D8B Manual - Chapter 4 - Page 87

Applications
Chapter 4
D8B Manual • Chapter 4 • page 87

Setting Up for a Session Channel Configuration/Planning
This section of the Digital 8•Bus Owner’s This actually has a lot to do with how well any
Manual provides very application-specific descrip- audio experience unfolds. If you know where
tions of some common usages. Follow the check- you’re headed with track expectations and instru-
list format to help ensure everything is set just mentation, you’ll be able to make better choices
right for your configuration. along the way. Plan; plan again; think about it;
As your skills and knowledge increase, try then, plan some more.
new techniques. Build a system that’s optimized Devise a mock up of the final track sheet
for your specific application. before you begin recording. You’ll know more
about how to get where you want to be.
Listening Environment
Power-up Procedure
In any serious recording or live audio situa-
tion, the listening environment is one of the most A well-thought-out power-up procedure saves
important considerations. In a recording applica- wear and tear on all your gear. This procedure
tion, be sure the Digital 8•Bus is connected to helps minimize the opportunity for equipment
excellent reference monitors, like the Mackie damage while maximizing the chance of success.
HR824’s. In addition, set up the system in an Refer to Figure 4-1 for a Fast Track Graphic
acoustically controlled and balanced environment. representation of this procedure.
Avoid a control room with identical dimensions in ❏ Amplification system off: power amps or
any direction and set it up with a good mixture of powered monitors
absorption and reflection.
In a live-sound setting, place the console out ❏ Master Fader down
in the house at a good visual and auditory vantage
point. If you’re mixing in mono, it’s okay to sit in ❏ Switch Console Power on
line with one of the speaker clusters. When • The D8B will create a Startup file with default
mixing in stereo or surround, select the best settings if the User-Set Template has not yet
location—typically called the “sweet spot”—to been specified.
critically assess the entire mix. Eliminate guess ❏ Open and load a snapshot or a session (optional)
work. Maximize efficiency.
Figure 4-1 Power-up Procedure

Follow this procedure for a safe and sure startup routine. Deliberate, well-thought-out procedures help eliminate
uncomfortable pauses in a session. They make recording a more enjoyable experience.
Amp or Powered Master L/R

Monitors Off Fader Down Select A starting Snapshot or
MASTER
Console
L/R
Power On Open Your Master Template
dB
10
10
20
OR
30
40
50
60
Amp or Powered
Monitors On
Set Sample
Connect Instruments Clock
and Microphones
Synth
OR

• It’s a good idea to keep a snapshot of each
working configuration as a starting point:
Setup Window
tracking, overdubs, symphony, grunge band, etc. The Setup Window is very important to the
functionality of the Digital 8•Bus. Its settings
❏ Connect all mics and instruments
determine how the console functions within its
• Be sure all channel faders are down. own architecture as well as how it interfaces with
• Turn Master Fader down. other digital equipment.
• 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
• Wait until all other gear is powered up before that each Setup Window parameter is intentionally
turning on the monitor system. set. For specific recommendations for various
❏ Enjoy the creative process parameter settings, refer to “The Setup Window” on
page 64.
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

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

Installation and Connection of OPT•8 Card (ADAT Optical)
Optional I/O and Effects Cards The inexpensive ADAT optical card functions
with any device incorporating the ADAT format
The Input/Output cards are an essential part digital optical lightpipe. The OPT•8 card configures
of the D8B multitrack system. These cards itself automatically; it doesn’t need to be adjusted
provided up to 24 tape outputs and inputs for use in the Setup>Digital I/O window. Lightpipe connec-
with any common analog and digital formats. tions between the D8B and the connected record/
Since the I/O cards are optional and interchange- playback device are clean and efficient.
able, you probably need to install them before you
begin creating hit recordings. If you install multiple PDI•8 Card (AES/EBU)
types of I/O cards, note which slots they’re installed
in. Making a note of each I/O card type and its exact This card provides 8 digital inputs and 8 digital
slot will help avoid subsequent problems. outputs in the AES/EBU standard format.
There are several optional cards available for Connection is made through a 25-pin D-Sub
the Digital 8•Bus which you can install into the connector. You can install this card in any of the Tape
card cage in the rear panel of the console. These In/Out slots, or in the ALT I/O slot.
cards provide additional inputs and outputs for AES/EBU is a standard two-channel digital
specific applications, or additional digital signal protocol used for long balanced cable applications.
processing power for effects. Thus, each conductor actually transmits two
channels of digital audio data.
AIO•8 (Analog Hookup) MFX Effects Card

This card provides 8 analog line-level inputs This card provides two additional DSP en-
and outputs. Connections are made through two gines for running internal effects. The Digital
25-pin D-Sub connectors. You can install this card 8•Bus is shipped with one MFX card installed in
in any of the Tape In/Out slots, or in the ALT I/O Slot A. You can install up to three more MFX
slot. cards in Slots B, C, and D.
DIO•8 (Digital Hookup) UFX Effects Card

This card provides 8 digital inputs and 8 digital This card provides up to four additional DSP
outputs. Connections are provided in both ADAT engines for running internal effects. The UFX
Multichannel Optical Interface and Tascam T/DIF-1 architecture provides access to the newest and
formats. You can install this card in any of the Tape coolest third-party plug-ins, as well as an array of
In/Out slots, or in the ALT I/O slot. You can mix any groovy new Mackie plug-ins. The D8B effects card
combination of the AIO•8 and DIO•8 cards in the slots accommodate any combination of UFX and
Tape I/O slots to suit your particular application. You MFX cards.
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).

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

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

Checklist for Basic Connecting Analog Multitrack(s)
Operational Functionality ❏ Install AIO•8 card(s) into one or more of the D8B
Basic system functionality depends greatly on TAPE CARD slots. This provides up to 32 tracks of
the accurate selection of a few key items. Work I/O (including the ALT I/O card).
through this checklist to verify console settings.
The previous chapters provide an explanation of ❏ Using the appropriate cable, connect 25-pin D-sub
each item. This checklist simply provides a mental TAPE OUT connector to the multitrack inputs.
road map to verify proper functionality.
❏ Using the appropriate cable, connect the multi-
❏ Control Room selection correct track outputs to the 25-pin D-sub TAPE INPUT
❏ Monitor Speaker selection correct connector.
❏ Make sure all connections are tightly secured.
Input source
❏ Mic/DI
Connecting ADAT (Lightpipe)
❏ Line/Instrument
Multitrack(s)
The Fat Channel
❏ Install DIO•8 or OPT•8 card into one or more of
❏ EQ
the D8B TAPE CARD slots.
❏ Compression
❏ Gate ❏ Using a fiber-optic lightpipe cable, connect the
❏ Busing/Routing D8B Optical output to the ADAT Digital input con-
nector.
Signal Routing
❏ Using a fiber-optic lightpipe cable, connect the
❏ To L/R
ADAT Digital output connector to the D8B optical
❏ To Tape
input.
❏ 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
Simply connect the AIO•8 outputs to an analog connect the DIO•8 digital outputs the ADAT
console’s inputs for up to 32 channels (8 channels lightpipe inputs, and the ADAT outputs to the
per card) of flexible and assignable audio routing, DIO•8 inputs, for up to 32 tracks (8 channels per
(including the ALT I/O). card) of flexible and assignable digital audio
(including the ALT I/O).
AIO•8 Card
ANALOG I/O
APOGEE
DIGITAL I/O
DIO•8 Card
OUTPUT
8-track ADAT
TDIF
INPUTS
rear panel
Analog
ADAT OPTICAL
OUT
OUTPUTS ADAT OPTICAL

INPUT
Multitrack
IN
IN OUT
Fiber-optic
SYNC
Lightpipe

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
APOGEE
Sync Cable
DIGITAL I/O
Tascam
TDIF
DA-98 rear panel

REMOTE INSYNC IN SYNC OUT WORD SYNC
(FROM RC848/DA-88) (TO DA-88)
IN OUT
ADAT OPTICAL
OUT
METER UNIT DIGITAL I/O

TDIF - 1
IN
SYNC
TDIF Interconnect Cable

Multitrack Recording ❏ Press Mic button on channels using microphone
inputs.
Multitrack recording involves a continuous
assessment of signal flow. If you follow a well-
planned thought process from the beginning of the MIC
signal path to the end, you’ll succeed in each

audio task.
When multitrack recording using the D8B, it’s ❏ Configure Auxes for desired Pre/Post status, se-
helpful to visualize the basic signal flow between
fader banks. For any multitrack setup, it’s impor- lect Surround Mode, set Mix Options.
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.
❏ Test each instrument and mic to verify sufficient

level at console input meter.
MIC/LINE Bank TAPE IN Bank 1

OL
2
4
7
Work your way though this checklist for 10

15
20
25
multitrack recording. 30
40
50
60
❏ Connect multitrack ins and outs to D8B. 25
❏ Follow basic power-up procedure. ❏ Adjust input trim for a reading around –15 on the
❏ Select Mic/Line fader bank. meter.
TRIM
MASTERS SHIFT LINE

