particular application. You can confi gure the cards in the I/O Confi guration window (Windows > I/O Confi guration). Refer to Appendix B for wiring diagrams of the various connectors used on the I/O Cards.
  • Page 55 Basic system functionality depends on the ac- curate selection of a few key items. Work through this checklist to verify console settings. The previ- ous chapters provide an explanation of each item. This checklist simply provides a mental road map to verify proper functionality.

  • Page 56: Mix Options

    The Setup Window (Windows > Setup) is very im- portant to the functionality of the Digital X Bus. Its settings determine how the console operates within its own architecture as well as how it interfaces with other digital equipment. Follow the checklist below to verify that each Setup Window parameter is intentionally set.
  • Page 57 ❏ For 24-track recording, install three DIGITAL cards into the Digital X Bus B•SLOTS. ❏ Using fi ber-optic lightpipe cables, connect the OPTICAL OUTs A or B on the DIGITAL cards to the ADAT digital input connectors on the multitrack recorder. ❏...
  • Page 58 ❏ Open Assign window (Windows > Assign) and assign input sources for each channel used. ❏ Select phantom power button in the Assign window for mic inputs if required. Note: Condenser mics and active DIs use phantom power. Moving coil mics, ribbon mics, and most electronic instruments don’t need phantom power.
  • Page 59 ❏ Set Master Fader to Unity position. ❏ Turn channel faders up to hear instrument or mic. ❏ Once each channel is verifi ed and audible, press channel mute. SELECT ASSIGN SOLO MUTE ❏ Place tape inputs in record/ready to verify sig- nal at machine.
  • Page 60 Aux 9/10 and 11/12 are perfect for stereo head- phone sends. It’s often convenient for the musicians to, at fi rst, monitor the L/R mix in the cue section (CUE 1 and 2). Once the initial L/R mix is estab- lished, copy it to the appropriate cue (PHONES SETUP >...
  • Page 62 (or the AES/EBU or S/PDIF digital inputs on the MIX OUT card), and choose those inputs for the Control Room Source. ❏ Record the mix and enjoy the mind-boggling capabilities of the Mackie Digital X Bus.
  • Page 64 Note: Other 3rd-party plug-ins not tested and packaged by Mackie can be installed using the “Launch 3rd Party Installer” command under the File menu. This runs any executable (.exe) fi le at- tached to a USB port (CD or Flash drives) or from the internal hard drive.
  • Page 65 EQ processing. As a rule, fewer circuits almost always result in more pristine and accurate audio—even though the X.200 signal path is incredibly accurate and transparent. Many engineers prefer to save all EQ for mix- down, so as to include the least audio manipula- tion for a more pure sound.
  • Page 66 X.200 MIDI MIDI You can also use the USB port on the X.200 with a USB MIDI interface. However, because the X.200 USB port and a computer's USB port are both con- fi gured as hosts, which are designed to connect to a USB port confi...
  • Page 67 MIDI Time Code ( MTC). Every digital system needs a master sync source. The X.200 prefers to be the master source but will function as a master or slave. Follow these simple steps to help assure a successful digital setup: •...
  • Page 68 • Draw a digital word clock fl ow chart for your system. This will help you verify a logical connection scheme. One piece of equipment connected incorrectly can mess up your entire system. Rats! The following illustration shows a common sync setup, using the Digital X Bus as the master word clock source and a hub to distribute to other digi- tally connected devices.
  • Page 69 You probably have a bad word clock sync connec- tion if: • You hear audio but it cuts in and out at regular intervals. • There is no audio signal at the input of the Digital X Bus even though everything seems to be connected properly.
  • Page 70 When connecting the Digital X Bus to a Digital Audio Workstation ( Digital Performer, Studio Vision Pro, Cakewalk Pro, etc.), word clock synchroniza- tion must be addressed; the master and slaves must be established; the clock rate must be consistent throughout;...
  • Page 72 The Digital X Bus is an amazing tool, no matter what the setup. However, the more complex the setup, the more amazing the Digital X Bus becomes. Post-production provides the potential to use any tracks, effects, snapshots, automation moves, and general madness mayhem.

  • Page 73: Dynamic Automation

    The Digital X Bus is powered by Mackie’s Real Time OS™ automation software. Upon initial power- up, the console Automation Section is bypassed.

