Mackie Music Mixer D8B User Manual

Chapter 4

D8B Manual • Chapter 4 • page 87

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•

It’s a good idea to keep a snapshot of each

working configuration as a starting point:

tracking, overdubs, symphony, grunge band, etc.

Setup Window

The Setup Window is very important to the

functionality of the Digital 8•Bus. 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

•

Be sure all channel faders are down.

Turn Master Fader down.

Turn Speaker level down.

❏ Set up sample clock

•

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.

❏ Turn amplification system on

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.

•

Wait until all other gear is powered up before

turning on the monitor system.

❏ Enjoy the creative process

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 AIO•8, DIO•8, or ADAT card

outputs; the multitrack outputs feed Fader Bank 2 (TAPE) via the AIO•8, DIO•8, or ADAT card inputs; the mix

output feeds the control room monitor system, master 2-track recorder, headphones, etc.

Multitracks

Audio Source

To Monitors

Fader Bank 1

Fader Bank 2

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Setup Window settings are automatically stored

and are recalled in subsequent boot ups.

General

❏

• Mouse Speed

• Display Intensity

• Date and Time

• Smart Save selection

• Appearance style

Mackie Digital Systems (MDS) Network

❏

• Network Channel

• Mixer Name

• Alt I/O 1–8 assignments

• Link Options across the digital network

(connected Digital 8•Bus consoles)

Digital I/O (Tape 1–24)

❏

• Sample rate

• Apogee Clock status: Internal/Word Clock

• Alt 1–8 Type, Inputs, and Outputs

• Stereo I/O settings

Licensing

❏

• Displays authorization status (locked or

unlocked) of D8B plug-ins

• Enables installation and authorization of

plug-ins

• Displays mixer serial number

Mix Options

• Surround Mode selection and Bus arming

• Aux 1–8 global Pre/Post selection

❏

• Selection of One Button Punch, Record

Safe, Use PreRoll, Use Write Ready, Write

Flyback, MIDI Snapshots, Solo Latch, Link

Speakers, and Faders to Tape

• Fader Calibration

Locator-MMC

❏

• MIDI File Tempo Map loading and resetting

• Default Tempo setting

• Device ID selection

• Song Offset

• Pre-Roll time

FTP Server

❏

• Choose to allow FTP client

• Set IP Address, Subnet, and Gateway

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OPT•8 Card (ADAT Optical)

Installation and Connection of

Optional I/O and Effects Cards

The inexpensive ADAT optical card functions

with any device incorporating the ADAT format

digital optical lightpipe. The OPT•8 card configures

itself automatically; it doesn’t need to be adjusted

in the Setup>Digital I/O window. Lightpipe connec-

tions between the D8B and the connected record/

playback device are clean and efficient.

The Input/Output cards are an essential part

of the D8B multitrack system. These cards

provided up to 24 tape outputs and inputs for use

with any common analog and digital formats.

Since the I/O cards are optional and interchange-

able, you probably need to install them before you

begin creating hit recordings. If you install multiple

types of I/O cards, note which slots they’re installed

in. Making a note of each I/O card type and its exact

slot will help avoid subsequent problems.

There are several optional cards available for

the Digital 8•Bus which you can install into the

card cage in the rear panel of the console. These

cards provide additional inputs and outputs for

specific applications, or additional digital signal

processing power for effects.

PDI•8 Card (AES/EBU)

This card provides 8 digital inputs and 8 digital

outputs in the AES/EBU standard format.

Connection is made through a 25-pin D-Sub

connector. You can install this card in any of the Tape

In/Out slots, or in the ALT I/O slot.

AES/EBU is a standard two-channel digital

protocol used for long balanced cable applications.

Thus, each conductor actually transmits two

channels of digital audio data.

MFX Effects Card

AIO•8 (Analog Hookup)

This card provides two additional DSP en-

gines for running internal effects. The Digital

8•Bus is shipped with one MFX card installed in

Slot A. You can install up to three more MFX

cards in Slots B, C, and D.

This card provides 8 analog line-level inputs

and outputs. Connections are made through two

25-pin D-Sub connectors. You can install this card

in any of the Tape In/Out slots, or in the ALT I/O

slot.

UFX Effects Card

DIO•8 (Digital Hookup)

This card provides up to four additional DSP

engines for running internal effects. The UFX

architecture provides access to the newest and

coolest third-party plug-ins, as well as an array of

groovy new Mackie plug-ins. The D8B effects card

slots accommodate any combination of UFX and

MFX cards.

This card provides 8 digital inputs and 8 digital

outputs. Connections are provided in both ADAT

Multichannel Optical Interface and Tascam T/DIF-1

formats. You can install this card in any of the Tape

In/Out slots, or in the ALT I/O slot. You can mix any

combination of the AIO•8 and DIO•8 cards in the

Tape I/O slots to suit your particular application. You

can configure the card in the GUI (Setup>Digital I/O)

and select the I/O connector you wish to use.

Connections for ADAT

The connection for ADAT is made with a fiber

optic cable, sometimes referred to as “lightpipe.”

This connection provides 8 channels of digital audio.

You can purchase this cable from your Alesis dealer,

Monster Cable, Hosa, or other cable manufacturer.

Connections for DA-88

The connection for T/DIF-1 is made with a 25-pin

D-Sub connector. This connection provides 8 channels

of bidirectional digital audio. This connection requires

a 25-pin D-sub cable (Tascam Part Number PW-88D).

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Installation of FX Cards

IMPORTANT: Shut off power to the

Digital 8•Bus’ Remote CPU before

installing or removing cards. Also,

install your FX cards in order. For

example, put your first FX card in the

slot marked “A,” your second FX card

in slot “B,” etc.

1. Loosen the four spring-loaded screws on the blank

cover plate to the FX card slot you want to fill.

FX Card Cover Plate Removal

2. With your finger in the hole on the FX card (and

the components on the circuit board facing to the

left), push the card firmly into the white connector

slots so it fits snugly. Do not touch any of the

circuit board components or solder joints.

3. Replace the cover plate and tighten the screws

securely using a slotted screwdriver. DO NOT

OVERTIGHTEN THE SCREWS, or you run the

risk of stripping the threads in the D8B.

FX Card Installation

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Installation of I/O Cards

IMPORTANT: Shut off power to the

Digital 8•Bus’ Remote CPU before

installing or removing cards.

1. Using a #2 Philips screwdriver, unscrew the blank

cover plate corresponding to the I/O card slot you

want to fill.

Remove Cover Plate for Tape I/O Card

2. Holding the I/O card so that the components on

the green circuit board face to the left (see

diagram), line up the card so the top and bottom

edges fit into the white guide slots. Do not touch

any of the circuit board components or solder joints.

3. Be sure to push the card in all the way—until the

front of the I/O card is flush with the back panel of

the D8B. This may require a good, solid push, so

don’t be shy.

Installing a Tape I/O Card

4. Tighten the spring-loaded screws on the

I/O card securely using a slotted screwdriver. DO

NOT OVERTIGHTEN THE SCREWS, or you run

the risk of stripping the threads in the D8B.

Tighten Screws on Tape I/O Card

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Checklist for Basic

Connecting Analog Multitrack(s)

Operational Functionality

❏ Install AIO•8 card(s) into one or more of the D8B

TAPE CARD slots. This provides up to 32 tracks of

I/O (including the ALT I/O card).

Basic system functionality depends greatly on

the accurate selection of a few key items. Work

through this checklist to verify console settings.

The previous chapters provide an explanation of

each item. This checklist simply provides a mental

road map to verify proper functionality.

❏ Using the appropriate cable, connect 25-pin D-sub

TAPE OUT connector to the multitrack inputs.

❏ Using the appropriate cable, connect the multi-

track outputs to the 25-pin D-sub TAPE INPUT

connector.

Control Room selection correct

❏

Monitor Speaker selection correct

❏

❏ Make sure all connections are tightly secured.

Input source

Mic/DI

Line/Instrument

❏

Connecting ADAT (Lightpipe)

Multitrack(s)

❏

The Fat Channel

❏ Install DIO•8 or OPT•8 card into one or more of

❏

the D8B TAPE CARD slots.

Compression

Gate

Busing/Routing

❏

❏ Using a fiber-optic lightpipe cable, connect the

D8B Optical output to the ADAT Digital input con-

nector.

❏

Signal Routing

❏ Using a fiber-optic lightpipe cable, connect the

ADAT Digital output connector to the D8B optical

input.

To L/R

To Tape

To Bus

❏

❏ If the D8B is to be the slave, the sync source

should be connected to the sync card BNC Word

Clock input.

Connecting the

Connecting ADAT Lightpipe

Analog Multitrack

Using two fiber-optic lightpipe cables, simply

connect the DIO•8 digital outputs the ADAT

lightpipe inputs, and the ADAT outputs to the

DIO•8 inputs, for up to 32 tracks (8 channels per

card) of flexible and assignable digital audio

(including the ALT I/O).

Simply connect the AIO•8 outputs to an analog

console’s inputs for up to 32 channels (8 channels

per card) of flexible and assignable audio routing,

(including the ALT I/O).

