Mackie Designs D8B Owner`s Manual Addendum

Transcription

Owner’s Manual
Digital 8•Bus
Mackie Real Time OS™ v2.0 Addendum
and Owner’s Manual Errata
Place this addendum into your Digital 8•Bus
Owner’s Manual binder. It replaces the one page
addendum located at the end of the manual. This
new addendum contains information regarding the
new features and capabilities of the Mackie Real
Time OS v2.0, which is now shipping with the
Digital 8•Bus. In addition, there are some corrections to the existing owner’s manual that you
should be aware of, contained in the Errata section
at the end of this document.
Addendum
AD-1
Digital 8•Bus
Additional Product Information
Mackie Designs’ Digital 8•Bus has been tested and conforms to the following standards and directives of the
European Council:
73/23/EEC
Low Voltage Directive with amendments
91/263/EEC, 89/392/EEC, and 89/336/EEC
89/336/EEC
EMC Directive
IEC 950(1991)/EN60950:1992 Electrical Safety Requirements
EN55103-1 and EN55103-2
Residential (E1) and Commercial (E2) Environments
Note: The following notice concerns the lithium battery located on the motherboard inside the Remote CPU.
CAUTION: DANGER OF EXPLOSION IF BATTERY IS INCORRECTLY REPLACED. REPLACE ONLY WITH THE SAME OR
EQUIVALENT TYPE RECOMMENDED BY THE MANUFACTURER. DISPOSE OF USED BATTERIES ACCORDING TO THE
MANUFACTURER’S INSTRUCTIONS.
ATTENTION: IL Y A DANGER D’EXPLOSION S’IL Y A REMPLACEMENT INCORRECT DE LA BATTERIE, REMPLACER
UNIQUEMENT AVEC UNE BATTERIE DU MEME TYPE OU D’UN TYPE ÉQUIVALENT RECOMMANDÉ PAR LE CONSTRUCTEUR.
METTRE AU REBUT LES BATTERIES USAGÉES CONFORMÉMENT AUX INSTRUCTIONS DU FABRICANT.
Part No. 820-099-02 Rev. A 3/99
©1999 Mackie Designs Inc., All Rights Reserved.
Printed in the U.S.A.
AD-2
Addendum
Owner’s Manual
Table of Contents
New Features for version 2.0 ...................................................................... 4
1.0 OS/Session Features ............................................................................ 4
1.1 Session File Compatibility ............................................................ 4
1.2 Vocal Studio File Extension .......................................................... 4
1.3 Working Directory (Updated) ....................................................... 5
1.4 Quit (New Feature) .................................................................... 5
2.0 Automation Features ............................................................................ 5
2.1 ALL/BYPASS (Updated) .............................................................. 5
2.2 Fader Touch (New Feature) .......................................................... 7
2.3 Mix Editor (New Feature) ............................................................ 7
2.4 The Event List (Updated) ........................................................... 10
2.5 DSP Automation (New Feature) .................................................. 10
2.6 Add Snapshot Event (New Feature) ............................................. 12
2.7 Insert Blank Time/Delete Time (Updated) .................................... 12
2.8 Modify… (Updated) ................................................................. 17
2.9 Write Ready (New Feature) ....................................................... 18
2.10 Dynamic Writing/Record Logic Preferences .................................. 19
2.11 Set Default Levels (New Feature) ............................................... 19
2.12 Write Flyback (New Feature) ..................................................... 20
2.13 Snapshot/Dynamic Automation Wrap-up ..................................... 20
3.0 DSP Features .................................................................................... 22
3.1 New Fat Channel (New Feature) ................................................. 22
3.2 Four EQ Types (New Feature) ..................................................... 23
3.3 Fat Channel I/O and Compressor Reduction Metering (New Feature) .. 23
4.0 Input/Output Features ....................................................................... 24
4.1 PDI•8 (New Feature) ................................................................ 24
4.2 ALT I/O Update (New Feature) .................................................. 26
4.3 Networking Consoles (New Feature) ........................................... 27
4.4 Cascading Consoles (New Feature) .............................................. 30
4.5 MIDI Monitor (New Feature) ..................................................... 32
4.6 MIDI Snapshots (New Feature) .................................................. 32
5.0 Miscellaneous Features ....................................................................... 33
5.1 Fader Calibration (New Feature) ................................................. 33
5.2 Play from Selection (New Feature) .............................................. 33
5.3 The Channel List (New Feature) .................................................. 33
5.4 Channel Linking (Updated) ......................................................... 37
5.5 Solo Latching (New Feature) ...................................................... 39
5.6 Solo Isolate (New Feature) ........................................................ 39
5.7 Record Safe (New Feature) ........................................................ 40
5.8 Pre-Roll Preference (New Feature) ............................................. 40
5.9 Virtual Group Masters (Updated) ............................................... 40
5.10 Control Room Speaker Link (New Feature) ................................... 41
5.11 Phones/Cue Mix Levels (Updated).............................................. 41
5.12 Clipboard: Level To Tape and Direct Out (Updated) ......................... 41
5.13 Level To Tape in the Fat Channel View ......................................... 42
5.14 V-Pots (New Feature) ............................................................... 43
5.15 Popup EFX Choices (New Feature)............................................... 43
5.16 Mouse Speed (New Feature) ...................................................... 44
5.17 Talkback Level (Updated) ........................................................... 44
5.18 Fader Bank Select All (New Feature) ........................................... 44
Addendum
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Digital 8•Bus
5.19 Surround Window (Updated)...................................................... 44
5.20 Bus Assign Macros (New Feature) .............................................. 45
5.21 Ctrl-W (Updated) ..................................................................... 45
5.22 Title Bars: Rollup, Zoom, Close Window, Color (Updated) ............... 45
5.23 Snapshots (Updated) ................................................................ 46
5.24 Delete Key (Updated) ............................................................... 46
5.25 Disabled Feature: Grouped MIDI and Bus Master Faders................. 46
5.26 Powering Up ........................................................................... 46
5.27 FX Input Level and Automation Recall .......................................... 46
MIDI Implementation Guide (updated) ......................................................... 47
Keyboard Shortcuts (updated) .................................................................... 48
More Hookup Diagrams for MDM Recorders ................................................ 50
Errata ..................................................................................................... 56
New Features for version 2.0
This newest version of the Mackie Real Time
OS™ implements the most asked for features
since the Digital 8•Bus’ inception. The interface
has improved with the awesome new Fat Channel
Overview window. The stunning new Graphic
Automation Mix Editor provides a much more intuitive approach to mix automation. In addition,
there are a number of new options and capabilities,
including both hardware and software improvements, that we will discuss in more detail further
on. Briefly, these include:
• Four User-Selectable Types of EQ
British H/P: Hi-pass filter, 2 mid-parametric
bands and a high shelf
British EQ: Low shelf, 2 mid-parametric
bands and a high shelf
4-Band Parametric: 4 parametric bands
with analog style overlaps
20/20k EQ: 4 bands of full 20Hz to 20kHz
parametrics
• Solo Latch
• Solo Isolate
• Surround Bus Solo Isolate
• Record Safe
• Write Safe
• Per-channel automation modes
• Analog-style Input/Output meter in the
Fat Channel screen
• Analog-style Reduction meter for the
Compressor
• Channel List including MIDI send and receive
commands from all 97 faders (over 4 banks)
• Linking of multiple consoles (Cascading and
Networking)
• Implementation for the new PDI•8
eight-channel AES/EBU Card
• It’s free of charge
AD-4 Addendum
We think this software upgrade will go a long
way toward making your job easier, freeing up
your resources to be more creative in your work.
1.0 OS/Session Features
1.1 Session File Compatibility
Session files created with version 2.0 should
not be read into the earlier version 1.03 operating system. Of course, version 1.03 created files
may be read into OS version 2.0.
Startup session: After installing the new OS
software, we recommend that you delete the
Startup session (using the Disk Manager under
“File” in the upper menu bar) and re-boot the
console. This allows the OS to create a new
Startup session for you.
Remember, the console always loads the
Startup session when it reboots. If you change
the settings in the Startup session and save it,
the console reboots with the new settings.
1.2 Vocal Studio File Extension
The Vocal Studio patch files are now saved as,
and read as, files with the .voc extension, rather
than the original .efx. This is to avoid file errors
when opening the patches from the wrong type
of effects module. It was possible, in the previous OS version, to view (from the patch file
directories) vocal studio patches from the
Mackie Effects plug-in modules, and effects
patches from the Vocal Studio plug-in modules,
and attempts to open these patches resulted in
file errors. This would typically only be a problem if all the patch types were kept in the same
directory relative to a session.
We suggest that you rename older Vocal Studio files with the new extension (.voc) using the
Disk Manager, or the PC or Mac file management if saved on a floppy disk.
The file management system is much improved. The working directory’s pointer is now
updated only if a file is saved to that directory, or
if a file is loaded from that directory. In other
words, the working directory for each file type (including sessions and all patch library files)
changes only when save or load operations occur.
So, if you want to poke around and look through
numerous folders, but end up canceling your
search without loading or saving, the working directory pointer is left in its original directory.
Why is this important or convenient? Consider
the Autosave operation. In the previous version, if
you went looking for some DSP patch in the
middle of a session and uploaded it from a directory other than where your session was stored,
the new auto-saved sessions would then be saved
in the last patch directory you used.
A separate directory pointer exists for each file
type. When you save an EQ patch to a folder (new
pointer to that folder), not all DSP module
patches are saved to that folder (this operation
still works in the same manner as it did in
v1.03). For example, if you save a gate patch
shortly after you save an EQ patch, the EQ patch
is saved in the EQ folder, and the gate patch is
saved in your Gate folder.
Opening or saving a file in a different location
redirects the working directory pointer. If you
fetch your favorite patch from your “favorite
patches folder,” which isn’t the same as the default Mackie Effects folder, from that point the
working directory for your Effects patches will
be the “favorite patches folder.” You may have
already discovered this when you created your
own new patches folder and found that the
Mackie patches were no longer readily available
from the Effects window.
For ease of use, we suggest that you create a
composite folder with all your favorite patches
(your own and the Mackie supplied favorites),
along with your working Session files, and keep
this composite folder as the current (pointed at)
working directory.
Owner’s Manual
1.3 Working Directory (Updated)
1.4 Quit (New Feature)
This feature has been added to ensure
that autosaving doesn’t occur in the middle
of a shutdown. Use this command (located
under “File” in the upper menu bar, or use
Ctrl-Q on the keyboard) before you turn off
the console.
Note: The MackieOS always remembers
the last console parameter state of a session
when it’s shut down, regardless of whether
the Quit function is used or not. Turning off
the console without using the Quit command
will not hurt anything, assuming it wasn’t
autosaving at that particular instant. If it
was, you run the risk of corrupting your
session file.
2.0 Automation Features
2.1 ALL/BYPASS (Updated)
The BYPASS and ALL functions now operate in a slightly different manner.
AUTOMATION
BYPASS
FADERS
MUTES
AUTO TOUCH
FADER MOTORS
OFF
PAN
ALL
TRIM LEVELS
Bypass
When BYPASS is toggled on (or off), it
no longer toggles off (or on, respectively)
all of the other automation buttons in a radio-button manner. This allows you to see
how you have the Automation section configured even when automation is bypassed.
Addendum
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Digital 8•Bus
Nevertheless, when BYPASS is on, all
automation writing and playback is defeated, regardless of the state of the
automation button LEDs on the console or
screen.
All
The ALL filter now includes everything
but faders, mutes and pan. In version 1.03,
when ALL was enabled, faders, mutes, and
pan moves could be dynamically recorded
into automation, even when the FADERS,
MUTES, and PAN buttons were off.
Now ALL includes just the following:
Aux 1-12 levels, Aux 9-12 pan, Digital
Trim, all channel module functions (EQ,
Compressor, Gate) and Plug Ins/Effects
parameters. Use the FADERS, MUTES,
and PAN buttons to add those functions to
ALL.
Feature clarification: ALL mode for
Absolute recording.
It is now possible to write any parameter under the ALL filter in Absolute mode,
without AUTO TOUCH enabled. This allows you to punch in and out using the
WRITE button on a channel, or in the global Write Ready mode (“Use Write Ready”
is checked in the “Mix Options” window
under Setup in the lower menu bar, or selected in the GENERAL MIDI Setup menu
in the Fat Channel Display—see “Write
Ready” on page 18 for more info). The
transport RECORD button becomes a Master Write button while in Automation
mode, and is used in conjunction with the
channel WRITE buttons.
There’s one trick that you need to know.
This mode is a quasi-touch update mode.
Once you’ve punched in, you must slightly
tweak the control in order for the OS to
sense that the specific controller you are
moving is the actual control that you want
to write into automation. Open the Mix
Editor to view a parameter while you try
this, and you’ll see that the automation
curve isn’t updated until you actually
modify the control slightly.
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2.2 Fader Touch (New Feature)
When creating an automated session using AUTO TOUCH mode, you can now grab
a fader on the fly and modify fader levels
while automation is running.
A note on moving faders: Update to moving faders and fader-touch override has
been dampened somewhat to prevent fader
overshoot for better accuracy and alignment. If you are attempting to enable Write
on rapidly moving faders, the dampening
algorithm may cause delayed or incorrect
punch-in points. If this is a problem for you,
we suggest manually enabling the channel
WRITE button and then grabbing the fader
to ensure the punch-in is as close to the
desired point as possible.
Owner’s Manual
On subsequent automation passes, you’ll
find that you might be fighting automation
playback to punch in a specific new level
plateau. In this case, you may want to open
the Channel List (see “Channel List” on
page AD-32), place the specific channel in
“Punch-Run” or “Disabled” playback state,
place the control at the desired level, and
then press the WRITE button at the desired
point and tweak to write. Don’t forget to
change “Playback” back to the “Run” mode
after you’ve completed your punches.
2.3 Mix Editor (New Feature)
The Mix Editor is a new resizable
graphic window that allows you to view and
edit automation data curves over variable
time intervals (frame accurate, to a 24 hour
overview). The window offers a complement of tools and an auto-scroll feature
that allows for on-the-fly, look-ahead, data
editing.
Please note that the Event List Editor
window works in a bi-directional updating
manner with the graphic Mix Editor. When
a parameter is changed in one window, it is
immediately updated in the other.
The Mix Editor highlighting is pixel accurate, whereas the Event List is at node/
event resolution. Therefore, highlighting
events in one window is not transferred to
the other window.
Addendum
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Digital 8•Bus
Feature Overview
The resizable window supports various selectable views from 1 to 24 channels, or parameters,
of data on the Y axis and any length of time region on the X axis (up to 24 hours). A vertical
scroll bar allows for paging or incremental viewing
of the channels or parameters, and the horizontal
scroll bar allows for paging or scrolling time
chunks, according to the current time resolution.
The Mix Editor can view a single channel
with all of its parameters or, by enabling the
, you can view
“Channel View” checkbox
multiple channels of one parameter type (plus a
background event of a different type). This allows
you to view, for example, 12 EQ parameter tracks
stacked on top of one another, or 6 stacked pan
automation curves.
Automation Event curves are displayed as
dots (actually, small squares) that represent
nodes, and lines that represent value ramping.
The nodes represent editable points that are either
created during the automation process in real
time, by the hand tool in the Mix Editor, or by
the “Add Snapshots...” function (under Edit in
the upper menu bar).
Note that on/off or radio button-type parameters
(e.g. Mutes, EQ On/Off, or Snapshots, etc.) that
aren’t of a ramping type, are displayed as stepped
values.
Automation tracks may be cut, copied and
pasted, in typical graphic editor fashion, using
click and drag highlighting with the mouse cursor
and highlight tool (“I” icon). Single segment copy
and multiple pasting may be performed easily
with repeatable segments for a “groove” repetition approach. An entire time region across all
parameters or channels (according to the current
filter views) may be selected by clicking and drag-
AD-8 Addendum
ging across the top time bar. Highlighted regions
may be “nudged” up, down, left or right, for trim
or offset needs, using the 4 nudge arrows (top
center of the Mix Editor window).
The “Auto Follow” feature causes the Mix
Editor to change views on the fly. When enabled,
Auto Follow updates the Mix Editor to focus on
any parameter you touch (by channel and function). When enabled, “Auto Scroll” updates the
Mix Editor to scroll the screen past the timeline
cursor, located at the screen’s halfway point.
Edit tools include:
Three time code displays for highlighted region start and end points, and for current
cursor position (displayed in either SMPTE or
BBT). Values may be manually entered in the
Start/End point fields for specific edits.
Pointer (or Hand) tool, to create and move
new or current automation nodes (curve turning points) while time code is being received
(on the fly editing—before or to the left of the
current time) or while timecode isn’t being received (at any point on the timeline).
Highlighter tool, to select data by time and
channel:
1) Select the “I” tool and click and drag across
a track to highlight a specific time region.
2) Click on another track name field to move
the current highlighted region (time segment)
to the selected track.
3) Click and drag across the top timeline bar
to select specific sections of time across all
tracks.
4) Double-click on one track to select the entire
24 hours of data.
Magnify tool, to select specific data lengths and
to expand the data time to fill the overview screen.
Click and drag with the Magnify tool to zoom
into a specific area. Double-click to double the
magnification.