MIC
1-24 25-48
0 60
-20dB +40dB
MIC/LINE TAPE IN
(TRACK) (MONITOR) 1
49-72
EFFECTS
BANK SELECT
❏ Select L/R in the ASSIGNMENT section to confirm
Assign lights on for all desired channels, or look
❏ Press phantom power button on the rear of the on-screen to verify that all necessary channels
console for necessary mic inputs. . have L/R button highlighted in Bus Assign section.
12 11 ASSIGNMENT
+48V +48V
PH PH REC/RDY REC/RDY
MIC MIC
ASSIGN ASSIGN
ASSIGN ASSIGN
BUS 2
ASSIGN WRITE WRITE
BUS 7 BUS 8
LINE IN LINE IN
ASSIGN ASSIGN
L-R ROUTE TO
TAPE
INSERT INSERT
Note: Condenser mics and active DIs use phantom

power. Moving coil mics, ribbon mics, and most
electronic instruments don’t need phantom power.

Multitrack Tracking Checklist
❏ Connect multitrack ins and outs to D8B. ❏ Place tape inputs in
❏ Follow basic power-up procedure. record/ready to verify FAST
❏ Select Mic/Line fader bank. signal at machine. It’s TRACK
❏ Press phantom power button on the rear of typically best to monitor
the console for necessary mic inputs. signal from the multitrack rather than from
❏ Press Mic button on channels using the channel input.
microphone inputs. ❏ If levels on the multitrack appear too hot or
❏ Set pre-fader auxes in Setup Window for cold, adjust level with the LEVEL TO TAPE
monitor use. control. Select TRACKING LEVEL. This sets
❏ Test each instrument and mic to verify the channel V-Pots to adjust the D8B output
sufficient level at console input meter. level to tape.
❏ Adjust input trim for a reading around –15 on ❏ Remove Fader Bank 1 from the L/R mix.
the meter. ❏ Adjust control room monitor mix from Tape
❏ Press L/R in the ASSIGNMENT section to return in Fader Bank 2.
confirm Assign lights on for all desired ❏ Set levels in headphone system for
channels. Or, look onscreen to verify all musicians.
necessary channels have L/R button ❏ Adjust headphone monitor volume in the
highlighted in Bus Assign section. PHONES/CUE MIX section.
❏ Set Master Fader to Unity position. ❏ Adjust channel aux levels to onboard or
❏ Turn channel faders up to hear instrument outboard effects from Fader Bank 2.
or mic. ❏ Verify that Master Output is connected to
❏ As each channel is verified and audible, press the mixdown machine.
channel mute. ❏ Record a pass on the multitrack.
❏ Assign Fader Bank 1 channels to desired ❏ Play multitrack back.
tape track inputs.
❏ Set Master Fader to Unity position. ❏ Once each channel is verified and audible, press
channel mute.
MASTER
L/R
dB
10
SELECT SELECT SELECT

5
U
SOLO SOLO SOLO
MUTE MUTE MUTE

10
20
BUS 5 BUS 6 BUS 7

30
RET 5 RET 6 RET 7
40
21 22 23
50
45 46 47
60
dB dB dB
10 10 10
5 5 5
U U U
❏ Turn channel faders up to hear instrument or mic. 5 5 5
10 10 10
20 20 20
30 30 30
GROUP 1
FX 1
40 40 40
1
50 50 50
25
60 60 60
dB
10
10
20
30
40
50
60

❏ Assign MIC/LINE bank channels to desired tape ❏ If you want to monitor from the multitrack,
tracks. remove the MIC/LINE Bank from the L/R mix.
This has no effect on the output to tape.
❏ 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.
M o d u l a r D i g i t a l M u l t i t ra c k
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
Select TRACKING LEVEL. This sets the channel headphone sends. It’s often convenient for the
V-Pots to adjust the D8B output level to tape. 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.

❏ 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 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
L R
CR
MAIN
L R
L
CR
NEAR FIELD
L R
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.

Sample Tracking Setup Monitoring
This diagram shows a typical hookup for tracking. Connect the outputs from the recorders to the
Four microphones are connected to channels 1–4 for TAPE Inputs on the Digital 8•Bus. This allows you
vocals. Two of them are condenser mics, which to monitor the signal as it’s being recorded
require phantom power, so the +48V PH switch is (assuming your recorder has that capability).
pushed in on those channels. A vocal enhancer is To do this:
connected to the channel 1 INSERT jack to add a • Assign channels 25–48 (or whatever channels are
special effect to the lead vocal. being used for tape returns) to the L-R bus.
• In the Control Room Section, assign MASTER
L-R as the Control Room Source.
Note: During tracking, dynamics control, like The configuration shown has two external effects
compression and limiting, are often included (insert or devices connected for monitoring. Aux 8 send goes
onboard) at the beginning of a signal path. Effects, like to a digital reverb, which has stereo outputs that
reverb, delay, and chorus are best left for adjustment feed into the line inputs of channels 19 and 20.
during mixdown, or during tracking for monitor use Aux 11–12 goes out to a multi-effects stereo
only. 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
Various instruments are connected to the line inputs FX Card, which processes the signal with whatever
of channels 11–14, either directly from their line-level plug-in has been downloaded to it. The processed
outputs or through effects boxes or direct boxes. signal is returned to the L-R bus via the FX 1–4
Each input from channels 1–24 is assigned to a channel strips in Fader Bank 3.
tape output, which can be connected to an 8-, 16-, or The signal at the CR MAIN, CR NEAR FIELD,
24-track recorder—simply use the appropriate I/O and the STUDIO OUT is determined by the Control
card for your setup. You can assign any input (1–48), Room Source selection in the Control Room Section.
any return (FX 1–16, RET 1–8), and Bus 1–8 to any You can connect a pair of headphones to the
unused tape out using the ROUTE TO TAPE button PHONES 1 or 2 jack and monitor the signal there as
in the Bus Assignment Section (refer to Chapter 2 well. Select CONTROL ROOM as the source in the
for review). PHONES/CUE MIX 1 or 2 Section.

MIDI IN/OUT
(Rear of Remote CPU)
Direct Box
Sync Interface
LINE IN 12 11 10 9 8 7 6 5 4 3 2 1
18 17 16 15 14 13
audio in
24 23 22 21 20 19
LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN audio out
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
internal digital return
2-inch
24 track internal digital send
digital control signal

BUS OUT 1-8
&
Optional SURROUND OUT
ANALOG ANALOG ANALOG
AIO•8 I/O I/O I/O
Cards
Reverb
Procesor
Vocal Enhancer
TO TAPE
TO TAPE
TO TAPE
MASTER 2 TRACK A PHNS 1 PHNS 2
OUT
Stereo Effects
CR
L MAIN 2 TRACK B STUDIO OUT
CR
FROM TAPE
FROM TAPE
FROM TAPE
NEAR FIELD 2 TRACK C PNCH I/0 TLKBK AUX 12 AUX 11 AUX 10 AUX 9 AUX 8 AUX 7 AUX 6 AUX 5 AUX 4 AUX 3 AUX 2 AUX 1
R
MASTER OUT
Internal To FX Return
Digital Audio 1 and 2
Signal Path (Fader
Powered near-field Bank 3)
monitor speakers
To FX Return
3 and 4
(Fader
Bank 3)
FX Card 1

Digital 8•Bus Analog Recording/Tracking Hookup Example
Mixdown Setup ❏ Select Master L/R in the Control Room section
and adjust the speaker level to a moderately con-
This simple checklist will help get the mix started. servative level (about 9:00).
Notice that, each time, we follow the signal path
from its source to its destination.
CONTROL ROOM
❏ Be sure the multitrack recorder is connected
properly to the Tape In card(s). 2 TRACK A DIGITAL IN 1
❏ Roll tape to verify signal at TAPE IN Fader Bank. 2 TRACK B DIGITAL IN 2
❏ If any track reads excessively hot or cold on the

2 TRACK C MASTER
L-R
D8B meter bridge, adjust the Digital Trim for a MONO
reading around -15 with no peaks (OL). 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 ❏ Record the mix and enjoy the mind-boggling
into the D8B is too hot. Noise could occur if the
capabilities of the Mackie Digital 8•Bus.
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.
❏ With channel faders off, set the Master Fader at

Unity.