AIO•8 Card

ANALOG I/O

APOGEE

DIGITAL I/O

DIO•8 Card

8-track ADAT

INPUTS

rear panel

Analog

OUTPUTS

ADAT OPTICAL

Multitrack

OUT

Fiber-optic

Lightpipe

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Connecting TASCAM (TDIF)

Multitrack(s)

❏ Install DIO•8 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 connec-

tions 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

DIO•8 card to the Word Sync input of the DA-88.

This connection indicates use of a DIO•8 Card

with firmware version 127v2.

DIO•8 Card

Sync Cable

APOGEE

DIGITAL I/O

Tascam

DA-98 rear panel

REMOTE INSYNC IN

SYNC OUT

(TO DA-88)

WORD SYNC

(FROM RC848/DA-88)

OUT

METER UNIT

DIGITAL I/O

TDIF - 1

TDIF Interconnect Cable

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❏ Press Mic button on channels using microphone

Multitrack Recording

inputs.

Multitrack recording involves a continuous

assessment of signal flow. If you follow a well-

planned thought process from the beginning of the

signal path to the end, you’ll succeed in each

audio task.

MIC

When multitrack recording using the D8B, it’s

helpful to visualize the basic signal flow between

fader banks. For any multitrack setup, it’s impor-

tant to keep track of the signal path from the

console to the multitrack, then from the multi-

track back into the console. The illustration below

is a review demonstrating an important signal

flow concept.

❏ Configure Auxes for desired Pre/Post status, se-

lect Surround Mode, set Mix Options.

❏ Test each instrument and mic to verify sufficient

level at console input meter.

MIC/LINE Bank

TAPE IN Bank

Work your way though this checklist for

multitrack recording.

❏ Connect multitrack ins and outs to D8B.

❏ Follow basic power-up procedure.

❏ Select Mic/Line fader bank.

❏ Adjust input trim for a reading around –15 on the

meter.

TRIM

MASTERS

SHIFT

1-24

25-48

-20dB +40dB

MIC/LINE

TAPE IN

(TRACK)(MONITOR)

49-72

EFFECTS

❏ Select L/R in the ASSIGNMENT section to confirm

Assign lights on for all desired channels, or look

on-screen to verify that all necessary channels

have L/R button highlighted in Bus Assign section.

BANK SELECT

❏ Press phantom power button on the rear of the

console for necessary mic inputs. .

+48V

ASSIGNMENT

REC/RDY

ASSIGN

WRITE

REC/RDY

ASSIGN

WRITE

MIC

ASSIGN

BUS 2

ASSIGN

BUS

BUS 8

LINE IN

INSERT

LINE IN

INSERT

ASSIGN

L-R

ROUTE TO

TAPE

Note: Condenser mics and active DIs use phantom

power. Moving coil mics, ribbon mics, and most

electronic instruments don’t need phantom power.

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Multitrack Tracking Checklist

❏ Connect multitrack ins and outs to D8B.

❏ Follow basic power-up procedure.

❏ Select Mic/Line fader bank.

❏ Press phantom power button on the rear of

the console for necessary mic inputs.

❏ Press Mic button on channels using

microphone inputs.

❏ Set pre-fader auxes in Setup Window for

monitor use.

❏ Test each instrument and mic to verify

sufficient level at console input meter.

❏ Adjust input trim for a reading around –15 on

the meter.

❏ Press L/R in the ASSIGNMENT section to

confirm Assign lights on for all desired

channels. Or, look onscreen to verify all

necessary channels have L/R button

highlighted in Bus Assign section.

❏ Set Master Fader to Unity position.

❏ Turn channel faders up to hear instrument

or mic.

❏ As each channel is verified and audible, press

channel mute.

❏ Assign Fader Bank 1 channels to desired

tape track inputs.

❏ Place tape inputs in

record/ready to verify

signal at machine. It’s

typically best to monitor

signal from the multitrack rather than from

the channel input.

❏ If levels on the multitrack appear too hot or

cold, adjust level with the LEVEL TO TAPE

control. Select TRACKING LEVEL. This sets

the channel V-Pots to adjust the D8B output

level to tape.

❏ Remove Fader Bank 1 from the L/R mix.

❏ Adjust control room monitor mix from Tape

return in Fader Bank 2.

❏ Set levels in headphone system for

musicians.

❏ Adjust headphone monitor volume in the

PHONES/CUE MIX section.

❏ Adjust channel aux levels to onboard or

outboard effects from Fader Bank 2.

❏ Verify that Master Output is connected to

the mixdown machine.

FAST

TRACK

❏ Record a pass on the multitrack.

❏ Play multitrack back.

❏ Set Master Fader to Unity position.

❏ Once each channel is verified and audible, press

channel mute.

MASTER

L/R

SELECT

SOLO

SELECT

SOLO

SELECT

SOLO

MUTE

BUS

RET

BUS

RET

BUS

RET

❏ Turn channel faders up to hear instrument or mic.

GROUP

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❏ Assign MIC/LINE bank channels to desired tape

❏ If you want to monitor from the multitrack,

remove the MIC/LINE Bank from the L/R mix.

This has no effect on the output to tape.

tracks.

❏ Adjust control room monitor mix from TAPE IN

Bank. Verify channel assignment to the L/R bus.

❏ Place tape inputs in record/ready to verify signal

at machine.

It’s typically best to monitor signal from the

multitrack rather than from the channel input.

Mo d u la r Dig it a l Mu lt it r a ck

Record Ready Buttons

TAPE IN Bank

❏ If levels on the multitrack appear too hot or cold,

❏ Set levels in headphone system for musicians.

adjust level with the LEVEL TO TAPE control.

Aux 9/10 and 11/12 are perfect for stereo

headphone sends. It’s often convenient for the

musicians to, at first, monitor the L/R mix in the cue

section (PHONES/CUE MIX 1 and 2). Once the initial

L/R mix is established, copy it to the appropriate

cue, then customize for individual monitoring needs.

Select TRACKING LEVEL. This sets the channel

V-Pots to adjust the D8B output level to tape.

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❏ Adjust headphone monitor volume in the

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

AUX 11-12

CONTROL ROOM

AUX 11-12

CONTROL ROOM

LEVEL

❏ Adjust channel aux levels to onboard or outboard

effects from Fader Bank 2 (TAPE IN).

❏ Verify that Master Output is connected to the

mixdown machine.

The mix should be arriving at the mixdown

recorder. It’s good to check this as part of your

tracking process. At the conclusion of a session the

artist will probably want to take a rough mix for

evaluation—you’ll look better if it’s already set to go.

BUS OUT 1-8

SURROUND OUT

MASTER OUT

MAIN

NEAR FIELD

MASTER OUT

❏ Record a pass on the multitrack

Play multitrack back—playback should sound

identical to tracking and you’re ready to print a

rough mix.

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Monitoring

Sample Tracking Setup

Connect the outputs from the recorders to the

TAPE Inputs on the Digital 8•Bus. This allows you

to monitor the signal as it’s being recorded

(assuming your recorder has that capability).

To do this:

• Assign channels 25–48 (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.

This diagram shows a typical hookup for tracking.

Four microphones are connected to channels 1–4 for

vocals. Two of them are condenser mics, which

require phantom power, so the +48V PH switch is

pushed in on those channels. A vocal enhancer is

connected to the channel 1 INSERT jack to add a

special effect to the lead vocal.

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 11–12 goes out to a multi-effects stereo

processor, which then comes back to the Digital

8•Bus 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 1–4

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.

Note: During tracking, dynamics control, like

compression and limiting, are often included (insert or

onboard) at the beginning of a signal path. Effects, like

reverb, delay, and chorus are best left for adjustment

during mixdown, or during tracking for monitor use

only.

Various instruments are connected to the line inputs

of channels 11–14, either directly from their line-level

outputs or through effects boxes or direct boxes.

Each input from channels 1–24 is assigned to a

tape output, which can be connected to an 8-, 16-, or

24-track recorder—simply use the appropriate I/O

card for your setup. You can assign any input (1–48),

any return (FX 1–16, RET 1–8), and Bus 1–8 to any

unused tape out using the ROUTE TO TAPE button

in the Bus Assignment Section (refer to Chapter 2

for review).

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Vocal Enhancer

Reverb

Stereo Effects

Procesor

T O T A P E

F R O M T A P E

T O T A P E

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❏ Select Master L/R in the Control Room section

and adjust the speaker level to a moderately con-

servative level (about 9:00).

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.

CONTROL ROOM

❏ Be sure the multitrack recorder is connected

2 TRACK A

2 TRACK B

2 TRACK C

DIGITAL IN 1

DIGITAL IN 2

properly to the Tape In card(s).

❏ Roll tape to verify signal at TAPE IN Fader Bank.

MASTER

L-R

❏ 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).

MONO

NEAR FIELD

MAIN

SPEAKERS

Pressing DIGITAL TRIM activates the channel

V-Pots as digital input trim adjustments.

SPEAKER LEVEL

❏ It’s 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 A–C).

❏ 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, it’s still a good

idea to verify optimum levels.

