1
8·BUS OWNER'S MANUAL
MIC/LINE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
2
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
2
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
3
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
3
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
4
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
4
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
5
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
5
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
6
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
6
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
7
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
7
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
8
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
8
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
9
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
9
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
10
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
10
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
11
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
11
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
12
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
12
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
13
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
13
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
14
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
14
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
15
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
15
5
10
40
50
80
LR
MUTE
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
16
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
L/R
MIX
SOLO
-20
OL
O
O
MUTE
16
5
10
40
50
80
LR
MUTE
EXTERNAL
INPUT
MIX-B
OUTPUT
1
AUX SEND
1
R
L
2
2
R
R
3
3
R
L
4
4
R
R
5
5
R
L
6
6
R
R
L
7
L
L
L
R
8
R
R
R
SUBMASTER INSERT
AUX RETURN
CNTRL
RM OUTPUT
STUDIO
OUTPUT
MAIN MIX
MAIN
INSERTS
2-TRACK
INPUT
1234
5
6
PHONES
12
MONO
L
MONO
L
MONO
L
MONO
L
MONO
L
MONO
L
MONO
MONO
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
15
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
PHANTOM
POWER
CHANNEL
16
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
13
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
14
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
11
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
12
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
9
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
10
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
7
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
8
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
5
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
6
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
3
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
4
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
1
BAL-
UNBAL
TIP = OUT
RING = IN
LINE
IN
DIRECT
OUT
INSERT
CHANNEL
2
BAL-
UNBAL
TIP = OUT
RING = IN
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
AUX SENDS
STEREO AUX RETURNS
4
3
2
5
6
1
PHONES
2
L/R MIX
L/R MIX
1-2
3-4
5-6
7-8
L/R MIX
SOLO
1-2
3-4
5-6
7-8
PHONES
1
PHONES
2
L/R MIX
1
2
3
4
LEVEL
ASSIGN
ASSIGN
ASSIGN
ASSIGN
LEVEL
LEVEL
16x8x2 8-BUS MIXING CONSOLE
PHONES
1
6
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+20
O
O
U
+20
O
O
U
+20
O
O
U
+20
O
O
U
LR
LR
5
+20
O
O
U
+20
O
O
U
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
LEVEL
LEVEL
LEVEL
MIX-B TO
L/R MIX
SOLO
AUX SEND 3/4
MIX-B
CNTRL RM
AUX SEND 5/6
EXTERNAL
MONO
TAPE SUB
MASTERS
AUX SEND 1
SOURCE
MIX B
MONITOR
PHONES 1
PHONES
LEVEL
SOLO
AUX SEND 3/4
MIX-B
CNTRL RM
AUX SEND 5/6
EXTERNAL
SOURCE
PHONES 2
PHONES
LEVEL
ASSIGN
2-TK
MIX-B
L/R MIX
EXTERNAL
SOURCE
MONITOR
CNTRL RM
STUDIO
SOLO
TALKBACK
LEVEL
LEVEL
MIX-B
LEVEL
RUDE
SOLO LITE
AUX SEND 2
PHONES
&
STUDIO
+15
O
O
U
+15
O
O
U
+15
O
O
U
O
O
O
O
O
O
+15
O
O
U
BALANCE
POWER
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
TALKBACK
MIC
