Q U I C K - S TA R T G U I D E
X.200
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Introduction
Thank you for choosing a Mackie Digital X Bus
for your next-generation digital recording con-
sole. The Digital X Bus offers you the flexibility to
configure it for virtually any recording application
through its extended card cage and I/O routing op-
Note: As new software releases be-
come available, they can be download-
ed from the Mackie website by going
to the Digital X Bus webpage at:
tions. It was designed with the ability to upgrade as You will need a USB flash drive (a.k.a. thumb-
advancements are made in digital recording technol- drive) to transfer the installer package from your
ogy. But with 32-bit floating point processing, you have computer to the Digital X Bus. Installation in-
more power than just about any other digital mixing
structions are also available on the website.
console in its class.
HOW TO USE THIS MANUAL
We know you want to get started right away, so
this Quick-Start Guide is designed to help you get
up and running quickly. If you have any experience
using a digital mixing console, like our D8B, you’ll
find that using the Digital X Bus is very similar
and you’ll be mixing away in no time. If this is your
first experience with digital mixing, we’ll run you
through some of the unique aspects of using a digi-
tal mixing console. You will find that once you’ve
learned these differences and the incredible flexibil-
ity that digital mixing has to offer, you will have a
very short learning curve, and wonder how you have
lived without the power of digital mixing for so long.
We know that many of you can’t wait to get your
new Digital X Bus hooked up, and you’re probably
not going to read the manual first (sigh!). So this
Quick-Start Guide will help you get the mixer set up
fast so you can start using it right away. After the
"Getting Started" section, we have included some
hook-up diagrams that show typical connections
for tracking, mixdown, and using the Digital X Bus
with a DAW (Digital Audio Workstation).
Then, when you have time, read the owner's
manual. It describes every knob, button, and slider
on the console, and all the menus and windows on
the touchscreens.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
Purchased at:
Date of purchase:
3
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Getting Started
I/O Cards
Once you’ve unpacked your new
Digital X Bus, you’ll want to posi-
tion it where you can sit comfort-
ably and reach the touchscreens
and controls, and have relatively
1. MIC/LINE 4 CARD
This card has four female XLR balanced micro-
phone inputs, and four 1/4" TRS balanced/unbalanced
line-level inputs, for a total of eight analog inputs.
Note that this card does not provide any outputs.
easy access to the rear panel, in case you need to
make any changes to the connections. Typically,
once you’ve set it up and made the connections, you
won’t have to make any changes unless you change
your external equipment.
2. MIC/LINE 8 CARD
The Mic/Line 8 card has two DB25 connectors,
one for inputs and one for outputs. The input con-
nector accepts eight balanced mic/line-level inputs.
The output connector provides eight balanced line-
level outputs. These DB25 connectors use the TAS-
CAM standard pinout for analog signal connections
(the same standard used on the analog cards for the
Mackie D8B and Hard Disk Recorder). If you are
connecting these to another device using the same
DB25 standard, you can use a DB25-to-DB25 audio
cable. Otherwise, you will need to use DB25 cables
that breakout to XLR, 1/4" TRS, or TT connectors.
Connections
The Digital X Bus comes with a Mix Out card (con-
trol room card) and a Sync card already installed in
the card cage in the rear panel. There are also connec-
tions for a USB mouse and keyboard (see “More Con-
nections” for PS/2-style mouse and keyboard connec-
tions). While not required to operate the Digital X Bus,
they can be handy for quickly entering data or when
clicking is easier than touching (the touchscreen).
3. LINE CARD
The Line card has two DB25 connectors. One pro-
vides eight balanced line-level inputs, and the other
provides eight balanced line-level outputs. They use
the TASCAM standard pinout for analog signal con-
nections (the same standard used on the analog cards
for the Mackie D8B and Hard Disk Recorder). If you
are connecting these to another device using the same
DB25 standard, you can use a DB25-to-DB25 audio
cable. Otherwise, you will need to use DB25 cables
that breakout to XLR, 1/4" TRS, or TT connectors.
Beyond that, we have a variety of analog and
digital I/O cards, not included with the base model,
that you can install in the card cage to suit your ap-
plication. This allows you to match the I/O connec-
tions on your Digital X Bus with the I/O connections
provided on the other equipment in your studio.
Here’s a quick run-down of what we offer:
Refer to Appendix B in the Digital X Bus X.200
Owner's Manual for a wiring diagram of these
connectors.
