8•BUS OWNER'S MANUAL
PHANTOM PHANTOM POWER POWER TIP=OUT RING=IN SUBMASTER INSERT 1 2 3 4 5 6 7 8
AUX SEND 1 2 3 4 5 6 L R
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 MAIN MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE INSERTS MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MIC/LINE MONO MONO MONO MONO MONO MONO L L L L L L L R LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- BAL- UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL CNTRL 123456 RM OUTPUT R R R R R R L R DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT OUT
AUX RETURN MAIN MIX MONO MONO
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT TIP = OUT RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN RING = IN L R L R L R L R 2-TRACK EXTERNAL STUDIO MIX-B INPUT INPUT OUTPUT OUTPUT
PHONES 12
CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L LIN /L –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN –10 E S IN E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E E 16x8x2 8-BUS MIXING CONSOLE N N N N N N N N N N N N N N N N G G G G G G G G G G G G G G G G S S S S S S S S S S S S S S S S A I I A I A I A I A I A I A I A I A I A I A I A I A I A I A I A T T T T T T T T T T T T T T T T I I I I I I I I I I I I I I I I
N N N N N N N N N N N N N N N N
I I I I I I I I I I I I I I I I
V V V V V V V V V V V V V V V V
I I I I I I I I I I I I I I I I
T T T T T T T T T T T T T T T T
Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y
+4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE +4 40dB MIC/LINE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE U 48dB TAPE POWER TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP U U U U U U U U U U U U U U U U U U 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
SOLO SOLO 1-2 3-4 5-6 7-8 L/R MIX O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +20 LR ASSIGN 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U 2 U
SOLO SOLO 1-2 3-4 5-6 7-8 L/R MIX O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +20 LR ASSIGN AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX LEVEL LEVEL BALANCE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 3 U 5 U 3 U 5 U 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +20 1 2 O O +20 ASSIGN 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 4 U 6 U 4 U 6 U 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 SOLO SOLO SOLO PHONES PHONES L/R MIX SOLO O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +20 1 2 O O +20 AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX LEVEL LEVEL LEVEL ASSIGN LEVEL SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT 1 2 3 4567 8 91011 12 13 14 15 16 PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE SOLO AUX SENDS SOLO STEREO AUX RETURNS CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE U U U U U U U U U U U U U U U U U U U
HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID CNTRL RM CNTRL RM L/R MIX AUX SEND 1 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 O O +15 O O O O O O +15 O O +15 O O 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k 3k MIX-B PHONES PHONES STUDIO LEVEL LEVEL LEVEL LEVEL LEVEL U 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k 1k 5k FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ MIX-B MIX-B MIX-B AUX SEND 2
500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k 500 18k RUDE SOLO LITE NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL NORMAL O O +15 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 MIX-B TO SOLO AUX SEND 3/4 SOLO AUX SEND 3/4 CNTRL RM 2-TK TAPE SUB L/R MIX MASTERS BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND BAND WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH WIDTH OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES OCTAVES ASSIGN 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 AUX SEND 5/6 AUX SEND 5/6 EXTERNAL PHONES & U U U U U U U U U U U U U U U U STUDIO MIX B PHONES 1 PHONES 2 MONITOR SOLO TALKBACK LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO MONITOR MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID EXTERNAL EXTERNAL MONO
–15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 SOURCE SOURCE SOURCE 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250 250
220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ 220 350 FREQ + 22 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k 45 3k + + + + + + + U U U U U U U U U U U U U U U U 10 10 10 10 10 10 10 10 HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 7 7 7 7 7 7 7 7
–15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 4 4 4 4 4 4 4 4 U U U U U U U U U U U U U U U U 2 2 2 2 2 2 2 2
LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO LO 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 0 0 0 0 0 0 0 0
–15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 –15 +15 2 2 2 2 2 2 2 2
EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ 10 10 10 10 10 10 10 10 EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN 7 7 7 7 7 7 7 7
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 10 10 10 10 10 10 10 10 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct 18dB/oct LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN 40 40 40 40 40 40 40 40
LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR – – – – – – – – LRL R L R L R U U U U U U U U U U U U U U U U MAIN OR SOLO LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL 1 2 3 4 5 6 7 8
O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15
HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ HI/LO EQ 9 10 11 12 13 14 15 16 TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON TO MON MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B 18 19 20 21 22 23 24 MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ MONITOR SPLIT EQ 17
FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW FLIP SW CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE
OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL
-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO TALKBACK MIC LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO PAN SOLO ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN
MONO MONO MONO MONO MONO MONO MONO MONO L+R L+R L+R L+R L+R L+R L+R L+R MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 LEFT/RIGHT MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE L MIX RLRLRLRMIX MIX MIX 1 2345678 MIX dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2
U U U U U U U U U U U U U U U U U U U 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8 7- 8
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 L/R 30 30 30 30 30 30 30 30 30 MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX MIX
40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50
80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80
O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O
1 CAUTION AVIS RISK OF ELECTRIC SHOCK 9. Object and Liquid Entry — Do not drop objects or spill liquids DO NOT OPEN into the inside of the 8•Bus Console and External Power Supply. RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR 10. Damage Requiring Service — The 8•Bus Console and CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK External Power Supply should be serviced only by qualified DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE service personnel when: REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION: POUR EVITER LES RISQUES DE CHOC A. 8•Bus Console and External Power Supply power-supply ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN cord or the plug has been damaged; or ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. B. Objects have fallen, or liquid has spilled into the 8•Bus AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE Console and External Power Supply; or A LA PLUIE OU A L'HUMIDITE C. The 8•Bus Console and External Power Supply have been The lightning flash with arrowhead symbol within an equilateral exposed to rain; or triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be D. The 8•Bus Console and External Power Supply does not of sufficient magnitude to constitute a risk of electric shock to persons. appear to operate or exhibits a marked change in Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à performance; or l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution. E. The 8•Bus Console and External Power Supply has been The exclamation point within an equilateral triangle is intended to dropped, or its chassis damaged. alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 11. Servicing — Do not attempt to service the 8•Bus Console Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions and External Power Supply beyond those means described in importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil. this operating manual. All other servicing should be referred to the Mackie Service Department. SAFETY INSTRUCTIONS 12. To prevent electric shock, do not use the 8•Bus Console and External Power Supply polarized plug with an extension 1. Read Instructions — Read all the safety and operation cord, receptacle or other outlet unless the blades can be fully instructions before operating the 8•Bus Console and External inserted to prevent blade exposure. Power Supply. Pour préevenir les chocs électriques ne pas utiliser cette fiche 2. Retain Instructions — Keep the safety and operating polariseé avec un prolongateur, un prise de courant ou une autre instructions for future reference. sortie de courant, sauf si les lames peuvent être insérées à fond 3. Heed Warnings — Follow all warnings on the 8•Bus sans laisser aucune pariie à découvert. Console and External Power Supply and in these operating 13. Grounding or Polarization — Do not defeat the grounding instructions. or polarization of the 8•Bus Console and External Power Supply. 4. Follow Instructions — Follow all operating and other This apparatus does not exceed the Class A/Class B (whichever instructions. is applicable) limits for radio noise emissions from digital 5. Water and Moisture — Do not use the 8•Bus Console and apparatus as set out in the radio interference regulations of the External Power Supply near water - for example, near a bathtub, Canadian Department of Communications. washbowl, kitchen sink, laundry tub, in a wet basement, near a ATTENTION —Le présent appareil numérique n’émet pas de swimming pool, swamp or salivating St. Bernard dog, etc. bruits radioélectriques dépassant las limites applicables aux 6. Heat — Locate the 8•Bus Console and External Power appareils numériques de class A/de class B (selon le cas) Supply away from heat sources such as radiators, or other prescrites dans le règlement sur le brouillage radioélectrique devices that produce heat. édicté par les ministere des communications du Canada. 7. Power Sources — Connect the 8•Bus Console and External WARNING — To reduce the risk of fire or electric shock, do not Power Supply only to a power supply of the type described in expose this appliance to rain or moisture. these operation instructions or as marked on the 8•Bus Console and External Power Supply. 8. Power Cord Protection — Route power supply cords 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 the 8•Bus Console and External Power Supply.