The four gray zoom arrows in the upper-left
corner expand and contract the time axis (left
and right arrows) and change the displayed
number of automation tracks or parameters
(up and down arrows—choices are 1, 2, 3, 4,
6, 12 and 24 tracks), when clicked with the
mouse. The keyboard arrows are mapped to
control the same view display changes when
the Mix Editor is open (in combination with
the Alt key).
Eraser tool is used to remove the data inflection nodes.
Note: If you have another tool selected, pressing the Ctrl and Alt keys can temporarily
convert the current tool into the Pointer tool
and the Magnify tool, respectively.
Track view drop-down, changes the viewable
number of tracks or parameters from 1 to 24 in
selected increments. This duplicates the action
of the up/down zoom arrows.
Data view drop-downs (Page and Back), allow
two automation types to be viewed as foreground and background data (great for seeing
relational data like fader and pan, or surround
front/rear pan vs. L-R pan). The foreground data
(solid black) curve is subject to all clipboard operations, while the background data (gray) curve
remains untouched. To update either the foreground or background view, click on the dropdowns, drag across the type field and release the
mouse on the highlighted desired type.
Auto-scroll checkbox, when enabled, scrolls
the data window along with the timecode
while the current time cursor remains centered
in the window.
Auto-follow checkbox, when enabled, causes
the screen to update and place the last selected
channel strip or channel parameter to the topmost position in the window.
Channel View, when enabled, provides a view
of a single parameter across multiple channels.
dropThe parameter is selected in the Page
down box. When turned off, you can view
multiple parameters of a single channel. The
channels are selected in the Page drop-down
box, which includes the Master Fader and a
view of Snapshots written into automation.
Four green nudge arrows, when clicked with
the mouse, allow highlighted data regions to
be moved back and forth in time (left-right arrows), or values within the highlighted
regions may be incremented or decremented
(up-down arrows). The resolution of these
moves is relative to the current screen resolution, so the greater the zoom-in value, the
finer the resolution of any modifications.
Note that using the nudge arrows is a good
way to toggle mute events on and off by highlighting regions on a mute track and simply
nudging up or down to change mute states.
Flip View icon swaps the menu views in the
Mix editor. For example, if “Fader” is foreground and “Mute” is background, clicking on
the flip icon will toggle the view to show
“Mute” as foreground and “Fader” as background. Toggling the flip once more will flip
the view back to the original view of “Fader”
as foreground and “Mute” as background.
Owner’s Manual
Note: You can select multiple adjacent channel
parameters (in Channel View) or multiple adjacent
parameters by pressing the Shift key on the keyboard while clicking on tracks.
Track name box displays the channel strip
names as entered in the fader overview
screen or the Channel List. To move a highlighted time region to another track, simply
click on the track name box. Press Shift on
the keyboard to move a highlighted time region to multiple adjacent tracks.
Performance Note: For optimum graphic
update performance during automation and
playback (audio is unaffected by screen activities),
it is best to close all windows other than the Mix
Editor. A shortcut to close all windows is the key
combination [Ctrl-\] or click on the “Close All”
button in the bottom menu bar (although this
closes the Mix Editor, you can easily re-open it).
Mix Editor Arrow Shortcuts
The keyboard arrows correspond to the
screen arrows when the Mix Editor is in front.
Normally, the keyboard arrows increment or decrement the channel selection, and [Shift] [arrow]
selects multiple channels.
When the Mix Editor is selected (front-most
on the screen), the default arrow operation
moves the cursor left and right on screen. This
is good for use with the “Play From Selection”
command. Note that the cursor resolution is
based on screen pixel resolution, and to get an
exact cursor location, it is best to type numeric
values into the cursor time fields.
[Shift] [arrow] creates a highlighted region
from the cursor start point. Once a highlighted
region is selected, pressing the left or right arrows (w/o Shift) slides the highlight back and
forth. [Shift] [arrow] allows for expansion or
contraction of the region at any point.
On the keyboard, use [Alt] [arrow] to expand
and contract the horizontal and vertical axes.
Use [Ctrl] [arrow] to nudge a highlighted area.
Addendum
AD-9
Digital 8•Bus
2.4 The Event List (Updated)
The automation event list now displays
directional node data, instead of individual
events. This re-design was necessary because of the new Mix Editor operation,
which is the graphic counterpart of this linear event display.
The mix engine still scans for every
move (like a MIDI sequencer does), and
smoothly interpolates (ramps) the automation data. But now the overall playback
load is greatly reduced by producing
“nodes” (turning points—the squares in
the Mix Editor) and “slope” or “ramp vectors” (direction of movement—the
connecting lines in the Mix Editor).
In combination with the Mix Editor,
you’ll quickly see how events line up in the
Event List and how they are edited. Highlighting regions in the Mix Editor window
will highlight the corresponding data in the
Event List, and vice versa, when the appropriate view filtering is enabled.
The event display filters have been upgraded a notch, to display events by “page”
types, which are categorized as “Channels,”
“Snapshots,” and “Effects.” Selecting one
of these types allow you to view this major
event type in the Event List. The Event
List Channel is further broken down into
the fader, mute, pan, etc. views that are
familiar v1.03 Event List features.
In coordination with the Mix Editor, the
Event List provides for some nifty automation editing that should allow you to
spruce up a mix in short order. Remember,
it’s sometimes much easier to re-do an
automation pass in real time, but we have
offered these editing tools for the times
when you have to roll up your sleeves and
“get dirty.”
See also “Play From Selection” in section 5.1 for selected time region playback,
while working in the Event List Editor.
2.5 DSP Automation (New
Feature)
SUPER CD ENCODING
PREVIOUS
EQ
AD-10 Addendum
SELECT
SELECT
SELECT
SELECT
HELP
LOW
LOW MID
HI MID
HI
NEXT
ON
SETUP
MEMORY A
MEMORY B
GATE
COMPRESSOR
PLUG-INS
LOAD PATCH
SAVE PATCH
It is now possible to write DSP module
parameter settings (EQ, Gate, Compressor,
Effects), as sets of time-stamped events
into the dynamic automation using the
Memory A/B function, while rolling tape.
This is accomplished in two ways:
• Hold [Shift] and press either MEMORY
A or MEMORY B, with a channel DSP
module (EQ, Gate, Compressor) or a global Effects module selected.
Normally, Memory A & B settings aren’t
written into automation. The A/B DSP settings, however, are sometimes easily
overwritten by automation playback. For
example, just when you’ve finished working
on the perfect EQ, you hit the PLAY button
and “whoosh”, your EQ settings are gone.
Worse yet, you didn’t save them temporarily as the “opposite to current A or B
state” (whatever the hidden memory state
is), or save it in a snapshot, channel patch,
or as an EQ patch to disk. Remember, the
Memory A and B locations are just temporary storage buffers.
This new feature may be thought of as a
bridge between dynamic and snapshot
event automation. When used with the
“Disabled” playback mode, as set in the
Channel List (see page AD-32), you now
have a safe area where you can modify DSP
parameters (safe from chasing previous
automation moves) and then write the
modified values to the dynamic automation
track while tape is rolling.
For example, say you’re working on a
series of EQ changes for a sound track and
you’re moving from section to section,
changing and updating the EQ on one
channel. First, set the playback state to
“Disabled” in the Channel List. As you
proceed along the audio track timeline
(timecode is feeding the console), you
audition audio segments (possibly looped)
while updating the EQ.
When you’re ready to commit the EQ
changes to the channel’s dynamic automation track, press the panel [SHIFT] and
[MEMORY A or B] buttons simultaneously
(make sure timecode is rolling, BYPASS is
disabled, and ALL is enabled). Take a look
at the Mix Editor or Event List to confirm
the changes. At some point, you can reenable automation (for the individual
channel in the Channel List) and listen to
all of the re-played automation moves in
real time.
You can still recall patches from disk
into the EQ, compressor, gate, and effects
at any point, and commit them in the same
manner.
Addendum
Owner’s Manual
• Hold [Shift] and click with the mouse
pointer on either the MEMORY A or
MEMORY B button in any DSP section
in the Fat Channel page on the screen.
AD-11
Digital 8•Bus
2.6 Add Snapshot Event
(New Feature)
It is now possible to write snapshot
events into the dynamic automation offline,
using the “Add Snapshot Event” function
under “Edit” in the upper menu bar. The
snapshot is written to the dynamic automation buffer using the “Add Snapshot
Events” window, with a selectable time
entry and snapshot number.
This feature augments the existing capability to record snapshots to dynamic
automation in real time. For more information regarding real time dynamic snapshot
automation, please see chapter 7 in the
Digital 8•Bus Owner’s Manual.
Multiple snapshots may be added, with
varying times and values, while the “Add
Snapshot Events” window is open. Use the
tab key to navigate through the various
boxes, and click the “Add” button (or highlight the “Add” button and press [Enter])
to complete each snapshot event addition.
The snapshot values may then be further
edited for times and values using either
the Mix Editor or the Event List (select
“Snapshots” in the “Page” drop-down
menus). Each Add Snapshot action may
be undone, and redone, using the Undo
button.
See “2.13 Snapshot/Dynamic Automation Wrap-up” on page 20 for more
information about writing snapshots to
automation.
2.7 Insert Blank Time/Delete
Time (Updated)
Inserting Blank Time or Deleting Time
operations may be performed as in previous versions:
• Globally on all channels, on all events
and all parameters using the “Insert
Global Time...” function or the “Delete
Global Time...” function under “Edit” in
the upper menu bar.
Version 2.0 provides more options for
implementing this feature:
• By using the Mix Editor window and the
“Insert Blank Time” and “Delete Time”
functions, under “Edit” in the upper
menu bar, to operate:
1) globally on all channels, one event
type
2) locally on one channel’s “all parameter types” event set
3) locally on one channel’s singular
event type
AD-12 Addendum
TO INSERT GLOBAL TIME... ON ALL
CHANNELS, ALL EVENTS
This option lives under the Edit menu,
and is known in v1.03 as “Insert Blank
Time.” This function extends existing automation data values from the “Start At”
point of insertion, for the duration of the
time inserted. Events before the insertion
are unaffected. All later time-stamped
events, past the point of inserted time, are
pushed back in time relative to the input
values in the Start and Length boxes (i.e.
slid back in time for the insert duration).
This operation affects all channels, and all
parameters, on any and all automation
events that are within the current session,
as bracketed by this operation.
Initiating “Insert Global Time” opens a
dialog box that prompts you to insert numeric values into the time fields labeled
“Start At:” and “Length:.” The time fields
are displayed according to the SMPTE view
selection—whether you want to insert time
as increments of HR:MIN:SEC:FR or
BARS:BEATS:TICS. Select the start and
duration times using the mouse to point
and click, or using the keyboard [Tab] key
to navigate around the window. When
you’re ready to insert time, either click on
the [Insert] button or press the [Enter] key,
with the [Insert] button highlighted (using
the [Tab] key). You may also press “Cancel”
to exit without performing the operation.
The operation may also be undone, and
redone, using the [Undo] command.
Owner’s Manual
Note: You don’t need to open the Mix
Editor to Insert or Delete Global Time.
TO DELETE GLOBAL TIME... ON ALL
CHANNELS, ALL EVENTS
This option lives under the Edit menu,
and is known in OSv1.03 as “Delete Time.”
This function deletes existing automation
data values from the “Start At” point of deletion, for the duration of the time set in
“Length.” Events before the deletion are unaffected. All later time-stamped events, past
the point of deleted time, are pushed forward
in time relative to the input values in the
Start and Length boxes (i.e. slid forward in
time). This operation affects all channels,
and all parameters, on any and all automation events that are within the current
session, as bracketed by this operation.
Addendum
AD-13
Digital 8•Bus
“Delete Global Time” is only available
once automation data has been recorded.
Initiating “Delete Global Time” opens a
dialog box that prompts you to insert numeric values into the time fields labeled
“Start At:” and “Length:.” The time fields
will be displayed according to the SMPTE
view—whether you want to delete time as
increments of Hr:Min:Sec:Fr or
Bars:Beats:Tics. Select the start and duration times using the mouse to point and
click, or using the keyboard [Tab] key to
navigate around the window. When you’re
ready to delete time, either click on the
[Delete] button or press the [Enter] key,
with the [Delete] button highlighted (using
the [Tab] key). You may also press Cancel
to exit without performing the operation.
The operation may also be undone, and
redone, using the [Undo] command.
Note: The following require the use of
the Mix Editor window.
TO INSERT BLANK TIME GLOBALLY ON
ALL CHANNELS, ONE TYPE OF EVENT
Open the Mix Editor and make sure that
the Channel View is checked (so that all
channels are visible within the Mix Editor),
and that the event type you want to insert
time into is selected in the “Page” box.
Next, click and drag the Highlighter tool
across the Mix Editor time bar, selecting
all the channels for the desired amount of
time to be inserted. The highlighted
region’s beginning and ending boundaries
update the displayed values in the “Start”
and “End” time timecode boxes.
Select “Insert Blank Time” under “Edit”
in the upper menu bar and the operation
occurs as soon as you let go of (unclick)
the mouse on the Insert Blank Time selection. The operation may also be undone,
and redone, using the [Undo] command.
AD-14 Addendum
the Channel View is checked (so that all
channels are visible within the Mix Editor),
and that the event type you want to delete
time from is selected in the “Page” box.
across the Mix Editor time bar, selecting all
the channels for the desired amount of time
to be deleted. The highlighted region’s beginning and ending boundaries update the
displayed values in the “Start” and “End”
time timecode boxes.
Select “Delete Time” under “Edit” in the
upper menu bar and the operation occurs
as soon as you let go of (unclick) the mouse
on the Delete Time selection. The operation
may also be undone, and redone, using the
[Undo] command.
Owner’s Manual
TO DELETE TIME GLOBALLY ON ALL
CHANNELS, ONE TYPE OF EVENT
TO INSERT BLANK TIME GLOBALLY ON
ONE CHANNEL, ALL EVENT PARAMETERS
the Channel View is unchecked (so that
only one channel is visible within the Mix
Editor), and that the channel you want to
insert time into is selected in the “Page”
box.
across the Mix Editor time bar, selecting all
the parameters of the current channel for
the desired amount of time to be inserted.
The highlighted region’s beginning and ending boundaries update the displayed values
in the “Start” and “End” time timecode
boxes.
in the upper menu bar and the operation occurs as soon as you let go of (unclick) the
mouse on the Insert Blank Time selection.
The operation may also be undone, and redone, using the [Undo] command.
Addendum
AD-15
Digital 8•Bus
TO DELETE TIME GLOBALLY ON ONE
CHANNEL, ALL EVENT PARAMETERS
the Channel View is unchecked (so that
only one channel is visible within the Mix
Editor), and that the channel you want to
delete time from is selected in the “Page”
box.
across the Mix Editor time bar, selecting
all the parameters of the current channel
for the desired amount of time to be deleted. The highlighted region’s beginning
and ending boundaries update the displayed values the “Start” and “End” time
timecode boxes.
as soon as you let go of (unclick) the
mouse on the Delete Time selection. The
operation may also be undone, and redone,
using the [Undo] command.
TO INSERT BLANK TIME LOCALLY ON ONE
CHANNEL, ONE PARAMETER
the channel or singular parameter you
want to insert time into is selected in the
“Page” box. It is your choice as to whether
you’d like to view all channels with one parameter shown (Channel View checked), or
one channel’s full set of parameters (Channel View unchecked). We’re just selecting
one parameter on one channel, for this example.
across the automation track for the desired
amount of time that will be inserted. The
highlighted region’s beginning and ending
boundaries update the displayed values the
“Start” and “End” time timecode boxes.
in the upper menu bar and the operation
occurs as soon as you let go of (unclick)
the mouse on the Insert Blank Time selection. The operation may also be undone,
and redone, using the [Undo] command.
AD-16 Addendum
the channel or singular parameter you want
to delete time from is selected in the
“Page” box. It is your choice as to whether
you’d like to view all channels with one parameter shown (Channel View checked), or
one channel’s full set of parameters (Channel View unchecked). We’re just selecting
one parameter on one channel, for this example.
across the automation track for the desired
amount of time that will be deleted. The
highlighted region’s beginning and ending
boundaries update the displayed values the
“Start” and “End” time timecode boxes.
as soon as you let go of (unclick) the mouse
on the Delete Time selection. The operation
may also be undone, and redone, using the
[Undo] command.
Note: If the screen resolution isn’t fine
enough for the insert time region that
you’ve highlighted with the mouse, you can
type the exact values into the Start and
End time regions in the Mix Editor tool bar
(a region must be highlighted for this numeric entry update to occur).
Owner’s Manual
TO DELETE TIME LOCALLY ON ONE
CHANNEL, ONE PARAMETER
2.8 Modify… (Updated)
Formerly called “Modify Levels,” this
feature is found under Edit in the upper
menu bar (Ctrl-M). It has been deactivated
for the Event List. It is much more effective
working with the event filter views in the
Mix Editor.
“Modify…” operates on one parameter
at a time, on automation data using the
graphic Mix Editor, and on static settings
on the front panel. The Modify window allows you to change a parameter in one of
four ways.
Trim Level: This mode allows you to
modify a parameter in steps, each step being 1/256 of the total range of control (from
-127 to +128 steps).
