Where Is It?

Chapter 2
D8B Manual Chapter 2 page 21
Its Time to Locate Everything
No matter how fast you wantor needto get started, take advantage of this simple map of the territory: it provides the Fast Track overview of the D8B. Its amazing how artistically supportive this console is. Its well worth your time to take a look at all the controls so you can put them to work efficiently.

Card Cage Section

A B C D DIGITAL I/O AES/EBU

APOGEE CLOCK I/O

ANALOG I/O

AES/EBU I/O

DIGITAL I/O S/PDIF IN

ADAT OPTICAL

WORD CLOCK IN

Rear Panel Description

This section describes rear panel connector types, their functions, and associated signal buses.

ANALOG IN

DIGITAL EFFECTS CARDS
DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS

ANALOG OUT

WORD CLOCK OUT

Channels 112 Inputs

+48V PH +48V PH

+48V PH

LINE IN

INSERT

Each channel contains: XLR mic input. Be sure the MIC button is pressed down on the control surface channel strip. Phantom power On/Off button depending on mic requirements. 1/4" TRS line inputbalanced or unbalanced. Be sure the MIC switch is in the up position on the control surface channel strip. 1/4" TRS channel insert/direct output jack.
This is where you plug in the optional I/O cards of your choosing, to customize the Digital 8Bus for your own application. There are three slots assigned as TAPE IN/OUTS. Each slot provides I/O for 8 channels, so you can add up to 24 tape sends and returns, or additional inputs and outputs. TO TAPE (OUTPUT) The D8B can route any channel in Fader Banks 1, 2 and 3 to the multitrack through these connectors. In addition, the bus outputs in Fader Bank 4 (MASTERS) can be routed out the tape outputs. FROM TAPE (INPUT) Multitrack outputs are fed back into channels 2548 (Fader Bank 2) through these connectors. Depending on the specific I/O card, these inputs will receive any line-level analog or digital signal. Each I/O card contains its own labeling protocol, but the fundamental concepts described above pertain to all.

1 Analog I/O (AIO8)

Each 25-pin D-sub connector handles 8 balanced analog channels. Top connectors send line-level outputs to the multitrack (or other line-level equipment). Bottom connectors receive line-level analog signal from the multitrack outputs (or other line-level equipment). Each card offers I/O for 8 channels. Connectors are compatible with TASCAM DA-88, 25-pin analog connectors.

Channels 1324 Inputs

LINE INPUTS

(BAL /UNBAL)

Channels 13 through 24 have 1/4" TRS (Tip/Ring/ Sleeve) line input connectors that accept balanced and unbalanced signals.
2 Apogee Digital I/O (DIO8)
Two digital-format ins and outs: ADAT optical (fiber optic connections) and TASCAM TDIF (25-pin D-sub connections). Select one digital format at a time in the Setup screen. One BNC sync connector for master clock connection from the D8B to TASCAM clock recipient. Use the DIO8 card as a format converter between either optical and/or TDIF.
D8B Manual Chapter 2 page 22

3 ADAT Optical (OPT8)

Two digital ADAT optical (fiber optic) connections. Each card offers I/O for 8 channels.
Using the configurable plug-in architecture, insert plug-in capability is available for channels 148 (Pre- and Post-DSP), and Main Mix L-R, in addition to internal effects sends (Auxes 112). Effects return to the main L-R mix at Fader Bank 3 (FX 116)

Note: Patching from an Aux output does not interrupt the internal sends to the FX Cards, so its possible to run both internal and outboard effects at the same time.
D8B Manual Chapter 2 page 24

AUX OUT

bo STUDIO OUT L-R
Note: Auxes 112 simultaneously feed the analog Aux sends and the internal effects cards. Each MFX card handles two separate mono inputs, so auxes are paired. MFX effects returns are stereo, so each card, while receiving two discrete mono inputs, returns two sets of stereo outputs to the EFFECTS Bank. Internally, Aux 1 returns to FX 1/2; Aux 2 returns to FX 3/4; Aux 3 returns to FX 5/6; continuing through Aux 8, which returns at FX 15/16. UFX cards handle 4 mono, two stereo, or one stereo and two mono inputs. For each UFX card, no matter what the Aux input selection, returns appear at the FX faders numbered the same as their respective slots. If all UFX effects are mono, each return correlates directly to the Slot number ( 9 to 9, 10 to 10, etc.)

PARALLEL

CONSOLE DATA

KEYBOARD

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC WOODINVILLE WA USA MADE IN USA FABRIQUE AU USA COPYRIGHT 1997 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE

Remote CPU Description

Data and Synchronization I/O
These connections are specifically pertinent to non-audio functions (or, in plain English, these arent audio connections!).

3 The SVGA Monitor

A hi-density 15-pin D-Sub connector is provided to connect an SVGA monitor. Use at least a 17" multisync SVGA monitor capable of 1024 X 768 resolution and a 72Hz refresh rate. Larger monitors provide greater viewing pleasure. Use of monitor provides graphic display and control of most console functions, including equalization, compression, gating, internal effects, automation editing, and file management. The SVGA monitor can be connected without turning off the Digital 8Bus (hot-plugable).
Connecting a Mouse, Keyboard and SVGA Monitor
The Digital 8Bus is designed to work as a standalone console. However, youll increase your options and productivity by using a mouse, keyboard, and SVGA monitor. Simply connect them to the corresponding ports on the back of the Remote CPU for access to point-and-click commands with the mouse, as well as key commands and text entry from the keyboard.

Other Connections

4 Console Data
A 25-pin D-sub connector connects the console to the Remote CPU using the cable supplied.

1 The Mouse Port

Connect a PC-compatible mouse (PS/2 style). A two-button mouse is sufficient.

5 MIDI

MIDI card in the remote CPU uses a 9-pin D-sub connector. Install the supplied 9-pin to dual 5-pin adapter to facilitate connection to your MIDI network using standard MIDI cables. This could be a plastic housing adapter or a rattail 9-pin split to 5-pin I/O connection. MIDI IN receives MTC, program changes, and controller, note, and poly aftertouch messages. MIDI OUT sends MMC commands, program changes, and controller, note, and poly aftertouch messages.

SELECT

5 Write
Manually enables a channel for recording to automation. Blinks when on standby; solid when active. Automatically lights when Auto Touch automation has been activated.

MIDI 4 FX 12

1 Trim Level
At the top of each channel strip The Trim Level controls only input levels for channels 124. Regardless of bank selection, trims are active and available for channel inputs 124. This is handy for tweaking without having to switch banks. Used to adjust and optimize input levels. This control is one of the few not written in a snapshot.

6 Channel V-Pot

A multifunctional digital control and level display. Controls channel pan when PAN is selected in the Master V-Pot section (just to the right of channel 24). Controls Aux send levels when Aux 112 is selected in the AUX section (just above the Master V-Pot). Controls panning between stereo Auxes 9/10 and 11/12 when PAN is selected below either send. Controls channel Level to Tape and Digital Trim whenever theyre selected (immediately above Aux 1 and 2 select buttons). Displays return fader levels (Bank 2) when level to tape follows faders.
Note: The TRIM levels at the top of each of the 24 channel strips and the MIC buttons at the top of the first 12 channel strips are not written into automation or snapshots. Careful notes as to their status should be manually archivedas in written downfor future reference. However, if TRIMs are all left at unity gain or at least left untouchedthroughout the entire session, the console is capable of perfect, total recall! We highly recommend this technique.
D8B Manual Chapter 2 page 26

7 Fader Bank Select LEDs

Just below the channel V-Pots. When the green LEDs are on, Fader Bank 1 is selected (MIC/LINE). When the red LEDs are on, Fader Bank 2 is selected (TAPE IN). When both LEDs are on, Fader Bank 3 is selected (EFFECTS). When neither LED is on, Fader Bank 4 is selected (MASTERS).
Aux Solo is accomplished by selecting an aux bus, then pressing the SOLO button by the Master V-Pot. When this solo light is on, the Master V-Pot adjusts the solo level. Soloing multiple channels is accomplished by holding the shift key (onboard or keyboard) while pressing the solo buttons on all desired channels or, by holding one solo down while pressing others. Also, selecting Solo Latch in Setup > Mix Options keeps solos selected until theyre manually switched off. Solo Isolate mode is accomplished by holding down the Alt key on the keyboard or control surface while pressing a channels solo(s). A solo isolated channel is always active to the solo bus and therefore will not mute when other channels are soloed. Only PFL solo mode overrides Solo Isolate mode.