MIX
LEFT/RIGHT
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
dB
30
20
5
10
O
O
5
10
40
50
80
10
+
7
4
2
0
2
10
7
10
20
30
40
LR
10
+
7
4
2
0
2
10
7
10
20
30
40
L
10
+
7
4
2
0
2
10
7
10
20
30
40
R
10
+
7
4
2
0
2
10
7
10
20
30
40
L
10
+
7
4
2
0
2
10
7
10
20
30
40
R
10
+
7
4
2
0
2
10
7
10
20
30
40
L
10
+
7
4
2
0
2
10
7
10
20
30
40
R
10
7
4
2
0
2
10
7
10
20
30
40
22
+
MAIN
OR SOLO LEVEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
FLIP SW
CHANNEL
MONO
L+R
RLRLRLR
MONO
L+R
MONO
L+R
MONO
L+R
MONO
L+R
ASSIGN
MONO
L+R
MONO
L+R
1
L
23
4
5
6
7
8
MONO
L+R
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
ASSIGN
MIX
MIX
MIX
MIX
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
MIC/LINE
TIP=OUT
RING=IN
AUX
PRE
TRIM
FLIP
1
2
4
3
5
6
MIX-B
CHANNEL
PRE
SHIFT
TAPE
MIC/LINE
CHANNEL
1
SOURCE
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
AUX
GAIN
+4
10
48dB
40dB
U
LINE
SE
N
S
IT
IV
IT
Y
MIC
/LIN
E
G
A
IN
+15
O
O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
HI
MID
FREQ
75 Hz
18dB/oct
SOURCE
45
3k
PAN
LEVEL
BAND
WIDTH
500
18k
3k
FREQ
15
+15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MON
MONITOR
LR
15
+15
U
15
+15
U
15
+15
U
1k
5k
250
220
350
3
2
1
12
NORMAL
PAN
dB
30
20
5
10
5-6
3-4
1-2
7-8
L/R
MIX
SOLO
-20
OL
O
O
MUTE
1
5
10
40
50
80
LR
MUTE
FLIP SW
CHANNEL
1
9
17
2
10
18
3
11
19
4
12
20
5
13
21
6
14
22
7
15
23
8
16
24
1
2
3
45
6
7
8
910
11
12
13
14
15
16
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
OCTAVES
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
5-6
3-4
1-2
7-8
PHANTOM
POWER
9. Object and Liquid Entry -- Do not drop objects or spill liquids
into the inside of the 8·Bus Console and External Power Supply.
10. Damage Requiring Service -- The 8·Bus Console and
External Power Supply should be serviced only by qualified
service personnel when:
A. 8·Bus Console and External Power Supply power-supply
cord or the plug has been damaged; or
B. Objects have fallen, or liquid has spilled into the 8·Bus
Console and External Power Supply; or
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. Servicing -- Do not attempt to service the 8·Bus Console
and External Power Supply beyond those means described in
this operating manual. All other servicing should be referred to
the Mackie Service Department.
12. To prevent electric shock, do not use the 8·Bus Console
and External Power Supply polarized plug with an extension
cord, receptacle or other outlet unless the blades can be fully
inserted to prevent blade exposure.
Pour préevenir les chocs électriques ne pas utiliser cette fiche
polariseé avec un prolongateur, un prise de courant ou une autre
sortie de courant, sauf si les lames peuvent être insérées à fond
sans laisser aucune pariie à découvert.
13. Grounding or Polarization -- Do not defeat the grounding
or polarization of the 8·Bus Console and External Power Supply.
This apparatus does not exceed the Class A/Class B (whichever
is applicable) limits for radio noise emissions from digital
apparatus as set out in the radio interference regulations of the
Canadian Department of Communications.
ATTENTION --Le présent appareil numérique n'émet pas de
bruits radioélectriques dépassant las limites applicables aux
appareils numériques de class A/de class B (selon le cas)
prescrites dans le règlement sur le brouillage radioélectrique
édicté par les ministere des communications du Canada.
WARNING -- To reduce the risk of fire or electric shock, do not
expose this appliance to rain or moisture.
V2.2-5/95
CAUTION
AVIS
RISK OF ELECTRIC
SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
SAFETY INSTRUCTIONS
1. Read Instructions -- Read all the safety and operation
instructions before operating the 8·Bus Console and External
Power Supply.
2. Retain Instructions -- Keep the safety and operating
instructions for future reference.
3. Heed Warnings -- Follow all warnings on the 8·Bus
Console and External Power Supply and in these operating
instructions.
4. Follow Instructions -- Follow all operating and other
instructions.