❏ Record the mix and enjoy the mind-boggling

capabilities of the Mackie Digital 8•Bus.

❏ With channel faders off, set the Master Fader at

Unity.

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Sample Mixdown Setup

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.

T O T A P E

F R O M T A P E

Optional AIO•8 Cards

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Effects/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 directory’s 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.

MFX/UFX

Before we look at more setup

examples, lets cover some quick tips on

efficient use of the Digital 8•Bus plug-

ins. Follow these easy steps to use the

Digital 8•Bus internal plug-ins.

1. Open the Plugin Configuration

window (click Plugins in the upper menu

bar and select Plugins, or Crtl+P) and

select the Mode (Stereo/Mono), Plugin,

and Input that suits your needs for each

available slot.

5. Click on the AUX button in the V-Pot

Select Section that corresponds to the plugin you

want to use.

2. Click the red 1/4" connector on

the lower menu bar to reveal the plug-in

selector buttons.

3. Select the plug-in you want to

adjust by clicking on its button.

4. Plug-ins are organized in the

order of the aux buses they correspond to.

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6. Use the channel V-Pots to set individual

channel send to the selected aux bus.

8. Click on the EFFECTS button to select Fader

Bank 3. Click and drag, or physically move, the

FX return fader(s) corresponding to the selected

effect, to control the amount of processed signal

returning to the left and right bus.

Note: Alternately, you can click and drag on the

horizontal bar in the auxes section at the top of the

channel strip to adjust the aux send level.

Note: Currently the D8B OS doesn’t store effects or

any DSP module names. If you create some effects

that you really like, we suggest that you name them

and store them to disk. For ease of retrieval and

organization, create a dedicated effects folder and keep

all your working effects patches there.

7. Click and drag on the Master V-Pot to adjust the

overall aux send level to the selected effect. You

can click on the SOLO button in the Master

V-Pot Section to monitor the aux send signal.

Don’t forget to use the EQ portion of the effects

module during patch creation. It certainly can

enhance the sound of any given patch.

Setting Up Plug-ins

• Press Ctrl+P on the keyboard (or click

Plugins in the upper menu bar and select

Plugins) to open the Plugins Configuration

window.

• Adjust aux send levels from any applicable

bank channels.

• For MFX Plug-ins, each card utilizes two

separate mono sends, which are monitored as

two separate stereo returns from the MFX

plug-in.

• UFX Plug-ins reside in groups of four on each

card (2 stereo, 4 mono, or 1 stereo and 2

mono).

Note: The default setting for each Aux Master level is

0.0 dB. This typically provides sufficient send level and

doesn’t usually require adjustment.

• Select the EFFECTS bank to adjust effects

return levels at the appropriate faders.

• Pan effects returns left and right in pairs.

• Listen to playback.

• When tracking, it’s best to monitor the tape

returns.

Note: See the Plug-ins Manuals for specifics on

individual plug-in functionality.

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Dynamics and EQ Applications

Dynamics and equalization are typically applied in

one of three ways:

1. Processing Dynamics and EQ Before Tape

• Select Fader Bank 1 (MIC/LINE).

• Double-click SELECT on the desired channel

to open the on-screen Fat Channel.

• Set compression, EQ, or gate.

Since Fader Bank 1 (MIC/LINE) feeds the

multitrack inputs, any changes made from that bank

are printed to tape.

2. Processing Dynamics and EQ After Tape

• Choose Fader Bank 2 (TAPE IN).

• Double-click SELECT button on the desired

channel to open the on-screen Fat Channel.

• Adjust compression, EQ, or gate.

Since TAPE IN Bank receives its feed from the

multitrack, Fat Channel changes made here don’t

affect what is printed to tape.

3. Analog inserts

• Using an insert cable, connect the channel

send to the input of an external EQ or

dynamics processor.

• Connect the insert cable return side to the

external device output.

All channel level adjustments past the insert are

dependent on the external device control settings,

since the entire channel signal passes through the

device.

Dynamic and EQ control should occur only once in

any given signal path. Avoid subjecting any signal

path to multiple stages of dynamics or EQ

processing. As a rule, fewer circuits almost always

result in more pristine and accurate audio—even

though the D8B signal path is incredibly accurate

and transparent.

Many engineers prefer to save all EQ for

mixdown, so as to include the least audio

manipulation for a more pure sound. Many recordists

rough the sound in when recording, using whatever

EQ and dynamics they feel the sound needs, then

they perfect the audio during mixdown. Many

excellent recordings have been the result of these

techniques and more. Experiment, and let your ears

determine what works best for you.

D8B Manual • Chapter 4 • page 106

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MIDI and the D8B

MIDI Basics

SYNC

Your Digital 8•Bus works very well when

incorporated in a MIDI network, utilizing a computer

referenced to time code.

Be sure to connect the D8B MIDI jacks to your

MIDI interface. Within your computer-based MIDI

sequencer, set the MIDI channel connected to the

D8B to transmit MIDI Time Code (MTC). This is

necessary to run automation from a Digital Audio

Workstation (DAW).

BRC

MIDI

Digital 8•Bus

MIDI

OUT

Mo d u la

r Dig it a l Mu lt it r a ck

Mo d u la

r Dig it a l Mu lt it r a ck

MIDI

The Digital 8•Bus provides control over some key

MIDI parameters. These parameters affect your

system’s ease of use and efficiency, and should be

verified:

• MMC DEVICE ID: Some 8-track digital recorders

require that you define the device ID numbers

used for each recorder in the MIDI Machine

Controller. Typically, tracks 1–8 are device 0,

tracks 9–16 are device 1, and tracks 17–24 are

device 2, so these are the default settings.

• ONE BUTTON PUNCH: You can also select

whether to press the PLAY and RECORD buttons

to enter record mode, or just press the RECORD

button (One Button Punch).

MIDI Interface

Note: We recommend leaving One Button Punch off to

provide an extra measure of safety in case you

inadvertently press the RECORD button in the

Transport Section.

When you don’t include a computer in your setup,

you need a device like the Alesis BRC to transmit

MTC to the D8B for time reference when performing

dynamic and snapshot automation.

• MTC OFFSET: MIDI File Offset can be used to

indicate the starting time deviation of a Standard

MIDI File (SMF), referenced to absolute time code.

• TEMPO MAP: If you use a sequencer in your

recording process, you can create a standard

MIDI file from the song(s) you’ve recorded. Copy

the tempo map from the SMF to the Digital 8•Bus

and “synchronize” the D8B display to the

Bars:Beats:Ticks of the sequenced program.

SMFs are loaded from the floppy disk drive.

D8B Manual • Chapter 4 • page 107

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MIDI Snapshots

Word Clock and the D8B —

The Kitchen Sync

Once you’ve developed several snapshots for a

mix, they can be recorded into a sequencer for

consistent playback.

This feature is set in the Mix Options window,

under Setup in the lower menu bar. When enabled:

1) Incoming MIDI program changes (received on

any MIDI channel) can recall Snapshots numbered

0–127 on the console.

2) The D8B sends MIDI Program changes on

MIDI channel 1 when snapshots are recalled on the

console, either via the dynamic automation snapshot

track or by manually recalling a snapshot from either

the snapshot window or via the front panel.

In order for all digital components to function

together in unity, they must all move together,

sample-by-sample, through the digital data stream.

Word clock is an incredibly important part of

digital recording! The concept is simple: If multiple

devices are synchronized together via word clock,

they progress together through the digital data

stream, one sample at a time. This is called sample-

accurate sync.

Each system works in reference to one master

device. Forty-eight thousand times a second (or

whatever the common sample rate is) digital slaves

keep track of the word clock status of the master

device; they only output the next sample when the

master device outputs the next sample.

This type of system provides very accurate

synchronization. Incorporating a time reference, like

MTC, along with sample accurate sync enables time

stamping of data changes, like start-stop time,

snapshot placements, real-time automation data, etc.

Hence, ultimately flexible and way cool automation

capabilities of virtually every control on the Digital

8•Bus! Yahoo!

The optional Clock I/O card for your Digital 8•Bus

provides a means to send and receive digital word clock.

This card is necessary:

• When digitally combining the Digital 8•Bus with a

computer-based DAW, MDMs, video recorders, etc.

• When the D8B must send or receive word clock

other than through ADAT lightpipe or AES/EBU

connections.

Sync data can transmit directly through ADAT

Lightpipe and AES/EBU connections. However, a

complete sync system needs two main ingredients:

• Word clock, sample-accurate sync. This is

provided through the Digital 8•Bus optical or

AES/EBU connections, and through the optional

Clock I/O card.

3) Place the sequencer in record on the D8B MIDI

channel and cable. While the mix plays, select

snapshots at the appropriate time. Each snapshot

change is stored as data in the sequence and

therefore can be shifted, cut, copied, pasted, etc.

See “The Snapshot Window” on page 69 for

information on how to set the program change

MIDI channel.

• Time reference to stamp automation data for

accurate playback. This is typically provided

through MIDI Time Code (MTC).

D8B Manual • Chapter 4 • page 108

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Here are two more sample setups that include the

D8B and other digital devices which depend on

accurate and solid word sync.