In MIDI I/O
(rear of D8B
Remote CPU)
Out
Sync Interface
LINE IN 12 11 10 9 8 7 6 5 4 3 2 1
18 17 16 15 14 13
24 23 22 21 20 19
LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN
2-Track DAT
2-inch
Sample Mixdown Setup
24 track
BUS OUT 1-8 2-Track Recorder

&
SURROUND OUT
ANALOG ANALOG ANALOG audio in
I/O I/O I/O
Digital Delay
IN
audio out
TO TAPE
TO TAPE
TO TAPE
MASTER 2 TRACK A PHNS 1 PHNS 2 digital control signal
OUT
OUT
Optional AIO•8 Cards

unique in many ways, yet predictable in many ways.
Stereo
L
Reverb
CR
MAIN 2 TRACK B STUDIO OUT
FROM TAPE
FROM TAPE
FROM TAPE
R CR
MASTER OUT
Digital I/O
AES/EBU
Near-field Powered
Monitors
Control Room Monitors

This sample mixdown setup helps provide ideas for how your mixdown setup might look. Each setup is
Digital 8•Bus Analog Recording/Mixdown Hookup Example

Effects/Plug-ins Note: In the plug-in windows, clicking directly on the
Effects patch name displays a large pop-up menu of
MFX/UFX Factory or User patch names, which points to available
patches in your working directory’s Presets folder.
Before we look at more setup Always save your custom presets to the User Presets
examples, lets cover some quick tips on folder. Presets saved to the Factory Presets folder could
efficient use of the Digital 8•Bus plug- be written over by future plug-in updates. It is still
ins. Follow these easy steps to use the possible to use the up/down arrows to scroll through
Digital 8•Bus internal plug-ins. the patch names.
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.

6. Use the channel V-Pots to set individual 8. Click on the EFFECTS button to select Fader
channel send to the selected aux bus. 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
7. Click and drag on the Master V-Pot to adjust the and store them to disk. For ease of retrieval and
overall aux send level to the selected effect. You organization, create a dedicated effects folder and keep
can click on the SOLO button in the Master all your working effects patches there.
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
Note: The default setting for each Aux Master level is mono).
0.0 dB. This typically provides sufficient send level and • Select the EFFECTS bank to adjust effects
doesn’t usually require adjustment. 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.

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.

MIDI and the D8B
MIDI Basics SYNC
Your Digital 8•Bus works very well when
incorporated in a MIDI network, utilizing a computer
BRC
referenced to time code.
Be sure to connect the D8B MIDI jacks to your MIDI SYNC
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
Digital 8•Bus
Workstation (DAW).
MIDI Modular Digital Multitrack

OUT
Modular Digital Multitrack
MIDI
IN
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
MIDI Interface 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).
Note: We recommend leaving One Button Punch off to

provide an extra measure of safety in case you
When you don’t include a computer in your setup,
inadvertently press the RECORD button in the
you need a device like the Alesis BRC to transmit
Transport Section.
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.

MIDI Snapshots Word Clock and the D8B —
Once you’ve developed several snapshots for a The Kitchen Sync
mix, they can be recorded into a sequencer for In order for all digital components to function
consistent playback. together in unity, they must all move together,
This feature is set in the Mix Options window, sample-by-sample, through the digital data stream.
under Setup in the lower menu bar. When enabled: Word clock is an incredibly important part of
1) Incoming MIDI program changes (received on digital recording! The concept is simple: If multiple
any MIDI channel) can recall Snapshots numbered devices are synchronized together via word clock,
0–127 on the console. they progress together through the digital data
2) The D8B sends MIDI Program changes on stream, one sample at a time. This is called sample-
MIDI channel 1 when snapshots are recalled on the accurate sync.
console, either via the dynamic automation snapshot Each system works in reference to one master
track or by manually recalling a snapshot from either device. Forty-eight thousand times a second (or
the snapshot window or via the front panel. 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
3) Place the sequencer in record on the D8B MIDI other than through ADAT lightpipe or AES/EBU
channel and cable. While the mix plays, select connections.
snapshots at the appropriate time. Each snapshot Sync data can transmit directly through ADAT
change is stored as data in the sequence and Lightpipe and AES/EBU connections. However, a
therefore can be shifted, cut, copied, pasted, etc. complete sync system needs two main ingredients:
See “The Snapshot Window” on page 69 for • Word clock, sample-accurate sync. This is
information on how to set the program change provided through the Digital 8•Bus optical or
MIDI channel. AES/EBU connections, and through the optional
Clock I/O card.
• Time reference to stamp automation data for
accurate playback. This is typically provided
through MIDI Time Code (MTC).

Proper Sync Connection Here are two more sample setups that include the
D8B and other digital devices which depend on
Every digital system needs a master sync source. accurate and solid word sync.
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: Word Clock
INPUT
Word Clock
• Determine which piece of gear is the master. The OUTPUT
Word Clock
OUTPUT
master must be able to generate proper word 9-pin
OUT
clock that can be read by all other digital equipment. MIDI MIDI
• Set all digital equipment to the exact same word IN OUT
clock rate—typically 44.1 or 48kHz.

• Connect the word clock output from the master 9-pin
Computer
device to the word clock input of the slave IN
devices. Each digital device connected to the

digital audio chain must receive a common word
clock source, either directly or from a slave. 9-pin PCI-324
OUT 9-pin IN
• It is common procedure to chain word clock Control
through digital devices. The D8B can provide Track IN
master word clock to a central word clock hub,

then the hub can send to multiple digital slaves MIDI MIDI Control
(DAWs, MDMs, digital effects, etc.). IN OUT Track 1
• Set every slave device to respond to external DTP Word Clock

INPUT
word clock.
• Draw a digital word clock flow chart for your
system. This will help you verify a logical
connection scheme. One piece of equipment
Word Clock
connected incorrectly can mess up your entire INPUT
Word Clock
system. Rats! OUTPUT
Word Clock
INPUT
The following illustration shows a common sync
setup, using the Digital 8•Bus as the master word From PCI 324 MIDI MIDI
clock source and a hub to distribute to other digitally IN OUT
connected devices.
Computer
MIDI MIDI
IN OUT
Digital 8•Bus
Master Word Clock PCI 324
card output
Out From D8B
Sync Hub
Word Clock
2408 OUTPUT
Use expensive, properly impedance-matched

cabling! It’s worth it!
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.

Verifying Word Clock Sync Between Devices You probably have a bad word clock sync
and the Digital 8•Bus connection if:
• When the D8B is set to “Internal” in the Apogee • You hear audio but it cuts in and out at regular
Clock pop-up window, it generates word clock as intervals.
a master device. All other devices must be • There is no audio signal at the input of the D8B
connected as slaves. even though everything seems to be connected
• If the D8B is slaved properly to a master word properly.
clock source, “Locked.” is displayed in the • All meters are full on and you hear a very ugly
Setup>Digital I/O window next to the Apogee grating, grinding, static sound.
Clock pop-up window and an asterisk (*) flashes in • When the record/playback device transport is
the right-most portion of the control surface VFD. 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
• If the D8B is improperly connected as a slave to clock. Slaves can either receive word clock
the digital network, “Lock Error.” is displayed in directly from the master device or daisy-chained
the Setup>Digital I/O window next to the Apogee through connected slaves. Patch word clock out of
Clock pop-up window and a question mark (?) a connected slave into the word clock input of any
flashes in the right-most portion of the control other slave.
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.

