DIGITAL 8•BUS OWNER’S MANUAL Version 3.
8. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operating instructions or as marked on this Mackie product. 9. Power Cord Protection — Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product. 10.
Note: The following notice concerns the lithium battery located on the motherboard inside the Remote CPU. CAUTION: DANGER OF EXPLOSION IF BATTERY IS INCORRECTLY REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BY THE MANUFACTURER. DISPOSE OF USED BATTERIES ACCORDING TO THE MANUFACTURER’S INSTRUCTIONS.
Table of Contents Preface .................................................................................................................................... 1 Chapter 1: Getting Ready ................................................................................................. 3 Introduction .................................................................................................................................................................... 4 About This Manual ............................
Studio/Solo Section ...................................................................................................................................... 33 Phones/Cue Mix Section ............................................................................................................................. 34 Control Room Section .................................................................................................................................. 34 Clipboard Section .............................
Chapter 4: Applications .................................................................................................. 87 Setting Up for a Session .......................................................................................................................................... 88 Listening Environment .................................................................................................................................. 88 Channel Configuration/Planning.................................
Preface T he Mackie Digital 8•Bus is an amazing digital audio tool. Its flexibility, depth, and creative pizazz provides the engineer/artist with nearly limitless freedom to produce top quality work. The D8B Version 3.0 upgrade offers a host of new features that can make your mixes sound better and speed your workflow. Here’s a list of the newest features of the Mackie OS Version 3.0. WHAT'S NEW WITH 3.
D8B Manual • Preface • page 2
Getting Ready Chapter 1 D8B Manual • Chapter 1 • page 3
Introduction Let’s Get It Working T This is a step-by-step guide to get the Digital 8•Bus working. We assume you’ve pulled everything out of the box and are ready to start working.
MIDI PARALLEL CONSOLE DATA CPU Ethernet MOUSE Video Mouse KEYBOARD Keyboard CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE • 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.
1. Plug a PC-compatible keyboard into the KEYBOARD 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. Note: We highly recommend the use of a multisync monitor; however, if one is unavailable you must use a monitor capable of at least a 72Hz scan rate. We recommend using a 17-inch or larger monitor for best results.
Turn on the power switch on the front panel of the 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. These buttons let you access four completely different sets of controls, referred to as Fader Banks.
As you switch back and forth between all four fader banks, the faders will move to their respective 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. This exercise demonstrates a process that will become second nature as you increase your skills on the Digital 8•Bus.
Figure 1-1 Completing the Microphone Signal Path Follow this graphic map to quickly complete a signal path using a microphone to capture the FAST sound source..
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. In similar fashion, any channel that needs to be assigned to Bus 1 must have the channel assign button lit when Bus 1 is selected in the ASSIGNMENT section.
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 FAST TRACK Monitor Outs to Speakers 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.
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. FAST TRACK Multitrack Outboard Effects, MIDI Gear, Live Room Mics, etc.
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. Main Inserts R L Channel Meter Tracking/Routing AES/EBU Out Post-DSP Insert Pre-DSP Insert Analog Inputs CH 1-48 Analog to Digital Converter S/PDIF Out Level to Tape To Tape Outputs Channel Fader DSP (EQ, Comp, Gate, etc.
ANALOG STEREO INSERT/RETURN KEY INPUT Default: Itself (the channel) OR: CHANNEL TAP BUS TAP AUX TAP 2-TRACK DIGITAL INPUT PRE-DSP INSERT (CHANNEL TAP AND PLUG-INS) POST-DSP INSERT (PLUG-INS ONLY) CHANNEL TAP MIC/LINE 1 (through 12) TRIM MIC/LINE MIC IN METER A to D 48V LINE IN LINE 13 (through 24) TRIM LINE IN A to D DIRECT ASSIGN TO TAPE OUT FROM TAPE 25 (through 32) A to D Analog 8 channel TAPE CARD (optional) DELAY DIG.
AUX 9/10 AUX 11/12 ( ) ( ) TAPE 1–8 TAPE 9–16 TAPE 17–24 PFL SOLO SOLO L SOLO R MAIN LEFT MAIN RIGHT BUSES 1–8 AUX SEND 1–8 AUX SEND 9 AUX SEND 10 AUX SEND 11 AUX SEND 12 TAPE 1–8 TAPE 9–16 TAPE 17–24 PFL SOLO SOLO L SOLO R MAIN LEFT MAIN RIGHT BUSES 1–8 AUX SEND 1–8 AUX SEND 9 AUX SEND 10 AUX SEND 11 AUX SEND 12 D/A D/A D/A D/A D/A D/A D/A DIG IN 1 MAIN INSERT R (L) 2 TRK A 2 TRK C 2 TRK B D/A ASSIGN DIG IN 2 MASTER L-R MASTER FADER SOLO PFL/AFL/MIXDOWN MIXDOWN SOLO SENDS ONLY SOLOED CH
Figure 1-7 D8B Gain Structure Diagram D8B Manual • Chapter 1 • page 16 60 dB gain 40 dB gain 0 20 dB loss 20 dB gain 0 20 dB loss +22 dBu max input line in 13 - 24 mic in 1-12 +2 dBu max input +22 dBu max input line in 1-12 digital trim 0 0 level up +10 0 TRS +22 dBu max out XLR +28 dBu max out mix st.
Specifications Analog Input/Output Section Meters: • LED ladders displaying 24 channels, 24 LEDs per channel from –50 to 0 dBFS (0 dBFS = +20 dBu) • Output Level (0 dBu = 0.775V RMS) • Left and Right Outputs: +22 dBu balanced 1/4" TRS +28 dBu balanced XLR • Bus (Tape) out: +22 dBu balanced 1/4" TRS • Aux sends: +22 dBu balanced 1/4" TRS Frequency Response: • 20Hz-20kHz +/-0.
8.7" (221mm) Physical Dimensions 27.1" (688mm) 37.6" (955mm) D8B CONSOLE SHIPPING WEIGHT 73 lbs. (33.1 kg) D8B CPU SHIPPING WEIGHT 50 lbs. (22.7 kg) CPU 19.00" (48.3cm) D8B Manual • Chapter 1 • page 18 5.25" (13.3cm) 3U 20" (50.8cm) 17.25" (43.
Updating Software 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 information specific to the current software revisions and install procedures. Windows-based Computers Follow these steps if you are downloading onto a Windows®-based computer: 1. Download the .ZIP files d8b3xxxx_PC.
12. Remove the 2nd floppy disk when prompted and power down the console power supply, then power back on. 13. You now have the updated D8B operating system installed. 14. Make sure you read the release notes. They have important info about this upgrade. Note: Repeat the above procedure with the Demo_Plugins_3xxx_Mac.sea file to install the plug-in update.