Set Absolute: This allows you to set the
absolute level of the parameter in dB (if it’s
a level control) or in steps for the pan control.
Set Min.: If modifying a static control on
the front panel, this sets the parameter to
the minimum value specified if it is currently below that minimum value.
Addendum
AD-17
Digital 8•Bus
If modifying a highlighted region in the
Mix Editor, it sets any portion of the highlighted region that is below the specified
minimum value to the minimum value.
Set Max.: If modifying a static control
on the front panel, this sets the parameter
to the maximum value specified if it is currently below that maximum value.
If modifying a highlighted region in the
Mix Editor, it sets any portion of the highlighted region that is above the specified
maximum value to the maximum value.
2.9 Write Ready (New Feature)
D8B
Solo
(GENERAL
Surround
MIDI
D8B
<-
PRE
On
56 INPUT / 72 CHANNEL DIGITAL MIXER
ROLL
Off
SETUP Pg1 ->)
AutoSave
WRITE
On
READY
Off
Warning: The transport RECORD MASTER
button can enable both audio recording and
automation writing simultaneously. If “Record
Safe” is disabled (checkbox), the “Use Write
Ready” is enabled (checkbox), automation is not
bypassed (BYPASS off), AUTO TOUCH is off, and
either the channel WRITE or channel REC/RDY’s
are flashing and in standby, then pressing the
RECORD Master will enable all WRITE and
REC/RDY buttons (the blinking LEDs light solidly), if timecode is rolling. WOW, what a
mouthful of logic.
AD-18 Addendum
->
When this function is enabled, the
transport Master Record button becomes a
Master Write button, to function as a global Master write enable for the absolute
and (absolute) trim dynamic automation
modes.
When “Use Write Ready” is toggled
(click on “Setup” in the lower menu bar
and select “Mix Options,” or under the
GENERAL MIDI Setup menu in the Fat
Channel Display), this is the only mode
where flashing standby Write LEDs occur.
Individual channels will remain in write
standby (if write armed) up until the point
that the Write Master is engaged
(timecode must be rolling), and will return
to standby mode when the master Write is
toggled off. “Standby” is the flashing LED
mode, “Armed” is the actively writing solidly lit LED mode.
Conversely, when “Use Write Ready” is
disabled, and absolute and (absolute) trim
dynamic automation is enabled, any channel Write may be immediately punched in
and out of armed status. There is no
standby mode. Tape needs to be rolling for
the channels to be armed. The transport
Record Master only applies to MMC control (Record enable).
Please note: The Record Safe and
Master Write toggle functions provide
protection against the overwriting of audio
and automation data.
Check the “Mix Options” preferences when in
doubt.
Operational note: Automation Write is disabled
when the D8B is not receiving timecode. Pre-enabling channel Write buttons is not possible, due
to the nature of timecode reading and automation writing from dead stop. Enable “Use
Pre-Roll” or “Use Write Ready” in the Mix Options to assist in punching in automation at the
correct time.
Click on “Setup” in the lower menu bar
and select “Mix Options,” or press GENERAL in the Setup Section and select MIDI
menu in the Fat Channel Display.
a) “Single Button Record” preference
checkbox applies to the Record Master
transport button. It applies to both writing
dynamic automation and recording audio. It
allows you to turn the Master RECORD
button on and off without holding down the
PLAY button simultaneously.
b) “Record Safe” preference checkbox
applies to the Record Master transport buttons for MMC Rec/Rdy and Master Record
commands. It disables/enables outgoing
MIDI (MMC) Rec/Rdy and Master transport record messages.
Note: The REC/RDY buttons do not light
when Record Safe is enabled.
c) “Use Write Ready” preference
checkbox applies to the Record Master
transport button for absolute and (absolute)
trim automation modes. It allows the
RECORD button to be used as a Master
Write button.
Note: Channel Write arming prior to receiving timecode is not allowed for Auto
Touch write mode, or when “Use Write
Ready” is not enabled. The only mode
where channel WRITE buttons may be
placed into Write mode (Standby) before
timecode is received is the Absolute mode,
using Write Ready. Once time code is received, channels may be Write enabled and
disabled manually.
Troubleshooting Tip:
Note that an individual channel may be
write disabled in the Channel List, located
under “Channels” in the upper menu bar.
Owner’s Manual
2.10 Dynamic Writing/Record
Logic Preferences
2.11 Set Default Levels
(New Feature)
On a selected fader or faders, this function will wipe the Fader (only) automation
track clean and then place two data points
on the track equal to the current fader position—at the beginning (00:00:00:00) and
end (23:59:59:29) of the track. This is an
off-line function.
Set Default Levels is used to set rough
mix levels when you feel you are close to
actually writing moves for a rough mix. The
end point makes sure that at punch out, the
fader will snap back to the previous set
level (a common desire for those little
punch ins and outs) where the original level
is always resumed after the punch out. This
operation mimics the Write Flyback function, described next.
Addendum
AD-19
Digital 8•Bus
2.12 Write Flyback (New Feature)
1) Write Flyback Enabled
2) Write Flyback Disabled
This feature provides a choice for the
punch-out ending level of an automation
pass. You can choose to either leave levels
at the current state or to snap levels back
to the original state.
This feature only affects parameters on
automation passes when a parameter is recorded for the first time, or when there is
only parameter data preceding the current
punch in and out points.
The purpose of the Write Flyback feature
is to establish a rough mix on any given
channel at the point when the channel is
first punched in, so that a default level may
be maintained right up to 23:59:59:29.
Whether Write Flyback is enabled or not,
any subsequent punches that occur after the
last dynamic event on a track, will always
“rubber band” snap back to the original level
.
state upon punch out
There are also applications when you
may not necessarily want to have the automation track return to the original level,
such as an ending track fade, where the
levels started high, but end low, or for an
effects parameter that goes from one state
to another and remains that way for the
rest of a song. Disable Write Flyback when
you don’t want the OS to create final levels
.
for you
As a default, this box is checked (enabled), and acts similarly to the Set
Default Levels function, although Write
Flyback is a real time process, whereas
Set Default Levels is an offline operation.
2.13 Snapshot/Dynamic
Automation Wrap-up
Automated Mixing 101, D8B-Style
There are a few basic ways to go about
automating a session on the D8B. The first
is an analog-style approach, where you continually update the console parameters with
automation bypassed (off-line) until you’re
ready to write to automation. Automation
may then be brought online and parameter
moves recorded, a few fader rides made,
and eventually the song is mixed down to
two tracks (or more for surround).
A second approach is to recall snapshots dynamically, similar to recalling
synthesizer patch settings, but in a complete console sense relative to automation.
The engineer sets up and stores a series of
similar (or wildly different) console states
as snapshots, and then recalls and writes
the snapshots into dynamic automation, either in real time or using “Add Snapshot
AD-20 Addendum
• Once an individual parameter’s dynamic
automation track has been established, any subsequent snapshots that are stored or recorded in
the automation playback will ignore that parameter. Similarly, once you start dynamic automation,
dynamically recalled snapshots are never quite
the same.
If events are already present in the Mix Editor that are unexpected, it probably means that
one or more dynamic snapshots have been recorded. For every pre-existing snapshot, an
event of each parameter type will be created at
that snapshot’s timestamp.
An example might best explain this. A dynamic automation track has the following events
in the following order, with a focus on channel
strip fader 1’s level:
Time
Snapshot
00:01:00:00
Snapshot 1
00:01:20:00
Snapshot 2
00:02:00:00 to 00:02:30:00
00:02:45:00
Snapshot 3
00:03:00:00 to 00:03:30:00
00:03:15:00
Snapshot 4
Owner’s Manual
Event…” (under Edit in the upper menu bar) at
specific timestamps. Final mixdown is fully automated—hit the PLAY button on the console and
the Record button on your mastering deck.
You can use both of these mixing techniques,
where snapshots (as individual mega-events) are
mixed with individual dynamic automation events
(pan swerves, fader rides, EQ bumps, etc.). Remember that any of the automatable parameters
can be members of a console snapshot.
In order to mesh these two mixing approaches
(without experiencing level hiccups), keep these
things in mind (troubleshooting tips and an example follows this explanation):
1) A snapshot created before a dynamic automation pass automatically creates a separate
dynamic event of the specific automated parameter type at the snapshot’s timestamp (in the
dynamic automation data), when that specific
given parameter is first punched in (refer to the
tips and example).
For example, if there are 10 snapshots recorded to play back during automation, as soon as
fader 1 is write-enabled and punched in, there will
be 10 fader 1 level events created in addition to
the fader 1 events written during this pass, and
each of these 10 events will have a level equivalent to fader 1’s level that was present in the
individual snapshots.
2) Snapshots created after a parameter has
been dynamically automated will not write its levels to that parameter. In the above case, fader 1
would be ignored by the snapshot (i.e., the
snapshot’s fader 1 level is not written to automation, but other channel 1 parameters are).
The following observations pertain to meshing
dynamic and static automation in this OS version
implementation:
• While tape is rolling, if a parameter doesn’t
change or move when a snapshot is recalled during automation playback (most noticeable during
fader recall), then that parameter may have dynamic automation events occurring on its
automation track. The engineer may check to see
if these events exist by opening the Mix or Event
Editor and toggling the correct parameter filter
for the specific channel parameter of interest.
If this causes an inconvenience, delete all of
the individual automation events for that specific
parameter (use the Event Editor and the “Select
All” [Ctrl-A] and “Cut” [Ctrl-X] Edit commands),
and again store the snapshots with desired levels,
before proceeding with dynamic automation on
that specific parameter.
• Subsequently created snapshots will not affect any parameter that has been dynamically
automated. This is closely related to the last item.
Again, if this causes mixing inconvenience, delete
the individual events of that specific parameter’s
automation track, and again, re-store the snapshots with desired levels, before proceeding with
dynamic automation on that specific parameter.
Condition
Fader 1 level stored at –20 dB
Fader 1 events range from Unity to –10 dB; the last event level is at –2 dB
Fader 1 events range from Unity to –10 dB; the last event level is at –4 dB
Fader 1 level stored at –25 dB in the middle of the last fade
The levels we know for sure are:
Fader 1 level from 01:00:00 to 01:20:00 is
–20 dB
–23 dB
–2 dB
–24 dB
Dynamic levels from 2:00:00 to 2:30:00 are
what they are.
A couple of scenarios:
1) If snapshots 1,2,3 and 4 were stored and
recorded into automation first, and then the
fader automation occurred, as soon as the dynamic fader automation was punched in, 1 event
for each of snapshots 1,2,3 and 4 would have
been written into the fader track. After that,
snapshots would have ignored fader 1, i.e., not
stored fader 1 levels, or recalled those levels,
even if a previous snapshot #5 was written into
an automation pass. The only way to get snapshots to control the fader 1 level again would be
to erase all dynamic fader 1 moves from the
automation track.
2) If snapshots were added after any automation of fader 1 had occurred, they would be
ignored as to updating fader level 1.
Fader 1 level from 03:00:00 to 03:30:00 is not
affected by the “–24 dB snapshot” if the snapshot was entered after the automation had been
created.
For Fader 1 level from 03:00:00 to 03:30:00,
if the snapshot was entered before the automation had been created, the timestamp at 3:15:00
would be created at –25 dB and remain so until
overwitten. Deleting the snapshot playback at
3:15 would not affect this –25 dB event, either.
Addendum
AD-21
Digital 8•Bus
Performance Notes: For optimum graphic update
performance during automation and playback (any
audio is unaffected by screen activities), it is best
to close all windows other than the Mix Editor. A
shortcut to close all windows is the key combination [Ctrl][\] or press the onscreen bottom row
button titled Close All (although this will close the
Mix Editor, you can easily re-open it).
The general smoothness of faders and automation data recording and playback has been
improved. MIDI I/O is 8 ms accurate and automation performance is < 1 frame accurate.
AD-22 Addendum
3.0 DSP Features
3.1 New Fat Channel (New Feature)
The new on-screen Fat Channel is one big,
lush overview window to give you the exact parameter state of a channel at any given point
(and, of course, it’s possible to record and playback dynamic automation from this window as
well).
New features include 1) new EQ functions, 2)
really cool “VU type” (but not true VU; these are
actually full scale dB meters with an averaging
response) gate and compressor meters, and 3) a
choice of metering the Input, Output, or Reduction function for the gate.
The Fat Channel overview is opened and
closed by clicking on the “Fat Channel” button in
the lower menu bar, or by pressing [Ctrl] or [Alt]
[7] on either the keyboard or panel. The shortest
way to open and close the Fat Channel is to
double-click on a channel SELECT button.
There are now four EQ choices: 4 band parametric, 20/20 EQ, British EQ (new mode), and
British H/P (new mode). The currently deemed
default is the “British EQ.” A quick summary of
the EQ choices follows:
British EQ:
Low-band hi-pass filter, 2 mid-parametric
bands and a high-band low-pass filter
British H/P:
Low-band hi-pass filter, 3 upper-parametric
bands
EQ types are saved and recalled with patches,
snapshots, and sessions, and transferred via
clipboard operations.
EQ-type storing note
The EQ-type parameter in version 1.03 was
not stored (or subsequently recalled) in the
patch or session files.
If you have used the 20-20kHz EQ type in a
v1.03 session, it will default to the 4-band parametric type when opened with version 2.0. You
will have to change the EQ type back to 2020kHz and resave the session. The EQ type
information will now be saved with the session.
4-band Parametric:
4 parametric bands with analog style overlaps
Owner’s Manual
3.2 Four EQ Types (New Feature)
20/20 EQ:
4 parametric bands with full 20Hz to 20kHz
frequency sweep on each
3.3 Fat Channel I/O and
Compressor Reduction Metering
(New Feature)
The Fat Channel window features two
analog-style meters in the Compressor and
Gate sections. They are scaled from –20 dB
to 0 dB FS, in 1 dB increments.
Although these meters sit inside the
Compressor and Gate areas, they are not
specifically dedicated to these functions.
The meter in the Compressor section indicates the amount of gain reduction
applied by the Compressor. Thus, when
there is no signal applied, the Reduction
meter indicates 0 dB of reduction, with the
needle all the way to the right. As the signal level increases above the Threshold
setting of the Comressor, the needle moves
down, indicating the amount of compression being applied at any given moment in
time, to a maximum of 20 dB of reduction.
Note that the Reduction meter is triggered by the Compressor function only, and
does not indicate the closing or opening of
the gate.
The meter in the Gate section indicates
either the input signal level or the output
signal level, depending on the setting of the
Meter switch next to the meter. This setting is global and is not recalled with any
individual channel. The default meter setting is “In” (Input level).
The I/O Signal meter displays the channel input signal, as measured at the
post-Digital Trim/pre-Compressor point.
The channel output is measured at the
post-Gate/pre-EQ point, with a range of –20
dB FS to 0 dB FS, where the best signal-tonoise range is. Even though this meter
Addendum
AD-23
Digital 8•Bus
occupies a chunk of screen real estate in
the Gate region, the needle movement, is
not directly displaying the Gate operation,
but instead reflects the total gain contribution from the Digital Trim, Compressor, and
Gate functions (when “Out” is selected).
Additionally, on the I/O Signal meter
there is a “signal present” indicator (the
green LED), which lights if the signal is
above “minus infinity” dB (the same minimum range as the channel meter bars). At
–20 dB FS, the needle movement kicks in.
The red LED, on the bottom right of the
meter, is a “gate threshold” indicator and
lights up to indicate when the Gate is on.
Remember that additional channel metering is found on the console’s channel
strips (post-EQ, pre-Fader) and also at the
dual-solo meters (sharing duties with the
L-R meters), indicating either PFL (postEQ) or AFL levels, as determined by the
solo section assignment.
PDI•8
4.0 Input/Output Features
AES/EBU I/O
4.1 PDI•8 (New Feature)
AD-24 Addendum
The D8B will sense when a PDI•8 card
has been installed. (The PDI•8 card provides eight channels of AES/EBU I/O on a
25-pin D-Sub connector.) The Digital I/O
menu in the Fat Channel Display (or the
Digital I/O window under Setup in the
lower menu bar) allows you to enable
sample rate conversion on digital audio input pairs, and choose whether the digital
audio status bits are set for consumer or
professional specs.
If any of the card slots have the PDI•8
card, a “Setup” button appears in the Digital I/O Setup window, in the “Input” row.
Press this button and another window
titled the “AES/EBU Setup” appears.
There will be four AES/EBU pairs listed,
for which the sample [Rate Converter] and
[Status Bits] may be set.
Tape
1-8
Tape
(DIGITAL I/O SETUP Pg.1)>
9-16 Tape 17-24
ALT 1-8
D8B
<Ch.1-2
RateConvert
On
Bits
Pro
(AES/EBU IO)>
Exit
Addendum
Owner’s Manual
D8B
To access this setup from the Fat Channel Display, press the Digital I/O button in
the Setup Section, and then press the SELECT button under the appropriate card
slot. AES/EBU -> is displayed in the upper
right corner, and by pressing the right
NEXT (->) arrow, you can access each
AES/EBU I/O pair configuration. Rate converter and status bits may be toggled to the
desired state under the appropriate menu
item. Press the PREVIOUS (<-) button any
number of times (depending on which pair
was being configured) to return to the Digital I/O main page.