V2.2-5/95 16•8 24•8 IMPORTANT SENSITIVITY 32•8 Owner’s ADJUSTMENT PROCEDURE! Manual during mixdown, roll an already-recorded Version To fully achieve the Mackie 8•Bus console’s track from your recorder. 2.2 5/95 impressive headroom and specs, you should 4. The channel’s –20dB LED may light. The “tune” channel sensitivity for each channel. L/R main meters will show the actual internal FOLLOW THIS PROCEDURE FOR operating level of soloed signals. Now you will EACH CHANNEL IN USE: optimize levels. 5. ■ For mic or line inputs, adjust the TRIM 1. Assign signal to channel fader: control clockwise to get peaks that regularly ■ If channel will be used with a micro– hit 0dB on the L/R meters. For mic inputs phone, MIC/LINE switch should be up & this may require full CCW rotation depend- FLIP switch should be up. ing on the sensitivity of the mic. ■ If channel will be used with line input, 6. If desired (optional): MIC/LINE switch should be down & ■ FLIP switch should be up. Press the EQ switch in. ■ ■ If channel will be used with a tape Adjust the channel strip’s EQ to about input keep the FLIP switch down. what you will be using during the session. ■ Re-perform Step 5. 2. Set channel strip controls as follows: ■ ■ TRIM pot all the way counterclockwise 7. Return the channel strip’s SOLO button to (+4dB) its up position. ■ AUX SEND controls all the way counter- 8. ■ Repeat Steps 1-7 on the next channel that clockwise (off) is being used. ■ EQ switch up Please put your serial number ■ LOW-CUT switch either on or off here for future reference (i.e. insurance claims, tech support, (on recommended for mic inputs) ■ return authorization, gloating Pan hard left or right privileges etc.): ■ Channel fader at UNITY ■ SOLO switch down Serial # 3. ■ Make appropriate “noise” into the channel input. For example, have a performer play/ sing/strike something or someone, etc., at the level at which they’re going to record or perform. Don’t just play a single sustained note, but rather, jam away as you would be during recording or performance. If the channel is being used for a tape input PLEASE! SAVE THE SHIPPING BOX! Yes, we know it’s only slightly smaller than a doublewide mobile home, but you will need the entire carton and internal foam if your console ever needs service at some time in the future. If your kids make the box into a fort and cut holes in it — or if you stuff it in the dumpster of the fast-food place next door to your studio, we may have to sell and ship you another packing box later on. Don’t end up buying an empty box!
1 TABLE OF CONTENTS SECTION 2* — MIX-B Output ...... 16 APPENDIX A: Connections ..46 Phones...... 16 “XLR” CONNECTORS ...... 46 Panel Layout and Function .... 4 1/4" TRS PHONE PLUGS INPUT CHANNELS ...... 4 Studio Output ...... 16 2-Track Input and & JACKS ...... 46 Fader ...... 4 1/4" TS PHONE PLUGS Mute ...... 4 External Input ...... 16 REAR PANEL & JACKS ...... 46 Pan & Assignment switches 4 SWITCHED 1/4" –20 & OL LEDs ...... 5 CONNECTIONS ...... 17 Tape Returns ...... 17 PHONE JACKS ...... 46 Channel Solo ...... 5 RCA PLUGS & JACKS ...... 47 Phantom power ...... 5 Tape Return Operating Level ...... 17 UNBALANCING A LINE ..... 47 Trim ...... 5 SPECIAL CONNECTIONS .. 47 Mic/Line switch ...... 5 Submaster/Tape Outputs17 Submaster/Tape Output TRS Send/Return The Flip Switch: Insert Jacks ...... 47 Mic/Line or Tape? ...... 6 Operating Level ...... 