OWNER’S OWNER S MANUAL
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 .............................
Control Room Section .................................................................................................................................. 34 Clipboard Section ........................................................................................................................................... 35 Master L–R/Shortcuts Section ................................................................................................................. 36 Bus Assignment Section............................
Chapter 4: Applications .................................................................................................. 95 Setting Up for a Session .......................................................................................................................................... 96 Listening Environment .................................................................................................................................. 96 Channel Configuration/Planning.................................
Preface T he Mackie Digital 8•Bus is an amazing digital audio tool. Its flexibility, depth, and power provide the engineer/artist with nearly limitless creative freedom to produce top quality work. The D8B v5.1 upgrade offers a host of new features that can make your mixes sound better and speed your workflow. Here’s a list of the newest features of the Mackie OS v5.1. WHAT'S NEW WITH v5.
• Enhanced Surround Sound features: ° Surround Sound Setup window ° Surround Sound Monitor Level control in the Surround window ° Mute option for surround monitoring when in Stereo surround mode ° Surround mode now selectable from the Surround window ° Surround panning appears in Fat Channel • Adjustable attenuation for the Control Room DIM switch includes –20 dB, –30 dB, –40 dB, and off • Track Sheet stores all pertinent session information with the session itself • Track Sheet can be exported as an HTML f
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 Analog Inputs CH 1-24 Analog to Digital Converter S/PDIF Out Level to Tape Post-DSP Insert Pre-DSP Insert To Tape Outputs Channel Fader DSP (EQ, Comp, Gate, etc.
KEY INPUT Default: Itself (the channel) OR: CHANNEL TAP ALT RETURNS BUS TAP AUX TAP 2-TRACK DIGITAL INPUT PRE-DSP INSERT CHANNEL TAP BUS TAP AUX TAP 2-TRACK DIGITAL INPUT PLUG-INS POST-DSP INSERT PLUG-INS ONLY CHANNEL TAP ALT RETURNS 2-TRACK DIGITAL BUS TAP/AUX TAP ANALOG STEREO INSERT/RETURN MIC/LINE 1 (through 12) TRIM MIC/LINE MIC IN METER A to D EQ TO DYNAMICS 48V LINE IN COMPRESSOR OUT METER GATE IN METER LINE 13 (through 24) KEY EQ IN TRIM LINE IN A to D DIRECT ASSIGN TO TAPE OUT FROM
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 MAIN INSERT R (L) D8B OUTPUT SECTION X2 LEFT AND (RIGHT) MIXDOWN SOLO SENDS ONLY SOLOED CHANNELS TO MAIN L/R BUS S/PDIF DIGITAL OUT LEFT (R) MASTER FADER AES / /EBU DIGITAL OUT LEFT (R) SOLO PFL/AFL/MIXDOWN MIXDOWN MAIN OUT LEFT (R) D/A PFL AFL MAIN OUT LEFT (R) SOLO LEVEL D/A AUX SOLO 9 (10) AUX 9/10 MASTER D/A AUX 9/10 TO SOLO BUS PHONES SELECT CTRL
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 Meters: Dither: • LED ladders displaying 24 channels, 24 LEDs per channel from –50 to 0 dBFS (0 dBFS = +20 dBu) • Apogee UV22 16-bit Super CD Encoding onboard Frequency Response: • Output Level (0 dBu = 0.775V RMS) • 20 Hz – 20 kHz ±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 d8b5xxxx_PC.
11. Place the 2nd floppy disk in the drive when prompted by the installation software. 12. Remove the 2nd floppy disk when prompted and place the 3rd floppy disk in the drive. 13. Remove the 3rd floppy disk when prompted and power down the console power supply, then power back on. 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 Plugin Service Pack2.
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.
• L-R Mix, Channel Pre or Post Insert, Buses 1-8, and Plugin Chain, in addition to the Aux sends 1–12, internally route to the four card locations. 3 ADAT Optical (OPT•8) • Two digital ADAT optical (fiber optic) connections. • Using the configurable plug-in architecture, insert plug-in capability is available for channels 1–48 (Pre- and Post-DSP), Buses 1-8, and Main Mix L-R. • Effects return to the main L-R mix at Fader Bank 3 via FX 1–16. • Each card offers I/O for 8 channels.