Sample rate conversion may be defeated
or enabled, as desired, by toggling the Rate
Converter on or off. The following applications might help to clarify the need for the
rate converter to be enabled or not.
1) In conjunction with the Clock I/O
Card, if the console is a slave to the studio
clock and all other devices connected to the
console are slaves to this same studio
clock, then the Rate Converter does not
need to be checked or enabled.
2) If the console is acting as the master
clock source, sending out word clock via
the DIO•8 card’s BNC word clock, or ADAT
word clock, or the AES/EBU output, to any
device that acts as a slave to this clock,
and this external device is in perfect sync
with the console, then the rate converter
does not need to be checked or enabled. An
example of this might be an effects device
that has AES/EBU I/O, connected to a
PDI•8 card in the ALT I/O slot.
3) If for any reason the console is not in
clock sync with the external device, the
rate converter should be checked and enabled.
Professional and consumer status bit
settings apply to the output of the PDI•8.
The “Pro” setting configures the digital output according to the AES/EBU standard,
and “Consumer” configures the output according to the S/PDIF standard. The
default setting is “Pro.” It is best to check
the user’s manual for the external device’s
input status bit type and then configure the
AES/EBU Setup accordingly. Usually these
devices (DAT decks, etc.) have rocker pins
on their back panels that may be set in
some manner to determine their output.
Note: Please see the next section, “ALT
I/O,” for information regarding a change in
the output source selection for the PDI•8
card.
AD-25
Digital 8•Bus
4.2 ALT I/O Update (New Feature)
SETUP
SAVE
SAVE AS...
NEW
LOAD
GROUP
GENERAL
PLUG INS
DIGITAL I/O
OS v1.03 software allowed you to
choose the output in groups of either Bus
1-8 or Aux 1-8. OS v2.0 now allows for individual bus or aux outputs to be assigned
as sources, additionally including Auxes 9,
10, 11, 12, and the Left and Right Main
Mix buses.
TO RE-ASSIGN THE OUTPUTS:
D8B
Tape
<-Alt
Bus
1-8
1
1
Tape
(DIGITAL I/O SETUP Pg.1)>
9-16 Tape 17-24
ALT 1-8
D8B
Alt
Bus
2
2
Alt
Bus
3
3
Alt
Bus
4
4
->
From the console:
Press the DIGITAL I/O button in the
Setup Section, and select “Alt 1-8.” Press
the right arrow button until “Alt 1, Alt 2,
Alt 3, Alt 4” appears in the display. Press
the SELECT buttons below the Fat Channel Display to toggle through the various
output sources available for each Alt Output.
TO RE-ASSIGN THE OUTPUTS:
From the screen:
Click on the “Setup” button in the lower
menu bar and select Digital I/O. Click on
the “Setup” button next to Sources in the
ALT 1-8 box to open the Alternate Output
Sources window. Click and hold on any of
the drop-down menus for each of the ALT
I/O output sources. The routings are saved
with the session files.
Digital Bus Inserts
A nice benefit of using the PDI•8 card
and the ALT I/O source configuration is
that it allows you to assign channels to
buses, output the buses digitally to an external effects or dynamics processor, and
return the processed signal digitally to the
L-R bus (via ALT I/O Returns assigned to
Left Mix and Right Mix).
Note: For the OSv2.0 update, the stereo
solo bus is not available to be sourced from
the ALT I/O, which would probably only be
needed in the case of cascading consoles.
Please refer to the Cascading Consoles
section for setup options relative to cascading solo.
AD-26 Addendum
The purpose of networking consoles using
Ethernet is to:
• provide hard drive access across a network for
file sharing and backup purposes.
• allow logic control between two cascaded consoles.
• allow logic control over a console via a computer running the appropriate D8B specific
controller software (available in a future version).
The hardware and addressing configurations
are described next. Cascading consoles is discussed in the next section, after the network
discussion.
Wiring hookup
To connect the D8B to an existing network (via
a hub), use a standard, straight-wire, RJ45 connector or a BNC connector.
In a direct-network configuration, where one
console is connected directly by Ethernet to another, a reverse wired Ethernet cable is necessary.
Transmission lines (Tx) must be reversed in the
cable connectors in order to feed the corresponding Receive lines (Rx). Cables may be found at
many computer equipment retailers, pre-wired in
this configuration, for this application.
When using BNC connectors in a direct-network configuration, use BNC T-connectors to
daisy-chain the consoles together or to a network
hub. You must use a 50-ohm terminator on the Tconnectors at the outermost ends of the chain.
(There should be no open ends on any of the Tconnectors.)
Network Configuration
Let’s start with a short description of some of
the features (and acronyms, of course) of the Network setup:
TCP/IP is the acronym for Transport Control
Protocol/Internet Protocol. These combined protocols provide the language and guidelines for
computers communicating on a network. Transport Control Protocol might be considered the
method by which computers talk and the Internet
Protocol is the assigned number system by which
computers are distinguished. An IP address is a
numeric identifier in the format 123.456.789.000.
Each computer that is attached to the Internet
(WAN/Wide Area Network) must have a unique IP
address so it may be identified. Likewise, in a
closed networking environment (LAN or Local
Area Network), a unique IP address must be assigned to each computer that communicates on
the network.
Although LAN computers may connect to a
WAN, such practice is typically achieved by the
use of a “Gateway” and/or “Firewall.” A gateway
will act as a conduit for networking traffic and
computers that communicate through the gateway will assume the IP address of the gateway.
In other words, if your personal computer, which
is connected to your LAN, has an IP address of
10.1.1.1 and it is connected to the Internet
through a gateway computer with an IP address
of 123.456.789.123, other computers will recognize your computer as having the same IP
address as the gateway computer. Multiple LAN
computers may be connected to a WAN by this
method and every computer communicating
from behind the gateway will appear to the WAN
as the gateway computer. The gateway will convert the IP addresses of the LAN computers to
its own IP address for both inbound and outbound traffic.
A firewall is a hardware and/or software device that allows definable filtering of specific
information, file types and network access. It is
often used for security purposes—if your hard
drive and console are networked, you might
want to carefully research the need for firewall
protection.
Disclaimer: Sorry, Mackie Designs cannot offer the service or knowledge that you might
personally need on the broad and seemingly
complex issue of networking security. Please
seek guidance from professional computer service types.
FTP is the acronym for File Transfer Protocol. FTP communicates over TCP/IP and is one
of the languages/methods that the Transport
Control Protocol accommodates. As its name implies, FTP was designed to transfer files over a
network. Some of the unique capabilities of FTP
are the recognition of transmission loss and file
integrity checking. If a file transfer is interrupted during an FTP session, the FTP “client”
will perform an integrity check and attempt to
re-establish connection and transfer. Most FTP
servers and clients employ a user name and
password scheme for authorization purposes.
The Digital 8•Bus FTP implementation sets the
client account to anonymous status, thereby allowing any fully functional FTP client to connect
to the internal file system of the mixer. Because
it’s possible that an unknown computer may connect to the mixer and/or add and delete files,
care should be taken when connecting the mixer
to a publicly available network (WAN).
Note: You must use an FTP client to access
the D8B over a network, such as WS_FTP® Pro1
(for Windows) or Fetch2 (for Macintosh). You
cannot use a Web Browser for this purpose.
1
2
Owner’s Manual
4.3 Networking Consoles (New Feature)
WS_FTP® Pro is a registered trademark of Ipswitch, Inc.
Fetch is Copyright 1997, Trustees of Dartmouth College
Addendum
AD-27
Digital 8•Bus
TCP/IP Addressing—By default, the
following IP addresses (“Master” and
“Slave”) and Subnet Mask settings are
used on the Digital 8•Bus:
Master—10.1.1.1
Slave—10.1.1.2
Subnet Mask—255.255.0.0
Gateway—Same as corresponding Master or Slave IP address except when used
on a LAN connected to a dedicated gateway. In such instances, the gateway IP
address would be set to that of the gateway computer. Users should be aware of
certain security issues as defined on the
previous page.
Advanced Settings button:
This allows you to define the TCP/IP
settings manually. Highlight the area and
simply type in the new numbers—make
sure that the proper 255.255.255.255 format is followed.
Default Option button:
Resets TCP/IP settings to defaults as
defined above.
Enable FTP Server checkbox:
This allows remote file transfers to and
from FTP clients that have access to the IP
address range (explained below) and Subnet,
as defined in the advanced options dialog.
Example:
There are a number of FTP clients
available for both PC and Macintosh platforms. This generic example may not
exactly reflect the settings for your particular FTP client software, but it should
be close enough to get you on the right
track if you’re having difficulty.
• First create a new account for connecting to the D8B in FTP.
• If there is a “Profile” or “Account” name
setting, choose a name like D8B.
• For “Host” (Name/Address), use the
D8B IP address you want to connect to.
If it’s a master, the default address is
10.1.1.1 (or 10.1.1.2 for a slave).
• If you must choose a “Host Type,” choose
Automatic Detect (or UNIX Standard).
• For “User ID,” use Annonymous or
leave blank.
• If there is a “Password” setting, you can
leave it blank.
• If there is a “Directory” setting, set it to
“C:”.
• The Subnet setting on your computer
should be set the same as the D8B.
AD-28 Addendum
Network Gotcha’s: Here are a few things to
watch out for...
10baseT vs. 100baseT
The console’s Ethernet card is hardware configured to operate at 10Mbps. If you wish to
connect a D8B to an existing Ethernet network
that is configured for 100Mbps transmission
rates, it is necessary to use a 10/100 autosensing
hub and/or a rate converter.
IP Address Ranges
Without detailing the intricacies of network
security and firewalls, you should be aware that
configuring the console with a publicly available
IP address on a publicly available network may
make the console’s hard drive and functions visible to network traffic, i.e., the Internet. When
connecting two consoles directly, without including an outside network, this is a non-issue.
Certain IP address ranges have been set aside
by key Internet standards bodies for use in private networking applications. Those ranges are
as follows:
10.0.0.0—10.255.255.255
172.16.0.0—172.31.255.255
192.168.0.0—192.168.255.255
Owner’s Manual
Note: To set up your network connection and
TCP/IP settings on your computer, please refer to
your computer’s documentation.
Now you should be able to engage the “Connect” command and see the contents of the Digital
8•Bus’ hard drive. If you receive any FTP errors
regarding “directory listing,” change the remote
directory being searched for to “C:”.
Now you can copy files from the D8B to your
computer, or from your computer to the Digital
8•Bus.
Note: A folder named “System,” and files entitled “mackieos.EXE” and “PME.SYS” will be
visible on the hard drive, which is hidden from
normal D8B file activity. These are all part of the
operating system and should be left intact. Do not
delete any of these files from the D8B hard drive!
If your D8B is connected to a network that
never “touches” another network, i.e., not publicly available outside of your network, you may
use any IP address range you choose. However,
research and consideration in this matter should
be conducted to prevent any unwanted breaches
of security and IP address conflicts. For further
details, you are encouraged to seek additional
information from the following organization.
Internet Assigned Numbers Authority:
http://www.iana.org
Addendum
AD-29
Digital 8•Bus
4.4 Cascading Consoles
(New Feature)
Cascading simply means connecting
two consoles together. You can currently
cascade a maximum of two consoles. One
console acts as master and the other as
the slave mixer. They function as separate
mixers, but the slave mixer submixes into
the main mixer via 8 audio paths (assignable buses via the ALT I/O slot), and a
subset of the controller functions may be
accessed from either console (solo, V-Pot
control, cue assignment and fader bank selection).
Note: You can only cascade two consoles together, but you can network more
than two consoles.
To enable Cascading, click on the Setup
button in the lower menu bar and select
“Network” (there is no console equivalent
for this function). The Network window
contains the following checkboxes and
drop-downs to cascade the console after
networking has been established.
Cascade Mode (Master, Slave or Off
choices)
Determines which console will act as
Master and which console will act as
Slave. The Off option bypasses network/
cascade modes.
Transmit Options
These checkboxes link the following
cross-console operations:
Fader Banks
Allows simultaneous fader deck selection on cascaded consoles; e.g., all Bank 1,
all Bank 2, etc.
Aux Strip
Allows simultaneous aux strip selection
on cascaded consoles; i.e., all Aux 1 control, all Pan control, all Level To Tape
control, etc.
Cue Controls
Allows simultaneous Cue Section selection on cascaded consoles; e.g., calling up
Near Fields or changing the master level
speaker output occurs simultaneously on
both consoles.
Solo Logic
Allows the solo mode and solo logic to
work cooperatively across cascaded consoles. Note that it would probably be
advantageous to cascade the solo bus
across from the slave to the master console (see “Audio Connections” next).
AD-30 Addendum
to the AES/EBU input and output, and the Rec/
Rdy on the deck enabled. Since some people
have asked for this feature, it is now available.
Please be careful on behalf of your ears and your
tweeters.
Word Clock Connections—Clock Master/Slave
configuration
1) The Master D8B’s ALT I/O PDI•8 SRC’s
(sample rate converters) are engaged by default
to convert the incoming bus word clock/sample
rate from the Slave console, for digital audio
alignment. Defeating these SRC’s will probably
result in audio dropout, unless the D8B Clock I/
O card is used. The Master console will then be
able to follow a master studio clock and these
sample rate converters may not be necessary, depending on the configuration.
2) Important word clock note regarding direct
out assignment between consoles: When consoles
are cascaded, and the DIO•8 cards are used for
either ADAT optical or TDIF digital audio connections, cross patching the direct outs between
consoles feeding sets of MDM’s (digital multitracks) may result in audio dropout. For
example, if decks 1,2,3 are connected to the
master D8B and decks 4,5,6 are connected to
the slave D8B, do not attempt to patch between
decks 1,2,3 and 4,5,6 unless you circumvent the
ADAT or TDIF connection somehow by using
AES/EBU (SRC’s) or analog audio paths. The
slave D8B and the master D8B are not at the
same clock rate.
This situation will be remedied when the D8B
Clock I/O card is released (scheduled after
OSv2.0 is released). A possible work-around for
now is to swap the MDM 8-channel tapes between decks, to keep the digital audio under one
console’s clock. Just don’t forget to swap back
the tapes afterwards. Or if you’re overdubbing
and run out of tracks on one console, re-patch
the source into the other console (gadzooks!). If
you want to maintain the channel settings, save
them as a channel patch to diskette, then load
the channel into the other console. Make sure to
reset the analog trims and Level To Tape controls properly for the new source channel.
Owner’s Manual
Audio Connections
Cascade function, Audio I/O, and suggested
hookup:
Two cascaded consoles consist of a submixing
arrangement that bridges 12 audio channels
across the two consoles. The following audio
channels feed from the slave to main console:
1) 8 ALT I/O buses of your choice (from 22
available bus choices, listed in the ALT I/O source
menu).
2) The L-R mains from the slave console AES/
EBU out, to the master console AES/EBU in.
3) The slave console’s control room output,
connected to one of the main console’s analog 2
track inputs.
You can use either the AIO•8 (analog) or
PDI•8 (digital AES/EBU) card in both consoles.
(When the Clock I/O card is available, you will be
able to use the DIO•8 cards for this purpose, as
well.)
When you link the audio buses via the ALT I/O
slot, you tie up the Master console’s ALT Input
and the Slave console’s ALT Output. Note that the
Master console’s ALT Output is still available to
send either buses or auxes out. The Slave
console’s ALT Input is still available for inputs to
the Return channels 1-8 (Fader Bank 4).
The slave console’s control room output is connected to one of the 2 Track Inputs at unity gain
(good for a “set and forget” level setup, if the
speaker level V-Pot is tied via the control room
cascade choice).
The Digital AES/EBU input now sums into the
Main L-R bus, only when a console is designated
as “Master” as set by the Cascade Preference under Setup. The master console’s AES/EBU input
will sum with its Master L-R bus, at unity gain
(you can still attenuate the slave console’s main
fader to change the slave’s L-R feed to the master
console). The slave console can then accept a
mastering DAT into its “spare” AES/EBU input,
for playback check.
The AFL/PFL Solo audio output from the slave
console’s control room output (as well as the
slave’s normal control room output, when solo is
disengaged) is bridged to the master console’s
control room output, and the mixdown solo audio
output from the slave’s mains is bridged to the
master console’s mains. The solo logic between
consoles is bridged via the Ethernet connection.
Please note: In case you’ve figured out that
you can fool the console by setting it to Master
status in the Cascade preferences in order to
route the AES/EBU input to the L-R bus, BEWARE! This is one great way of getting a
feedback blast if you have a tape deck connected
Power Connections
Whenever you connect audio equipment together, it is best to use a common grounding point
to avoid ground loops. When you cascade two
Digital 8•Bus consoles, try to connect the AC
power cords to a common outlet, or at least two
outlets that share a common ground. For best results, the distance between the outlets and the
common ground should be as short as possible.
Addendum
AD-31
Digital 8•Bus
AD-32 Addendum
4.5 MIDI Monitor (New Feature)
1:
2:
3:
4:
5:
6:
7:
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A0 00 43
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90 00 01
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B0 00 00
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B0 00 3A
B0 00 3F
B0 00 45
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B0 00 43
B0 00 49
B0 00 4D
B0 00 53
B0 00 58
B0 00 5D
B0 00 61
B0 00 67
B0 00 6C
This is found under “Window” in the upper menu bar. Select “MIDI Monitor” to
observe MIDI I/O data in real time. This is
helpful for troubleshooting MIDI I/O problems.
