Page 1 OWNER OWNER’S MANUAL S MANUAL...
Page 2: Safety Instructions
2. Retain Instructions — The safety and operating instructions should be kept for future reference. 3. Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed. 4. Follow Instructions — All operating and other instructions should be followed.
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 ... 95 Appendices ... 141 Index ... 182 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 power provide the engineer/artist with nearly limitless creative freedom to produce top quality work. The D8B v5.1 upgrade offers a host of new features that can make your mixes sound better and speed your workflow.
Page 8 • Enhanced Surround Sound features: Surround Sound Setup window ° Surround Sound Monitor Level control in the ° Surround window Mute option for surround monitoring when in ° Stereo surround mode ° Surround mode now selectable from the Surround window °...
Page 9 Chapter 1...
Page 10 Guide reflects the newest and most progressive features and options available on the Mackie Digital 8•Bus. The D8B is designed to grow with the audio industry. Each software revision provides new features and capabilities, updating your console and ensuring that your investment remains current for many years to come.
Page 11 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. 3. Make sure the POWER switch on the Remote CPU is off. 4. Connect the detachable linecord to the Remote CPU.
Page 12 1. Plug a PC-compatible keyboard into the KEY- 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. 3. Plug an SVGA video monitor into the VIDEO port on the back of the Remote CPU.
Page 13 Remote CPU, then turn on the power to all your peripheral equipment. The Digital 8•Bus takes a few moments to load the Mackie Real Time OS (Operating System) and initialize the DSPs. When the Vacuum Fluorescent Display (VFD) in the onboard Fat Channel Section indicates EQ settings for channel 1, the console is ready to use.
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 becomes your most popular demonstration. Your friends will love it; your spouse will love it; your pet will be mildly amused.
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.. Connected to Mixer Power On Select L/R in ASSIGNMENT, then Trim Up Until Verify Assign on Channel Strip Channel Meter Reads Around –15 dBFS ASSIGN...
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 basic bus assignment procedure. Anything you want to come out the MASTER L–R bus must light up on the assign button of each desired channel.
Page 17 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. Channel 1–24 Mic/Line In Channels 1–24 Tracking Mixer Fader Bank 1 Figure 1-3 Setting Up to Track The graphic below highlights the simplicity of the D8B tracking procedure.
Page 18 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. Multitrack From Tape to Channel Outboard Effects, MIDI Gear, Live Room Mics, etc. Tape or Bus Outs Channels 1–24 Tracking Mixer...
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 PRE-DSP KEY INPUT INSERT POST-DSP INSERT 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: Specifications
Specifications Meters: • LED ladders displaying 24 channels, 24 LEDs per channel from –50 to 0 dBFS (0 dBFS = +20 dBu) Frequency Response: • 20 Hz – 20 kHz ±0.5 dB Crosstalk (@ 1kHz) • Adjacent channels: –90 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 from the Mackie website at www.mackie.com. Find the D8B section and select “Downloads.” Always read the Release notes that accompany the software downloads. They contain valuable infor- mation specific to the current software revisions and install procedures.
Page 26 11. Place the 2nd floppy disk in the drive when prompted by the installation software. 12. Remove the 2nd floppy disk when prompted and place the 3rd floppy disk in the drive. 13. Remove the 3rd floppy disk when prompted and power down the console power supply, then power back on.
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 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 TAL 2 in the CONTROL ROOM monitor section. • Same source output as MASTER L-R. • Room for four separate effects cards. • MFX – Mackie Effects card with two stereo 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 sending signals to control room speakers. • Both outputs carry the same signal (as selected in the Control Room section). • Levels can be adjusted independently or linked together. • Post-DSP, Master L/R fader, and D/A converter. •...
Page 31 These connections are specifically pertinent to non-audio functions (or, in plain English, these aren’t audio connections!). The Digital 8•Bus is designed to work as a stand- alone console. However, you’ll increase your options and productivity by using a mouse, key- board, and SVGA monitor.
Page 32 • Accepts an RJ45 telco connector. • Connects to PC/Mac for FTP file transfer through a network or peer-to-peer. • Can be used to make peer-to-peer connections with other Digital 8•Bus consoles. • Use CAT5 for standard network FTP connections; use crossover CAT5 for peer-to-peer connections.
Page 33 Link options page in the VFD. • Pressing Solo on any channel lets you hear only the soloed channel. • Mackie’s exclusive Rude Solo Light flashes in- cessantly whenever any channel is soloed. • There are three different types of soloing available: PFL, AFL, and Mixdown.
