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Mackie D8B3.0 Owner's Manual

56-input, 72-channel, fully automated digital audio mixing console
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D I G I T A L 8 • B U S
OWNER'S MANUAL
V e r s i o n 3 . 0
™
MACKIE'S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE

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  • Page 1 D I G I T A L 8 • B U S OWNER’S MANUAL V e r s i o n 3 . 0 ™ MACKIE’S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE...
  • Page 2 8. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operating instructions or as marked on this Mackie product. 9. Power Cord Protection — Power supply cords should be routed so that...
  • Page 3 UNIQUEMENT AVEC UNE BATTERIE DU MEME TYPE OU D’UN TYPE ÉQUIVALENT RECOMMANDÉ PAR LE CONSTRUCTEUR. METTRE AU REBUT LES BATTERIES USAGÉES CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT. Statement of Conformity Mackie Designs’ Digital 8•Bus has been tested and conforms to the following standards and directives of the European Council: 73/23/EEC...
  • Page 4 Table of Contents Preface ............................ 1 Chapter 1: Getting Ready ....................3 Chapter 2: Where Is it? ..................... 21 D8B Manual • Table of Contents • page i...
  • Page 5 Chapter 3: What’s On TV?....................41 D8B Manual • Table of Contents • page ii...
  • Page 6 Chapter 4: Applications ....................87 Appendices ........................133 Index ............................156 D8B Manual • Table of Contents • page iii...
  • Page 7 Preface he Mackie Digital 8•Bus is an amazing digital audio tool. Its flexibility, depth, and creative pizazz provides the engineer/artist with nearly limitless freedom to produce top quality work. The D8B Version 3.0 upgrade offers a host of new features that can make your mixes sound better and speed your workflow.
  • Page 8 D8B Manual • Preface • page 2...
  • Page 9 Chapter 1...
  • Page 10 We assume you’ve pulled everything out progressive features and options available of the box and are ready to start working. on the Mackie Digital 8•Bus. The D8B is First, you’ll need: designed to grow with the audio industry. Each •...
  • Page 11 MIDI Ethernet Video Mouse Keyboard 2. Connect the data cable between the Remote CPU and the console. Rotate the thumbscrews on each connector clockwise until they are finger tight. These connections are optional, but we strongly 3. Make sure the POWER switch on the Remote recommend using them to get the most from your CPU is off.
  • Page 12 1. Plug a PC-compatible keyboard into the KEY- MASTER OUT BOARD port on the back of the Remote CPU. 2. Plug a PS/2 compatible mouse into the MOUSE port on the back of the Remote CPU. MAIN 3. Plug an SVGA video monitor into the VIDEO port on the back of the Remote CPU.
  • Page 13 The Digital 8•Bus takes a few Even though only one Fader Bank is accessible at a moments to load the Mackie Real Time OS time, all four are fully functional at all times. Use of (Operating System) and initialize the DSPs. When...
  • Page 14 As you switch back and forth between all four fader banks, the faders will move to their respec- tive settings for each bank. You’ll find that this • Mixer Power On. becomes your most popular demonstration. Your • Monitors connected and on. friends will love it;...
  • Page 15 Figure 1-1 Completing the Microphone Signal Path Follow this graphic map to quickly complete a signal path using a microphone to capture the sound source.. RACK Mic into Mic Input Select Fader Speakers On and Bank 1 Connected to Mixer Mic Button Power On Down...
  • Page 16 7. In the ASSIGNMENT section, verify that when L–R is selected (green light on) the ASSIGN button in Channel One lights up green. This is The Digital 8•Bus, with its multilayer technology, basic bus assignment procedure. Anything you literally performs the work of at least four consoles. want to come out the MASTER L–R bus must To help organize the various connections, visualize light up on the assign button of each desired...

  • Page 17: Table Of Contents

    Figure 1-2 Simple Microphone Connection/Basic Live Setup This setup illustrates the most fundamental use of the D8B. A very basic live setting might require only this limited level of complexity. RACK Channel 1–24 Monitor Outs Mic/Line In to Speakers Channels 1–24 Tracking Mixer Fader Bank 1 Figure 1-3 Setting Up to Track...

  • Page 18: Channel

    Figure 1-4 Basic Mixdown Setup This is a basic mixdown setup. Live Mic/Line input source might be used for any audio source: live vocals, instruments, or effects returns. RACK Multitrack From Tape to Channel Outboard Effects, From Mix Playback to 25–48 Inputs MIDI Gear, Live 2-Track Input (Analog...
  • Page 19 Figure 1-5 Signal-Flow Diagram Simply begin at the far left star and follow the route the signal must take to reach the master output. DSP includes all dynamics, equalization, and phase controls. 3. When using the V-Pot to adjust a parameter, make sure it’s assigned to make the change you need.
  • Page 20 Figure 1-6 D8B Block Diagram This diagram provides a detailed view of the D8B signal path.
  • Page 22 Figure 1-7 D8B Gain Structure Diagram...
  • Page 23 • Output Level (0 dBu = 0.775V RMS) • Left and Right Outputs: +22 dBu balanced 1/4" TRS • LED ladders displaying 24 channels, 24 LEDs per +28 dBu balanced XLR channel from –50 to 0 dBFS (0 dBFS = +20 dBu) •...
