ملخص المحتوى في الصفحة رقم 1
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ملخص المحتوى في الصفحة رقم 2
C. The 8•Bus Console and External Power Supply have been exposed to rain; or CAUTION AVIS RISK OF ELECTRIC SHOCK D. The 8•Bus Console and External Power Supply does not appear DO NOT OPEN to operate or exhibits a marked change in performance; or RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR E. The 8•Bus Console and External Power Supply has been dropped, or its chassis damaged. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE 11. Servicing
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16•8 24•8 32•8 IMPORTANT SENSITIVITY Owner’s ADJUSTMENT PROCEDURE! Manual Version during mixdown, roll an already-recorded 2.3 To fully achieve the Mackie 8•Bus console’s track from your recorder. 8/99 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 operating level of soloed signals. Now you will FOLLOW THIS PROCEDURE FOR optimize levels. EACH CHANNEL IN USE: 5. For m
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TABLE OF CONTENTS APPENDIX A: Connections ..46 SECTION 2* — MIX-B Output ........... 16 “XLR” CONNECTORS ......... 46 Phones....................... 16 Panel Layout and Function .... 4 1/4" TRS PHONE PLUGS Studio Output ........... 16 INPUT CHANNELS................ 4 & JACKS ............................. 46 2-Track Input and Fader .............................. 4 1/4" TS PHONE PLUGS External Input ........... 16 Mute .............................. 4 & JACKS ............................. 46 REAR P
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SECTION 1: Introduction The Mackie 8•Bus Series is a flexible ‘in-line monitoring’ style console. They are available with LAYOUT PANEL LAYOUT 16, 24 or 32 microphone/line inputs fed into 8 sub- AND mix buses, 2 stereo mix buses and 6 auxiliary send FUNCTION AND 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 GENERAL INFORMATION hub in
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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 +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.
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Y T I V I T I S N E S N I A G to achieve 87dB attenuation. You get far better On the Mackie 8•Bus console, the SOLO PHANTOM POWER channel separation plus freedom from level shifts assignments are stereo except for the AUX sends. SOLO maintains the perspective set up with the caused by channel assignment and panning. In addition, our pan pots are constant loudness. PAN controls. When any SOLO button on the con- When you sit between a pair of monitors and pan sole is depressed, its associated SOL
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Y T I V I T I S N E S N I A G The MIC/LINE switch (9) is located way up strip (via the source switch), can be achieved PHANTOM POWER amongst the channel jacks. It selects whether by modifying the channels. See Appendix C: Modifications on page 52. the MIC jack (pin 2=hot[+], pin 3=cold[–], pin 1=shield) or the LINE jack (balanced 1/4" 1. When the Mix-B SOURCE switch (11) is phone… tip=hot, ring=cold, sleeve=shield) is up, MIX-B receives its input from the FLIP connected to the input amplifier.
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SHIFT +15 MIX-B SPLIT When you put these consoles on 16 +10 PRE the test bench, you see that the The SPLIT switch (14) in the CHANNEL +5 MIX-B bandwidth of their EQ is sim- SOURCE MIX-B section splits the EQ sec- U 0 ply too narrow — often tion of the channel when HI –5 MID around one octave. This is OK depressed. In the up position, all –15 +15 –10 for extreme adjustments in 3k four sections of EQ remain, if en- –15 live situations, but that’s about 1k 5k FREQ gaged, in the primary channel 20Hz
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NORMAL 2 +15 Now you know some of the de- available. It’s a fine bass control, BAND WIDTH OCTAVES +10 sign philosophy behind our Hi and is switched with HI EQ into 1 3 12 +5 U Mid EQ. It’s time to start experi- the MIX-B circuit if the SPLIT LO MID menting with it yourself. Don’t 0 button is depressed. –15 +15 forget to try the control at its –5 A low-frequency shelving 250 bandwidth extremes — espe- equalizer will add or remove bass –10 220 350 FREQ cially at the 3-octave end. You’ll in a smoot
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Y T I V I T with even more gain, from unity to +15dB. AUX 3, 4, 5, 6 +4 -40dBV MIC/LINE 10dB 50dB TAPE For example, when you want a super “wet” TRIM Auxiliary sends 3, 4, 5, and 6 (26) are very simi- GAIN sound(mostly reverb), the extra gain allows you to FLIP lar to sends 1 & 2. The differences are in the U 1 bring the channel fader part way down (and the SHIFT and SOURCE switches. Read on. AUX send way up) so the sound is mostly reverb +15 U with just a touch of “dry” signal. SHIFT 2 Don’t w