D • SLOT
SYNC
C • SLOTS
B • SLOTS
A • SLOTS
SYNC CARD
MIX OUT CARD
IN
DIGITAL CARD
FIRE CARD
AES CARD
LINE CARD
LINE CARD
MIC/LINE 8 CARD
MIC/LINE 4 CARD
1
MIC/LINE 4 CARD
1
IN
AES/EBU
WORD
CLOCK
OUT
I/O
OUT
OUT
2
3
4
2
3
4
TDIF
I/O
OUT
OUT
SPDIF
OUT
IN
IN
OPTICAL
IN A
SMPTE
OUT
SPEAKERS
L
R
A
IN
IN
IN
IN B
OUT A
OUT B
L
1
R
B
PHONES
MIX OUT
5
7
6
8
5
7
6
8
2
R
L
4
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4. DIGITAL CARD
6. FIREWIRE CARD
This card provides eight channels of digital I/O in
two formats; TDIF on a DB25 connector and ADAT
optical on four TOSLINK connectors.
The FireWire card uses the IEEE-1394 protocol
for connecting digital devices. It currently provides
24 inputs and 24 outputs of digital audio at 48 kHz,
and 8 inputs and 8 outputs at 96 kHz (with room for
improvement as driver technology improves). It sup-
ports OS X Core Audio applications on the Macintosh,
and Windows XP ASIO applications on the PC.
At 44.1/48 kHz sample rates, each optical
TOSLINK connector provides either eight inputs or
eight outputs of digital audio. At 88.2/96 kHz sample
rates, the S/MUX protocol is used to provide chan-
nels 1-4 on the “A” connectors, and channels 5-8 on
the “B” connectors. At 176.4/192 kHz sample rates,
the S/MUX II protocol is used to provide channels 1-2
on the “A” connectors and channels 3-4 on the “B”
connectors, for a total of four inputs and outputs.
7. MIX OUT CARD
This provides several outputs (with the addition of
an AES/EBU and S/PDIF input), typically used for
control room, headphones, and main outputs.
AES/EBU IN and OUT
5. AES/EBU CARD
The AES/EBU card has one DB25 connector,
providing eight channels of digital I/O in the
AES/EBU format.
These are XLR connectors that accept and send
standard AES/EBU two-channel digital signals.
S/PDIF IN and OUT
These are RCA-type connectors that accept and
send standard S/PDIF two-channel digital signals.
The original AES/EBU specification (IEC958 Type 1)
provides for carrying two channels of digital audio
at resolutions up to 24-bit at 48 kHz. When higher
sampling rates became possible, two methods were
developed to transmit digital audio at the higher
sample rates — double-fast and double-wide.
SPEAKERS A and B
These are two sets of stereo monitoring outputs
using 1/4" TRS jacks. They produce a line-level
analog signal that you can connect to the inputs of
the amplifier powering your control room monitors
(or the inputs to your active studio monitors). You
might use one pair (A) for near-field monitor speak-
ers and the other pair (B) for your main monitor
speakers. These are assigned to the Control Room
Left and Right outputs by default, but can be reas-
signed to virtually any input or output source.
The double-fast method (also called single-wire)
clocks the digital I/O port at twice the speed to get
twice the information through, providing support for
resolutions up to 24-bit at 96 kHz.
The double-wide method (also called dual-wire)
transmits one channel of digital audio instead of two
channels through a single digital I/O port, again pro-
viding support for resolutions up to 24-bit at 96 kHz.
The Control Room source is selected in the
CONTROL ROOM section of the console (press the
SETUP button in the CONTROL ROOM section for
more setup options).
The AES/EBU card currently uses the double-fast
method, so eight channels of digital I/O are sup-
ported up to 192 kHz.
PHONES 1 and 2
At sampling rates up to 48 kHz, two channels of
digital audio are transmitted on a single wire (one
3-pin XLR) at normal speed as specified by the
AES/EBU standard.
These are stereo 1/4" TRS jacks that provide a
stereo output for headphones, or for connecting to a
headphone distribution box. These are assigned to the
Phones 1 and Phones 2 outputs by default, but can be
reassigned to virtually any input or output source.
At sampling rates of 88.2/96 kHz, two channels of
digital audio are transmitted on a single wire (one
3-pin XLR) at twice the normal speed (2x).
The Phones 1 and 2 sources are selected in the
PHONES 1 or PHONES 2 section on the console
(press the SETUP button in the PHONES section for
more setup options).
