User manual MACKIE 8BUS

[. . . ] The 8·Bus Console and External Power Supply have been exposed to rain; or D. The 8·Bus Console and External Power Supply does not appear to operate or exhibits a marked change in performance; or E. The 8·Bus Console and External Power Supply has been dropped, or its chassis damaged. Servicing -- Do not attempt to service the 8·Bus Console and External Power Supply beyond those means described in this operating manual. [. . . ] Before you Channel Channel actually get involved with recording, we'd Input Mix B/Monitor like to spring a couple of block diagrams on you that may clarify things further. The switch labeled FLIP selects the 24 input that is actually fed into the channel Additional mic or line input fader (and the MIX-B control). As the label indicates, the MIC/LINE input Figure 6: FLIP/MIX-B signal path during mixdown (after Mic/Line preamp) is fed to the channel showing additional input ("flip" switch down) fader when the FLIP switch is in the up position PAN Mixdown Deck L R U LEVEL O O +15 CHANNEL HI/LO EQ MIX-B MONITOR OUTPUT INPUT SHIFT MIC/LINE LINE IN SOURCE 23 SECTION 4: RECORDING WITH THE MACKIE 8·BUS CONSOLE RECORDING OVERVIEW The recording process can be as simple as one microphone recorded on a monaural tape recorder. But since you've bought such a large mixing console, we expect you'll occasionally be doing pretty big sessions. This section will describe at least one way of approaching a large session-- for example, a big drum set, bass, guitar, piano, scratch vocal and horns, with background vocals and synthesizer overdubs. Let's assume there is a 16-track recorder already patched in to the first 16 Tape In and the 16 Tape Out jacks on the 8·Bus Console. There is a set of Master Tracking, Overdub and Mixdown drawings farther on in this section for general reference. white paper tape alongside each fader slot (bus faders too, if you need them). Then you can mark your place as you rehearse your fader moves. RECORDING AND OVERDUBBING Using Buses If you have to combine two or more inputs into one output (two trumpets on one track, five drum mics panned across a pair of tracks), you must assign the inputs to a common bus or pair of buses. If you have only one source going to one tape track, you have a choice: you can assign the channel to the bus feeding that track, or you can patch the tape track into the channel's Direct Out. Rationale for using a bus: · It's there, it's easy, it sounds great. · You meet interesting people on the bus. Rationale for using a Direct Out: · You've already assigned all eight of your buses to other duties. · You are a purist and you think you can hear the additional circuitry used in a bus. RECORDING SETUP Okay, now let's get ready for your session. Make a diagram of your studio setup showing mic positioning. Then assign an input channel to each mic. Trying to make your microphone-to-input layout sensible now will avoid confusion later. If there is a left-toright pattern to the mics (like drums mics or a vocal group), keep the same left-to-right sequence on the console. Plan your basic track assignments the same way. It's very confusing to have inputs randomly strewn across a mixing console. Now, normal your console (also called "zeroing"). This means check the position of every switch and every knob to be sure they are in the normal position. [. . . ] ___ ______________________ ______________________ ______________________ Tk. ___ ______________________ ______________________ ______________________ CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN CH. MIC ­10 LINE S /LIN Page _____ of _____ AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN AIN E GITIVITY S EN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN +4 U 40dB MIC/LINE 48dB TAPE GAIN TRIM FLIP TRIM FLIP TRIM FLIP TRIM FLIP TRIM FLIP TRIM FLIP TRIM