Proper Sync Connection

Every digital system needs a master sync source.

The D8B prefers to be the master source but will

function as a master or slave. Follow these simple

steps to help assure a successful digital setup:

• Determine which piece of gear is the master. The

master must be able to generate proper word

clock that can be read by all other digital equipment.

• Set all digital equipment to the exact same word

clock rate—typically 44.1 or 48kHz.

Word Clock

INPUT

Word Clock

OUTPUT

9-pin

OUT

MIDI MIDI

IN OUT

• Connect the word clock output from the master

device to the word clock input of the slave

devices. Each digital device connected to the

digital audio chain must receive a common word

clock source, either directly or from a slave.

• It is common procedure to chain word clock

through digital devices. The D8B can provide

master word clock to a central word clock hub,

then the hub can send to multiple digital slaves

(DAWs, MDMs, digital effects, etc.).

9-pin

PCI-324

9-pin IN

9-pin

OUT

Control

Track IN

MIDI MIDI

IN OUT

Control

Track 1

Word Clock

INPUT

• Set every slave device to respond to external

word clock.

DTP

• Draw a digital word clock flow chart for your

system. This will help you verify a logical

connection scheme. One piece of equipment

connected incorrectly can mess up your entire

system. Rats!

Word Clock

INPUT

Word Clock

OUTPUT

Word Clock

INPUT

The following illustration shows a common sync

setup, using the Digital 8•Bus as the master word

clock source and a hub to distribute to other digitally

connected devices.

From PCI 324

MIDI MIDI

IN OUT

Digital 8•Bus

PCI 324

card output

Master Word Clock

Out From D8B

Sync Hub

Word Clock

OUTPUT

2408

Mo d u la r Dig it a l Mu lt it r a ck

Use expensive, properly impedance-matched

cabling! It’s worth it!

Mo d u la r Dig it a l Mu lt it r a ck

Note: When using the D8B as the master sync source,

always power it up before other digitally connected

gear. You’ll have a much better day.

D8B Manual • Chapter 4 • page 109

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Verifying Word Clock Sync Between Devices

and the Digital 8•Bus

You probably have a bad word clock sync

connection if:

• 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 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 they’re 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 rate—44.1, 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.

• If the D8B is improperly connected as a slave to

the digital network, “Lock Error.” is displayed in

the Setup>Digital I/O window next to the Apogee

Clock pop-up window and a question mark (?)

flashes in the right-most portion of the control

surface VFD.

• 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 doesn’t seem to work correctly, you

might have an intermittent or broken sync cable.

Always use high-quality 75Ω BNC word clock

cables.

D8B Manual • Chapter 4 • page 110

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Dither - To UV22 or Not to UV22:

That Is the Question

• Dither twice. If your music contains a wide

dynamic range, you might not be able to resist the

urge to use dither as you record to the multitrack.

In this case, plan to use the UV22 process twice:

use it once on the multitrack tracks—on the

“Low” setting; use it again on the final printing of

the master take—on the “Low” setting. If you use

the UV22 process twice, using it on Low setting

both times will closely equate to the dither noise

resulting from using it once in “Normal” position.

Digital audio’s weakness is its ability to accurately

reproduce extremely low-level signals. As the

amplitude decreases, there are fewer and fewer

bits available to accurately represent the audio wave.

In an analog system the audio simply sinks into

the noise floor. Even when covered by noise, the

waveform is still audibly intact. In a digital system,

low level audio simply becomes inaccurate and

sounds really bad. A few bits at the bottom of the

amplitude range aren’t capable of faithfully

converting the analog information to digital, let alone

reinterpreting the digital data into analog variations

in air pressure.

Dither is a low-level noise that combines with

your pristine audio at low levels to help keep enough

digital bits active to replicate an accurate waveform

throughout the conversion process from digital to

analog to digital—go figure that it takes noise to

make a system work that has no noise.

UV22 is a very good-sounding type of dither that

makes a way for more accurate reconstruction of

this low-level audio. The frequency of the UV22

dither noise is lower than the conventional process

and therefore provides a more transparent

reconstruction.

As a practical application, if your music is to be

mastered by someone else in a professional

mastering facility, you might not need to use the

UV22 process—too much dither can accumulate too

much noise. If you’re seeing the project through to

the end you have three primary options:

• Don’t dither. If your music is always loud—loud,

loud, loud—you might not need to worry about

dither because dither really only helps audio

quality at low levels. However, if there is a fade

out in your song, then of course everything isn’t

always loud and you’ll want to take advantage of

the UV22 process to feather the fade out with

excellent audio clarity.

• Dither once. The conventional approach has been

to avoid dithering until the final version is

mastered (prepared for duplication). In this case,

wait until the final mix is printed to the replication

master, then use a Normal UV22 setting on the

Stereo I/O in the Setup window. Dither only once

on Normal setting; dither noise is cumulative so

too much dither equates to senseless noise.

If your music contains only a few low-level

passages try using the “Low” setting on the

Stereo I/O. “Low” equates to a lower level of noise

and, though it might not provide as much

smoothing of low-level audio, it might be quite

sufficient—and less noise just seems like a better

choice wherever appropriate.

D8B Manual • Chapter 4 • page 111

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2. Connect three snakes between the

HDR24/96 Outputs (top connector)

and the corresponding D8B Tape

Inputs (bottom connector).

D8B–HDR24/96 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 eight-

channel 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.

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.

The specific hookups for each D8B and

HDR24/96 I/O card are shown below.

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 (AIO•8)

This example describes the analog hookup for

the D8B–HDR24/96 combination.

Cables & Hardware

(3) AIO•8 cards for HDR24/96

(3) AIO•8 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

Digital 8•Bus

AIO•8 Cards

(6 ) DB25 t o

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

DB25 Analog

Snakes

Note: Some older

AIO•8 cards have the

Input jack labeled as

“From Tape” and the

Output jack labeled

as “To Tape.” Other-

wise, they operate

identically. Sigh ...

TAPE IN/OUTS

long story.

D8B Manual • Chapter 4 • page 112

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DIO•8 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.

TDIF Hookup to HDR24/96 (DIO•8)

Cables & Hardware

(3) DIO•8 cards for HDR24/96

(3) DIO•8 cards for D8B

(1) Clock I/O card for D8B

(3) TDIF cables

HDR24/96 Settings

1. Set the Tape Input format for each

DIO•8 card to TDIF, and the Tape

Output format to TDIF.

(1) 75 Ω BNC word clock cable

Hookup

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 Ω termination

switch on the Sync card.

1. Connect the three TDIF cables

between the corresponding TDIF jacks

on the HDR24/96 and D8B.

2. When TDIF is used, the D8B must

have a Clock I/O card installed. To

make the D8B the clock master,

connect its Word Clock Out (not

3. Set the Sample Rate to 44.1kHz or

48kHz according to your preference.

TDIF Hookup with DIO•8

Apogee

Clock I/O

Card

DIO•8 Cards

APOGEE

SYNC

APOGEE

DIGITAL I/O DIGITAL I/O DIGITAL I/O

Word

Clock Out

TDIF Connect ion

Digital 8•Bus

AOPGE

TDIF Cables

(DB25)

Word

Clock In

Word

Clock

HDR

Sync

Card

Out

Word

Clock Out

(HDR24/96

as Mas t er)

(D8 B as

Mas t er)

APOGEE

DIGITAL I/O DIGITAL I/O DIGITAL I/O

Us e

one

only

Depress t he

HDR 24/96

Terminat ion

but t on if t he

HDR24/96 is

set t o Slave

TDIF Connect ion

DIO•8 Cards

Word

Clock In

Word

Clock Out

D8B Manual • Chapter 4 • page 113

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Console Settings

ADAT Optical Hookup to HDR24/96

(DIO•8 or OPT•8)

1. Set the Tape Input and Tape Output

format for each DIO•8 card to TDIF.

Cables & Hardware

(3) DIO•8 or OPT•8 cards for HDR24/96

(3) DIO•8 or OPT•8 cards for D8B

(1) Clock I/O card for D8B

2. If the D8B is the clock master, set the

Sample Rate to either 44.1kHz or

48kHz, and set the Apogee Clock to

Internal (in the Digital I/O Setup

window). If it is a clock slave, set the

Apogee Clock to Word Clock. Set the

Sample Rate to match the Sample

Rate selected on the HDR24/96.

(6) ADAT Optical cables

(1) 75Ω BNC word clock cable

Hookup

1. Connect three ADAT Optical cables

from the HDR24/96 Optical Outputs to

the Optical Inputs on the

corresponding D8B I/O cards.

2. Connect three ADAT Optical cables

from the HDR24/96 Optical Inputs to

the Optical Outputs on the

corresponding D8B I/O cards.

3. When ADAT Optical is used, the D8B

must have a Clock I/O card installed.

To make the D8B the clock master,

connect its Word Clock 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.

HDR24/96 Settings

1. If you have DIO•8 cards installed, set

the Tape Input and Tape Output

format for each card to ADAT. OPT•8

cards need no configuration.