4.6 MIDI Snapshots
This feature is set in the Mix Options
window, under Setup in the lower menu
bar. When enabled:
1) Incoming MIDI program changes (received on any MIDI channel) can recall
Snapshots numbered 0-127 on the console.
2) The D8B sends MIDI Program
changes on MIDI channel 1 when snapshots are recalled on the console, either
via the dynamic automation snapshot track
or by manually recalling a snapshot from
either the snapshot window or via the front
panel.
Incoming program changes may be used
to write snapshot events into the dynamic
automation track.
Please note that incoming program
changes do not currently update the snapshot number displayed on the panel
transport 7-segment displays.
To avoid a snapshot thru MIDI feedback
loop, we recommend (as is normal practice
with any MIDI instrument) that you avoid
looping the MIDI Out to the MIDI In, unless
it is meant to be done intentionally (e.g. a
normal exception is master keyboard control over a workstation type instrument,
through a sequencer). Bottom line—avoid
mapping the D8B to control itself through a
sequencer.
5.1 Fader Calibration (New
Feature)
This operation resets the minimum and
maximum fader values for the OS. For optimum performance and positioning
response, the fader calibration may be
used periodically. The calibration takes
less than a minute to perform its routine.
Caution: Do not touch the faders during
the calibration procedure. Doing so could
damage the servo motors.
Note: This procedure is only available
from the General Setup window on the
screen.
Owner’s Manual
5.0 Miscellaneous Features
5.2 Play From Selection (New
Feature)
This is located under “Edit” in the upper
menu bar. The keyboard shortcut is Ctrl-P.
This allows you to begin playback from
either the beginning of a highlighted section in the Mix Editor or Event Editor, or
from a single point in time selected by
clicking once in the Mix Editor.
Note: The Pre-Roll function affects the
playback “Start” time by whatever time interval you have set in the pre-roll time box
(located in “Mix Options” in the Setup window).
Note 2: If the receiving machine doesn’t
understand MMC locates and transport
commands, you might be plum out of luck
using this feature.
5.3 The Channel List (New
Feature)
The Channel List is a general parameter
list for the D8B’s 97 channels and is
opened by selecting “Channel List” under
“Channel” in the upper menu bar. A subset
of this list, for an individual channel, is accessible from the panel by holding a single
channel SELECT button down for two seconds. The Fat Channel Display shows the
parameter settings and allows each parameter to be edited.
Note that there are a number of keyboard shortcuts that will save time for
input or modification of the Channel list.
They are as follows:
Addendum
AD-33
Digital 8•Bus
Track name shortcuts: double click on the
name, Tab down or Shift-Tab up the column.
Group, Ctrl, Note, or Channel assignment
shortcuts: click, hold, drag down to the selection,
and release the mouse to complete the selection.
Subsequent quick clicks on these other field types
will continue to buffer and input the same numeric value. For example, select Group 5 for
channel 2. A quick click and release on other
channels within the group column assigns those
channels to Group 5.
Playback, Write, Mode, or MIDI assignment
shortcuts: click and hold to change one assignment, and then drag up and down a column (while
still holding the mouse button down) to toggle
multiple channels to the new mode. For example,
click and hold on channel 1 in the Write column to
“lock” the channel, and before releasing the
mouse, drag down the column and other channels
will toggle to the “lock” state.
Track name (screen access only)—This displays the current track (channel strip) name and
operates identically to clicking on the track
names in the screen fader bank overview. To
change a channel name, click on the name with
the mouse and edit the text as necessary. Click
elsewhere to exit or use the Tab key to tab down
to the next field and continue adding or editing
other track names (Shift-Tab moves the cursor up
AD-34 Addendum
the column). Track names may still be entered in
the channel strip name fields, of any given fader
bank overview screen, or in the screen Fat Channel page, but the Channel List offers a
spectacular columnar viewpoint.
Group membership—This displays current assignment or allows assignment or re-assignment
of individual channels.
Point and click on this column at the desired
Channel strip row, and a menu of group selections will pop down to allow for assignment or
re-assignment of the channel to a specific virtual
group. Note the “previous click” shortcut.
Note: Group assignment is also accessible by
pressing the GROUP button in the Setup Section
on the console, or by selecting “Group” under
Edit in the upper menu bar.
Group operation relative to audio and MIDI
are as follows:
A group master channel interacts with its
daughter channels for audio transmission, but
does not interact with the daughter relative to
MIDI message value modification. In this case
(MIDI output), the channel strips are independent of one another and do not interact. But a
controlled group master (i.e. the D8B is receiving external MIDI control messages that are
routed to control a group master) will affect the
volume status of the daughter channels.
nel strip’s SELECT button for 2 seconds, and
then press the SELECT button under the Playback mode to toggle between the Disabled,
Punch-Run, and Run states.
Shortcuts: Note the “previous-click” shortcut
(the last click has a memory if it was on a “like”
parameter). Also you can click and swipe down
the list to change the column to the value that’s
toggled by the click.
Note: The Disabled state does not automatically reengage itself. Remember to toggle it to
Playback status if you want automation moves to
play once again.
Write—This in an individual channel writesafe function that is independent of the global
Automation Bypass and Automation filters.
There are two modes, Enabled and Locked,
where Enabled allows automation to be written
and Locked prohibits the overwriting of moves
on the channels dynamic automation track.
Note: The two modes, Enabled and Locked,
operate in the same manner for MIDI I/O as they
do for automation. Remember that MIDI I/O only
pertains to Fader, Mute, and Pan automation and
control.
Toggle the Write mode by clicking on the
Write column in the specific channel’s row. From
the console, hold down an individual channel
strip’s SELECT button for 2 seconds, and then
press the SELECT button under the Write mode
in the Fat Channel Display to toggle between the
enabled and locked states.
Shortcuts: Note the “previous-click” shortcut
(the last click has a memory if it was on a “like”
parameter). Also you can click and swipe down
the list to change the column to the value that’s
toggled by the click.
Isolate—Displays the current solo isolate assignment and allows you to change the
assignment.
Solo isolate mode allows a channel to be
heard on the solo bus in the Control Room Out
(or on the main bus when MIXDOWN SOLO is
active) when another channel is soloed. For example, you could solo isolate an FX Return so
that when you solo a channel you hear its effect
as well. A solo isolated channel’s SOLO LED
blinks to indicate that solo isolate mode is active.
Addendum
Owner’s Manual
Playback—Allows automation playback enable
and bypass for the individual channels. This feature is used in addition to the global automation
bypass, but works on a per channel basis. There
are three modes within Playback: Run, PunchRun and Disabled.
Note: The three different Playback modes, Disabled, Punch-Run, and Playback, all operate in
the same manner for MIDI I/O as they do for automation. Remember that MIDI I/O only pertains to
Fader, Mute, and Pan automation and control.
Run: This is the default mode, and if dynamic
automation is present on the channel, automation
moves play back when time code is received and
the global automation bypass is disabled.
Disabled: This mode simply disables automation playback on the individual channel,
regardless of the global Bypass status. “Disabled”
is a safe area that you can use to prevent automation playback from chasing and overwriting your
latest edits, before you get a chance to commit the
settings. The “Disabled” feature is also handy for
setting up parameters within the context of a mix,
relative to whether other individual channels or
sections are automation bypassed or not.
Punch-Run: Once you’ve automated a channel,
you might want to pre-set a punch-in level to drop
or boost the parameter of interest (especially a
fader). In Absolute mode (Auto Touch off), the parameter cannot be altered if it is chasing
automation, as you can see when you grab a fader
knob during automation playback and it “fights”
you. For this purpose, we created the Punch-Run
mode. Place the channel in Punch-Run, which releases the playback chase mechanism until the
channel has been placed in any automation Write
mode. When Punch-Run is engaged, you can roll
back the tape, freely adjust the parameter level
and, when the punch-in point arrives to set the
new level, press the WRITE button on the channel and the parameter level will be written to the
track. At punch-out, two things will occur: the parameter level jumps to any pre-existing level on
the track (similar to Write Flyback, but the level
is not necessarily the original level) and the channel parameters now chase on subsequent
playback.
You cycle through the modes by clicking on the
Playback column in the specific channel’s row.
From the console, hold down an individual chan-
AD-35
Digital 8•Bus
Toggle this mode by clicking on the Isolate column in the specific channel’s row. From the
console, hold down an individual channel strip’s
SELECT button for 2 seconds, and then press the
SELECT button under the Isolate mode in the Fat
Channel Display to toggle between the on and off
states.
Note the “previous-click” shortcut.
If a MIDI fader is solo isolated, the MIDI I/O
will not be shut off when other channels are soloed. To shut off the MIDI I/O, use the channel list
MIDI On/Off toggle, explained shortly.
Link—The Link column displays the current
sibling fader and allows for Link assignment (all
link filters available). After clicking on the link
column in the desired channel strip row, a window
opens that allows you to assign all of the link filters or re-assign the current link filters. Exit the
dialog by canceling or OK’ing the operation.
Note: Channel Linking has been updated in OS
2.0. See “5.4 Channel Linking” on page AD-37 for
more info.
The major consideration to remember when
linking faders is that any linked parameters can
be written into an automation pass (according to
which main Automation filters are enabled during
that pass). But as far as playback is concerned,
each channel has its own automation playback
that plays (and may be edited) independently from
all other tracks.
Linked MIDI faders will operate like normally
linked channels, except that only the fader, mute,
and pan controls are applicable. Linked faders
may be written in tandem into an automation
track, but remember that each track plays back
and may be edited independently from any other
fader.
Note: You can’t unlink faders from the Channel
List. See “Channel Linking” a little further on in
this document.
MIDI controls—All channel strips may now be
individually assigned to either transmit or receive
MIDI continuous controller messages (fader
level), note on/off messages (mute on/off), or polyphonic aftertouch messages (pan position) on any
one of the 16 MIDI channels.
This allows the D8B automation system to perform automated control over external devices, or
the D8B’s faders, mutes, and pans to be controlled
by automated (or non-automated) external processors. The main control toggles are the Mode In/
Out switch and the MIDI On/Off switch. The
Fader, Mute, Pan, and Channel configurations are
necessary for proper I/O control.
Please note that the MIDI bandwidth does
have its limitations, and it is best to use this feature sparingly. Also, to reiterate, MIDI is either
incoming or outgoing on a per channel basis. Bidirectional operation is not allowed as of v2.0.
Remember that there is a full blown automation
system on the D8B that may preclude any need
AD-36 Addendum
for external MIDI control.
When using the D8B MIDI Out Controller
functions, you should be concerned about the associated simultaneous volume attenuation of the
MIDI/channel fader. There are two ways to use
the MIDI I/O mapping feature of each channel
strip: as a MIDI fader only (usually MIDI out),
or as a Mixer audio channel (usually MIDI in).
The MIDI fader application should be used as
an attenuation-free, fader-pack like application,
such as controlling an external effects parameter, in which the unit’s audio is routed through
entirely separate audio paths (elsewhere in the
mixer or submixed and then routed to the
mixer).
Why wouldn’t you combine both functions on
one channel? If the fader is assigned for an external volume controller situation, there is the
risk of double attenuation (MIDI fading volume
externally while the D8B channel is fading internally – up or down). To ensure that it’s an
attenuation-free situation relative to the final
mix, you might want to un-assign the fader controller channel from all buses and do not expect
volume attenuation through the mixer audio
path. Plan these types of controller situations
carefully.
Fader—MIDI Continuous Controllers assignable to 0-127 with values of 0-127, on MIDI
channels 1-16 (see “Channel” below), controllable by the faders on all channel strips.
Incoming MIDI can control the faders on the
channel strips. Sending controller messages into
the D8B during an automation pass is easily recorded into the D8B automation system, and can
be played back without the need for external sequencers or controls. No need for redundancy, or
pushing the limits on the MIDI bandwidth.
Outgoing controller messages can be remapped as desired in the Channel List, or
re-mapped by external devices in real time or after the fact, in the editing stages of whatever
sequencer or digital audio workstation or EDL
environment.
Mute—MIDI Note On commands are used to
turn the mutes on and off. A value of 01 is recognized as Mute Off, and a value of 64 (Hex 40) is
recognized as Mute On. This applies to all channel strips except 97 (master fader).
Incoming MIDI will control the mute status
on the channel strips, and all control is subject
to the rules as set forth for the D8B mute controls, for such things like mute during solo, or
group mutes, etc., but mostly this mute control
would be on a per channel basis. Speaking of
groups, pre-assigning numerous channels to
mute group control for external use, would cut
down the need for sending individual channel
mutes, shaving some of the MIDI bandwidth issues, if applicable.
after the fact, in the editing stages of whatever
sequencer or digital audio workstation or EDL
environment. Note that many sequencers are set
to filter poly aftertouch, so as not to clog their
buffers with unused data. Please check to disable that filter in the sequencer environment, if
this applies.
Channel—MIDI channels 1-16 for all D8B
channel strips, and configurable per channel
strip. Note that it’s usually advisable to stick to
one MIDI channel, because it’s one less variation
to chase down when troubleshooting.
Mode (In-Out)—Sets the individual D8B channel MIDI send (Out) or receive (In) status (only
one state available on a per channel basis).
MIDI (On-Off)—Toggles the individual D8B
channel transmission or reception to either an on
or off state.
Reset—Located in the bottom-left corner of
the Channel List window, when this button is
pressed, the current MIDI map (Controller, Note,
and Channel) is reset to the default state.
Note: If any values in the Channel List are redundant relative to MIDI messaging, the channel
strip that is higher in the list (smaller channel
number) will override the lower listed channel
strip. For example, if channel strip 1 and 5 are
set to the same MIDI messaging, channel strip 1
will override channel strip 5.
Owner’s Manual
Outgoing Note On/Off messages can be remapped as desired in the Channel List, or
re-mapped by external devices in real time or after the fact, in the editing stages of whatever
sequencer or digital audio workstation or EDL environment. Note On/Off messages can be used to
trigger all sorts of fun things, but please note that
it is typically a lot easier to edit real Mute events
in an automation environment than it is in a MIDI
sequencer environment.
Pan—MIDI Polyphonic Aftertouch 0-127
(note) with values of 0-127 (position), MIDI channels 1-16 (see “Channel” below), controllable by
the Pan control. This applies to all channel strips
except the 8 Groups, the 8 Buses and the master
fader.
Incoming MIDI can control the Pan position on
the channel strips, and all control is subject to
the rules as set forth for the D8B channel strip
pan controls. There are actually 256 pan position
values in the D8B OS per channel, so they are interpolated at half the resolution for incoming
MIDI messaging. Values below MIDI value 63
represent left of center and above MIDI value 63
are right of center.
Outgoing Polyphonic Aftertouch messages can
be re-mapped as desired in the Channel List on a
note-wise basis (each message represents the
aftertouch per MIDI keyboard note, although
there are actually very few MIDI keyboards that
generate this messaging). Or the messages may
be re-mapped by external devices in real time or
5.4 Channel Linking (Updated)
Version 2.0 provides advanced channel
linking capability. Both the VFD and the
Link Setup Window have been modified to
accommodate new settings. Link is still
initiated by either first selecting two channels and then selecting “Channel Link…”
under Channels in the upper menu bar, or
by pressing and holding two adjacent channel SELECT buttons for two seconds, and
then following directions in the Fat Channels Display. An additional link initiation
may be made using the Channel List feature (see page AD-32).
Note: You can select each channel in a
linked pair individually. If you want to copy
channel settings to a linked pair, you must
select both channels (Shift-Select) and
then paste the settings.
The features are outlined as follows:
Any two (Odd/even or Even/odd) contiguous channel strips may be linked:
(For example, channels 5 and 6, or FX1
and FX2; or channels 6 and 7, or Group
Masters 2 and 3.) A channel may be paired
with only one other channel strip in its bank.
If channel 5 is linked with channel 4, it may
not be simultaneously linked with channel 6.
Channels may be paired across banks (e.g.
ch 24 & ch25), if necessary, but it’s not recommended for typical applications.
Addendum
AD-37
Digital 8•Bus
D8B
(LINK MENU Ch.1-Ch.2)
Abort
Link OFF
Link<-
D8B
<-Faders
On
<-Compress
On
AD-38 Addendum
Mutes
On
D8B
->
Link->
EQ
On
Bus
On
Gate
On
Auxes
On
Pan
Inverse
->
Link filters: It is now possible to link together the following individual parameters:
EQ, Gate, Compressor, Mute, Pan, Fader,
Busing, and Auxes, on a per channel basis.
This means that it is possible to link “Pan
only”, or “Pan and EQ only” on one set of
linked channel strips, while linking “Faders
only” on another set, while linking “Buses
only” on yet another set, etc. These individual link filters are set while initializing
the link, or modified by re-initializing the
link (using the same method as when first
setting a link).
Relative offset: Pressing [Shift] on the
console or keyboard, while moving any controller function on the D8B console surface
or with the mouse, allows a relative distance (or relative offset) of ANY linked
parameter. For example, on two linked faders, press and hold [Shift], move one fader,
let go of [Shift], and a new relative position
is maintained. To maintain a pan spread,
press and hold [Shift], move a linked pan VPot, release the [Shift} and the pans will
maintain the offset spread, to the extent of
the maximum left or right value.
