Mackie 56-input User manual

QUICK START GUIDE
™
DIGITAL 8•BUS
MACKIE’S 56-INPUT, 72-CHANNEL, FULLY AUTOMATED DIGITAL AUDIO MIXING CONSOLE

TABLE OF CONTENTS
1. Introduction.............................................................................................................3
About the Quick Start Guide ......................................................................................................3
Unpacking...............................................................................................................................3
2. The Basics ...............................................................................................................5
The Traditional Split-Console Approach ........................................................................................5
Three Things to Keep in Mind..............................................................................................5
Tracking ...........................................................................................................................5
Monitoring .......................................................................................................................6
Overdubbing/Bouncing Tracks.............................................................................................6
Mixdown.........................................................................................................................7
Signal-flow Diagram ................................................................................................................7
3. Tutorial Hookup — Let’s Get It Working! .................................................................. 8
Hookup Stuff ..........................................................................................................................8
Power-Up...............................................................................................................................9
Start-up .............................................................................................................................10
System Options ..............................................................................................................10
Downloading Plug-Ins......................................................................................................10
Getting Sound Out .................................................................................................................11
Preparing to Record ...............................................................................................................11
Saving Your Session ...............................................................................................................14
Creating a Default Snapshot ....................................................................................................14
4. General Guidelines................................................................................................. 15
Three Things to Keep in Mind (Reprise) .....................................................................................15
Setting Levels .......................................................................................................................15
Input Sensitivity Adjustment Procedure for Channels 1-24 ....................................................15
Using Internal Channel Processing and Internal Effects.................................................................16
EQ .............................................................................................................................16
Gate .............................................................................................................................17
Compressor....................................................................................................................17
Internal Effects ...............................................................................................................17
Plug-Ins ..................................................................................................................17
MFX ....................................................................................................................17
IVL Vocal Studio ....................................................................................................19
IVL Vocal Studio: Harmony Example............................................................................19
Using External Effects.............................................................................................................23
Soloing .............................................................................................................................24
5. Hookup for Multitrack Recording ............................................................................26
Hookup for Tracking ...............................................................................................................27
Monitoring .....................................................................................................................27
Hookup for Mixdown .............................................................................................................29
6. Hookup for Live Mixing (D8•SR) ............................................................................ 30
Setting up Monitor Mixes .......................................................................................................31
7. Digital 8•Bus Overview .........................................................................................32
Channel Strip Description ........................................................................................................32
Master Section Description ......................................................................................................32
Rear Panel Description ...........................................................................................................36
Remote CPU Description .........................................................................................................38
Connecting a Mouse, Keyboard, and SVGA Monitor .............................................................38
Other Connections ...........................................................................................................38
Automation ....................................................................................................................39
Remote CPU Rear Panel View .................................................................................................40
Top Panel View .....................................................................................................................41
Rear Panel View ...................................................................................................................42

™
Mackie Designs Inc.
16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA
800/898-3211 • Outside the US: 425/487-4333
Fax: [phone] • www.mackie.com
email: [email protected]
©1998 Mackie Designs Inc. All rights reserved. #820-075-00

Q u i c k S t a r t G u i d e
3
Introduction
Figure 1. Unpacking the Console
1. Introduction
Now you’ve done it! You’ve just invested in
the newest generation of affordable digital
mixing consoles by Mackie Designs. Whether
or not you’ve used digital mixing consoles
before, you will be pleased by the analog feel of
our Digital 8•Bus, and by how easy it is to use.
Greg Mackie has been designing and building
analog mixers for years (since the TAPCO days
of the early ’70s), and one of the prime direct-
ives for our first digital mixing console was to
make it as easy to use as an analog mixer.
The Digital 8•Bus combines the best of both
worlds, providing an intuitive control surface
for mixing the old-fashioned way — with
faders and knobs — and providing connections
for a mouse, keyboard, and video monitor for
performing computer-oriented functions such
as file maintenance and editing. Of course, you
can perform virtually all the same mixing
functions on the video monitor as you can on
the control surface, so you have the flexibility
to choose what works best for you.
About The Quick Start Guide
This Quick Start Guide is designed to help
you get going right away. Use it, along with the
Quick Start Video, to learn the basics of setting
up and using the Digital 8•Bus. But eventually
you will have to crack open the Digital 8•Bus
Owner’s Manual to gain a
more in-depth understanding
of what the Digital 8•Bus
can do for you.
Unpacking
Obviously, you’ve already opened the box if
you’re reading this manual. Here are some
helpful hints on unpacking:
• The Digital 8•Bus comes in two parts, each
packed in a separate box: The Console and
the Remote CPU.
The Console
• If you haven’t removed the Digital 8•Bus
from the packing box yet, remove the
accessory tray containing the manuals,
video, and miscellaneous literature.
• Remove the foam blocks from the ends of
the console. Just lift up on them and they’ll
come right out. The Digital 8•Bus weighs 65
pounds, so we recommend enlisting the help
of another person to assist in lifting it out of
the box. Position one person on each end of
the box and, on the count of three, lift the
console (remember: back straight, lift with
your legs!).
• Place the console on a flat surface, like the
floor next to the packing box, or a table top
large enough for the Digital 8•Bus to sit on.
• Remove the plastic bag from around the
console.
• Please save the box, the outer sleeve, and
all the foam innards. If you need to ship your
Digital 8•Bus anywhere, using the original
carton is the best way to do it.
Part No. 820-075-00 Rev. A 8/98
©1998 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.
box top
accessories
accessory tray
outer sleeve
right side
foam
left side
foam
box bottom
right side
lower foam
left side
lower foam
factory fresh
console in
plastic bag

