MACKIE D8BUS
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6. Press the PFL SOLO button in the STUDIO/SOLO section. In this mode the faders do not affect the solo level at the Control Room output.
STUDIO/SOLO

Note: If you use the built-in compressor on any channels, you can get away with turning the TRIM control up a little higher, since the compressor will reduce the chance of transient peaks reaching digital clipping. Of course, the tradeoff is that you will lose some dynamic range (see �Using The Compressor� in Chapter 6 of the Digital 8�Bus Owner�s Manual).

MIXDOWN SOLO
RUDE SOLO LIGHT

CLEAR SOLO

PFL SOLO

SOLO LEVEL

AFL SOLO

STUDIO LEVEL

D g i t a l 8 � B u s

Using Internal Channel Processing and Internal Effects
Every channel on the Digital 8�Bus has its own individual 4-band parametric EQ, compressor, and gate. In fact, each channel can store two separate settings for the EQ, compressor, and gate. Want more? You can dynamically automate the settings for the EQ, compressor, and gate referenced to time code, using the built-in Mackie Real Time OS Automation software.

TALKBACK TO STUDIO

TALKBACK LEVEL

LEVEL

7. Press the channel SOLO button. The LED in the button lights. 8. Make appropriate �noise� into the channel input. For example, have a performer play/ sing/strike something or someone, etc. at the level they�re going to record or perform. Don�t just play a single sustained note, but rather, jam away as you would during a recording or performance. If the channel is being used for a tape input during mixdown, roll an already-recorded track from your recorder. Adjust the TRIM control. The goal is to get the channel meter reading at or around �15. The peaks should regularly hit, and occasionally exceed, the �15 designation on the meter. This is equivalent to a +4 dBu analog level, and provides plenty of headroom for transient peaks before reaching 0 dB FS. To monitor the signal, press SOLO LEVEL in the Studio/Solo Section and adjust the LEVEL V-Pot. Make sure the SPEAKER LEVEL V-Pot in the Control Room Section is turned up. If desired, press the channel�s SELECT button and adjust the EQ in the Fat Channel (see �Using Internal Channel Processing and Internal Effects� in the next section). You may need to readjust the channel�s TRIM control after changing the EQ setting. Repeat steps 5�10 on the next channel that is being used. Once you�ve achieved the proper input sensitivity settings using this method, clear all soloed channels and monitor the mix in the Control Room outputs (with all channels assigned to the L-R bus, and L-R selected as the Control Room source) or the Main L-R Output. Slowly bring up the Master L-R fader to a comfortable listening level and use the channel faders to adjust individual levels. Leave the TRIM controls alone. This will give you the best signal-tonoise ratio in your mix.

EQ
When you press a channel�s SELECT button, its channel number appears in the CHANNEL SELECT display, and its EQ settings appear in the Fat Channel Display. If they don�t, make sure the EQ button in the Fat Channel Section is lit. Also make sure the ON button is lit.

9.

SUPER CD ENCODING

SELECT

SELECT

PREVIOUS

LOW

LOW MID

10.

ON

SETUP

EQ

GATE

COMPRESSOR

11. 12.

� You can toggle through the parameters (gain, frequency, Q) for each band by pressing the SELECT button under each parameter in the Fat Channel Display. � You can adjust a parameter�s value by turning the V-Pot below each parameter. � The EQ settings are stored in MEMORY A. Press the MEMORY B button to create a different EQ curve. Now you can quickly switch back and forth between the two EQ settings to compare how they sound, or to make a deliberate change to the sound of the instrument or voice in real time.

16

General Guidelines