Where Is It? Chapter 2 D8B Manual • Chapter 2 • page 21
DIGITAL I/O S/PDIF 8 Channels 1–12 Inputs 5 +48V PH 4 +48V PH 3 +48V PH 2 +48V PH 2 1 +48V PH MIC MIC MIC MIC MIC MIC LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN INSERT INSERT INSERT INSERT INSERT INSERT Each channel contains: • XLR mic input. Be sure the MIC button is pressed down on the control surface channel strip. • Phantom power On/Off button depending on mic requirements. • 1/4" TRS line input—balanced or unbalanced.
• Using the configurable plug-in architecture, insert plug-in capability is available for channels 1–48 (Pre- and Post-DSP), and Main Mix L-R, in addition to internal effects sends (Auxes 1–12). 3 ADAT Optical (OPT•8) • Two digital ADAT optical (fiber optic) connections. • Each card offers I/O for 8 channels. • Effects return to the main L-R mix at Fader Bank 3 (FX 1–16) 4 AES/EBU (PDI•8) • One 25-pin D-sub connector in digital AES/EBU format.
bm CR MAIN and CR NEAR FIELD br 2 TRACK A, B, and C • Pairs of 1/4" TRS stereo line-level outputs for sending signals to control room speakers. • Balanced 1/4" TRS inputs for receiving linelevel analog signals from a 2-track recorder. • Both outputs carry the same signal (as selected in the Control Room section). • Levels can be adjusted independently or linked together. • The separate left/right pairs feed the 2 TRACK A, B, and C buses in the control room monitoring section.
PARALLEL CONSOLE DATA 5 4 6 3 MOUSE 1 KEYBOARD 2 CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE • Remote CPU Description Data and Synchronization I/O These connections are specifically pertinent to non-audio functions (or, in plain English, these aren’t audio connections!).
6 Ethernet Port 2 Mic/Line Button • Accepts an RJ45 telco connector. • On channels 1–12 only. • 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. • This button selects between the Mic Input (XLR) and the Line Input (1/4" TRS). • Up position selects the line input (1/4" TRS). • Use CAT5 for standard network FTP connections; use crossover CAT5 for peer-to-peer connections.
7 Fader Bank Select LEDs • Just below the channel V-Pots. • When the green LEDs are on, Fader Bank 1 is selected (MIC/LINE). • When the red LEDs are on, Fader Bank 2 is selected (TAPE IN). • When both LEDs are on, Fader Bank 3 is selected (EFFECTS). • When neither LED is on, Fader Bank 4 is selected (MASTERS). 8 Select • Chooses a channel to be edited. • Enables onboard or on-screen Fat Channel control over the selected channel. • Operative for copying and pasting data between channel strips.
Master Section Description The Master Section—everything to the right of channel strip 24—is divided into 13 subsections.
SHIFT Button MASTERS SHIFT 1-24 25-48 MIC/LINE TAPE IN (TRACK) (MONITOR) 49-72 EFFECTS BANK SELECT MASTER L/R dB 10 5 U 5 10 20 30 40 50 60 The SHIFT button serves multiple functions. It provides a way to select multiple channels and multiple solo buttons. It also serves as a fine-tune selector for Aux levels and Pan adjustments. Try adjusting an Aux level with and without the SHIFT button depressed—notice the difference in numerical scrolling speed.
MASTER PAN AUX 1–8 Buttons (Default Operation) • 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. MASTER SOLO (Aux) • Solos the currently selected Aux. • Only one Aux can be soloed at a time. • Master solo can be active at the same time a channel is soloed. • Aux bus remains soloed until it is manually disengaged or until the CLEAR SOLO button is pressed.
Figure 2-1 Aux Sends 1-8 (Default – Mackie Stereo Effects [MFX]) Aux 1 – 4 TRS Out Aux 5 – 8 TRS Out 1-24 1-48 LEVEL TO TAPE DIGITAL TRIM AUX 1 AUX 2 IN OUT IN Internal Effects Processor 1 IN OUT Internal Effects Processor 3 Internal Effects Processor 6 AUX 3 AUX 4 AUX 5 AUX 6 AUX 7 AUX 8 IN IN Internal Effects Processor 7 IN IN Internal Effects Processor 4 OUT FX 1 FX 2 L R FX 3 FX 4 L R OUT IN Internal Effects Processor 2 OUT OUT Internal Effects Processor 5 FX 5 FX 6
CHANNEL Select Display V-Pots and SELECT buttons • Just to the right of the L-R Meters. • Numeric readout indicates the selected channel —the currently editable channel in the VFD. • Four Select buttons and V-Pots used to select and adjust options that show up in the Fat Channel VFD. • Pressing Select above a Fat Channel V-Pot lets the user adjust or scroll through the pertinent options.
ON button Toggles the selected Fat Channel DSP control parameters on and off in bypass fashion. SETUP button 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. MEMORY A and B buttons • Each channel has two memory locations for EQ, compressor, gate, plug-ins, and surround parameter comparisons. • Any changes to the above controls are temporarily stored in the selected Memory A or B buffers.
TALKBACK TO STUDIO button AUX 11-12 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. CLEAR SOLO button Assigns the Aux 11-12 mix to the Phones output. COPY MIX TO CUE button Pressing this causes all channel settings to be copied to the channel V-Pots for the selected CUE MIX 1 (Aux 9-10) or CUE MIX 2 (Aux 11-12).
DIGITAL IN 1 button Selects the AES/EBU digital input as the Control Room source. DIGITAL IN 2 button Selects the S/PDIF digital input as the Control Room source. MASTER L-R button Selects the main L-R output bus as the Control Room source. TALKBACK button Routes the signal arriving at the in-panel Talkback Mic to Phones/Cue Mixes 1 and 2 (and to Studio Out if Talkback to Studio is selected).
Master L–R/Shortcuts Section MASTER L/R SHORTCUTS SELECT CONTROL WRITE ALT L-R button • When L-R is selected, the individual channels can be assigned or removed from the Master L-R bus. • Mic, Line, FX, and Returns (Channels 1–72) can all be assigned in this way to the L-R Master bus. ROUTE TO TAPE button SELECT button Selects the Master Fader and Aux Master for edit operations.
• This button must be turned off before any automation can be recorded or played back. AUTO TOUCH Mode • Toggling Bypass doesn’t affect the automation filter LEDs (Faders, Mutes, Pan, All). However, when Bypass is on no automation data will be recorded. • Activates Auto Touch write mode for automation data. FADER MOTORS OFF button • Pressing this button (so the yellow light is on) disengages fader motors, which prevents any automated fader movement during automated playback.