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). • When flashing, the selected channels are in Punch Run mode (see “Punch Run” on page 56 for more info). 8 Select • Chooses a channel to be edited.
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 [4 MFX Cards]) 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
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.
DIGITAL IN 1 button Selects the AES/EBU digital input as the Control Room source (when AES/EBU is the Stereo I/O Digital In selection in the Digital I/O Setup window). Note: The amount of attenuation for the DIM button can be changed in the GUI by selecting Mix Opt. in the Setup window. Selection choices include –20 dB, –30 dB, –40 dB, and –inf dB (Cut).
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.
• Click the on-screen SOLO button to hear one channel alone. • Hold the Shift key to solo more channels or select Solo Latch mode in the Options menu. • With the Shift key held, click and drag across multiple SOLO buttons to select them all. Quick Select Fat Channel Simply double-click the control surface 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 with the pointers, located after Aux levels 9 and 11, are pan controls for Auxes 9/10 and 11/12. • Click and drag left to pan left; click and drag right to pan right. • Center pan position puts the pointer in the middle of the pan bar (the default setting). • Control-clicking sets the pan to center position.
Digital Trim • The digital trim is a gain stage that allows you to adjust the input level to the channel before the channel DSP. This can be useful for tracks that were recorded at a very low level. • The blue bar above the Compressor, Gate, EQ, and Phase buttons graphically indicates the digital trim level. • While adjusting digital trim, the track number window below the Auxes displays the digital trim level. • Click and drag left or right to change the trim level.
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 level adjustments and L-R panning for Auxes 9/10 and 11/12.
Signal Path Flexibility Signal Path (INSERTS) The D8B v5.1 software provides extremely flexible routing options. Selecting an insert onscreen 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.
Channel Layout Reconfiguration The Channel number indicator buttons provide the capability to move channel strips around and reconfigure the channel layout. This is a very convenient feature, especially during mixdown. For example, it helps to have all the vocals together, so just reconfigure the channels so they’re all on adjacent channels. Anytime you need to have immediate access to faders from another bank, this feature is a life saver. Simply click on the channel number and select the desired channel.
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 • Click the on-screen Floppy Disk icon to open the floppy disk window. • Common navigation procedures apply through folders and sub-folders. Desktop File Menu Mount/Refresh Drives 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.
• 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. • Copied data is reassigned using the Paste command (Paste Channels, or the Paste button in the onboard Clipboard section).
• Choose the type of parameter in the top pull-down button. Set the action to Trim, Set, Min, or Max. • Trim adds or subtracts the selected value from all selected channels for the selected parameter. When Trim Fader is selected, the units are calibrated in dB for highly accurate fader adjustments. • Set moves the selected parameter to the specified value for all selected channels. • Min limits the minimum parameter setting to the specified value for all selected channels.
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 Selected Channels... • Reset Channel Layout... • Select Fader Bank (Alt+A) • Select All Faders (Alt+Shift+A) • Channel Notes (Ctrl+Shift+T) Let’s take a quick look at each menu item.
Shortcuts: Note the “previous-click” shortcut (the last click has a memory if it was on a “like” parameter, and copies the previous-click setting to the next click). Also you can click and swipe down the list to change the column to the value that’s toggled by the click. From the control surface (or the keyboard) press the CONTROL button (or Ctrl key) and the channel SELECT button simultaneously to enter or exit (toggle) Punch-Run mode.
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.
• Click the Link button to link the channels you have selected or click Cancel to cancel the linking process. • To link a pair of channels horizontally from the control surface, press and hold the SELECT buttons of the two adjacent channels you wish to link. • To link a pair of channels vertically from the control surface, press and hold ALT+SELECT on one of the channels you wish to link. In both situations the Fat Channel display changes to the appropriate linking screen after a few moments.
