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Mackie 16-8 BUS User Manual

Other manuals for 16-8 BUS: Owner's Manual, Specifications, Hook-up Manual, Brochure
Manual is about: 8-BUS Mixing Consoles

Summary of 16-8 BUS

  • Page 1

    1 8•bus owner's manual 10 mute 11 mute 12 mute 13 mute 14 mute 15 mute 16 mute 17 mute 18 mute 19 mute 20 mute 21 mute 22 mute 23 mute 24 mute 24x8x2 8-bus mixing console 9 mute 2 mute 3 mute 4 mute 5 mute 6 mute 7 mute 8 mute 1 mute channel 23 channel 24 channel 21 channel 22 channel 19 channel 20 ...

  • Page 2

    Part no. 820-007-90 rev. A 06/03 ©1995-2003 mackie designs inc. All rights reserved. C. 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 cons...

  • Page 3: Important Sensitivity

    1 important sensitivity adjustment procedure! 24•8 32•8 owner’s manual version rev. A 06/03 during mixdown, roll an already-recorded track from your recorder. 4. The channel’s –20db led may light. The l/r main meters will show the actual internal operating level of soloed signals. Now you will optim...

  • Page 4: Table of Contents

    2 table of contents section 2* — panel layout and function.. 4 input channels .................... 4 fader .............................. 4 mute .............................. 4 pan & assignment switches 4 –20 & ol leds ................. 5 channel solo .................... 5 phantom power .............

  • Page 5: Recording

    3 recording section 1: introduction the mackie 8•bus series is a flexible ‘in-line monitoring’ style console. They are available with 24 or 32 microphone/line inputs fed into 8 submix buses, 2 stereo mix buses and 6 auxiliary send buses. There are 24 or 32 tape return inputs for multitrack monitorin...

  • Page 6

    4 +15 o o u mix-b low cut eq in 75 hz 18db/oct source flip sw channel pan level split eq hi/lo eq to mix-b monitor l r pan db 30 20 10 5-6 3-4 1-2 7-8 l/r mix -20 ol o o 24 10 40 50 60 mute 5 5 solo u section 2: panel layout and function input channels (channel strips) the 24 or 32 input channel str...

  • Page 7

    5 +15 o o u 12k mix-b eq low cut eq in lo mid hi hi mid freq 75 hz 18db/oct source flip sw channel 45 3k pan level band width octaves 500 18k 3k freq –15 +15 80 u lo split eq hi/lo eq to mix-b monitor l r –15 +15 u –15 +15 u –15 +15 u 1k 5k 250 220 350 3 2 1 12 normal pan -20 ol solo to achieve 87db...

  • Page 8

    6 trim tape mic/line channel 24 gain +4 –10 dbv 50 db 10 db l in e se n s it iv it y mic gain -40 dbv channel 24 mic/line line in direct out bal- unbal insert tip = out ring = in phantom power +15 o o u mix-b low cut source flip sw channel pan level split eq hi/lo eq to mix-b monitor l r pan db 30 2...

  • Page 9

    7 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz ...

  • Page 10

    8 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 hz 100 hz ...

  • Page 11

    9 aux pre trim flip 1 2 4 3 5 6 mix-b channel pre shift tape mic/line source +15 o o u +15 o o u +15 o o u +15 o o u aux gain +4 50 db 10 db l t iv it y -40 dbv 24 for example, when you want a super “wet” sound(mostly reverb), the extra gain allows you to bring the channel fader part way down (and t...

  • Page 12

    10 solo solo solo solo solo solo solo solo mono l+r r l r l r l r db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 30 20 10 o o 10 40 50 db 10 10 ...

  • Page 13

    11 solo solo solo solo solo solo aux sends stereo aux returns 4 3 2 5 6 1 phones 2 l/r mix l/r mix 1-2 3-4 5-6 7-8 l/r mix solo 1-2 3-4 5-6 7-8 phones 1 phones 2 l/r mix 1 2 3 4 level assign assign assign assign level level phones 1 6 +15 o o u +15 o o u +15 o o u +15 o o u +15 o o u +15 o o u +20 o...

  • Page 14

    12 aux solo the solo button next to each level control (7) solos that send and allows you to check the send level in the main meters. There is a solo led (8) in the send section, to help you locate what the heck you soloed. Note: the six aux sends are each mono sig- nals, and they are soloed in mono...

  • Page 15

    13 phones the phones 1 (16) and phones 2 (17) sec- tions are identical. Each contains a stereo level control for the headphones outputs, a stereo solo switch, and five pushbuttons to select from the following signal sources: monitor, mix-b, aux sends 3 & 4, aux sends 5 & 6, and external. You can sel...