5. Water and Moisture -- Do not use the 8·Bus Console and
External Power Supply near water - for example, near a bathtub,
washbowl, kitchen sink, laundry tub, in a wet basement, near a
swimming pool, swamp or salivating St. Bernard dog, etc.
6. Heat -- Locate the 8·Bus Console and External Power
Supply away from heat sources such as radiators, or other
devices that produce heat.
7. Power Sources -- Connect the 8·Bus Console and External
Power Supply only to a power supply of the type described in
these operation instructions or as marked on the 8·Bus Console
and External Power Supply.
8. Power Cord Protection -- Route power supply cords so that
they are not likely to be walked upon or pinched by items placed
upon or against them, paying particular attention to cords at
plugs, convenience receptacles, and the point where they exit
the 8·Bus Console and External Power Supply.
1
IMPORTANTSENSITIVITY
ADJUSTMENTPROCEDURE!
16·8
24·8
32·8
Owner's
Manual
Version
2.2
5/95
during mixdown, roll an already-recorded
track from your recorder.
4. The channel's 20dB LED may light. The
L/R main meters will show the actual internal
operating level of soloed signals. Now you will
optimize levels.
5. s
s For mic or line inputs, adjust the TRIM
control clockwise to get peaks that regularly
hit 0dB on the L/R meters. For mic inputs
this may require full CCW rotation depend-
ing on the sensitivity of the mic.
6. If desired (optional):
s
s Press the EQ switch in.
s
s Adjust the channel strip's EQ to about
what you will be using during the session.
s
s Re-perform Step 5.
7. s
s Return the channel strip's SOLO button to
its
up position.
8. s
s Repeat Steps 1-7 on the next channel that
is being used.
To fully achieve the Mackie 8·Bus console's
impressive headroom and specs, you should
"tune" channel sensitivity for each channel.
FOLLOW THIS PROCEDURE FOR
EACH CHANNEL IN USE:
1. Assign signal to channel fader:
s
s If channel will be used with a micro
phone, MIC/LINE switch should be
up &
FLIP switch should be
up.
s
s If channel will be used with line input,
MIC/LINE switch should be
down &
FLIP switch should be
up.
s
s If channel will be used with a tape
input keep the FLIP switch
down.
2. Set channel strip controls as follows:
s
s TRIM pot all the way counterclockwise
(
+4dB)
s
s AUX SEND controls all the way counter-
clockwise (
off)
s
s EQ switch up
s
s LOW-CUT switch either on or off
(
on recommended for mic inputs)
s
s Pan hard left or right
s
s Channel fader at UNITY
s
s SOLO switch down
3. s
s Make appropriate "noise" into the channel
input. For example, have a performer play/
sing/strike something or someone, etc., at
the level at which they're going to record or
perform. Don't just play a single sustained
note, but rather, jam away as you would be
during recording or performance. If the
channel is being used for a tape input
Serial #
Please put your serial number
here for future reference (i.e.
insurance claims, tech support,
return authorization, gloating
privileges etc.):
Yes, we know it's only slightly smaller than a
doublewide mobile home, but you will need the
entire carton and internal foam if your console
ever needs service at some time in the future.
If your kids make the box into a fort and cut
holes in it -- or if you stuff it in the dumpster of
the fast-food place next door to your studio, we
may have to sell and ship you another packing
box later on. Don't end up buying an empty box!
PLEASE! SAVE THE
SHIPPING BOX!