Page 34 The Master Section—everything to the right of channel strip 24—is divided into 13 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 1-24 25-48 49-72 • Fader Bank 3. • Selects channels 49–72. • Effects bank controls sixteen internal effects returns and eight ALT I/O returns. • Fader Bank 4. • Selects channels 73–96. • Faders 1–8 control the virtual group levels. •...
Page 36 • Assigns all applicable channel V-Pots to act as pan controls (channels 1–72 and 81–88). • Stays lit continuously until an Aux Select, Level to Tape, or Digital Trim button is engaged. • Solos the currently selected Aux. • Only one Aux can be soloed at a time. •...
Page 37 FX 1 FX 2 FX 3 FX 4 FX 5 FX 6 Eight mono aux sends, each returning a stereo effect • Pressing the DIGITAL TRIM button assigns the channel V-Pots to become digital trim (digital input level) controls. • Functionally located immediately after the A/D converter in the signal path for channels 1–48.
Page 38 • Just to the right of the L-R Meters. • Numeric readout indicates the selected channel —the currently editable channel in the VFD. CHANNEL LEFT RIGHT The onboard Fat Channel provides access to all those really cool dynamics and EQ functions. It also provides for configuring Setup parameters, loading, and saving patch information.
Page 39 Toggles the selected Fat Channel DSP control parameters on and off in bypass fashion. When EQ is selected in the Fat channel, the Setup button lets you select the type of equalization and activate the “EQ to Dynamics” mode. • Each channel has two memory locations for EQ, compressor, gate, plug-ins, and surround parameter comparisons.
Page 40 Routes sound arriving at the in-panel Talkback mic to the Studio outputs. Note: Make sure the speakers that are connected to the Studio Outs are located in another room to avoid feedback when the TALKBACK TO STUDIO button is depressed. Disengages all engaged solo buttons throughout the entire console.
Page 41 Selects the AES/EBU digital input as the Control Room source (when AES/EBU is the Stereo I/O Digital In selection in the Digital I/O Setup window). Selects the S/PDIF digital input as the Control Room source (when S/PDIF is the Stereo I/O Digital In selection in the Digital I/O Setup window).
Page 42 Beware the dreaded feedback loop. Ouch! Even if you’ve never worked with an automation system, you’ll find the controls in the Mackie Real Time OS intuitive and powerful. Spend a little time grasping the concepts, then start mixing.
Page 43 • This button must be turned off before any auto- mation can be recorded or played back. • Toggling Bypass doesn’t affect the automation filter LEDs (Faders, Mutes, Pan, All). How- ever, when Bypass is on no automation data will be recorded. •...
Page 44 Buttons in this section are used for file mainte- nance and for setting up system functions such as Virtual Groups, Digital I/O, meter assignment, and MIDI parameters. • Saves the currently active session to the internal hard drive or floppy drive. We recommend us- ing the floppy only for backup.
Page 45 This section provides control for external recorder transports, time display, snapshots, locates, and loops. • Shows the numeric representation of SMPTE or MIDI Time Code (Hours: Minutes: Sec- onds: Frames) or a musically referenced display (Bars: Beats: Ticks). • When the console is receiving time code, this display continually updates according to the time code position.
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 D8B Manual • Chapter 3 • page 41...
Page 48 The Digital 8•Bus provides exceptional power from the control surface alone. However, when combined with an on-screen Graphic User Interface (GUI) the console offers yet another facet of audio bliss. Some features are only available on- screen and are much easier to perform on-screen.
Page 49 • Click the on-screen SOLO button to hear one channel alone. • Hold the Shift key to solo more channels or select Solo Latch mode in the Options menu. • With the Shift key held, click and drag across multiple SOLO buttons to select them all. SHIFT = Multiple Solos This feature is useful when you want a track,...
Page 50 • Selects channel for cut, copy, and paste actions. • Press shift, then click or drag across multiple SELECT buttons to choose more than one. • Right-clicking the mouse highlights multiple channel SELECT buttons in the same way as Shift-click. •...
Page 51 • The blue bars with the pointers, located after Aux levels 9 and 11, are pan controls for Auxes 9/10 and 11/12. • Click and drag left to pan left; click and drag right to pan right. • Center pan position puts the pointer in the middle of the pan bar (the default setting).
Page 52 • The digital trim is a gain stage that allows you to adjust the input level to the channel before the channel DSP. This can be useful for tracks that were recorded at a very low level. • The blue bar above the Compressor, Gate, EQ, and Phase buttons graphically indicates the digital trim level.
Page 53 The Feedback Loop • Any channel can be sent to any number of tape outputs by simply selecting multiple tape outputs: however, only the last selected output is displayed in the OUT window. • No two channels can be assigned to the same tape output.