  • Page 16

    14 mic in the channel microphone input (1) is a stan- dard 3-pin female mic connector (call me cannon or call me xlr, just don’t call me late for dinner). Pin one is ground, pin two is signal high (+), pin three is signal low (–), as per the (finally) agreed-upon international standard. Note: don’t ...

  • Page 17

    15 output panel the input and output jacks that cor- respond to most of the functions in the output panel are, logically, located in the jack panel directly above the output panel. The 8•bus outputs to tape (and the inputs from tape) are located on the rear panel. Submaster inserts at the top of the...

  • Page 18

    16 external input mix-b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main insert 2-track input 1 2 3 4 5 6 phones 1 2 (mono) l (mono) l (mono) l (mono) l (mono) l (mono) (mono) (mono) l l tip = ou...

  • Page 19

    17 operating level ch. 17-24 tape retur 15 13 11 9 7 5 16 14 12 10 6 8 17 18 19 20 21 22 tape returns 9-16 tape returns 17-24 out +4dbu in –10dbv +4 / –10 balanced / unbalanced +4 / –10 balanced / unbalanced +4 / –10 balanced / u operating level ch. 9-16 out +4dbu in –10dbv console bus 1: submaster ...

  • Page 20

    18 left right main bal outputs +28dbu max out expander port this connection for mackie 8•bus power supply only ! Dc power in use mackie 8•bus expander cable only! Keep covered +18v –18v +48v +12v +5v main balanced outputs along with the unbalanced 1/4” ts main mix jacks on the front panel, balanced ...

  • Page 21

    19 general info do you need to read this section at all? Many of you reading this manual have a lot of experience in using large mixing consoles. For you battle-scarred pros, section 2 and the block diagram will probably be all that you need to look at. Then there are those of you who have worked ex...

  • Page 22

    20 hi mid variable 1: boost/cut hi mid variable 2: bandwidth hi mid variable 3: band center 3 hi mid variables many recorders, and no amplifiers, that can tol- erate such high signal levels. Therefore, it’s best that the red leds never light up. But, if your music is sounding good, don’t worry if yo...

  • Page 23

    21 general info finally, the bandwidth of the bell-shaped re- sponse curve around the selected frequency (also somewhat inaccurately referred to as a ra- tio known as q) can be selected with the lower knob. The range is from as wide as 3 octaves to as narrow as 1/12 octave. Leave it at the center de...

  • Page 24

    22 the lo and hi sections of the eq are shelving equalizers, with a family of curves shown in figure 3. As you can see, shelving eqs lift or lower the en- tire range of frequencies above or below a certain point. Most tone controls on stereos are shelving eqs, often set at 100hz for the bass and 10k...

  • Page 25: Section 4:

    23 recording recording overview the recording process can be as simple as one microphone recorded on a monaural tape re- corder. Not much advice needed for that. But since you’ve bought such a large mixing console, we expect you’ll occasionally be doing pretty big sessions. This section will describ...

  • Page 26

    24 providing all your chosen tracks are in record mode and auto-switching to input when tape is not rolling. Keeping the phones on mix-b may work for the entire session, but usually the musicians will want one or even two custom mixes. The bass player and drummer may want bass and drums featured ver...

  • Page 27

    25 external input mix -b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main inserts 2-track input 1234 5 6 phones 12 mono l mono l mono l mono l mono l mono l mono mono line in direct out insert ...

  • Page 28: Tracking Part 2: The Board

    26 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k...

  • Page 29

    27 recording getting reverb into the monitors is a little more involved, since there is no return assign- ment switch to mix-b. You have three choices: • assign mix-b to l/r mix in the mix-b master section. Then, select l/r mix as your only source in the monitor section. Finally, use stereo aux retu...

  • Page 30

    28 and meticulous setup. Creatively, you must blend the tracks so they at least sound like music again; technically, you must take into account the sound of home and car speakers, mono com- patibility, human perception changes under different listening conditions, matching similar product in your ma...

  • Page 31

    29 overdubbing part 1: input/output external input mix -b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main inserts 2-track input 1234 5 6 phones 12 mono l mono l mono l mono l mono l mono l mon...

  • Page 32

    30 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 l/r mix solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct sour...

  • Page 33

    31 external input mix -b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main inserts 2-track input 1234 5 6 phones 12 mono l mono l mono l mono l mono l mono l mono mono line in direct out insert ...

  • Page 34

    32 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k...

  • Page 35

    33 external input mix -b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main inserts 2-track input 1234 5 6 phones 12 mono l mono l mono l mono l mono l mono l mono mono line in direct out insert ...