17 MIX-B / Monitor ...... 6 Main Bal. Outputs ...... 18 Using the send MIX-B Pan ...... 6 Expander Port...... 18 only of an MIX-B Level ...... 6 DC Power in ...... 19 insert jack ...... 47 MIX-B Split ...... 7 Using return only ...... 47 EQ Section ...... 7 SECTION 3 — AUX RETURNS: Mono, Stereo, HI Mid EQ...... 7 General Information ...... 20 Whatever ...... 48 LO Mid EQ ...... 8 LEVELS ...... 20 MULTS AND “Y”s ...... 48 HI EQ...... 8 Noise...... 20 LO EQ ...... 8 Headroom ...... 20 APPENDIX B: Options, EQ In/Out...... 8 Unity Gain...... 20 Add-Ons and Extra Stuff ...... 49 LO cut ...... 8 Metering ...... 20 METER BRIDGE ...... 49 AUX Sends ...... 8 BUSES ...... 21 EXPANDER CONSOLE ...... 49 AUX 1 & 2 ...... 9 SENDS & RETURNS ...... 21 CONSOLE STAND ...... 49 Pre (1&2) ...... 9 SOLO ...... 21 SIDECAR ...... 49 AUX 3, 4, 5, 6...... 9 EQ ...... 21 AUTOMATION ...... 49 Shift ...... 9 CONNECTORS ...... 23 UN-CIGARETTE LIGHTER.. 49 Source ...... 9 A BIT MORE ON MIXING SHOES ...... 49 Pre (3-6) ...... 9 MIX-B/FLIP ...... 23 OUTPUT SECTION ...... 10 APPENDIX C: Modifications . 50 SECTION 4 — 8•Bus Faders ...... 10 AUX SEND MOD...... 50 L Mix and R Mix ...... 10 Recording ...... 24 PFL MOD ...... 51 RECORDING OVERVIEW .... 24 MIX-B SOURCE MOD...... 51 Mono L & R ...... 10 SETUP ...... 24 Solo ...... 10 MIX-B MUTE MOD ...... 52 RECORDING & AUX 1/2 SOURCE MOD ...... 53 L/R Mix Fader ...... 10 OVERDUBBING ...... 24 Metering Bus Using Buses ...... 24 APPENDIX D: Meters 1-8 ...... 11 24 Main/Solo Meters ...... 11 Monitoring ...... Specifications ...... 54 11 Cue Mix...... 24 GAIN/LEVEL CHART...... 54 AUX Sends ...... Wet or Dry Monitor? ...... 25 AUX Solo ...... 12 28 Stereo AUX Returns ...... 12 Let’s Record! ...... SERVICE ...... 61 Overdub, Anyone? ...... 28 TROUBLESHOOTING ...... 61 Returns 1 & 2 ...... 12 MIXING OVERVIEW ...... 28 Assign (1&2) ...... 12 WHERE IT GETS FIXED ... 61 Returns 3 & 4 ...... 12 MIXING SETUP ...... 29 FACTORY SERVICE ...... 61 Assign (3&4) ...... 12 Pick a Model ...... 29 SERVICE FROM AN Consider Compression .. 29 Returns 5 & 6 ...... 12 AUTHORIZED SERVICE MIX-B/Monitor ...... 12 DOING THE MIX ...... 29 CENTER...... 64 Phones ...... 13 Using External Processing 29 Insert Devices ...... 29 Monitor ...... 13 Track sheet ...... 64 Solo ...... 13 Send / Return Devices .... 36 Session note sheet ...... 67 Talkback ...... 13 Using Subgroups ...... 36 Finding More Inputs: Jack panels (input strip 36 and Master output) ...... 14 Mix-B to L & R Buses ..... Input Strip ...... 14 Monitoring and Levels .. 37 About Automation ...... 37 Phantom power ...... 14 BNC sockets ...... 14 SECTION 5: Mic In ...... 14 PA and Sound Reinforcment Applications ...... 39 Line In ...... 14 SETUP...... 39 Direct Out ...... 14 HOUSE AND MONITOR MIX Channel Insert ...... 14 TOGETHER ...... 44 Output Panel ...... 15 Headphones ...... 44 Submaster Inserts .... 15 MAKING A SIMULTANEOUS AUX Sends ...... 15 RECORDING ...... 44 AUX Returns ...... 15 HOUSE MIX ONLY or * Why did we start with Section 2? As a Main Inserts ...... 15 matter of policy, our Manual Table of Contents MONITOR MIX ONLY...... 44 always skip things that are on the facing page to Control Room Output . 15 Mic Splitters ...... 45 the actual listing. Seems like we’re stating the Main Mix ...... 16 obvious to tell you that the Introduction is next to FINDING MORE INPUTS... 45 your right hand.