Session Setup Section GROUP button SETUP SAVE SAVE AS... NEW LOAD GROUP GENERAL PLUG INS DIGITAL I/O Buttons in this section are used for file maintenance and for setting up system functions such as Virtual Groups, Digital I/O, meter assignment, and MIDI parameters. SAVE button • Saves the currently active session to the internal hard drive or floppy drive. We recommend using the floppy only for backup.
Transport Section SMPTE VIEW button This section provides control for external recorder transports, time display, snapshots, locates, and loops. This button toggles between SMPTE/MTC time and BBT (Bars/Beats/Ticks) in the Position display. POSITION display Number Buttons 0–9 • Shows the numeric representation of SMPTE or MIDI Time Code (Hours: Minutes: Seconds: Frames) or a musically referenced display (Bars: Beats: Ticks).
STORE button This button is used to save locate points and console automation snapshots to the currently displayed number or a user-entered number. RANGE POSITION HOURS MINUTES SECONDS FRAMES BEATS TICKS FROM TO SET TIME BARS SMPTE VIEW LOOP SNAPSHOT button • 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. • Onboard snapshot range is from 00–99, equivalent to MIDI program changes 00–99.
What’s On TV? Chapter 3 D8B Manual • Chapter 3 • page 41
Using the Graphic User Interface (GUI) The Beauty of It… 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 onscreen and are much easier to perform on-screen. Yet some control surface features are more efficient, like multiple fader moves or inverse fader moves.
• 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. Quick Select Fat Channel Simply double click the onboard SELECT button to instantly open or close the Fat Channel. On screen, double-click the select button, click on the Fat Channel tab at the bottom of the screen, or press Ctrl-6 to open the Fat Channel.
• 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. Point and Click Aux Sends To increase the send level, click to the right of any Aux and drag to the right; drag to the left to decrease the send. Control-click any Aux to set it to unity gain.
Aux Pans 9-10 and 11-12 Cool Quick EQ Box • The blue bars 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 blue indicator half way across the Aux level grid (the default setting). • Control-clicking sets the pan to center position. • To copy an Aux pan across contiguous multiple channels, Alt-Click or Right-Click on a pan position indicator, then drag across several channels.
Digital Trim • The blue bar above the Compressor, Gate, EQ, and Phase buttons graphically indicates the digital trim level. • While adjusting Digital Trim, the track number window below the Auxes displays the digital trim level whenever Digital Trim is selected for the V-Pot on the control surface or on-screen. • Click and drag left or right to change the trim level. • Control-click to set trim level to unity. • Right-click and drag to copy trim level across multiple channels.
The Feedback Loop Caution Caution: When Bank to Outputs is selected from the TAPE IN bank—or anytime you assign to a tape track from a tape return channel, then monitor the correlating fader—there is potential for a nasty feedback loop. To create the feedback loop: • Select the TAPE IN bank. • Place the multitrack in record-ready. • Assign a channel to its correlating multitrack input (Channel 25 to Tape Output 1, Channel 26 to Tape Output 2, etc.
MASTER V-Pot • 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). • The Master V-Pot SOLO button solos any selected Aux bus. CUE LEVEL and CUE PAN 1 and 2 • These buttons activate the channel V-Pots for L-R and level adjustments for Auxes 9/10 and 11/12.
Signal Path Flexibility Signal Path (INSERTS) The D8B version 3.0 software provides many new and exciting capabilities—check out these new flexible routing options. Selecting an insert on-screen is exactly the same as patching from the signal path into an external effect, then back through a patch bay or dedicated physical insert point. Of course, digital patching induces no extraneous noise, crackles, or degradation—so, in that way it’s not like a patch bay at all.
The PRE and POST insert selections are displayed in the readout windows immediately above the INSERT icons. Clicking on the window displays the assigned plug-in module. • 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 around to provide a better mixing configuration.
May I See A Menu Please 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. The File Menu Contains: • New Session (Ctrl+N) • Open Session (Ctrl+O) • Close Window (ESC) • Save Session (Ctrl+S) • Save Session As… • Save As Template • Reset Template • Desktop (Ctrl+D) • Shutdown (Ctrl+Q) Open Session (Ctrl+O) • Press Ctrl+O or click the File menu, drag down to Open Session, and release.
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...” of the current file. Keep a primary snapshot on tap in this file to reset everything. Then select all channels and apply the Edit/Clear Automation.
Floppy Disk Mount/Refresh Drives • Click the on-screen Floppy Disk icon to open the floppy disk window. • Common navigation procedures apply through folders and sub-folders. Any time a file doesn’t seem to have ended up where you thought you put it, or you’ve swapped floppy disks, selecting Mount/Refresh Drives will update a file directory window to display its current contents.
• Information in the clipboard can be pasted to another channel, track, region, etc. • Cutting data typically restores selected channels or regions to their default settings or to off. • The History List keeps a running list of the Edit choices for later recall. Copy Channel(s) (Ctrl+C) • Places selected data on the clipboard, awaiting reassignment. • Copying data has no effect on the data being copied.
Modify Levels (Alt+M) Insert Global Time • With the Mix Editor open, this feature globally inserts a region of no data change at the selected start point (on all channels for all data). • Selecting Insert Global Time in the Edit menu opens a window with settings for the insert start point and length of time inserted. Delete Global Time • With the Mix Editor open, this feature globally deletes a region of data change at the selected start point (on all channels for all data).
The Channel Menu The Channel menu contains: • 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… • Reset Channel Layout... • Select Fader Bank (Alt+A) • Select All Faders (Alt+Shift+A) Let’s take a quick look at each menu item.
SELECT button under the Playback mode to toggle between the Disabled, Punch-Run, and Run states. Shortcuts: Note the “previous-click” shortcut (the last click has a memory if it was on a “like” parameter, and copies the previous-click setting to the next click). Also you can click and swipe down the list to change the column to the value that’s toggled by the click.
Group… (Ctrl+G) • 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 pulldown menu to assign them all to a group. • This does not override any previous group settings outside the selected channels, however, a channel can only be assigned to one group.
This feature can be especially handy for applications such as vocal comps and bus switching. Inverse switching is set and recalled individually on all parameters, so Bus 1 and the linked Bus 1 can be inversely locked, while Bus 2 and mutes are locked to the same value. • Holding down [Shift] and enabling a linked channel mute, Bus 1-8 and L-R assigns, EQ on/off, Gate on/off and Comp on/off assignment enables the inverse function. To leave this mode, press [Shift] and the linked button again.
or on the panel) or to radio button (only one allowable at a time). If solo latch is not set (no check mark), multiple solos may be manually latched by either: 1) Pressing and holding another solo switch, while initiating more solos, or pressing multiple solos at one time. 2) Pressing and holding [Shift], while initiating more solos. Link Speakers • Links the Near Field and Main speaker levels • Changing the speaker level when either speaker set is selected changes the level on the other set.
