Mackie 16-8 BUS Owner'S Manual Download | Manualshive

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8•BUS OWNER'S MANUAL

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MUTE

16x8x2 8-BUS MIXING CONSOLE

1

MUTE

CHANNEL

15

CHANNEL

16

CHANNEL

13

CHANNEL

14

CHANNEL

11

CHANNEL

12

CHANNEL

9

CHANNEL

10

CHANNEL

7

CHANNEL

8

CHANNEL

5

CHANNEL

6

CHANNEL

3

CHANNEL

4

CHANNEL

1

CHANNEL

2

PHANTOM

POWER

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

LINE

IN

DIRECT

OUT

INSERT

BAL-

UNBAL

TIP = OUT

RING = IN

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

MIC/LINE

CHANNEL

9

CHANNEL

10

CHANNEL

11

CHANNEL

12

CHANNEL

13

CHANNEL

14

CHANNEL

15

CHANNEL

16

CHANNEL

2

CHANNEL

3

CHANNEL

4

CHANNEL

5

CHANNEL

6

CHANNEL

7

CHANNEL

8

CHANNEL

1

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

TAPE

MIC/LINE

+4

–10

48dB

40dB

U

LINE

SE

N

S

IT

IV

IT

Y

MIC

/LIN

E

G

A

IN

FLIP

GAIN

TRIM

FLIP

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

TRIM

FLIP

TRIM

FLIP

FLIP

GAIN

FLIP

GAIN

TRIM

FLIP

GAIN

FLIP

GAIN

FLIP

GAIN

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

1

2

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

3

4

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

O

O

U

+15

O

O

U

+15

O

O

U

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

5

6

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

O

O

U

+15

O

O

AUX

7

8

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

10

11

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

AUX

12

13

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

9

14

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

AUX

PRE

1

2

4

3

5

6

MIX-B

CHANNEL

PRE

SHIFT

SOURCE

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

AUX

15

16

+15

AUX

4

+15

U

PRE

U

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

HI

MID

BAND

WIDTH

500

18k

3k

FREQ

–15

+15

U

1k

5k

3

2

12

NORMAL

OCTAVES

OCTAVES

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

OCTAVES

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

EQ

LOW CUT

EQ IN

LO

MID

HI

FREQ

75 Hz

18dB/oct

45

3k

–15

+15

80

U

LO

–15

+15

U

–15

+15

U

250

220

350

12k

80

12k

80

12k

80

12k

LO

12k

80

12k

80

12k

80

12k

80

350

3k

–15

FREQ

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

CHANNEL

CHANNEL

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

FLIP SW

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

FLIP SW

CHANNEL

FLIP SW

FLIP SW

CHANNEL

CHANNEL

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

MONITOR

L

R

PAN

SOLO

OL

L

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

FLIP SW

CHANNEL

+15

O

O

U

MIX-B

SOURCE

LEVEL

SPLIT EQ

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

FLIP SW

CHANNEL

HI/LO EQ

TO MON

O

HI/LO EQ

TO MON

-20

R

PAN

FLIP SW

CHANNEL

+15

O

O

U

MIX-B

SOURCE

PAN

LEVEL

SPLIT EQ

HI/LO EQ

TO MON

MONITOR

L

R

PAN

SOLO

-20

OL

L

R

O

O

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

5-6

3-4

1-2

7-8

L/R

MIX

O

O

MUTE

5

10

40

50

80

5-6

3-4

1-2

7-8

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

MUTE

5

10

40

50

80

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

U

U

U

U

U

U

U

U

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

U

U

U

U

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

dB

30

20

5

10

L/R

MIX

O

O

MUTE

5

10

40

50

80

U

U

5-6

3-4

1-2

7-8

5-6

3-4

1-2

7-8

O

O

U

U

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

1

2

3

4

U

U

U

U

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

dB

30

20

5

10

O

O

5

10

40

50

80

5

6

7

8

U

U

U

U

MIX

dB

30

20

5

10

O

O

5

10

40

50

80

U

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

TALKBACK

MIC

LEFT/RIGHT

MONO

L+R

R

L

R

L

R

L

R

MONO

L+R

MONO

L+R

MONO

L+R

MONO

L+R

ASSIGN

MONO

L+R

MONO

L+R

L

MONO

L+R

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

MIX

MIX

MIX

MIX

L

R

L

R

L

R

L

R

MAIN

OR SOLO LEVEL

1

9

17

2

10

18

3

11

19

4

12

20

5

13

21

6

14

22

7

15

23

8

16

24