D i g i t a l 8 • B u s
4Introduction
Figure 2. Unpacking the Remote CPU
The Remote CPU
• Use a sharp knife to cut the tape on the top
of the box.
• Open the flaps to expose the Remote CPU
inside.
• Lift the Remote CPU up and out of the
packing box. The foam blocks will come
with it, and the bottom tray will lift up also.
The DC Power Cable is coiled up underneath
the bottom tray.
• Set the Remote CPU on a flat surface, like the
floor next to the packing box, or a table top.
right side
foam
left side
foam
remote cpu
in plastic bag
connection cord
in plastic bag bottom tray
remote cpu
box
ON
OFF
POWER
Take a moment now to fill out the Product
Registration Card located in the back of the
Digital 8•Bus Owner’s Manual. Mailing it in will
automatically put you on our mailing list so you
can get updated information, so do it today.
Also, write the serial numbers of your
Digital 8•Bus console and Remote CPU here
so you’ll always have them.
Console Remote CPU
Purchased at:
Date Purchased:
• Remove the DC Power Cable from the
bottom tray.
• Remove the foam blocks from the sides of
the Remote CPU.
• Remove the plastic bag from around the
Remote CPU, and the plastic bag from
around the DC Power Cable.

Q u i c k S t a r t G u i d e
5
The Basics
2. The Basics
The Traditional Split-Console Approach
Bank 1 and Fader Bank 2 as two separate
mixing consoles, where Fader Bank 1 is used
for tracking and Fader Bank 2 is used for
monitoring and mixdown.
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 work-
ing as you expect, it is because one of these
three settings isn’t where you intend it to be.
Tracking
The first 24 channels (Fader Bank 1) are
used for tracking; that is, to record instruments
and voices onto individual tracks of the multi-
track recorders (refer to Figure 4 on the next
page). Microphones and instruments are directly
connected to the input jacks on channels 1–24,
and their signals are assigned to Tape Outputs
1–24 (and not to the L-R bus). The Tape Outputs
on the Digital 8•Bus are connected to the
inputs of the multitrack recorders where the
instruments and voices are recorded on tape
(or hard disk in the case of a Hard Disk
Recorder or DAW).
Fader Bank 1
Channels 1-24
Mic/Line
Tracking
Channels1-24
Channels25-48
FXReturn1-16;ALTReturn1-8
Groups1-8;MIDI1-8;Bus1-8
Fader Bank 2
Channels 25-48
Monitor/Tape In
Mixdown
Fader Bank 3
FX Return 1-16
ALT Return 1-8
Fader Bank 4
Virtual Groups 1-8
MIDIControllers1-8
Bus 1-8 Masters
Figure 3. The Split Console
Before we go any farther, we want to
present a concept that might help you
understand the Digital 8•Bus a little better.
Once you grasp this concept, you will begin to
understand the real beauty and power hidden
beneath the surface of this console.
The Digital 8•Bus has four layers of faders,
or fader banks, which can be individually
accessed using the select buttons in the Master
Fader/Bank Select Section. All four banks
operate simultaneously, but only one bank is
accessible at a time.
Fader Bank 1 = Channels 1–24
(1–24 MIC/LINE button)
Fader Bank 2 = Channels 25–48
(25–48 TAPE button)
Fader Bank 3 = Internal Effects Returns
FX 1–16, ALT RETurns 1–8
( 49–72 EFFECTS button)
Fader Bank 4 = Virtual Groups 1–8, MIDI
Controllers 1–8, Bus 1–8 Masters
(MASTERS button)
This architecture provides a total of 56
inputs, with Fader Banks 1 and 2 providing 48
inputs, and the 8 ALT Returns in Fader Bank 3
providing another 8 inputs.
One of the primary applications that the
Digital 8•Bus was designed for is multitrack
recording (up to 24 tracks). This involves
tracking and monitoring, bouncing, over-
dubbing, and mixdown. You can think of Fader