Write Ready Mode The Plugins Menu • This option does not function when Auto Touch is selected. • When Write Ready is selected, channels are manually engaged to write automation data. • Write Ready mode assigns the transport RECORD button to punch the Write Ready channels into and out of automation record. • When the channel WRITE button is pressed, the yellow light blinks, signifying that the channel is ready to record automation.
• When using the MFX card, each mono input feeds a stereo effect; each stereo effect returns to two faders on the EFFECTS bank. For example, with an MFX card installed in mixer card slot 1 and selected in the Plugin Configuration window, INPUTs are available at slots 1 and 2. If Aux 1 is selected for SLOT 1, the Aux 1 send feeds the input to Stereo Effect 1, whereas the returns enter the mixer at EFFECTS bank faders 1 and 2.
The Windows Menu Contains: • About • 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) About This window displays the OS version, software authors, artist, etc. Hot Keys The more of these key commands you learn, the faster and more efficient you’ll be at recording.
Close All (Ctrl+\) This command closes all open windows. The main faders overview backdrop is always displayed unless the Desktop is selected. The Desktop Window (Ctrl+D) The Desktop is where files are saved, named, copied, and organized. See the description in this chapter under the File menu (page 52).
Link Options are enabled and disabled according to what control surface actions you want to have linked on two or more consoles assigned to the same Network Channel. • Fader Banks: This option provides for bank selection across the network from any Digital 8•Bus sharing a common Network Channel number. Digital I/O • Aux Strip: This option links the selection of any aux bus across the network.
Alt I/O • The Alt I/O 1–8 operates according to the type of I/O card installed (AIO•8, DIO•8, PDI•8, OPT•8). • The Alt Inputs feed the 8 Alt Return channels on Fader Bank 3. • The Alt Outputs are configured via the Alt I/O 1–8 pull-downs in the MDS Network Setup window. Stereo I/O • These settings apply to the Stereo Digital I/O AES/EBU and S/PDIF connections on the back of the Digital 8•Bus. • The Stereo I/O is configurable for three levels of UV22 dither: Off, Low, and Normal.
Aux Select - Pre/Post • 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 1–8 Pre/Post Assign Macros:”. • Individual channel aux pre/post assignments are performed by Alt+clicking on the Aux Send’s level bar in the overview screen. One Button Punch • With this option checked, connected record devices are placed into record mode by simply pressing the RECORD button in the Transport section.
To allow this operation, set the “Solo Latch” checkbox in the Mix Options Setup window, or press GENERAL in the Setup Section and, under Solo, select “SOLO LATCH” ON or OFF in the Fat Channel Display. MIDI File Tempo Map Link Speakers Default Tempo • When the Link Speakers checkbox is enabled, the Mains and Near Field SPEAKER LEVEL control is linked. Increasing or decreasing the SPEAKER LEVEL control simultaneously adjusts both the Near Field and the Main Control Room Output.
match your computer’s address, and set the last field to something different. Be sure you don’t set it to the address of another device that you have on your network. Subnet: • In the Subnet window type 255.255.0.0 (default value) unless your network requires a subnet mask. Gateway: • If no Gateway is being used you can usually leave this setting blank, though some FTP clients require an entry even for a simple network. 10.10.10.10 is the default value.
Save Selection As • Saves current mixer snapshot selection (highlighted in the snapshot list) to a file for recall at a later date. • This is different from a stored snapshot in that it saves data in a file for retrieval, even from a different session. Snapshots, on the other hand, are stored specifically as a portion of a session file. as the selected channel’s front/rear position control. The control surface can perform surround pan positioning using the Etch-A-Sketch® (Etch-AMix) approach.
Morph Speaker Icons • Activated by clicking the MORPH icon. • Automatically pans between the red and green surround positions, depth-of-center level, and subeffect level. Speaker icons are numbered consistently throughout the surround modes.
Quad • Notice the speakers are numbered 1, 2, 5, and 6. This provides consistency throughout the available surround configurations. Speakers 1 and 2 are always Front L/R, and speakers 5 and 6 are always Rear L/R. • Low Freq Effect and Depth of Center are not functional in this mode. LCRS 5.1 • 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.
• With a Depth of Center setting of “0” the centerpanned channel is routed to the center speaker only (speaker 3). • With a Depth of Center setting of “100” the centerpanned channel is routed equally to the front left and right speakers (speakers 1 and 2). • Note: Speakers 7 and 8 are unaffected by the Depth of Center control. Low Freq Effect • This control varies the channel send level to the subwoofer (speaker 4). • This is the only control over channel levels to the subwoofer (speaker 4).
The Locator Window (Ctrl+4) enter the desired time in hours, minutes, and seconds, then press Enter to complete. Store locate time by selecting LOCATOR mode, entering the locate number, then pressing Store followed by Enter. • Locate points can be entered on the fly by simply clicking the New button at the desired time during playback. • Selected Locate points can be updated by clicking the Store button to overwrite with the current time.
LOCATOR Parameters New • Click this button to create a new cue point. • The new cue point is created at the existing SMPTE, millisecond, or measure position. • Cue point readout changes form depending on the readout format selected in the main Locator window (SMPTE, Bars, Milliseconds.) Delete • Click this button to Delete the highlighted cue point(s) from the Cue list. Renum • Cue points are ordered on the Cue list according to their Locator position (SMPTE, Bars, Milliseconds).
easy selection of the desired Edit Tool (I Beam, Hand, Magnify, or Eraser). Time Code Displays • Press the Alt key along with the up/down arrows on the keyboard to scroll up and down the channel/parameter list. • Three time code displays indicate the highlighted region start and end points, and the current cursor position (displayed in either SMPTE or BBT). • Values may be manually entered in the Start/End point fields for specific edits.
When Channel View is highlighted, the Mix Editor Channel List changes to a parameter list. This mode views one channel, effect, bus, aux, group, MIDI channel, or plug-in at a time. The list then contains all parameters available for automation. The six buttons to the left of the Page and Back pull-down lists act as filters for parameter selection: • When none of these six buttons is pressed, all data is displayed for the selected channel. • Highlight the EQ button to display EQ data only.
The Fat Channel Window (Ctrl+6) 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. EQ There are four EQ types to choose from: • 4 Band Parametric • 20/20 EQ • British EQ • British H/P The default EQ type is the “4 Band Parametric EQ.
• Click the ON button near the bottom of the EQ window to turn on the EQ for the selected channel. • There are three methods to modify parameters in the EQ. • Click and drag on the graphic curve in the display window. Drag up and down to change the gain, left and right to change the frequency, and click and drag left and right while holding down the Alt key to change the Q. • Click and drag up or down on a control knob below the display window.