Page 54 • Functional as a master Aux level control when any of the Auxes are selected in the Master Strip. • When the PAN icon is highlighted, the Master V-Pot functions as a front/rear pan position control for any selected channel in all Surround Modes (not stereo).
Page 55 Signal Path Flexibility The D8B v5.1 software provides extremely 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 • To reset the channel to its original layout configuration, simply select the original channel number. Notice the Mackie OS places the original number to the right of the main list for your convenience. Notice, the channels below have been moved...
Page 57 There’s amazing power and flexibility in the Menus and Screens built into the Mackie OS. This guide will serve as an excellent Quick Reference for each menu and screen. Contains: • New Session... (Ctrl+N) • Open Session... (Ctrl+O) • Close Window (ESC) •...
Page 58 Many other functions carry over from session to session when opening a new session (e.g., sample rate). If you require a more finely tuned template, try these approaches: 1) Import a snapshot of your favorite settings (you must save one to the snapshot library first). 2) Do a “Save As...”...
Page 59 Selects everything that’s selectable in the open window. 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 Let’s take a quick look at each menu item. • Reverses an action. If you’ve made a bad automation pass, cut something you didn’t really want cut, pasted somewhere you didn’t want to paste, etc., simply select Undo and the D8B reverts to its previous status.
Page 61 • Choose the type of parameter in the top pull-down button. Set the action to Trim, Set, Min, or Max. • Trim adds or subtracts the selected value from all selected channels for the selected parameter. When Trim Fader is selected, the units are calibrated in dB for highly accurate fader adjustments.
Page 62 • Channel List (Ctrl+B) • Open Channel… • Save Channel As… • Group (Ctrl+G) • Ungroup • Channel Link… (Ctrl+L) • Unlink (Ctrl+U) • Faders to Unity (Ctrl+]) • Faders to Off (Ctrl+[) • Adjust Channel Delay… • Reset Channel Delay… •...
Page 63 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. From the control surface (or the keyboard) press the CONTROL button (or Ctrl key) and the channel SELECT button simultaneously to enter or exit...
Page 64 • Provides a very convenient way to group faders for control by a group master fader in the MASTERS fader bank. • Simply select all the desired channels for a specific group by Shift+Selecting throughout the Bank or Banks you choose, then use the pull- down menu to assign them all to a group.
Page 65 • Click the Link button to link the channels you have selected or click Cancel to cancel the linking process. • To link a pair of channels horizontally from the control surface, press and hold the SELECT buttons of the two adjacent channels you wish to link.
Page 66 • This resets the time-altered channels to a status of no offset. • Resets the selected channels to their default settings (L/R assign, Level to Tape and Digital Trim to 0 dB, EQ on and flat, Auxes off, Pan centered, Fader off, Gate and Compressor off and at default settings).
Page 67 • With this command selected (Bypass button lit in the Automation section), automation data is neither recorded or played back • With this command deselected (no light), all write-selected parameter adjustments are written into automation data and referenced to time code. •...
Page 68 • This option turns on the HUI layer, giving the D8B control over DAW software applications that support the Mackie HUI (Human User Interface). • When HUI Mode is turned on, a HUI button appears next to the MASTERS button on-screen, just above the master fader.
Page 69 • This command opens the Plugin Configuration window. It is here that plug-ins are selected, input sources are chosen to feed plug-ins, stereo or mono modes are selected, and plug-in output destinations are selected. • There are sixteen plug-in slots—four dedicated to each FX card.
Page 70 • To deactivate a plug-in, select “none” in the associated PLUGIN column pull-down assignment menu. Click “OK” in the Alert dialog box. Warning: Deactivating a plug-in erases all automation data for the plug-in. 1. Open the Plugin Configuration window. 2. Select MFX 3.0 in the PLUGIN menu. When a plug-in card slot contains an MFX card, a single box covers the four plug-in slots allocated to that card.
Page 71 Contains: • About • Help (Alt+H) • Hot Keys • Close All (Ctrl+\) • Desktop (Ctrl+D) • Setup (Ctrl+1) • Snapshot (Ctrl+2) • Surround (Ctrl+3) • Locator (Ctrl+4) • Mix Editor (Ctrl+5) • FatChannel (Ctrl+6) • Panning (Ctrl+7) • Faders (Ctrl+8) •...
Page 72 The more of these key commands you learn, the faster and more efficient you’ll be at recording. Some adjustments are necessary on the control surface or with the mouse, but many control settings flow very quickly from the keyboard. Once you begin to incorporate these into your routine you’ll quickly realize the power and creative freedom they offer.