D i g i t a l 8 • B u s
6The Basics
Monitoring
But wait! Of course you want to be able to
monitor the signal as you’re recording it. And
your preference is to monitor the signal actually
recorded onto the tape rather than the signal
going from the console to the tape machines,
so you can hear if there is any distortion or
unusual noise going down. Even if you’re using
all 24 channels for tracking, you’ve only used
half the channels available. There are another
24 channels available for Tape Inputs (Fader
Bank 2). This is the split-console concept.
You can connect all 24 tracks from the
multitrack recorders to the Digital 8•Bus, and
monitor them on channels 25–48, which are
assigned to the L-R bus. The tracking half is
not assigned to the L-R bus, so you can use the
monitoring half to hear the tape outputs on the
L-R bus.
What’s more, all 48 channels have full DSP
capability, so you can apply EQ and effects to
the post-tape signal. And thanks to snapshot
automation, you can even create a rough mix
and store it for future use.
Overdubbing/Bouncing Tracks
The setup is the same throughout the
mixing process. No need to crawl around
behind your gear and move cables around. The
Digital 8•Bus has its own built-in patch bay to
reassign the inputs to various output
destinations.
A corollary of Murphy’s Law states that no
matter how many tracks you have available to
record, you will always need at least one more.
If you need to bounce some tracks down to
make room for the background vocal parts,
simply assign the tracks you want to bounce
Digital
Multitrack
Recorders
DAT Recorder
2-Track
Master
CUE MIX
OUT
Channels 1-24
MIC/LINE IN Tape Outs or Bus Outs
To Tape From Tape
Tracks 1-24
TAPE IN L/R MASTER OUT
Channels 25-48
MONITORING HALF
Fader Bank 2
Channels 1-24
TRACKING HALF
Fader Bank 1
Figure 4. The Split Console — Tracking
Digital
Multitrack
Recorders CUE MIX
OUT
Tape Tracks In
to
Bus Outs
(This routing
is internal)
Bounce down to
one or two tracks
Bus Outs
START
Tracks being
bounced
Channels 25-48
MONITORING HALF
Fader Bank 2
Channels 1-24
TRACKING HALF
Fader Bank 1
Figure 5. The Split Console — Bouncing Down

Q u i c k S t a r t G u i d e
7
The Basics
down to one of the Bus 1–8 Masters (Fader
Bank 4), and assign the Bus Master to any one
(for a mono mix) or two (for a stereo mix) of
the 24 Tape Outputs.
As you bounce the tracks down, you’ll
monitor the previously recorded tracks through
the monitoring half of the console.
Of course, overdubbing is simply recording
while monitoring both the live source and pre-
recorded tracks.
Mixdown
Mixing down is an art unto itself, but the
Digital 8•Bus gives you the tools to make the
job easier so you can concentrate more on the
art and less on the mechanics. Since the
Digital 8•Bus is fully automated, you can go
through a step-by-step process of adjusting
levels, pans, EQ, and effects. The console
remembers every move you make and plays
them back each time you make a pass, while
you add your creative touch to each and every
track. When you’re done, hit PLAY, sit back
and watch the console perform the complex
tasks you’ve programmed it to do, resulting in
a perfect mix to two-track (or multitrack for
surround-sound applications).
Signal-Flow Diagram
There is a detailed block diagram in the
Digital 8•Bus Owner’s Manual that shows all
the signal flow and computer-controlled logic
within the console. But since this is a Quick
Start Guide, we thought it might be helpful to
have a simpler signal-flow diagram here that
shows the basic signal flow at a glance so you
don’t have to plod through the detailed drawing.
Analog
Inputs
CH 1-48
Optional
Digital Tape
Input
Level to
Tape To Tape Outputs
L
R
Channel
Fader
Aux Send
Level
Channel
Pan
Bus Master
Bus 1-8
Master L/R
Fader
Digital to
Analog
Converter
Digital to
Analog
Converter
Digital to
Analog
Converter
Main
Out
Bus 1-8
Outputs
Aux
Sends
Lake Sammamish
6 miles
AES/EBU Out
S/PDIF Out
CR
Nearfield
Out
CR
Main
Out
Studio
Out
Bus
Assign
Master Aux
Send Level
Internal
FX
FX
Returns
DAC
From
L/R Out Main L/R
Meter
Channel
Meter
Tracking/Routing
Monitoring
S/PDIF
AES/EBU
2 TRK A
2 TRK B
2 TRK C
Analog to
Digital
Converter
Control
Room
Select
DSP
Studio
Level
Main
Speaker
Level
Near Field
Speaker
Level
Phones 1
Out
Cue Mix 1
Level
Phones 2
Out
Cue Mix 2
Level
DAC
Figure 6. Simplified Signal-Flow Diagram