2. If the HDR24/96 is the clock master,

set the Sample Clock to Internal. If

the HDR24/96 is a clock slave, set the

Sample Clock to Word Clock and

depress the 75Ω termination button

on the Sync card.

3. Set the Sample Rate to 44.1kHz or

48kHz according to your preference.

D8B Manual • Chapter 4 • page 114

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Console Settings

1. If you have DIO•8 cards installed, set

the Tape Input and Tape Output

format for each card to ADAT. OPT•8

cards need no configuration.

2. If the D8B is the clock master, set the

Sample Rate to either 44.1kHz or

48kHz, and set the Apogee Clock to

Internal (in the Digital I/O Setup

window). If it is a clock slave, then set

the Apogee Clock to Word Clock. Set

the Sample Rate to match the Sample

Rate selected on the HDR24/96.

ADAT Optical Hookup with OPT•8

OPT•8 Cards

Apogee

Clock I/O

Card

APOGEE

SYNC

Word

Clock Out

ADAT Opt ical Out

ADAT Opt ical In

Digital•8 Bus

AOPGE

Word

Clock In

Word

Clock Out

(HDR24/96

as Mas t er)

HDR

Sync

Card

Word

Clock Out

(D8 B as

Mas t er)

ADAT Opt ical Out

Us e

one

only

Depress t he

HDR 24/96

Terminat ion

but t on if t he

HDR24/96 is set

t o Slave

ADAT Opt ical In

Word

Clock In

OPT•8 Cards

Word

Clock Out

D8B Manual • Chapter 4 • page 115

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HDR24/96 Settings

AES/EBU Hookup to HDR24/96 (PDI•8)

Cables & Hardware

1. If the HDR24/96 is the clock master,

set the Sample Clock to Internal; if it

is a clock slave, set the Sample Clock

to Word Clock and depress the 75Ω

termination switch on the Sync card.

(3) PDI•8 cards for HDR24/96

(3) PDI•8 cards for D8B

(1) Clock I/O card for D8B

(3) DB25 to DB25 AES/EBU snakes

(1) 75Ω BNC word clock cable

2. Set the Sample Rate to 44.1kHz or

48kHz according to your preference.

Hookup

Console Settings

1. Connect the three AES/EBU cables

between the corresponding AES/EBU

connectors on the HDR24/96 and D8B.

1. If the D8B is the clock master, set the

Sample Rate to either 44.1kHz or

48kHz, and set the Apogee Clock to

Internal (in the Digital I/O Setup

2. When AES/EBU is used, the D8B

must have a Clock I/O card installed.

To make the D8B the clock master,

connect its Word Clock Out to the

HDR24/96 Word Clock In. To make

the HDR24/96 the master, connect its

Word Clock Out to the D8B Word

Clock In.

window). If it is a clock slave, then set

the Apogee Clock to Word Clock. Set

the Sample Rate to match the Sample

Rate selected on the HDR24/96.

AES/EBU Hookup with PDI•8

PDI•8 I/O Cards

Apogee

Clock I/O

Card

APOGEE

SYNC

PDI•8

Word

Clock

Out

Digital 8•Bus

AOPGE

Word

Clock In

AES/EBU

Cables

(DB25)

Word

Clock Out

(HDR24/96

as Mas t er)

Word

Clock Out

(D8 B as

Mas t er)

HDR

Sync

Card

PDI•8

HDR 24/96

Us e

one

Depress t he

only

Terminat ion

but t on if t he

HDR24/96 is

set t o Slave

Word

Clock In

Word

Clock

Out

PDI•8

I/O Cards

D8B Manual • Chapter 4 • page 116

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OK, so we fibbed a little. You can

use PDI•8 cards in the D8B

without a Clock I/O card

4. Set “Samplerate” to match the sample rate of

the formatted ADAT tapes (typically 48kHz or

44.1kHz).

installed, but doing so requires

that you enable sample rate

conversion on both the D8B and

ADATs

1. Select DIGITAL IN on the ADAT front panel.

the HDR24/96 in lieu of word clock synchronization.

Sample rate conversion results in a 4-bit loss in

sample resolution that may degrade the quality of

the sound slightly. On the positive side, you don’t

need a Clock I/O card!

Mo d u la r Dig it a l Mu lt it r a ck

Using the Digital 8•Bus with ADATs

This is a simple setup. It works well and is easy

to configure. However, it has some limitations.

Without a MTC sync source there’s no way for the

Digital 8•Bus to time-reference snapshot or dynamic

automation. As long as automation isn’t a

consideration, this setup is clean and efficient.

CLOCK

EXT

48K

Cabling and Hookup

INPUT MON

1. Connect a fiber optic cable between the ADAT’s

lightpipe output and the D8B’s lightpipe input.

Likewise, connect the D8B’s lightpipe output to

the ADAT’s lightpipe input. (A DIO•8 or OPT•8

lightpipe card must be installed in the D8B to gain

access to the ADAT digital tape inputs and outputs.)

2. When using multiple ADATs, connect SYNC OUT

from the master ADAT to SYNC IN of the first

slave, then from SYNC OUT of the first slave to

SYNC IN of the second slave, and so on.

INPUT

DIGITAL

INPUT SELECT

INPUT MONITOR

DIGITAL

INPUT

TRACK

COPY

ALL

INPUT

AUTO

INPUT

Settings

D8B

1. Open the Setup window.

Note: When powering up, turn the Digital 8•Bus on

first, then turn the ADATs on.

2. Click on “Digital I/O” to open the Digital I/O

dialog box.

3. Click on each Tape Input and Output box and

select ADAT for each DIO•8 card installed.

D8B Manual • Chapter 4 • page 117

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Settings

Connecting the Digital 8•Bus to a

BRC and ADATs

Graphics in the previous section will help you

locate these controls.

The inclusion of a BRC controller or, for that

matter, any other sync controller box with word

clock and MTC, vastly increases the capabilities of

the Digital 8•Bus. With centralized controls,

common sync reference, and MIDI Time Code

communication established, the digital system works

together as one unit. Automation is achieved,

referenced to MTC, and digital devices work

together, sample-by-sample to make the most of your

recordings. (See Figure on next page.)

D8B

1. Click the “Setup” button in the bottom menu bar

of the SVGA monitor to open the General Setup

window.

2. Click the “Digital I/O” icon on the left side of the

window to open the Digital I/O dialog box.

3. Click each Tape Input and Output box and select

ADAT for each DIO•8 card installed.

4. Set the “Samplerate” to 48kHz.

Cabling and Hookup

ADATs

1. On the front panel of the ADAT, select DIGITAL IN.

1. Connect a fiber optic cable between the ADAT’s

lightpipe output and the D8B’s lightpipe input.

Likewise, connect the D8B’s lightpipe output to

the ADAT’s lightpipe input. (A DIO•8 or OPT•8

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 card’s

WORD CLOCK OUT connector to the 48kHz IN

connector on the BRC.

BRC

1. Set the External Sync parameters to the

following:

a) Press the EDIT button.

b) Set the Clock Source to “48KHz Input.”

c) Set the Locate Reference to “Internal.”

d) Press the EDIT button to exit the “Edit

External Sync” page.

e) Make sure the EXT SYNC button is still lit.

2. Press the EDIT button and the GEN SYNC

button twice to bring up the MIDI page.

Set the parameter to MTC. Press the EDIT

button to exit out of the “Edit Generate Sync”

page. Leave the GENERATE SYNC button lit.

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 DIO•8 card to one side of the “T” and connect

the 50 ohm terminator to the other side of the “T.”

Notes:

1. You must turn on the Digital 8•Bus 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 don’t run at high

speed when shuttling around on your ADATs.

3. Connect the 9-pin D-sub sync cables between the

BRC (REMOTE OUT TO ADAT) and the first

ADAT’s 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 8•Bus’ Remote CPU

and the MIDI IN connector on the BRC, and

between the MIDI IN connector on the Digital

8•Bus’ Remote CPU and the MIDI OUT

connector on the BRC.

D8B Manual • Chapter 4 • page 118

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48 KHz IN

with 50Ω

MIDI IN

BRC

REMOTE OUT

TO ADAT

termination

MIDI OUT

INPUT

ADAT XT

OUTPUT

MASTER DECK

(TRACKS 1-8)

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

INPUT

ADAT XT

SLAVE DECK

(TRACKS 9-16)

OUTPUT

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

INPUT

ADAT XT

SLAVE DECK

(TRACKS 17-24)

OUTPUT

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

TAPE

TAPE 9-16

TAPE 17-24

APOGEE

DIGITAL I/O

AES/EBU

APOGEE

CLOCK I/O

LINE INPUTS

(BAL/UNBAL)

BUS OUT 1-8

SURROUND OUT

DIGITAL I/O DIGITAL I/O DIGITAL I/O

DIGITAL 8•BUS

MASTER OUT

TRACK IN

PHONES

OUT

MAIN

TRACK IN

STUDIO OUT

DIGITAL I/O

S/PDIF

NEAR FIELD

TRACK IN

PUNCH I/O

TALKBACK

OUT

MASTER OUT

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

DIGITAL EFFECTS CARDS

DIGITAL I/O

SYNC

ALT I/O

TAPE IN/OUTS

DATA CABLE

(to Console)

REMOTE CPU

SERIAL

KEYBOARD

MOUSE

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC

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MADE IN USA

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FABRIQUE AU USA

•

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE

•

MIDI IN

MIDI OUT

D8B Manual • Chapter 4 • page 119

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Connecting the Digital 8•Bus to

ADATs Using an External Sync Box

Cabling and Hookup

1. Connect a fiber optic cable between the ADAT’s

lightpipe output and the D8B’s lightpipe input.