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

+

7

4

2

0

2

10

7

10

20

30

40

–

10

7

4

2

0

2

10

7

10

20

30

40

–

22

+

MIX-B TO

L/R MIX

SOLO

AUX SEND 3/4

MIX-B

CNTRL RM

AUX SEND 5/6

EXTERNAL

SOURCE

MIX B

MONITOR

PHONES 1

PHONES

LEVEL

SOLO

AUX SEND 3/4

MIX-B

CNTRL RM

AUX SEND 5/6

EXTERNAL

SOURCE

PHONES 2

PHONES

LEVEL

ASSIGN

MIX-B

LEVEL

+15

O

O

U

O

O

O

O

MONO

TAPE SUB
MASTERS

AUX SEND 1

2-TK

MIX-B

L/R MIX

EXTERNAL

SOURCE

MONITOR

CNTRL RM

STUDIO

SOLO

TALKBACK

LEVEL

LEVEL

RUDE

SOLO LITE

AUX SEND 2

PHONES

&

STUDIO

+15

O

O

U

+15

O

O

U

+15

O

O

U

SOLO

SOLO

SOLO

SOLO

AUX SENDS

STEREO AUX RETURNS

4

3

5

6

PHONES

2

L/R MIX

PHONES

1

PHONES

2

L/R MIX

3

4

LEVEL

ASSIGN

ASSIGN

LEVEL

LEVEL

PHONES

1

6

+15

O

O

U

+15

O

O

U

+15

O

O

U

+15

O

O

U

+20

O

O

U

+20

O

O

U

5

+20

O

O

U

+20

O

O

U

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

LEVEL

L/R MIX

1-2

3-4

5-6

7-8

L/R MIX

SOLO

1-2

3-4

5-6

7-8

1

2

ASSIGN

ASSIGN

+20

O

O

U

+20

O

O

U

L

R

L

R

SOLO

LEVEL

BALANCE

SOLO

SOLO

2

1

+15

O

O

U

+15

O

O

U

LEVEL

POWER

EXTERNAL

INPUT

MIX-B

OUTPUT

AUX SEND

3

3

R

L

4

4

R

R

5

5

R

L

6

6

R

R

L

7

L

L

L

R

8

R

R

R

SUBMASTER INSERT

AUX RETURN

CNTRL

RM OUTPUT

STUDIO

OUTPUT

MAIN MIX

MAIN

INSERTS

3

4

5

6

PHONES

1

2

MONO

L

MONO

L

MONO

L

MONO

L

MONO

1

1

R

L

2

2

R

R

2-TRACK

INPUT

1

2

MONO

L

MONO

L

MONO

TIP=OUT RING=IN

PHANTOM

POWER

TRIM

GAIN

TRIM

TRIM

TRIM

TRIM

TRIM

TRIM

GAIN

GAIN

TRIM

TRIM

TRIM

TRIM

TRIM

O

O

1
2
3
...
»

Summary of Contents for 16-8 BUS

Page 1: ... oct 45 3k 15 15 U LO 15 15 U 15 15 U 250 220 350 EQ LOW CUT EQ IN LO MID HI FREQ 75 Hz 18dB oct 45 15 U LO 15 15 U 15 15 U 250 220 350 EQ LOW CUT EQ IN LO MID HI FREQ 75 Hz 18dB oct 45 3k 15 15 80 U 15 15 U 15 15 U 250 220 350 EQ LOW CUT EQ IN LO MID HI FREQ 75 Hz 18dB oct 45 3k 15 15 U LO 15 15 U 15 15 U 250 220 350 EQ LOW CUT EQ IN LO MID HI FREQ 75 Hz 18dB oct 45 3k 15 15 U LO 15 15 U 15 15 U ...

Page 2: ...OSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole éclair avec point de flèche à l intérieur d un triangle équilatéral est ...

Page 3: ...IC LINE switch should be down FLIP switch should be up If channel will be used with a tape input keep the FLIP switch down 2 Set channel strip controls as follows TRIM pot all the way counterclockwise 4dB AUX SEND controls all the way counter clockwise off EQ switch up LOW CUT switch either on or off on recommended for mic inputs Pan hard left or right Channel fader at UNITY SOLO switch down 3 Mak...

Page 4: ...ETUP 24 RECORDING OVERDUBBING 24 Using Buses 24 Monitoring 24 Cue Mix 24 Wet or Dry Monitor 25 Let s Record 28 Overdub Anyone 28 MIXING OVERVIEW 28 MIXING SETUP 29 Pick a Model 29 Consider Compression 29 DOING THE MIX 29 UsingExternalProcessing 29 Insert Devices 29 Send Return Devices 36 Using Subgroups 36 Finding More Inputs Mix B to L R Buses 36 Monitoring and Levels 37 About Automation 37 SECTI...

Page 5: ...e Woodinville RV Park anyway But this is a really great manual It s got Where It Is and What It Does and How To Use It covered totally with pictures and diagrams and absolutely no pop quizzes Do yourself a favor and at least check out Section 2 and the block diagram for starters The 8 Bus Series has a number of routing tricks that could be hard to suss out without a guide Then if that s all you ca...

Page 6: ... andalsobetweenoddandeven pairsofbuses1through8 The actual bus assignment of the PAN control depends on the positions of the five assignment switches located along the length of the fader With no switches depressed the PAN control has no effect well unless you solo the channel it still pans the solo PushingtheL RMIXswitch 4 assignsthePAN tothemainL RMixbuses PanningfromLtoR movesthesoundsmoothly w...

Page 7: ...ndqualityofindividualinputswhilesettingup recordingandmixing MorethanoneSOLOswitch maybepressedatthesametime allowingyouto listentotheblendofanycombinationofchannels throughouttheconsoleinstereo TRIM FLIP TAPE MIC LINE CHANNEL 16 GAIN 4 10dBV 50dB 10dB L I N E S E N S I T I V I T Y MIC GAIN 40dBV CHANNEL 16 MIC LINE LINE IN DIRECT OUT BAL UNBAL INSERT TIP OUT RING IN PHANTOM POWER OntheMackie8 Bus...