2
TABLE OF CONTENTS
SECTION 2* --
Panel Layout and Function .... 4
INPUT CHANNELS ................ 4
Fader .............................. 4
Mute
.............................. 4
Pan & Assignment switches 4
20 & OL LEDs ................. 5
Channel Solo .................... 5
Phantom power ................ 5
Trim
.............................. 5
Mic/Line switch ................ 5
The Flip Switch:
Mic/Line or Tape? ............ 6
MIX-B / Monitor ............... 6
MIX-B Pan ........................ 6
MIX-B Level ...................... 6
MIX-B Split ....................... 7
EQ Section ........................ 7
HI Mid EQ .................... 7
LO Mid EQ ................... 8
HI EQ ........................... 8
LO EQ .......................... 8
EQ In/Out .................... 8
LO cut .......................... 8
AUX Sends ........................ 8
AUX 1 & 2 .................... 9
Pre (1&2) .................... 9
AUX 3, 4, 5, 6 ............... 9
Shift ............................. 9
Source ......................... 9
Pre (3-6) ...................... 9
OUTPUT SECTION .............. 10
8·Bus Faders ................. 10
L Mix and R Mix ............ 10
Mono L & R ..................... 10
Solo
............................ 10
L/R Mix Fader ................ 10
Metering Bus
Meters 1-8 ................ 11
Main/Solo Meters ........... 11
AUX Sends ...................... 11
AUX Solo ......................... 12
Stereo AUX Returns ....... 12
Returns 1 & 2 ............. 12
Assign (1&2) .............. 12
Returns 3 & 4 ............. 12
Assign (3&4) .............. 12
Returns 5 & 6 ............. 12
MIX-B/Monitor ........... 12
Phones ....................... 13
Monitor ...................... 13
Solo ............................ 13
Talkback .................... 13
Jack panels (input strip
and Master output) ....... 14
Input Strip ................ 14
Phantom power ........ 14
BNC sockets .............. 14
Mic In ........................ 14
Line In ....................... 14
Direct Out .................. 14
Channel Insert ........... 14
Output Panel .................. 15
Submaster Inserts .... 15
AUX Sends ................. 15
AUX Returns .............. 15
Main Inserts ............... 15
Control Room Output . 15
Main Mix ................... 16
MIX-B Output ........... 16
Phones ....................... 16
Studio Output ........... 16
2-Track Input and
External Input ........... 16
REAR PANEL
CONNECTIONS ................... 17
Tape Returns .................. 17
Tape Return
Operating Level .............. 17
Submaster/Tape Outputs17
Submaster/Tape Output
Operating Level .............. 17
Main Bal. Outputs ......... 18
Expander Port ................ 18
DC Power in ................... 19
SECTION 3 --
General Information ............. 20
LEVELS ............................... 20
Noise ................................ 20
Headroom ....................... 20
Unity Gain ...................... 20
Metering .......................... 20
BUSES ................................ 21
SENDS & RETURNS .......... 21
SOLO ................................... 21
EQ ....................................... 21
CONNECTORS .................... 23
A BIT MORE ON
MIX-B/FLIP ......................... 23
SECTION 4 --
Recording ............................ 24
RECORDING OVERVIEW .... 24
SETUP ................................. 24
RECORDING &
OVERDUBBING ................... 24
Using Buses .................... 24
Monitoring ..................... 24
Cue Mix ........................... 24
Wet or Dry Monitor? ...... 25
Let's Record! ................... 28
Overdub, Anyone? .......... 28
MIXING OVERVIEW ............ 28
MIXING SETUP ................... 29
Pick a Model ................... 29
Consider Compression .. 29
DOING THE MIX ................. 29
Using External Processing 29
Insert Devices ................. 29
Send / Return Devices .... 36
Using Subgroups ............ 36
Finding More Inputs:
Mix-B to L & R Buses ..... 36
Monitoring and Levels .. 37
About Automation ......... 37
SECTION 5:
PA and Sound Reinforcment
Applications ......................... 39