Reset Channel Delay… The Options Menu The Options menu contains: • Solo Latch • Link Speakers • Automation Submenu • Transport Submenu • Meters Submenu • This resets the time-altered channels to a status of no offset. • Faders to Tape • Use Nine Pin Control • HUI Mode Reset Selected Channels... • Resets the selected channels to their default settings (L/R assign, Level to Tape and Digital Trim to 0 dB, EQ on and flat, Auxes off, Pan centered, Fader off, Gate and Compressor off and at default settings).
Automation Sub-menu Mutes • This action readies the automation computer to record all mute activity for any write-enabled channel. Pan • This readies the automation computer to record all Pan movements for the write-selected channels. • All surround pans are recorded as well as L/R positioning. However, surround output, depth of center, and LFE assignments are not written with this selection (use “All” to write automation for these parameters).
All three of the following menu items are available in the Mix Options section of the Setup window. Meter Reference Point Use Pre-Roll • Sets machine location a specified amount ahead of the locate point. • The amount of Pre-roll is set in the Locator-MMC section of the Setup window. • Pre-roll is used to provide a set time period for all synchronized device transports to lock together.
The Plugins Menu Plugins (Ctrl+P) • This command opens the Plugin Configuration window. It is here that plug-ins are selected, input sources are chosen to feed plug-ins, stereo or mono modes are selected, and plug-in output destinations are selected. • There are sixteen plug-in slots—four dedicated to each FX card. Card one is allocated plug-in slots 1–4. Card 2 is allocated plugin slots 5–8. Card three is allocated slots 9–12. Card four is allocated slots 13–16.
• To deactivate a plug-in, select “none” in the associated PLUGIN column pull-down assignment menu. Click “OK” in the Alert dialog box. Warning: Deactivating a plug-in erases all automation data for the plug-in. Basic MFX Use Procedure 1. Open the Plugin Configuration window. 2. Select MFX 3.0 in the PLUGIN menu. When a plug-in card slot contains an MFX card, a single box covers the four plug-in slots allocated to that card. 3. Once MFX is selected, two mono inputs become available in the INPUT menu. 4.
The Windows Menu Contains: • About • Help (Alt+H) • Hot Keys • Close All (Ctrl+\) • Desktop (Ctrl+D) • Setup (Ctrl+1) • Snapshot (Ctrl+2) • Surround (Ctrl+3) • Locator (Ctrl+4) About This window displays the OS version, software authors, artist, etc. Help (Alt+H) Select Help to open the on-screen help window. You can also press the HELP button in the Fat Channel section on the console, or Alt+H on the keyboard to open the Help window. Click on the chapter titles to bring up the associated Help files.
Hot Keys The Setup Window (Ctrl+1) The more of these key commands you learn, the faster and more efficient you’ll be at recording. Some adjustments are necessary on the control surface or with the mouse, but many control settings flow very quickly from the keyboard. Once you begin to incorporate these into your routine you’ll quickly realize the power and creative freedom they offer. See Appendix D (Shortcuts) for a more comprehensive list of hot keys and shortcuts.
Link Option controller actions. There are eight Network Channels that are not unlike TV channels via Ethernet, where the console has a unique Device Name (like 'Jolene' or 'Spike') and after setting the Device Name and assigning one of the eight Network Channels, the console may then join the party. Consoles are normally linked audio-wise via the ALT I/O 1–8 card slot where audio buses are configured to be transferred from a slave console to a master console for further mix processing.
Tape Banks Any of the following tape I/O cards can be installed in the three Tape In/Out slots and the Alt I/O slot in the back of the Digital 8•Bus. • DIO•8: This digital card provides input and output connections via ADAT and T/DIF protocol. Tape bank I/O selections are completely selectable on both inputs and outputs. The DIO•8's provide direct dubbing capabilities from ADAT optical to T/DIF format, and vice versa.
Mix Options when the Write Master is toggled off. “Standby” is indicated by flashing LEDs, and “Armed” is indicated by solidly lit LEDs (actively writing). • Conversely, when “Use Write Ready” is disabled, and absolute and (absolute) trim dynamic automation is enabled, any channel Write may be immediately punched in and out of armed status. There is no standby mode. The transport Record Master only applies to MMC control (Record enable).