  • Page 24 37.6" (955mm) CONSOLE SHIPPING WEIGHT 73 lbs. (33.1 kg) 17.25" (43.8cm) D8B CPU SHIPPING WEIGHT 50 lbs. (22.7 kg) 19.00" (48.3cm)
  • Page 25 Software upgrades can easily be downloaded 14. You now have the updated D8B operating from the Mackie website at www.mackie.com. system installed. Find the D8B section and select “Downloads.” 15. Make sure you read the release notes. They Always read the Release notes that accompany the have important info about this upgrade.
  • Page 26 12. Remove the 2nd floppy disk when prompted and power down the console power supply, then power back on. This chapter has been specifically designed to 13. You now have the updated D8B operating help you understand the basic concept of the Digital system installed.
  • Page 27 Chapter 2...
  • Page 28 No matter how fast you want—or need—to get started, take advantage of this simple map of the ANALOG I/O territory: it provides the Fast Track overview of the D8B. It’s amazing how artistically supportive this console is. It’s well worth your time to take a look at all the controls so you can put them to work efficiently.
  • Page 29 • Output level is controlled by the BUS 1–8 • Room for four separate effects cards. MASTERS (Fader Bank 4). • MFX – Mackie Effects card with two stereo • Carries Surround monitoring channel outputs. processors. • UFX – Universal DSP engine with functions dependent on specific plug-in effects.
  • Page 30 • Pairs of 1/4" TRS stereo line-level outputs for • Balanced 1/4" TRS inputs for receiving line- sending signals to control room speakers. level analog signals from a 2-track recorder. • Both outputs carry the same signal (as selected • The separate left/right pairs feed the 2 TRACK in the Control Room section).
  • Page 31 • A hi-density 15-pin D-Sub connector is provided to connect an SVGA monitor. • Use at least a 17" multisync SVGA monitor ca- pable of 1024 X 768 resolution and a 72Hz These connections are specifically pertinent to refresh rate. Larger monitors provide greater non-audio functions (or, in plain English, these viewing pleasure.
  • Page 32 • Accepts an RJ45 telco connector. • On channels 1–12 only. • Connects to PC/Mac for FTP file transfer • This button selects between the Mic In- through a network or peer-to-peer. put (XLR) and the Line Input (1/4" TRS). •...
  • Page 33 • Doesn’t affect the signal level to the Tape Out- only the soloed channel. puts unless specifically routed to do so, or if • Mackie’s exclusive Rude Solo Light flashes in- console is configured for Faders to Tape mode. cessantly whenever any channel is soloed.
  • Page 34 The Master Section—everything to the right of channel strip 24—is divided into 13 Master Section subsections. They are: • Master Fader/Bank Select Section • Master V-Pot Section • V-Pot Assign Section • Fat Channel Section • Studio/Solo Section • Phones/Cue Mix Section •...
  • Page 35 The SHIFT button serves multiple functions. It provides a way to select multiple channels and 1-24 25-48 multiple solo buttons. It also serves as a fine-tune selector for Aux levels and Pan adjustments. Try adjusting an Aux level with and without the SHIFT button depressed—notice the difference in 49-72 numerical scrolling speed.
  • Page 36 • Assigns all applicable channel V-Pots to act as This description highlights the default configuration for aux sends and effects returns. pan controls (channels 1–72 and 81–88). Keep in mind that the new D8B plug-in architecture • Stays lit continuously until an Aux Select, provides maximum flexibility and awesome creative Level to Tape, or Digital Trim button is engaged.
  • Page 37 FX 1 FX 2 FX 3 FX 4 FX 5 FX 6 FX 7 FX 8 FX 9 FX 10 FX 11 FX 12 FX 13 FX 14 FX 15 FX 16 Eight mono aux sends, each returning a stereo effect ways: 1) by pressing Talkback in the Control Room section, 2) by pressing a foot pedal con- nected to the Talkback jack in the rear of the...
  • Page 38 • Just to the right of the L-R Meters. • Four Select buttons and V-Pots used to select and adjust options that show up in the Fat • Numeric readout indicates the selected channel Channel VFD. —the currently editable channel in the VFD. •...
  • Page 39 Toggles the selected Fat Channel DSP control Press this button to store an individual EQ, parameters on and off in bypass fashion. compressor, or gate into the current Fat Channel or plug-in setting to the onboard library. You must choose EQ, Gate, Compressor, or a plug-in before trying to save a patch.
  • Page 40 Routes sound arriving at the in-panel Talkback Assigns the Aux 11-12 mix to the Phones output. mic to the Studio outputs. Pressing this causes all channel settings to be Note: Make sure the speakers that are connected to copied to the channel V-Pots for the selected CUE the Studio Outs are located in another room to avoid MIX 1 (Aux 9-10) or CUE MIX 2 (Aux 11-12).
  • Page 41 Selects the AES/EBU digital input as the Control Routes the signal arriving at the in-panel Room source. Talkback Mic to Phones/Cue Mixes 1 and 2 (and to Studio Out if Talkback to Studio is selected). Selects the S/PDIF digital input as the Control Room source.
  • Page 42 Bus 1–8 or the Master L-R bus. ASSIGN ASSIGN ASSIGN ASSIGN Even if you’ve never worked with an automation system, you’ll find the controls in the Mackie Real ASSIGN ASSIGN Time OS intuitive and powerful. Spend a little time grasping the concepts, then start mixing. ASSIGN ASSIGN If you’ve worked with other automation...