SETUP ................................. 39
HOUSE AND MONITOR MIX
TOGETHER ........................ 44
Headphones .................... 44
MAKING A SIMULTANEOUS
RECORDING ....................... 44
HOUSE MIX ONLY or
MONITOR MIX ONLY ......... 44
Mic Splitters ................... 45
FINDING MORE INPUTS ... 45
APPENDIX A: Connections .. 46
"XLR" CONNECTORS ......... 46
1/4" TRS PHONE PLUGS
& JACKS ............................. 46
1/4" TS PHONE PLUGS
& JACKS ............................. 46
SWITCHED 1/4"
PHONE JACKS ................... 46
RCA PLUGS & JACKS ........ 47
UNBALANCING A LINE ..... 47
SPECIAL CONNECTIONS .. 47
TRS Send/Return
Insert Jacks .................... 47
Using the send
only of an
insert jack ............. 47
Using return only ...... 47
AUX RETURNS: Mono, Stereo,
Whatever ......................... 48
MULTS AND "Y"s ................ 48
APPENDIX B: Options,
Add-Ons and Extra Stuff ...... 49
METER BRIDGE ................ 49
EXPANDER CONSOLE ...... 49
CONSOLE STAND .............. 49
SIDECAR ............................ 49
AUTOMATION .................... 49
UN-CIGARETTE LIGHTER .. 49
MIXING SHOES ................. 49
APPENDIX C: Modifications . 50
AUX SEND MOD ................. 50
PFL MOD ............................ 51
MIX-B SOURCE MOD ......... 51
MIX-B MUTE MOD ............. 52
AUX 1/2 SOURCE MOD ...... 53
APPENDIX D:
Specifications ....................... 54
GAIN/LEVEL CHART............54
SERVICE .............................. 61
TROUBLESHOOTING ........ 61
WHERE IT GETS FIXED ... 61
FACTORY SERVICE ........... 61
SERVICE FROM AN
AUTHORIZED SERVICE
CENTER .............................. 64
Track sheet ......................... 64
Session note sheet .............. 67
* Why did we start with Section 2? As a
matter of policy, our Manual Table of Contents
always skip things that are on the facing page to
the actual listing. Seems like we're stating the
obvious to tell you that the Introduction is next to
your right hand.
3
RECORDING
SECTION 1: Introduction
The Mackie 8·Bus Series is a flexible `in-line
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 return in-
puts for multitrack monitoring and mixing or for
use as additional line inputs. The 8·Bus Series is
designed to be the mixing and communications
hub in a multitrack recording studio and is also
an excellent choice for sound reinforcement work.
Numerous inputs, flexible sends and terrific EQ
combined with the legendary Mackie headroom
and noise floor specs make your work easy. It's
clean. It's quiet. It's packed with features. It's af-
fordable... So pat yourself on the back! You're
doing something sensible here!
IF YOU IGNORE MANUALS...
You'll probably ignore this one, too. That's OK,
the crack Mackie Documentation Department will
get to go on their annual "
Typing Without Walls"
outing at campsite four in the Woodinville RV
Park anyway.
But this is a really great manual! It's got Where
It Is and What It Does and How To Use It covered
totally, with pictures and diagrams and absolutely
no pop quizzes.
Do yourself a favor and at least check out
Section 2 and the block diagram for starters. The
8·Bus Series has a number of routing tricks that
could be hard to suss out without a guide. Then, if
that's all you can take without pumping some
sound through the console, put the manual in the
bathroom for future reference or read it while you
eat your lunch.
If you're even more terminally impatient, try to
look for these two icons:
They cover information that is absolutely criti-
cal or is unique to the 8·Bus Series. At some
point, it's still a good idea to browse through the
rest of the manual.
In addition, sections marked
with the A CLOSER LOOK icon
include in-depth information...
or at least our own opinions.
PANEL LAYOUT
AND FUNCTION
GENERAL INFORMATION
LAYOUT
AND
FUNCTION
GENERAL
INFO
RECORDING
PA AND SOUND
REINFORCEMENT
PA
&
SR
APPENDICES
(CONNECTIONS, ADD-ONS, SPECIFICATIONS, ETC.)
SERVICE
MASTER TRACK SHEETS
FOR DUPLICATION
TRACK
SHEETS
BLOCK DIAGRAM
BLOCK
DIAGRAM
ADD-ONS
SPECS
ETC.
SERVICE