8 Select

Chooses a channel to be edited. Enables onboard or on-screen Fat Channel control over the selected channel. Operative for copying and pasting data between channel strips. Part of the grouping and linking procedures. Double-clicking the SELECT button opens and closes the strips on-screen Fat Channel. Pressing and holding opens a channels preferences page in the VFD, which controls basic channel parameters. Pressing and holding two SELECT buttons at once opens a Link options page in the VFD.

bl Mute

Mutes the signal after the channel fader. Prior to the L-R output bus. Prior to Bus 18 outputs. Does not affect the Direct Out to Tape unless console is configured for Faders to Tape mode.

bm Channel Fader

Controls the signal level from the channel to the bus or buses it is assigned to (typically the L/R Master Fader and the Bus 18 output). Doesnt affect the signal level to the Tape Outputs unless specifically routed to do so, or if console is configured for Faders to Tape mode.

9 Solo

Pressing Solo on any channel lets you hear only the soloed channel. Mackies exclusive Rude Solo Light flashes incessantly whenever any channel is soloed. There are three different types of soloing available: PFL, AFL, and Mixdown. PFL (Pre-Fader Listen) solos the signal before it gets to the fader. PFL is a monitor function only and has no effect on the Master L-R mix send. Any channel is soloed in mono, regardless of pan position. PFL solo level is unaffected by fader changes. AFL (After-Fader Listen) solos the signal after the fader in the signal path. Therefore, solo level is affected by fader movement. AFL solos the accurate pan positioning and, like PFL, is only a monitor function not affecting the Master L-R mix. Mixdown Solo is a post-fader, pan-accurate solo that overrides the Master L-R mix. Clear Solo, in the Solo/Studio section, releases any solo selections. This is particularly useful when working with solos across multiple fader banks.

Channel Meters

Indicate post-EQ, pre-fader levels. The audio level display is scaled in digital dBFS (decibels full-scale). 0 dBFS = +20 dBu (Clipping occurs at +22 dBu.) 15 dBFS = +5 dBu The minimum displayed level is 50 dBFS. Markings next to the LED ladders are denoted as 50 dBFS to OL; they are similar in function to those of digital recorders. Each LED-segment is accurate within 1 dB.
Note: Typically, in digital recording devices such as MDMs, HDRs, or DATs, there is a built-in overhead of 34 dB above the 0 dBFS mark to match the typical maximum unbalanced analog console bus output value of +22 dBu. The OL LED lights at +22 dBu.

D8B Manual Chapter 2 page 27
Master Section Description
The Master Sectioneverything to the right of channel strip 24is divided into 13 subsections. They are: Master Fader/Bank Select Section Master V-Pot Section V-Pot Assign Section Fat Channel Section Studio/Solo Section Phones/Cue Mix Section Control Room Section Clipboard Section Master Fader/Shortcuts Section Bus Assignment Section Automation Section Session Setup Section Transport Section

Master Section

Master Fader/Bank Select Section
This section consists of: The four buttons used to select the four Fader Banks. The SHIFT button, which is primarily used to select and deselect multiple channels. The Master L/R Fader, which controls the signal level going to the L-R stereo bus. All 96 channels are always active. However only 24 are available at a time from the control surface (up to 48 are available through the onscreen interface). The buttons used to select the active fader set are: MIC/LINE (TRACK) TAPE IN (MONITOR) EFFECTS V-Pot Select MASTERS

Fat Channel

MIC/LINE (TRACK)
Fader Bank 1. Selects channels 124. Combination of Microphone inputs 112 and line inputs 124.
Master V-Pot Bus Assignment, Control Room Master Fader, Bank Selection
Solo/Studio, Phones 1 & 2

Automation, Setup

TAPE IN (MONITOR)
Fader Bank 2. Selects channels 2548. Requires 13 Tape I/O cards installed in the card cage for input signals.
Transport Clipboard, Master L/R, Shortcuts
D8B Manual Chapter 2 page 28

SHIFT Button

MASTERS 1-24 SHIFT 25-48

MIC/LINE

(TRACK)

TAPE IN

(MONITOR)

EFFECTS

BANK SELECT

MASTER L/R

The SHIFT button serves multiple functions. It provides a way to select multiple channels and multiple solo buttons. It also serves as a fine-tune selector for Aux levels and Pan adjustments. Try adjusting an Aux level with and without the SHIFT button depressednotice the difference in numerical scrolling speed. Allows more than one channel SELECT button to be engaged simultaneously. Allows more then one SOLO button to be engaged simultaneously. When SHIFT is pressed, the Rude Solo Light illuminates. Allows fine-tuning of Aux send levels and pan adjustments. Allows independent control of channel parameters with linked channels. Double-clicking selects all channels on the active fader bank.

Master L/R Fader

100mm logarithmically-tapered fader for smooth fades. Remotely controls level via DSPdoesnt pass audio like a traditional fader. dB level ranges from +10 dB (fully on) to (fully off). Mixdown Solo level control. Provides level adjustment to tape outputs (if desired).
Fader Bank 3. Selects channels 4972. Effects bank controls sixteen internal effects returns and eight ALT I/O returns.

Master V-Pot Section

MASTER

MASTERS

Fader Bank 4. Selects channels 7396. Faders 18 control the virtual group levels. Faders 916 are assignable MIDI controllers. Faders 1724 control the eight bus or surround outputs (BUS 18), which are output via the 25-pin D-sub connector labeled BUS OUT 18 & SURROUND OUT on the rear of the console. The BUS 18 outputs can also be assigned to the 24 tape outputs, or the ALT I/O slot.

MASTER V-Pot

Acts as the Master level control for the currently selected Aux bus. In all surround mode settings, the MASTER V-Pot acts as the front/rear pan control for the selected channel (provided the PAN button is lit). When used along with the channel pan V-Pot, the D8B acts like an audio rendition of the family favorite Etch-A-Sketch!
D8B Manual Chapter 2 page 29

MASTER PAN

Assigns all applicable channel V-Pots to act as pan controls (channels 172 and 8188). Stays lit continuously until an Aux Select, Level to Tape, or Digital Trim button is engaged.
AUX 18 Buttons (Default Operation)
This description highlights the default configuration for aux sends and effects returns. Keep in mind that the new D8B plug-in architecture provides maximum flexibility and awesome creative capabilities with respect to plug-ins, aux sends, and returns. Pressing any Aux 18 assigns channel V-Pots to control individual send levels to AUX 18 output. Each Aux 18 is simultaneously routed to the corresponding 1/4" jack on the rear of the console and to an internal effects processor. Patching from the Aux 18 jacks does not interrupt the signal flow to the internal processors. Each Aux 18 acts as a mono send to a stereo internal effects processor (MFX card only). UFX cards offer complete flexibility. Auxes patched to the IVL Vocal Studio effects return to four channels, either in stereo pairs (second pair is the reverb return) or as four separate channels.