Page 73 Link Option controller actions. There are eight Network Channels that are not unlike TV channels via Ethernet, where the console has a unique Device Name (like 'Jolene' or 'Spike') and after setting the Device Name and assigning one of the eight Network Channels, the console may then join the party.
Page 74 3. To obtain the unlock code, have the ESN and plug- in serial number ready. Then you have two options: • Log on to the Mackie plug-in authorization web page: (http://www.mackie.com/products/d8b_v5/ plugin_reg.html), or •...
Page 75 • Select the desired Aux bus using the Aux Select pull-down list. • Set global pre/post status for the selected aux bus by clicking PRE or POST under Aux 1-12 Pre/Post Assign Macros. • Individual channel aux pre/post assignments are made by Alt-clicking on the aux send’s level bar in the overview screen.
Page 76 Solo Latch • When Solo Latch is checked, SOLO buttons remain engaged even when a new SOLO button is pressed. • When Solo Latch is not checked, new SOLO selections disengage previous SOLO selections. • If Solo Latch is not set (checkbox not selected), multiple solos may be manually latched by either: pressing and holding another solo switch while °...
Page 77 • Import a MIDI Tempo Map from a standard MIDI File to synchronize the D8B Bars/Beats/Ticks display with your MIDI sequencer MTC reference. • Sets the automatically-set MIDI tempo reference for position alignments during an automation pass or locator activities. •...
Page 78 It’s often convenient to eliminate a parameter or set of parameters from a snapshot change. If, for example, you’ve set all the basic EQs in the first snapshot, it might be efficient to filter EQ changes out of any new, or subsequently recalled, snapshots.
Page 79 The surround window offers precise control over image positioning in any mixing panorama along with individual subwoofer level and depth of center control. Surround position control is available from the control surface by using the individual Chan- nel pan for L/R positioning and the Master Pan V- Pot as the selected channel’s front/rear position control.
Page 80 • This numeric readout indicates the selected channel. • Click and drag in the display to select another channel for editing. There are seven surround modes available: • Stereo • Quad • LCRS • 5.1 • 6.1 • 7.1 (SDDS) (Sony Dynamic Digital Sound) •...
Page 81 • Notice the speakers are numbered 1, 3, 2, 5, 4, and 6. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center, speaker 4 is the Subwoofer, and speakers 5 and 6 are Rear L/R. • This control continuously varies the center image from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).
Page 82 • TP stands for Theme Park. This configuration provides a symmetrical distribution of speakers surrounding the listener. • Notice the speakers are numbered 1, 3, 2, 7, 8, 5, 4, and 6. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center, speaker 4 is the Subwoofer, speakers 5 and 6 are Rear L/R, and speakers 7 and 8 are Side L/R.
Page 83 • Though the result of a cut is like the result of “Reset,” settings that are cut are stored on the Clipboard and can be pasted into a selected channel. (Channel settings that are Reset are not stored on the Clipboard.) •...
Page 84 • See the Playback column in the Channel List (under Channel in the upper menu bar) for individual channel automation playback status. • Highlight this button to enable the recording of fader movements into automation. • Highlight this button to enable the recording of mute on/off selections into automation.
Page 85 The Mix Editor window contains a graphic representation of automation data. Though automation 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 adjusted here.
Page 86 foreground data curve is subject to all clipboard operations, while the back page curve remains untouched. To update either the foreground or background view, click on the drop-downs, drag across the type field or channel and release the mouse on the highlighted desired item. This button swaps the Page and Back param- eter views in the Mix editor.
Page 87 • Use this tool to select specific data lengths and to expand the data time to fill the overview screen. • Click and drag with the Magnify tool to zoom into a specific area. Double-click to double the magnification. • Hold the Control key while in magnify mode to toggle between zoom in and zoom out.
Page 88 • Click here to select the “Snap To Grid” parameter. Selections include Rule Mrks, Minutes, Seconds, and Frames for SMTPE time, and Bar, 1/2 Note, 1/2 Note Triplet, 1/4 Note, 1/4 Note Triplet, 1/8 Note, 1/8 Note Triplet, 1/16 Note, and 1/16 Note Triplet for Bars:Beats:Ticks.
Page 89 After Commit Until Next Node: ♦ Commit until End: With this option checked, automation is written from the time of the event until the end of the session. After Commit Until End: ♦ Do not overwrite existing automation: With this option checked, automation will not be written to parameters with existing automation.
Page 90 The Fat Channel overview is opened and closed by clicking on the “Fat Channel” button in the lower menu bar, or by pressing Ctrl+6 on the keyboard. The shortest way to open and close the Fat Channel is to double-click on a channel SELECT button.