Solo Latch Dim Amount • When Solo Latch is checked, SOLO buttons remain engaged even when a new SOLO button is pressed. • When Solo Latch is not checked, new SOLO selections disengage previous SOLO selections. • If Solo Latch is not set (checkbox not selected), multiple solos may be manually latched by either: ° pressing and holding another solo switch while initiating more solos, or pressing multiple solos at one time. ° pressing and holding [Shift] while initiating more solo’s.
MIDI Allow FTP Clients Check this option to enable the D8B for internetwork communication and file transfer. Note: To transfer files from your D8B to a computer for backup, you need to use an FTP client on your computer to communicate with the D8B. IP Address: MIDI File Tempo Map • Import a MIDI Tempo Map from a standard MIDI File to synchronize the D8B Bars/Beats/Ticks display with your MIDI sequencer MTC reference.
Filtered It’s often convenient to eliminate a parameter or set of parameters from a snapshot change. If, for example, you’ve set all the basic EQs in the first snapshot, it might be efficient to filter EQ changes out of any new, or subsequently recalled, snapshots. In this way the original equalization settings remain active throughout. • Filters are selectable on each snapshot.
The Surround Window (Ctrl+3) The surround window offers precise control over image positioning in any mixing panorama along with individual subwoofer level and depth of center control. Surround position control is available from the control surface by using the individual Channel pan for L/R positioning and the Master Pan VPot as the selected channel’s front/rear position control. The control surface can perform surround pan positioning using the Etch-A-Sketch® (EtchA-Mix) approach.
Channel Number Display • This numeric readout indicates the selected channel. • Click and drag in the display to select another channel for editing. Surround Modes There are seven surround modes available: Stereo Quad LCRS 5.1 6.1 7.1 (SDDS) (Sony Dynamic Digital Sound) 7.1 (TP) (Theme Park) Surround mode selection is accomplished in the Surround Setup window or the Surround Panning window. The Surround Mode setting determines the look and functionality of the Surround Panning window.
5.1 • With a Divergence setting of “0” the centerpanned channel is routed to the center speaker only (speaker 3). • With a Divergence setting of “100” the centerpanned channel is routed equally to the front left and right speakers (speakers 1 and 2). • Since there is a rear center channel in 6.1 surround mode, the Rear Divergence is not adjustable and is fixed at “0.” Low Frequency Effect • Notice the speakers are numbered 1, 3, 2, 5, 4, and 6.
7.1 (TP) • TP stands for Theme Park. This configuration provides a symmetrical distribution of speakers surrounding the listener. • Notice the speakers are numbered 1, 3, 2, 7, 8, 5, 4, and 6. Speakers 1 and 2 are Front L/R, speaker 3 is Front Center, speaker 4 is the Subwoofer, speakers 5 and 6 are Rear L/R, and speakers 7 and 8 are Side L/R. Divergence • This control continuously varies the center image from dead-center (speaker 3) to a phantom-center (equally split between speakers 1 and 2).
• Though the result of a cut is like the result of “Reset,” settings that are cut are stored on the Clipboard and can be pasted into a selected channel. (Channel settings that are Reset are not stored on the Clipboard.) • Morph selection and time adjustments are not part of the Cut action. They are unaffected by cut, copy, or paste. Copy • This action copies all current surround channel settings to the Clipboard. Copied settings can be pasted to other selected channels.
• See the Playback column in the Channel List (under Channel in the upper menu bar) for individual channel automation playback status. Locator Parameters FADER • Highlight this button to enable the recording of fader movements into automation. MUTE • Highlight this button to enable the recording of mute on/off selections into automation. PAN • Highlight this button to enable the recording of pan and surround positions into automation.