2 SECTION 1: Introduction The Mackie 8•Bus Series is a flexible ‘in-line monitoring’ style console. They are available with LAYOUT 16, 24 or 32 microphone/line inputs fed into 8 sub- PANEL LAYOUT AND mix buses, 2 stereo mix buses and 6 auxiliary send AND FUNCTION FUNCTION buses. There are 16 (or 24 or 32) tape return in- puts for multitrack monitoring and mixing or for use as additional line inputs. The 8•Bus Series is designed to be the mixing and communications GENERAL hub in a multitrack recording studio and is also GENERAL INFORMATION INFO an excellent choice for sound reinforcement work. Numerous inputs, flexible sends and terrific EQ combined with the legendary Mackie headroom and noise floor specs make your work easy. It’s clean. It’s quiet. It’s packed with features. It’s af- RECORDING RECORDING fordable… So pat yourself on the back! You’re doing something sensible here! IF YOU IGNORE MANUALS... You’ll probably ignore this one, too. That’s OK, PA AND SOUND PA the crack Mackie Documentation Department will & get to go on their annual “Typing Without Walls” REINFORCEMENT SR outing at campsite four in the Woodinville RV Park anyway. But this is a really great manual! It’s got Where ADD-ONS It Is and What It Does and How To Use It covered APPENDICES SPECS totally, with pictures and diagrams and absolutely (CONNECTIONS, ADD-ONS, SPECIFICATIONS, ETC.) ETC. no pop quizzes. Do yourself a favor and at least check out Section 2 and the block diagram for starters. The 8•Bus Series has a number of routing tricks that could be hard to suss out without a guide. Then, if SERVICE SERVICE that’s all you can take without pumping some sound through the console, put the manual in the bathroom for future reference or read it while you eat your lunch. If you’re even more terminally impatient, try to MASTER TRACK SHEETS TRACK look for these two icons: FOR DUPLICATION SHEETS
BLOCK They cover information that is absolutely criti- BLOCK DIAGRAM DIAGRAM cal or is unique to the 8•Bus Series. At some point, it’s still a good idea to browse through the rest of the manual. In addition, sections marked with the A CLOSER LOOK icon include in-depth information… or at least our own opinions.
3 EQ IN
75 Hz 18dB/oct LOW CUT SECTION 2: Panel Layout and Function PAN OVERVIEW INPUT CHANNELS (CHANNEL STRIPS) LR U The panel layout of the Mackie 8•Bus Series The 16, 24 or 32 input channel strips on the LEVEL follows the traditional arrangement: input chan- Mackie 8•Bus consoles are identical, and contain all O O +15 nel strips to the left, with a master output/ of the level, assignment and equalization controls for HI/LO EQ TO MIX-B monitoring/cue section to the right. Additionally, each input channel. This section describes the con- MIX-B MONITOR SPLIT EQ
FLIP SW most of the Mackie input/output jack panel is trols and functions of each feature of an input CHANNEL SOURCE located at the top of the mixing panel, for easy channel in detail.
OL accessibility and patching. The tape outputs and -20 inputs are on the rear panel. FADER PAN The channel fader (1) is 100 millimeters long, SOLO with a precise logarithmic taper and attenuation in MUTE dBs printed along the slot for exact and repeatable 16 level adjustments. The fader affects either the mic or line input to the channel (for recording) or the tape dB 10 return to the channel (for mixing), depending on CHANNEL INPUT/OUTPUT the position of the FLIP switch.
5 1-2 MASTER MUTE U I/O