  • Page 43 • This button must be turned off before any auto- mation can be recorded or played back. • Activates Auto Touch write mode for auto- • Toggling Bypass doesn’t affect the automation mation data. filter LEDs (Faders, Mutes, Pan, All). How- ever, when Bypass is on no automation data •...
  • Page 44 • Brings up the Group menu in the Fat Channel display. • This is a virtual group function where faders and mutes are linked to one master fader, solo, and mute button in the Master fader bank. • After pressing GROUP, press the SELECT but- tons on each channel strip to be included in Buttons in this section are used for file mainte- the group, then press Exit to complete the ac-...
  • Page 45 This section provides control for external recorder This button toggles between SMPTE/MTC time transports, time display, snapshots, locates, and loops. and BBT (Bars/Beats/Ticks) in the Position display. • Shows the numeric representation of SMPTE • Used to numerically enter Snapshot, Locate, or MIDI Time Code (Hours: Minutes: Sec- and Loop points in the Range display, and onds: Frames) or a musically referenced...
  • Page 46 This button is used to save locate points and console automation snapshots to the currently displayed number or a user-entered number. • Allows the number buttons to be used for entering snapshot numbers. • When in this mode, the left two digits in the Range display indicate snapshot numbers.
  • Page 47 Chapter 3...

  • Page 48: Channel

    • To jump the fader to a specific point in the fader throw, simply click the mouse on that point. • This fader has no effect on the channel input level. It controls channel level to bus 1-8, L/R mix, and the aux outputs or, if Faders to Tape is selected, level to tape.

  • Page 49: Channels

    • Hold the Shift key to solo more channels or select Quick Select Fat Channel Solo Latch mode in the Options menu. • With the Shift key held, click and drag across Simply double click the onboard SELECT button multiple SOLO buttons to select them all. to instantly open or close the Fat Channel.
  • Page 50 • Selects channel for cut, copy, and paste actions. Point and Click Aux Sends • Press shift, then click or drag across multiple To increase the send level, click to the right of any SELECT buttons to choose more than one. Aux and drag to the right;...
  • Page 51 • The blue bars after Aux levels 9 and 11 are pan The blue box directly below the EQ controls for Auxes 9/10 and 11/12. on/off icon offers lightning-fast access • Click and drag left to pan left; click and drag right to powerful equalization.
  • Page 52 • The blue bar above the Compressor, Gate, EQ, and • A hyphen in the OUT box indicates no direct out Phase buttons graphically indicates the digital assignment. trim level. • Click and hold in the OUT box to see the Tape Out •...
  • Page 53 The Feedback Loop • To assign multiple channels to a mono or stereo set of tape outs, assign them to buses, or a pair of buses, then send the bus output(s) to tape. • Stereo pairing is selected by assigning a channel to any odd/ even bus pair (1/2, 3/4, 5/6, 7/8, •...
  • Page 54 • Right-click a channel V-Pot and drag across several channels to copy its • Functional as a master Aux level control when level to each. any of the Auxes are selected in the Master Strip. • When Faders to Tape is selected, the •...
  • Page 55 The D8B version 3.0 software provides many new and exciting capabilities—check out these new flexible routing options. Selecting an insert on-screen is exactly the same as patching from the signal path into an external effect, then back through a patch bay or dedicated physical insert point.
  • Page 56 INSERT icons. Clicking on the window number. Notice the Mackie OS places the displays the assigned plug-in module. original number to the right of the main list for your convenience.
  • Page 57 • Press Ctrl+O or click the File menu, drag down to There’s amazing power and flexibility in the Open Session, and release. Menus and Screens built into the Mackie OS. This • Use this to open a preexisting session file. guide will serve as an excellent Quick Reference •...
  • Page 58 Many other functions carry over from session Gain access to the Desktop by: to session when opening a new session (e.g., • Clicking the File menu and dragging down to sample rate). Desktop. If you require a more finely tuned template, •...
  • Page 59 • Go Back to Mixer (Ctrl+D) • Shutdown (Ctrl+Q) Note: Anytime you save patches (EQ, compressor, gate, plug-ins, etc.) the Mackie OS defaults to the User Presets folder. Don’t fight this procedure! To guarantee that your file will be around through various OS and plug- in updates, keep your presets in the default locations.
  • Page 60 • Information in the clipboard can be pasted to another channel, track, region, etc. • Cutting data typically restores selected channels or regions to their default settings or to off. • The History List keeps a running list of the Edit choices for later recall.
  • Page 61 • With the Mix Editor open, this feature globally inserts a region of no data change at the selected start point (on all channels for all data). • Selecting Insert Global Time in the Edit menu opens a window with settings for the insert start point and length of time inserted.
  • Page 62 • Allows for quick and easy setting of global channel parameters. • Change the channel name. • Easily set groups. • Channel List (Ctrl+B) • Set playback status to Run, Punch-Run, or • Open Channel… Disabled. • Save Channel As… •...
  • Page 63 SELECT button under the Playback mode to toggle between the Disabled, Punch-Run, and Run states. Shortcuts: Note the “previous-click” shortcut (the last click has a memory if it was on a “like” parameter, and copies the previous-click setting to the next click). Also you can click and swipe down the list to change the column to the value that’s toggled by the click.
  • Page 64 following directions in the Fat Channel Display. An additional link initiation may be made using the Channel List feature. Note: You can select each channel in a linked pair individually. If you want to copy channel settings to a linked pair, you must select both channels (Shift- Select) and then paste the settings.
