As you switch back and forth between all four fader banks, the faders will move to their respective settings for each bank. You’ll find that this becomes your most popular demonstration. Your friends will love it; your spouse will love it; your pet will be mildly amused.

This exercise demonstrates a process that will become second nature as you increase your skills on the Digital 8•Bus. The layered approach to digital mixing is actually very convenient, while at the same time providing tons of features in a compact package. This mixer contains more flexibility and features than most consoles taking up 12 or more feet of desk space and costing up to 50 times more!

Fader Bank Selection

•MIC/LINE button = Fader Bank 1 (Channels 1–24)

•TAPE IN button = Fader Bank 2 (Channels 25–48)

•EFFECTS button = Fader Bank 3 (Channels 49– 72: Internal Effects Returns, FX 1–16, and ALT RETurns 1–8)

•MASTERS button = Fader Bank 4 (Virtual Groups 1–8, MIDI Controllers 1–8, Bus Masters 1–8)

•SHIFT+MASTERS button = Fader Bank 5 (with HUI Mode active)

This architecture provides a total of 56 inputs,

with Fader Banks 1 and 2 providing 48 inputs, and the 8 ALT Returns in Fader Bank 3 providing another 8 inputs.

One of the primary applications the Digital 8•Bus was designed for is multitrack recording (generally up to 24 tracks). This involves tracking and monitoring, bouncing, overdubbing, and mixdown. You can think of Fader Bank 1 and Fader Bank 2 as two separate mixing consoles, where Fader Bank 1 is used for tracking and Fader Bank 2 is used for monitoring and mixdown.

Two 24-track machines can easily be connected to the D8B for mixdown: one into the Fader Bank 1 line inputs, and the other into the Fader Bank 2 (Tape) I/O cards. This setup provides an amazing amount of control through automation, routing, and DSP!

Note: Although the D8B is perfectly set up for 24-track recording, it’s possible to route channels to 46 outputs, all at the same time: 24 direct outputs (3 cards), 8 buses (Alt I/O), 2 main stereo outputs, and 12 auxes.

Let’s Get Some Sound Happening

• Mixer Power On.

• Monitors connected and on.

• Microphone or Instrument plugged into Channel One.

FAST

• Phantom Power button TRACK pushed in if required.

•Fader Bank 1 (MIC/LINE selected).

•Press the MIC button down when using a microphone; leave it up for an instrument.

•While sound source is active, adjust TRIM for a reading around –15 on the channel 1 meter.

•Select L–R in the ASSIGNMENT section, then verify that the ASSIGN button on Channel One lights up green.

•In the CONTROL ROOM section, select MASTER L–R.

•Select the desired SPEAKERS in the CONTROL ROOM section.

•Set the SPEAKER LEVEL V-pot to about 11:00.

•Turn the MASTER L/R fader up to unity.

•Slowly raise the level of the Channel One fader until you hear sound.

•The Master L/R meters should display levels.

•Rejoice in the sense of accomplishment while listening to crystal-clear audio.

Refer to Figure 1-1 for the Fast Track Graphic description of this procedure.

Details

1.Especially for digital connections, it’s important that the Digital 8•Bus is powered up first. This procedure helps establish the mixer as a primary source in the digital sync scheme.

2.Be sure you’ve noted which output is connected to the monitor system(s) and be sure they’re powered up.

3.Be sure the microphone or instrument is plugged into Channel 1 and that Fader Bank 1 (MIC/LINE) is selected. It doesn’t take long to get used to selecting the fader bank you really need to access; however, at first make a conscious effort to include this step in your routine.

4.Be sure the button below the gain trim labeled MIC is pressed down for a microphone or is in the up position for an instrument When working fast this button is sometimes overlooked. If it’s in the wrong position there won’t be any signal to play with. That’s bad. Get in the habit of following the signal from the source to the destination—step by step. If you don’t leave any steps out you’ll be successful every time.

D8B Manual • Chapter 1 • page 8