Likewise, connect the D8B’s lightpipe output to

the ADAT’s lightpipe input. (A DIO•8 or OPT•8

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 ADAT’s

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.

4. Set “Samplerate” to match the sample rate of

the formatted ADAT tapes (typically 48kHz or

44.1kHz).

3. Connect MIDI cables between the MIDI OUT

connector on the Digital 8•Bus’ Remote CPU

and the MIDI IN connector on the Sync Box, and

between the MIDI IN connector on the Digital

8•Bus’ Remote CPU and the MIDI OUT

ADATs

1. Select DIGITAL IN on the ADAT front panel.

connector on the Sync Box.

Mo d u la r Dig it a l Mu lt it r a ck

Settings

D8B

1. Open the Setup window by pressing Ctrl+1 or

Setup in the bottom menu bar on-screen.

CLOCK

EXT

48K

INPUT MON

INPUT

DIGITAL

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 DIO•8 card installed.

INPUT SELECT

INPUT MONITOR

DIGITAL

INPUT

TRACK

COPY

ALL

AUTO

INPUT

Notes:

• When powering up, turn the Digital 8•Bus on first,

then turn the ADATs on.

• Make sure MMC and MTC are lit on the sync box.

D8B Manual • Chapter 4 • page 120

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SYNC BOX

(Examples:

JLCooper dataSYNC or

Steinberg ACI)

MIDI IN

SYNC

OUT

MIDI OUT

INPUT

ADAT XT

OUTPUT

MASTER DECK

(TRACKS 1-8)

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

INPUT

ADAT XT

SLAVE DECK

(TRACKS 9-16)

OUTPUT

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

INPUT

ADAT XT

SLAVE DECK

(TRACKS 17-24)

OUTPUT

LOCATE/PLAY

LRC REMOTE

PUNCH

IN/OUT

DIGITAL

SYNC

OUT

TAPE

TAPE 9-16

TAPE 17-24

APOGEE

DIGITAL I/O

AES/EBU

LINE INPUTS

(BAL/UNBAL)

BUS OUT 1-8

SURROUND OUT

DIGITAL I/O DIGITAL I/O DIGITAL I/O

DIGITAL 8•BUS

MASTER OUT

TRACK IN

PHONES

OUT

MAIN

TRACK IN

STUDIO OUT

DIGITAL I/O

S/PDIF

NEAR FIELD

TRACK IN

PUNCH I/O

TALKBACK

OUT

MASTER OUT

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

DIGITAL EFFECTS CARDS

DIGITAL I/O

SYNC

ALT I/O

TAPE IN/OUTS

DATA CABLE

(to Console)

REMOTE CPU

SERIAL

KEYBOARD

MOUSE

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE

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MIDI IN

MIDI OUT

D8B Manual • Chapter 4 • page 121

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3. Set the Machine ID on each recorder, with the

first deck (master) having the lowest number and

the last deck having the highest number. DA-88s

start with ID #0 and DA-38s start with ID #1.

Connecting the D8B to TASCAM MDMs

Cabling and Hookup

DA-88

DA-38

1. Connect the digital cables between the TASCAM tape

decks and the DIO•8 cards in the Digital 8•Bus.

Deck 1

Deck 2

Deck 3

Note: You must use the special dubbing cables provided

byTASCAM, partnumberPW-88D(1meter)orPW-88DL

(5 meters). These cables are reverse wired. Do not use

a standard DB25 computer cable, which is wired

straight through pin-to-pin.

Note: If using a DA-88 as the master and a DA-38 as a

slave, assign the DA-88 ID #0, and the DA-38 ID #2.

D8B

1. Click the “Setup” button in the bottom menu bar of

the SVGA monitor to open the General Setup window.

2. Click the “Digital I/O” icon on the left side of the

window to open the Digital I/O dialog box.

3. Click each Tape Input and Output box and select

TDIF for each DIO•8 card installed.

2. Connect the sync cables (TASCAM part number

PW-88S) between the master deck and the slaves

in a daisy-chain fashion. Make sure the last deck

has a Termination Plug connected to its SYNC

OUT connector.

For the DA-38:

4. Select the appropriate sample rate in the Digital

I/O Setup window.

An MMC-38 MIDI Machine Control interface must be

used prior to the SYNC IN connector on the master

deck to implement MMC transport commands and

track arming for up to three DA-38 machines.

For the DA-88:

You must have an SY-88 card installed in each

DA-88 to implement MMC transport commands

and track arming for up to three DA-88 machines.

The SY-88 cards also provide SMPTE chase lock

operation. Alternately, an MMC-38 MIDI Machine

Control interface may be used prior to the SYNC

IN connector on the master deck to implement

MMC transport commands and track arming for

up to three DA-88 machines.

3. Connect a BNC cable from the first DIO•8 (Tape

1–8) card’s SYNC connector to the WORD SYNC

IN connector on the master deck.

4. Connect MIDI cables between the MIDI OUT

connector on the Digital 8•Bus Remote CPU and

the MIDI IN connector on the MMC-38 (or SY-88

on the master deck), and between the MIDI IN

connector on the Digital 8•Bus’ Remote CPU and

the MIDI OUT connector on the MMC-38 (or SY-88).

For DA-38s with the MMC-38:

a. Click the “Locator-MC” icon on the left side

of the Setup window.

b. Set all Device IDs to 1 (all D8B Device IDs

must be set to 1 in order to arm tracks from

the console).

For DA-88s with the SY-88s:

a. Click the “Locator-MC” icon on the left side

of the Setup window.

Settings

b. Set all Device IDs to one digit less than the

DIP switch settings (S2) on the SY-88 cards

for their respective machines. For example:

MMC-38

1. Set SW2 DIP switches 6 and 7 to the up

position. All other switches should be in the

down position.

SY-88

D8B

Deck 1

Deck 2

Deck 3

SY-88

1. DIP switches on the SY-88 are set internally.

The DIP switches labeled S2 assign the device

ID numbers (see the TASCAM SY-88 Owner’s

Manual for ID setup information).

TASCAM DA-38/DA-88

1. On the front panel of the TASCAM, select

WORD CLOCK as the clock source.

2. Also on the front panel, turn on the DIGITAL IN.

D8B Manual • Chapter 4 • page 122

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REMOTE IN/SYNC IN

(FROM RC-848/DA-88)

SYNC OUT

(TO DA-88)

WORD SYNC

REMOTE IN

REMOTE

PUNCHIN/OUT

MACHINE ID

SYS

OUT

SYS

(FROM RC-808)

DA-88

DSP

METER UNIT

DIGITAL I/0

TDIF-1

MASTER DECK

(TRACKS 1-8)

MODE

RS-422

TIME CODE

VIDEO

THRU

MIDI

SYNC

OUT

THRU

OUT

MIDI IN

MIDI OUT

REMOTE IN/SYNC IN

(FROM RC-848/DA-88)

SYNC OUT

(TO DA-88)

WORD SYNC

REMOTE IN

REMOTE

PUNCHIN/OUT

MACHINE ID

OUT

SYS

(FROM RC-808)

DSP

DIGITAL I/0

TDIF-1

DA-88

SLAVE DECK

(TRACKS 9-16)

MODE

RS-422

TIME CODE

VIDEO

THRU

MIDI

SYNC

OUT

THRU

OUT

TERMINATION PLUG

REMOTE IN/SYNC IN

(FROM RC-848/DA-88)

SYNC OUT

(TO DA-88)

WORD SYNC

REMOTE IN

REMOTE

PUNCHIN/OUT

MACHINE ID

OUT

SYS

(FROM RC-808)

DSP

DIGITAL I/0

TDIF-1

DA-88

SLAVE DECK

(TRACKS 17-24)

MODE

RS-422

TIME CODE

IN OUT

VIDEO

THRU

MIDI

SYNC

OUT

THRU

TAPE

TAPE 9-16

TAPE 17-24

APOGEE

DIGITAL I/O

AES/EBU

LINE INPUTS

(BAL/UNBAL)

BUS OUT 1-8

SURROUND OUT

DIGITAL I/O DIGITAL I/O DIGITAL I/O

Other Notes

DIGITAL 8•BUS

1. You must turn on

the Digital 8•Bus

first, then turn on

the Tascam

MASTER OUT

TRACK IN

PHONES

OUT

MAIN

TRACK IN

STUDIO OUT

DIGITAL I/O

S/PDIF

NEAR FIELD

TRACK IN

PUNCH I/O

TALKBACK

recorders.