  • Page 65 This feature can be especially handy for • Select the channels that will remain at the applications such as vocal comps and bus original position; all unselected channels will be switching. Inverse switching is set and recalled offset by the selected number of samples ( 255). individually on all parameters, so Bus 1 and the •...
  • Page 66 or on the panel) or to radio button (only one allowable at a time). • This mode sets all faders to unity position and If solo latch is not set (no check mark), multiple assigns all parameter controls (except mutes) to solos may be manually latched by either: globally add or subtract from existing settings and 1) Pressing and holding another solo switch, while...
  • Page 67 • This option does not function when Auto Touch is selected. • When Write Ready is selected, channels are manually engaged to write automation data. • Write Ready mode assigns the transport RECORD button to punch the Write Ready channels into and out of automation record.
  • Page 68 • When using the MFX card, each mono input feeds a stereo effect; each stereo effect returns to two 1. Open the Plugin Configuration window. faders on the EFFECTS bank. For example, with 2. Select the desired Stereo or Mono MODE status. an MFX card installed in mixer card slot 1 and Change status by simply clicking on the current selected in the Plugin Configuration window,...
  • Page 69 This window displays the OS version, software Contains: authors, artist, etc. • About • Hot Keys • Close All (Ctrl+\) The more of these key commands you learn, • Desktop (Ctrl+D) the faster and more efficient you’ll be at recording. •...
  • Page 70 MDS Network (Mackie Digital Systems Network) allows any number of consoles that are This command closes all open windows. The on the same MDS Network Channel to either main faders overview backdrop is always displayed generate or receive common Link Option control- unless the Desktop is selected.
  • Page 71 Link Options are enabled and disabled accord- ing to what control surface actions you want to have linked on two or more consoles assigned to the same Network Channel. • Fader Banks: This option provides for bank selection across the network from any Digital 8•Bus sharing a common Network Channel number.

  • Page 72: Fader Bank 3

    3. To obtain the unlock code, have the ESN and plug- in serial number ready. Then you have two options: • The Alt I/O 1–8 operates according to the type of • Log on to the Mackie plug-in authorization I/O card installed (AIO•8, DIO•8, PDI•8, OPT•8). web page: •...
  • Page 73 • The purpose of the Write Flyback feature is to establish a rough mix on any given channel at the • Select the desired Aux bus using the Aux Select point when the channel is first punched in, so that pull-down list.
  • Page 74 To allow this operation, set the “Solo Latch” checkbox in the Mix Options Setup window, or • Import a MIDI Tempo Map from a standard MIDI press GENERAL in the Setup Section and, under File to synchronize the D8B Bars/Beats/Ticks Solo, select “SOLO LATCH”...
  • Page 75 match your computer’s address, and set the last field to something different. Be sure you don’t set it to the address of another device that you have on your network. • In the Subnet window type 255.255.0.0 (default value) unless your network requires a subnet mask. •...
  • Page 76 as the selected channel’s front/rear position control. The control surface can perform surround • Saves current mixer snapshot selection pan positioning using the Etch-A-Sketch ® (Etch-A- (highlighted in the snapshot list) to a file for recall Mix) approach. at a later date. •...
  • Page 77 • Activated by clicking the MORPH icon. Speaker icons are numbered consistently • Automatically pans between the red and green throughout the surround modes. Speakers 1 and 2 surround positions, depth-of-center level, and sub- are always Front L/R; speaker 3 is always Front effect level.
  • Page 78 • Notice the speakers are numbered 1, 3, 2, 5, 4, • Notice the speakers are numbered 1, 2, 5, and 6. and 6. Speakers 1 and 2 are Front L/R, speaker 3 This provides consistency throughout the is Front Center, speaker 4 is the Subwoofer, and available surround configurations.
  • Page 79 • With a Depth of Center setting of “0” the center- • Deactivates all speaker selections. panned channel is routed to the center speaker • Sets Depth of Center status to “0” (center pan only (speaker 3). routes to speaker 3 only in surround or equally to •...
  • Page 80 enter the desired time in hours, minutes, and seconds, then press Enter to complete. Store locate time by selecting LOCATOR mode, entering the locate number, then pressing Store followed by Enter. • Locate points can be entered on the fly by simply clicking the New button at the desired time during playback.
  • Page 81 hours). A vertical scroll bar allows for paging or incremental viewing of the channels or parame- ters, and the horizontal scroll bar allows for paging or scrolling time chunks, according to the current time resolution. The Mix Editor can view a single channel with all of its parameters or, by selecting the “Channel View”...
  • Page 82 easy selection of the desired Edit Tool (I Beam, • Press the Alt key along with the up/down Hand, Magnify, or Eraser). arrows on the keyboard to scroll up and down the channel/parameter list. • Three time code displays indicate the highlighted •...
  • Page 83 When Channel View is highlighted, the Mix Editor Channel List changes to a parameter list. This These arrows are located in the Mix Editor mode views one channel, effect, bus, aux, group, control palette immediately to the left of the MIDI channel, or plug-in at a time.
  • Page 84 The Fat Channel overview is opened and There are four EQ types to choose from: closed by clicking on the “Fat Channel” button in • 4 Band Parametric the lower menu bar, or by pressing Ctrl+6 on the • 20/20 EQ keyboard.