Page 8: ...ou is that you will always have plenty of gonadotropic gain avail able for the MIX B buses Full left on the LEVEL control is off the midpoint of travel is U or unity gain full right is 15dB of boost The MIC LINE switch 9 is located way up amongst the channel jacks It selects whether the MIC jack pin 2 hot pin 3 cold pin 1 shield or the LINE jack balanced 1 4 phone tip hot ring cold sleeve shield i...

Page 9: ...ealized that to limit this circuit to just Hi Mid typi cally above 2 5kHz would actually limit its usefulness The flexibility that true parametric control provides is nice to have in the octaves below the Hi Mid re gion as well So we came up with what is probably the first console Hi Mid control that can be swept all the way down to 500Hz If Hi Mid doesn t do it for you as a name think of these th...

Page 10: ...dB of equalization available It s a fine bass control and is switched with HI EQ into the MIX B circuit if the SPLIT button is depressed A low frequency shelving equalizer will add or remove bass in a smooth musical fashion Good for working on bass drum and bass guitar fattening up or thinning out a piano or contour ing an entire mix EQ IN OUT TheINswitch 22 bypassesthe EQ thoughnottheLOCUTfilter ...

Page 11: ...sualconfigurationforaneffects send sincetheleveloftheeffectshould followthe volumeadjustmentsmadebythechannelfader PRE 1 2 With the PRE switch 25 depressed AUX SENDS 1 2 receive their input from a point before the channel fader and MUTE switch and are not affected by changes in these con trols This is the normal switch setting for creating stage monitor and or studio cue head phone sends AUX 3 4 5...

Page 12: ...nd R MIX The odd numbered buses have an L MIX but ton above their faders 2 the even buses have an R MIX button 3 Pressing this button assigns the bus to the L or R Mix bus respectively This switch along with the MONO L R switch dis cussed below allows you to assign submix buses within your L R mix MONO L R The MONO L R switch 4 functions ONLY when you have first depressed the L MIX or R MIX If you...

Page 13: ...ttention to the SOLO MAIN meters discussedbelow MAIN OR SOLO LEVEL Meters The MAIN OR SOLO LEVEL meters display the L R Main Mix levels and are similar to the bus meters with these exceptions IfaSOLObuttonisdepressed themeters displaytheoutputofthesoloed signals ifnot themetersshowthe levelofthesignalselectedbythe MONITORSOURCEswitches In otherwords youarealwaysmeter ingwhatyou relisteningto IMPOR...

Page 14: ...busesviarespec tivebanksofbuttonsforeachreturn 13 Ifyou wantadditionaleffectsreturnspresetinthehead phonemixes thesearethereturnstouse Returns 5 6 AUXReturns5 6 14 eachhaveastereoSOLOswitch andastereoLEVELcontrol Re turns5 6arepermanently assignedtotheL R MIXbus Allreturnsareusefulinamix downsituation astheyareall assignabletotheL R mix MIX B MONITOR TheMIX B MONITORsec tion 15 isquite straightfor...

Page 15: ...ght channels together to allow you to check your mix in monaural This affects only the control room monitor speakers the studio monitor speakers and the L R meters although the meters are not monoed in solo mode SOLO The Solo section 19 contains the master level control for the stereo Solo mix Set at the center detent it will match the level of the soloed signals to the same signals unsoloed This ...

Page 16: ...s outputs and insert points are located on the jack panels on the top and the rear panels of the mixer An external patchbay is not required although it does make life easier Let s start by listing what is NOT on the FRONT jack panel The console outputs to the multitrack tape recorder the Submaster Tape outputs The console inputs from the multitrack tape recorder The balanced main L R XLR connector...

Page 17: ...areun balanced withthetiphigh andringandsleeve tiedtogetherasground Nominallevelis 4dBu AUX Returns TheAUXReturns 3 arestereo withaL Rin putforeachreturnchannel Inputsare1 4 unbalancedjacks nominallevel 4dBu Onespecialfeature TheLeftinputjacktoeach returnisalsolabeled MONO Ifyouhaveonlyone returnsignal pluggingitintothe MONO L jackonly willcauseittobeconnectedtoboththeleftand rightreturninputsande...

Page 18: ...evel Infact youshouldturnthe PHONESleveldownbeforeyouplugyourphonesin andthenbringtheleveluptowhereyouwantit Studio Output ThetwoStudioOutputjacks 9 carrythesignal fortheStudiospeakers Theyare1 4 unbalanced wiredtiphigh ringandsleeveground nominallevel 4dBu Thisiswhereyouconnecttheinputstoyour studiomonitoramplifier Alternatively theStudioOutputjackscanbe wiredtoasecondControlRoomamplifierandsetof...

