Mackie 24.8Bus Owner's Manual - Page 6

EQ IN 75 Hz 18dB/oct LOW CUT SECTION 2: Panel Layout and Function OO OO PAN LR U LEVEL +15 HI/LO EQ TO MIX-B MIX-B MONITOR SPLIT EQ FLIP SW CHANNEL SOURCE OL -20 PAN SOLO OVERVIEW The panel layout of the Mackie 8•Bus Series follows the traditional arrangement: input channel strips to the left, with a master output/ monitoring/cue section to the right. Additionally, most of the Mackie input/output jack panel is located at the top of the mixing panel, for easy accessibility and patching. The tape outputs and inputs are on the rear panel. MUTE 24 dB 10 5 1-2 U 3-4 5 5-6 10 7-8 20 30 L/R MIX INPUT CHANNELS (CHANNEL STRIPS) The 24 or 32 input channel strips on the Mackie 8•Bus consoles are identical, and contain all of the level, assignment and equalization controls for each input channel. This section describes the controls and functions of each feature of an input channel in detail. FADER The channel fader (1) is 100 millimeters long, with a precise logarithmic taper and attenuation in dBs printed along the slot for exact and repeatable level adjustments. The fader affects either the mic or line input to the channel (for recording) or the tape return to the channel (for mixing), depending on the position of the FLIP switch. MUTE The MUTE switch, located at the top of the fader (2), turns off the primary outputs of the channel: the eight buses, the L & R buses, the channel solo, the direct output and the postfader AUX sends. Pre-fader aux sends are not muted. With the exception of lighting the mute LED, pushing the MUTE switch is the same as pulling the fader all the way down. 40 50 GOURMET PAN CONTROL AND 60 ASSIGNMENT SWITCHES CHANNEL INPUT/OUTPUT The PAN control (3), immediately above the MASTER I/O fader, pans the channel signal between the two sides of the L/R Mix buses, and also between odd and even pairs of buses 1 through 8. CHANNEL STRIPS The actual bus assignment of the PAN control depends on the positions of the five assignment MASTER SECTION switches located along the length of the fader. With no switches depressed, the PAN control has no effect (well, unless you solo the channel; it still pans the solo). Pushing the L/R MIX switch (4) assigns the PAN to the main L/R Mix buses. Panning from L to R moves the sound smoothly (with constant loudness) CHANNEL INPUT/OUTPUT from the left channel to the right channel. Assigning the PAN to a pair of the 8 buses has a similar effect. MASTER I/O For example, pushing the 1-2 switch assigns the PAN to buses 1 and 2, and panning L to R will move the CHANNEL STRIPS sound from bus 1 to bus 2 (from odd to even). If you want to equally assign a channel to both MASTER SECTION buses 1 and 2, leave the PAN control at the top, or center, of its travel. If you only want bus 2, turn the PAN control fully clockwise (to the right). Other comparably-priced consoles provide as little as 50dB attenuation/separation. We use active, buffered circuitry and a custom-taper potentiometer 4