Dither - To UV22 or Not to UV22:
That Is the Question
Digital audio’s weakness is its ability to accurately • Dither twice. If your music contains a wide
reproduce extremely low-level signals. As the dynamic range, you might not be able to resist the
amplitude decreases, there are fewer and fewer urge to use dither as you record to the multitrack.
bits available to accurately represent the audio wave. In this case, plan to use the UV22 process twice:
In an analog system the audio simply sinks into use it once on the multitrack tracks—on the
the noise floor. Even when covered by noise, the “Low” setting; use it again on the final printing of
waveform is still audibly intact. In a digital system, the master take—on the “Low” setting. If you use
low level audio simply becomes inaccurate and the UV22 process twice, using it on Low setting
sounds really bad. A few bits at the bottom of the both times will closely equate to the dither noise
amplitude range aren’t capable of faithfully resulting from using it once in “Normal” position.
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–HDR24/96 Setup 2. Connect three snakes between the
HDR24/96 Outputs (top connector)
and the corresponding D8B Tape
Hookups Inputs (bottom connector).
This section shows how the D8B is connected
to the Mackie HDR24/96. These examples assume HDR24/96 Settings
that the rest of your studio equipment (monitors, 1. Set the Sample Clock to Internal.
sound sources, outboard processing, etc.) is 2. Set the Sample Rate and Bit Depth
already connected. according to your preference. It is not
Before you begin, note how the three eight- necessary to set the D8B and
channel I/O cards are arranged on the HDR24/96 HDR24/96 to the same Sample Rate
rear panel: 1-8 is on the left, 9-16 is in the center, since, with analog connections, the
and 17-24 is on the right. Labeling cables before sample clocks on the two units are not
you begin will make connecting the HDR24/96 to synchronized.
your D8B easier.
The specific hookups for each D8B and Console Settings
HDR24/96 I/O card are shown below.
1. Set the D8B Sample Rate to 44.1kHz
or 48kHz, and set the Apogee Clock
Analog Hookup to HDR24/96 (AIO•8) to Internal (in the Digital I/O Setup
window).
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 AIO•8 Cards
(6) DB25 to
ANALOG I/O ANALOG I/O ANALOG I/O
DB25 Analog ANALOG I/O ANALOG I/O ANALOG I/O
Snakes
OUTPUT
OUTPUT
OUTPUT
OUTPUT
OUTPUT
OUTPUT
Note: Some older

AIO•8 cards have the
Input jack labeled as
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
“From Tape” and the

Output jack labeled
as “To Tape.” Other-
wise, they operate
identically. Sigh ...
TAPE IN/OUTS TAPE IN/OUTS
long story.

TDIF Hookup to HDR24/96 (DIO•8) DIO•8 Sync out) to the HDR24/96
Word Clock In. To make the HDR24/96
Cables & Hardware the clock master, connect its Word
(3) DIO•8 cards for HDR24/96 Clock Out to the D8B Word Clock In.
(3) DIO•8 cards for D8B
(1) Clock I/O card for D8B HDR24/96 Settings
(3) TDIF cables 1. Set the Tape Input format for each
(1) 75 Ω BNC word clock cable DIO•8 card to TDIF, and the Tape
Output format to TDIF.
Hookup
1. Connect the three TDIF cables 2. If the HDR24/96 is the clock master,
between the corresponding TDIF jacks set the Sample Clock to Internal; if it
on the HDR24/96 and D8B. is a clock slave, set it to Word Clock
and depress the 75 Ω termination
2. When TDIF is used, the D8B must switch on the Sync card.
have a Clock I/O card installed. To
make the D8B the clock master, 3. Set the Sample Rate to 44.1kHz or
connect its Word Clock Out (not 48kHz according to your preference.
TDIF Hookup with DIO•8
Apogee
Clock I/O
Card DIO•8 Cards
APOGEE APOGEE APOGEE APOGEE
SYNC DIGITAL I/O
Word DIGITAL I/O DIGITAL I/O
Clock Out TDIF Connection

Word
Clock
Out
TDIF
TDIF
TDIF
Digital 8•Bus
APOGEE
ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
IN
IN
IN
Word TDIF Cables

(DB25)
Word
Clock
Clock In
In
SYNC
SYNC
SYNC
Word
Clock
Word Out HDR
Clock Out (D8B as Sync APOGEE APOGEE APOGEE
(HDR24/96 Master) Card DIGITAL I/O DIGITAL I/O DIGITAL I/O
as Master)
WARNING Use
TDIF
TDIF
TDIF
NOT
one
Depress the only
HDR 24/96
Termination
button if the TDIF Connection
ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
HDR24/96 is
set to Slave
IN
IN
IN
DIO•8 Cards
Word
SYNC
SYNC
SYNC
Clock In
Word
S C
Clock Out

Console Settings ADAT Optical Hookup to HDR24/96
1. Set the Tape Input and Tape Output (DIO•8 or OPT•8)
format for each DIO•8 card to TDIF. Cables & Hardware
2. If the D8B is the clock master, set the (3) DIO•8 or OPT•8 cards for HDR24/96
Sample Rate to either 44.1kHz or (3) DIO•8 or OPT•8 cards for D8B
48kHz, and set the Apogee Clock to (1) Clock I/O card for D8B
Internal (in the Digital I/O Setup (6) ADAT Optical cables
window). If it is a clock slave, set the (1) 75Ω BNC word clock cable
Apogee Clock to Word Clock. Set the
Sample Rate to match the Sample Hookup
Rate selected on the HDR24/96.
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.

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
Word SYNC
Clock Out
ADAT Optical Out

Word
Clock
Out
Digital•8 Bus
APOGEE
ADAT Optical In
Word
Word
Clock
Clock In
In
Word Word HDR

Clock Out Clock Out Sync
(HDR24/96 (D8B as Card
as Master) Master)
ADAT Optical Out
WARNING Use
NOT
one
only
Depress the HDR 24/96
Termination
button if the
HDR24/96 is set
to Slave
Word ADAT Optical In

Clock In
OPT•8 Cards
Word
S C
Clock Out

AES/EBU Hookup to HDR24/96 (PDI•8) HDR24/96 Settings
Cables & Hardware 1. If the HDR24/96 is the clock master,
set the Sample Clock to Internal; if it
(3) PDI•8 cards for HDR24/96 is a clock slave, set the Sample Clock
(3) PDI•8 cards for D8B to Word Clock and depress the 75Ω
(1) Clock I/O card for D8B termination switch on the Sync card.
(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
1. Connect the three AES/EBU cables Console Settings
between the corresponding AES/EBU 1. If the D8B is the clock master, set the
connectors on the HDR24/96 and D8B. Sample Rate to either 44.1kHz or
48kHz, and set the Apogee Clock to
2. When AES/EBU is used, the D8B Internal (in the Digital I/O Setup
must have a Clock I/O card installed. window). If it is a clock slave, then set
To make the D8B the clock master, the Apogee Clock to Word Clock. Set
connect its Word Clock Out to the the Sample Rate to match the Sample
HDR24/96 Word Clock In. To make Rate selected on the HDR24/96.
the HDR24/96 the master, connect its
Word Clock Out to the D8B Word
Clock In.
AES/EBU Hookup with PDI•8
Apogee PDI•8 I/O Cards

Clock I/O
Card
APOGEE PDI•8 PDI•8 PDI•8
Word SYNC
Clock
Out
Word
Clock
Out
Digital 8•Bus
AES/EBU I/O
AES/EBU I/O
AES/EBU I/O
APOGEE
Word
Word
Clock
Clock In
In
AES/EBU
Cables
(DB25)
Word Word HDR

Clock Out Clock Out Sync PDI•8 PDI•8 PDI•8
(HDR24/96 (D8B as Card
as Master) Master)
WARNING HDR 24/96

NOT
Use
Depress the one
only
AES/EBU I/O
AES/EBU I/O
AES/EBU I/O
Termination
button if the
HDR24/96 is
set to Slave
Word
Clock In
Word S C
Clock PDI•8
Out I/O Cards

OK, so we fibbed a little. You can 4. Set “Samplerate” to match the sample rate of
use PDI•8 cards in the D8B the formatted ADAT tapes (typically 48kHz or
without a Clock I/O card 44.1kHz).
installed, but doing so requires
that you enable sample rate ADATs
conversion on both the D8B and 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
Modular Digital Multitrack
need a Clock I/O card!
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 INPUT
the ADAT’s lightpipe input. (A DIO•8 or OPT•8
DIGITAL
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 INPUT SELECT INPUT MONITOR
slave, then from SYNC OUT of the first slave to DIGITAL TRACK ALL AUTO
INPUT COPY INPUT INPUT
SYNC IN of the second slave, and so on.
Settings
D8B
1. Open the Setup window.
Note: When powering up, turn the Digital 8•Bus on
2. Click on “Digital I/O” to open the Digital I/O first, then turn the ADATs on.
dialog box.
3. Click on each Tape Input and Output box and

select ADAT for each DIO•8 card installed.