Page 19: ...or 10dBV switch in in groups of 4 channels 3 If you aren t sure of your multitrack recorder s operating input level check the specifications section of the recorder s owner s manual REAR PANEL CONNECTIONS Theconnectionstoandfromyourmultitrackre corderareontheRearPanelofthe8 BusSeries Thereare16 24or32TapeReturnjacks depending onthemodel and24Submaster TapeOutjacks Tape Returns TheTapeReturnjacks 1...

Page 20: ... PORT Need 24 more channels without buying a completely new board Mackie has made provi sions for a 24 channel Expander Console the 24 E which can be plugged into the Ex pander Port 5 Basically it s 24 more channel strips with inputs that feed your existing 8 Bus console submasters Consult your Mackie dealer or the factory for more information DC POWER IN Thisiswherethefunnyplugthatlookslikea Supe...

Page 21: ...19 THIS PAGE LEFT BLANK INTENTIONALLY ...

Page 22: ...rcuit also has a point of overload a clip point where the voltage sim ply cannot rise any higher no matter what the input signal and your fader move would like This overload or clipping will show up as tooth grinding distortion Somewhere between the noise and the clip ping is an optimum level for your signal high enough above the noise floor to render the hiss inaudible and far enough below the di...

Page 23: ...ible distortion or buzz or just listen to see if a particular mic is open or not This function can also be handled by each channel s 20 OL LEDs See Section 2 20 and OL LEDs for more details When soloing more than one source you can listen to the blend of just part of your mix only the sopranos for ex ample or just the tom mics on the drums The solo circuits are designed not to inter rupt the recor...

Page 24: ...middle knob and can be set anywhere between 500Hz and 18kHz Finally the band width of the bell shaped response curve around the selected frequency also some what inaccurately referred to as a ratio known as Q can be selected with the lower knob The range is from as wide as 3 octaves to as narrow as 1 12 octave Leave it at the center LO MID Variable 1 Boost Cut LO MID Variable 2 Band Center 2 LO MI...

Page 25: ...trol As the label indicates the MIC LINE input after Mic Line preamp is fed to the channel fader when the FLIP switch is in the up position Figure 5 When FLIP is up the channel is fed MIC LINE and MIX B gets TAPE That way you can use MIX B to monitor the signal as it comes back from the recorder This is the normal mode for tracking and overdubbing In the down position the TAPE return the output si...

Page 26: ...he same input strips you might want to divide your label into multitrack track labeling and input labeling See TRACKING drawings 1 2 on pages 26 and 27 If you have any careful submixing to do during the recording you might want to lay strips of 1 4 white paper tape alongside each fader slot bus faders too if you need them Then you can mark your place as you rehearse your fader moves RECORDING AND ...

Page 27: ...ter the MIX B level control and make great wet monitor reverb sends Once you have your sends happening you can assign the return from your reverb into the head phone cues by using Stereo Returns 3 or 4 which can directly assign into the phones Even if you are using Send 6 there is no reason not to patch the output of the reverb into Returns 3 4 The Send and Return numbers do not have to match FOLL...

Page 28: ... RETURNS 1 8 15 13 11 9 7 5 3 1 16 14 12 10 6 4 2 8 17 18 19 20 21 22 23 24 TAPE RETURNS 9 16 TAPE RETURNS 17 24 OUT 4dBU IN 10dBV 4 10 BALANCED UNBALANCED 4 10 BALANCED UNBALANCED 4 10 BALANCED UNBALANCED OPERATING LEVEL CH 9 16 OUT 4dBU IN 10dBV OPERATING LEVEL CH 1 8 OUT 4dBU IN 10dBV SUBMASTER TAPE OUTPUTS 4dBU BALANCED 10dBV UNBALANCED 8 7 15 6 14 5 13 4 12 3 11 2 10 1 9 OUT 4dBU IN 10dBV 16 ...

Page 29: ...X GAIN 4 10 48dB 40dB U LINE S E N S I T I V I T Y MIC LI N E G A I N LO MID HI MID BAND WIDTH 500 18k 3k FREQ 15 15 U 15 15 U 1k 5k 3 2 1 12 NORMAL SOLO SOLO SOLO SOLO SOLO SOLO AUX SENDS STEREO AUX RETURNS 4 3 2 5 6 1 PHONES 2 L R MIX L R MIX 1 2 3 4 5 6 7 8 L R MIX SOLO 1 2 3 4 5 6 7 8 PHONES 1 PHONES 2 L R MIX 1 2 3 4 LEVEL ASSIGN ASSIGN ASSIGN ASSIGN LEVEL LEVEL PHONES 1 6 15 O O U 15 O O U 1...

Page 30: ...acks for the overdubs Now push the FLIP buttons on channels 1 16 This will bring the Tape Inputs into the main channel faders and you can begin working on your mix while you monitor on the L R Bus Headphones can still be fed via the AUX Send of your choice or by assigning monitor to the phones When you re done overdubbing your mix is ready MIXING OVERVIEW SeetheMIXDOWNdrawingsonpages32and33 Record...

Page 31: ...etrackstoyourmix Oneway tokeepahandleonthisistosettheL Rmaster faderafewdBaboveunity andtosetyourinitial monitorlevelsprettyhigh Asyougetcloserand closertoyourfinal youcaneasethemonitor levels downandeaseupthemasterfaderto unity whichis whereitshouldbe Ifyourmultitracktapemachinewilldoit putitin theloopmodesoitwilljustplaythesongoverand over Startmixingagroupoftracksthatrunthrough outthesong maybe...