  • Page 36

    34 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k...

  • Page 37

    35 line input, if you have enough inputs to handle this. (bonus: you now have console eq available on your reverb return. Be sure the aux send feeding that reverb is turned fully down on the channels being used as reverb returns. If you don’t, every dog in the neighborhood will want to hump your leg...

  • Page 38

    36 reindeer bells with the snare signal. The mackie 8•bus consoles can’t give you the infinite number of channels you dream of, but you can very easily double the number of inputs by using the mix-b buses. If you are mixing off tape as we set it up a few pages ago, you have engaged the flip switch t...

  • Page 39: Section 5:

    37 one of mackie designs’ primary product phi- losophies is to make its mixers as multi-purpose as possible to make them more affordable. This sounds like a contradiction in terms, but it isn’t. By creating consoles just for recording and other models just for pa, other companies com- plicate the ma...

  • Page 40

    38 aux return le f t right main bal out puts +28dbu max out opera ting level ch. 17- 24 ta pe re t urns 1 -8 15 13 11 9 7 5 3 1 16 14 12 10 6 4 2 8 17 18 19 20 21 22 23 24 tape re t urns 9- 16 ta pe re t urns 1 7-24 out +4dbu in –1 0dbv +4 / –10 balanced / unbalanced +4 / –10 balanced / unbalanced +...

  • Page 41

    39 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k...

  • Page 42

    40 le f t right main bal out puts +28dbu max out external input mix -b output 1 aux send 1 r l 2 2 r r 3 3 r l 4 4 r r 5 5 r l 6 6 r r l 7 l l l r 8 r r r submaster insert aux return cntrl rm output studio output main mix main inserts 2-track input 12 34 56 phones 12 mono l mono l mono l mono l mono...

  • Page 43

    41 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k pan level –15 +15 80 u lo split eq hi/lo eq to mon monitor l r –15 +15 u 250 220 350 pan db 30 20 5 10 solo -20 ol o o mute 21 5 10 40 50 80 u l r mute +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz 18db/oct source 45 3k...

  • Page 44

    42 house and monitor mix together it’s a big board, but it’s the only one you own. So you find yourself mixing house and monitors all from the same panel. First, let’s take a moment and set everything up sensibly. Just like in a recording session, it’s good to group your inputs and sub-mix buses by ...

  • Page 45

    43 and the other one up for stage monitor. If you need to do some combination of house/recorder feed or vocal/drum/keyboard monitors, divide the functions up between l/r mix, aux buses and mix-b buses as described above. Mic splitters if you are using one mixing console for your main or house mix an...

  • Page 46: Appendix A: Connections

    44 “xlr” connectors mackie mixers use 3-pin female “xlr” connec- tors on all microphone inputs, with pin 1 wired to the grounded shield, pin 2 wired to the “hot” (positive polarity) side of the audio signal and pin 3 wired to the “cold” (negative polarity) side of the signal (figure 7). Use a male “...

  • Page 47

    45 tip (send) ring (in) tip (out) ring (return) to mixer channel insert tip (return) tip (send) to processor input from processor output figure 11 : hybrid connector with send & return com- bined on a trs plug with the separate send & return on the ts plug ends (plugis insertis hybridus) in most cas...

  • Page 48

    46 figure 12: “y”cord (a.K.A mult) for splitting signal (plugis makus doublis). Note that all three plugs are the same — either ts (shown) or trs. Don’t confuse this “off the shelf” connector with hybrid insert plugs as shown in figure 11. Using the return only on sub and main insert jacks if you in...

  • Page 49

    47 appendix b: options, add-ons and extra stuff options meter bridge you can order an optional mackie meter bridge for any 8•bus series console. The meter bridge extends across the width of the mixer and pro- vides a 12-led bar-graph meter (identical to the 8 submaster bus meters) for each channel s...

  • Page 50: Appendix C: Specifications

    48 level up +20 level up +15 level up +15 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 max out +22 max out +22 max out +22 +14 max in -10 trim dn mic input aux return ch. Level mix o/p level output output output mix mix o/p level -50 trim up +22 max in trim dn -40 trim up +22 max in switch @+4 -12.3 ...

  • Page 51

    49 2.65" 28.58" 2.50" 0.69" 4.25" 6.00" 9.00" 4.78" 25.24" 28.74" 35.02" 37.02" 1.00" 1.00" 4.78" 6.00" 37.00" 0.54" 28.74" mb24•8 optional meter bridge 24x8x2 8-bus mixing console ©1995 mackie designs inc. * exclusive of meter bridge 24•8 console weight* 64 lbs. Note: add 3.75" to depth for power s...

