Mackie 8-submaster mixer manual

1 8• BUS O W NER'S M A NU A L 2 MUTE 3 MUTE 4 MUTE 5 MUTE 6 MUTE 7 MUTE 8 MUTE 9 MUTE 10 MUTE 11 MUTE 12 MUTE 13 MUTE 14 MUTE 15 MUTE 16 MUTE 1 6x8x2 8-BUS MIXING CONSOLE 1 MUTE CHANNEL 15 CHANNEL 16 CHANNEL 13 CHANNEL 14 CHANNEL 11 CHANNEL 12 CHANNEL 9 CHANNEL 10 CHANNEL 7 CHANNEL 8 CHANNEL 5 CHANNEL 6 CHANNEL 3 CHANNEL 4 CHANNEL 1 CHANNEL [...]

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 Console and External Power Supply has been dropped, or its chassis damaged. 11 . Servic ing — Do not attempt to service the 8•Bus[...]

1 IMPOR T ANT SENSITIVITY ADJUSTMENT PROCEDURE! 1 6•8 24•8 32•8 Owner’ s Manual V ersion 2.3 8/99 during mixdown, roll an alr eady-recorded track from your r ecorder . 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 optimize levels. 5. ■ ■ For mi[...]

2 T ABLE 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 ................ 5 Trim ........................[...]

3 RECORDING SECTION 1: Introduction The Mackie 8•Bus S eries is a flexible ‘in-lin e monitoring’ style console. They are available with 16, 24 or 32 microphone/line inputs fed into 8 sub- mix buses, 2 stereo mix buses and 6 auxiliary send buses. There are 16 (or 24 or 32) tape r eturn in- puts for multitrack monitoring and mixing or for use a[...]

4 +1 5 O O U MIX -B LOW CUT 75 Hz 18dB/oct SOURCE FLIP SW CHANNEL PAN LEVEL SPLIT EQ HI/LO EQ TO MIX-B MONITOR LR PA N dB 30 20 10 5-6 3-4 1-2 7- 8 L/R MIX -20 OL O O 16 10 40 50 60 MUTE 5 5 SOLO U SECTION 2: Panel Layout and Function INPUT CHANNELS (CHANNEL STRIPS) The 16, 24 or 32 input channel strips on the Mackie 8•Bus consoles are identical,[...]

5 +1 5 O O U 12 k 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 –1 5 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MIX-B MONITOR LR –1 5 +1 5 U –1 5 +1 5 U –1 5 +1 5 U 1k 5 k 250 220 350 3 2 1 12 NORMAL PA N -20 OL SOLO to achieve 87dB attenuation. Y ou get far bet[...]

6 TRIM TAPE MIC/LINE CHANNEL 16 GAIN +4 –10 dBV 50 dB 10 dB L I N E S E N S I T I V I T Y M I C G A I N -40 dBV CHANNEL 16 MIC/LINE LINE IN DIRECT OUT BAL- UNBAL INSERT TIP = OUT RING = IN PHANTOM POWER +1 5 O O U MIX -B LOW CUT SOURCE FLIP SW CHANNEL PAN LEVEL SPLIT EQ HI/LO EQ TO MIX-B MONITOR LR PA N dB 30 20 10 5-6 3-4 1-2 7- 8 L/R MIX -20 OL[...]

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 1k Hz 10k Hz 20k Hz [...]

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 1k Hz[...]

9 AUX PRE TRIM FLIP 1 2 4 3 5 6 MI X-B CHANNEL PRE SHIFT TAPE MIC/LINE SOURCE +1 5 O O U +1 5 O O U +1 5 O O U +1 5 O O U AUX GAIN +4 50 dB 10 dB L T I V I T Y -40 dBV 16 with even more gain, from unity to +15dB. For example, when you want a super “wet” sound(mostly reverb), the extra gain allows you to bring the channel fader part way down (an[...]

10 SOLO SOL O SOLO SOLO SOL O SOLO SOL O SOLO MONO L+R RLRLRLR 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 20 30 40 50 O O MONO L+R MONO L+R MONO L+R MONO L+R A[...]

11 SOLO SOLO SOLO SOLO SOLO SOLO AUX SENDS STEREO AUX RETURNS 4 3 2 5 6 1 PHONES 2 L/R M IX 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 M IX 1 2 3 4 LEVEL ASSIGN ASSIGN ASSIGN ASSIGN LEVEL LEVEL PHONES 1 6 +15 O O U +15 O O U +1 5 O O U +1 5 O O U +1 5 O O U +1 5 O O U +20 O O U +20 O O U +20 O O U +20 O O U LR LR 5 [...]