Page 32: ...ERATING LEVEL CH 17 24 TAPE RETURNS 1 8 15 13 11 9 7 5 3 1 16 14 12 10 6 4 2 8 17 18 19 20 21 22 23 24 TAPE RETURNS 9 16 TAPE RETURNS 17 24 OUT 4dBU IN 10dBV 4 10 BALANCED UNBALANCED 4 10 BALANCED UNBALANCED 4 10 BALANCED UNBALANCED OPERATING LEVEL CH 9 16 OUT 4dBU IN 10dBV OPERATING LEVEL CH 1 8 OUT 4dBU IN 10dBV SUBMASTER TAPE OUTPUTS 4dBU BALANCED 10dBV UNBALANCED 8 7 15 6 14 5 13 4 12 3 11 2 1...

Page 33: ...5 O O U 15 O O U AUX GAIN 4 10 48dB 40dB U LINE S E N S I T I V I T Y MIC LI N E G A I N LO MID HI MID BAND WIDTH 500 18k 3k FREQ 15 15 U 15 15 U 1k 5k 3 2 1 12 NORMAL SOLO SOLO SOLO SOLO SOLO SOLO AUX SENDS STEREO AUX RETURNS 4 3 2 5 6 1 PHONES 2 L R MIX L R MIX 1 2 3 4 5 6 7 8 L R MIX SOLO 1 2 3 4 5 6 7 8 PHONES 1 PHONES 2 L R MIX 1 2 3 4 LEVEL ASSIGN ASSIGN ASSIGN ASSIGN LEVEL LEVEL PHONES 1 6 ...

Page 34: ...IN 10dBV 4 10 BALANCED UNBALANCED 4 10 BALANCED UNBALANCED OPERATING LEVEL CH 9 16 OUT 4dBU IN 10dBV SUBMASTER TAPE OUTPUTS 4dBU BALANCED 10dBV UNBALANCED 8 7 15 6 14 5 13 4 12 3 11 2 10 1 9 OUT 4dBU IN 10dBV 16 17 18 20 19 21 22 23 24 OPERATING LEVEL OUT 4dBU IN 10dBV OPERATING LEVEL LEFT RIGHT MAIN BAL OUTPUTS 28dBU MAX OUT In Out In Out In Out In Out In Out Mono Compressor Keyboard or other lin...

Page 35: ... 20 O O U 20 O O U SOLO SOLO SOLO SOLO SOLO SOLO SOLO LEVEL LEVEL LEVEL MIX B TO L R MIX SOLO AUX SEND 3 4 MIX B MONITOR AUX SEND 5 6 EXTERNAL MONO TAPE SUB MASTERS AUX SEND 1 SOURCE MIX B MONITOR PHONES 1 PHONES LEVEL SOLO AUX SEND 3 4 MIX B MONITOR AUX SEND 5 6 EXTERNAL SOURCE PHONES 2 PHONES LEVEL ASSIGN 2 TK MIX B L RMIX EXTERNAL SOURCE MONITOR SOLO TALKBACK LEVEL LEVEL MIX B LEVEL RUDE SOLO L...

Page 36: ...2 BAL UNBAL TIP OUT RING IN LINE IN DIRECT OUT INSERT CHANNEL 14 BAL UNBAL TIP OUT RING IN MIC LINE MIC LINE MIC LINE MIC LINE LINE IN DIRECT OUT INSERT CHANNEL 13 BAL UNBAL TIP OUT RING IN MIC LINE LEFT RIGHT MAIN BAL OUTPUTS 28dBU MAX OUT SUBMASTER TAPE OUTPUTS 4dBU BALANCED 10dBV UNBALANCED 8 7 15 6 14 5 13 4 12 3 11 2 10 1 9 OUT 4dBU IN 10dBV 16 17 18 20 19 21 22 23 24 OPERATING LEVEL OUT 4dBU...

Page 37: ...U 15 O O U 15 O O U 15 O O U AUX GAIN 4 10 48dB 40dB U LINE S E N S I T I V I T Y MIC LI N E G A I N LO MID HI MID BAND WIDTH 500 18k 3k FREQ 15 15 U 15 15 U 1k 5k 3 2 1 12 NORMAL SOLO SOLO SOLO SOLO SOLO SOLO AUX SENDS STEREO AUX RETURNS 4 3 2 5 6 1 PHONES 2 L R MIX L R MIX 1 2 3 4 5 6 7 8 L R MIX SOLO 1 2 3 4 5 6 7 8 PHONES 1 PHONES 2 L R MIX 1 2 3 4 LEVEL ASSIGN ASSIGN ASSIGN ASSIGN LEVEL LEVEL...

Page 38: ...up everything whether you are routing the vocals through a There are three common points for inserting processing devices in the signal path during mix ing In a pre EQ channel insert point for one channel only In a sub master bus insert point for a subgroup In the L R Mix insert point to affect the whole mix Send Return Devices Since you re not setting up custom phone cue ing while you re mixing y...