OUT

2. Make sure the

MODE DIP

MASTER OUT

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

DIGITAL EFFECTS CARDS

DIGITAL I/O

SYNC

ALT I/O

TAPE IN/OUTS

switches on the

SY-88 have the 2nd

DIP switch in the

up position and all

the rest of the

DATA CABLE

(to Console)

switches down.

This selects the

MIDI input.

REMOTE CPU

SERIAL

KEYBOARD

MOUSE

3. The MMC-38

should have firm-

ware version 1.05.

The SY-88 should

have firmware

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE

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MIDI IN

MIDI OUT

version 4.01.

The DA-88 should have firmware version 4.01.

To determine the firmware version:

MMC-38: Internally marked on EPROM.

DA-88: Hold down the STOP/PLAY/REC buttons while powering up the DA-88 to display the

DA-88 ROM version.

SY-88: Hold down the PLAY/REC/FF buttons while powering up the DA-88 to display the

SY-88 ROM version.

4. If using any of the newer 24-bit DTRS machines, you should have version 2.1 EPROMs

installed in the DIO•8 cards (DIO•8 cards shipped after 7/2000 have version 2.1 EPROMs

installed). If the label on the socketed IC (located on the bottom left corner of the DIO•8 card,

near the edge connector) has anything but “v2.1” printed on it, you should get the free upgrade

by contacting our parts department at 800-258-6883.

D8B Manual • Chapter 4 • page 123

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computer’s 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 8•Bus.

Digital Audio Workstation Setup

Connecting the Digital 8•Bus to a Digital Audio

Workstation (Digital Performer, Studio Vision Pro,

Cakewalk Pro, etc.) shares considerations with the

ADAT and TASCAM hookups. Word clock synchro-

nization must be addressed; the master and slaves

must be established; the clock rate must be consis-

tent throughout; and the audio path into the

console must be intelligently configured.

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 8•Bus inputs and outputs.

Note: A Pro Tools system works best when referenced

to Superclock sync source, or when connected to a

PDI•8 card through AES/EBU with SRC engaged.

Let’s 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

Cabling and Hookup

1. Connect the Digital 8•Bus lightpipe output, from

the DIO•8 or OPT•8 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 manufacturer’s 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.

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 8•Bus “Samplerate” to match the

D8B Manual • Chapter 4 • page 124

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MIDI IN

MIDI Interface

MIDI OUT

Software-based

Digital Audio

Workstation

INPUT

BANK A

TDIF

BANK B

TDIF

BANK C

TDIF

COMPUTER

DAW Digital

Interface

ADAT OPTICAL

OUT

OUTPUT

TAPE

TAPE 9-16

TAPE 17-24

DIGITAL 8•BUS

APOGEE

DIGITAL I/O

AES/EBU

LINE INPUTS

(BAL/UNBAL)

BUS OUT 1-8

SURROUND OUT

DIGITAL I/O DIGITAL I/O DIGITAL I/O

MASTER OUT

TRACK IN

PHONES

OUT

MAIN

TRACK IN

STUDIO OUT

DIGITAL I/O

S/PDIF

NEAR FIELD

TRACK IN

PUNCH I/O

TALKBACK

OUT

MASTER OUT

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

DIGITAL EFFECTS CARDS

DIGITAL I/O

SYNC

ALT I/O

TAPE IN/OUTS

DATA CABLE

(to Console)

PARALLEL

MIDI OUT

MIDI IN

MOUSE

KEYBOARD

DATA AND SYNCHRONIZATION I/O

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC

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FABRIQUE AU USA

•

REMOTE CPU

D8B Manual • Chapter 4 • page 125

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❏ Set up a quick mix using level, pan, EQ, dynamics,

Live Sound/Live Recording Setup

effects

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 line-

level source.

The setups for live concert recording and live

sound are similar. Each involves mixing everything

as you go—moving 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 2-

track recorder and the headphones.

❏ Adjust mix to the cue (headphone) buses.

❏ Store and label snapshot(s)

Live Application Tip #2: Don’t forget the Snapshot

filters. If you find a parameter setting that you want to

keep throughout the performance (EQ, plugin,

compressor, etc.), simply filter that parameter out of

your saved set of snapshots. All your changes will still

happen on cue as you scroll through snapshots, but

your updated parameters will remain constant.

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

inputs

❏ Set Pre-Fader auxes in Setup Window for monitor

use

❏ Test each instrument and mic to verify level at

console input meter

❏ Adjust input trim for a reading around 15 on the

meter

❏ Press L/R in the ASSIGNMENT section to confirm

Assign lights on for all desired channels. Or, look

on-screen to verify all channels have L/R button

highlighted in Bus Assign section

Live Application Tip #1: Buses 1–8 don’t sum to L/R

Mix internally. Therefore, to utilize buses as masters,

route the bus (sub) out the Alt I/O then back into any

channel or Alt I/O input. Or, simply use the virtual

groups as level and mute masters.

❏ Set Master Fader to Unity position

❏ Turn channel faders up to hear instrument or mic.

❏ Once the appropriate level is achieved, press the

channel mute button.

D8B Manual • Chapter 4 • page 126

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Vocal Enhancer

Digital Delay

Stereo Reverb

Processor

Stereo Processor

T O T A P E

F R O M T A P E

Mic Preamps

T O T A P E

D8B Manual • Chapter 4 • page 127

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3. Click and hold on the “1” button at the top of

channel 1. Sweep across to channel 6 to assign

channels 1–6 to Bus 1.

Post-Production Setup

The Digital 8•Bus is an amazing tool, no

matter what the setup. However, the more com-

plex the setup, the more amazing the D8B be-

comes. Post-production provides potential for any

tracks, effects, snapshots, automation moves, and

general madness mayhem.

4. Click and hold on the “2” button at the top of

channel 6. Sweep across to channel 1 to assign

channels 1–6 to Bus 2.

Most post-production facilities use house sync

to lock all video equipment together. The same

piece of gear that generates house sync can

provide the D8B and all connected audio gear with

the necessary word clock to get everything

functioning properly together.

In order for the D8B to follow external word

clock, an Apogee Clock I/O card is required. With

the Clock I/O card installed, the available sample

clock options increase. The D8B will slave to most

any clock source from 32kHz to 48kHz.

This is also the type of setup that might be

found in a home studio that incorporates a central

sync generator.

5. Click the MASTERS button next to the Master

Fader to select Fader Bank 4.

6. Click and hold on the OUT box at the top of BUS

1 (channel 89). Drag down to “Tape Out 7” to

assign Bus 1 to the multitrack record device

track number 7.

Bouncing/Summing Using Bus Outs

You may find that you need to free up some more

tracks to get everything to fit. You can do a submix

and combine several tracks into one (or two) using

the BUS 1–8 Submasters.

Maybe you have six separate tracks for the kick

drum, snare drum, cymbals left, cymbals right, tom

1, and tom 2. You can free up five extra tracks by

bouncing these down to one track, or free up four

extra tracks if you want to bounce them down to a

stereo pair of tracks.

The following steps show an example of how to

bounce tracks 1–6 down to tracks 7 and 8 by using

Bus 1 and 2. By using Buses 1 and 2, whatever pan

positioning you’ve set up is retained.

1. Select Fader Bank 2 by clicking the TAPE

button next to the Master Fader.

7. Click and hold on the OUT box at the top of BUS

2 (channel 90). Drag down to “Tape Out 8” to

assign Bus 2 to the multitrack record device

track number 8.

8. On the recording device, select record ready on

the tracks 7 and 8.

9. Play the song while recording tracks onto the

multitrack.

10. With the original 6 channels muted, monitor the

bounced track on the D8B TAPE IN bank

(channels 31 and 32).

2. Turn off the L-R assignments for channels 25–

30 (tracks 1–6 returns). Turn off the L-R

assignments for any other channels you don’t

want to monitor while bouncing down.

D8B Manual • Chapter 4 • page 128

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•

To fine-tune snapshot placement, open the

sequence track and adjust the time position in

the MIDI sequence.

Using Basic Automation

What Type of Data Can Be Automated

Dynamic Automation

Dynamic automation is a function of the D8B

automation system. The power and flexibility

offered by the D8B is awesome. This one tool can

revolutionize the way you do music.

Each new automation pass helps mold and

shape the music into a brilliant work of art.

Dynamic automation involves real-time crafting of

the mix with the assistance of a computer processor.

Virtually all of the D8B channel parameters

are available for automation. However, there are a

few exceptions—some obvious and some not so

obvious. All D8B channel parameters can be

automated except:

• Analog Trims on channels 1–12

• Tape Output selection

• Pre and Post insert selections

Where Do I Start?

• Plug-in Configuration selections—even

though plug-in parameters can be automated

Automation is somewhat intimidating at first.

Fortunately, it doesn’t need to be. The power,

flexibility, and ease of use provided by the Mackie

designers makes the D8B painless and intuitive.

If you’ve 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.

• Channel reconfigurations

Two Types of Automation

Automation moves are divided into two basic

types: snapshot and dynamic. Snapshot auto-

mation 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 8•Bus is powered by Mackie’s Real

Time OS™ automation software. Upon initial power-

up, the console Automation Section is bypassed.