  • Page 85 • Click the ON button near the bottom of the EQ window to turn on the EQ for the selected channel. The meter in the Compressor section indicates • There are three methods to modify parameters in the amount of gain reduction applied by the Com- the EQ.
  • Page 86 The red LED, on the bottom right of the meter, is a “gate threshold” indicator and lights up to • This button turns on the soft-knee function, which indicate when the Gate is on. determines the severity of the compression action. Remember that additional channel metering is When highlighted, compression is smoother and found on the console’s channel strips (post-EQ,...
  • Page 87 • Use the on-screen knobs to adjust any of the aux send levels. • Press Control while clicking the Aux knob to set Aux send level to unity gain. • Click in the window directly below the Aux send knob to toggle the individual Aux Pre/Post status. •...
  • Page 88 • Use this window to filter the key input. This is • This control varies the channel send level to the often necessary to properly trigger the dynamics subwoofer (speaker 4). processor. Accentuate the high frequencies of a • This is the only control over individual channel key instrument with lots of attack to solidify the levels to the subwoofer (speaker 4).
  • Page 89 • Use this feature to duplicate an action at a different time stamp. Simply duplicate the event, This mode places the tape return fader bank in then edit the time stamp field by double-clicking the upper half of the screen display. Now all input on the time reference.
  • Page 90 • The arrow in the far left column represents the current or last triggered automation event. • The arrow moves to the next event as soon as the time code reaches the automation event time; it remains there until another event time is passed. This pop-up window lets the user select the specific type of automation event: Snapshot, EQ, Compressor, Gate, Channel, or Plug-in.
  • Page 91 • If an event is selected in the list, then a change is assigned to a note on (or note off as note on of made in the Mix Editor, all events following the velocity 0) message. selection will be replaced by the new event. In V2, messaging was selectable as In (re- •...
  • Page 92 assigned as a Note On (9Nh) message. If the selected Route(s) within the list. The DELETE parameter is continuously variable, the button at the bottom of the MIDI Map window Continuous Controller (BNh) or Polyphonic does the same. Multiple Routes may be Aftertouch (ANh) may be used.
  • Page 93 Chapter 4...
  • Page 94 Digital 8•Bus is connected to damage while maximizing the chance of success. excellent reference monitors, like the Mackie Refer to Figure 4-1 for a Fast Track Graphic HR824’s. In addition, set up the system in an representation of this procedure.
  • Page 95 • It’s a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc. The Setup Window is very important to the functionality of the Digital 8•Bus. Its settings determine how the console functions within its •...
  • Page 96 • Mouse Speed • Display Intensity • Date and Time • Smart Save selection • Appearance style Mackie Digital Systems (MDS) Network • Network Channel • Mixer Name • Alt I/O 1–8 assignments • Link Options across the digital network (connected Digital 8•Bus consoles)
  • Page 97 You can install this card in any of the Tape groovy new Mackie plug-ins. The D8B effects card In/Out slots, or in the ALT I/O slot. You can mix any slots accommodate any combination of UFX and combination of the AIO•8 and DIO•8 cards in the...
  • Page 98 IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. Also, install your FX cards in order. For example, put your first FX card in the slot marked “A,” your second FX card in slot “B,” etc. 1.
  • Page 99 IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. 1. Using a #2 Philips screwdriver, unscrew the blank cover plate corresponding to the I/O card slot you want to fill. Remove Cover Plate for Tape I/O Card 2.
  • Page 100 Basic system functionality depends greatly on the accurate selection of a few key items. Work through this checklist to verify console settings. The previous chapters provide an explanation of each item. This checklist simply provides a mental road map to verify proper functionality. Control Room selection correct Monitor Speaker selection correct Mic/DI...
  • Page 101 DIO•8 Card Sync Cable Tascam DA-98 rear panel REMOTE INSYNC IN SYNC OUT WORD SYNC (FROM RC848/DA-88) (TO DA-88) METER UNIT DIGITAL I/O TDIF - 1 TDIF Interconnect Cable...
  • Page 102 Multitrack recording involves a continuous assessment of signal flow. If you follow a well- planned thought process from the beginning of the signal path to the end, you’ll succeed in each audio task. When multitrack recording using the D8B, it’s helpful to visualize the basic signal flow between fader banks.
  • Page 103 Connect multitrack ins and outs to D8B. Place tape inputs in Follow basic power-up procedure. record/ready to verify Select Mic/Line fader bank. signal at machine. It’s RACK Press phantom power button on the rear of typically best to monitor the console for necessary mic inputs. signal from the multitrack rather than from Press Mic button on channels using the channel input.
  • Page 104 It’s typically best to monitor signal from the multitrack rather than from the channel input. M o d u l a r D i g i t a l M u l t i t ra c k Record Ready Buttons TAPE IN Bank Aux 9/10 and 11/12 are perfect for stereo headphone sends.
  • Page 105 The mix should be arriving at the mixdown recorder. It’s good to check this as part of your tracking process. At the conclusion of a session the artist will probably want to take a rough mix for evaluation—you’ll look better if it’s already set to go. BUS OUT 1-8 &...
  • Page 106 Connect the outputs from the recorders to the This diagram shows a typical hookup for tracking. TAPE Inputs on the Digital 8•Bus. This allows you Four microphones are connected to channels 1–4 for to monitor the signal as it’s being recorded vocals.
