User manual MACKIE 8BUS

[. . . ] 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. Servicing -- Do not attempt to service the 8·Bus Console and External Power Supply beyond those means described in this operating manual. [. . . ] The switch labeled FLIP selects the 24 input that is actually fed into the channel Additional mic or line input fader (and the MIX-B control). As the label indicates, the MIC/LINE input Figure 6: FLIP/MIX-B signal path during mixdown (after Mic/Line preamp) is fed to the channel showing additional input ("flip" switch down) fader when the FLIP switch is in the up position PAN Mixdown Deck L R U LEVEL O O +15 CHANNEL HI/LO EQ MIX-B MONITOR OUTPUT INPUT SHIFT MIC/LINE LINE IN SOURCE 23 SECTION 4: RECORDING WITH THE MACKIE 8·BUS CONSOLE RECORDING OVERVIEW The recording process can be as simple as one microphone recorded on a monaural tape recorder. But since you've bought such a large mixing console, we expect you'll occasionally be doing pretty big sessions. This section will describe at least one way of approaching a large session-- for example, a big drum set, bass, guitar, piano, scratch vocal and horns, with background vocals and synthesizer overdubs. Let's assume there is a 16-track recorder already patched in to the first 16 Tape In and the 16 Tape Out jacks on the 8·Bus Console. There is a set of Master Tracking, Overdub and Mixdown drawings farther on in this section for general reference. white paper tape alongside each fader slot (bus faders too, if you need them). Then you can mark your place as you rehearse your fader moves. RECORDING AND OVERDUBBING Using Buses If you have to combine two or more inputs into one output (two trumpets on one track, five drum mics panned across a pair of tracks), you must assign the inputs to a common bus or pair of buses. If you have only one source going to one tape track, you have a choice: you can assign the channel to the bus feeding that track, or you can patch the tape track into the channel's Direct Out. Rationale for using a bus: · It's there, it's easy, it sounds great. Rationale for using a Direct Out: · You've already assigned all eight of your buses to other duties. · You are a purist and you think you can hear the additional circuitry used in a bus. RECORDING SETUP Okay, now let's get ready for your session. Trying to make your microphone-to-input layout sensible now will avoid confusion later. If there is a left-toright pattern to the mics (like drums mics or a vocal group), keep the same left-to-right sequence on the console. It's very confusing to have inputs randomly strewn across a mixing console. This means check the position of every switch and every knob to be sure they are in the normal position. Your normal may be different from someone else's, but generally it means all switches off or up, all knobs either all the way down or at their Unity detent. If you are working in a certain mode, say, for example, all AUX 3-4 SHIFT switches in TAPE, this is the time to set them all. Lay a piece of 1/2" or 3/4" white paper tape across the top of the input faders and label all your inputs. Take the time to go to an art supply store or a recording supply store and get some better-quality "low tack" tape. ) Since your multitrack returns will be coming into the MIX-B inputs on some of the same input strips, you might want to divide your label into multitrack track labeling and input labeling. If you have any careful submixing to do during the recording, you might want to lay strips of 1/4" Monitoring The most straightforward way to monitor during a recording or overdubbing session is by listening to the output of the recorder, played through MIX-B. Properly configured, your recorder will automatically switch between source and playback as you put the deck into stop, play, fast wind, record and so on. [. . . ] ___ ______________________ ______________________ ______________________ Tk. ___ ______________________ ______________________ ______________________ Tk. ___ ______________________ ______________________ ______________________ Tk. ___ ______________________ ______________________ ______________________ Tk. [. . . ]