Connecting the Digital 8•Bus to a Settings
BRC and ADATs Graphics in the previous section will help you
locate these controls.
The inclusion of a BRC controller or, for that D8B
matter, any other sync controller box with word 1. Click the “Setup” button in the bottom menu bar
clock and MTC, vastly increases the capabilities of of the SVGA monitor to open the General Setup
the Digital 8•Bus. With centralized controls, window.
common sync reference, and MIDI Time Code 2. Click the “Digital I/O” icon on the left side of the
communication established, the digital system works window to open the Digital I/O dialog box.
together as one unit. Automation is achieved, 3. Click each Tape Input and Output box and select
referenced to MTC, and digital devices work ADAT for each DIO•8 card installed.
together, sample-by-sample to make the most of your 4. Set the “Samplerate” to 48kHz.
recordings. (See Figure on next page.)
Cabling and Hookup ADATs
1. Connect a fiber optic cable between the ADAT’s 1. On the front panel of the ADAT, select DIGITAL IN.
Likewise, connect the D8B’s lightpipe output to
BRC
1. Set the External Sync parameters to the
lightpipe card must be installed in the D8B to
following:
gain access to the digital tape inputs and outputs.)
a) Press the EDIT button.
2. Connect a BNC cable from the Clock I/O card’s
b) Set the Clock Source to “48KHz Input.”
WORD CLOCK OUT connector to the 48kHz IN
c) Set the Locate Reference to “Internal.”
connector on the BRC.
d) Press the EDIT button to exit the “Edit
External Sync” page.
Note: It is necessary to terminate this connection with e) Make sure the EXT SYNC button is still lit.
a 50 ohm termination at the BRC end of the cable. You 2. Press the EDIT button and the GEN SYNC
will need a BNC “T” connector (Radio Shack part button twice to bring up the MIDI page.
number 278-112; male-female-female configuration) Set the parameter to MTC. Press the EDIT
and a 50 ohm BNC terminator (Radio Shack part button to exit out of the “Edit Generate Sync”
number 278-270). Connect the “T” connector to the page. Leave the GENERATE SYNC button lit.
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.
3. Connect the 9-pin D-sub sync cables between the
2. Make sure the DIGITAL I/O button on the BRC
BRC (REMOTE OUT TO ADAT) and the first
is not lit.
ADAT’s SYNC IN connector. Then connect the
3. Under the MIDI/UTIL button on the BRC, make
sync cables in a daisy-chain fashion between the
sure #1 MIDI Echo is off and #8 Output Rew/FF
remaining ADATs.
is off. This is so the faders don’t run at high
4. Connect MIDI cables between the MIDI OUT
speed when shuttling around on your ADATs.
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.

MIDI IN 48 KHz IN
with 50Ω
BRC REMOTE OUT termination
MIDI OUT TO ADAT
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3 4
DIGITAL
5 6 7 8
SYNC
MASTER DECK
IN OUT IN OUT
(TRACKS 1-8)
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3 4
DIGITAL
5 6 7 8
SYNC
SLAVE DECK
IN OUT IN OUT
(TRACKS 9-16)
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3
IN
4
DIGITAL
OUT
5 6
IN
7 8
SYNC
OUT
SLAVE DECK
(TRACKS 17-24)
A B C D TAPE 1- 8 TAPE 9- 16 TAPE 17- 24
DIGITAL I/O 1 APOGEE

APOGEE APOGEE APOGEE
LINE INPUTS
AES/EBU CLOCK I/O DIGITAL I/O DIGITAL I/O DIGITAL I/O BUS OUT 1-8 (BAL/UNBAL)
&
SURROUND OUT 18 17 16 15 14 13
DIGITAL 8•BUS
CLOCK
WORD
OUT
TDIF
TDIF
TDIF
IN 24 23 22 21 20 19
Connecting the Digital 8•Bus to a BRC and ADATs

MASTER OUT 2 TRACK IN A PHONES 1 PHONES 2
L R L R
OUT
ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
CR
MAIN 2 TRACK IN B STUDIO OUT
DIGITAL I/O 2 L R L R L R
S/PDIF L
IN
IN
IN
CLOCK
WORD
IN
IN CR
NEAR FIELD 2 TRACK IN C PUNCH I/O TALKBACK
L R L R
SYNC
SYNC
SYNC
OUT
R
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
DIGITAL EFFECTS CARDS DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS 2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT MAY CAUSE UNDESIRED OPERATION
DATA CABLE
(to Console)
CONSOLE DATA
PARALLEL
VIDEO
REMOTE CPU
SERIAL
KEYBOARD
MOUSE
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1997 •
THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "DIGITAL SYSTEMS", D8B AND THE "RUNNING MAN" FIGURE •
MIDI IN MIDI OUT

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
Likewise, connect the D8B’s lightpipe output to
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 4. Set “Samplerate” to match the sample rate of
to complete the loop. the formatted ADAT tapes (typically 48kHz or
3. Connect MIDI cables between the MIDI OUT 44.1kHz).
connector on the Digital 8•Bus’ Remote CPU
and the MIDI IN connector on the Sync Box, and ADATs
between the MIDI IN connector on the Digital 1. Select DIGITAL IN on the ADAT front panel.
8•Bus’ Remote CPU and the MIDI OUT
connector on the Sync Box.
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. INPUT SELECT INPUT MONITOR
3. Click each Tape Input and Output box and select DIGITAL TRACK ALL AUTO
INPUT COPY INPUT INPUT
ADAT for each DIO•8 card installed.
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.

MIDI IN SYNC BOX
(Examples:
JLCooper dataSYNC or SYNC
SYNC IN
MIDI OUT Steinberg ACI) OUT
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3 4
DIGITAL
5 6 7 8
SYNC
MASTER DECK
IN OUT IN OUT
(TRACKS 1-8)
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3 4
DIGITAL
5 6 7 8
SYNC
SLAVE DECK
IN OUT IN OUT
(TRACKS 9-16)
INPUT INPUT
OUTPUT OUTPUT
ADAT XT
LOCATE/PLAY
LRC REMOTE
1 2
PUNCH
IN/OUT
3
IN
4
DIGITAL
OUT
5 6
IN
7 8
SYNC
OUT
SLAVE DECK
(TRACKS 17-24)
DIGITAL I/O 1 APOGEE APOGEE APOGEE
Connecting the D8B to ADATs Using an External Sync Box

DIGITAL I/O DIGITAL I/O DIGITAL I/O BUS OUT 1-8 LINE INPUTS
AES/EBU (BAL/UNBAL)
&
SURROUND OUT 18 17 16 15 14 13
DIGITAL 8•BUS
TDIF
TDIF
TDIF
IN 24 23 22 21 20 19

L R L R
OUT
ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
CR
S/PDIF L
IN
IN
IN
IN CR
L R L R
SYNC
SYNC
SYNC
OUT
R
MASTER OUT
MACKIE DESIGNS
DATA CABLE
(to Console)
CONSOLE DATA
PARALLEL
VIDEO
REMOTE CPU
SERIAL
KEYBOARD
MOUSE
MIDI IN MIDI OUT

3. Set the Machine ID on each recorder, with the
Connecting the D8B to TASCAM MDMs first deck (master) having the lowest number and
the last deck having the highest number. DA-88s
Cabling and Hookup start with ID #0 and DA-38s start with ID #1.
DA-88 DA-38
1. Connect the digital cables between the TASCAM tape Deck 1 0 1
decks and the DIO•8 cards in the Digital 8•Bus. Deck 2 1 2
Deck 3 2 3
Note: You must use the special dubbing cables provided
by TASCAM, part number PW-88D (1 meter) or PW-88DL Note: If using a DA-88 as the master and a DA-38 as a
(5 meters). These cables are reverse wired. Do not use slave, assign the DA-88 ID #0, and the DA-38 ID #2.
a standard DB25 computer cable, which is wired
straight through pin-to-pin.
D8B
1. Click the “Setup” button in the bottom menu bar of
2. Connect the sync cables (TASCAM part number the SVGA monitor to open the General Setup window.
PW-88S) between the master deck and the slaves 2. Click the “Digital I/O” icon on the left side of the
in a daisy-chain fashion. Make sure the last deck window to open the Digital I/O dialog box.
has a Termination Plug connected to its SYNC 3. Click each Tape Input and Output box and select
OUT connector. TDIF for each DIO•8 card installed.
For the DA-38: 4. Select the appropriate sample rate in the Digital
An MMC-38 MIDI Machine Control interface must be I/O Setup window.
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 For DA-38s with the MMC-38:
IN connector on the master deck. a. Click the “Locator-MC” icon on the left side
4. Connect MIDI cables between the MIDI OUT of the Setup window.
connector on the Digital 8•Bus Remote CPU and b. Set all Device IDs to 1 (all D8B Device IDs
the MIDI IN connector on the MMC-38 (or SY-88 must be set to 1 in order to arm tracks from
on the master deck), and between the MIDI IN the console).
connector on the Digital 8•Bus’ Remote CPU and For DA-88s with the SY-88s:
the MIDI OUT connector on the MMC-38 (or SY-88). 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
MMC-38 for their respective machines. For example:
1. Set SW2 DIP switches 6 and 7 to the up SY-88 D8B
position. All other switches should be in the Deck 1 1 0
down position. Deck 2 2 1
Deck 3 3 2
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.