The Mix Editor Window (Ctrl+5) The Mix Editor window contains a graphic representation of automation data. Though automation data is primarily entered through the control surface knobs, buttons, and faders, it can also be altered graphically in the Mix Editor. Precise level and timing information is easily entered and adjusted here. The resizable window supports various selectable views from 1 to 24 channels, or parameters, of data on the Y axis and any length of time region on the X axis (up to 24 hours).
foreground data curve is subject to all clipboard operations, while the back page curve remains untouched. To update either the foreground or background view, click on the drop-downs, drag across the type field or channel and release the mouse on the highlighted desired item. • Highlight the FMP button to display fader, mute, and pan data only. • Highlight the Busses button to display bus data only. • Highlight the Auxes button to display aux data only.
• Use this tool to select specific data lengths and to expand the data time to fill the overview screen. • Click and drag with the Magnify tool to zoom into a specific area. Double-click to double the magnification. • Hold the Control key while in magnify mode to toggle between zoom in and zoom out. • The resolution of these moves is relative to the current screen resolution, so the greater the zoomin value, the finer the resolution of any modifications.
Snap Grid Drop-Down Box Mix Editor Before Commit: • Click here to select the “Snap To Grid” parameter. Selections include Rule Mrks, Minutes, Seconds, and Frames for SMTPE time, and Bar, 1/2 Note, 1/2 Note Triplet, 1/4 Note, 1/4 Note Triplet, 1/8 Note, 1/8 Note Triplet, 1/16 Note, and 1/16 Note Triplet for Bars:Beats:Ticks. Insert New Cue • Click this button to insert a new cue the current time cursor point.
After Commit Until Next Node: ♦ Commit until End: With this option checked, automation is written from the time of the event until the end of the session. After Commit Until End: After Do Not Overwrite Existing Automation: Note: When committing snapshots, the snapshot filter settings are taken into account. For example, if the snapshot has Mutes and Faders filtered out, then no automation nodes will be written to fader or mute automation tracks for all channels.
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.
• There are three methods to modify parameters in the EQ. • Click and drag on the editing ball in the display window. Drag up and down to change the gain, left and right to change the frequency, and right-click (or Alt+click) and drag left and right to change the Q. • Click and drag up or down on a control knob below the display window. • Click and drag up or down in the numeric display boxes (Gain, Freq, Q). • Ctrl+click on an editing ball to zero the settings for an EQ band.
SOFT • This button turns on the compressor soft knee function. The knee of the compressor describes the point on the input-output graph where the threshold begins to reduce the output. • A hard-knee compressor means that, up until the moment the input signal crosses the threshold, no compression occurs; once the threshold is crossed, the full ratio of gain reduction is applied to the input signal (assuming the attack time has passed).
ACTIVE THRESHOLD • Click the ACTIVE button to turn on the compressor for the selected channel. • Determines the level at which the gate acts on the incoming signal. It is calibrated in decibels, ranging from –60.0 dB to –1.0 dB. MENU • Click the MENU button to Open, Save, Reset, Undo, Cut, Copy, and Paste a Compressor patch. MEM A/B • Each MEMory stores the most recent MEM A or MEM B EQ settings made for the selected channel.
RATIO • Determines the change in output level as a function of the change in input level, once the signal level drops below the threshold. This is sometimes called downward expansion. The ratio control ranges from 1:1.0 to 1:inf. Thus, if the ratio is 1:2, a decrease in input level of 10 dB results in a 20 dB decrease in output level (assuming the input is below the threshold level). MIDI • Enables external MIDI triggering for the gate.
DIGITAL TRIM • Use the on-screen knob to adjust the channel digital trim. • Press Control while clicking the knob to set the Digital Trim to unity gain. WRITE • Highlight this button to put the selected channel into automation Write Ready mode. • This cannot be activated when the console is in automation BYPASS mode. PAN • Pan channel in the L/R spectrum. • Control-click on the PAN button to snap to center position. • In surround mode, a miniature panner is displayed instead of the rotary pan control.
Speaker Select The Faders Window (Ctrl+8) • Highlight the desired speaker number icon to send a specific channel to any or all speakers. • Speakers are always numbered according to function: Front L/R are speakers 1 and 2; Front Center is speaker 3; Rear L/R are speakers 5 and 6; L/R Center are speakers 7 and 8; Speaker 4 is the Subwoofer (or Mono Surround for LCRS).
