Mackie Musical Instrument X200 User Manual

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 cant wait to get your  
new Digital X Bus hooked up, and youre 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 youve unpacked your new  
Digital X Bus, youll 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 youve set it up and made the connections, you  
wont 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-  
nectionsfor 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.  
Heres 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 Conguration 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 ash drive). See More  
Connectionson 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-  
gured to operate as a controller, so it should be  
connected to a device (DEV) that is congured 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
X.200  
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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? Lets 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 congured 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, youre 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 rst, the touchscreen interface will quickly  
become second-nature to you. The dual 15" TFT  
touchscreens not only give you a detailed, high-deni-  
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 nd yourself accessing screens and controls  
with increasing speed and efciency.  
The rst 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  
congure 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 amplier  
1 pair of monitor speakers (you can substi-  
tute a pair of powered monitors for the power  
amplier/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  
amplier 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 amplier (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 amplier/speaker combo,  
connect the amplier 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 dont have an amplier 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 amplier (or  
powered monitor speakers). Set the  
level controls on the power amplier  
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  
X.200  
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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  
Quick-Start Guide  
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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 (ASLOTS) for 24 analog inputs, and three  
DIGITAL CARDS installed in slots 4-6 (BSLOTS)  
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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13  
Quick-Start Guide  
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14  
X.200  
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N / C  
N / C  
N / C  
N / C  
N / C  
N / C  
15  
Quick-Start Guide  
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA  
United States and Canada: 800.898.3211  
Fax: 425.487.4337  
Europe, Asia, Central and South America: 425.487.4333  
Middle East and Africa: 31.20.654.4000  
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