D i g i t a l 8 • B u s
8
3. Tutorial Hookup —
Let’s Get It Working
This is a step-by-step guide to connect a few
things to the Digital 8•Bus and get it working.
You can pop the Quick Start Video into your
VCR and follow along. You will need the
following items to proceed:
1 Electronic Keyboard
1 Stereo Power Amplifier
1 pair of Monitor Speakers (you can
substitute a pair of powered monitors for the
power amplifier/monitor speakers combo)
1 8-track recorder (or multitrack recorder of
your choice)
1 AIO•8 or DIO•8 (Tape I/O card)
Miscellaneous cables
1 cup of coffee (or alternate beverage of your
choice)
Hookup Stuff
First, connect the Remote CPU to the console.
1. Place the console on your work surface.
2. Place the Remote CPU in some convenient
location nearby. It’s rack-mountable, so you
can put it in a rack if you so desire.
Caution: The Remote CPU
weighs 42 pounds, so we
recommend that if you
mount it in a rack, you place
it at the bottom of the rack
and provide additional support at the rear of
the unit.
The connecting cables can reach up to 15
feet, so the Remote CPU must be within 15
feet of the console. If you’re going to use the
optional keyboard/monitor/mouse interface
devices, you’ll want to locate the Remote
CPU close enough for your equipment to
reach your work surface.
3. Connect the DC power cable between the
Remote CPU and the console. Rotate the
outer sleeve of the connector clockwise until
the sleeve is snug and finger-tight.
4. Connect the data cable between the Remote
CPU and the console. Rotate the thumb-
screws on each connector clockwise until
they are finger tight.
5. Make sure the POWER switch on the
Remote CPU is off.
6. Connect the detachable linecord to the
Remote CPU.
Next, connect the keyboard, mouse, and video
monitor.
Note: These connections are optional, but we
recommend using them to get the most from
your new Digital 8•Bus console.
1. Plug a PC-compatible keyboard into the KEY-
BOARD 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.
Tutorial Hookup — Let’s Get It Working
CONSOLE
DATA
POWER
SUPPLY
WARNING:
SHUTOFFREMOTE POWER SUPPLYBEFORE CONNECTING
ORDISCONNECTINGPOWER SUPPLY CABLEFROM CONSOLE
AUX
1
AUX
2
AUX
3
AUX
4
AUX
5
AUX
6
AUX
7
AUX
8
AUX
9
AUX
10
AUX
11
AUX
12
+48V
PH
LINE IN
INSERT
TALKBACK
PHONES 2
19
13
PUNCH I/O
PHONES 1
20
14
21
15
22
16
2 TRACK IN A
23
17
24
18
MASTER OUT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
11
MIC MIC
10
MIC
9
MIC
8
MIC
7
MIC
6
MIC
5
MIC
4
MIC
3
MIC
2
MIC
1
MIC
+48V
PH
LINE IN
INSERT
+48V
PH
LINE IN
INSERT
2 TRACK IN B STUDIO OUT
2 TRACK IN C
MASTER OUT
LR
L
R
CR
MAIN
BUS OUT 1-8
&
SURROUND OUT
CR
NEAR FIELD
AUX OUT
(BAL /UNBAL)
LINE INPUTS
(BAL/UNBAL)
LR
LR
LR
LR
LR
LR
PATENTS PENDING
MACKIEDESIGNS
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS:
1)THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE AND
2)THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT MAY CAUSE UNDESIRED OPERATION
TAPE1 - 8 TAPE 9 - 16 TAPE17 - 24
DIGITAL EFFECTS CARDS DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS
DIGITAL I/O 1
AES/EBU
DIGITAL I/O
2
S/PDIF
OUT
IN
IN
OUT
SERIAL NUMBER MANUFACTURING DATE
RISKOF ELECTRIC SHOCK
DO NOT OPEN
REPLACEWITH THESAME TYPEFUSE ANDRATING.
DISCONNECTSUPPLY CORDBEFORE CHANGINGFUSE UTILISE UNFUSIBLE DERECHANGE DEMÊME TYPE.
DEBRANCHERAVANT DEREMPLACER LEFUSIBLE
WARN ING: TOREDUCE THERISK OFFIREOR ELECTRICSHOCK, DONOT
EXPOSETHIS EQUIPMENTTO RAINORMOISTURE. DONOT REMOVECOVER.
NOUSER SERVICEABLEPARTS INSIDE.REFERSERVICING TOQUALIFIED PERSONNEL.
CAUTION
AVIS: RISQUEDE CHOC É LECTRIQUE— NEPAS OUVRIR
CONCEIVED,DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 •
THEFOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •
56 INPUT 72 CHANNEL
DIGITAL MIXER
12
A B C D
WARN ING: SHUT OFFPOWERTOUNITBEFORE INSTALLING OR REMOVINGCARDS!
ANALOG I/O
ANALOG IN ANALOG OUT
CONSOLE DATA
PARALLEL
VIDEO
SERIAL
KEYBOARD
MOUSE
120/230V
1.0/0.5A
120V
60Hz, 2.8A
SERIAL NUMBER MANUFACTURINGDATE
MACKIE DESIGNS
THIS DEVICE COMPLIE S WITH PART 15OF THE FCC RULES. OPER ATIONIS SUB JECT TO
THEFOLLOW INGT WO CONDITIONS: 1) THIS DEVICE MAY NOT CAUSE HAR MFUL
INTERFERENCE AND 2) THISDE VICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT
MAYCAUSE UNDESIRED OPERATION
CONCEIVED,DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 •
THEFOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •
Multitrack Recorder
MIDI Interface
Data Cable
MIDI In
MIDI Out
DC Power
Cable
Figure 7. Quick Start Hookup