  • Page 108 This simple checklist will help get the mix started. Notice that, each time, we follow the signal path from its source to its destination. Pressing DIGITAL TRIM activates the channel V-Pots as digital input trim adjustments. If the outputs from the mixdown recorder are patched into the D8B 2-track or Digital inputs, simply select the mixdown recorder in the Control Room Section (Digital 1, Digital 2, 2 Tracks A–C).
  • Page 109 This sample mixdown setup helps provide ideas for how your mixdown setup might look. Each setup is unique in many ways, yet predictable in many ways.
  • Page 110 Note: In the plug-in windows, clicking directly on the Effects patch name displays a large pop-up menu of Factory or User patch names, which points to available patches in your working directory’s Presets folder. Before we look at more setup Always save your custom presets to the User Presets examples, lets cover some quick tips on folder.
  • Page 111 6. Use the channel V-Pots to set individual 8. Click on the EFFECTS button to select Fader channel send to the selected aux bus. Bank 3. Click and drag, or physically move, the FX return fader(s) corresponding to the selected effect, to control the amount of processed signal returning to the left and right bus.
  • Page 112 Dynamics and equalization are typically applied in one of three ways: • Select Fader Bank 1 (MIC/LINE). • Double-click SELECT on the desired channel to open the on-screen Fat Channel. • Set compression, EQ, or gate. Since Fader Bank 1 (MIC/LINE) feeds the multitrack inputs, any changes made from that bank are printed to tape.
  • Page 113 Your Digital 8•Bus works very well when incorporated in a MIDI network, utilizing a computer referenced to time code. Be sure to connect the D8B MIDI jacks to your MIDI interface. Within your computer-based MIDI sequencer, set the MIDI channel connected to the D8B to transmit MIDI Time Code (MTC).
  • Page 114 Once you’ve developed several snapshots for a mix, they can be recorded into a sequencer for In order for all digital components to function consistent playback. together in unity, they must all move together, This feature is set in the Mix Options window, sample-by-sample, through the digital data stream.
  • Page 115 Here are two more sample setups that include the D8B and other digital devices which depend on Every digital system needs a master sync source. accurate and solid word sync. The D8B prefers to be the master source but will function as a master or slave.
  • Page 116 • When the D8B is set to “Internal” in the Apogee • You hear audio but it cuts in and out at regular Clock pop-up window, it generates word clock as intervals. a master device. All other devices must be •...
  • Page 117 • Dither twice. If your music contains a wide Digital audio’s weakness is its ability to accurately dynamic range, you might not be able to resist the reproduce extremely low-level signals. As the amplitude decreases, there are fewer and fewer urge to use dither as you record to the multitrack.
  • Page 118 D8B Tape Inputs (bottom connector). This section shows how the D8B is connected to the Mackie HDR24/96. These examples assume that the rest of your studio equipment (monitors, 1. Set the Sample Clock to Internal. sound sources, outboard processing, etc.) is 2.
  • Page 119 DIO•8 Sync out) to the HDR24/96 Word Clock In. To make the HDR24/96 the clock master, connect its Word Clock Out to the D8B Word Clock In. (3) DIO•8 cards for HDR24/96 (3) DIO•8 cards for D8B (1) Clock I/O card for D8B (3) TDIF cables 1.
  • Page 120 1. Set the Tape Input and Tape Output format for each DIO•8 card to TDIF. (3) DIO•8 or OPT•8 cards for HDR24/96 2. If the D8B is the clock master, set the (3) DIO•8 or OPT•8 cards for D8B Sample Rate to either 44.1kHz or (1) Clock I/O card for D8B 48kHz, and set the Apogee Clock to (6) ADAT Optical cables...
  • Page 121 1. If you have DIO 8 cards installed, set • the Tape Input and Tape Output format for each card to ADAT. OPT • cards need no configuration. 2. If the D8B is the clock master, set the Sample Rate to either 44.1kHz or 48kHz, and set the Apogee Clock to Internal (in the Digital I/O Setup window).
  • Page 122 1. If the HDR24/96 is the clock master, set the Sample Clock to Internal; if it (3) PDI•8 cards for HDR24/96 is a clock slave, set the Sample Clock (3) PDI•8 cards for D8B to Word Clock and depress the 75 (1) Clock I/O card for D8B termination switch on the Sync card.
  • Page 123 OK, so we fibbed a little. You can 4. Set “Samplerate” to match the sample rate of use PDI•8 cards in the D8B the formatted ADAT tapes (typically 48kHz or without a Clock I/O card 44.1kHz). installed, but doing so requires that you enable sample rate ADATs conversion on both the D8B and...
  • Page 124 Graphics in the previous section will help you locate these controls. The inclusion of a BRC controller or, for that matter, any other sync controller box with word 1. Click the “Setup” button in the bottom menu bar clock and MTC, vastly increases the capabilities of of the SVGA monitor to open the General Setup the Digital 8•Bus.
  • Page 125 48 KHz IN MIDI IN with 50 termination REMOTE OUT TO ADAT MIDI OUT ADAT XT MASTER DECK (TRACKS 1-8) ADAT XT SLAVE DECK (TRACKS 9-16) ADAT XT SLAVE DECK (TRACKS 17-24) TAPE 1 TAPE 9 TAPE 17 BUS OUT 1-8 &...
  • Page 126 1. Connect a fiber optic cable between the ADAT’s lightpipe output and the D8B’s lightpipe input. Likewise, connect the D8B’s lightpipe output to the ADAT’s lightpipe input. (A DIO•8 or OPT•8 lightpipe card must be installed in the D8B to gain access to the digital tape inputs and outputs.) 2.