All events appear in the Mix Editor window as event markers in the time bar. Events can be edited from either window. Any text entered in the description column in the Event Automation Track also appears in the event marker tab in the Mix Editor. Edit Click this button to choose from the Event Automation Track Edit Menu. Note: The folder that opens automatically for each event type contains user patches, so if you haven’t saved any patches, you won’t see any items on the list.
Visually, when a session using Events is loaded, the OS performs a match against the dependent files, and displays any detected changes by adding an asterisk to the ‘Action:’ column to any or all Event lines. Event lines must be highlighted first before performing a sync operation. Delete Events (Alt+Delete) • Any channel with notes appears with an orange outline in the Track Sheet. This makes it easy to find notes at a glance.
Automation…, Delete Global Time, Insert Global Time, Delete Events, and Modify Levels… commands are logged as single list items. Each of these actions is available for Undo, as long as they remain on the History List. • Using this list, it is possible to regress to any point in the mix. If at some point things went in the wrong direction, it’s easy to go back to where the mix was on the right track. • Highlight any item in the list to deactivate all forthcoming listed actions.
Creating a Route A Route is created by opening the MIDI Map from the Windows menu, then selecting “New MIDI Route” from the MIDI Map Edit menu or simply clicking the NEW button at the bottom of the MIDI Map screen. A Route is made up of the following attributes: • (Selection): The first column (with no column header) denotes the Route number and selected Route within the map list. The number is a simple identifier, as there is no sorting mechanism for the MIDI Routes.
Applications Chapter 4 D8B Manual • Chapter 4 • page 95
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 provide 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 as necessary for 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 4. Plug-ins are organized in the order of the aux buses they correspond to. 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: These steps assume that the default input and output selections are made for the plug-ins (Input = corresponding Aux Send; Output = corresponding FX Return).
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 (lightpipe) cable between the ADAT’s DIGITAL IN and the DIO•8 card’s ADAT OPTICAL OUT. Likewise, connect the DIO•8 cards’ OPTICAL IN to the ADAT’s DIGITAL OUT. 2. Connect the 9-pin D-sub sync cables between the Sync Box (SYNC OUT) and the first ADAT’s SYNC IN connector. Then connect the sync cables in a daisy-chain fashion between the remaining ADATs.
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.
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.
D8B Manual • Chapter 4 • page 135 MASTER OUT ANALOG I/O ANALOG I/O ANALOG I/O Horn Section Mics Percussion Mics Drum Mics Mic Preamps Optional AIO•8 Cards 2 TRACK C 2 TRACK B CR MAIN CR NEAR FIELD 2 TRACK A MASTER OUT FOH Mixer Active Monitors (SRM450s) PHNS 2 PNCH I/O TLKBK STUDIO OUT PHNS 1 Phones Stereo Effects Processor 22 16 AUX 11 AUX 10 CD Player 23 17 AUX 9 AUX 8 Reverb 21 15 Guitar 20 14 AUX 7 Bass Separate Stereo Mix for Finicky Keyboard Player (SRM450 Activ
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.
Automation Procedural Checklists 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. Choose Automation Mode Even though TRIM LEVELS is selected and the faders all move to unity position, the fader automation data is still retained, and is indicated in the meter bars next to the faders (unless Show Meters In Trim Mode is selected under Options/ Meters).
Appendices D8B Manual • Appendices • page 141
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.
Troubleshooting Guide Three Things to Keep in Mind As you become familiar with the Digital 8•Bus, you’ll find it helpful to keep these three questions in mind at all times: 1. What Fader Bank is selected? 2. What channel is selected? 3. What is the V-Pot assignment? In 90% of the cases, if something isn’t working as you expect it should, it’s because one of these three settings isn’t where you intend it to be.
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.
Deactivating the Plug-in 1. Select none from the associated plug-in dropdown assignment menu. 2. Click OK in the Alert dialog box. 4. A default name for the preset is automatically displayed, such as Preset#1. If you want to rename it, simply type in the name you want, using up to 20 characters. A new sub folder can be easily created to help organize custom patches. 5. Select INTERNAL (default hard drive) or FLOPPY. 6. Click Save to complete the operation.