At sampling rates of 176.4/192 kHz, two channels
of digital audio are transmitted on a single wire (one
3-pin XLR) at four times the normal speed (4x).
MIX OUT
These are balanced 1/4" TRS jacks that provide a
line-level analog signal. These are assigned to the
left and right mix outputs by default, but can be reas-
signed to virtually any input or output source. Con-
nect these outputs to the inputs of a 2-track recorder
for mixdown, or to the inputs of a power amplifier to
drive a pair of speakers for the studio or whatever.
Note: Check the owner’s manual for the device you
are connecting to the AES/EBU card, to find out if
it supports the double-fast (or single-wire) method.
5
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You can turn MTC on and off in the Sync Card
setup window (Windows > I/O Configuration and
touch the Sync card) by clicking the Generate MTC
box. You can select MTC as the time code source in
the same setup window by clicking the Time Code
Source dropdown box and selecting MIDI (MTC).
8. SYNC CARD
The Sync card provides the digital word clock in
and out on a pair of BNC connectors, and SMPTE
time code in and out on a pair of 1/4" jacks.
Sync data is also transmitted through the ADAT
lightpipe and AES/EBU connections. The Sync card
just provides another means to transmit and receive
the word clock. This is particularly useful when you
want the Digital X Bus to be the master clock for
your digital audio system.
12. ETHERNET
The Ethernet connector is reserved for future
upgrades.
13. USB
Time code is also provided through MIDI time
code (MTC). SMPTE time code is more commonly
used in motion picture and broadcast applications.
The two USB ports on the Digital X Bus can be
used to connect a USB equipped mouse, keyboard,
or USB memory stick (USB flash drive). See “More
Connections” on the next page to see how to con-
nect more USB devices, and a PS/2-style keyboard
and mouse with a 6-pin miniDIN connector.
Other Connections
In addition to the cards in the card slots, there are
more connections you can make on the rear panel.
14. IEC Power Receptacle
There are two power receptacles on the Digital X
Bus, one to provide power to the Digital X Bus and
the other to connect to another device and provide
power to it. These are standard 3-prong IEC power
connectors. Connect the detachable linecord (in-
cluded with your Digital X Bus) to the male power
receptacle, and plug the other end of the linecord
into an AC outlet with the correct voltage for your
particular Digital X Bus.
9. FOOT SWITCH 1 and 2
These two 1/4" TS jacks are provided for foot-
switch control of various functions. These functions
are assignable in the Windows > Setup window, and
include Talkback, Play/Stop, Next Marker, Previous
Marker, and New Marker.
10. SERIAL 9 PIN
This DB9 connector is an RS-422 port that sup-
ports the Sony® 9-Pin device protocol. It is con-
figured to operate as a controller, so it should be
connected to a device (DEV) that is configured to
be controlled by a controller (CONT). This is used
primarily to transmit tape transport commands from
the Digital X Bus to a recorder.
To connect another device to the female IEC
power receptacle, you need a power cord with a
male IEC power connector on one end, and a female
IEC power connector on the other end. These can be
purchased at most electronic supply stores.
11. MIDI IN and OUT
These standard MIDI connectors (female 5-pin
DIN) can be used to send or receive MIDI Time
Code (MTC) and MIDI Machine Control (MMC)
when connecting to equipment with transport con-
trols and a position display.
The MIDI connectors can also be used to control
your DAW application when the MIDI fader bank is
selected (DAW Bank).
MIDI
IN
MIDI
OUT
FOOT SWITCH
USB
ETHERNET
SERIAL 9-PIN
1
2
115V 9amp 60Hz
230V 4.55amp 50Hz
1100W Max
6
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15. Power Switch
16. Mouse
This one is self-explanatory. When the POWER
This 6-pin miniDIN connector is used to connect a
switch is turned ON, power is supplied to the Digital PS/2-style mouse.
X Bus and it boots up. When turning off the Digital
17. Keyboard
X Bus, you should select Shutdown from the File
menu. At the end of the shutdown procedure, the
touchscreens go blank, indicating that it is okay to
turn off the power switch.
This 6-pin miniDIN connector is used to connect a
PS/2-style keyboard.
18. USB
These are four additional USB ports for connect-
ing more USB devices to the Digital X Bus. If you
are connecting a USB CD-ROM drive, use one of
these ports rather than the USB ports on the rear
panel (13).