MASTER SOLO (Aux)

Solos the currently selected Aux. Only one Aux can be soloed at a time. Master solo can be active at the same time a channel is soloed. Aux bus remains soloed until it is manually disengaged or until the CLEAR SOLO button is pressed. Solo level is post the MASTER V-Pot. Master Solo is not affected by the PFL or AFL Solo status selected in the Studio/Solo section.

Fat Channel Display

VFD Vacuum Fluorescent Display. Provides a text interface to console operation. Nearly all static functions and controls are accessible.

D8B GAIN -1.0 dB

56 INPUT / 72 CHANNEL DIGITAL MIXER

GAIN +2.2 dB

GAIN 0.0 dB

GAIN +3.1 dB

SUPER CD ENCODING

PREVIOUS

LOW MID

HI MID

MEMORY A

MEMORY B

COMPRESSOR

PLUG-INS

LOAD PATCH

SAVE PATCH

The Fat Channel
D8B Manual Chapter 2 page 32

ON button

Toggles the selected Fat Channel DSP control parameters on and off in bypass fashion.

SAVE PATCH button

Press this button to store an individual EQ, compressor, or gate into the current Fat Channel or plug-in setting to the onboard library. You must choose EQ, Gate, Compressor, or a plug-in before trying to save a patch.

SETUP button

When EQ is selected in the Fat channel, the Setup button lets you select the type of equalization and activate the EQ to Dynamics mode.

Studio/Solo Section

This section contains a V-Pot to control Studio, Solo, and Talkback levels, along with buttons to select various solo functions and talkback to the studio monitor system.

MEMORY A and B buttons

Each channel has two memory locations for EQ, compressor, gate, plug-ins, and surround parameter comparisons. Any changes to the above controls are temporarily stored in the selected Memory A or B buffers. Simply press Memory A to instantly recall the settings you developed while Memory A was selected. Press Memory B to instantly switch to alternate settings. Automation of the parameters will overwrite the buffers unless bypassed.

MIXDOWN SOLO button

This solo status interrupts the L-R Main outputs to front-of-house speakers or 2-track recorders. It is the destructive solo. Use this mode whenever you want the soloed track(s) to be the complete mixa rhythm breakdown is a good example of this. Mixdown Solo is post-fader and DSP. Level to tape (e.g., 2-track mixdown recorders) is controlled by the Master L/R fader.

Assigns the Aux 11-12 mix to the Phones output.

COPY MIX TO CUE button

Pressing this causes all channel settings to be copied to the channel V-Pots for the selected CUE MIX 1 (Aux 9-10) or CUE MIX 2 (Aux 11-12). This is a very quick way to copy the MASTER L-R mix, including effects, to the phones output, which can then be easily fine-tuned.

CLEAR SOLO button

Disengages all engaged solo buttons throughout the entire console. This is especially convenient considering sections may be soloed across multiple fader banks.

CONTROL ROOM button

Assigns whatever is selected in the Control Room section to the Phones output. Solos are also routed to the Phones output when Control Room is selected.

SOLO LEVEL button

Assigns the V-Pot in the Studio/Solo section to adjust the solo level being fed to the Control Room outputs. Not applicable to mixdown solo (use L/R fader to adjust mixdown solo level).

LEVEL V-Pot

Adjusts the Phones output level.

Control Room Section

These buttons: Select the source for the control room outputs. Select Main or Nearfield control room outputs. Adjust the listening level.

CONTROL ROOM

STUDIO LEVEL button
Assigns the V-Pot in the Studio/Solo section to adjust the output level being fed to the Studio monitor system.

TALKBACK LEVEL button

Assigns the V-Pot in the Studio/Solo section to control the preamp level for the in-panel Talkback Mic.
2 TRACK A DIGITAL IN TRACK B DIGITAL IN 2
Blinks whenever a Solo button is engaged.

2 TRACK C

MASTER L-R

NEAR FIELD

Phones/Cue Mix Section
PHONES/CUE MIX 1 PHONES/CUE MIX 2
AUX 9-10 COPY MIX TO CUE AUX 9-10 COPY MIX TO CUE

SPEAKERS

SPEAKER LEVEL
AUX 11-12 CONTROL ROOM AUX 11-12 CONTROL ROOM
2 TRACK A, B, and C buttons

LEVEL LEVEL

Selects the signal at the 2 Track A, B, or C input as the Control Room source.
Phones/Cue Mix 1 and 2 select the sources and sets levels for the Phones outputs.
Assigns the Aux 9-10 mix to the Phones output.
These inputs can be selected independently or together for simultaneous playback along with the MASTER L-R button.
Note: When DIGITAL IN 1 or DIGITAL IN 2 are selected, MASTER L-R and 2-TRACK inputs are unavailable.
D8B Manual Chapter 2 page 34

DIGITAL IN 1 button

Static or automated options are selected in the Fat Channel display. The parameter settings are placed on the clipboard for desired paste operations.

PASTE button

Pastes copied parameters to the currently selected channels.

UNDO button

Reverts the currently selected channels to their previous status, before a cut, copy, or paste. Multiple Undo and Redo operations are available by pressing UNDO in the Clipboard section then Undo and Redo in the control surface Fat Channel VFD.

DIM button

Quickly attenuates the control room monitors by 20 dB. This is very useful for phone calls or visits from the neighborhood volume cop.
D8B Manual Chapter 2 page 35
Master LR/Shortcuts Section

MASTER L/R SHORTCUTS

L-R button
When L-R is selected, the individual channels can be assigned or removed from the Master L-R bus. Mic, Line, FX, and Returns (Channels 172) can all be assigned in this way to the L-R Master bus.

CONTROL

ROUTE TO TAPE button SELECT button
Selects the Master Fader and Aux Master for edit operations.
Assigns a selected channel to any or all of the 24 tape outputs. Any of the 48 channels, as well as any internal FX returns, Alt I/O return, or Bus 18 can be assigned to one or more, or all (24) Tape Outputs. When ROUTE TO TAPE is selected, press the SELECT button on the channel you want to route to tape, then press ASSIGN on the channel strip that corresponds to the desired Tape Output. No two channels can be assigned to the same tape output (you can assign two or more channels to a bus, and route the bus to tape). As soon as a channel is assigned to a previously assigned output, it takes over the output, thus removing the previous assignment.

WRITE button

Displays automation status and engages the Master Fader and Aux Master to record automation eventsdependent on the automation mode.

CONTROL button

Used in combination with other buttons as a modifier key. See Shortcuts (Appendix D) for a list of applications.

ALT button

Bus Assignment Section
This is a quick and easy way to assign, or tell whats been assigned to, Bus 18 or the Master L-R bus.

ASSIGNMENT

ASSIGN BUS 1 ASSIGN BUS 3 ASSIGN BUS 5 ASSIGN BUS 7 ASSIGN L-R ASSIGN BUS 2 ASSIGN BUS 4 ASSIGN BUS 6 ASSIGN BUS 8 ASSIGN ROUTE TO TAPE
Note: Great care should be taken whenever a channel is assigned to its own tape track. Beware the dreaded feedback loop. Ouch!

Automation Section

What Is Automation All About?
Even if youve never worked with an automation system, youll find the controls in the Mackie Real Time OS intuitive and powerful. Spend a little time grasping the concepts, then start mixing. If youve worked with other automation systems youll find the Mackie OS incredibly quick and easy to master. A complete digital system thats been designed well is amazingly powerful and easy to use. Have fun!