4. Click INTERNAL if the file is on the internal drive, or click FLOPPY if the file is on a floppy disk. 5. Select the preset you want to load. 6. Click Open to load the selected preset. Click in the Preset Display to load from the pull-down menu or scroll through presets using the Up/Down buttons. To Reset the Plug-in: Reset will reload the default patch. 1. Click and hold the Menu button. 2. Select Reset (Plug-in).
FX Routing The Plug-in Configuration Window Card Slot Column Plug-in display toggle Input Source Plug-in Assignment Assignment Column Column Stereo/Mono Mode Column Close Window Destination Assignment Column Card A Card B Card C Card D Stereo/Mono Toggle Button Inserting a Plug-in into a Channel A pre- or post-DSP channel insert can also be used as the input source for a plug-in. When a channel insert point is selected, the plug-in output returns to the channel by default.
Using an Aux Send with a Plug-in • Click the associated INPUT SOURCE button and select an Aux input source. In the example below, we have chosen the Aux 4 Bus. 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) 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 MFX plug-in is selected for display.
Using the Mackie Effects (MFX) The Digital 8•Bus comes with one MFX card installed to provide two stereo effects. Three additional MFX cards can be installed for a total of up to eight mono-in, stereo-out internal effects available simultaneously. The console ships with the Mackie FX (MFX) plug-in installed. This plug-in provides five useful effects that can be globally selected and used with the aux sends and FX returns.
Ping Pong This effect is the same as stereo delay, with the exception that the left feedback is directed to the right delay input, and the right feedback is directed to the left delay input. In this way, the delayed signal (echo) bounces back and forth between the left and right channels. Chorus The chorus effect generates a mono or stereo simulated chorus of voices. It has the following controls: Depth: This adjusts the depth of the chorus modulation for all the voices.
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: 4/03 Version: 5.
Appendix F HUI Mode What’s a HUI? Mackie introduced HUI (Human User Interface) in 1997, one of the industry’s first affordable motorized touch-sensitive fader controllers available for Digital Audio Workstations (DAWs). One of the big drawbacks of any DAW is having to use a mouse and keyboard to perform things you used to do on an analog mixer.
Connections You will need a MIDI interface with an available input and output port connected to your DAW. Connect the D8B’s MIDI output to the MIDI input on the interface and connect the MIDI output on the interface to the MIDI input on the D8B. Mac users will need to set up a device for their D8B under OMS (if you are using Pro Tools or Nuendo) or Free MIDI (if you are using Digital Performer). Mac users launch OMS Setup (or Free MIDI Setup). Create a new device called HUI.
These are indicated on-screen by clicking the question mark button in the upper right corner. The left side of the screen provides a map of the control section of the D8B, with numerical references over many of the buttons and a list of the HUI functions provided by each button. For example, button number 12 (Aux 11-12 from the picture) is HUI bank right. So press this to access the next eight faders in your DAW to the right. The on-screen mixer changes and so does the HUI Layer.
ling the first five auxes in your DAW. It also controls the functionality of the VSel button in conjunction with the Aux Mute button (1) (this switches between Pre/Post or Mute/Unmute for the Aux sends). It also has the Bank Left and Right buttons to shift your view eight faders at a time and the Channel Left and Right buttons to shift your view one fader at a time. Buttons labeled 14 (Masters and Shift) are used to access the HUI layer.
D8B v5.1 B445 HUI Layer Control Mapping For Pro Tools 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.
D8B v5.
D8B v5.1 B445 HUI Layer Control Mapping For Nuendo 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.
D8B v5.1 B445 HUI Layer Control Mapping For Nuendo D8B Button Number D8B Button Global General HUI Layer Mapped HUI Button Mode Comments Nuendo Function 36 Automation Mutes Automation Auto Touch Auto Mode Touch N 37 Automation Pan Auto Enable Pan N N/A 38 Automation Trim Levels Auto Mode Trim N N/A 39 Set Time Equals (=) Y 40 SMPTE View F8/Esc Y 41 D8B Keypad HUI/D8B key pad Y/N 42 Enter Enter Y/N 43 Loop Loop Y 44 Store In Y Alt + Store Out Y Locator Decimal (.