  • Page 127 SYNC BOX MIDI IN (Examples: SYNC JLCooper dataSYNC or SYNC Steinberg ACI) MIDI OUT ADAT XT MASTER DECK (TRACKS 1-8) ADAT XT SLAVE DECK (TRACKS 9-16) ADAT XT SLAVE DECK (TRACKS 17-24) TAPE 1 TAPE 9 TAPE 17 BUS OUT 1-8 &...
  • Page 128 3. Set the Machine ID on each recorder, with the first deck (master) having the lowest number and the last deck having the highest number. DA-88s start with ID #0 and DA-38s start with ID #1. DA-88 DA-38 1. Connect the digital cables between the TASCAM tape Deck 1 decks and the DIO•8 cards in the Digital 8•Bus.
  • Page 129 DA-88 MASTER DECK (TRACKS 1-8) MIDI IN MIDI OUT DA-88 SLAVE DECK (TRACKS 9-16) TERMINATION PLUG DA-88 SLAVE DECK (TRACKS 17-24) TAPE 1 TAPE 9 TAPE 17 BUS OUT 1-8 & SURROUND OUT DIGITAL 8•BUS 1. You must turn on the Digital 8•Bus MASTER OUT 2 TRACK IN A...
  • Page 130 computer’s sample rate (typically 48kHz or 44.1kHz). Selecting “Internal” in the Apogee Clock pull-down establishes the D8B as the Connecting the Digital 8•Bus to a Digital Audio master. Everything else in the digital chain must Workstation (Digital Performer, Studio Vision Pro, be capable of slaving to the Digital 8•Bus.
  • Page 131 MIDI IN MIDI OUT Software-based Digital Audio Workstation DAW Digital Interface DIGITAL 8•BUS TAPE 1 TAPE 9 TAPE 17 BUS OUT 1-8 & SURROUND OUT MASTER OUT 2 TRACK IN A PHONES 1 PHONES 2 MAIN 2 TRACK IN B STUDIO OUT NEAR FIELD 2 TRACK IN C...
  • Page 132 In a live sound/recording application the console fader banks are chained together to form one large console. With the addition of up to 24 more mic preamplifiers, the tape inputs can be used to receive signal from any mic-level or line- level source.
  • Page 134 3. Click and hold on the “1” button at the top of channel 1. Sweep across to channel 6 to assign channels 1–6 to Bus 1. The Digital 8•Bus is an amazing tool, no matter what the setup. However, the more com- 4.
  • Page 135 Automation is somewhat intimidating at first. • Channel reconfigurations Fortunately, it doesn’t need to be. The power, flexibility, and ease of use provided by the Mackie designers makes the D8B painless and intuitive. If you’ve used other automation systems, you Automation moves are divided into two basic have a definite advantage.
  • Page 136 you’ll be tweaking the mix to perfection anyway. • Verify that all channels are selected by choosing As you build the mix, save snapshots as soon each of the four fader banks and confirming that as the music begins to reveal itself. Label the all SELECT buttons are highlighted.
  • Page 137 • As soon as the fader moves, the WRITE button • Press the RECORD button on the control illuminates, indicating automation data is being surface in the transport control section or in the recorded. on-screen Locator window. • Once record status has been achieved, the blinking yellow lights remain solid until the •...
  • Page 138 subtracts the same amount from a previously adjusted automation track. For example, when used for faders, all moves are maintained but the overall volume changes. • Press TRIM LEVELS in the control surface Automation section, on-screen Locator window, or in the Options>Automation menu. Notice that the faders all snap to unity position.
  • Page 140 Doing so might save you from deprivation of your Woodinville, WA 98072 console and the associated suffering. Of all Mackie products returned for service (which 8. We’ll try to fix the product in three to five is hardly any at all), roughly 50% are coded “CND”...
  • Page 141 No Sound! • Is the signal source working correctly, and properly connected to an input on the console? • Is the TRIM control (channels 1–12) or the Digital Trim control (channels 1–48) turned all the way down? • Is the MIC/LINE switch set to the correct position? •...
  • Page 142 Harmony Ensemble voice that it affects. Note: The Digital 8•Bus ships with one MFX (Mackie Effects) card installed. You can load it with either the Mackie Effects plug-in or the IVL Vocal Studio plug-in.
  • Page 143 the output of the harmony effects block. Each effects block then returns its processed signal to an individual stereo return. Interval: In SmartChord, SmartKey and Pitch Shift control modes, “Interval” determines how much higher or lower the harmony note is than the lead note.
  • Page 144 Using the interval sliders, you can adjust the interval of each of the four harmony voices. Basically, “Interval” controls the voicing of the harmonies relative to your lead note. When in the Pitch Bender: Use the bender to manually raise SmartChord and SmartKey control modes, the or lower the pitch of the shifted voices.
  • Page 145 1. Harmonies: Detuning each harmony voice can create natural-sounding harmonies. In real life nobody sings perfectly in tune, so why should the IVL Vocal Studio have to? 2. Doubling: Detuning unison harmony voices can create the fattest of phat vocal sounds without singing a vocal line four times.