Q u i c k S t a r t G u i d e
9
CONSOLE DATA
PARALLEL
VIDEO
SERIAL
KEYBOARD
MOUSE
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA •
THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "D
Note: The video monitor must be a multi-sync
monitor or, if not, capable of at least a 72Hz
scan rate. We recommend using a 17-inch or
larger monitor for best results.
Now connect the audio inputs and outputs to
the console.
1. Using standard “guitar cord”-type cables
with 1/4" phone plugs, connect the Left and
Right CR NEAR FIELD outputs on the rear
panel of the Digital 8•Bus to the left and
right inputs of the power amplifier.
MASTER OUT
CR
MAIN
CR
NEAR FIELD
LR
LR
LR
2. Using heavy-gauge speaker wire appropriate
for the power of the amplifier, connect the
left and right outputs of the power amplifier
to the speaker inputs.
Note: If you’re using powered monitors,
connect the Left and Right CR NEARFIELD
outputs directly to the line inputs on the
powered monitors.
3. To connect a recording deck to the Digital
8•Bus, it is necessary to have at least one of
the optional Tape I/O cards installed. For this
example, we’ll use an analog Tape I/O card.
This card has two 25-pin D-Sub connectors
for connecting the analog Tape I/O signals to
your tape deck.
If you are using the digital Tape I/O card,
refer to the Digital 8•Bus Owner’s Manual
(Appendix F) for connection information.
The connection on the other end of the cable
depends on your recording deck. It could be
any number of flavors, including Elco, 1/4"
phone plug, RCA phono plug, XLR, 25-pin
D-Sub, 3/4" garden hose, etc.
Note: If you’re using a patch bay, place it
between the Digital 8•Bus and your tape
recorder.
Connections for MIDI
1. On the back of the Remote CPU, plug
the supplied dual output MIDI jack
adapter into the 9-pin D-Sub MIDI
connector. The output jack has standard
5-pin MIDI IN and OUT sockets on it.
Connect these to the MIDI IN and
OUT connectors on your recorder.
Note: Most recorders require a MIDI
interface box to go between an external
MIDI control device such as the Digital
8•Bus, and its own MIDI I/O. Check
your recorder’s manual for more
information.
Note: If you’re using more than one 8-
track recorder, you may need to match
your device ID with that of the Digital
8•Bus’ software. Please consult the
Digital 8•Bus Owner’s Manual and your
recorder’s manual for proper settings.
Optional Refreshments
1. Take a sip of coffee.
Power-Up
• Make sure the POWER switch on the
Remote CPU is off. Now plug the linecord
into an AC outlet properly configured for
your model.
Note: The Remote CPU should be treated as
you would any computer. We recommend that
you use a UPS (Uninterruptible Power Supply)
and a surge protector on the AC line.
• Leave the POWER switch off while
connecting the peripheral equipment to the
console. Caution: Never connect or
disconnect anything except
microphone or line-level
inputs while the console is
powered up.
Tutorial Hookup — Let’s Get It Working
MIDI
OUT
MIDI
IN