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OUTPUT SECTION cussed below, allows you to assign submix buses within your L/R mix. The output section is the large area to the right of the input channel strips. It contains the master fad- MONO L & R LAYOUT ers and metering, as well as the send and return The MONO L & R switch (4) functions ONLY AND masters, cue, monitoring and communication when you have first depressed the L MIX or R FUNCTION controls. MIX. If you’ve pushed L MIX or R MIX, pushing 8•BUS FADERS MONO L & R will assign the bus
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METERING +22dBu unbalanced. (You don’t want these Bus Meters 1-8 to ever go on. If they do, try pulling down the L/R master fader a little.) Directly above each bus fader is a peak-reading meter displaying the bus output level. Zero (0) on LAYOUT AUX SENDS the meter references a level of +4dBu (1.23 volts AND The six auxiliary send outputs each have a RMS) at the output jack. FUNCTION master level control. Like any level control, turn- NOTE: If the -10dBV switches are engaged at ing the knob tur
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AUX SOLO Returns 1 & 2 The SOLO button next to each level control AUX Returns 1 & 2 (10) each have a stereo SOLO (7) solos that send and allows you to check the switch, a stereo LEVEL control, a BALANCE control send level in the main meters. There is a solo LAYOUT and a bank of ASSIGN switches. AND LED (8) in the Send section, to help you locate ASSIGN (1 & 2) FUNCTION what the heck you soloed. Note: The six AUX Sends are each mono sig- AUX Returns 1 & 2 are assigned in stereo pairs nals, and th
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PHONES The MONO switch sums the left and right channels together to allow you to check your mix The PHONES 1 (16) and PHONES 2 (17) sec- in monaural. This affects only the control room tions are identical. Each monitor speakers, the studio monitor speakers, contains a stereo level control LAYOUT and the L/R meters (although the meters are not for the headphones outputs, a AND monoed in solo mode.) stereo SOLO switch, and five FUNCTION pushbuttons to select from the SOLO following signal sources:
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JACK PANELS (INPUT STRIP & Mic In PHANTOM MASTER OUTPUT) POWER The channel microphone input (1) is a stan- All of the inputs, outputs and insert points are dard 3-pin female mic connector (call me located on the jack panels on the top and the Cannon or call me XLR, just don’t call me late rear panels of the mixer. An external patchbay is for dinner). Pin one is ground, pin two is signal not required, although it does make life easier. high (+), pin three is signal low (–), as per the CHANNEL 16
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OUTPUT PANEL TIP = OUT RING = IN The input and output jacks that cor- SUBMASTER INSERT 1 2 3 4 5 6 7 8 respond to most of the functions in the Output Panel are, logically, located in AUX SEND the jack panel directly above the Output 1 2 3 4 5 6 Panel. The 8•Bus outputs to tape (and L R MAIN the inputs from tape) are located on the INSERT (MONO) (MONO) (MONO) (MONO) (MONO) (MONO) L L L L L L rear panel. L R CNTRL 12 3 4 5 6 RM OUTPUT Submaster Inserts R R R R R R At the top of the panel a
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TIP = OUT RING = IN SUBMASTER INSERT 1 2 3 4 5 6 7 8 AUX SEND 1 2 3 4 5 6 L R MAIN INSERT (MONO) (MONO) (MONO) (MONO) (MONO) (MONO) L L L L L L L R LAYOUT CNTRL 12 3 4 5 6 RM OUTPUT AND R R R R R R FUNCTION L R MAIN MIX AUX RETURN (MONO) (MONO) L R L R L R L R STUDIO MIX-B 2-TRACK EXTERNAL INPUT INPUT OUTPUT OUTPUT PHONES12 Main Mix Studio Output The Main Mix jacks (6) on the top panel are 1/4" The two Studio Output jacks (9) carry the signal TRS unbalanced, with tip high, and ring and s
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21 19 17 15 13 11 9 7 5 OPERATING OPERATING LEVEL CH. 17-24 LEVEL CH. 9-16 IN –10dBV IN –10dBV OUT +4dBu OUT +4dBu 22 20 18 16 14 12 10 8 6 +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / U TAPE RETURNS 17-24 TAPE RETURNS 9-16 TAPE RETUR REAR PANEL Console Bus 1: Submaster 1, 9 and 17 CONNECTIONS Console Bus 2: Submaster 2, 10 and 18 Console Bus 3: Submaster 3, 11 and 19 The connections to and from your multitrack re- Console Bus 4: Submaster 4, 12 and 20 c
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RIGHT LEFT EXPANDER PORT USE MACKIE 8•BUS EXPANDER CABLE +18V ONLY! KEEP COVERED –18V +48V +12V +5V +28dBu MAX OUT THIS CONNECTION FOR MACKIE DC POWER IN 8•BUS POWER SUPPLY ONLY ! MAIN BAL OUTPUTS MAIN BALANCED OUTPUTS DC POWER IN Along with the unbalanced 1/4” TS Main Mix This is where the funny plug that looks like a jacks on the front panel, balanced Main XLR Supersoaker squirtgun nozzle fits (6). Your 8•Bus Outputs (4) are also provided, wired pin 2 hot, console should ONLY be powered by t