Page 91 • There are three methods to modify parameters in the EQ. • Click and drag on the editing ball in the display window. Drag up and down to change the gain, left and right to change the frequency, and right-click (or Alt+click) and drag left and right to change the Q.
Page 92 When there is no signal applied, the Reduction meter indicates 0 dB of reduction, with the needle all the way to the right. As the signal level in- creases above the Threshold setting of the Com- pressor, the needle moves down, indicating the amount of compression being applied at any given moment in time, to a maximum of 20 dB of reduction.
Page 93 • Click the ACTIVE button to turn on the compressor for the selected channel. • Click the MENU button to Open, Save, Reset, Undo, Cut, Copy, and Paste a Compressor patch. • Each MEMory stores the most recent MEM A or MEM B EQ settings made for the selected channel.
Page 94 • Determines the change in output level as a function of the change in input level, once the signal level drops below the threshold. This is sometimes called downward expansion. The ratio control ranges from 1:1.0 to 1:inf. Thus, if the ratio is 1:2, a decrease in input level of 10 dB results in a 20 dB decrease in output level (assuming the input is below the threshold level).
Page 95 • Use the on-screen knob to adjust the channel digital trim. • Press Control while clicking the knob to set the Digital Trim to unity gain. • Highlight this button to put the selected channel into automation Write Ready mode. •...
Page 96 • Highlight the desired speaker number icon to send a specific channel to any or all speakers. • Speakers are always numbered according to function: Front L/R are speakers 1 and 2; Front Center is speaker 3; Rear L/R are speakers 5 and 6; L/R Center are speakers 7 and 8;...
Page 97 All events appear in the Mix Editor window as event markers in the time bar. Events can be edited from either window. Any text entered in the descrip- tion column in the Event Automation Track also appears in the event marker tab in the Mix Editor. Click this button to choose from the Event Automation Track Edit Menu.
Page 98 Visually, when a session using Events is loaded, the OS performs a match against the dependent files, and displays any detected changes by adding an asterisk to the ‘Action:’ column to any or all Event lines. Event lines must be highlighted first before performing a sync operation.
Page 99 Automation…, Delete Global Time, Insert Global Time, Delete Events, and Modify Levels… commands are logged as single list items. Each of these actions is available for Undo, as long as they remain on the History List. • Using this list, it is possible to regress to any point in the mix.
Page 100 Creating a Route A Route is created by opening the MIDI Map from the Windows menu, then selecting “New MIDI Route” from the MIDI Map Edit menu or simply clicking the NEW button at the bottom of the MIDI Map screen. A Route is made up of the following attributes: •...
Page 101 Chapter 4...
Page 102 In a recording applica- tion, be sure the Digital 8•Bus is connected to excellent reference monitors, like the Mackie HR824’s. In addition, set up the system in an acoustically controlled and balanced environment.
Page 103 • It’s a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc. ❏ • Be sure all channel faders are down. • Turn Master Fader down. • Turn Speaker level down. ❏...
Page 104 Setup Window settings are automatically stored and are recalled in subsequent boot ups. ❏ General • Mouse Speed • Display Intensity • Refresh Rate • Studio Name • Date and Time • Smart Save selection • Screen Saver • Load Last Session at Power-up •...
Page 105 The UFX architecture provides access to the newest and coolest third-party plug-ins, as well as an array of groovy new Mackie plug-ins. The D8B effects card slots accommodate any combination of UFX and MFX cards.
Page 106 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 107 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. 2. Holding the I/O card so that the components on the green circuit board face to the left (see diagram), line up the card so the top and bottom edges fit into the white guide slots.
Page 108 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. ❏...
Page 109 ❏ ❏ ❏ ❏ 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 110 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 111 ❏ Connect multitrack ins and outs to D8B. ❏ Follow basic power-up procedure. ❏ Select Mic/Line fader bank. ❏ Press phantom power button on the rear of the console as necessary for mic inputs. ❏ Press Mic button on channels using microphone inputs.
Page 112 ❏ ❏ 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 ❏...
Page 113 ❏ ❏ ❏ 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.
Page 114 This diagram shows a typical hookup for tracking. Four microphones are connected to channels 1–4 for vocals. Two of them are condenser mics, which require phantom power, so the +48V PH switch is pushed in on those channels. A vocal enhancer is connected to the channel 1 INSERT jack to add a special effect to the lead vocal.
Page 116 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. Digital clipping could occur if a signal going into the D8B is too hot.
