Mackie 8-submaster mixer Benutzerhandbuch
6
TRIM
TAPE
MIC/LINE
CHANNEL
16
GAIN
+4
–10
dBV
50
dB
10
dB
L
IN
E
SE
N
S
IT
IV
IT
Y
MIC
GAIN
-40
dBV
CHANNEL
16
MIC/LINE
LINE
IN
DIRECT
OUT
BAL-
UNBAL
INSERT
TIP = OUT
RING = IN
PHANTOM
POWER
+15
O
O
U
MIX-B
LOW CUT
SOURCE
FLIP SW
CHANNEL
PAN
LEVEL
SPLIT EQ
HI/LO EQ
TO MIX-B
MONITOR
L
R
PAN
dB
30
20
10
5-6
3-4
1-2
7-8
L/R
MIX
-20
OL
O
O
16
10
40
50
60
MUTE
5
5
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SOLO
U
strip (via the source switch), can be achieved
by modifying the channels. See Appendix C:
Modifications on page 52.
1. When the Mix-B SOURCE switch (11) is
by modifying the channels. See Appendix C:
Modifications on page 52.
1. When the Mix-B SOURCE switch (11) is
up, MIX-B receives its input from the FLIP
switch. Remember, the FLIP switch alter-
nates MIC/LINE or TAPE to the channel
strip and to MIX-B. With TAPE as an input
(SOURCE
switch. Remember, the FLIP switch alter-
nates MIC/LINE or TAPE to the channel
strip and to MIX-B. With TAPE as an input
(SOURCE
up to select the FLIP switch, and
FLIP in the
up position), the MIX-B section
functions as a tape monitor submix,
allowing you to listen to the inputs and
outputs of your multi-track recorder as you
record. This is the most common use of the
MIX-B section, during tracking and
overdubbing.
allowing you to listen to the inputs and
outputs of your multi-track recorder as you
record. This is the most common use of the
MIX-B section, during tracking and
overdubbing.
2. With MIC/LINE as an input (SOURCE up to
select the FLIP switch, and FLIP in the
down
position), MIX-B becomes an additional input
to add tracks or effects during a mixdown.
Simply plug the additional signal into the MIC
or LINE connector. Although they are nor-
mally separate, a button (MIX-B TO L/R MIX)
in the Output Panel (see below) can add the
output of the MIX-B buses to the L/R Mix
buses. Voilà! Double your mix inputs!
to add tracks or effects during a mixdown.
Simply plug the additional signal into the MIC
or LINE connector. Although they are nor-
mally separate, a button (MIX-B TO L/R MIX)
in the Output Panel (see below) can add the
output of the MIX-B buses to the L/R Mix
buses. Voilà! Double your mix inputs!
3. With CHANNEL as an input (SOURCE down in
CHANNEL position), MIX-B taps its signal from
the channel strip, just before the channel fader.
MIX-B is separately pan-able, EQ-able and
can be used as an alternative stereo mix, a
stereo auxiliary send, a “mix-minus” bus, a
quadraphonic or surround feed, you name
it. Mix B can also have its own aux send
(see Aux sends 3-6).
the channel strip, just before the channel fader.
MIX-B is separately pan-able, EQ-able and
can be used as an alternative stereo mix, a
stereo auxiliary send, a “mix-minus” bus, a
quadraphonic or surround feed, you name
it. Mix B can also have its own aux send
(see Aux sends 3-6).
Check out Section 3: General Info and the
Block Diagram for more information on MIX-B
routing.
routing.
MIX-B PAN
The PAN control (12) routes the channel’s
MIX-B signal across the left and right MIX-B buses.