FLIP TRIM FLIP 1 U 1 U 1 U 1 U 1 U 1 U 1 U 1 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U 2 2 2 2 2 2 2 2 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 AUX PRE AUX PRE AUX PRE AUX PRE AUX PRE AUX PRE AUX PRE AUX PRE 3 U 3 5 U 3 5 U 3 5 U 3 5 U 3 5 U 3 5 U 3 5 U 5 O O O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U O O +15 U +15 U 4 4 6 4 6 4 6 4 6 4 6 4 6 4 6 6 O O O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 +15 AUX SHIFT AUX SHIFT AUX SHIFT AUX SHIFT AUX SHIFT AUX SHIFT AUX SHIFT AUX SHIFT PRE CHANNEL MIX-B CHANNEL MIX-B PRE CHANNEL MIX-B PRE CHANNEL MIX-B PRE CHANNEL MIX-B PRE CHANNEL MIX-B PRE CHANNEL MIX-B PRE CHANNEL MIX-B PRE SOURCE U U SOURCE U SOURCE U SOURCE U SOURCE U SOURCE U SOURCE U SOURCE HI MID ­15 +15 3k 1k 5k FREQ 500 2 BAND WIDTH HI MID ­15 +15 3k 1k 5k FREQ 500 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL HI MID ­15 +15 3k 1k 5k FREQ 500 2 18k NORMAL 18k NORMAL 2 BAND WIDTH BAND WIDTH BAND WIDTH BAND WIDTH BAND WIDTH BAND WIDTH BAND WIDTH 3 U 1 12 3 U 1 12 3 U 1 12 3 U 1 12 3 U 1 12 3 U 1 12 3 U 1 12 3 U 1 12 LO MID ­15 +15 ­15 +15 LO MID ­15 +15 LO MID ­15 +15 LO MID ­15 +15 LO MID ­15 +15 LO MID ­15 +15 LO MID ­15 +15 LO MID 250 220 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 220 250 350 FREQ 45 U 3k 12k ­15 U +15 ­15 U +15 HI 12k ­15 U +15 HI 12k ­15 U +15 HI 12k ­15 U +15 HI 12k ­15 U +15 HI 12k ­15 U +15 HI 12k ­15 U +15 HI 12k HI LO 80 ­15 +15 ­15 +15 LO 80 ­15 +15 LO 80 ­15 +15 LO 80 ­15 +15 LO 80 ­15 +15 LO 80 ­15 +15 LO 80 ­15 +15 LO 80 EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz EQ EQ IN 75 Hz LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT PAN L U R L U R PAN L U R PAN L U R PAN L U R PAN L U R PAN L U R PAN L U R PAN LEVEL O O LEVEL O O LEVEL O O LEVEL O O LEVEL O O LEVEL O O LEVEL O O LEVEL O O +15 +15 +15 +15 +15 +15 +15 +15 HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON HI/LO EQ TO MON MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT MIX-B MONITOR FLIP SWITCH CHANNEL SPLIT SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE SOURCE OL -20 L R SOLO L R OL -20 L SOLO R OL -20 L SOLO R OL -20 L SOLO R OL -20 L SOLO R OL -20 L SOLO R OL -20 L SOLO R OL -20 PAN PAN PAN PAN PAN PAN PAN PAN SOLO CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL CHANNEL MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE dB dB dB dB dB dB dB dB 10 1-2 9-10 10 1-2 9-10 10 1-2 9-10 10 1-2 9-10 10 1-2 9-10 10 1-2 9-10 10 1-2 9-10 5 3-4 11-12 10 1-2 9-10 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 3-4 11-12 U 5-6 13-14 5 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 3-4 11-12 U 5-6 13-14 5 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 3-4 11-12 U 5-6 13-14 5 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 3-4 11-12 U 5-6 13-14 5 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 3-4 11-12 U 5-6 13-14 5 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; 5 U U 5-6 13-14 5 5 7-8 15-16 ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; 3-4 11-12 5-6 13-14 ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; 5 3-4 11-12 U 5-6 13-14 5 7-8 15-16 10 10 7-8 15-16 10 7-8 15-16 10 7-8 15-16 10 7-8 15-16 10 7-8 15-16 10 10 7-8 15-16 20 L/R MIX 20 L/R MIX 20 L/R MIX 20 L/R MIX 20 L/R MIX 20 L/R MIX 20 L/R MIX 20 L/R MIX 30 30 30 30 30 30 30 30 40 50 60 O O 40 50 60 O O 40 50 60 O O 40 50 60 O O 40 50 60 O O 40 50 60 O O 40 50 60 O O 40 50 60 O O CH. CH. CH. CH. CH. CH. CH. CH. 65 This is the back of a master track sheet, which came in the Mackie 8·Bus console manual. If you find this sheet in a copy machine, please return it to the engineer/owner of the console. If you find this sheet in the back of a gloomy tavern, buy it a cold one. 66 Page _____ of _____ SESSION ______________________ DATE ___/___/___ BUS COMMENTS: Hey buddy can you spare some change? [. . . ]