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 ar e each mono sig- nals, and they are soloed in mono. If you ar e using a stereo pair of sends for he[...]

13 PHONES The PHONES 1 (16) and PHONES 2 (17) sec- tions are identical. Each contains a ster eo level control for the headphones outputs, a ster eo 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. Y ou can select any combination of sources. • The[...]

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 use these XLR’ s for line level sig- nals [...]

15 OUTPUT P ANEL 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 panel ar e the eight Submaster Insert jacks ([...]

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 1234 5 6 PHONES 12 (MONO) L (MONO) L (MONO) L (MONO) L (MONO) L (MONO) (MONO) (MONO) L L TIP = OUT RING = IN Main Mix The Main Mix jacks (6) on the top[...]

17 OPERA TING LEVEL CH. 17-24 T APE RE T U R 15 13 11 9 7 5 16 14 12 10 6 8 17 18 19 20 21 22 T APE RE T URNS 9-16 T APE RE T URNS 1 7 -24 OUT +4dBu IN –1 0dBV +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / U OPERA TING LEVEL CH. 9-16 OUT +4dBu IN –1 0dBV Console Bus 1: Submaster 1, 9 and 17 Console Bus [...]

18 LEFT RIGHT MAIN BAL OUTPUTS +28dBu MAX OUT EXPANDER PORT THIS CONNECTION FOR MACKIE 8•BUS POWER SUPPL Y ONLY ! DC POWER IN USE MACKIE 8•BUS EXPANDER CABLE ONLY! KEEP COVERED +1 8V –1 8V +48V +1 2V +5V MAIN BALANCED OUTPUTS Along with the unbalanced 1/4” TS Main Mix jacks on the front panel, balanced Main XLR Outputs (4) are also provided[...]

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20 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 ther e are those of you who have worked extensively with smaller mixers such as our CR-1604 — but who [...]

21 HI MID Variable 1: Boost/Cut HI MID Variable 2: Bandwidth HI MID Variable 3: Band Center 3 HI MID VARIABLES many r ecorders, and no amplifiers, that can tol- erate such high signal levels. Therefor e, it’ s best that the red LEDs never light up. But, if your music is sounding good, don’t worry if you’re in the yellow a lot or if some parts[...]

22 detent if you ar e unfamiliar with the bandwidth featur e. This setting will give you a semi-para- metric type of EQ. The 8•Bus console’s set of thr ee HI-MID con- trols (boost/cut, fr equency center and bandwidth) is VERY powerful in its effects. Rarely if ever will you need mor e than a few dB of boost and cut or , as noted above, will you[...]

23 The LO and HI sections of the EQ are shelv- ing equalizers, with a family of curves shown in Figur e 3. As you can see, shelving EQs lift or lower the entire range of fr equencies above or below a certain point. Most tone controls on stereos ar e shelving EQs, often set at 100Hz for the bass and 10kHz for the treble. The LO EQ on the 8•Bus is [...]

24 RECORDING OVER VIEW The recording process can be as simple as one microphone recorded on a monaural tape r e- 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 describe at least one way of approaching a large session— [...]

25 right away so they can tune up and r ehearse, providing all your chosen tracks are in r ecord 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 very l[...]

26 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 123456 PHONES 12 MONO L MONO L MONO L MONO L MONO L MONO L MONO MONO LINE IN DIRECT OUT INSERT BAL/UNBAL TIP = OUT RING = IN LINE IN DIRECT OUT INSE[...]

27 +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO [...]

28 Getting reverb into the monitors is a little more involved, since ther e is no r eturn assign- ment switch to MIX-B. Y ou 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 Returns 1-6 to bring the r everb into the L/R Mix buses. M[...]

29 the sound of home and car speakers, mono com- patibility , human perception changes under different listening conditions, matching similar product in your market, not to mention tonal and level balance between songs, and meeting the criteria for tape and disc mastering. MIXING SETUP Clean and align your mixing machine accord- ing to the manufact[...]

30 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 123456 PHONES 12 MONO L MONO L MONO L MONO L MONO L MONO L MONO MONO LINE IN DIRECT OUT INSERT BAL/UNBAL TIP = OUT [...]

31 +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 L/R MIX SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT E[...]