Page 117 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 118 Before we look at more setup examples, lets cover some quick tips on efficient use of the Digital 8•Bus plug- ins. Follow these easy steps to use the Digital 8•Bus internal plug-ins. Note: These steps assume that the default input and output selections are made for the plug-ins (Input = corresponding Aux Send;...
Page 119 Note: Alternately, you can click and drag on the horizontal bar in the auxes section at the top of the channel strip to adjust the aux send level. 7. Click and drag on the Master V-Pot to adjust the overall aux send level to the selected effect. You can click on the SOLO button in the Master V-Pot Section to monitor the aux send signal.
Page 120 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 121 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 122 Once you’ve developed several snapshots for a mix, they can be recorded into a sequencer for consistent playback. This feature is set in the Mix Options window, under Setup in the lower menu bar. When enabled: 1) Incoming MIDI program changes (received on any MIDI channel) can recall Snapshots numbered 0–127 on the console.
Page 123 Every digital system needs a master sync source. The D8B 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: • Determine which piece of gear is the master. The master must be able to generate proper word clock that can be read by all other digital equipment.
Page 124 • When the D8B is set to “Internal” in the Apogee Clock pop-up window, it generates word clock as a master device. All other devices must be connected as slaves. • If the D8B is slaved properly to a master word clock source, “Locked.”...
Page 125 Digital audio’s weakness is its ability to accurately reproduce extremely low-level signals. As the amplitude decreases, there are fewer and fewer bits available to accurately represent the audio wave. In an analog system the audio simply sinks into the noise floor. Even when covered by noise, the waveform is still audibly intact.
Page 126 This section shows how the D8B is connected to the Mackie HDR24/96. These examples assume that the rest of your studio equipment (monitors, sound sources, outboard processing, etc.) is already connected. Before you begin, note how the three eight- channel I/O cards are arranged on the HDR24/96 rear panel: 1-8 is on the left, 9-16 is in the center, and 17-24 is on the right.
Page 127 (3) DIO•8 cards for HDR24/96 (3) DIO•8 cards for D8B (1) Clock I/O card for D8B (3) TDIF cables (1) 75 Ω BNC word clock cable 1. Connect the three TDIF cables between the corresponding TDIF jacks on the HDR24/96 and D8B. 2.
Page 128 1. Set the Tape Input and Tape Output format for each DIO•8 card to TDIF. 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 129 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 130 (3) PDI•8 cards for HDR24/96 (3) PDI•8 cards for D8B (1) Clock I/O card for D8B (3) DB25 to DB25 AES/EBU snakes (1) 75Ω BNC word clock cable 1. Connect the three AES/EBU cables between the corresponding AES/EBU connectors on the HDR24/96 and D8B. 2.
Page 131 OK, so we fibbed a little. You can use PDI•8 cards in the D8B without a Clock I/O card installed, but doing so requires that you enable sample rate conversion on both the D8B and the HDR24/96 in lieu of word clock synchronization. Sample rate conversion results in a 4-bit loss in sample resolution that may degrade the quality of the sound slightly.
Page 132 The inclusion of a BRC controller or, for that matter, any other sync controller box with word clock and MTC, vastly increases the capabilities of the Digital 8•Bus. With centralized controls, common sync reference, and MIDI Time Code communication established, the digital system works together as one unit.
Page 133 MIDI IN MIDI OUT TAPE 1 DATA CABLE (to Console) 48 KHz IN with 50Ω termination REMOTE OUT TO ADAT ADAT XT MASTER DECK (TRACKS 1-8) ADAT XT SLAVE DECK (TRACKS 9-16) ADAT XT SLAVE DECK (TRACKS 17-24) TAPE 9 TAPE 17 BUS OUT 1-8 &...
Page 134 1. Connect a fiber optic (lightpipe) cable between the ADAT’s DIGITAL IN and the DIO•8 card’s ADAT OPTICAL OUT. Likewise, connect the DIO•8 cards’ OPTICAL IN to the ADAT’s DIGITAL OUT. 2. Connect the 9-pin D-sub sync cables between the Sync Box (SYNC OUT) and the first ADAT’s SYNC IN connector.
Page 135 SYNC BOX MIDI IN (Examples: JLCooper dataSYNC or Steinberg ACI) MIDI OUT TAPE 1 DATA CABLE (to Console) SYNC SYNC ADAT XT MASTER DECK (TRACKS 1-8) ADAT XT SLAVE DECK (TRACKS 9-16) ADAT XT SLAVE DECK (TRACKS 17-24) TAPE 9 TAPE 17 BUS OUT 1-8 &...