SOFT • This button turns on the soft-knee function, which determines the severity of the compression action. When highlighted, compression is smoother and more gentle. • When SOFT is not highlighted, the compression or limiting action is more immediate and extreme. ON • Click the ON button to turn on the compressor for the selected channel. MENU • Click the MENU button to Open, Save, Reset, Undo, Cut, Copy, and Paste an Compressor patch.
Additional Fat Channel Controls Aux Sends • Use the on-screen knobs to adjust any of the aux send levels. • Press Control while clicking the Aux knob to set Aux send level to unity gain. • Click in the window directly below the Aux send knob to toggle the individual Aux Pre/Post status. • A yellow block beneath the Aux send level control indicates a Pre-Fader status for the Aux send. Digital Trim • Use the on-screen knob to adjust the channel digital trim.
Dynamics EQ L.F.E. (Low Freq Effect) • Use this window to filter the key input. This is often necessary to properly trigger the dynamics processor. Accentuate the high frequencies of a key instrument with lots of attack to solidify the keying process. • This EQ is edited as described for other EQ edit operations. • Dynamics EQ borrows the highest band of the regular channel equalizer. As a trade off, you get to equalize the key audio.
TAPE Bank on top This mode places the tape return fader bank in the upper half of the screen display. Now all input faders are available at all times. This offers incredible value in many practical applications, even though the tape fader bank masks the Aux Sends, Bus Assignments, Tape Outs, Digital Trims, as well as EQ, phase, Compressor and Gate on/off buttons. • Record buttons are available on the tape fader bank. • Automation Write buttons are available on all 48 channels.
Current List Item Arrow The History List Window (Ctrl+H) • The arrow in the far left column represents the current or last triggered automation event. • The arrow moves to the next event as soon as the time code reaches the automation event time; it remains there until another event time is passed. New Event Type This pop-up window lets the user select the specific type of automation event: Snapshot, EQ, Compressor, Gate, Channel, or Plug-in.
• If an event is selected in the list, then a change is made in the Mix Editor, all events following the selection will be replaced by the new event. • Use the Undo command from the Edit Menu (Ctrl+Z) or the control surface to regress through the mix event steps one at a time. • Use the Cut or Delete commands from the Edit Menu (Ctrl+X) to remove all events below the selected History List event. These actions are not replaced by Undo or Paste actions.
• • • • • • • assigned as a Note On (9Nh) message. If the parameter is continuously variable, the Continuous Controller (BNh) or Polyphonic Aftertouch (ANh) may be used. #(number): This assignment is in the range of 0127 decimal values (00h-7Fh) for the associated Status type. Channel: A static value is selectable for a switch message type, in the range of 0-127 decimal values (00h-7Fh).
Applications Chapter 4 D8B Manual • Chapter 4 • page 87
Setting Up for a Session Channel Configuration/Planning This section of the Digital 8•Bus Owner’s Manual provides very application-specific descriptions of some common usages. Follow the checklist format to help ensure everything is set just right for your configuration. As your skills and knowledge increase, try new techniques. Build a system that’s optimized for your specific application. This actually has a lot to do with how well any audio experience unfolds.
• It’s a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc. ❏ Connect all mics and instruments • • • Be sure all channel faders are down. Turn Master Fader down. Turn Speaker level down. Setup Window The Setup Window is very important to the functionality of the Digital 8•Bus. Its settings determine how the console functions within its own architecture as well as how it interfaces with other digital equipment.
Setup Window settings are automatically stored and are recalled in subsequent boot ups.
Installation and Connection of Optional I/O and Effects Cards The Input/Output cards are an essential part of the D8B multitrack system. These cards provided up to 24 tape outputs and inputs for use with any common analog and digital formats. Since the I/O cards are optional and interchangeable, you probably need to install them before you begin creating hit recordings. If you install multiple types of I/O cards, note which slots they’re installed in.
Installation of FX Cards 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. Loosen the four spring-loaded screws on the blank cover plate to the FX card slot you want to fill. FX Card Cover Plate Removal 2.
Installation of I/O Cards IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. 1. Using a #2 Philips screwdriver, unscrew the blank cover plate corresponding to the I/O card slot you want to fill. Remove Cover Plate for Tape I/O Card 2. 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.
Checklist for Basic Operational Functionality Connecting Analog Multitrack(s) 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.
Connecting TASCAM (TDIF) Multitrack(s) ❏ Install DIO•8 card into one or more of the D8B TAPE card slots. ❏ Using a 25-pin D-sub digital cable (TDIF), connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector. ❏ Install BNC clock cable and make sure all connections are tightly secured. ❏ If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input and the D8B Apogee Clock should be set to External in the Setup>Digital I/O window.
Multitrack Recording Multitrack recording involves a continuous assessment of signal flow. If you follow a wellplanned 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. For any multitrack setup, it’s important to keep track of the signal path from the console to the multitrack, then from the multitrack back into the console.
Multitrack Tracking Checklist ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ 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 for necessary mic inputs. Press Mic button on channels using microphone inputs. Set pre-fader auxes in Setup Window for monitor use. Test each instrument and mic to verify sufficient level at console input meter. Adjust input trim for a reading around –15 on the meter.
❏ Assign MIC/LINE bank channels to desired tape tracks. ❏ If you want to monitor from the multitrack, remove the MIC/LINE Bank from the L/R mix. This has no effect on the output to tape. ❏ Adjust control room monitor mix from TAPE IN Bank. Verify channel assignment to the L/R bus. ❏ Place tape inputs in record/ready to verify signal at machine. It’s typically best to monitor signal from the multitrack rather than from the channel input.
❏ Adjust headphone monitor volume in the PHONES/CUE MIX section. PHONES/CUE MIX 1 PHONES/CUE MIX 2 AUX 9-10 COPY MIX TO CUE AUX 9-10 COPY MIX TO CUE AUX 11-12 CONTROL ROOM AUX 11-12 CONTROL ROOM LEVEL LEVEL ❏ Adjust channel aux levels to onboard or outboard effects from Fader Bank 2 (TAPE IN). ❏ Verify that Master Output is connected to the mixdown machine. The mix should be arriving at the mixdown recorder. It’s good to check this as part of your tracking process.
Sample Tracking Setup 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. Note: During tracking, dynamics control, like compression and limiting, are often included (insert or onboard) at the beginning of a signal path.