Remember that pressing [Ctrl] and moving a controller resets it to a normal, or
default, position, so you can always re-align
and match the relative link to a zeroed offset.
Inverse Pan linking: Pan can be set to
link inversely. This means that rotating the
Pan control on one channel causes the Pan
control on the linked channel to rotate in
the opposite direction.
Inverse Switch toggling: You can press
[Shift] and then press the MUTE button on
a channel, and it will toggle oppositely to
the other linked mute. This feature can be
especially handy for applications such as
vocal comps and bus switching. Inverse
switching is set and recalled individually on
all parameters, so Bus 1 and the linked Bus
1 can be inversely locked, while Bus 2 and
mutes are locked to the same value.
Holding down [Shift] and enabling a
linked channel mute, bus 1-8 and L-R assigns, EQ on/off, Gate on/off and Comp on/
off assignment enables the function. To
leave this mode, press [Shift] and the
linked button again. The mode may also be
initiated by using the keyboard [Shift] and
clicking on a linked channel’s button.
Note that using the “M” command to
toggle mutes on selected channels containing linked inverse switches will override
the inverse Mute function.
Link info and backwards compatibility:
Link settings are stored as session file data
(i.e., not at the snapshot level). Mackie
5.5 Solo Latching (New Feature)
Solo may be set to latch (i.e., more than
one solo can be enabled as they are swiped
across the screen or on the panel) or to radio button (only one allowable at a time).
If solo latch is not set (checkbox not
checked), multiple solo’s may be manually
latched by either:
1) pressing and holding another solo
switch, while initiating more solo’s, or
pressing multiple solo’s at one time.
2) pressing and holding [Shift], while
initiating more solo’s.
To allow this operation, set the “Solo
Latch” checkbox in the Mix Options window under Setup in the lower menu bar, or
press GENERAL in the Setup Section and,
under Solo, select either “1 Channel” or
“Latch” in the Fat Channel Display.
Owner’s Manual
OSv1.03 sessions still function as expected
with Links (with the exception that pan
data is read as inverse-pan only).
Linked automation operation: For automation writing and playback on linked
fader parameters, see the Automation section of this document.
5.6 Solo Isolate (New Feature)
When any solo mode is entered, a solo
isolated channel is immune from the implied muting of the solo action (i.e. the
isolated channel is heard on the solo bus
along with the soloed channels). Solo isolate may be initiated at any time.
The isolated SOLO button blinks when
any solo is engaged to indicate the
channel’s current solo isolated status. To
enter or exit solo isolate mode for any
channel strip (1-64), press and hold [Alt]
concurrently with any solo switch toggle.
Solo isolate can also be enabled and disabled in the Channel List.
Note that PFL solo overrides any solo
isolated channels. Only the soloed channels are actually soloed in PFL solo mode.
Surround busses are always solo isolated
Surround panning users: Buses 1-8 are
automatically solo isolated (without the
flashing solo light activity), so that they
are not muted when any (surround pan enabled) channel is soloed. Previously, the
only way to properly monitor surround activity was to manually solo (in Mixdown
solo mode) the buses as well, when listening to any soloed surround channel.
Note: Bus Solo is inoperative. We hope
to implement this by the next OS revision,
but for now we recommend soloing the return tape tracks that the buses of interest
feed.
Addendum
AD-39
Digital 8•Bus
5.7 Record Safe (New Feature)
Record safe globally disables both the
MMC channel Rec/Rdy and transport Master Record commands from being sent out
of the console to any MMC compatible
multitrack recorders. The D8B REC/RDY
LEDs are also defeated when Record Safe
is enabled; they will not flash or go solid.
Record Safe may be initiated at any time.
To enable this operation, set the “Record
Safe” checkbox in the Mix Options window
under Setup in the lower menu bar, or press
GENERAL in the Setup Section and find
the Record Safe choice under MIDI in the
Fat Channel Display.
D8B
<SINGLE
On
BUTTON RECORD
Off
RECORD
On
SAFE
Off
->
5.8 Pre-Roll Preference (New
Feature)
For “slow to chase” multitrack tape
decks, there is now a pre-roll time setting
feature that subtracts the time entered in
the Pre-roll timebox (found at the bottom of
the Mix Options window) from the MMC locate that is sent to the MMC recorders.
This allows multiple slave decks more time
to rewind and line up to chase to their master deck, before rolling. For example if a
time of 00:00:10:00 (10 seconds of pre-roll)
is entered in the D8B pre-roll box, and an
MMC locate time of 01:05:30:00 is sent out
from the D8B, the actual message sent to
the decks will be 01:05:20:00.
To enable this operation, set the “Use
Pre-Roll” checkbox in the Mix Options window under Setup in the lower menu bar, or
press GENERAL in the Setup Section and
find the Use Pre-Roll choice in the Fat
Channel Display.
5.9 Virtual Group Masters
(Updated)
The 8 group master faders on Bank 4 no
longer range from off (< –90 dB) to unity.
They now range from off (< –90 dB) to +10
dB, matching the fader tapers on channels,
effects returns, returns, and bus masters.
As a reminder, metering of all channels
is pre-fader, so that channel metering will
not display any group master level modification.
Any previous (OSv1.03 and earlier) automation files will be properly read, level-wise,
but the faders will be re-positioned for input
and playback of automation data.
AD-40 Addendum
This feature is set in the Mix Options
window under Setup in the lower menu
bar. When the Link Speakers checkbox is
enabled, the Mains and Near Field
SPEAKER LEVEL control is linked. Increasing or decreasing the SPEAKER
LEVEL control simultaneously adjusts
both the Near Field and the Main Control
Room Output. This provides a consistent
level when A/B’ing between speaker sets.
The default option is an unlinked state
(same as OSv1.03).
Holding down the [Shift] key and spinning the SPEAKER LEVEL V-Pot
temporarily breaks the link. This can be
used to establish a level offset between the
two stereo output pairs. The level difference is maintained in the same operational
manner as linked channel parameter offsets. The link offset may be updated at any
time, using the [Shift] key.
Owner’s Manual
5.10 Control Room Speaker Link
(New Feature)
5.11 Phones/Cue Mix Levels
(Updated)
Phones/Cue Mix 1and Phones/Cue Mix
2 are now recalled with a session. Control
room (Mains/Nearfields), Studio, Talkback
and Solo levels are recalled or carried over
from the previous session state (i.e. new
session, startup session or re-boot are all
relative to the previous console state).
5.12 Clipboard: Level To Tape and
Direct Out (Updated)
1-24
1-48
LEVEL TO TAPE
DIGITAL TRIM
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
Some analog console designs feature direct-out patching that is post-fader, EQ,
etc., whereas the D8B sends the direct-out
signal post-DSP (including the source
channel’s EQ, compressor, and gate processing, if enabled), but pre-fader, with an
independent volume control (Level To
Tape). Since the level and patching is
philosophically somewhat independent of
the channel fader and subsequent bus
routing, we wanted to mirror the clipboard
and Fat Channel functions with the design.
When copying and pasting a channel to
another channel, neither the current direct
assignment (to tape 1-24), nor the Level To
Tape are copied from the copied source
channel to the destination channel.
Addendum
AD-41
Digital 8•Bus
5.13 Level To Tape in the Fat
Channel View
ASSIGNMENT
AD-42 Addendum
ASSIGN
ASSIGN
BUS 1
BUS 2
ASSIGN
ASSIGN
BUS 3
BUS 4
ASSIGN
ASSIGN
BUS 5
BUS 6
ASSIGN
ASSIGN
BUS 7
BUS 8
ASSIGN
ASSIGN
L-R
ROUTE TO
TAPE
REC/RDY
REC/RDY
ASSIGN
ASSIGN
WRITE
WRITE
12
36
13
37
SELECT
SELECT
SOLO
SOLO
On the Fat Channel screen, the Level To
Tape knob and Level readout indication will
be invisible when the currently viewed
channel is not assigned to a direct out.
When a channel is assigned a direct out by
clicking on one of the green “1” to “24” buttons (or by two other screen and panel
methods as described in the owner’s
manual), the Level To Tape knob will appear with a gain level indicated above the
knob. The level may have been inherited
from another assignment, but generally it
will default to Unity gain.
Interaction of the Level To Tape between
the console and the screen: The following
description is to avoid confusion about
adjusting Level To Tape on the console
V-Pots while observing the Fat Channel
screen. First we’ll address three ways of
performing this adjustment.
From the console perspective alone, after pressing the V-Strip Level To Tape
button to assign the V-Pots to this function,
it’s an easy 1:1 correlation between the 24
V-Pots and the 24 direct outs. If Route To
Tape is enabled in the Assignment Section
(next to the control room buttons), and a
channel SELECT button corresponds to an
ASSIGN button, then the V-Pot below that
ASSIGN button adjusts the level output of
that direct output. For example, V-Pot #5
adjusts Direct Out #5 level.
From the screen overview perspective, if
you want to grab the mouse and re-assign
the Level To Tape bars on the overview
screen, the Level To Tape bar is literally the
output level on that numbered channel
strip. This level is independent of any of the
channel To Tape assignments. For example,
channel 3 may be assigned to direct 5, and
to turn up the Level To Tape out of channel
3, you grab the Level To Tape bar on channel 5.
From the screen Fat Channel perspective, to assign a direct out, click on one of
the 24 direct out switches and to change
the level, simply click on the Level To Tape
screen knob and mouse it to the desired
level. This is probably the best 1:1 correspondence.
Now it’s “Gotcha” time...When a direct
assign is not aligned/assigned to the same
channel strip (i.e. channel 6 assigned to direct out 6), the Level To Tape V-Pot follows
the direct assignment, but the screen knob
follows the current strip that the To Tape is
assigned to.
5.14 V-Pots (New Feature)
12 o’clock Unity gain on V-Pot
This applies to channel Aux Sends, Level To
Tape, and Digital Trim (still the same, ~ –90 dB
to +10 dB gain ranges).
“Off” to “Unity” (~ –90 dB to 0 dB) is now 7
o’clock to 12 o’clock and “Unity” to “+10” (O dB
to +10 dB) is now 12 o’clock to 5 o’clock.
Note: The individual aux send masters have
been relabeled to range from –100 dB (off) to
Unity gain (previously the range was –90 [off] to
10 dB of gain). The actual output is the same as
version 1.03.
V-Pot Reset
This is a Unity or Reset shortcut to quickly
reset any Pan value to Center and/or any level
value to Unity gain. This is accomplished by:
[Ctrl] click (mouse), or
[Ctrl] spin the V-Pot – (Pressing and holding
the [Ctrl] key while turning a V-pot).
V-Pot Coarse/Fine Adjust
This feature allows you to set finer resolution
pan positions or levels via the [Shift] key and
the V-Pot, than can normally be set. The mouse
already allows for the finer resolution editing.
Normal pan readout from the V-Pot uses the odd
numbers (127L, 125L, etc), whereas holding
down [Shift] while spinning the V-Pot allows for
single increments.
This is accomplished by:
[Shift] spinning the V-Pot in any V-Pot mode
(or by pressing and holding the [Shift] key while
turning a V-pot).
Owner’s Manual
This is best described with an example:
Open the Fat Channel screen and select channel 23. Direct assign channel 23 to direct out #9.
Make sure the V-Pots are assigned to Level To
Tape control. Now, by simply looking at the Fat
Channel, to adjust the Level To Tape you’d want
to grab V-Pot #23 and twist it, right? Nope – it’s
V-Pot #9 that will actually adjust the direct out
level. Mouse adjust the level on the screen Level
To Tape control and you’ll also see the #9 V-Pot
indicator updating with the level change, not VPot #23.
Clone V-Pot Levels
This is a similar function to [Shift] swiping
(or right mouse button swiping) across channel
level bars for the on-screen Aux level, Digital
Trim, and Level To Tape, etc.
By swiping across on-screen channel strip VPots (click on a V-pot, and while pressing and
holding the [Shift] key, swipe across) it will
change the levels on any swiped V-Pots in either
direction to the first V-pot’s level.
5.15 Popup Effects Choices (New
Feature)
In the Effects module windows, clicking
directly on the Effects patch name will display a large pop-up menu of patch names,
which points to available patches in your
working directory’s Effects folder. It is still
possible to use the left or right arrows to
scroll through the patch names.
Effects name: The D8B OS doesn’t currently store effects (or any DSP module)
names inside of session files. If you create
some effects that you really like, we suggest that you name them and store them to
disk. For ease of retrieval and organization, create a dedicated effects folder to
keep all your working effects patches in.
And a tip from the Weasel: 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.
Addendum
AD-43
Digital 8•Bus
5.16 Mouse Speed (New Feature)
There is now a general preference selection in the “General Setup” menu to
choose how fast the mouse cursor scurries
across the screen. Choose your favorite
scurry rate accordingly. There is also additional support for some quirky (to remain
unnamed) track ball devices that needed a
bit of progressive filter driver code to be
more trackable.
5.17 Talkback Level (Updated)
The talkback level has been boosted.
5.18 Fader Bank Select All (New
Feature)
Double-click the console SHIFT button
to select all channels in the current fader
bank.
Note: This operation does not work
with the Shift key on the optional CPU
keyboard (i.e. you can’t press the keyboard
shift key twice rapidly to select all faders).
This can be an especially handy item for
use with the Event Editor, for clearing a
bank of specific automation data types
(whatever type is checked in the Event
List). Double-click the console SHIFT button before or after opening the Event
Editor window, and then select all (using
Ctrl-A, and then Ctrl-X to clear events). Or
to set a fader bank to Unity or Zero (Off),
double-click the console SHIFT button,
and then follow with a Ctrl-[left bracket] or
a Ctrl-[right bracket].
5.19 Surround Window (Updated)
Errata: The owner’s manual definition
of the surround modes Quad, LCRS, and
5.1 mentions that there is no front-rear
panning. This is incorrect because there is
indeed front-rear panning. See the Errata
at the end of this document for more information on surround sound panning.
The Surround Window has been updated to graphically show only the number
of speaker icons for the selected Surround
mode, which is now globally dictated by
the drop-down Surround Mode selection in
the Aux/Surround window under Setup in
the lower menu bar. Channels are not allowed to have different surround modes
from one another. However, a channel may
feed different speaker arrays (within the
global surround setting) by clicking on the
speaker/bus icons in the Surround window
to turn them on and off.
AD-44 Addendum
Owner’s Manual
If “Stereo” is chosen as the surround
mode, there are no speaker icons present in
the Surround window. However, moving the
pan ball (or channel pan V-Pot) does affect
the channel panning relative to any oddeven bus pair (i.e. 1-2, 3-4, 5-6, 7-8, L-R).
If any other mode is chosen, the various
buses that represent the numbered speakers and general speaker placement will
appear in the window, and the pan ball location will pan according to the pan curves
as defined in the owner’s manual (and the
updated curves showing front-to-rear panning in the errata).
Note that bus 4 is usually dedicated to
being a subwoofer audio channel and acts
independently of the pan operation (i.e., pan
placement does not affect the bus 4 output
level). For subwoofer applications, this bus
should feed an external low-pass filter.
5.20 Bus Assign Macros
(New Feature)
These are located in the “Aux/Surround”
window in the Setup menu. The “Auto
Arm” button automatically enables and assigns all the buses relative to the surround
mode that is currently selected. The “Clear”
button un-assigns the buses, but only the
buses relative to the currently selected surround mode.
Note that it’s also easy to click, hold and
swipe across the on-screen bus switches, to
toggle on or off one bus at a time, on any
number of channels in the current fader
bank).
5.21 Ctrl-W (Updated)
It is now possible to close any open window with a Ctrl-W key combination (with
the exception of the Effects windows). To
close any frontmost window, press Ctrl-W
on the keyboard.
5.22 Title Bars: Rollup, Zoom,
Close Window, Color (Updated)
• The title bar can WINDOWSHADE (roll
up to display the title bar only and roll
down to display the entire window),
when you double click it.
• The square with the “z” is the zoom box,
which will expand and contract a list type
window when clicked on. On the 2x type
windows (Surround window and Mackie
Effects window), this zoom box is replaced
with a sideways magnifying glass.
• The Close window triangle is the
rightmost symbol on the title bar, and it
will close the window when clicked on.
Addendum
AD-45
Digital 8•Bus
• A new General preference allows for a
choice between oblique gray or corporate
blue title bars. PD couldn’t make up her
mind, so we couldn’t either, and therefore included both choices (sorry, it’s a
global setting).
5.23 Snapshots (Updated)
Snapshot 999 (also referred to as Snapshot 151 in the owner’s manual), the “Total
recall” snapshot, is no longer included in
the default list of snapshots since the
MackieOS always remembers the last console parameter state of a session when it’s
shut down.
Only the Normal snapshot 00 will be in
the default list. Also, the current snapshot
working memory buffer is set for approximately 250 snapshots, after which, the OS
might begin to slow down.
5.24 Delete Key (Updated)
When using the Disk Manager, items
may now be deleted using the Delete key.
Highlight the file name(s) and press the Delete key.
5.25 Disabled feature: Grouped
MIDI and Bus Master Faders
In version 2.0, you can no longer group
the MIDI and Bus master faders under the
8 group masters. This will return in a future version.