Snapshot Automation

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.

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.

As described in Chapters 2 and 3 of this

manual, snapshots are simple and painless to

store on the D8B.

Clear Automation

Snapshot automation refers to simply scroll-

ing 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 selec-

tion 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.

•

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.

•

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.

Save Session As…

•

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.)

•

Setup Rough Mix

•

Build the basic sound of the mix. Include

fundamental EQ, Pan, Surround, Dynamics,

Groups, etc.

Snapshots will playback in the same time and

order that you selected them.

•

Save frequently, or set the D8B for SMART

SAVES at regular intervals.

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you’ll be tweaking the mix to perfection anyway.

Verify that all channels are selected by choosing

each of the four fader banks and confirming that

all SELECT buttons are highlighted.

Select Set Default Levels… from the Edit Menu.

Respond “Yes” to complete the task.

Save Snapshot For Safety

•

As you build the mix, save snapshots as soon

as the music begins to reveal itself. Label the

snapshots for your own reference. Sometimes these

basic mixes, which are derived from your initial

“gut” reaction to the music, are the most powerful.

Basic dynamic automation does not require

these snapshot saves, but they’re often useful as

the mix comes together, even if only as a cross-

reference. If you develop a string of snapshots that

are very powerful, they can be strung together

during automation. However, the procedure we’re

outlining here highlights dynamic automation.

•

If you need to recall your static mix at any point,

you can save or update snapshots at any time.

Exit Bypass Mode

Once the default levels have been set, it’s time

to exit BYPASS mode. From this point on, any

parameter change can be written into automation.

Select Parameters

Choose the parameters you’d like to record as

automation data on the first pass. This is typically

a great time to ride basic fader, mute, and pan

settings. However, there is no problem with

selecting Faders, Mutes, Pan, and ALL so no

matter what moves you make, they can be re-

corded and recalled by the automation processor.

Any Combination of Faders, Mutes, and Pans on

Time Code From Playback Device

Route MTC

The D8B requires MIDI Time Code (MTC) at

the MIDI input to operate automation along with

the record/playback device.

•

Connect the MIDI output of your computer,

sequencers, MIDI interface, or transport control

to the MIDI input of the D8B.

Most sequencers or other record/playback

devices that transmit MTC need to be configured

to route to a specific MIDI channel, cable, or

device. Consult your MTC source operator’s

manual to confirm accurate and verifiable

routing to the D8B.

First Pass

•

Choose automation parameters by selecting

them in the control surface AUTOMATION

section, in the on-screen locator window, or the

Options/Automation menu.

•

The D8B shows no favoritism to any or all

parameter writing during automation. You’ll

discover the process that works best for you.

Verify MTC at D8B Transport SMPTE Window

•

When your sequencer or other record/playback

device is running and MTC is transmitted, the

D8B control surface position readout window will

scroll MTC. You will see a continuous increase of

Hours, Minutes, Seconds, and Frames. If you see

this scrolling time code in the D8B POSITION

display, it’s almost automation time!

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.

•

MTC also displays in the on-screen Locator

window.

If SMPTE VIEW is not selected, the readout will

display Bars/Beats/Ticks (BBT). Press the SMPTE

VIEW button at the left of the control surface

readout to toggle between SMPTE and BBT.

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 select-

ing Auto Touch in the Options/Automation menu.

You’ll know you’ve 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, you’re 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 don’t set default levels to your prefer-

ence, levels will jump to any previously selected

automation settings as soon as MTC begins. This

can be very frustrating, but if you’ve religiously

saved snapshots of your mix status, you won’t be

far from repair.

Start playback device

•

Verify MTC in the Locator position readout.

Verify selection of desired automation

parameters—for now select FADERS, MUTES,

PAN, and ALL.

•

Determine that your mix is solid enough that

you’d like to have all parameters written as

defaults. Don’t get too freaked out about this—

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Move a channel fader

Press the D8B Record Button

•

As soon as the fader moves, the WRITE button

illuminates, indicating automation data is being

recorded.

•

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.

Exit Record and Rewind to Beginning of Track

•

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.

Start Playback from Beginning of Track

•

For all other parameters (other than fader, mute,

and pan), even though RECORD is pressed,

automation data isn’t actually recorded until a

parameter change is made.

•

If you’ve followed these directions thoroughly

you’ll see the fader move that you recorded

playback automatically.

•

Welcome to the wonderful world of D8B

automation!

Repeat this Action for More Parameters

Note: Operation characteristics of the Transport

RECORD button are determined by the settings in the

Setup>Mix Options window. Select “One Button Punch”

to enable record status by simply pressing the RECORD

button alone. If “One Button Punch” is not selected

the user must hold PLAY while pressing RECORD to

enter record mode. Press Play or Stop to punch out of

record.

•

Be sure you’ve 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.

•

Note: Auto Touch mode does not require any channel

selection for automation to record! Simply move

virtually any parameter on any channel to activate the

record status for that channel on that automation

parameter.

Exit Record and Rewind to Beginning of Track

Start Playback from Beginning of Track

Repeat this Action for More Parameters

Write Punch-in Mode

This mode functions in a very similar fashion

to Write Ready mode. However, in this mode the

Transport RECORD button is not needed.

Exit AUTO TOUCH Mode

Write Ready Mode

It’s possible to build an entire mix using Auto

Touch mode. It is easy to use, easy to build on,

and it offers incredible creative flexibility. How-

ever, there are instances where Write Ready mode

provides the perfect mode for a particular task.

Write Ready Mode is very useful when several

channels must be placed into automation record

mode at the same time.

Toggle the AUTO TOUCH button off

Activate the Desired Automation Parameters

Engage FADERS, MUTES, PAN, and/or ALL

in the same manner as previously described.

Select Write Ready Mode

Deselect Write Ready Mode

•

This option is available in the Setup>Mix

Options Menu and in the Setup>Mix Options

window

Start Playback Device, then Press the Write

Button(s) on the Desired Channels

•

In this mode, pressing the channel WRITE

buttons immediately places the channels into

automation record mode.

•

Pressing an active WRITE button (yellow light

solidly on) immediately punches out of

automation record mode for that channel.

•

This option is located in the Setup>Mix Options

window as “Use Write Ready” and in the

Options/Automation Menu as “Write Ready

Mode.”

In this mode, the Transport RECORD button is

necessary for completing an automation pass.

Adjust Automation Parameters on the WRITE-

Enabled Channels

•

It’s always important to verify the correct

selection of intended automation parameters.

Exit Record and Rewind to Beginning of Track

Start Playback from Beginning of Track

Repeat this Action for More Parameters

Press WRITE on All Desired Automation Channels

•

The yellow light or icon blinks, indicating

record-ready status.

Trim Levels

Start the Playback Device

•

Even when the playback device starts, the

automation system remains in ready status

(yellow lights blinking) until the RECORD button

is pressed in the control surface Transport section

or the on-screen Locator window.

This mode is perfect for updating sections of a

mix. If you’ve worked and toiled over a track

throughout a mix, adjusting the levels frequently, try

TRIM mode. This valuable mode simply adds or

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subtracts the same amount from a previously

adjusted automation track. For example, when used

for faders, all moves are maintained but the overall

volume changes.

Automation Start-up Procedure

❏

Automation In Bypass

Clear Automation

Save Session As…

Press TRIM LEVELS

Set Up Rough Mix

•

Press TRIM LEVELS in the control surface

Automation section, on-screen Locator window,

or in the Options>Automation menu. Notice that

the faders all snap to unity position.

Save Snapshot For Safety

Route Time Code (MTC) From Playback Device to

D8B MIDI Input

❏

Verify MTC at D8B Transport SMPTE Window

Set Default Levels…

Choose Automation Mode

Even though TRIM LEVELS is selected and

the faders all move to unity position, the automa-

tion modes still retain their operational character.

Use Channel Faders to Boost or Cut Previously

Exit Bypass Mode

Select Parameters

Any Combination of Faders, Mutes, Pans, and All

Automated Channel Data

Auto Touch Summary Checklist

•

The faders automatically set at unity so they can

be easily used to boost or cut the previously

adjusted track content.

❏

EnterAutoTouchMode

Start Playback Device

Move a Channel Fader

Exit Record and Rewind to Beginning of Track

Start Playback from Beginning of Track

Repeat this Action for More Parameters

•

This is an excellent mode to globally adjust

channel levels.

Simply raise or lower the fader level to boost or

cut the sum of your previous adjustments for the

selected channel.

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

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.

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

•

❏

In order for these parameters to record, ALL

must be selected in the control surface AUTOMA-

TION section, on-screen Locator window, or in the

Options/Automation window.

Write Punch-in Summary Checklist

Automation Procedural Checklists

❏

Exit AUTO TOUCH and/or TRIM LEVELS Mode

Exit Write Ready mode in the Options>Automation

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, they’ll help instill an

efficient automation procedure.

❏

Start Playback/Record Device and Verify MTC

Press the Write Button(s) on the Desired Channels

Adjust Automation 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 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

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