Page 39: ...our mix Much television and radio is still heard in mono and your mix has to sound its best both ways Take a hint from the film mixers and set your dialog or lead vocals to about 85dB c at the mix ing position This is a moderate normal volume not quiet but definitely not thundering If you have a sound pressure meter available you can take a measurement to get a feel for how loud 85dB is If you don...

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Page 41: ... a stage monitor mix but AUX Send 1 and 2 are balanced so they would be the best choice for several different stage monitor mixes Set the AUX Sends in each channel to PRE and patch the AUX Send outputs to the appropriate amplifiers If you need to provide a simultaneous mix for a stereo recording use the MIX B buses as described in MAKING A SIMULTANEOUS RECORDING SECTION 5 PA AND SOUND REINFORCEMEN...

Page 42: ... OUT INSERT CHANNEL 15 BAL UNBAL TIP OUT RING IN LINE IN DIRECT OUT INSERT PHANTOM CHANNEL 16 BAL UNBAL TIP OUT RING IN LINE IN DIRECT OUT INSERT CHANNEL 13 BAL UNBAL TIP OUT RING IN LINE IN DIRECT OUT INSERT CHANNEL 14 BAL UNBAL TIP OUT RING IN MIC LINE MIC LINE MIC LINE MIC LINE EXTRA INPUTS Returns 1 24 can be used as extra line level inputs when FLIP is in UP position and MIX B to L R MIX butt...

Page 43: ... 6 MIX B CHANNEL PRE SHIFT TAPE MIC LINE CHANNEL 15 SOURCE 15 O O U 15 O O U 15 O O U 15 O O U AUX GAIN 4 10 48dB 40dB U LINE S E N S I T I V I T Y MIC LI N E G A I N LO MID HI MID BAND WIDTH 500 18k 3k FREQ 15 15 U 15 15 U 1k 5k 3 2 1 12 NORMAL AUX PRE TRIM FLIP 1 2 4 3 5 6 MIX B CHANNEL PRE SHIFT TAPE MIC LINE CHANNEL 16 SOURCE 15 O O U 15 O O U 15 O O U 15 O O U AUX GAIN 4 10 48dB 40dB U LINE S...

Page 44: ...INSERT CHANNEL 12 BAL UNBAL TIP OUT RING IN MIC LINE MIC LINE MIC LINE MIC LINE LINE IN DIRECT OUT INSERT CHANNEL 14 BAL UNBAL TIP OUT RING IN MIC LINE LINE IN DIRECT OUT INSERT CHANNEL 13 BAL UNBAL TIP OUT RING IN MIC LINE SUBMASTER TAPE OUTPUTS 4dBU BALANCED 10dBV UNBALANCED 8 7 15 6 14 5 13 4 12 3 11 2 10 1 9 OUT 4dBU IN 10dBV 16 17 18 20 19 21 22 23 24 OPERATING LEVEL OUT 4dBU IN 10dBV OPERATI...

Page 45: ... LEVEL 15 15 80 U LO SPLIT EQ HI LO EQ TO MON MONITOR L R 15 15 U 250 220 350 PAN dB 30 20 5 10 SOLO 20 OL O O MUTE 11 5 10 40 50 80 U L R MUTE 15 O O U 12k MIX B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB oct SOURCE 45 3k PAN LEVEL 15 15 80 U LO SPLIT EQ HI LO EQ TO MON MONITOR L R 15 15 U 250 220 350 PAN dB 30 20 5 10 SOLO 20 OL O O MUTE 12 5 10 40 50 80 U L R MUTE FLIP SW CHANNEL FLIP SW CHANNEL AUX P...

Page 46: ...s eyes and goes Here s the tape Make it good and we might hire you next time Piece of cake Refer to the drawings on pages 42 and 43 MIX B to the rescue L R Mix is your house mix you will use the AUX buses for stage monitor mix and MIX B will provide a stereo recording feed Simply depress each of the MIX B SOURCE switches to CHANNEL patch the MIX B outputs into the recorder inputs and set up your r...

Page 47: ...ed to split your inputs but do not have splitter transformers you can make a spe cial harness of cables to split out of the Mackie channel insert This technique is not always as flexible or ground loop proof as splitter trans formers but is much less expensive See Figure 11 in Appendix A Connections FINDING MORE INPUTS You bought a 32 channel mixer and you still don t have enough inputs Well befor...

Page 48: ...nput back into mixer and sleeve to ground 1 4 TS PHONE PLUGS AND JACKS TS stands for Tip Sleeve the two connections avail able on a mono 1 4 phone jack or plug Figure 9 TS jacks and plugs are used in many different applications always unbalanced The tip is connected to the audio signal and the sleeve to ground Some examples Unbalancedmicrophones Electricguitarsandelectronicinstruments Unbalancedli...

Page 49: ...signal high connections at each end are wired together The unbalanced ground connection should be wired to the low and the ground connec tions of the balanced input If there are ground loop problems try connecting the unbalanced ground connection only to the input low connection and leaving the input ground connection disconnected In some cases you will have to make up spe cial adapters to interco...

Page 50: ...hich we just made up of Maximum Flexibility with Minimum Headache The returns will automatically be mono or stereo depending upon what you plug into the Return Jacks Here s how it works A mono return should be patched into the Re turn Jack labeled LEFT MONO The signal will be routed to both the left and right sides of the return circuit and will show up in the center in any stereo pair of buses yo...