5.26 Powering Up
If you are using Digital I/O cards, you
should power-up the console first, then turn
on your Tape machines, or whatever is connected to the cards. The console is the sync
master and so must be on before the slaves
are powered up.
5.27 FX Input Level and
Automation Recall
The FX window level input master, as
far as automation recall is concerned, is
part of the console (it is the Aux Master),
not part of the patch module settings. This
is not a recallable wet/dry mix control. This
level indicator doesn’t get updated when a
patch is recalled (nor does the on/off state
of the module), and is actually updated by
the console operation (via manual control
or snapshot recall).
When automating the Aux Master control, you must select Master Fader in the
Mix Editor’s “Page” drop-down box to view
the automation events. Press the SELECT
button in the MASTER L/R section to view
Aux Master events in the Event Editor.
AD-46 Addendum
Product: Mackie Digital 8•Bus
MIDI Implementation Chart
Function
Transmitted
Basic Channel
Default
00, MIDI Off (note 1)
Changed
00-0F
Mode
Default
Poly
Messages
Altered
Note
True voice
00-0F
Number
Velocity
Note ON
Mute on = 40
Note OFF
Mute off = 01
Aftertouch
Keys
00-7F
Channel
Pitch Bend
X
Control Change
00-7F
Date: 3/99
Version: 2.0
Recognized
Remarks
00, MIDI off (note 1) See 1) under notes
00-0F
2) per channel strip
Poly
Exception: program
changes are Omni
00-0F
Mute on = 40
Mute off = 01
00-7F
X
00-7F
Reassignable – applies
to mute & pan messaging
Mute only
Pan control: range
127L to 127R
Owner’s Manual
MIDI Implementation Guide
Fader level Tx & Rx,
assignable per D8B channel
strip via the Channel List
Rcv: Omni
See note 3)
Program Change True number
00-7F
00-7F
System Exclusive
note 3)
X
System Common Song Pos
X
X
Song Sel
X
X
Tune Req
X
X
System Real-time Clock
X
MTC 1/4 frame
Commands
X
X
Local On/Off
X
X
Aux
All Notes Off
X
X
Active Sensing
X
X
Messages
System Reset
X
X
Notes
1) System real time always active, MIDI On/Off defaults to OFF
and MIDI channel 00.
2) Either Tx or Rx.
3) MMC open loop commands: STOP, PLAY, FF, REW, TRACK REC/RDY,
SHUTTLE, STEP.
4) All values listed in hexadecimal.
O: Yes
X: No
Addendum
AD-47
Digital 8•Bus
Keyboard Shortcuts (Appendix I updated)
Feature
Surface
Keyboard
Mouse (click or pull down)
New Session
[New]
Ctrl-N
File > New session
Open Session
[Load]
Ctrl-O
File > File Manager
Save Session
[Save Session]
Ctrl-S
Save Session As
[Save Session As]
Save As Default
Save as Startup (bootup session)
File > Save (Startup file)
Disk Manager
[Load]
Ctrl-D
File > Disk Manager
Ctrl-Q
File > Quit
Quit
File > Save session
File > Save session as
Preferences
[General]
Ctrl-1
Setup
Undo
[Undo]
Ctrl-Z
Edit > Undo (channels or moves)
Cut / Zero set
[Cut]
Ctrl-X
Edit > Cut (channels or moves)
Copy
[Copy]
Ctrl-C
Edit > Copy (channels or moves)
Paste
[Paste]
Ctrl-V
Edit > Paste(channels or moves)
Insert Blank Time
Edit > Insert Blank Time
Delete Time
Edit > Delete Time
Insert Global Time
Edit > Insert Global Time
Delete Global Time
Edit > Delete Global Time
Modify Events
Ctrl-M
Edit > Modify Events
Add Snapshot Event
Ctrl-E
Edit > Add Snapshot Event
Play From Selection
Select All
(multiple actions)
Select All Channels on Bank
Double-click SHIFT button
Ctrl-P
Edit > Play From Selection
Ctrl-A
Edit > Select all
Shift-click and swipe across
SELECTs
View ch 1–24
[Mic/Line]
F1
[Mic/Line]
View ch 25–48
[Tape]
F2
[Tape]
View ch 49–64
[Effects]
F3
[Effects]
View Master fader
[Mute]
F4
[Master]
Time Code Counter
[set time, #’s, enter]
[tab], #’s, [enter]
click on counter, #’s , [enter]
Sort by column title in …window
[tab] highlight column, [enter] click on title in window
(New, Open, Save, Snap, Locate – any listing window)
For the following window views, [Ctrl] + [the number]
will both open and close these windows:
AD-48 Addendum
Feature
Surface
View Setup
General/Plug-Ins/Digital I/O
Keyboard
Setup buttons or Ctrl-1
Ctrl-1
Window > Setup
View Snapshots
Ctrl-2
Ctrl-2
Window > Snapshots
View Locator
Ctrl-3
Ctrl-3
Window > Locator
View Surround
Ctrl-4
Ctrl-4
Window > Surround
Magnify Surround
Alt-4
Alt-4
Click on Magnifier
View Event List
Ctrl-5
Ctrl-5
Window > Event List
View Mix Editor
Ctrl-6
Ctrl-6
Window > Mix Editor
View Fat Channel
Ctrl-7
Ctrl-7
Window > Fat Channel
View Card A (FX 1 & 2)
Ctrl-8
Ctrl-8
Window > Card A
Magnify Card A
Alt-8
Alt-8
Click on Magnifier
View Card B (FX 3 & 4)
Ctrl-9
Ctrl-9
Window > Card B
Magnify Card B
Alt-9
Alt-9
Click on Magnifier
View Card C (FX 5 & 6)
Ctrl-0
Ctrl-0
Window > Card C
Magnify Card C
Alt-0
Alt-0
Click on Magnifier
View Card D (FX 7 & 8)
Ctrl-(–)
Ctrl-(–)
Window > Card D
Magnify Card D
Alt-(–)
Click on Magnifier
Close Front Window/Cancel
Ctrl-W
File > Close Window
Close All
Ctrl-\
Window > Close All
Owner’s Manual
FUNCTIONS on SELECT(ed) Channel
Example: Select channels 1–5 and type the letter [M] and these channels will mute. To unmute these same selected channels,
type either a comma [ , ] or hold down the shift key and type the letter [M].
Feature
Surface
Keyboard
Track Selection
[select]
arrow
Click on ch. selector
Multiple Track Selection
[shift][select]
[shift] L/R arrow
[shift] Swipe across channel [select]s
or
Right mouse button/swipe across
channel [select]s
Single Event Selection
(up/down arrow)
Multiple Event Selection
[shift] up/down arrow
[shift-click]
Unselect All faders
press any [select]
left or right arrow
Click on any [select]
Group
[Group][select]
Ctrl-G
Channel > Group
UnGroup
[Group][select]
Ctrl-H
Channel > UnGroup
Go to Unity
Ctrl- ]
Channel > Go to Unity
Go to Off
Ctrl-[
Channel > Go to off
Fade In
[G]
Channel > Fade in
Fade Out
[F]
Channel > Fade out
Edit Fades
Ctrl-K
Channel > Edit Fade
Channel > Channel Link
Link Channels
hold adj. [select]s
Ctrl-L
UnLink Channels
hold adj. [select]s
Ctrl-U
Channel > UnLink
Write toggle
[Write]
[W] (enable)
[Write]
Solo toggle
[Solo]
[E] or [W] (disable)
[S] (enable)
[Solo]
[D] (disable)
Solo Isolate toggle
Alt-Solo
Mute toggle
[Mute]
Channel > Channel List
[M] (enable)
[Mute]
[ , ] or [shift] [M] (disable)
TRANSPORT FUNCTIONS
Feature
Surface
Keyboard
Play/Stop
[Play][Stop]
[space bar]
Locator/[Play][Stop]
Play
[Play]
F8
Locator/[Play]
Stop
[Stop]
F7
Locator/[Stop]
Record mode
[Record]
F9
Locator/[Record]
Location 00-99
in locate mode: 00-99 numeric entry, followed by [Enter]
Locate window, double-click line
Store Locate
in locate mode: 00-99 numeric entry, followed by [Store]
Locate window, click [New]
Return to Zero (RTZ)
empty locate, [enter]
Rewind
[<<]
Fast forward
[>>]
F6
Next Locate/Snapshot
Ctrl-Enter
surface only
Previous Locate/Snapshot
Alt-Enter
surface only
Surface
Keyboard
F5
ODDS ’N’ ENDS
Feature
Channel strip name
Equal aux/trim levels
Click on name field, enter [text], [tab] (right) or [shift] [tab] (left)
(see clipboard ops)
(see clipboard ops)
Click bar, right mouse button
swipe either direction
Bus assigns
[Bus #], swipe [Assign]s
Click bus, any mouse button
swipe either direction
Channel List
Hold Channel SELECT
Ctrl-B
Roll up/down window
Channel > Channel List
Double-click title bar
Bypass Sync
Bypass Automation
Motor Faders off
Motor Faders off button
Bypass Automation
Mix Editor Shortcuts
Highlight from selection/Move highlighted area
Shift-arrow
Use Highlighter tool
Expand/Contract horiz/vert view
Alt-arrow
Click on Zoom arrows
Nudge highlighted area
Ctrl-arrow
Click on Nudge arrows
Addendum
AD-49
Digital 8•Bus
More Hookup Diagrams for MDM recorders
Hooking up the Digital 8•Bus to Tascam Modular Digital Multitrack Recorders
(Refer to Figure on next page.)
Cabling and Hookup
1. Connect the digital cables between the Tascam tape decks and the DIO•8 cards in the Digital 8•Bus.
Note: You must use the special dubbing cables provided by Tascam, part number PW88D (1 meter) or
PW88L (5 meters). These cables are reverse wired. Do not use a standard DB25 computer cable, which
is wired straight through pin-to-pin.
2. Connect the sync cables (Tascam part number PW88S) between the master deck and the slaves in a
daisy-chain fashion. The master deck must have an SY-88 sync card installed. Make sure the last deck
has a Termination Plug connected to its SYNC OUT connector.
3. Connect a BNC cable from the first DIO•8 (Tape 1-8) card’s SYNC connector to the WORD SYNC IN
connector on the master deck.
4. Connect MIDI cables between the MIDI OUT connector on the Digital 8•Bus’ Remote CPU and the
MIDI IN connector on the SY-88, and between the MIDI IN connector on the Digital 8•Bus’ Remote
CPU and the MIDI OUT connector on the SY-88.
Settings
D8B
1. Click on the “Setup” button in the bottom menu bar of the SVGA monitor to open the General Setup window.
2. Click on the “Digital” icon on the left side of the window to open the Digital I/O dialog box.
3. Click on each Tape Input and Output box and select TDIF for each DIO•8 card installed.
Tascam
1. On the front panel of the Tascam, select WORD CLOCK as the clock source.
2. Also on the front panel, turn the DIGITAL IN on.
3. Set the Machine ID on each recorder, with the first deck (master) having the lowest number and the
last deck having the highest number. DA-88s start with ID #0 and DA-38s start with ID #1.
Deck 1
Deck 2
Deck 3
DA-88
0
1
2
DA-38
1
2
3
Note: If using a DA-88 as the master and a DA-38 as a slave, assign the DA-88 ID #0, and the DA-38 ID #2.
Other Notes
1. You must turn on the Digital 8•Bus first, then turn on the Tascam recorders.
2. Make sure the MODE dip switch on the SY-88 has the 2nd dip switch in the up position and all the rest
of the switches down. This selects the MIDI input.
3. To determine the firmware version installed in the DA-88 and the SY-88:
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.
AD-50 Addendum
SYNC OUT
(TO DA-88)
WORD SYNC
IN
REMOTE IN
OUT
REMOTE
PUNCHIN/OUT
MACHINE ID
SYS
SYS
DSP
DSP
SYNC
SYNC
DA-88
MASTER DECK
(TRACKS 1-8)
(FROM RC-808)
METER UNIT
MODE
RS-422
DIGITAL I/0
TDIF-1
TIME CODE
IN
OUT
VIDEO
IN
THRU
MIDI
IN
OUT
THRU
Owner’s Manual
REMOTE IN/SYNC IN
(FROM RC-848/DA-88)
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
REMOTE IN
OUT
REMOTE
PUNCHIN/OUT
MACHINE ID
SYS
SYS
DSP
DSP
(FROM RC-808)
METER UNIT
DIGITAL I/0
TDIF-1
DA-88
SLAVE DECK
(TRACKS 9-16)
SYNC
TERMINATION PLUG
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
DSP
DSP
(FROM RC-808)
METER UNIT
DIGITAL I/0
TDIF-1
DA-88
SLAVE DECK
(TRACKS 17-24)
SYNC
D
DIGITAL I/O
AES/EBU
1
TAPE 1- 8
TAPE 9- 16
TAPE 17- 24
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
IN
LINE INPUTS
BUS OUT 1-8
&
SURROUND OUT
TDIF
C
TDIF
B
TDIF
A
(BAL /UNBAL)
18
17
16
15
14
24
23
22
21
20
19
PHONES 1
PHONES 2
MASTER OUT
L R
2 TRACK IN A
L R
CR
MAIN
L R
2 TRACK IN B
L R
CR
NEAR FIELD
L R
2 TRACK IN C
L R
13
DIGITAL 8•BUS
OUT
IN
OUT
IN
ADAT OPTICAL
OUT
IN
2
ADAT OPTICAL
DIGITAL I/O
S/PDIF
ADAT OPTICAL
OUT
L
SYNC
SYNC
SYNC
IN
OUT
STUDIO OUT
L R
PUNCH I/O
TALKBACK
R
MASTER OUT
DIGITAL EFFECTS CARDS
DIGITAL I/O
SYNC
ALT I/O
TAPE IN/OUTS
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
2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED THAT MAY CAUSE UNDESIRED OPERATION
VIDEO
PARALLEL
CONSOLE DATA
DATA CABLE
(to Console)
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 Tascam MDMs to the Digital 8•Bus
Addendum
AD-51
Digital 8•Bus
Hooking up the Digital 8•Bus to a BRC and ADAT Digital Multitrack Recorders
Cabling and Hookup
1. Connect fiber optic (lightpipe) cables between the ADAT’s DIGITAL IN and the DIO•8 card’s ADAT
OPTICAL OUT, and between the ADAT’s DIGITAL OUT and the DIO•8 card’s ADAT OPTICAL IN.
2. Connect a BNC cable from the first DIO•8 (Tape 1-8) card’s SYNC connector to the 48 KHz IN connector on the BRC.
Note: It is necessary to terminate this connection with a 50 ohm termination at the BRC end of the
cable. You will need a BNC “T” connector (Radio Shack part number 278-112; male-female-female
configuration) and a 50 ohm BNC terminator (Radio Shack part number 278-270). Connect the “T”
connector to the 48 KHz 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.”
3. Connect the 9-pin D-sub sync cables between the BRC (REMOTE OUT TO ADAT) and the first ADAT’s
SYNC IN connector. Then connect the sync cables in a daisy-chain fashion between the remaining ADATs.
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.
Settings
D8B
3. Click on each Tape Input and Output box and select ADAT for each DIO•8 card installed.
ADATs
1. On the front panel of the ADAT, select DIGITAL IN.
BRC
1. Set the External Sync parameters to the following:
a) Press the EDIT button.
b) Set the Clock Source to “48KHz Input.”
b) Set the Locate Reference to “Internal.”
c) Press the EDIT button to exit the “Edit External Sync” page.
Make sure the EXT SYNC button is still lit.
2. Press the EDIT button and the GEN SYNC button twice to bring up the MIDI page.
Set the parameter to MTC. Press the EDIT button to exit out of the “Edit Generate Sync” page.
Leave the GENERATE SYNC button lit.
Other Notes
1. You must turn on the Digital 8•Bus first, then turn on the ADATs.
2. Make sure the DIGITAL I/O button on the BRC is not lit.
3. Under the MIDI/UTIL button on the BRC, make sure #1 MIDI Echo is off and #8 Output Rew/FF is off.
This is so the faders don’t run at high speed when shuttling around on your ADATs.