32 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 123456 PHONES 12 MONO L MONO L MONO L MONO L MONO L MONO L MONO MONO LINE IN DIRECT OUT INSERT CHANNEL 15 BAL/UNBAL TIP = OUT RING = IN LINE IN DIRE[...]

33 +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO [...]

34 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 123456 PHONES 12 MONO L MONO L MONO L MONO L MONO L MONO L MONO MONO LINE IN DIRECT OUT INSERT CHANNEL 15 BAL/UNBAL TIP = OUT RING = IN LINE IN DIRE[...]

35 +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO [...]

36 as r everb returns. Simply patch the r eturn into a Line Input, if you have enough inputs to handle this. (Bonus: you now have console EQ available on your r everb return. Be sur e the AUX Send feeding that r everb is turned fully down on the channels being used as reverb r eturns. If you don’t, every dog in the neighborhood will want to hump [...]

37 pair of Leslie speakers or keying a gated set of reindeer bells with the snar e signal. The Mackie 8 •Bus consoles can’t give you the infinite number of channels you dream of, unless you buy an infinite number of expander consoles, but you can very easily double the number of inputs by using the MIX-B buses. If you are mixing off tape as we [...]

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39 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 r ecording and other models JUST for P A, other companies com- plicate the manufacturing process and reduce their economi[...]

40 AUX RETURN LEFT RIGHT MAIN BAL OUTPUTS +28dBU MAX OUT OPERA TING LEVEL CH. 17-24 T APE RETURNS 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 T APE RETURNS 9-16 T APE RETURNS 17-24 OUT +4dBU IN –10dBV +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / UNBALANCED +4 / –10 BALANCED / UNBALANCED OPERA TING LEVEL CH. 9-1[...]

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 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO [...]

42 LEF T RIGHT MAIN BAL OUTPUTS +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 L MONO L MONO MONO LINE IN DIRECT OUT INSERT CHANNEL[...]

43 +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO EQ TO MON MONITOR LR –15 +1 5 U 250 220 350 PA N dB 30 20 5 10 SOLO -20 OL O O MUTE 13 5 10 40 50 80 U LR MUTE +15 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz 18dB/oct SOURCE 45 3k PAN LEVEL –15 +1 5 80 U LO SPLIT EQ HI/LO [...]

44 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 instruments, stage position or whatever [...]

45 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 and another for stage moni- tors, the best way to d[...]

46 “ XLR ” CONNECTORS Mackie mixers use 3-pin female “XLR” connec- tors on all microphone inputs, with pin 1 wir ed 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 “XLR”-type connector , usual[...]

47 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 cases, the plug must be inserted fully to act[...]

48 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 1 1. Using the Return Only on Sub and Main Insert Jacks If you insert a TS (mono) 1/4” plug o[...]

49 APPENDIX B: Options, Add-Ons and Extra Stuff OPTIONS Meter Bridge Y ou 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 strip. The meters can be gl ob ally switched, m[...]

50 Figure 8: Modification I — Aux Send BEFORE cut here (A) AFTER add jumper (B) APPENDIX C: Modifications ADD-ONS SPECS ETC. I. AUX Send mod This modification changes the tap point of all “pre” AUX sends from post -EQ to pre -EQ. It must be done on each channel. For example, if you have a 24•8, the modification must be done on all 24 input [...]

51 Figure 9: Modification II — PFL Figure 10: Modification III — Mix-B Source BEFORE cut here (C&D) AFTER add jumpers (E&F) BEFORE cut here (G) AFTER add jumper (H) II. PFL mod This modification changes the tap point of the SOLO bus from post -fader/ post -mute (stereo) to pre -fader/ pr e -mute (mono). It must be done on each channel. [...]

52 IV . Mix-B Mute mod This modification converts the Mix-B Source switch to a Mix-B MUTE switch. The switch will no longer be able to source the channel signal. This modification must be done on each channel. For example, if you have a 24•8, the modification must be done on all 24 input channels. See Figure 11. This modification takes place on e[...]

53 V . AU X 1 /2 Source mod This modification should only be performed if the console is being used strictly for recording. A . When the Aux 1/2 Pre Switch is engaged, Aux Send 1 and 2 will tap the Pre-Fader information from the tape returns. B . When the Aux 1/2 Pre Switch is not engaged, Aux Send 1 and 2 function normally , as post fader channel [...]

54 level up +20 le ve l u p + 15 le ve l u p + 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 @-10 LINE INPUT TAPE INPUT to point (B) ga[...]