  • Page 52

    50 get som e help before lifting this one... 2.65" 28.58" 2.50" 0.69" 4.25" 6.00" 9.00" 4.78" 25.24" 28.74" 43.82" 45.82" 1.00" 1.00" 4.77" 0.54" 28.74" 32x8x2 8-bus mixing console ©1994 mackie designs inc. * exclusive of meter bridge 32•8 console weight* 78 lbs. 6.00" 45.80" mb32•8 optional meter b...

  • Page 53

    51 v. 1..1 6/5/95 8•bus side car rack ©1995 mackie designs inc. 28.12" 28.25" 22.5" 29.88" side view 28.75" side car weight* 45 lbs. 19.00" 10.1" 3.50" (2 rack spaces) 19.0" 220-w power supply weight 24 lbs. V. 1.2 4/4/94 220-watt power supply for 8•bus consoles & expander ©1994 mackie designs inc. ...

  • Page 54

    52 ©1995 mackie designs 8•bus console block diagram rev. 5.1- 6/6/95 gain hi bus 1 bus 2 bus 3 bus 4 bus 5 bus 6 bus 7 bus 8 l-bus r-bus l-solo r-solo aux 1 aux 2 aux 3 aux 4 aux 5 aux 6 l-mix-b r-mix-b mic in line in tape in flip post source aux 1 aux 2 aux 3 aux 5 aux 4 aux 6 chan fader trim eq in...

  • Page 55

    53 bus 1 bus 2 bus 3 bus 4 bus 5 bus 6 bus 7 bus 8 l-bus r-bus l-solo r-solo aux 1 aux 2 aux 3 aux 4 aux 5 aux 6 l-mix-b r-mix-b l/r mix mix-b 2-tk external sub master 1 & 2 aux send 1 solo control sub mstr fader (#3 - 8 identical) (#2 identical) level aux out solo mix b master mix-b to l/r mix l r ...

  • Page 56: Service

    54 service intermittent signal problems. Faulty plugs and cables are often the culprits. A trs plug can sit in a socket for months doing its job and then suddenly decide (based on the phase of the moon and barometric pressure) to short or stop con- ducting. If you’re having trouble with an individua...

  • Page 57

    55 4. When packing the console, include: a. A note explaining exactly how to dupli- cate the problem. (if we cannot duplicate the problem at the mackie factory or establish the starting date of your limited warranty, we may, at our option, charge for service time.) b. A copy of the sales receipt wit...

  • Page 58: Track Sheets

    56 track sheets some of you folks are meticulous and do things like keep your checkbook reconciled and cross-file each tape. For you we have included master track and master sheets. They are in- tended for duplication purposes (unless you bought this console just to do one session). Track sheets on ...

  • Page 59: Session

    57 +15 o o u 12k mix-b eq low cut eq in hi freq 75 hz source 45 3k pan level –15 +15 80 u lo split hi/lo eq to mon monitor l r –15 +15 u 250 220 350 ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; ;;;;; pan db 30 20 5 10 5-6 13-14 3-4 11-12 1-2 9-10 7-8 15-16 l/r mix solo -20 ol o o mute 5 10 40 50 60 u l r channel +...

  • Page 60

    58 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..

  • Page 61: Session

    59 talkback mic mix l/r ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; db 30 20 5 10 o o 5 10 40 50 60 u ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; db 30 20 5 10 o o 5 10 40 50 60 u ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; db 30 20 5 10 o o 5 10 40 50 60 u ;;;; ;;;; ;;;; ;;;; ;;;; ;;;; db 30 20 5 10 o o 5 10 40 50 60 u ;;;; ;;;; ;;;; ;;;; ...

  • Page 62

    60 whaddya say on the last page of a manual? Well, we’d like to roll the credits. This manual is copyrighted by mackie de- signs, ©1995-2003, all rights reserved. Set in itc century condensed and adobe futura condensed via pagemaker ® for the macintosh ® . The bulk of this manual was written by davi...

  • Page 63: 8•bus Limited Warranty

    8•bus limited warranty 4. If the mackie authorized service center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the service section of this manual. 5. Contact the mackie authorized service center to arrange service or bring ...

  • Page 64: Mackie Designs Inc.

    Mackie designs inc. 16220 wood-red road ne • woodinville, wa 98071 • usa us and canada: 800.898.3211 europe, asia, central and south america: 425.487.4333 middle east and africa: 31.20.654.4000 fax: 425.487.4337 • www.Mackie.Com e-mail: sales@mackie.Com.