AUTOMATION

BUS 18 buttons
Only one bus may be selected in the assignment section at a time. Bus assigns are used along with the individual channel Assign buttons. Press any Bus 18 button. Any channel thats assigned to the selected bus will have its Assign button lit on the individual channel strip (on the currently selected bank). Pressing the channel Assign button so the light stays on will assign that channel to the selected bus. Pressing Assign so the light goes off removes the assignment.

BYPASS

FADERS

AUTO TOUCH

FADER MOTORS OFF

TRIM LEVELS

BYPASS button
Bypasses the playback of all currently written automation moves.
D8B Manual Chapter 2 page 36
This button must be turned off before any automation can be recorded or played back. Toggling Bypass doesnt affect the automation filter LEDs (Faders, Mutes, Pan, All). However, when Bypass is on no automation data will be recorded.

AUTO TOUCH Mode

Activates Auto Touch write mode for automation data. All activated automation control points become write-enabled and enter automation record mode at the instant theyre modified from their current state. Its not necessary to engage individual channel WRITE buttons in this mode. Manually engaging WRITE in this mode only affects fader, mute, and pan writing (if theyre activated in the Automation section). The channel WRITE button illuminates as soon as a channel function is manually adjusted (and the corresponding filter is activated). One or more of the automation buttons (FADERS, MUTES, PAN, or ALL) must be activated or nothing will be written to automation. Note: Fader, mute, and pan data may be overwritten if these filters are activated and the channel is write-engaged.

FADER MOTORS OFF button

Pressing this button (so the yellow light is on) disengages fader motors, which prevents any automated fader movement during automated playback. When the button is engaged, all faders snap to off. Turning fader motors off does not affect changes that have been recorded during automation record passes. All automated levels still play back even though the faders dont move. The on-screen faders still show movement even when the physical faders are off. Fader moves may still be written to automation using the mouse.

FADERS button

Allows writing of Fader moves during an automation pass. When FADERS is activated, all fader moves on write-enabled channels are written into automation. Can be used in conjunction with MUTES, PAN, and ALL.

TRIM LEVELS button

Activates Trim Level automation on all writeenabled channels. This refers to trimming automated moves up or down, not to analog or digital level trim controls. All faders move to unity (U) and fader motors are turned off. Previously recorded automation remains intact. However, fader and V-Pot changes are simply added to or subtracted from existing data. This is a good way to edit parts of an automation track. See Modify Levels on page 55 for level-adjusting an entire track.

MUTES button

Allows writing of mutes during an automation pass. When MUTES is activated, all mutes on writeenabled channels are written into automation. Can be used in conjunction with FADERS, PAN, and ALL.

PAN button

Allows writing of Pan moves (stereo and surround) during an automation pass. When PAN is activated, all pan changes on write-enabled channels are written into automation. Can be used in conjunction with FADERS, MUTES, and ALL.

ALL button

Allows writing of all automation parameters other than faders, mutes, and pan. In order to record an automation pass, recording every automatable parameter, FADERS, MUTES, PAN, and ALL must be activated. Parameters selected by the ALL button are Aux 112 levels, Aux 912 pans, Master Aux levels, Digital Trim, all channel DSP functions (EQ and Dynamics), plus Plug-in/Effects parameters, bus assignments, surround panning, etc.
D8B Manual Chapter 2 page 37

Session Setup Section

GROUP button
Brings up the Group menu in the Fat Channel display. This is a virtual group function where faders and mutes are linked to one master fader, solo, and mute button in the Master fader bank. After pressing GROUP, press the SELECT buttons on each channel strip to be included in the group, then press Exit to complete the action. Control the group from the Master fader bank, where faders strips 18 control groups 18.

SAVE AS.

GENERAL

PLUG INS

DIGITAL I/O
Buttons in this section are used for file maintenance and for setting up system functions such as Virtual Groups, Digital I/O, meter assignment, and MIDI parameters.

SAVE button

Saves the currently active session to the internal hard drive or floppy drive. We recommend using the floppy only for backup. Saves all snapshot and automation data as well as the status of all digital parameters at the time of saving.

GENERAL button

Brings up the General menu in the Fat Channel display. Provides access to: Solo settings The surround sound matrix MIDI Machine Control settings Console layout (channel reassignment) Record Safe and Write Ready status settings VFD display brightness Network cascading and Alt I/O assignments One-button record status About current OS version

SAVE AS button

Saves the currently active session under a new name. Uses the V-Pots and SELECT buttons in the Fat Channel display to rename and complete the operation. To finish the SAVE AS either press Select beneath SAVE in the onboard Fat Channel display or simply press SAVE AS a second time. To quick-save the proposed file name, simply double-click SAVE AS
Brings up the Plug-In menu in the Fat Channel display for selecting the effects package to load into the internal FX card. Refer to the individual Plug-ins manuals for specific implementation.

NEW button

Press this button to start a new session. This is the same as New Session in the on-screen File menu. The New Session menu appears in the onboard Fat Channel. All Template preferences are loaded at the beginning of a New session.

DIGITAL I/O button

Brings up the Digital I/O configuration menu in the Fat Channel display. For selecting Tape I/O, Alt I/O, and Stereo I/O settings. For selecting and setting the internal sample rate or assigning the console to sync to external word clock.

LOAD button

Brings up the LOAD menu in the onboard Fat Channel display. This is the same as Open Session in the on-screen File menu. Facilitates the loading of previously saved session files from the hard drive or floppy disk. Sessions can be scanned in the Fat Channel display by pressing the first two SELECT buttons on the left or by turning the far left V-Pot.
D8B Manual Chapter 2 page 38

Transport Section

This section provides control for external recorder transports, time display, snapshots, locates, and loops.

SMPTE VIEW button

This button toggles between SMPTE/MTC time and BBT (Bars/Beats/Ticks) in the Position display.

POSITION display

Shows the numeric representation of SMPTE or MIDI Time Code (Hours: Minutes: Seconds: Frames) or a musically referenced display (Bars: Beats: Ticks). When the console is receiving time code, this display continually updates according to the time code position. Displays entered values for Locate storage.

Number Buttons 09

Used to numerically enter Snapshot, Locate, and Loop points in the Range display, and time values in the Position display. When numeric buttons are used to enter data, you must press ENTER to complete the action. Pressing the number keys while holding CONTROL scrolls through the on-screen interface windows.

RANGE display

Shows the snapshot number in Snapshot mode. Shows the most recently entered MMC locate point when in Locator mode. When looping it shows the beginning (FROM) and ending (TO) locate points for the loop.

Note: The PLAY button lights when time code is being received. It flashes when you press it and no MTC is received.

RECORD button

Engages Master record function on external machines and Write Ready engaged automation channels. Must be pressed with PLAY to engage record mode unless One Button Punch mode is active. One Button Punch allows punching into record without hitting PLAY (see Mix Options on page 66). Pressing any transport button takes the D8B and peripherals out of record status.

REWIND button

Engages external machine to fast rewind with no given locate point.

FAST FWD button

Engages external machine to fast forward with no given locate point.

JOG & SHUTTLE button

Engages the rotary dial (below the REWIND, FAST FWD, STOP, and PLAY buttons) to advance external machines forward or backward with singleframe accuracy when using MMC. When Jog & Shuttle is enabled, the REWIND and FAST FWD transport buttons send out MMC shuttle commands, usually corresponding to fixed speed increments (i.e., 1/4x, 1/2x, 2x, etc.).