Page 51: ...to place the console Consult your Mackie 8 Bus Dealer for details The Mackie Sidecar The Sidecar provides eleven rack spaces for patchbays the Mackie power supply etc At the back is a cable storage rack for organizing connection cords Automation Full fader and muting MIDI automation for Mackie 8 Bus Series mixers will be available in 1995 Although Mackie 8 Bus Series automation is extremely afford...

Page 52: ...se of such damages Mackie Designs may declare war ranty privileges void BE CAREFUL To clarify These modifications are extremely easy rela tive to what a real technician is used to doing However they are extremely difficult and dan gerous for the inexperienced If you re not a qualified experienced technician don t even think about considering the possibility of con ceiving of doing these mods yours...

Page 53: ...channel fader 1 Remove power cable 2 Cut the conductor at Point C 3 Cut the conductor at Point D 4 Add a jumper at Point E 5 Add another jumper at Point F 6 Repeat for all input channels III Mix B Source mod This modification changes the tap point of the Mix B Source switch engaged from pre fader pre mute to post fader post mute It must be done on each channel For example if you have a 24 8 the mo...

Page 54: ... channel For example if you have a 24 8 the modification must be done on all 24 input channels See Figure 11 This modification takes place on each channel strip in an area under Mix B Source switch 1 Remove power cable 2 Cut the conductor at Point G 3 Add Jumper to point H 4 Repeat for all input channels Figure 11 Modification IV Mix B Mute BEFORE cut here G AFTER add jumper H ADD ONS SPECS ETC ...

Page 55: ...steps should be 24 28 gauge insulated jumper wire Do not strip off any more insulation than is absolutely necessary 3 Add a 1 1 2 jumper B connected at points K and L 4 Add a 2 1 4 jumper D connected at points P and Q A note about adding jumpers during these modifications When a jumper or jumpers are called for they should NOT go into holes in the PCB Rather they should be soldered to the flat tin...

Page 56: ...dBu master fader up no ch s assigned 96dBu master fader up 24 chs assigned 90dBu master fader up 24 chs assigned ch faders up 86dBu 4dB operating level S N ratio 90dB Total Harmonic Distortion 1kHz 14dBu measured 20Hz 20kHz mic input 1 channel as signed Direct output 0 0013 typical L R Mix output 0 0014 typical Submaster output 0 0015 typical Crosstalk 1kHz measured relative to 0dBu measured 20Hz ...

Page 57: ...able clearance 0 69 4 25 6 00 9 00 4 78 25 24 28 74 27 17 29 17 1 00 1 00 4 78 0 54 28 74 V 1 5 6 4 95 16x8x2 8 BUS MIXING CONSOLE 1995 MACKIE DESIGNS INC exclusive of meter bridge 16 8 console WEIGHT 50 lbs 6 00 5 50 3 38 29 20 MB16 8 Optional Meter Bridge 3 67 5 50 ...

Page 58: ...02 1 00 1 00 4 78 6 00 37 00 0 54 28 74 MB24 8 Optional Meter Bridge 24x8x2 8 BUS MIXING CONSOLE 1995 MACKIE DESIGNS INC exclusive of meter bridge 24 8 console WEIGHT 64 lbs Note add 3 75 to depth for power supply cable clearance 2 70 V 1 5 6 4 95 5 50 3 38 3 67 5 50 ...

Page 59: ... 54 28 74 32x8x2 8 BUS MIXING CONSOLE 1994 MACKIE DESIGNS INC exclusive of meter bridge 32 8 console WEIGHT 78 lbs 6 00 45 80 MB32 8 Optional Meter Bridge Note add 3 75 to depth for power supply cable clearance 2 70 V 1 5 6 4 95 5 50 3 38 3 67 5 50 Get some help before lifting this one ...

Page 60: ...rance 0 69 4 25 3 67 5 50 6 00 9 00 4 78 25 24 28 74 27 17 29 17 1 00 1 00 4 78 0 54 28 74 24 CH EXPANSION CONSOLE FOR 24 8 32 8 1994 MACKIE DESIGNS INC exclusive of meter bridge 24 E console WEIGHT 50 lbs 6 00 29 15 MB E Optional Meter Bridge 2 70 V 1 5 6 4 95 5 50 3 35 ADD ONS SPECS ETC ...

Page 61: ...W Power Supply WEIGHT 24 lbs 26 80 28 40 22 50 29 00 V 1 0 4 4 94 STAND FOR 24 8 32 8 CONSOLES 1995 MACKIE DESIGNS INC V 1 2 4 4 94 220 WATT POWER SUPPLY FOR 8 BUS CONSOLES EXPANDER 1994 MACKIE DESIGNS INC Stand WEIGHT 44 lbs ADD ONS SPECS ETC ...

Page 62: ...1995 MACKIE DESIGNS INC 28 12 28 25 22 5 29 88 SIDE VIEW 28 75 ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE Side Car WEIGHT 45 lbs 23 13 28 75 11 RACK SPACES TOP VIEW CABLE HANGER FRONT VIEW existing console BRACE ADD ONS SPECS ETC ...