Page 136 1. Connect the digital cables between the TASCAM tape decks and the DIO•8 cards in the Digital 8•Bus. Note: You must use the special dubbing cables provided by TASCAM, part number PW-88D (1 meter) or PW-88DL (5 meters). These cables are reverse wired. Do not use a standard DB25 computer cable, which is wired straight through pin-to-pin.
Page 137 MIDI IN MIDI OUT 1. You must turn on the Digital 8•Bus first, then turn on the TASCAM recorders. 2. Make sure the MODE DIP switches on the SY-88 have the 2nd DIP switch in the up position and all the rest of the switches down.
Page 138 Connecting the Digital 8•Bus to a Digital Audio Workstation (Digital Performer, Studio Vision Pro, Cakewalk Pro, etc.) shares considerations with the ADAT and TASCAM hookups. Word clock synchro- nization must be addressed; the master and slaves must be established; the clock rate must be consis- tent throughout;...
Page 139 MIDI IN MIDI OUT TAPE 1 DATA CABLE (to Console) REMOTE CPU Software-based Digital Audio Workstation DAW Digital Interface DIGITAL 8•BUS TAPE 9 TAPE 17 BUS OUT 1-8 & SURROUND OUT MASTER OUT 2 TRACK IN A PHONES 1 MAIN 2 TRACK IN B NEAR FIELD 2 TRACK IN C...
Page 140 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 142 The Digital 8•Bus is an amazing tool, no matter what the setup. However, the more com- plex the setup, the more amazing the D8B be- comes. Post-production provides potential for any tracks, effects, snapshots, automation moves, and general madness mayhem. Most post-production facilities use house sync to lock all video equipment together.
Page 143 Automation is somewhat intimidating at first. 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 have a definite advantage.
Page 144 As you build the mix, save snapshots as soon as the music begins to reveal itself. Label the snapshots for your own reference. Sometimes these basic mixes, which are derived from your initial “gut” reaction to the music, are the most powerful. Basic dynamic automation does not require these snapshot saves, but they’re often useful as the mix comes together, even if only as a cross-...
Page 145 • As soon as the fader moves, the WRITE button illuminates, indicating automation data is being recorded. • Stop playback or press the WRITE button on the active channels to exit automation record mode. Rewind playback/Record device to the beginning of the automation pass.
Page 146 • 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. Even though TRIM LEVELS is selected and the faders all move to unity position, the fader automation data is still retained, and is indicated in the meter bars next to the faders (unless Show Meters In Trim Mode is selected under Options/...
Page 148: Need Help
Doing so might save you from deprivation of your console and the associated suffering. Of all Mackie products returned for service (which is hardly any at all), roughly 50% are coded “CND” — Could Not Duplicate, which usually means the problem lay somewhere else in the system.
Page 149 As you become familiar with the Digital 8•Bus, you’ll find it helpful to keep these three questions in mind at all times: 1. What Fader Bank is selected? 2. What channel is selected? 3. What is the V-Pot assignment? In 90% of the cases, if something isn’t working as you expect it should, it’s because one of these three settings isn’t where you intend it to be.
Page 150 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 151 the output of the harmony effects block. Each effects block then returns its processed signal to an individual stereo return. Quad: Selects mono in/quad out. Input from one auxiliary send is routed to the harmony processor. Four harmony voices are given discrete outputs to two stereo returns.
Page 152 Pitch Bender: Use the bender to manually raise or lower the pitch of the shifted voices. This works just like a spring-loaded keyboard pitch bender. Pitch Bend Range: The range parameter lets you set the maximum amount of pitch bend that can be applied to the vocal.
Page 153 Using these sliders, you can adjust the gender of each of the four harmony voices. So, what is this gender thing? gender (jen’der) m. 1. The condition or quality of being of the male or female sex. In IVL Vocal Studio, “Gender” will give your harmony voices distinct character.
Page 154 In “Styles,” you can create that extra amount of personality and realism for your harmony voices. Each style is controlled by a spin dial. Spin the dial up or down to change the parameter; all of the Style parameters are adjusted globally for each harmony voice.
Page 155 Because you can choose exactly which harmony notes you want, Manual mode is excellent for creating unusual harmony treatments. Where the SmartKey and SmartChord control modes follow the ascending and descending direction of your voice, Manual mode allows you to play a descending harmony line over an ascending melody line, for example.
Page 156 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 on the piano. Select the scale using the spin dial above the piano keys. SmartKey harmony usually requires you to enter the one key that works for a whole song.
Page 157 Pitch Bend Range sets a maximum amount the pitch can be corrected using the Pitch Bender. The pitch bend range is set by grabbing the red circle (located in the Pitch Bend Range window) with your mouse. When the range is set to maximum, the pitch can be corrected by ±12 semitones (1 octave) with the Pitch Bender.