AD-52 Addendum
BRC
INPUT
INPUT
OUTPUT
OUTPUT
1
LOCATE/PLAY
LRC REMOTE
2
3
PUNCH
IN/OUT
4
5
6
7
DIGITAL
IN
SYNC
OUT
IN
OUT
INPUT
OUTPUT
LOCATE/PLAY
LRC REMOTE
2
3
PUNCH
IN/OUT
4
5
6
7
DIGITAL
IN
8
SYNC
OUT
IN
OUT
INPUT
INPUT
OUTPUT
3
PUNCH
IN/OUT
D
5
6
7
DIGITAL
IN
IN
TAPE 1- 8
TAPE 9- 16
TAPE 17- 24
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
IN
8
SYNC
OUT
TDIF
1
4
OUT
LINE INPUTS
BUS OUT 1-8
&
SURROUND OUT
TDIF
2
TDIF
LOCATE/PLAY
LRC REMOTE
DIGITAL I/O
AES/EBU
ADAT XT
SLAVE DECK
(TRACKS 17-24)
OUTPUT
1
C
ADAT XT
SLAVE DECK
(TRACKS 9-16)
OUTPUT
1
B
ADAT XT
MASTER DECK
(TRACKS 1-8)
8
INPUT
A
48 KHz IN
with 50Ω
termination
REMOTE OUT
TO ADAT
MIDI OUT
Owner’s Manual
MIDI IN
(BAL /UNBAL)
18
17
16
15
14
24
23
22
21
20
19
PHONES 1
PHONES 2
MASTER OUT
L R
2 TRACK IN A
L R
CR
MAIN
L R
2 TRACK IN B
L R
CR
NEAR FIELD
L R
2 TRACK IN C
L R
13
DIGITAL 8•BUS
OUT
IN
OUT
IN
ADAT OPTICAL
OUT
IN
2
ADAT OPTICAL
DIGITAL I/O
S/PDIF
ADAT OPTICAL
OUT
L
SYNC
SYNC
SYNC
IN
OUT
STUDIO OUT
L R
PUNCH I/O
TALKBACK
R
MASTER OUT
DIGITAL I/O
SYNC
ALT I/O
TAPE IN/OUTS
MACKIE DESIGNS
VIDEO
PARALLEL
CONSOLE DATA
DATA CABLE
(to Console)
REMOTE CPU
SERIAL
KEYBOARD
MOUSE
MIDI IN
MIDI OUT
Connecting Alesis ADATs and BRC to the Digital 8•Bus
Addendum
AD-53
Digital 8•Bus
Hooking up the Digital 8•Bus to ADAT Digital Multitrack Recorders using an
external Sync Box.
Cabling and Hookup
1. Connect fiber optic (lightpipe) cables between the ADAT’s DIGITAL IN and the DIO•8 card’s ADAT
OPTICAL OUT, and between the ADAT’s DIGITAL OUT and the DIO•8 card’s ADAT OPTICAL IN.
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 to complete the loop.
MIDI IN connector on the Sync Box, and between the MIDI IN connector on the Digital 8•Bus’ Remote
CPU and the MIDI OUT connector on the Sync Box.
Settings
D8B
3. Click on each Tape Input and Output box and select ADAT for each DIO•8 card installed.
ADATs
1. On the front panel of the ADAT, select DIGITAL IN.
Other Notes
1. You must turn on the Digital 8•Bus first, then turn on the Sync Box and ADATs.
AD-54 Addendum
(Examples:
JLCooper dataSYNC or
Steinberg ACI)
MIDI OUT
SYNC
IN
SYNC
OUT
INPUT
INPUT
OUTPUT
OUTPUT
1
LOCATE/PLAY
LRC REMOTE
2
3
PUNCH
IN/OUT
4
5
6
7
DIGITAL
IN
SYNC
OUT
IN
OUT
INPUT
OUTPUT
LOCATE/PLAY
LRC REMOTE
2
3
PUNCH
IN/OUT
4
5
6
7
DIGITAL
IN
8
SYNC
OUT
IN
OUT
INPUT
INPUT
OUTPUT
3
PUNCH
IN/OUT
D
5
6
7
IN
OUT
TAPE 1- 8
TAPE 9- 16
TAPE 17- 24
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
APOGEE
DIGITAL I/O
IN
8
SYNC
DIGITAL
IN
TDIF
1
4
OUT
LINE INPUTS
BUS OUT 1-8
&
SURROUND OUT
TDIF
2
TDIF
LOCATE/PLAY
LRC REMOTE
DIGITAL I/O
AES/EBU
ADAT XT
SLAVE DECK
(TRACKS 17-24)
OUTPUT
1
C
ADAT XT
SLAVE DECK
(TRACKS 9-16)
OUTPUT
1
B
ADAT XT
MASTER DECK
(TRACKS 1-8)
8
INPUT
A
Owner’s Manual
SYNC BOX
MIDI IN
(BAL /UNBAL)
18
17
16
15
14
24
23
22
21
20
19
PHONES 1
PHONES 2
MASTER OUT
L R
2 TRACK IN A
L R
CR
MAIN
L R
2 TRACK IN B
L R
CR
NEAR FIELD
L R
2 TRACK IN C
L R
13
DIGITAL 8•BUS
OUT
IN
OUT
IN
ADAT OPTICAL
OUT
IN
2
ADAT OPTICAL
DIGITAL I/O
S/PDIF
ADAT OPTICAL
OUT
L
SYNC
SYNC
SYNC
IN
OUT
STUDIO OUT
L R
PUNCH I/O
TALKBACK
R
MASTER OUT
DIGITAL I/O
SYNC
ALT I/O
TAPE IN/OUTS
MACKIE DESIGNS
VIDEO
PARALLEL
CONSOLE DATA
DATA CABLE
(to Console)
REMOTE CPU
SERIAL
KEYBOARD
MOUSE
MIDI IN
MIDI OUT
Connecting Alesis ADATs to the Digital 8•Bus using an external Sync Box
Addendum
AD-55
Digital 8•Bus
Errata
Please make the following changes in your
Digital 8•Bus Owner’s Manual. The changes are
underlined.
Note: These changes apply to revision A of the
owner’s manual. The revision level appears on the
last page of the Table of Contents, at the bottom
of the page next to the part number.
1
On page 2-2, under “bm Fader,” line 2 should read:
...with a dB level range from ∞ dB (bottom of...
2
On page 2-16, under “ COLOR MONITOR
Port,” the last sentence should read:
See Appendix J (Screen Shots) for the most commonly used on-screen windows.
3
On page 4-1, under “Analog Metering vs. Digital
Metering,” the last sentence should read:
0 dB full scale (0 dB FS) is equivalent to an analog output of +20 dBu, and –15 dB full scale is
equivalent to +5 dBu, the average nominal level
of most professional analog consoles.
4
On page 4-3, the DB-25 Pin-out Identification
chart (Figure 4-5) should state that it applies to
AIO•8 cards only. The pin-outs are different for
the PDI•8 card (see errata 6.10).
5
On page 4-6, under “Using MMC (MIDI Machine
Control),” please make a note that MMC is not bidirectional. The D8B sends out MMC commands
to your tape recorder(s), but if you arm tracks or
operate transport controls from the tape recorders, the activity is not transmitted back to the
D8B via MMC. You can, however, press Play on
your recorder and, as soon as timecode is received by the D8B, it reverts to PLAY mode.
Also note that when Single Button Record
mode is off, you must press and hold PLAY and
then press RECORD to enter record mode.
6
On page 5-16, under “Looping Between Two Locate Points,” the last sentence in the note at the
end of the column should read:
Pressing PLAY when the POSITION display indicates a time after the second Loop point causes
the transport to rewind back to the first Loop
point and begin playing from there.
Also note that if you change one of the locate
points in the loop, you must press the ENTER
button to activate the change.
AD-56 Addendum
7
On page 6-3, under “Using the Channel V-Pots,”
the last paragraph should read:
The aux send level LED pattern wraps clockwise
from 7 o’clock (full off = –∞ dB) to 5 o’clock (full
on = +10 dB). Unity gain is at 12 o’clock.
8
On page 6-7, under “Adjusting the Level to Tape,”
the last paragraph should read:
The Tape Send level LED pattern wraps clockwise
from 7 o’clock (full off = –∞ dB) to 5 o’clock (full
on = +10 dB). Unity gain is at 12 o’clock.
9
On page 7-4, under “Write Standby and Master
Record: Automation Write/Record Enable,” the
sentence at the bottom of column 1 should read:
However, when AUTO TOUCH is not engaged,
it’s possible to specifically change a parameter at
a certain point by punching-in (write-engaging by
pressing and holding the PLAY button and then
pressing the RECORD button) at a specific point
in time (with tape rolling).
10
On page 8-10, under “A. Stereo,” the text should
read:
This applies to any odd-even bus pair (i.e.,
1-2, 3-4, 5-6, 7-8, L-R). The channel’s V-Pot pan
control indicates the position between bus pair
outputs. Constant-power panning is between
the bus pairs.
11
On page 8-10, under “B. Quad,” the last sentence
should read:
“There is also panning between the Right Front
and Right Rear buses (Bus 2 and Bus 6), and between the Left Front and Left Rear buses (Bus 1
and Bus 5).”
Figure 8-2. “Quad Panning” should appear as
shown on the next page.
12
On page 8-11, under “D. 5.1,” the last sentence
should read:
“There is also panning between the Right Front
and Right Rear buses (Bus 2 and Bus 6), and between the Left Front and Left Rear buses (Bus 1
and Bus 5).
Figure 8-4. “5.1 Panning” should appear as
shown on the next page.
Quad Panning
13
Right Front
0 dB
–3 dB
–100 dB
Bus 2
Left Front
Bus 1
0 dB
Left
Front
Right
Front
Left
Rear
Right
Rear
–100 dB
Left Rear
–3 dB
0 dB
Bus 5
Right Front
0 dB
–100 dB
–3 dB
Right Rear
0 dB
Bus 6
–100 dB
–3 dB
Left Rear
Right Rear
0 dB
0 dB
Figure 8-2. Quad Panning
Page E-1 should contain the following explanation:
“The Digital 8•Bus ships with one MFX
(Mackie Effects) card installed. You can
load it with either the Mackie Effects plugin or the IVL Vocal Studio plug-in. The IVL
Vocal Studio software will run in
demontration mode, where it times out after about 10 minutes of use. You must then
download the plug-in to the card once again
to activate it for another 10 minute session.
To fully implement the IVL software plugin, simply purchase and install a second
MFX card into your Digital 8•Bus. Then
you can download the Mackie Effects plugin to one card, and the IVL Vocal Studio
plug-in to the other card and use them both
for as long as you like.
Owner’s Manual
Left Front
0 dB
5.1 Panning
Center
Left
Right
0 dB
0 dB
0 dB
–3 dB
–100 dB
Left Front
Bus 1
0 dB
–100 dB
Left Rear
Bus 3
Left
Front
Left
Rear
–3 dB
0 dB
Bus 5
Center
Right Front
Bus 2
0 dB
14
Right
Front
–100 dB
Right
Rear
–3 dB
Right Rear
0 dB
Bus 6
–100 dB
The Sub output is not
affected by pan activity,
and remains constant at
–10 dB below the other buses
Sub
Bus 4
Also on page F-2, step 3 should read:
3. Replace the cover plate and tighten the
screw securedly using a slotted screwdriver. DO NOT OVERTIGHTEN THE
SCREWS, or you run the risk of stripping
the threads in the D8B.
–3 dB
Left
Right
0 dB
0 dB
Figure 8-4. 5.1 Panning
Signal Description
Pin 1
Pin 2
Pin 3
Pin 4
Pin 5
Pin 6
Pin 7
Pin 8
Pin 9
Pin 10
Pin 11
Pin 12
Pin 13
Ch 1&2 In (+)
Ch 3&4 In (+)
Ch 5&6 In (+)
Ch 7&8 In (+)
Ch 1&2 Out (+)
Ch 3&4 Out (+)
Ch 5&6 Out (+)
Ch 7&8 Out (+)
N/C
Ground
N/C
Ground
Ground
Signal Description
Pin 14
Pin 15
Pin 16
Pin 17
Pin 18
Pin 19
Pin 20
Pin 21
Pin 22
Pin 23
Pin 24
Pin 25
On page F-2, Figure F-2 at the top of the
page has the wrong pin-out information for
the DB-25 connector on the PDI•8 (AES/
EBU) card. The correct pinouts for the
PDI•8 card are shown in Figure F-2 below.
Ch 1&2 In (–)
Ch 3&4 In (–)
Ch 5&6 In (–)
Ch 7&8 In (–)
Ch 1&2 Out (–)
Ch 3&4 Out (–)
Ch 5&6 Out (–)
Ch 7&8 Out (–)
Ground
N/C
Ground
Ground
+ = Hot or positive side of balanced signal
– = Cold or negative side of balanced signal
Figure F-2. DB-25 Pin-out Identification for PDI•8 card
15
On page F-3, step 3 should read:
3. 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.
16
On page G-1, the Aux Master maximum
level is now unity (0 dB), not +10 dB as indicated on the Gain Structure Diagram.
On pages G-2 and G-3, we have revised the
block diagram to reflect the changes in version 2.0 of the operating system software.
See the next two pages.
Addendum
AD-57
TAPE 1–8
TAPE 9–16
TAPE 17–24
PFL SOLO
SOLO L
SOLO R
MAIN LEFT
MAIN RIGHT
BUSES 1–8
AUX SEND 1–8
AUX SEND 9
AUX SEND 10
AUX SEND 11
AUX SEND 12
Digital 8•Bus
Digital 8•Bus Block Diagram
TO FAT CHANNEL REDUCTION METER
IN/OUT
TO FAT CHANNEL I/O METER
MIC/LINE 1 (through 12)
INS/RET
TRIM
MIC IN
PHASE
COMP
GATE
EQ
MIC/LINE TRIM
METER
A to D
48V
LINE IN
IN/OUT
LINE 13 (through 24)
TRIM
PHASE
COMP
GATE
EQ
TRIM
DIRECT ASSIGN
LINE IN
A to D
IN/OUT
FROM TAPE 25 (through 32)
TRIM
PHASE
COMP
GATE
DIRECT ASSIGN
EQ
A to D
Analog 8 channel TAPE CARD (optional)
PAN
MUTE
IN/OUT
FADER
TRIM
PHASE
COMP
GATE
EQ
PRE/
POST
A to D
AUX 1–8
AUX
LEVEL
IN/OUT
TRIM
PHASE
COMP
GATE
EQ
AUX
PAN
AUX 9/10
AUX
PAN
AUX 11/12
AUX
LEVEL
A to D
AUX
LEVEL
FX card A. inputs 49–52
AUX
LEVEL
Inputs 53–64 (optional — B, C, D cards)
ALT I/O CARD 65 (through 72) (optional)
A to D
TDIF/ADAT 8 channel format (optional)
CASCADE "MASTER" SELECT
( )
AES/EBU & S/PDIF STEREO INPUT
MACKIE DESIGNS
DIGITAL 8•BUS
BLOCK DIAGRAM
MRTOSv2.0
(3/11/99_BMc/DF)
AD-58 Addendum
TAPE 1–8
TAPE 9–16
TAPE 17–24
PFL SOLO
SOLO L
SOLO R
MAIN LEFT
MAIN RIGHT
BUSES 1–8
AUX SEND 1–8
AUX SEND 9
AUX SEND 10
AUX SEND 11
AUX SEND 12
TO CONTROL ROOM
SELECT
TAPE 1–8
TAPE 9–16
TAPE 17–24
PFL SOLO
SOLO L
SOLO R
MAIN LEFT
MAIN RIGHT
BUSES 1–8
AUX SEND 1–8
AUX SEND 9
AUX SEND 10
AUX SEND 11
AUX SEND 12
SOLO TO
MAINS
S/PDIF
DIGITAL OUT LEFT
(R)
AES / /EBU
DIGITAL OUT LEFT
(R)
MASTER
FADER
SOLO/PFL
MAIN OUT LEFT
(R)
D/A
MAIN OUT LEFT
(R)
SOLO
LEVEL
D/A
AUX SOLO 9 (10)
( )
AUX 9/10 MASTER
D/A
AUX 9/10
TO SOLO BUS
PHONES SELECT
CTRL RM
D/A
AUX SOLO 11 (12)
PH 1
9/10
PH 1 LEVEL
11/12
( )
CTRL RM
AUX 11/12 MASTER
PHNS 1 LEFT
PH 2
9/10
D/A
Owner’s Manual
D8B OUTPUT SECTION
X2 LEFT AND (RIGHT)
PH 2 LEVEL
11/12
PHNS 2 LEFT
D/A
AUX 11/12
TB SELECT
PH 1
PH 2
TB LEVEL
STUDIO
(R)
TB ON/OFF
FROM
S/PDIF IN
D/A
FROM
AES/EBU IN
D/A
CONTROL ROOM SELECT
DIG IN 1
2 TRK IN
DIG IN 2
A
STUDIO OUT LEFT
(R)
LEVEL
MAINS
2 TRK A
B
2 TRK B
C
METERS
DIM
2 TRK C
MUTE
LEVEL
NEARFIELD
SPKR LEFT
(R)
LEVEL
MAIN
SPKR LEFT
(R)
D/A
SOLO
BUS SOLO
DIM
MONO LEFT
(R)
MUTE
ASSIGN
8•BUS LEVEL
D/A
BUS 1–8
MUTE
LEVEL TO TAPE
TAPE 1–8
LEVEL TO TAPE
LEVEL TO TAPE
TAPE 9–16
TAPE 17–24
L-R MIX
AUX SOLO 1 (of 8)
ALT I/0
TAPE 1–8
TAPE 9–16
TAPE 17–24
PFL SOLO
SOLO L
SOLO R
MAIN LEFT
MAIN RIGHT
BUSES 1–8
AUX SEND 1–8
AUX SEND 9
AUX SEND 10
AUX SEND 11
AUX SEND 12
AUX 1 (of 8)
MASTER
LEVEL
D/A
AUX 1 – AUX 8
TO FX METER SELECT
FX CARDS
Addendum
AD-59
Digital 8•Bus
AD-60 Addendum

Mackie Designs D8B Owner`s Manual Addendum

Transcription

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