REMOTE IN/SYNC IN SYNC OUT WORD SYNC REMOTE IN REMOTE MACHINE ID
(FROM RC-848/DA-88) (TO DA-88) OUT PUNCHIN/OUT
IN SYS SYS
(FROM RC-808)
DA-88
METER UNIT DIGITAL I/0
TDIF-1
DSP DSP
MASTER DECK
(TRACKS 1-8)
MODE RS-422 TIME CODE VIDEO THRU MIDI SYNC SYNC
IN OUT IN IN OUT THRU
1 2 3 4 5 6 7 8
MIDI IN
MIDI OUT REMOTE IN/SYNC IN

(FROM RC-848/DA-88)
SYNC OUT
(TO DA-88)
WORD SYNC
IN
OUT
REMOTE IN REMOTE
PUNCHIN/OUT
MACHINE ID
SYS SYS
(FROM RC-808)

TDIF-1
DSP DSP
DA-88
SLAVE DECK
MODE RS-422 TIME CODE
IN OUT
VIDEO
IN
THRU MIDI
IN OUT THRU
SYNC SYNC
(TRACKS 9-16)
1 2 3 4 5 6 7 8
TERMINATION PLUG
REMOTE IN/SYNC IN SYNC OUT WORD SYNC REMOTE IN REMOTE MACHINE ID
(FROM RC-848/DA-88) (TO DA-88) OUT PUNCHIN/OUT
IN SYS SYS
(FROM RC-808)

TDIF-1
DSP DSP
DA-88
SLAVE DECK
MODE
1 2 3 4 5 6 7 8
RS-422 TIME CODE
IN OUT
VIDEO
IN
THRU MIDI
IN OUT THRU
SYNC SYNC
(TRACKS 17-24)
Other Notes DIGITAL I/O DIGITAL I/O DIGITAL I/O BUS OUT 1-8 LINE INPUTS
AES/EBU (BAL/UNBAL)
&
SURROUND OUT 18 17 16 15 14 13
DIGITAL 8•BUS
1. You must turn on
TDIF
TDIF
TDIF
IN 24 23 22 21 20 19
the Digital 8•Bus OUT

MASTER OUT
L R
2 TRACK IN A
L R
PHONES 1 PHONES 2
first, then turn on

ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
CR
the Tascam
S/PDIF L
IN
IN
IN
IN CR
recorders.
L R L R
SYNC
SYNC
SYNC
OUT
R
2. Make sure the MASTER OUT

MACKIE DESIGNS
MODE DIP DIGITAL EFFECTS CARDS DIGITAL I/O SYNC ALT I/O TAPE IN/OUTS
2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT MAY CAUSE UNDESIRED OPERATION
switches on the DATA CABLE
Connecting the Digital 8•Bus to Tascam MDMs

SY-88 have the 2nd (to Console)
DIP switch in the
up position and all
the rest of the
CONSOLE DATA
switches down.
PARALLEL
VIDEO
This selects the REMOTE CPU

MIDI input.
SERIAL
3. The MMC-38 KEYBOARD
should have firm- MOUSE
ware version 1.05.

The SY-88 should MIDI IN MIDI OUT

have firmware
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.
Digital Audio Workstation Setup computer’s sample rate (typically 48kHz or
44.1kHz). Selecting “Internal” in the Apogee
Connecting the Digital 8•Bus to a Digital Audio Clock pull-down establishes the D8B as the
Workstation (Digital Performer, Studio Vision Pro, master. Everything else in the digital chain must
Cakewalk Pro, etc.) shares considerations with the be capable of slaving to the Digital 8•Bus.
ADAT and TASCAM hookups. Word clock synchro-
nization must be addressed; the master and slaves DAW
must be established; the clock rate must be consis- 1. Set the digital audio interface to follow ADAT
tent throughout; and the audio path into the optical at the interface input (from the D8B
console must be intelligently configured. 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. Note: Be sure to turn on the D8B before any of the
2. Connect the digital audio interface to the other digital components. In addition, if your setup uses
computer per the manufacturer’s specifications. 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

MIDI IN
MIDI Interface
MIDI OUT
Software-based
Digital Audio
Workstation
INPUT BANK A BANK B BANK C

COMPUTER
TDIF TDIF TDIF
ADAT OPTICAL ADAT OPTICAL ADAT OPTICAL

DAW Digital
5 6 7 8
OUTPUT IN OUT IN OUT IN OUT
Interface
Connecting the Digital 8•Bus to A Digital Audio Workstation

DIGITAL 8•BUS
LINE INPUTS
AES/EBU DIGITAL I/O DIGITAL I/O DIGITAL I/O BUS OUT 1-8 (BAL /UNBAL)
&
SURROUND OUT 18 17 16 15 14 13
TDIF
TDIF
TDIF
IN 24 23 22 21 20 19

L R L R
OUT
ADAT OPTICAL
ADAT OPTICAL
ADAT OPTICAL
OUT
OUT
OUT
CR
S/PDIF L
IN
IN
IN
IN CR
L R L R
SYNC
SYNC
SYNC
OUT
R
MASTER OUT
MACKIE DESIGNS
DATA CABLE
(to Console)
PARALLEL MIDI OUT

CONSOLE DATA
MOUSE
MIDI IN
KEYBOARD
DATA AND SYNCHRONIZATION I/O

REMOTE CPU

Live Sound/Live Recording Setup ❏ Set up a quick mix using level, pan, EQ, dynamics,
effects
In a live sound/recording application the
console fader banks are chained together to form ❏ Adjust mix to the cue (headphone) buses.
one large console. With the addition of up to 24 ❏ Store and label snapshot(s)
more mic preamplifiers, the tape inputs can be
used to receive signal from any mic-level or line-
level source. Live Application Tip #2: Don’t forget the Snapshot
The setups for live concert recording and live filters. If you find a parameter setting that you want to
sound are similar. Each involves mixing everything keep throughout the performance (EQ, plugin,
as you go—moving faders, or setting and selecting compressor, etc.), simply filter that parameter out of
snapshots. Whereas the live concert mix sends the your saved set of snapshots. All your changes will still
final audio to the monitors and house sound system, happen on cue as you scroll through snapshots, but
the live recording mix sends the final audio to the 2- your updated parameters will remain constant.
track recorder and the headphones.
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.

Percussion Mics Horn Section Mics
Lead Vocals
Drum Mics
Backup Vocals
CR1604-VLZ
Stereo Processor
Processor
12 11 10 9 8 7 6 5 4 3 2 1
LINE IN
Mic Preamps
18 17 16 15 14 13
LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN
Vocal Enhancer
2-Track DAT 24 23 22 21 20 19
8 Track Analog
Recorder
internal digital audio

signal path
BUS OUT 1-8
&
SURROUND OUT To FX Return audio insert
ANALOG ANALOG ANALOG 3 and 4
I/O I/O I/O
(Fader
Bank 3) audio in
IN
Cassette Deck
TO TAPE
TO TAPE
TO TAPE
To FX Return
Digital Delay
Stereo Reverb
MASTER 2 TRACK A PHNS 1 PHNS 2

1 and 2 audio out
OUT (Fader
OUT
Bank 3)
L FX Card 1
CR internal digital return
MAIN 2 TRACK B STUDIO OUT
FROM TAPE
FROM TAPE
FROM TAPE
R CR internal digital send
MASTER OUT
Digital I/O Optional AIO•8 Cards

AES/EBU
Power Amp Stage Monitors
Separate Mix for mono mode
Live Broadcast Feed
Stereo Monitors for

FOH Speakers Finicky Keyboard Player
Connecting the Digital 8•Bus for Live Sound/Live Recording

Post-Production Setup 3. Click and hold on the “1” button at the top of
channel 1. Sweep across to channel 6 to assign
The Digital 8•Bus is an amazing tool, no channels 1–6 to Bus 1.
matter what the setup. However, the more com-
plex the setup, the more amazing the D8B be- 4. Click and hold on the “2” button at the top of
comes. Post-production provides potential for any channel 6. Sweep across to channel 1 to assign
tracks, effects, snapshots, automation moves, and channels 1–6 to Bus 2.
general madness mayhem.
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
5. Click the MASTERS button next to the Master
clock options increase. The D8B will slave to most
Fader to select Fader Bank 4.
any clock source from 32kHz to 48kHz.
This is also the type of setup that might be
6. Click and hold on the OUT box at the top of BUS
found in a home studio that incorporates a central
1 (channel 89). Drag down to “Tape Out 7” to
sync generator.
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
2. Turn off the L-R assignments for channels 25– (channels 31 and 32).
30 (tracks 1–6 returns). Turn off the L-R
assignments for any other channels you don’t
want to monitor while bouncing down.