Page 158 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 159 1. Select none from the associated plug-in drop- down assignment menu. 2. Click OK in the Alert dialog box. Warning: Deactivating a plug-in erases all automation data for the plug-in. Plug-in settings can be saved and recalled from the hard drive. You can save and load files to either Memory A or Memory B.
Page 160 4. Click INTERNAL if the file is on the internal drive, or click FLOPPY if the file is on a floppy disk. 5. Select the preset you want to load. 6. Click Open to load the selected preset. Click in the Preset Display to load from the pull-down menu or scroll through presets using the Up/Down...
Page 161 Input Source Assignment Card Slot Column Column Stereo/Mono Mode Column Plug-in display toggle Card A Card B Card C Card D 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. When a channel insert point is selected, the plug-in output returns to the channel by default.
Page 162 Using an Aux Send with a Plug-in • Click the associated INPUT SOURCE button and select an Aux input source. In the example below, we have chosen the Aux 4 Bus. Send the Input Signal to the Aux Bus 1. Send a signal to a D8B mixer input channel (MIC/LINE or TAPE IN).
Page 163 The FX Return Channel • 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) The Plug button toggles between Windows menu buttons and FX...
Page 164 Click the EQ button in the lower right corner of the Mackie Effects window to turn the EQ on and off. This provides a low-shelving filter with a corner frequency at 100 Hz, a mid-band fully parametric EQ, and a high-shelving filter with a corner frequency at 10 kHz.
Page 165 (patches) stored on the hard drive that can be readily selected. Click in the preset title box at the bottom of the Mackie Effects window to select from the list of Factory Presets in the dropdown box. You can also create and save your own effects (click the MENU button and select “Save User Preset As...”).
Page 166 Feature Surface New Session [New] Open Session [Load] Save Session [Save Session] Save Session As [Save Session As] Save As Template Toggle Desktop Shutdown Preferences [General] Undo [Undo] Redo Cut Channels [Cut] Copy Channels [Copy] Paste Channels [Paste] Delete Events Set Default Levels Modify Levels Insert Time...
Page 167 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 Channel List Open Channel Save Channel As...
Page 168 Feature Surface Channel strip name Equal aux/trim levels (see clipboard ops) Bus assigns [Bus #], swipe [Assign]s DSP function On/off toggles (Phase, EQ, Gate, Compressor) Bypass Automation Bypass Automation Motor Faders off Motor Faders off button Toggle checkbox / edit field Mix Editor Shortcuts Highlight from Selection Scroll Mix Editor...
Page 169 Product: Mackie Digital 8•Bus MIDI Implementation Chart Function Transmitted Basic Channel Default 00, MIDI Off (note 1) Changed Mode Default Messages Altered Note True voice Number Velocity Note ON Mute on = 40 Note OFF Mute off = 01 Aftertouch...
Page 170 Mackie introduced HUI (Human User Inter- face) in 1997, one of the industry’s first affordable motorized touch-sensitive fader controllers available for Digital Audio Workstations (DAWs). One of the big drawbacks of any DAW is having to use a mouse and keyboard to perform things you used to do on an analog mixer.
Page 171 Add/Remove tab and choose Mackie HUI. Click the Add button and then click the Setup tab. Now choose Mackie HUI from the Devices list. Select the MIDI channel you have connected to the D8B for both the Input and Output. Click OK.
Page 172 These are indicated on-screen by clicking the question mark button in the upper right corner. The left side of the screen provides a map of the control section of the D8B, with numerical references over many of the buttons and a list of the HUI functions provided by each button.
Page 173 ling the first five auxes in your DAW. It also controls the functionality of the VSel button in conjunction with the Aux Mute button (1) (this switches between Pre/Post or Mute/Unmute for the Aux sends). It also has the Bank Left and Right buttons to shift your view eight faders at a time and the Channel Left and Right buttons to shift your view one fader at a time.
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Page 186 Appendix G Compatible Cables Analog and Digital Multitrack Cables The following companies supply analog and digital multitrack cables for use with the HDR24/96 I/O cards: Horizon Music, Inc. 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...
Page 187 Marshall Electronics PO Box 2027, Culver City, CA 90231 Tel: (800) 800-6608; Fax: (310) 391-8926 http://www.mars-cam.com 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...
Page 197 Art Company. The following are trademarks or registered trademarks of Mackie Designs Inc.: The Mackie Logo, Mackie Real Time OS, V-Pot, HUI, 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.

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