Mackie 24.8Bus Owner's Manual - Page 24

1 LO & HI VARIABLE (HI shown) The LO and HI The EQ IN/OUT SWITCH will completely resections of the EQ move the EQ circuit from the channels signal are shelving path when disengaged, and activate the EQ equalizers, with a when engaged. family of curves When the EQ section is split between the shown in Figure 3. channel strip and Mix B, the EQ IN/OUT switch As you can see, will only shut off the HI MID and LO MID bands. shelving EQs lift The LOW CUT filter (also known as a high- GENERAL INFO Only LO/HI Variable: Boost/Cut Fig. 3 or lower the entire range of frequencies above or below a certain pass filter) reduces everything below about 100Hz. 75Hz is -3dB, and the lower the frequency, the greater the attenuation. The slope of the filter is 18dB/octave. point. Most tone controls on stereos are shelving EQs, often set at 100Hz for the bass and 10kHz Connectors for the treble. The LO EQ on the 8•Bus is at If you've used a Mackie VLZ PRO compact 80Hz and the HI is at 12kHz. mixer, you're familiar with the various kinds of connectors used with a mixing board. If you're dB 10 5 1-2 U 3-4 new to this whole thing, review the drawings in Figure 4 on Page 21. They're also described in detail in Appendix A on page 44 of this manual. 5 5-6 10 7-8 20 Multi-track Deck (RECORD) A BIT MORE ON MIX-B/FLIP In Section 2, we described FLIP's Mic or line input 24 CHANNEL MIC/LINE LINE IN OO L/R 30 MIX 40 50 60 use during tracking and mixdown. Before you actually get involved with recording, we'd like to spring a Control Room Monitors Channel Input Speaker Section Channel Fader Channel Channel Mix B/Monitor Tape Input couple of block diagrams on you that may clarify things further. The switch labeled FLIP selects the input U OO OO +15 CNTRL RM U L/R MIX MIX-B +15 STUDIO TAPE EXTERNAL MONO OO PAN LR U LEVEL +15 HI/LO EQ MIX-B MONITOR SHIFT OUTPUT INPUT SOURCE TAPE IN 24 that is actually fed into the channel fader (and the MIX-B control). 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 up SPEAKERS SOURCE Figure 5: FLIP/MIX-B signal path during tracking ("flip" switch up) position (Figure 5). When FLIP is up, the channel is fed MIC/LINE and MIX-B gets TAPE. That way, you can use MIX-B to monitor the sig- dB 10 nal as it comes back from the recorder. This is 5 1-2 the normal mode for tracking and overdubbing. U 3-4 In the down position, the TAPE return (the TAPE IN 24 5 5-6 10 7-8 20 L/R 30 MIX 40 50 60 output signal from the corresponding track of your recorder) is fed to the channel fader (Figure 6). When FLIP is down, the channel input is TAPE and MIX-B receives MIC/LINE. That en- ables you to use each channel's MIC/ OO OO Multi-track Deck (PLAYBACK) Channel Channel Tape Input Fader Mixdown Deck LINE input for another input during mix down. Thus down is the normal Channel Channel Input Mix B/Monitor position for mixing. For PA, leave the FLIP switch up. PAN LR U Additional mic or line input 24 CHANNEL MIC/LINE LINE IN LEVEL +15 HI/LO EQ MIX-B MONITOR SHIFT OUTPUT INPUT SOURCE Figure 6: FLIP/MIX-B signal path during mixdown showing additional input ("flip" switch down) 22