STOP button

Stops external machines at the current position. Note: The STOP button lights when time code is not being received by the D8B.
Rotary Dial Encoder PLAY button
Engages external machine to play at normal speeds from the current location. This multifunction dial enables the scrub function.
D8B Manual Chapter 2 page 40

Applications

Chapter 4
D8B Manual Chapter 4 page 87

Setting Up for a Session

This section of the Digital 8Bus Owners Manual provides very application-specific descriptions of some common usages. Follow the checklist format to help ensure everything is set just right for your configuration. As your skills and knowledge increase, try new techniques. Build a system thats optimized for your specific application.
Channel Configuration/Planning
This actually has a lot to do with how well any audio experience unfolds. If you know where youre headed with track expectations and instrumentation, youll be able to make better choices along the way. Plan; plan again; think about it; then, plan some more. Devise a mock up of the final track sheet before you begin recording. Youll know more about how to get where you want to be.

Listening Environment

In any serious recording or live audio situation, the listening environment is one of the most important considerations. In a recording application, be sure the Digital 8Bus is connected to excellent reference monitors, like the Mackie HR824s. In addition, set up the system in an acoustically controlled and balanced environment. Avoid a control room with identical dimensions in any direction and set it up with a good mixture of absorption and reflection. In a live-sound setting, place the console out in the house at a good visual and auditory vantage point. If youre mixing in mono, its okay to sit in line with one of the speaker clusters. When mixing in stereo or surround, select the best locationtypically called the sweet spotto critically assess the entire mix. Eliminate guess work. Maximize efficiency.

Power-up Procedure

A well-thought-out power-up procedure saves wear and tear on all your gear. This procedure helps minimize the opportunity for equipment damage while maximizing the chance of success. Refer to Figure 4-1 for a Fast Track Graphic representation of this procedure.
Amplification system off: power amps or powered monitors Master Fader down Switch Console Power on
The D8B will create a Startup file with default settings if the User-Set Template has not yet been specified.
Open and load a snapshot or a session (optional)
Figure 4-1 Power-up Procedure
Follow this procedure for a safe and sure startup routine. Deliberate, well-thought-out procedures help eliminate uncomfortable pauses in a session. They make recording a more enjoyable experience. Amp or Powered Monitors Off

Master L/R Fader Down

MASTER L/R

Console Power On

Select A starting Snapshot or Open Your Master Template
Amp or Powered Monitors On Connect Instruments and Microphones Set Sample Clock
D8B Manual Chapter 4 page 88
Its a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc. Be sure all channel faders are down. Turn Master Fader down. Turn Speaker level down. Verify consistent sample rate settings throughout all digital multitrack recording devices. Word clock and digital data transfer connections are very important to the efficiency and functionality of any digital system. Verify them. Most systems work best when the D8B is the Master word clock source. Use the Apogee Clock I/O card to send word clock to slave devices. Wait until all other gear is powered up before turning on the monitor system.

Setup Window

The Setup Window is very important to the functionality of the Digital 8Bus. Its settings determine how the console functions within its own architecture as well as how it interfaces with other digital equipment.
Connect all mics and instruments

Set up sample clock

Turn amplification system on
Enjoy the creative process
Follow the checklist on the next page to verify that each Setup Window parameter is intentionally set. For specific recommendations for various parameter settings, refer to The Setup Window on page 64.
Figure 4-2 Basic Connection for Multitrack Recording
This diagram represents the fundamental connections in a D8B-based multitrack system. Sound sources feed Fader Bank 1 (MIC/LINE); Fader Bank 1 feeds the multitrack inputs via the AIO8, DIO8, or ADAT card outputs; the multitrack outputs feed Fader Bank 2 (TAPE) via the AIO8, DIO8, or ADAT card inputs; the mix output feeds the control room monitor system, master 2-track recorder, headphones, etc.

Multitracks

Audio Source

Control Room selection correct Monitor Speaker selection correct

Input source

Mic/DI Line/Instrument

The Fat Channel

EQ Compression Gate Busing/Routing
Connecting ADAT (Lightpipe) Multitrack(s)
Install DIO8 or OPT8 card into one or more of the D8B TAPE CARD slots. Using a fiber-optic lightpipe cable, connect the D8B Optical output to the ADAT Digital input connector. Using a fiber-optic lightpipe cable, connect the ADAT Digital output connector to the D8B optical input. If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input.

Signal Routing

To L/R To Tape To Bus
Connecting the Analog Multitrack
Simply connect the AIO8 outputs to an analog consoles inputs for up to 32 channels (8 channels per card) of flexible and assignable audio routing, (including the ALT I/O).

AIO8 Card

ANALOG I/O
Connecting ADAT Lightpipe
Using two fiber-optic lightpipe cables, simply connect the DIO8 digital outputs the ADAT lightpipe inputs, and the ADAT outputs to the DIO8 inputs, for up to 32 tracks (8 channels per card) of flexible and assignable digital audio (including the ALT I/O).

APOGEE DIGITAL I/O

DIO8 Card

OUTPUT

INPUTS

8-track ADAT

rear panel

ADAT OPTICAL

OUTPUTS

Analog Multitrack

Fiber-optic Lightpipe
D8B Manual Chapter 4 page 94
Connecting TASCAM (TDIF) Multitrack(s)
Install DIO8 card into one or more of the D8B TAPE card slots. Using a 25-pin D-sub digital cable (TDIF), connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector. Install BNC clock cable and make sure all connections are tightly secured. If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input and the D8B Apogee Clock should be set to External in the Setup>Digital I/O window.

Connecting TDIF Digital

Use a 25-pin D-sub digital cable (TDIF) to connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector, for up to 32 tracks (8 channels per card) of flexible and assignable digital audio, including the ALT I/O. In addition, connect the Sync output from the DIO8 card to the Word Sync input of the DA-88. This connection indicates use of a DIO8 Card with firmware version 127v2.

Sync Cable

Tascam DA-98 rear panel
REMOTE INSYNC IN (FROM RC848/DA-88) SYNC OUT (TO DA-88) WORD SYNC

ADAT OPTICAL OUT

OUT DIGITAL I/O TDIF - 1

METER UNIT

Monitoring

Connect the outputs from the recorders to the TAPE Inputs on the Digital 8Bus. This allows you to monitor the signal as its being recorded (assuming your recorder has that capability). To do this: Assign channels 2548 (or whatever channels are being used for tape returns) to the L-R bus. In the Control Room Section, assign MASTER L-R as the Control Room Source. The configuration shown has two external effects devices connected for monitoring. Aux 8 send goes to a digital reverb, which has stereo outputs that feed into the line inputs of channels 19 and 20. Aux 1112 goes out to a multi-effects stereo processor, which then comes back to the Digital 8Bus through the line inputs of channels 23 and 24. In addition, Aux 1 and 2 are routed to the internal FX Card, which processes the signal with whatever plug-in has been downloaded to it. The processed signal is returned to the L-R bus via the FX 14 channel strips in Fader Bank 3. The signal at the CR MAIN, CR NEAR FIELD, and the STUDIO OUT is determined by the Control Room Source selection in the Control Room Section. You can connect a pair of headphones to the PHONES 1 or 2 jack and monitor the signal there as well. Select CONTROL ROOM as the source in the PHONES/CUE MIX 1 or 2 Section.
D8B Manual Chapter 4 page 100
MIDI IN/OUT (Rear of Remote CPU)

Sync Interface

Direct Box

audio in

LINE IN LINE IN LINE IN LINE IN

audio out

INSERT INSERT INSERT INSERT INSERT INSERT INSERT

INSERT INSERT INSERT

internal digital return internal digital send

2-inch 24 track

digital control signal

Vocal Enhancer

Optional AIO8 Cards

TO TAPE TO TAPE

Reverb

TO TAPE

Stereo Effects Procesor
MASTER OUT 2 TRACK A PHNS 1 PHNS 2

FROM TAPE

CR MAIN 2 TRACK B STUDIO OUT

CR NEAR FIELD 2 TRACK C

PNCH I/0 TLKBK

AUX 12

AUX 11

AUX 10

Powered near-field monitor speakers
Internal Digital Audio Signal Path
To FX Return 1 and 2 (Fader Bank 3) To FX Return 3 and 4 (Fader Bank 3) FX Card 1
D8B Manual Chapter 4 page 101
Digital 8Bus Analog Recording/Tracking Hookup Example

Mixdown Setup

This simple checklist will help get the mix started. Notice that, each time, we follow the signal path from its source to its destination.
Select Master L/R in the Control Room section and adjust the speaker level to a moderately conservative level (about 9:00).
Be sure the multitrack recorder is connected properly to the Tape In card(s). Roll tape to verify signal at TAPE IN Fader Bank. If any track reads excessively hot or cold on the D8B meter bridge, adjust the Digital Trim for a reading around -15 with no peaks (OL).