ANALOG I/O ANALOG I/O ANALOG I/O MASTER OUT 21 2 TRACK C CR NEAR FIELD Powered near-field monitor speakers 2 TRACK B 2 TRACK A 22 CR MAIN MASTER OUT 23 24 15 LINE IN 16 19 13 PNCH I/0 TLKBK STUDIO OUT PHNS 1 PHNS 2 20 14 LINE IN INSERT LINE IN INSERT LINE IN INSERT AUX 12 AUX 11 AUX 10 10 11 12 Stereo Effects Procesor R L BUS OUT 1-8 & SURROUND OUT 17 18 Direct Box AUX 9 INSERT LINE IN 9 INSERT LINE IN 8 AUX 8 Reverb Digital 8•Bus Analog Recording/Trackin
Mixdown Setup This simple checklist will help get the mix started. Notice that, each time, we follow the signal path from its source to its destination. ❏ Be sure the multitrack recorder is connected properly to the Tape In card(s). ❏ Roll tape to verify signal at TAPE IN Fader Bank. ❏ If any track reads excessively hot or cold on the D8B meter bridge, adjust the Digital Trim for a reading around -15 with no peaks (OL). Pressing DIGITAL TRIM activates the channel V-Pots as digital input trim adjustments.
Optional AIO•8 Cards ANALOG I/O ANALOG I/O TO TAPE FROM TAPE ANALOG I/O TO TAPE FROM TAPE R L MASTER OUT BUS OUT 1-8 & SURROUND OUT 23 24 21 2 TRACK C CR NEAR FIELD Control Room Monitors Near-field Powered Monitors 2 TRACK B 2 TRACK A 22 15 LINE IN 16 CR MAIN MASTER OUT 2-Track Recorder 17 18 Digital 8•Bus Analog Recording/Mixdown Hookup Example Digital I/O AES/EBU OUT IN 2-inch 24 track TO TAPE FROM TAPE 2-Track DAT MIDI I/O (rear of D8B Remote CPU) Sync Interface Out In
Effects/Plug-ins MFX/UFX Before we look at more setup examples, lets cover some quick tips on efficient use of the Digital 8•Bus plugins. Follow these easy steps to use the Digital 8•Bus internal plug-ins. Note: In the plug-in windows, clicking directly on the Effects patch name displays a large pop-up menu of Factory or User patch names, which points to available patches in your working directory’s Presets folder. Always save your custom presets to the User Presets folder.
6. Use the channel V-Pots to set individual channel send to the selected aux bus. 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. 8. Click on the EFFECTS button to select Fader Bank 3.
Dynamics and EQ Applications Dynamics and equalization are typically applied in one of three ways: 1. Processing Dynamics and EQ Before Tape • 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. 2. Processing Dynamics and EQ After Tape • Choose Fader Bank 2 (TAPE IN).
MIDI and the D8B MIDI Basics 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). This is necessary to run automation from a Digital Audio Workstation (DAW).
MIDI Snapshots 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.
Word Clock INPUT Word Clock OUTPUT Word Clock OUTPUT 9-pin OUT 9-pin IN PCI-324 9-pin IN 9-pin OUT Computer MIDI MIDI IN OUT Control Track IN MIDI MIDI IN OUT Control Track 1 DTP Word Clock INPUT Word Clock INPUT Word Clock OUTPUT From PCI 324 Word Clock INPUT MIDI MIDI IN OUT Digital 8•Bus Master Word Clock Out From D8B Computer Every digital system needs a master sync source. The D8B prefers to be the master source but will function as a master or slave.
Verifying Word Clock Sync Between Devices and the Digital 8•Bus • 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.” is displayed in the Setup>Digital I/O window next to the Apogee Clock pop-up window and an asterisk (*) flashes in the right-most portion of the control surface VFD.
Dither - To UV22 or Not to UV22: That Is the Question 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. In a digital system, low level audio simply becomes inaccurate and sounds really bad.
2. Connect three snakes between the HDR24/96 Outputs (top connector) and the corresponding D8B Tape Inputs (bottom connector). D8B–HDR24/96 Setup Hookups 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.
DIO•8 Sync out) to the HDR24/96 Word Clock In. To make the HDR24/96 the clock master, connect its Word Clock Out to the D8B Word Clock In. TDIF Hookup to HDR24/96 (DIO•8) Cables & Hardware (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 HDR24/96 Settings 1. Set the Tape Input format for each DIO•8 card to TDIF, and the Tape Output format to TDIF. Hookup 2.
Console Settings 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). If it is a clock slave, set the Apogee Clock to Word Clock. Set the Sample Rate to match the Sample Rate selected on the HDR24/96.
Console Settings 1. If you have DIO•8 cards installed, set the Tape Input and Tape Output format for each card to ADAT. OPT•8 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). If it is a clock slave, then set the Apogee Clock to Word Clock. Set the Sample Rate to match the Sample Rate selected on the HDR24/96.
HDR24/96 Settings AES/EBU Hookup to HDR24/96 (PDI•8) 1. If the HDR24/96 is the clock master, set the Sample Clock to Internal; if it is a clock slave, set the Sample Clock to Word Clock and depress the 75Ω termination switch on the Sync card. Cables & Hardware (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 2. Set the Sample Rate to 44.1kHz or 48kHz according to your preference. Hookup Console Settings 1.
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. On the positive side, you don’t need a Clock I/O card! 4. Set “Samplerate” to match the sample rate of the formatted ADAT tapes (typically 48kHz or 44.1kHz).
Connecting the Digital 8•Bus to a BRC and ADATs 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. Automation is achieved, referenced to MTC, and digital devices work together, sample-by-sample to make the most of your recordings.
BRC REMOTE OUT TO ADAT MIDI OUT INPUT INPUT OUTPUT LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 DIGITAL IN 8 SYNC OUT IN OUT INPUT INPUT OUTPUT LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 DIGITAL IN 8 SYNC OUT IN OUT INPUT INPUT OUTPUT OUTPUT 3 D 1 APOGEE CLOCK I/O IN 6 7 ADAT XT SLAVE DECK (TRACKS 17-24) 8 SYNC OUT IN TAPE 1- 8 TAPE 9- 16 TAPE 17- 24 APOGEE DIGITAL I/O APOGEE DIGITAL I/O TDIF IN 5 APOGEE DIGITAL I/O WORD CLOCK OUT DIGITAL I/O
Connecting the Digital 8•Bus to ADATs Using an External Sync Box Cabling and Hookup 1. Connect a fiber optic cable between the ADAT’s lightpipe output and the D8B’s lightpipe input. Likewise, connect the D8B’s lightpipe output to the ADAT’s lightpipe input. (A DIO•8 or OPT•8 lightpipe card must be installed in the D8B to gain access to the digital tape inputs and outputs.) 2. Connect the 9-pin D-sub sync cables between the Sync Box (SYNC OUT) and the first ADAT’s SYNC IN connector.