  • Page 74: Select Parameters

    Save Session As… • Name your mixes in a manner that is easy to reference consecutive revisions: For example, “BigBadBob Mix 1,” or “BigBadBob rev 1.0.” • Using “rev 1.x,” “rev 2.x,” etc. provides an easy way to indicate major conceptual changes (1.0, 2.0, 3.0, etc.) from minor refi...
  • Page 75 Note: Faders, Mutes, and Pan all apply individu- ally to the one parameter they name. ALL applies to all automation parameters other than Fad- ers, Mutes, and Pan. Open the Automation Filter window from the Automation window to select the individual parameters included under the ALL (or Other) selection.
  • Page 76 Details concerning Warranty Service are spelled out in the Warranty section on page xx. If you think your Digital X Bus has a problem, please do everything you can to confi rm it before calling for service. Doing so might save you from the deprivation of your Digital X Bus and the associ- ated suffering.
  • Page 77 Service for Mackie products is available at a factory- authorized service center. Service for Mackie prod- ucts living outside the United States can be obtained through local dealers or distributors. If your Digital X Bus needs service, follow these instructions: 1.
  • Page 78 Mic/Line 4 cards use 3-pin female XLR connec- tors on the MIC inputs. They are wired as follows, according to standards specifi ed by the AES (Audio Engineering Society). SHIELD COLD SHIELD COLD XLR Balanced Wiring: Pin 1 = Shield Pin 2 = Hot (+) Pin 3 = Cold (–) “TRS”...
  • Page 79 Many common adapters can be found at your local electronics supply store. The balanced-to-unbalanced connection has been an- ticipated in the wiring of Mackie jacks. A 1/4" TS plug inserted into a 1/4" TRS balanced input, for example, will automatically unbalance the input and make all the right connections.
  • Page 80 (All specifi cations are subject to change without notice. All measurements were calculated between 44.1 kHz and 96 kHz sampling frequencies. For these preliminary specifi cations, no measurements were calculated for 192 kHz sampling rate.) Dynamic range measurements are identical for all Option Cards 22 Hz to 22 kHz @ 48 kHz SR FS 22 Hz to 40 kHz @ 96 kHz SR FS...
  • Page 81 Measured with 1 kHz tone @ 200k ohm impedance • 0 dBFS = +24.4 dBu (± 0.2 dB) • 0 dBFS = +24.4 dBu (± 0.2 dB) • 0 dBFS = +24.4 dBu (± 0.2 dB) Reference signal = 1 kHz @ +4 dBu •...
  • Page 83 Channel Input Source (x72) Mic/Line 8 Mic/Line 4 Line Card Digital Card Card x 24 * FireWire Card Mix Out Card x 72 Channels Busses x 12 Aux Send Masters Aux Returns (VSTs) Talkback Oscillators Mic/ Line Line 8 Card * channel count measured at 44.1-48kHz + exact number of VST returns available is determined by VSTs used Digital Trim...
  • Page 84 CHANNEL AUX SEND INSERT MASTER SEND x 12 x 72 VST EFFECT(S) x 72 x 72 CHANNEL CHANNEL INSERT INPUT RETURN BUS INSERT SEND x 10 x 10 BUS INSERT RETURN...
  • Page 85 BUS/AUX ASSIGNMENT ASSIGNMENT SWITCH Hardware Destination Mic/ Line Digital Line 8 Card Card Card * running at 44.1 or 48kHz Input Meter Floating Insert, Send Floating Insert, Return Pre-DSP Insert Bus DSP Comp/ Gate/ Post-DSP Bus Insert Pre-Fader Meter Bus Mute Bus Fader Post-Fader Meter Software...
  • Page 86 VST EFFECTS CHANNEL INSERT SEND RETURN (PLUG-INS) (x72) (x72) BUS INSERT BUS INSERT SEND RETURN (x10) (x10) “Mackie Digital X Bus Block Diagram 9/29/04” TO CHANNEL METER (PRE-FADER) CHANNEL OUT DIRECT OUT LEVEL (LEVEL TO TAPE) (T-OUT) DIRECT ASSIGN TO I/O CARDS...
  • Page 87 FLOATING FLOATING KEY INPUT INSERT INSERT INSERT INSERT INPUTS SEND RETURN SEND RETURN CHANNELS BUSES AUXES PLUG-INS TALKBACK; OSC; PLUG-IN ONLY EQ TO KEY EQ DYNAMICS TO CHANNEL METER CTRL CTRL (INPUT) COMP GATE MIXDOWN SOLO SENDS ONLY SOLOED CHANNELS TO MAIN L/R BUS SOLO PFL/AFL/...
  • Page 88 6. Type in a name for this new folder, such as “Digital X Bus Update” or something obvious. 7. Click on the newly created folder, and then Click “OK.” 8. Click “Next” to start the Extraction. Once that is completed, click “Finish.” www.mackie.com to your local hard drive. www.mackie.com...
  • Page 89 12. Once you are back to the main mixer screen, select “About” from the Windows menu and verify you are running the same number build you just downloaded. www.winzip.com and installed on your PC. www.mackie.com to your local hard drive.
  • Page 90 6. Select the new build to be installed from the list and select “Run Installer.” Select “OK” when asked to shut down the Digital X Bus application in order to run the Installer. 7. Once you are back to the main mixer screen, re-select the “Install Packages” from the File Menu. www.mackie.com to your local hard drive. www.mackie.com...
  • Page 91 Digital X Bus Software Update fi le. 4. Open that same folder so you can see all the contents and fi les. 5. Drag all the contents of that same folder onto the icon of your Flash Drive. www.mackie.com to your desktop. www.mackie.com...
  • Page 92 11. Re-boot the console. If it re-boots itself, then move on to Step #12. 12. Once you are back to the main mixer screen, select “About” from the Windows menu and verify you are running the same number build you just downloaded. www.mackie.com to your desktop.
  • Page 96 Steinberg Media Technologies GmbH. The following are trademarks or registered trademarks of LOUD Technologies Inc.: The Mackie logo, V-Pot, HUI, the “Running Man” fi gure, and Digital X Bus. All other brand names mentioned are trademarks or registered trade- marks of their respective holders, and are hereby acknowledged.
  • Page 97 B. Failure to register online or return the product registration card will not void the one-year warranty. C. Service and repairs of Mackie products are to be performed only at a factory-authorized facility (see D below). Unauthorized service, repairs, or modifi cation will void this warranty. To obtain...
  • Page 98 16220 Wood-Red Road NE • Woodinville, WA 98072 • USA www.mackie.com • sales@mackie.com United States and Canada: 800.898.3211 Fax: 425.487.4337 Europe, Asia, Central and South America: 425.487.4333 Middle East and Africa: 31.20.654.4000...

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Dxb200Digital x bus x.200