Pressing DIGITAL TRIM activates the channel V-Pots as digital input trim adjustments.

2 TRACK A

DIGITAL IN 1

2 TRACK B

DIGITAL IN 2

2 TRACK C

MASTER L-R

NEAR FIELD

SPEAKERS

SPEAKER LEVEL

Its often recommended that you monitor from the output of the mixdown recorder.
If the outputs from the mixdown recorder are patched into the D8B 2-track or Digital inputs, simply select the mixdown recorder in the Control Room Section (Digital 1, Digital 2, 2 Tracks AC).
Adjust the channel faders, dynamics, pan, effects, and EQ for an excellent mix.
Digital clipping could occur if a signal going into the D8B is too hot. Noise could occur if the signal is too low. Even though the D8B has plenty of headroom and very little noise, its still a good idea to verify optimum levels.
Record the mix and enjoy the mind-boggling capabilities of the Mackie Digital 8Bus.
With channel faders off, set the Master Fader at Unity.
D8B Manual Chapter 4 page 102
In (rear of D8B Remote CPU)

MIDI I/O

LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN

Sample Mixdown Setup

2-Track DAT

2-Track Recorder

ANALOG I/O ANALOG I/O ANALOG I/O

Digital Delay

TO TAPE TO TAPE TO TAPE

Stereo Reverb

2 TRACK B STUDIO OUT

CR MAIN

CR NEAR FIELD 2 TRACK C PNCH I/0 TLKBK

Digital I/O AES/EBU

Near-field Powered Monitors
This sample mixdown setup helps provide ideas for how your mixdown setup might look. Each setup is unique in many ways, yet predictable in many ways.

Control Room Monitors

D8B Manual Chapter 4 page 103
Digital 8Bus Analog Recording/Mixdown Hookup Example

Effects/Plug-ins

MFX/UFX
Before we look at more setup examples, lets cover some quick tips on efficient use of the Digital 8Bus plugins. Follow these easy steps to use the Digital 8Bus internal plug-ins.
Note: In the plug-in windows, clicking directly on the Effects patch name displays a large pop-up menu of Factory or User patch names, which points to available patches in your working directorys Presets folder. Always save your custom presets to the User Presets folder. Presets saved to the Factory Presets folder could be written over by future plug-in updates. It is still possible to use the up/down arrows to scroll through the patch names.

Word Clock INPUT

Word Clock OUTPUT

Word Clock INPUT Word Clock INPUT

From PCI 324

Digital 8Bus
Master Word Clock Out From D8B

PCI 324 card output

Sync Hub
Use expensive, properly impedance-matched cabling! Its worth it!
Note: When using the D8B as the master sync source, always power it up before other digitally connected gear. Youll have a much better day.
D8B Manual Chapter 4 page 109

Computer

9-pin IN
Verifying Word Clock Sync Between Devices and the Digital 8Bus
When the D8B is set to Internal in the Apogee Clock pop-up window, it generates word clock as a master device. All other devices must be connected as slaves. If the D8B is slaved properly to a master word clock source, Locked. is displayed in the Setup>Digital I/O window next to the Apogee Clock pop-up window and an asterisk (*) flashes in the right-most portion of the control surface VFD.
You probably have a bad word clock sync connection if:
You hear audio but it cuts in and out at regular intervals. There is no audio signal at the input of the D8B even though everything seems to be connected properly. All meters are full on and you hear a very ugly grating, grinding, static sound. When the record/playback device transport is engaged, you see a question mark flashing in the right-most portion of the control surface VFD.
Troubleshooting Word Clock Problems
Troubleshoot through the system from the master through the slaves. Connect the first two devices and verify their functionality. Once theyre up and running, add the next device, and so on. This is the most efficient manner to check out a system. Verify connection, integrity, and quality of all sync cables. Verify a consistent sample rate setting on all connected sync devices (all set to the same sample rate44.1, 48k, etc.) Verify that the master sync source word clock output is connected to the word clock input of the slave, and that additional slaves also receive word clock. Slaves can either receive word clock directly from the master device or daisy-chained through connected slaves. Patch word clock out of a connected slave into the word clock input of any other slave. Verify that the master device word clock status is set to INTERNAL. Verify that all slave devices are set to follow EXTERNAL word clock. If the system doesnt seem to work correctly, you might have an intermittent or broken sync cable. Always use high-quality 75 BNC word clock cables.

D8B Manual Chapter 4 page 111

D8BHDR24/96 Setup

Hookups
This section shows how the D8B is connected to the Mackie HDR24/96. These examples assume that the rest of your studio equipment (monitors, sound sources, outboard processing, etc.) is already connected. Before you begin, note how the three eightchannel I/O cards are arranged on the HDR24/96 rear panel: 1-8 is on the left, 9-16 is in the center, and 17-24 is on the right. Labeling cables before you begin will make connecting the HDR24/96 to your D8B easier. The specific hookups for each D8B and HDR24/96 I/O card are shown below.
2. Connect three snakes between the HDR24/96 Outputs (top connector) and the corresponding D8B Tape Inputs (bottom connector).

HDR24/96 Settings

1. Set the Sample Clock to Internal. 2. Set the Sample Rate and Bit Depth according to your preference. It is not necessary to set the D8B and HDR24/96 to the same Sample Rate since, with analog connections, the sample clocks on the two units are not synchronized.

Console Settings

1. Set the D8B Sample Rate to 44.1kHz or 48kHz, and set the Apogee Clock to Internal (in the Digital I/O Setup window).
Analog Hookup to HDR24/96 (AIO8)
This example describes the analog hookup for the D8BHDR24/96 combination. Cables & Hardware
(3) AIO8 cards for HDR24/96 (3) AIO8 cards for D8B (6) DB25 to DB25 analog snakes

Hookup

1. Connect three snakes between the HDR24/96 Inputs (bottom connector) and the corresponding D8B Tape Outputs (top connector).
This example describes the hookup for the D8B console equipped for analog I/O. HDR 24/96

AIO8 Cards

(6) DB25 to DB25 Analog Snakes AIO8 Cards
Note: Some older AIO8 cards have the Input jack labeled as From Tape and the Output jack labeled as To Tape. Otherwise, they operate identically. Sigh. long story.

TAPE IN/OUTS

D8B Manual Chapter 4 page 112
TDIF Hookup to HDR24/96 (DIO8)

Cables & Hardware

(3) DIO8 cards for HDR24/96 (3) DIO8 cards for D8B (1) Clock I/O card for D8B (3) TDIF cables (1) 75 BNC word clock cable
DIO8 Sync out) to the HDR24/96 Word Clock In. To make the HDR24/96 the clock master, connect its Word Clock Out to the D8B Word Clock In.
1. Set the Tape Input format for each DIO8 card to TDIF, and the Tape Output format to TDIF. 2. If the HDR24/96 is the clock master, set the Sample Clock to Internal; if it is a clock slave, set it to Word Clock and depress the 75 termination switch on the Sync card. 3. Set the Sample Rate to 44.1kHz or 48kHz according to your preference.