SYNC BOX (Examples: JLCooper dataSYNC or Steinberg ACI) MIDI OUT SYNC IN SYNC OUT INPUT INPUT OUTPUT OUTPUT 1 LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 SYNC DIGITAL IN IN OUT OUT INPUT INPUT OUTPUT OUTPUT 1 LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 IN OUT OUT INPUT INPUT OUTPUT 3 D DIGITAL I/O AES/EBU 1 5 6 7 SYNC DIGITAL IN IN OUT TAPE 1- 8 TAPE 9- 16 TAPE 17- 24 APOGEE DIGITAL I/O APOGEE DIGITAL I/O APOGEE DIGITAL I/O IN 8 OUT LINE INP
Connecting the D8B to TASCAM MDMs Cabling and Hookup 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. 2. Connect the sync cables (TASCAM part number PW-88S) between the master deck and the slaves in a daisy-chain fashion.
REMOTE IN/SYNC IN (FROM RC-848/DA-88) SYNC OUT (TO DA-88) WORD SYNC IN REMOTE IN OUT REMOTE PUNCHIN/OUT MACHINE ID SYS SYS DSP DSP SYNC SYNC DA-88 MASTER DECK (TRACKS 1-8) (FROM RC-808) METER UNIT MODE RS-422 DIGITAL I/0 TDIF-1 TIME CODE IN OUT VIDEO IN THRU MIDI IN OUT THRU 1 2 3 4 5 6 7 8 MIDI IN MIDI OUT REMOTE IN/SYNC IN (FROM RC-848/DA-88) SYNC OUT (TO DA-88) WORD SYNC IN REMOTE IN OUT REMOTE PUNCHIN/OUT MACHINE ID SYS SYS DSP DSP SYNC SYNC (FROM RC-808) METER UNI
Digital Audio Workstation Setup 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 synchronization must be addressed; the master and slaves must be established; the clock rate must be consistent throughout; and the audio path into the console must be intelligently configured. computer’s sample rate (typically 48kHz or 44.1kHz).
MIDI IN MIDI Interface MIDI OUT Software-based Digital Audio Workstation ADAT OPTICAL ADAT OPTICAL ADAT OPTICAL IN IN IN DAW Digital Interface 8 C TAPE 1- 8 TAPE 9- 16 TAPE 17- 24 APOGEE DIGITAL I/O APOGEE DIGITAL I/O APOGEE DIGITAL I/O D DIGITAL I/O AES/EBU 1 OUT IN OUT DIGITAL 8•BUS LINE INPUTS BUS OUT 1-8 & SURROUND OUT TDIF B OUT TDIF OUTPUT (BAL /UNBAL) 18 17 16 15 14 13 24 23 22 21 20 19 PHONES 1 PHONES 2 MASTER OUT L R 2 TRACK IN A L R CR MAIN L R 2
Live Sound/Live Recording Setup 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 linelevel source. The setups for live concert recording and live sound are similar. Each involves mixing everything as you go—moving faders, or setting and selecting snapshots.
ANALOG I/O FOH Speakers MASTER OUT 2 TRACK B 2 TRACK C CR MAIN CR NEAR FIELD 2 TRACK A 19 13 AUX 12 Separate Mix for Live Broadcast Feed PNCH I/0 TLKBK STUDIO OUT PHNS 1 PHNS 2 20 Processor Connecting the Digital 8•Bus for Live Sound/Live Recording Optional AIO•8 Cards R L MASTER OUT Cassette Deck 21 14 AUX 10 AUX 9 INSERT LINE IN 11 AUX 8 AUX 7 INSERT LINE IN 9 INSERT LINE IN 10 Stereo Monitors for Finicky Keyboard Player AUX 11 INSERT LINE IN 12 Stereo Reverb Dig
Post-Production Setup The Digital 8•Bus is an amazing tool, no matter what the setup. However, the more complex the setup, the more amazing the D8B becomes. 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.
Using Basic Automation What Type of Data Can Be Automated Virtually all of the D8B channel parameters are available for automation. However, there are a few exceptions—some obvious and some not so obvious.
Save Snapshot For Safety 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 crossreference.
Move a channel fader Press the D8B Record Button • • As soon as the fader moves, the WRITE button illuminates, indicating automation data is being recorded. Exit Record and Rewind to Beginning of Track • 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.
subtracts the same amount from a previously adjusted automation track. For example, when used for faders, all moves are maintained but the overall volume changes. Press TRIM LEVELS • 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.
Appendices D8B Manual • Appendices • page 133
Appendix A Service Warranty Service Details concerning Warranty Service are spelled out on the Warranty Card included with your console (if the card is missing, let us know and we’ll rush one to you). If you think your console has a problem, please do everything you can to confirm it before calling for service, including reading through the Troubleshooting section of this owner’s manual. Doing so might save you from deprivation of your console and the associated suffering.
No Sound! • Is the signal source working correctly, and properly connected to an input on the console? • Is the TRIM control (channels 1–12) or the Digital Trim control (channels 1–48) turned all the way down? • Is the MIC/LINE switch set to the correct position? • Is the channel fader control turned up? • Has the channel been assigned to an output bus in the Bus Assignment Section? • Is the master level control for the selected output bus turned all the way down? • Try soloing a channel and listen to the C
Appendix B IVL Vocal Studio The Interface About the IVL Vocal Studio The IVL Vocal Studio is a truly unique tool that offers natural sounding harmonies, wild vocal effects, and vocal utilities. You will hear that Vocal Studio can help you to quickly create killer vocal tracks.
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. Control Mode Manual: Any notes played on a MIDI keyboard become the harmony parts. These parts will stay on the note assigned by the keyboard even when your voice shifts to a new pitch.
Pitch Correct Mode Interval 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. Pitch Controller: Use the keyboard to force the vocal to an exact pitch. Keyboard Octave Select: Selects the octave that the keyboard represents.
Gender 1. Harmonies: Detuning each harmony voice can create natural-sounding harmonies. In real life nobody sings perfectly in tune, so why should the IVL Vocal Studio have to? 2. Doubling: Detuning unison harmony voices can create the fattest of phat vocal sounds without singing a vocal line four times. Volume 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.
Vibrato adds another level of human quality to the harmony voices. The majority of singers use some amount of vibrato. Basically, Vibrato is like the modulation wheel on a keyboard, which modulates a harmony voice’s pitch by a small amount. The Vibrato presets are based on the amount of modulation, the rate of the modulation, and when the modulation starts. Styles In “Styles,” you can create that extra amount of personality and realism for your harmony voices. Each style is controlled by a spin dial.
Manual 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.
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. The Difference SmartKey harmony usually requires you to enter the one key that works for a whole song. SmartKey harmonies will sound correct in many songs but not all, and this is why you have a choice between it and SmartChord. SmartKey harmonies are also more active in harmony motion.
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. When the pitch bend range is set to its minimum the pitch can be corrected by ±50 cents (1 semitone). Set the range for the maximum amount of pitch correction needed.