55 2.65" 28.58" 2.50" 2.70" Note: add 3.75" to depth for power supply cable clearance 0.69" 4.25" 6.00 " 9.00" 4.78" 25.24" 28.74" 27.17" 29.17" 1.00" 1.00" 4.78" 0.54" 28.74" V . 1 .5 6/4/95 16x8x2 8 -BUS MIXING CONSOLE ©1 995 MA CKIE DESIGNS INC. * exc[...]

56 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 ©1 995 MA CKIE DESIGNS INC. * exclusive of meter bridge 24 • 8 conso[...]

57 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 ©1 994 MA CKIE DESIGNS INC. * exclusive of meter bridge 32 • 8 console WEIGHT* 78 lbs. 6.00" 45.80" MB32 • 8 O[...]

58 2.65" 28.58" 2.50" Note: add 3.75" to depth for power supply plug and expander cable clearance 0.69" 4.25" 3.67" 5.50" 6.00 " 9.00" 4.78" 25.24" 28.74" 27.17" 29.17" 1.00" 1.00" 4.78" 0.54" 28.74" 24-CH. EXPANSION CONSOLE FOR 24 • 8 & 32 •[...]

59 19.00" 10.1" 3.50" (2 rack spaces) 19.0" 220-W P ower Supply WEIGHT 24 lbs. 26.80" 28.40" 22.50" 29.00" V . 1 .0 4/4/94 STAND FOR 24 • 8 & 32 • 8 CONSOLES ©1 995 MA CKIE DESIGNS INC. V . 1 .2 4/4/94 220-WATT POWER SUPPLY FOR 8 • BUS CONSOLES & EXPANDER ©1 994 MA CKIE DESIGNS INC. Stand WEIG[...]

60 V . 1 ..1 6/5/95 8 • BUS SIDE CAR RACK ©1 995 MA CKIE DESIGNS INC. 28.12" 28.25" 22.5" 29.88" SIDE VIEW 28.75" *ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE Side Car WEIGHT* 45 lbs. 23.13" 28.75" 11 RACK SPACES TOP VIEW CABLE HANGER FRONT VIEW [existing console] BRACE ADD-ONS SPECS ETC.[...]

61 SER VICE 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 pressur e) to short or stop conducting. If you’re having trouble with an indi- vidual channel, send or r eturn, for gosh sakes swa[...]

62 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 with price and date showing. C. Your return street ad[...]

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64 Draw a picture her e of someone “making off” with your Mackie 8•Bus board and send it to your local Police Department. (Just in case...) TR A CK 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 T rack and Master sheets. They ar e in- tended f[...]

65 +1 5 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz SOURCE 45 3k PAN LEVEL –1 5 +15 80 U LO SPLIT HI/LO EQ TO MON MONITOR LR –1 5 +15 U 250 220 350 PA N dB 30 20 5 10 5-6 13 -14 3-4 11 -12 1-2 9- 1 0 7- 8 15 -16 L/R MIX SOLO -20 OL O O MUTE 5 10 40 50 60 U LR CHANNEL +1 5 O O U 12k MIX-B EQ LOW CUT EQ IN HI FREQ 75 Hz SOURCE 45 3k PAN LEVEL [...]

66 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.[...]

67 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 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 dB 30 20 5 10 O O 5 10 40 50 60 U SOLO SOLO SOLO SOLO [...]

68 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.[...]

69 Whaddya say on the last page of a manual? W ell, we’d like to roll the credits. This manual is copy- righted by Mackie Designs, ©1995, all rights reserved. It is printed in the USA. Lino output by Artworks of W oodinville. Set in ITC Century Condensed and Adobe Futura Condensed via PageMaker ® 5.0 for the Macintosh ® . The bulk of this manu[...]

70 ©1995 Mackie Designs 8•BUS CONSOLE BL OCK 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/OUT PAN LEVEL PAN 1-2 3-4 5-6 7-8 L/R SOLO IN[...]

71 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 L/R MIX FADER MIC MIC LEVEL TO AUX 1 R BAL OUT[...]

Some of the people at our W oodinville, W ashington factory who helped design, build, sell, and support your product. Some of the people at our W oodinville, W ashington factory who helped design, build, sell, and support your product. ® ® ® ™ Mackie Designs Inc. Mackie Designs Inc. 16220 W ood-Red Rd. NE • Woodinville, W A 98072 • USA 800[...]