1. Connect a fiber optic cable between the ADATs lightpipe output and the D8Bs lightpipe input. Likewise, connect the D8Bs lightpipe output to the ADATs lightpipe input. (A DIO8 or OPT8 lightpipe card must be installed in the D8B to gain access to the digital tape inputs and outputs.) 2. Connect a BNC cable from the Clock I/O cards WORD CLOCK OUT connector to the 48kHz IN connector on the BRC. Note: It is necessary to terminate this connection with a 50 ohm termination at the BRC end of the cable. You will need a BNC T connector (Radio Shack part number 278-112; male-female-female configuration) and a 50 ohm BNC terminator (Radio Shack part number 278-270). Connect the T connector to the 48kHz IN jack on the BRC. Then connect the BNC cable from the DIO8 card to one side of the T and connect the 50 ohm terminator to the other side of the T. 3. Connect the 9-pin D-sub sync cables between the BRC (REMOTE OUT TO ADAT) and the first ADATs SYNC IN connector. Then connect the sync cables in a daisy-chain fashion between the remaining ADATs. 4. Connect MIDI cables between the MIDI OUT connector on the Digital 8Bus Remote CPU and the MIDI IN connector on the BRC, and between the MIDI IN connector on the Digital 8Bus Remote CPU and the MIDI OUT connector on the BRC.

Notes:

1. You must turn on the Digital 8Bus first, then turn on the ADATs. 2. Make sure the DIGITAL I/O button on the BRC is not lit. 3. Under the MIDI/UTIL button on the BRC, make sure #1 MIDI Echo is off and #8 Output Rew/FF is off. This is so the faders dont run at high speed when shuttling around on your ADATs.
D8B Manual Chapter 4 page 118

MIDI IN MIDI OUT

REMOTE OUT TO ADAT
48 KHz IN with 50 termination
OUTPUT 1 LOCATE/PLAY LRC REMOTE 2 PUNCH IN/OUT DIGITAL IN OUT IN SYNC
ADAT XT MASTER DECK (TRACKS 1-8)
ADAT XT SLAVE DECK (TRACKS 9-16)
ADAT XT SLAVE DECK (TRACKS 17-24)

TAPE 1- 8

TAPE 9- 16

TAPE 17- 24

DIGITAL I/O AES/EBU

APOGEE CLOCK I/O

& SURROUND OUT

BUS OUT 1-8

LINE INPUTS

(BAL/UNBAL)

WORD CLOCK OUT

DIGITAL 8BUS

19 PHONES 2

MASTER OUT L R OUT

ADAT OPTICAL ADAT OPTICAL ADAT OPTICAL OUT OUT OUT

2 TRACK IN A L R

PHONES 1

WORD CLOCK IN

DIGITAL I/O S/PDIF IN

2 TRACK IN B L R

STUDIO OUT L R

2 TRACK IN C L R

PUNCH I/O

TALKBACK

DIGITAL EFFECTS CARDS DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS
MACKIE DESIGNS THIS DEVICE 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

DATA CABLE (to Console)

REMOTE CPU

SERIAL KEYBOARD MOUSE

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC WOODINVILLE WA USA MADE IN USA FABRIQUE AU USA COPYRIGHT 1997 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE
D8B Manual Chapter 4 page 119

CONSOLE DATA

PARALLEL
Connecting the Digital 8Bus to ADATs Using an External Sync Box
1. Connect a fiber optic cable between the ADATs lightpipe output and the D8Bs lightpipe input. Likewise, connect the D8Bs lightpipe output to the ADATs lightpipe input. (A DIO8 or OPT8 lightpipe card must be installed in the D8B to gain access to the digital tape inputs and outputs.) 2. Connect the 9-pin D-sub sync cables between the Sync Box (SYNC OUT) and the first ADATs SYNC IN connector. Then connect the sync cables in a daisy-chain fashion between the remaining ADATs. Connect the SYNC OUT on the last ADAT to the SYNC IN on the Sync Box to complete the loop. 3. Connect MIDI cables between the MIDI OUT connector on the Digital 8Bus Remote CPU and the MIDI IN connector on the Sync Box, and between the MIDI IN connector on the Digital 8Bus Remote CPU and the MIDI OUT connector on the Sync Box.
D8B 1. Open the Setup window by pressing Ctrl+1 or Setup in the bottom menu bar on-screen.
2. Click Digital I/O to open the Digital I/O dialog box. 3. Click each Tape Input and Output box and select ADAT for each DIO8 card installed.
Notes: When powering up, turn the Digital 8Bus on first, then turn the ADATs on. Make sure MMC and MTC are lit on the sync box.

TDIF TDIF

DIGITAL EFFECTS CARDS

DIGITAL I/O

ALT I/O

SERIAL

KEYBOARD
D8B Manual Chapter 4 page 123
Connecting the Digital 8Bus to Tascam MDMs
Digital Audio Workstation Setup
Connecting the Digital 8Bus to a Digital Audio Workstation (Digital Performer, Studio Vision Pro, Cakewalk Pro, etc.) shares considerations with the ADAT and TASCAM hookups. Word clock synchronization must be addressed; the master and slaves must be established; the clock rate must be consistent throughout; and the audio path into the console must be intelligently configured. Note: A Pro Tools system works best when referenced to Superclock sync source, or when connected to a PDI8 card through AES/EBU with SRC engaged. Lets consider a common computer-based setup utilizing: A combination digital audio/MIDI software package A MIDI interface A digital audio interface with lightpipe audio connections
computers sample rate (typically 48kHz or 44.1kHz). Selecting Internal in the Apogee Clock pull-down establishes the D8B as the master. Everything else in the digital chain must be capable of slaving to the Digital 8Bus. DAW 1. Set the digital audio interface to follow ADAT optical at the interface input (from the D8B lightpipe output). 2. Connect the DAWs MIDI/digital audio interface to the Digital 8Bus inputs and outputs.
1. Connect the Digital 8Bus lightpipe output, from the DIO8 or OPT8 card, to the digital audio interface lightpipe input. Likewise, connect the lightpipe output from the digital audio interface to the D8Bs lightpipe input. 2. Connect the digital audio interface to the computer per the manufacturers specifications.
Note: Be sure to turn on the D8B before any of the other digital components. In addition, if your setup uses TDIF connections, refer to the previous setup scenario for TASCAM-specific settings.
D8B 1. Open the Setup window. 2. Click Digital I/O to open the Digital I/O dialog box. 3. Click each Tape Input and Output box and select the appropriate setting for each card installed.
4. Set the Digital 8Bus Samplerate to match the
D8B Manual Chapter 4 page 124
Software-based Digital Audio Workstation

COMPUTER

BANK A

BANK B

BANK C

8 OUTPUT

IN OUT IN OUT IN OUT

DAW Digital Interface

(BAL /UNBAL)

PHONES 2

DATA AND SYNCHRONIZATION I/O
D8B Manual Chapter 4 page 125
Connecting the Digital 8Bus to A Digital Audio Workstation
Live Sound/Live Recording Setup
In a live sound/recording application the console fader banks are chained together to form one large console. With the addition of up to 24 more mic preamplifiers, the tape inputs can be used to receive signal from any mic-level or linelevel source. The setups for live concert recording and live sound are similar. Each involves mixing everything as you gomoving faders, or setting and selecting snapshots. Whereas the live concert mix sends the final audio to the monitors and house sound system, the live recording mix sends the final audio to the 2track recorder and the headphones. Follow this simple procedure to set up for a live session. Power amps off Console power on Select a starting snapshot Turn Master Fader down Connect all mics and instruments Setup sample clock Power amps on Select Mic/Line fader bank Press Mic button on channels using microphone

Where Do I Start?