Appendix C Plug-in Configuration and Routing Configuring the Plug-in After installing your UFX or MFX card, all you need to do is assign a plug-in to the card. Assigning the Plug-in to a UFX or MFX 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. 3.
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. To Save a Preset: 1. Click and hold the Menu button. To Load a Preset: 1. Click Mem A or Mem B to choose the memory location from which to load the file. 2. Click and hold the Menu button. 2. Select Save User Preset to overwrite the file currently opened. 3. Select Save User Preset As to save to a new file name. The Save Preset File As dialog box appears. 3.
To Reset the Plug-in: Reset will reload the previous patch. 1. Click and hold the Menu button. 2. Select Reset (Plug-in). Automation and Snapshot Control Dynamic Real Time To write automation on a loaded plug-in: 1. Engage AUTO TOUCH. 2. Engage ALL, disengage BYPASS, and send timecode to the console –the POSITION readout will change to show time code is being received. 3. Move a parameter or recall a patch (user or factory preset). To Cut Preset Settings: 1. Click and hold the Menu button. 2.
FX Routing The Plug-in Configuration Window Card Slot Column Input Source Assignment Column Plug-in display toggle Plug-in Assignment Column Close Window Input Channel Assignment Pulldown Menu Button Card A Stereo/Mono Mode Column Stereo/Mono Toggle Button Card B Card C Card D (no card installed) Inserting a Plug-in into a Channel A pre- or post-DSP channel insert can also be used as the input source for a plug-in. When a channel insert point is selected, the plug-in output returns to the channel.
Using an Aux Send with a Plug-in • Click the associated INPUT menu button and select an Aux input source. In the example below, we have chosen the Aux 5 Bus. Pre-Fader and Post-Fader Auxiliary Sends Normally, effect sends are post-fader, so the signal sent to the effect follows the program level in the mix. Occasionally you may wish to feed an effect from a pre-fader source so that the signal level from the aux control is independent of the channel fader position.
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) Stereo Plug-in The Plug button toggles between Windows menu buttons and FX buttons (lower left on the D8B mixer screen). Plugins button opens the Patch Configuration window (or Ctrl+P on the keyboard). Here the Delay Factor plug-in is selected for display.
Appendix D Shortcuts Feature Surface Keyboard Mouse (click or pull down) New Session [New] Ctrl+N File > New Session Open Session [Load] Ctrl+O File > File Manager Save Session [Save Session] Ctrl+S File > Save Session Save Session As [Save Session As] File > Save Session As Save As Template File > Save As Template Toggle Desktop Ctrl+D Shutdown Ctrl+Q File > Shutdown Ctrl+1 Setup Ctrl+Z Edit > Undo (channels or moves) Ctrl+Shift+Z Edit > Redo (channels or move) Preferences
Functions on SELECT(ed) Channel 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].
ODDS ’N’ ENDS Feature Surface Channel strip name Keyboard Mouse (click or pull down) Click on name field, enter [text], [tab] (right) or [shift] [tab] (left) Equal aux/trim levels (see clipboard ops) Bus assigns [Bus #], swipe [Assign]s (See clipboard ops) Click bar, right mouse button, swipe either direction Click bus, any mouse button, swipe either direction DSP function On/off toggles (Phase, EQ, Gate, Compressor) Click button, any mouse button, swipe either direction Bypass Automation Byp
Appendix E MIDI Implementation Guide Product: Mackie Digital 8•Bus MIDI Implementation Chart Function Transmitted Basic Channel Default 00, MIDI Off (note 1) Changed 00-0F Mode Default Poly Messages Altered Note True voice 00-0F Number Velocity Note ON Mute on = 40 Note OFF Mute off = 01 Aftertouch Keys 00-7F Channel Pitch Bend X Control Change 00-7F Date: 3/01 Version: 3.
Appendix F 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.
Marshall Electronics PO Box 2027, Culver City, CA 90231 Tel: (800) 800-6608; Fax: (310) 391-8926 http://www.mars-cam.com/cable.html AIO•8 Analog Interface Cables DC-DAXM Series DB25 to 8 male XLR’s DC-DAXF Series DB25 to 8 female XLR’s DC-DAS Series DB25 to 8 1/4" TRS Standard lengths: 3, 5, 10, 15, 20, and 25 feet DIO•8 TDIF Interface Cables DCD-88D Series DB25 to DB25. Standard lengths: 1, 3, 6, 12, 15, 20, 25, and 33 feet.
Index Symbols 2 Track A, B, and C ............................................................................................ 24, 34 20/20 EQ .................................................................................................................. 78 25-pin .................................................................................................................. 22, 23 4-band Parametric ...................................................................................................
Channel Strip Section ............................................................................................. 26 Assign .................................................................................................................. 26 Channel Fader .................................................................................................... 27 Channel Meters ................................................................................................. 27 Channel V-Pot ....................
Delete Events (Alt+Delete) .............................................................................. 83 Duplicate Event ................................................................................................. 83 Load Target ........................................................................................................ 84 Mute Icon ........................................................................................................... 83 New Event (Alt+N) ...........................
Group Button ........................................................................................................... 38 Group… (Ctrl+G) ...................................................................................................... 58 GUI ............................................................................................................................. 42 J H K Hand Tool .................................................................................................................
Master L–R/Shortcuts Section ............................................................................ 36 ALT ....................................................................................................................... 36 CONTROL ........................................................................................................... 36 SELECT ................................................................................................................. 36 WRITE ...........................
Paste Button .............................................................................................................. 35 Paste Channels (Ctrl+V) .......................................................................................... 54 PDI•8 ........................................................................................... 23, 57, 65, 91, 154 PFL ..............................................................................................................................
Locator-MMC ..................................................................................................... 69 Default Tempo ............................................................................................ 68 Device ID selection ..................................................................................... 68 MIDI File Tempo Map ................................................................................. 68 Pre-Roll ..............................................................
Transport Controls ........................................................................................... 40 FAST FWD ..................................................................................................... 40 JOG & SHUTTLE ........................................................................................... 40 PLAY .............................................................................................................. 40 RECORD .................................................
Colophon This manual was a collaborative effort, created in part from the original Digital 8•Bus Owner’s Manual, with additional text and contributions from Bill Gibson, Brian McCully, Craig Chastain, and Trent Wagner. Final proofreading performed by Linn Compton, and final editing provided by Dave Franzwa. All production work was performed on various Macintosh computers using Adobe® PageMaker® 6.5 and Adobe® Illustrator® 8.0 and 9.0. ADAT is a trademark of Alesis Corporation.
™ 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 email: sales@mackie.com ©2001 Mackie Designs Inc. All rights reserved.