D8B v5.1 B445 HUI Layer Control Mapping For Cubase SX 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.
D8B v5.
D8B v5.1 B445 HUI Layer Control Mapping For DP3.1 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.com Last Updated: 2/07/03 D8B Button Number D8B Button Global General HUI Layer Mapped HUI Button Mode Comments DP3.1 Function Fader 17-24 Fader 1-8 N Move corresponding DP3 channel Fader.
D8B v5.1 B445 HUI Layer Control Mapping For DP3.1 D8B Button Number 35 36 D8B Button Automation Mutes Automation Auto Touch Global General HUI Layer Mapped HUI Button Mode Comments N Toggles Audio Track Mute and MIDI Track Mute Automation Enables in DP3 Automation Setup window Auto Mode Touch N Hold and Press a channel Write (HUI Auto) button to enable automation playback and recording on the corresponding DP3 channel, and to put the channel into Touch automation mode.
D8B v5.1 B445 HUI Layer Control Mapping For Soundscape 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.
D8B v5.
D8B v5.1 B445 HUI Layer Control Mapping For Logic 6 16220 Woodinville Redmond Rd. NE Woodinville, WA 98072 Tel: 800-258-6883 Fax: 425-806-6312 e-mail: techmail@mackie.
D8B v5.
Appendix G Compatible Cables Analog and Digital Multitrack Cables The following companies supply analog and digital multitrack cables for use with the HDR24/96 I/O cards: Horizon Music, Inc. P.O. Box 1988, Cape Girardeau MO 63702-1988 Tel: (800) 255-9822; Fax: (800) 455-3460 http://www.horizonmusic.
Marshall Electronics PO Box 2027, Culver City, CA 90231 Tel: (800) 800-6608; Fax: (310) 391-8926 http://www.mars-cam.com AIO•8 Analog Interface Cables DC-DAXM Series DB25 to 8 male XLR’s DC-DAXF Series DB25 to 8 female XLR’s DC-DAS Series DB25 to 8 1/4" TRS Standard lengths: 3, 5, 10, 15, 20, and 25 feet 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 .................................................................................................................. 84 25-pin .................................................................................................................. 22, 23 3-Band Parametric EQ ............................................................................................
Channel Name .......................................................................................................... 88 Channel Notes ......................................................................................................... 60 Channel Select .................................................................................................. 27, 43 Channel Select Display ..................................................................................... 12, 32 Channel Strip Section .......
Enabled ....................................................................................................................... 57 Enter Button ............................................................................................................. 39 EQ ....................................................................................................... 33, 45, 84, 158 EQ to Dynamics ........................................................................................................
Styles ................................................................................................. 145, 148 Timing ................................................................................................ 145, 148 Vibrato ............................................................................................... 145, 148 Volume ............................................................................................... 145, 147 Formant-Preserving Pitch Shifting: .........................
Lock Error ................................................................................................................ 118 Lock Snapshot .......................................................................................................... 72 Locked ............................................................................................................... 57, 118 Loop Button .............................................................................................................
N Near Field Button ..................................................................................................... 35 Network .................................................................................................................... 66 Console Linking Automation ................................................................................................. 67 Aux Strip ...................................................................................................... 67 Bus Assign ....
Route to Tape .................................................................................................. 36, 88 Rude Solo Light ....................................................................................................... 34 Run ............................................................................................................................. 56 Run Event (Alt+R) .....................................................................................................
Studio Vision Pro .................................................................................................... 132 Studio/Solo Section ................................................................................................ 33 AFL SOLO ............................................................................................................. 33 CLEAR SOLO ....................................................................................................... 34 MIXDOWN SOLO ................
W What Type of Data Can Be Automated .............................................................. 137 Whirlwind ................................................................................................................ 181 Windows .................................................................................................................... 19 Windows Menu ........................................................................................................ 65 About ..........................
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 and final editing provided by Ben Olswang and 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.