Automation is somewhat intimidating at first. Fortunately, it doesnt need to be. The power, flexibility, and ease of use provided by the Mackie designers makes the D8B painless and intuitive. If youve used other automation systems, you have a definite advantage. The concepts involved, as they apply to the D8B, are similar to most automation systems. The advantage the D8B offers over most other automation systems is its mind-boggling ability to automate virtually every parameter on the console. The following is a step-by-step, streamlined procedure to help get you automating. To clarify terminology and basic layout, refer to Chapter 2 of this manual.

Two Types of Automation

Automation moves are divided into two basic types: snapshot and dynamic. Snapshot automation makes it possible to instantly reset all automated console settings to a predetermined fixed (static) position with a single command (snapshot recall). Dynamic automation allows you to record and play back any parameter changes, like fader positions or mute toggles, in real time while locked into time code. The Digital 8Bus is powered by Mackies Real Time OS automation software. Upon initial powerup, the console Automation Section is bypassed.

Automation In Bypass

Begin by setting up a basic mix with automation off. Select BYPASS in the Automation section of the control surface in the Options/Automation window, or in the on-screen Locator window. To avoid errant data, select all channels and clear all types of automation data. Select Mic/Line bank, then Select All (Control+A). Select Fader bank, then Select All (Control+A). Select Effects bank, then Select All (Control+A). Select Masters bank, then Select All (Control+A). Choose Clear Automation from the Edit Menu. Check all types of data, then OK. Name your Mixes in a manner that is easy to reference consecutive revisions: For example, BigBadBob Mix 1, or BigBadBob rev 1.0. Using rev 1.x, rev 2.x, etc. provides an easy way to indicate major conceptual changes (1.0, 2.0, 3.0, etc.) from minor refinements (1.0, 1.1, 1.2, etc.) Build the basic sound of the mix. Include fundamental EQ, Pan, Surround, Dynamics, Groups, etc. Save frequently, or set the D8B for SMART SAVES at regular intervals.

Snapshot Automation

As described in Chapters 2 and 3 of this manual, snapshots are simple and painless to store on the D8B. Snapshot automation refers to simply scrolling through various snapshots at the appropriate time and place. (Recalling snapshots in the proper order and position can be accomplished through connection to a MIDI sequencer, or by placing snapshot events in the Event Automation Track.) Your MIDI sequencer sees a snapshot selection as a simple patch change, which can be recorded as part of the same sequence that might contain all or a portion of your music. Set the sequencer to receive and record MIDI patch change data from the D8B MIDI channel and cable. Select MIDI Snapshots in the Setup>Mix Options window. Run the sequence with the D8B receiving MTC from the sequencer. Place the sequencer in record mode on the D8B channel as you scroll through snapshots. Each of these snapshot changes record into the sequence. Play the sequence back with the D8B receiving MIDI playback at its MIDI input. Snapshots will playback in the same time and order that you selected them.

Note: Faders, Mutes, and Pan all apply individually to the one parameter they name. ALL applies to all automation parameters other than Faders, Mutes, and Pan. Safety Net: You can undo any automation record pass or series of record passes using the History List. You can also redo your undo. Or undo your redo. Or undo your hairdo.

Auto Touch Mode

Auto Touch mode offers great flexibility and ease of use. When AUTO TOUCH is selected, automation data is recorded instantaneously for any parameter as soon as you change its setting. Select AUTO TOUCH by highlighting the control surface AUTO TOUCH button, clicking AUTO TOUCH in the on-screen Locator window, or selecting Auto Touch in the Options/Automation menu. Youll know youve succeeded in writing automation data when you see the yellow light illuminate the control surface WRITE button or the on-screen channel WRITE icon.

Set Default Levels

Once your ducks are in a row, youre ready to begin the automation process! The Set Default Levels command determines the starting point for the entire mix. Fader levels can be written from the beginning of time code (00:00:00:00) to the end (23:59:59:30). If you dont set default levels to your preference, levels will jump to any previously selected automation settings as soon as MTC begins. This can be very frustrating, but if youve religiously saved snapshots of your mix status, you wont be far from repair. Determine that your mix is solid enough that youd like to have all parameters written as defaults. Dont get too freaked out about this

Start playback device

Verify MTC in the Locator position readout. Verify selection of desired automation parametersfor now select FADERS, MUTES, PAN, and ALL.
D8B Manual Chapter 4 page 130

Move a channel fader

As soon as the fader moves, the WRITE button illuminates, indicating automation data is being recorded. Stop playback or press the WRITE button on the active channels to exit automation record mode. Rewind playback/Record device to the beginning of the automation pass. If youve followed these directions thoroughly youll see the fader move that you recorded playback automatically. Welcome to the wonderful world of D8B automation! Be sure youve selected the desired parameter before attempting the automation pass. Each time you perform a new automation pass, new data combines with the old in a seamless manner. Continue building the mix until everything is just right.
Press the D8B Record Button
Press the RECORD button on the control surface in the transport control section or in the on-screen Locator window. Once record status has been achieved, the blinking yellow lights remain solid until the transport stops or the WRITE button is pressed. For the write-ready channels, fader, mute, and pan automation data is written as soon as record is pressed. For all other parameters (other than fader, mute, and pan), even though RECORD is pressed, automation data isnt actually recorded until a parameter change is made.

Auto Touch, Write Punch-in, and Write Ready Modes Function in TRIM mode, also
Write Ready Summary Checklist
Exit the AUTO TOUCH and/or TRIM LEVELS Mode Activate the Desired Automation Parameters Select Write Ready mode in Options>Automation Press WRITE on All Desired Automation Channels Start the Playback Device Press the D8B Record Button Adjust faders, mutes, or any selected parameters on the WRITE enabled channels Exit Record and Rewind to Beginning of Track Start Playback from Beginning of Track Repeat this Action for more channels and Parameters
Automate EQ, Dynamics, and Effects
Automation of EQ, dynamics, and effects is simple. Select automation mode (ALL). Start the playback/record device. Activate automation record command. Make changes. In order for these parameters to record, ALL must be selected in the control surface AUTOMATION section, on-screen Locator window, or in the Options/Automation window.
Automation Procedural Checklists
These checklists are designed as skeletal reminders of the processes previously described. If you follow them and have a basic understanding of the D8B automation system, theyll help instill an efficient automation procedure.
Write Punch-in Summary Checklist
Exit AUTO TOUCH and/or TRIM LEVELS Mode Exit Write Ready mode in the Options>Automation Menu Start Playback/Record Device and Verify MTC Press the Write Button(s) on the Desired Channels Adjust Automation Parameters on the WRITEEnabled Channels Exit Record and Rewind to Beginning of Track Start Playback from Beginning of Track Repeat this Action for More Parameters
Trim Levels Summary Checklist
Press TRIM LEVELS Choose Automation Mode (All Modes Function as Expected) Start Playback/Record Device and Verify MTC Use Channel Faders to Boost or Cut Previously Automated Channel Data Exit Record and Rewind to Beginning of Track Start Playback from Beginning of Track Repeat this Action for More Parameters Exit Trim Levels to Return Faders to Normal Mode
D8B Manual Chapter 4 page 132