MIX-B LEVEL
The LEVEL control (13) sets the level of
the channel sent to the MIX-B buses. The gain
structure of this circuit (like the AUX send
1–6 circuits, below) includes extra amplifica-
tion. What this means to you is that you will
always have plenty of gonadotropic gain avail-
able for the MIX-B buses. Full left on the
LEVEL control is
structure of this circuit (like the AUX send
1–6 circuits, below) includes extra amplifica-
tion. What this means to you is that you will
always have plenty of gonadotropic gain avail-
able for the MIX-B buses. Full left on the
LEVEL control is
off; the midpoint of travel is
“U”, or unity gain; full right is 15dB of boost.
The MIC/LINE switch (9) is located way up
amongst the channel jacks. It selects whether
the MIC jack (pin 2=hot[+], pin 3=cold[–],
pin 1=shield) or the LINE jack (balanced 1/4"
phone… tip=hot, ring=cold, sleeve=shield) is
connected to the input amplifier.
the MIC jack (pin 2=hot[+], pin 3=cold[–],
pin 1=shield) or the LINE jack (balanced 1/4"
phone… tip=hot, ring=cold, sleeve=shield) is
connected to the input amplifier.
THE FLIP SWITCH: MIC/LINE OR TAPE
The switch labeled FLIP
(10) selects the input that
is actually fed into the
is actually fed into the
channel fader (and the
MIX-B control; see below).
MIX-B control; see below).
As the label indicates, the MIC/LINE input
(after Mic/Line preamp) is fed to the channel
fader when the FLIP switch is in the
(after Mic/Line preamp) is fed to the channel
fader when the FLIP switch is in the
up posi-
tion. This is the normal mode for tracking and
overdubbing. In the
overdubbing. In the
down position, the TAPE re-
turn (the output signal from the corresponding
track of your recorder) is fed to the channel
fader. This is the normal position for mixdown.
track of your recorder) is fed to the channel
fader. This is the normal position for mixdown.
To recap - when the FLIP is
up, the Mic/Line
feeds channel and Tape return feeds MIX-B. When
the FLIP is
the FLIP is
down, the channel is Tape and MIX-B is
MIC/LINE. FLIP... FLOP. OK?
For live PA, leave the FLIP switch up.
MIX-B / MONITOR
Each channel strip has a
dual signal path (Enter
Mix-B!) with extremely
Mix-B!) with extremely
flexible switching. This al-
lows either the mic/line
lows either the mic/line
inputs or tape return inputs to be routed
through either the channel fader path or
Mix-B with separate EQ and monitoring. Both
of the signal paths can be combined into the
main mix by depressing the Mix-B to L/R
Switch in the master section. OK, now we
jump down the channel again to the MIX-B/
Monitor section. This handy and very simple
feature is also called “in-line monitoring” and is
found on quite a few consoles. So we’re not
claiming that it’s anything new… we just added
some extra features for more flexibility. MIX-B/
Monitor routing options can get a bit compli-
cated, so pay attention. Also, we did add
something that other in-line monitoring systems
don’t have. So double pay attention.
through either the channel fader path or
Mix-B with separate EQ and monitoring. Both
of the signal paths can be combined into the
main mix by depressing the Mix-B to L/R
Switch in the master section. OK, now we
jump down the channel again to the MIX-B/
Monitor section. This handy and very simple
feature is also called “in-line monitoring” and is
found on quite a few consoles. So we’re not
claiming that it’s anything new… we just added
some extra features for more flexibility. MIX-B/
Monitor routing options can get a bit compli-
cated, so pay attention. Also, we did add
something that other in-line monitoring systems
don’t have. So double pay attention.
The MIX-B buses are a stereo pair, indepen-
dent of the 8-plus-2 recording buses we’ve
talked about so far. There are three sources
available to MIX-B: MIC/LINE or TAPE (via the
FLIP switch) and the pre-fader output of the
channel strip (via the SOURCE switch). A
fourth source, post-fader output of the channel
talked about so far. There are three sources
available to MIX-B: MIC/LINE or TAPE (via the
FLIP switch) and the pre-fader output of the
channel strip (via the SOURCE switch). A
fourth source, post-fader output of the channel