Using Basic Automation • To fine-tune snapshot placement, open the
sequence track and adjust the time position in
the MIDI sequence.
What Type of Data Can Be Automated Dynamic Automation
Virtually all of the D8B channel parameters Dynamic automation is a function of the D8B
are available for automation. However, there are a automation system. The power and flexibility
few exceptions—some obvious and some not so offered by the D8B is awesome. This one tool can
obvious. All D8B channel parameters can be revolutionize the way you do music.
automated except: Each new automation pass helps mold and
• Analog Trims on channels 1–12 shape the music into a brilliant work of art.
Dynamic automation involves real-time crafting of
• Tape Output selection
the mix with the assistance of a computer processor.
• Pre and Post insert selections
• Plug-in Configuration selections—even Where Do I Start?
though plug-in parameters can be automated Automation is somewhat intimidating at first.
• Channel reconfigurations Fortunately, it doesn’t need to be. The power,
flexibility, and ease of use provided by the Mackie
Two Types of Automation designers makes the D8B painless and intuitive.
If you’ve used other automation systems, you
Automation moves are divided into two basic
have a definite advantage. The concepts involved,
types: snapshot and dynamic. Snapshot auto-
as they apply to the D8B, are similar to most
mation makes it possible to instantly reset all
automation systems. The advantage the D8B
automated console settings to a predetermined
offers over most other automation systems is its
fixed (static) position with a single command
mind-boggling ability to automate virtually every
(snapshot recall). Dynamic automation allows you
parameter on the console.
to record and play back any parameter changes,
The following is a step-by-step, streamlined
like fader positions or mute toggles, in real time
procedure to help get you automating. To clarify
while locked into time code.
terminology and basic layout, refer to Chapter 2
The Digital 8•Bus is powered by Mackie’s Real
of this manual.
Time OS™ automation software. Upon initial power-
up, the console Automation Section is bypassed. Automation In Bypass
Snapshot Automation • Begin by setting up a basic mix with automation
off. Select BYPASS in the Automation section of
As described in Chapters 2 and 3 of this
the control surface in the Options/Automation
manual, snapshots are simple and painless to
window, or in the on-screen Locator window.
store on the D8B.
Snapshot automation refers to simply scroll- Clear Automation
ing through various snapshots at the appropriate • To avoid errant data, select all channels and
time and place. (Recalling snapshots in the proper clear all types of automation data.
order and position can be accomplished through • Select Mic/Line bank, then Select All
connection to a MIDI sequencer, or by placing (Control+A).
snapshot events in the Event Automation Track.) • Select Fader bank, then Select All (Control+A).
Your MIDI sequencer sees a snapshot selec- • Select Effects bank, then Select All (Control+A).
tion as a simple patch change, which can be • Select Masters bank, then Select All
recorded as part of the same sequence that might (Control+A).
contain all or a portion of your music. • Choose Clear Automation… from the Edit Menu.
• Set the sequencer to receive and record MIDI Check all types of data, then OK.
patch change data from the D8B MIDI channel Save Session As…
and cable. • Name your Mixes in a manner that is easy to
• Select “MIDI Snapshots” in the Setup>Mix reference consecutive revisions: For example,
Options window. “BigBadBob Mix 1,” or “BigBadBob rev 1.0.”
• Run the sequence with the D8B receiving MTC • Using “rev 1.x,” “rev 2.x,” etc. provides an
from the sequencer. easy way to indicate major conceptual
• Place the sequencer in record mode on the D8B changes (1.0, 2.0, 3.0, etc.) from minor
channel as you scroll through snapshots. Each of refinements (1.0, 1.1, 1.2, etc.)
these snapshot changes record into the sequence. Setup Rough Mix
• Play the sequence back with the D8B receiving • Build the basic sound of the mix. Include
MIDI playback at its MIDI input. fundamental EQ, Pan, Surround, Dynamics,
• Snapshots will playback in the same time and Groups, etc.
order that you selected them. • Save frequently, or set the D8B for SMART
SAVES at regular intervals.

Save Snapshot For Safety you’ll be tweaking the mix to perfection anyway.
As you build the mix, save snapshots as soon • Verify that all channels are selected by choosing
as the music begins to reveal itself. Label the each of the four fader banks and confirming that
snapshots for your own reference. Sometimes these all SELECT buttons are highlighted.
basic mixes, which are derived from your initial • Select Set Default Levels… from the Edit Menu.
“gut” reaction to the music, are the most powerful. • Respond “Yes” to complete the task.
Basic dynamic automation does not require • If you need to recall your static mix at any point,
these snapshot saves, but they’re often useful as you can save or update snapshots at any time.
the mix comes together, even if only as a cross- Exit Bypass Mode
reference. If you develop a string of snapshots that Once the default levels have been set, it’s time
are very powerful, they can be strung together to exit BYPASS mode. From this point on, any
during automation. However, the procedure we’re parameter change can be written into automation.
outlining here highlights dynamic automation. Select Parameters
Choose the parameters you’d like to record as
Time Code From Playback Device automation data on the first pass. This is typically
Route MTC a great time to ride basic fader, mute, and pan
The D8B requires MIDI Time Code (MTC) at settings. However, there is no problem with
the MIDI input to operate automation along with selecting Faders, Mutes, Pan, and ALL so no
the record/playback device. matter what moves you make, they can be re-
• Connect the MIDI output of your computer, corded and recalled by the automation processor.
sequencers, MIDI interface, or transport control Any Combination of Faders, Mutes, and Pans on
to the MIDI input of the D8B. First Pass
• Most sequencers or other record/playback • Choose automation parameters by selecting
devices that transmit MTC need to be configured them in the control surface AUTOMATION
to route to a specific MIDI channel, cable, or section, in the on-screen locator window, or the
device. Consult your MTC source operator’s Options/Automation menu.
manual to confirm accurate and verifiable • The D8B shows no favoritism to any or all
routing to the D8B. parameter writing during automation. You’ll
Verify MTC at D8B Transport SMPTE Window discover the process that works best for you.
• When your sequencer or other record/playback
device is running and MTC is transmitted, the
D8B control surface position readout window will Note: Faders, Mutes, and Pan all apply individually to the
scroll MTC. You will see a continuous increase of one parameter they name. ALL applies to all automation
Hours, Minutes, Seconds, and Frames. If you see parameters other than Faders, Mutes, and Pan.
this scrolling time code in the D8B POSITION
display, it’s almost automation time! Safety Net: You can undo any automation record pass
• MTC also displays in the on-screen Locator or series of record passes using the History List. You
window. can also redo your undo. Or undo your redo. Or undo
• If SMPTE VIEW is not selected, the readout will your hairdo.
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
Set Default Levels… Auto Touch mode offers great flexibility and
ease of use. When AUTO TOUCH is selected,
Once your ducks are in a row, you’re ready to automation data is recorded instantaneously for
begin the automation process! The Set Default any parameter as soon as you change its setting.
Levels…” command determines the starting point Select AUTO TOUCH by highlighting the control
for the entire mix. Fader levels can be written surface AUTO TOUCH button, clicking AUTO
from the beginning of time code (00:00:00:00) to TOUCH in the on-screen Locator window, or select-
the end (23:59:59:30). ing Auto Touch in the Options/Automation menu.
If you don’t set default levels to your prefer- You’ll know you’ve succeeded in writing
ence, levels will jump to any previously selected automation data when you see the yellow light
automation settings as soon as MTC begins. This illuminate the control surface WRITE button or
can be very frustrating, but if you’ve religiously the on-screen channel WRITE icon.
saved snapshots of your mix status, you won’t be Start playback device
far from repair.
• Verify MTC in the Locator position readout.
• Determine that your mix is solid enough that
• Verify selection of desired automation
you’d like to have all parameters written as
parameters—for now select FADERS, MUTES,
defaults. Don’t get too freaked out about this—
PAN, and ALL.

