Mackie 8-submaster mixer Owner'S Manual Download | Manualshive

Page: 1 / 74

background image

1

8•BUS OWNER'S MANUAL

2

MUTE

3

MUTE

4

MUTE

5

MUTE

6

MUTE

7

MUTE

8

MUTE

9

MUTE

10

MUTE

11

MUTE

12

MUTE

13

MUTE

14

MUTE

15

MUTE

16

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 8-submaster mixer

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 1...

Page 2: ...POSEZ 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...

Page 3: ...C 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...

Page 4: ...TUP 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...

Page 5: ...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 yourse...

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 switc...

Page 7: ...dqualityofindividualinputswhilesettingup recordingandmixing MorethanoneSOLOswitch maybepressedatthesametime allowingyouto listentotheblendofanycombinationofchannels throughouttheconsoleinstereo TRIM F...

Page 8: ...u 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 Th...

Page 9: ...alized 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...

Page 10: ...B 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...

Page 11: ...ualconfigurationforaneffects send sincetheleveloftheeffectshould followthe volumeadjustmentsmadebythechannelfader PRE 1 2 With the PRE switch 25 depressed AUX SENDS 1 2 receive their input from a poin...

Page 12: ...d 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 alon...

Page 13: ...tention 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 IfaSOLObu...

Page 14: ...usesviarespec tivebanksofbuttonsforeachreturn 13 Ifyou wantadditionaleffectsreturnspresetinthehead phonemixes thesearethereturnstouse Returns 5 6 AUXReturns5 6 14 eachhaveastereoSOLOswitch andastereoL...

Page 15: ...ht 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...

Page 16: ...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...

Page 17: ...reun balanced withthetiphigh andringandsleeve tiedtogetherasground Nominallevelis 4dBu AUX Returns TheAUXReturns 3 arestereo withaL Rin putforeachreturnchannel Inputsare1 4 unbalancedjacks nominalleve...

Page 18: ...vel Infact youshouldturnthe PHONESleveldownbeforeyouplugyourphonesin andthenbringtheleveluptowhereyouwantit Studio Output ThetwoStudioOutputjacks 9 carrythesignal fortheStudiospeakers Theyare1 4 unbal...

Page 19: ...r 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 CONNECTI...

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...

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

Page 22: ...cuit 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...

Page 23: ...ble 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 soloin...

Page 24: ...iddle 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 kno...

Page 25: ...rol 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...

Page 26: ...e 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 th...

Page 27: ...er 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...

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 UNBALA...

Page 29: ...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 R...

Page 30: ...cks 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 Head...

Page 31: ...trackstoyourmix Oneway tokeepahandleonthisistosettheL Rmaster faderafewdBaboveunity andtosetyourinitial monitorlevelsprettyhigh Asyougetcloserand closertoyourfinal youcaneasethemonitor levels downande...

Page 32: ...RATING 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 UNBA...

Page 33: ...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...

Page 34: ...N 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 I...

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 PHON...

Page 36: ...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 LE...

Page 37: ...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 S...

Page 38: ...p 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 chan...

Page 39: ...ur 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...

Page 40: ...38 THIS PAGE LEFT BLANK INTENTIONALLY...

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...

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...

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 3...

Page 44: ...NSERT 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 TI...

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 oc...

Page 46: ...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 bu...

Page 47: ...d 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...

Page 48: ...put 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 m...

Page 49: ...ignal 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 tr...

Page 50: ...ich 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 s...

Page 51: ...o 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 rac...

Page 52: ...e 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 ar...

Page 53: ...hannel 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 Sour...

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 R...

Page 55: ...teps 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 a...

Page 56: ...9dBu 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 1...

Page 57: ...ble 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...

Page 58: ...2 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...

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...

Page 60: ...ance 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...

Page 61: ...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...

Page 62: ...995 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 exi...

Page 63: ...roblem 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 part...

Page 64: ...ranty 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...

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

Page 66: ...ust 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...

Page 67: ...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...

Page 68: ...ter 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 glo...

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...

Page 70: ...ter 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 glo...

Page 71: ...n 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 Hough...

Page 72: ...ONES 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...

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 ST...

Page 74: ...r 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...

Reviews:

No comments

Related manuals for 8-submaster mixer

Brand: Tapco Pages: 25

Brand: Oster Pages: 24

Brand: DigiTech Pages: 12

Brand: AirTurn Pages: 25

Brand: DSM Noisemaker Pages: 7

Brand: UNITED Pages: 3

Brand: Reloop Pages: 2

ASTERIA MK. III

Brand: Aion Electronics Pages: 10

AC TrueTone 256818

Brand: Harley Benton Pages: 20

Brand: Mad Professor Pages: 2

Brand: Numark Pages: 12

MultiMix 16 Firewire

Brand: Alesis Pages: 51

Brand: Ozito Pages: 10

Brand: Electrofoods Pages: 2

Brand: DW Pages: 2

SM-FX500 Ultima

Brand: Citronic Pages: 12

Brand: Duronic Pages: 56

Brand: Saramonic Pages: 2

Brands by name

0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Popular brands

Load more brands