More Connections
There are even more connections available behind
the removable panel on the back of the Digital X
Bus, which we call the Motherboard Access Area.
These are connections to the motherboard, and
include four additional USB connections, and the
PS/2-style mouse and keyboard connections.
To access the connectors:
1. First, turn off the Digital X Bus (select File >
Shutdown and then turn off the power switch).
2. Use a Phillips screwdriver to remove the eight
screws securing the panel to the chassis.
MOUSE
KEYBOARD
USB PORTS
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About V-Pot Controls
Operational Basics
Just below the touchscreens are a row of rotary con-
trols called V-Pots, which is short for virtual potenti-
ometer. Again, unlike an analog console where a rotary
pot can control one function, a digital console allows
you to assign a V-Pot to many different functions.
Are you ready to get started? Let’s turn on the
Digital X Bus and go over some of the general
operational features before we start passing audio
through it.
Turning on the Digital X Bus
Using the buttons to the right of the touchscreens,
you can assign the V-Pots to control the following
functions:
Connect the supplied power cord to the male IEC
connector on the rear panel. Plug the other end of
the power cord into an outlet properly configured for
the voltage indicated on your particular model. Turn
on the power switch. The faders start moving and
the Digital X Bus loads its software into memory.
This may take up to 60 seconds. When the screens
display the channels strips, you’re ready to go.
CUE 1
CUE 2
PAN L/R (Left/Right)
PAN F/B (Front/Back,
for surround sound)
AUX 1-8 Send
9-10
11-12
PAN
PAN
AUX 9/10 and 11/12 Send
AUX 9/10 and 11/12 PAN
Digital TRIM
MIC
TRIM
LINE
LEVEL
TO
TAPE
LEVEL TO TAPE
About Fader Banks
When one of the above buttons is
selected (lit), all 24 V-Pots control that
function for each of the 24 channels
in the selected bank. What would take
384 controls on an analog console can
be done with 24 controls and 16 but-
tons on the Digital X Bus!
If you have used a digital console before, then
you are probably familiar with the concept of fader
banks. Unlike an analog board, a digital mixing con-
sole can reassign a channel strip to route any input
to any output. This can be done on an individual
channel basis, or globally, by switching banks and
reassigning all 24 channel strips at once.
POT CONTROLS
1
3
5
7
2
4
6
8
In addition, windows that contain
adjustable parameters, like the Dy-
namics and EQ windows, have their
controls situated above the channel
V-Pots, which temporarily become
controls for the parameters in the
You can think of each bank as a separate layer
of controls, stacked one on top of each other. The
X.200 has six banks:
PAN
L/R
PAN
F/B
1-24
1-24
25-48
MSTRS
MIDI
25-48
window, overriding the V-Pot Assign selection. As
soon as the window is closed, V-Pot control returns to
whatever is selected in the V-Pot Assign section.
49-72
49-72
MASTERS
GROUPS
MIDI
GROUPS
Touchscreens
Thus, 24 channels strips suddenly become 144
channels (24 channels x 6 banks = 144 channels)!
Although using the touchscreens may seem unfa-
miliar at first, the touchscreen interface will quickly
become second-nature to you. The dual 15" TFT
touchscreens not only give you a detailed, high-defini-
tion view of what is happening with the Digital X Bus,
but they also give you almost instant access to alter-
nate screens, settings, and controls. As you become
familiar with navigating the touchscreen interface,
you will find yourself accessing screens and controls
with increasing speed and efficiency.
The first three banks, channels 1-72, provide a
72x72 channel I/O matrix. With nine I/O cards in-
stalled, you can have 72 individual inputs and outputs
(8 inputs/outputs x 9 cards = 72 inputs/outputs).
The MASTERS bank is used for the 12 Aux Send
masters, 8 Bus masters, and the L/R mix master.
The GROUPS bank has the controls for Groups
1-12, and for 12 MIDI channels.
The MIDI bank is used to convert the Digital X Bus
into a control surface for any DAW that supports the
Mackie Control Universal protocol. You can select the
DAW you are using from an emulation mode box to
configure the MIDI bank to work with your particular
DAW via the MIDI IN/OUT connectors.
Keyboard and Mouse
In addition to the touchscreens, you can use a key-
board and mouse to select and change controls on
the Digital X Bus. Use a keyboard to enter keyboard
shortcuts (hot keys), or to enter letters and numbers
whenever a keyboard graphic appears on-screen.