Move a channel fader Press the D8B Record Button
• As soon as the fader moves, the WRITE button • Press the RECORD button on the control
illuminates, indicating automation data is being surface in the transport control section or in the
recorded. on-screen Locator window.
Exit Record and Rewind to Beginning of Track • Once record status has been achieved, the
• Stop playback or press the WRITE button on the blinking yellow lights remain solid until the
active channels to exit automation record mode. transport stops or the WRITE button is pressed.
Rewind playback/Record device to the beginning • For the write-ready channels, fader, mute, and
of the automation pass. pan automation data is written as soon as record
Start Playback from Beginning of Track is pressed.
• If you’ve followed these directions thoroughly • For all other parameters (other than fader, mute,
you’ll see the fader move that you recorded and pan), even though RECORD is pressed,
playback automatically. automation data isn’t actually recorded until a
• Welcome to the wonderful world of D8B parameter change is made.
automation!
Repeat this Action for More Parameters
Note: Operation characteristics of the Transport
• Be sure you’ve selected the desired parameter
RECORD button are determined by the settings in the
before attempting the automation pass.
Setup>Mix Options window. Select “One Button Punch”
• Each time you perform a new automation pass,
to enable record status by simply pressing the RECORD
new data combines with the old in a seamless
button alone. If “One Button Punch” is not selected
manner. Continue building the mix until
the user must hold PLAY while pressing RECORD to
everything is just right.
enter record mode. Press Play or Stop to punch out of
record.
Note: Auto Touch mode does not require any channel
selection for automation to record! Simply move Exit Record and Rewind to Beginning of Track
virtually any parameter on any channel to activate the
record status for that channel on that automation Start Playback from Beginning of Track
parameter. Repeat this Action for More Parameters
Write Punch-in Mode
This mode functions in a very similar fashion
Write Ready Mode to Write Ready mode. However, in this mode the
Transport RECORD button is not needed.
It’s possible to build an entire mix using Auto Exit AUTO TOUCH Mode
Touch mode. It is easy to use, easy to build on, Deselect Write Ready Mode
and it offers incredible creative flexibility. How- • This option is available in the Setup>Mix
ever, there are instances where Write Ready mode Options Menu and in the Setup>Mix Options
provides the perfect mode for a particular task. window
Write Ready Mode is very useful when several Start Playback Device, then Press the Write
channels must be placed into automation record
mode at the same time. Button(s) on the Desired Channels
Toggle the AUTO TOUCH button off • In this mode, pressing the channel WRITE
buttons immediately places the channels into
Activate the Desired Automation Parameters automation record mode.
• Engage FADERS, MUTES, PAN, and/or ALL • Pressing an active WRITE button (yellow light
in the same manner as previously described. solidly on) immediately punches out of
Select Write Ready Mode automation record mode for that channel.
• This option is located in the Setup>Mix Options Adjust Automation Parameters on the WRITE-
window as “Use Write Ready” and in the Enabled Channels
Options/Automation Menu as “Write Ready
• It’s always important to verify the correct
Mode.”
selection of intended automation parameters.
• In this mode, the Transport RECORD button is
necessary for completing an automation pass. Exit Record and Rewind to Beginning of Track
Press WRITE on All Desired Automation Channels Start Playback from Beginning of Track
• The yellow light or icon blinks, indicating Repeat this Action for More Parameters
record-ready status.
Start the Playback Device
Trim Levels
• Even when the playback device starts, the This mode is perfect for updating sections of a
automation system remains in ready status mix. If you’ve worked and toiled over a track
(yellow lights blinking) until the RECORD button throughout a mix, adjusting the levels frequently, try
is pressed in the control surface Transport section TRIM mode. This valuable mode simply adds or
or the on-screen Locator window.
subtracts the same amount from a previously
adjusted automation track. For example, when used Automation Start-up Procedure
for faders, all moves are maintained but the overall ❏ Automation In Bypass
volume changes. ❏ Clear Automation
Press TRIM LEVELS ❏ Save Session As…
• Press TRIM LEVELS in the control surface ❏ Set Up Rough Mix
Automation section, on-screen Locator window, ❏ Save Snapshot For Safety
or in the Options>Automation menu. Notice that ❏ Route Time Code (MTC) From Playback Device to
D8B MIDI Input
the faders all snap to unity position.
❏ Verify MTC at D8B Transport SMPTE Window
Choose Automation Mode ❏ Set Default Levels…
Even though TRIM LEVELS is selected and ❏ Exit Bypass Mode
the faders all move to unity position, the automa- ❏ Select Parameters
tion modes still retain their operational character. ❏ Any Combination of Faders, Mutes, Pans, and All
Use Channel Faders to Boost or Cut Previously
Automated Channel Data
• The faders automatically set at unity so they can Auto Touch Summary Checklist
be easily used to boost or cut the previously ❏ Enter Auto Touch Mode
adjusted track content. ❏ Start Playback Device
• This is an excellent mode to globally adjust ❏ Move a Channel Fader
channel levels. ❏ Exit Record and Rewind to Beginning of Track
• Simply raise or lower the fader level to boost or ❏ Start Playback from Beginning of Track
❏ Repeat this Action for More Parameters
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
Automate EQ, Dynamics, and Effects ❏ Activate the Desired Automation Parameters
❏ Select Write Ready mode in Options>Automation
Automation of EQ, dynamics, and effects is simple. ❏ Press WRITE on All Desired Automation Channels
• Select automation mode (ALL). ❏ Start the Playback Device
• Start the playback/record device. ❏ Press the D8B Record Button
• Activate automation record command. ❏ Adjust faders, mutes, or any selected parameters
• Make changes. on the WRITE enabled channels
In order for these parameters to record, ALL ❏ Exit Record and Rewind to Beginning of Track
must be selected in the control surface AUTOMA- ❏ Start Playback from Beginning of Track
TION section, on-screen Locator window, or in the ❏ Repeat this Action for more channels and
Parameters
Options/Automation window.
Automation Procedural Checklists Write Punch-in Summary Checklist

❏ Exit AUTO TOUCH and/or TRIM LEVELS Mode
These checklists are designed as skeletal ❏ Exit Write Ready mode in the Options>Automation
reminders of the processes previously described. If Menu
you follow them and have a basic understanding of ❏ Start Playback/Record Device and Verify MTC
the D8B automation system, they’ll help instill an ❏ Press the Write Button(s) on the Desired Channels
efficient automation procedure. ❏ Adjust Automation Parameters on the WRITE-
Enabled Channels
❏ Exit Record and Rewind to Beginning of Track
❏ Start Playback from Beginning of Track
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
❏ Exit Trim Levels to Return Faders to Normal Mode

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D8B Manual • Chapter 4 • page 87

Figure 4-1 Power-up Procedure

Amp or Powered Master L/R

D8B Manual • Chapter 4 • page 88

Figure 4-2 Basic Connection for Multitrack Recording

Audio Source To Monitors

Fader Bank 1 Fader Bank 2

D8B Manual • Chapter 4 • page 89

D8B Manual • Chapter 4 • page 90

AIO•8 (Analog Hookup) MFX Effects Card

DIO•8 (Digital Hookup) UFX Effects Card

D8B Manual • Chapter 4 • page 91

IMPORTANT: Shut off power to the

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

FX Card Cover Plate Removal

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

3. Replace the cover plate and tighten the screws

D8B Manual • Chapter 4 • page 92

IMPORTANT: Shut off power to the

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

Remove Cover Plate for Tape I/O Card

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

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

Installing a Tape I/O Card

4. Tighten the spring-loaded screws on the

Tighten Screws on Tape I/O Card

D8B Manual • Chapter 4 • page 93

Connecting the Connecting ADAT Lightpipe

OUTPUTS ADAT OPTICAL

D8B Manual • Chapter 4 • page 94

Connecting TDIF Digital

DA-98 rear panel

METER UNIT DIGITAL I/O

TDIF Interconnect Cable

D8B Manual • Chapter 4 • page 95

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

❏ Test each instrument and mic to verify sufficient

MIC/LINE Bank TAPE IN Bank 1

Work your way though this checklist for 10

❏ Connect multitrack ins and outs to D8B. 25

MASTERS SHIFT LINE

ASSIGN WRITE WRITE

Note: Condenser mics and active DIs use phantom

D8B Manual • Chapter 4 • page 96

SELECT SELECT SELECT

MUTE MUTE MUTE

BUS 5 BUS 6 BUS 7

❏ Turn channel faders up to hear instrument or mic. 5 5 5

D8B Manual • Chapter 4 • page 97

❏ Adjust control room monitor mix from TAPE IN

❏ Place tape inputs in record/ready to verify signal

Record Ready Buttons

D8B Manual • Chapter 4 • page 98

PHONES/CUE MIX 1 PHONES/CUE MIX 2

AUX 11-12 CONTROL ROOM AUX 11-12 CONTROL ROOM

❏ Adjust channel aux levels to onboard or outboard

❏ Verify that Master Output is connected to the

BUS OUT 1-8