Page 63: ...problem might be the console OR the power supply Just to be sure send both Mackie mixing systems are notoriously bullet proof and reliable But hey stuff happens Any electronic product with as many parts as an 8 Bus console can occasionally have a minor casualty somewhere inside And even if we could build our products to never break there are those acts of nature that tend to visit consoles on occa...

Page 64: ...rranty If you can t find it the Authorized Service Center may charge you for repairs even if your 8 Bus Series Console is still covered by Mackie s 1 Year Limited Warranty 3 Make sure that the problem can be dupli cated If you bring or ship your 8 Bus Series Console to an Authorized Service Center and they can t find anything wrong with it you may be charged a service fee plus shipping 4 If the Ma...

Page 65: ...63 THIS PAGE LEFT BLANK INTENTIONALLY ...

Page 66: ...Just in case TRACK SHEETS Some of you folks are meticulous and do things like keep your checkbook reconciled and cross file each tape For you we have included master Track and Master sheets They are in tended for duplication purposes unless you bought this console just to do one session TRACK SHEETS ON FOLLOWING PAGES ...

Page 67: ...5 O O U 12k MIX B EQ LOW CUT EQ IN HI FREQ 75 Hz SOURCE 45 3k PAN LEVEL 15 15 80 U LO SPLIT HI LO EQ TO MON MONITOR L R 15 15 U 250 220 350 PAN dB 30 20 5 10 5 6 13 14 3 4 11 12 1 2 9 10 7 8 15 16 L R MIX SOLO 20 OL O O MUTE 5 10 40 50 60 U L R CHANNEL 15 O O U 12k MIX B EQ LOW CUT EQ IN HI FREQ 75 Hz SOURCE 45 3k PAN LEVEL 15 15 80 U LO SPLIT HI LO EQ TO MON MONITOR L R 15 15 U 250 220 350 PAN dB...

Page 68: ...ster track sheet which came in the Mackie 8 Bus console manual If you find this sheet in a copy machine please return it to the engineer owner of the console If you find this sheet in the back of a gloomy tavern buy it a cold one ...

Page 69: ... O U PAN SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MONO L R R L R L R L R MONO L R MONO L R MONO L R MONO L R ASSIGN MONO L R MONO L R 1 L 2 3 4 5 6 7 8 MONO L R ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN MIX MIX MIX MIX 1 2 3 4 5 6 7 8 16 9 10 11 12 13 14 15 24 17 18 19 20 21 22 23 10 7 4 2 0 2 4 7 10 20 30 40 L R 10 7 4 2 0 2 4 7 10 20 30 40 L R 10 7 4 2 0 2 4 7 10 20 30 40 L R 10 7 4 2 0 2 ...

Page 70: ...ster track sheet which came in the Mackie 8 Bus console manual If you find this sheet in a copy machine please return it to the engineer owner of the console If you find this sheet in the back of a gloomy tavern buy it a cold one ...

Page 71: ...on and Scott Garside Proofreading where possible considering our usual state of confu sion by Linn Compton and Technical Support Page layout and Adobe Illustrator 5 5 techni cal drawings by Bobby Hougham Bruce Yunker Ron Koliha Gene Endicott and Sara Drake Additional help from P D the Mackie Corpo rate Chihuahua who shredded several drawings at various points during the development of this manual ...

Page 72: ...HONES 1 PHONES 2 L R 2 TK IN L 2 TK IN R MIC FREQ PRE POST LEFT MONO RIGHT RIGHT LEFT MONO LEFT MONO RIGHT PER 8 CH S 4dBU 10dBV Select PHANTOM POWER PER 8 CH S MIC LINE INSERT PRE POST PRE PARAMETRIC EQ SHELVING EQ MID Q MID LO LO HI GAIN FREQ HI LO EQ TO MIX B SPLIT PRE EQ TO AUX MOD SOLO SOLO 75Hz HPF 0L MUTE MIX B SOURCE PFL MOD LO CUT IN OUT OPTIONAL 24 E 24 CHANNEL MACKIE 8 BUS EXPANDER CONS...

Page 73: ... 4 AUX 5 6 SOLO EXTERNAL MIX B MONITOR PHONES 1 OUTPUT PHONES 1 SOURCE TO AUX 2 TO TAPE SUBMASTER TO PHONES AND STUDIO MONITOR SOURCE INSERT SUB MSTR FADER INSERT SOLO L R SOLO L R L METER R METER R STUDIO OUTPUT L CNTRL RM OUTPUT R CNTRL RM OUTPUT DEFEATED WHEN CNTRL RM SOURCE IS SELECTED DEFEATED WHEN CNTRL RM SOURCE IS SELECTED AUX OUT AUX SEND 3 4 5 6 IDENTICAL SOLO NOTE ALL SWITCHES SHOWN IN ...

Page 74: ...ur product Some of the people at our Woodinville Washington factory who helped design build sell and support your product Mackie Designs Inc Mackie Designs Inc 16220 Wood Red Rd NE Woodinville WA 98072 USA 800 898 3211 Outside the US 425 487 4333 Fax 425 487 4337 www mackie com E mail sales mackie com ...

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