Use the mouse to click on-screen where you would
otherwise touch to open, close, or select something.
8
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5. Make sure channel 1 has Input 1 assigned to it.
Open the Assign window (Windows > Assign).
Under the Input Src drop-down box select Mic
Line In. 1.
Getting Sound Happening
The following procedure demonstrates how to
connect a microphone to an input and get sound out
of the Digital X Bus.
Here’s what you’ll need:
•
•
1 stereo power amplifier
1 pair of monitor speakers (you can substi-
tute a pair of powered monitors for the power
amplifier/monitor speaker combo, or a set of
stereo headphones)
•
•
1 microphone
Appropriate cable to connect the microphone to
your particular input card
•
Cables to connect the speaker outputs to the
amplifier or powered monitor speakers
6. If the microphone requires phantom power,
select the 48V button in the Assign window to
turn on phantom power. Leave the –10 dB pad
off when using a microphone.
Here's what you do:
1. Turn on the Digital X Bus.
2. Connect a microphone to Input 1. If you are us-
ing a MIC/LINE 8 card, use a DB25-to-XLR fe-
male breakout cable to connect the microphone
to Input 1. If you are using a MIC/LINE 4 card,
you can plug the XLR microphone cable directly
into the card.
7. Talk or sing into the microphone and adjust the
Gain control using the V-Pot on channel 1 so
the meter indicates between –12 and –6.
THREE
THREE
MIC/LINE 4 CARDS
DIGITAL CARDS
B
•
SLOTS
A
•
SLOTS
GITAL CARD
DIGITAL CARD
DIGITAL CARD
MIC/LINE
1
4
CARD
MIC/LINE
1
4
CARD
MIC/LINE
1
4
CARD
2
3
4
2
3
4
2
3
4
F
TDIF
I/O
TDIF
I/O
O
CAL
OPTICAL
OPTICAL
IN
A
B
A
B
IN
A
B
A
B
IN
A
B
A
B
IN
IN
IN
UT
UT
OUT
OUT
OUT
OUT
5
7
6
8
5
7
6
8
5
7
6
8
3. Press the Bank 1 button (1-24) in the Banks sec-
tion of the console (just above the Master fader).
8. In the Assign window, make sure L-R is select-
ed under Bus Assigns.
1-24
49-72
25-48
MSTRS
MIDI
GROUPS
4. Press the SELECT button on channel 1.
SELECT
9
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9. Connect the Left and Right Speaker Outs (A)
from the Mix Out card to the inputs of your ste-
reo power amplifier (or powered monitor speak-
ers). These outputs are balanced when using a
TRS (tip-ring-sleeve) connector, or unbalanced
when using a TS (tip-sleeve) connector. Use
instrument/line-level cable for this connection. If
using a stereo power amplifier/speaker combo,
connect the amplifier outputs to the monitor
speakers using appropriate speaker cable.
12. If you are using headphones instead of speak-
ers, turn the Phones 1 level control all the way
down in the PHONES 1 section on the right side
of the console. Make sure L-R is selected as
the source in the CONTROL ROOM section, and
C/R is selected as the source in the PHONES 1
section.
13. Press the MSTRS button in the Banks section
of the console. Set the Mix L and Mix R faders
to unity (U). These two faders are stereo-linked
by default.
10. If you don’t have an amplifier and speakers
handy, you can connect a pair of headphones to
the Phones 1 output on the Mix Out Card.
14. Set channel 1 fader to unity (U).
15. Set the Master fader to unity (U).
THREE
ONE
THREE
MIC/LINE 4 CARDS
LINE CARD DIGITAL CARDS
16. Turn on the power amplifier (or
powered monitor speakers). Set the
level controls on the power amplifier
to the manufacturers recommended
setting.
D
•
SLOT
SYNC
C
•
SLOTS
B
•
SLOTS
A
•
SLOTS
SYNC CARD
MIX OUT CARD
IN
LINE CARD
DIGITAL CARD
DIGITAL CARD
DIGITAL CARD
MIC/LINE
1
4
CARD
MIC/LINE
1
4
CARD
MIC/LINE
1
4
CARD
IN
AES/EBU
WORD
CLOCK
OUT
OUT
TDIF
I/O
TDIF
I/O
TDIF
I/O
2
3
4
2
3
4
2
3
4
OUT
SPDIF
OUT
IN
IN
OPTICAL
OPTICAL
OPTICAL
SMPTE
OUT
IN
A
B
A
B
IN
A
B
A
B
IN
A
B
A
B
SPEAKERS
17. Talk or sing into the microphone
while slowly turning up the level
control in the CONTROL ROOM sec-
tion. You should hear sound in the
speakers and see the L/R meters at
the top of the touchscreen display
levels.
