Another method of interfacing a multitrack is called in-line monitoring, and requires a mixing console dedicated to that, like the Mackie 8•Bus. Each of its channels is actually two channels: one carrying the mic/ line sound source and the other carrying the multitrack output.

8. SUB OUTS

These 1/4" jacks are usually patched to the inputs of a multitrack deck, or to secondary amplifiers in a complex installation. See page 18 for details of the SUBGROUP FADERS [38]. (See also the discussion on double busing on the previous page.)

Owner’s

6. AUX SEND OUTPUTS

9. C-R OUTS (CONTROL ROOM OUTPUTS)

These 1/4" jacks usually patch to the inputs of your

These 1/4" jacks are usually patched to the inputs of

parallel effects devices or to the inputs of your stage

your control room amplifier or a headphone distribution

monitor amps. To learn how signals are routed to these

amplifier. See page 19, CONTROL ROOM and PHONES

outputs, see the Aux discussion on page 21.

[43] for details of the signal routing to these outputs.

 

Manual

EFFECTS: SERIAL OR PARALLEL?

You’ve heard us carelessly toss around the terms “se- rial” and “parallel.” Here’s what we mean by them:

“Serial” means that the entire signal leaves the mixer (INSERT send), is routed through the effects device, and returns to the mixer (INSERT return). Examples: compressor, limiter, graphic equalizer. Line-level sources can also be patched through a serial effects device before or after the mixer.

 

Insert

Insert

 

Send

Return

 

Signal Processor

 

Dry Signal

(e.g., Compressor)

Processed

 

 

Signal

10. PHONES OUTPUTS

These stereo 1/4" phones

 

jacks will drive any stan-

 

dard headphone to very

 

loud levels. Walkperson-

 

type phones can also be

10

used with an appropriate

adapter. See page 19, CON-

 

TROL ROOM and PHONES

 

[43] for details of the

 

signal routing to these outputs.

 

If you’re wiring your own cable for the PHONES out- put, follow standard conventions:

“Parallel” means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), pro- cessed, and returned to the mixer (STEREO RETURN) to be mixed with the original “dry” signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.

Aux

Aux

Output

 

Send

Return

Section

 

Signal Processor

 

 

 

(e.g., Reverb)

 

Wet Signal

 

 

 

Mix

Processed

Channel Path

 

Stage

Signal

 

 

 

Dry Signal(s)

 

Dry Signal(s)

 

7. STEREO RETURN INPUTS

This is where you connect the outputs of your parallel effects devices (or extra audio sources). There are four stereo returns. They’ll accept just about any pro or semi- pro effects device on the market. See page 22 for details of the STEREO RETURN [51] level controls.

Mono: If you have an effects device with a mono output (one cord), plug that into the left input of a STEREO RETURN and leave the right input unplugged. That way, the signal will be sent to both sides, magically appearing in the center as a mono signal.

Tip = left channel

Ring = right channel

Sleeve = common ground

WARNING: When we say the headphone

amp is loud, we’re not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. BE

CAREFUL!

Always turn the PHONES knob all the way

down before connecting headphones. Keep it down until you’ve put the phones on. Then

turn it up slowly. Why? “Engineers who fry their ears find themselves with short careers.”

Owner’s Manual

11