  • Page 146 Vibrato adds another level of human quality to the harmony voices. The majority of singers use some amount of vibrato. Basically, Vibrato is like the modulation wheel on a keyboard, which modulates a harmony voice’s pitch by a small amount. The Vibrato presets are based on the amount of modulation, the rate of the modulation, and when the modulation starts.
  • Page 147 SmartChord uses the intelligent harmonies of the Because you can choose exactly which harmony Vocal Studio in conjunction with a MIDI keyboard notes you want, Manual mode is excellent for hooked up to the D8B. On the keyboard, you would creating unusual harmony treatments.
  • Page 148 To select Key and Scale, you want to be in the Key/Scale Edit mode, shown above. Once in this editing window, Key is selected by clicking on a note To make sure you are in Pitch Correction mode on the piano. Select the scale using the spin dial select “Pitch Correct”...
  • Page 149 Slope controls the switching rate between the Pitch Bend Range sets a maximum amount the pitch corrected sound and the original sound when pitch can be corrected using the Pitch Bender. The using the Vocal Studio’s keyboard control graphic. pitch bend range is set by grabbing the red circle Use the red circle in the Slope window to adjust the (located in the Pitch Bend Range window) with your slope.
  • Page 150 After installing your UFX or MFX card, all you need to do is assign a plug-in to the card. 1. Click the Plugins menu and select Plugins, (or use the keyboard shortcut Ctrl+P). 2. In the Plugin Configuration window, locate the card slot that contains the UFX or MFX card to which you wish to assign a plug-in.
  • Page 151 Plug-in settings can be saved and recalled To Load a Preset: from the hard drive. You can save and load files to 1. Click Mem A or Mem B to choose the either Memory A or Memory B. memory location from which to load the file. 2.
  • Page 152 To Reset the Plug-in: Reset will reload the previous patch. 1. Click and hold the Menu button. To write automation on a loaded plug-in: 2. Select Reset (Plug-in). 1. Engage AUTO TOUCH. 2. Engage ALL, disengage BYPASS, and send timecode to the console –the POSITION readout will change to show time code is being received.
  • Page 153 Input Source Plug-in Assignment Column Card Slot Column Assignment Column Close Window Plug-in display toggle Stereo/Mono Input Channel Mode Column Assignment Pull- Stereo/Mono down Menu Button Toggle Button Card A Card B Card C Card D (no card installed) Inserting a Plug-in into a Channel A pre- or post-DSP channel insert can also be used as the input source for a plug-in.
  • Page 154 Using an Aux Send with a Plug-in • Click the associated INPUT menu button and Normally, effect sends are post-fader, so the select an Aux input source. In the example below, signal sent to the effect follows the program level we have chosen the Aux 5 Bus.
  • Page 155 • Switch the D8B Bank Select to EFFECTS (49-72) and bring up faders one and two (channels 49 and 50). You will also see meter activity associated with these channels. FX Channels 1&2 (channels 49&50) Stereo Plug-in The Plug button toggles between Windows menu buttons and FX...
  • Page 156 Feature Surface Keyboard Mouse (click or pull down) New Session [New] Ctrl+N File > New Session Open Session [Load] Ctrl+O File > File Manager Save Session [Save Session] Ctrl+S File > Save Session Save Session As [Save Session As] File > Save Session As Save As Template File >...
  • Page 157 Example: Select channels 1–5 and type the letter [M] and these channels will mute. To unmute these same selected channels, type either a comma [ , ] or hold down the shift key and type the letter [M]. Feature Surface Keyboard Mouse (click or pull down) Channel List...
  • Page 158 Feature Surface Keyboard Mouse (click or pull down) Channel strip name Click on name field, enter [text], [tab] (right) or [shift] [tab] (left) Equal aux/trim levels (see clipboard ops) (See clipboard ops) Click bar, right mouse button, swipe either direction Bus assigns [Bus #], swipe [Assign]s Click bus, any mouse button, swipe either direction...
  • Page 159 Product: Mackie Digital 8•Bus Date: 3/01 MIDI Implementation Chart Version: 3.0 Function Transmitted Recognized Remarks Basic Channel Default 00, MIDI Off (note 1) 00, MIDI off (note 1) See 1) under notes Changed 00-0F 00-0F 2) per channel strip Mode...
  • Page 160 The following companies supply analog and digital multitrack cables for use with the HDR24/96 I/O cards: P.O. Box 1988, Cape Girardeau MO 63702-1988 Tel: (800) 255-9822; Fax: (800) 455-3460 http://www.horizonmusic.com AIO•8 Analog Interface Cables HDA8 Series DB25 to [specify connector] Connector options: 8 male XLR, 8 female XLR, or 8 1/4"...
  • Page 161 PO Box 2027, Culver City, CA 90231 Tel: (800) 800-6608; Fax: (310) 391-8926 http://www.mars-cam.com/cable.html AIO•8 Analog Interface Cables DC-DAXM Series DB25 to 8 male XLR’s DC-DAXF Series DB25 to 8 female XLR’s DC-DAS Series DB25 to 8 1/4" TRS Standard lengths: 3, 5, 10, 15, 20, and 25 feet DIO•8 TDIF Interface Cables...
  • Page 170 Art Company. The following are trademarks or registered trademarks of Mackie Designs Inc.: The Mackie Logo, Mackie Real Time OS, V-Pot, the “Running Man” figure, and the D8B “Badge” design. All other brand names men- tioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
  • Page 171 ™ ©2001 Mackie Designs Inc. All rights reserved. #820-256-00...

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