L
R
A
IN
IN
IN
IN
L
R
OUT
OUT
OUT
OUT
OUT
OUT
PHONES
IX OUT
5
7
6
8
5
7
6
8
5
7
6
8
R
L
18. If you are using headphones,
turn the level control in the CON-
TROL ROOM section up about
halfway, then SLOWLY turn up the
level control in the PHONES 1 sec-
tion. You should hear sound in the
headphones.
Headphones
Powered
Studio Monitors
for Control Room
To patch an effect into the signal path:
11. In the CONTROL ROOM section on the right
side of the console, turn the level control all the
way down (counterclockwise), and select L-R
for the source and NEAR (Speaker Out A) for
the output.
19. Open the Effects Rack (Windows > Effects Rack).
20. Click the New Plugin button and select Reverb
in the NEW PLUGIN window, then click OK.
CONTROL ROOM
PHONES 1
1
2
1
2
SUR
L - R
SETUP
C/R
MONO
NEAR
MAIN
DIM
SETUP
10
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21. In the Reverb panel, click the Src L drop-down
box and select Channel Post Insert > Ch. 1
Post. This places the reverb in the post-insert
loop on channel 1.
24. Select the WRITE button in the ASSIGN BUT-
TON SETUP section of the console. Press the
ASSIGN button on channel 1.
ASSIGN BUTTON
SETUP
REC
L - R
READ
WRITE
25. Start running time code by pressing the PLAY
button in the Transport section of the console.
You can see the time code in the upper-right
corner of the screen.
EDIT
LOOP
START
7
8
5
2
0
9
START
END
4
1
6
STOP
ON
SNAP
SHOT
3
22. Adjust the reverb parameters using the V-Pots
at the bottom of the Effects Rack. You should
see the Left Input and Output meters move as
you talk or sing into the microphone.
LOCATE
STORE
SET
ENTER
REWIND
FAST FWD
STOP
PLAY
RECORD
SCRUB
Note: A more typical use for an effect in the Ef-
fects Rack might be to route several channels to an
Aux Send; for example, all the background vocals
to Aux Send 1. Route Aux Send 1 to the input of
the effect in the Effects Rack by selecting it in the
Src (Source) drop-down box. The Aux 1 master
fader (Masters Fader Bank) is used to control the
amount of signal being sent to the effect. Return
the effects signal to the signal path by selecting the
effect's output for the input of an unused channel.
26. Move the channel 1 fader up and down a few
times and press the mute button on channel 1.
27. Press the STOP button in the Transport section
and press REWIND to return the time code to zero.
28. Press the PLAY button and the fader moves and
mute will playback from automation.
29. You can open the Mix Editor (Windows > Mix
Editor) to see the automation moves. Select
Channels > Ch. 1 in the Show drop-down box at
the top of the Mix Editor to see the recorded fader
moves and mute action relative to the time code.
To write some basic automation:
23. In the AUTOMATION MODES section of the
console, select FADER and MUTE. Turn off the
BYPASS button.
AUTOMATION
MODES
TRIM
FADER
MUTE
PAN
ALL
BYPASS
11
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Hookup Diagrams
The hookup diagrams in this section demonstrate
how the connections are made with the Digital X
Bus X.200 for tracking and mixdown, mixdown to
surround sound, and using a DAW.
One of the primary applications for the X.200 is
multitrack recording. This involves tracking and
monitoring, bouncing, overdubbing, and mixdown.
A typical application might involve 24 inputs for
tracking and 24 outputs to a multitrack recorder or
DAW (Digital Audio Workstation). In this case, you
might have three MIC/LINE 4 CARDS installed in
slots 1-3 (A•SLOTS) for 24 analog inputs, and three
DIGITAL CARDS installed in slots 4-6 (B•SLOTS)
for 24 digital outputs. By assigning the Output
Source for the 24 digital outputs to Channels 1-24,
you can record each input channel to an individual
track on the multitrack recorder.
12
X.200
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14
X.200
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N / C
N / C
N / C
N / C
N / C
N / C
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