steel stands are available for
each console.
In addition, a “side car”
stand is available. The SideCar
has 11 rack spaces for patch
bays, external processors or
console power supplies.
Mackie Designs also offers
an external MIDI automation
system consisting of a 34-
channel VCA gain cell that
connects to the 8•Bus con-
sole via insert points, a fader
pack and Macintosh™ auto-
mation software.
Quality construction
throughout
Mackie Designs mixers have
a well-established reputation
for reliability. The road-rugged
8•Bus console series is no
exception.
The console chassis em-
ploys a monocoque design
with seamless main front
and bottom panels. Besides
eliminating the bulky frame
that holds modules in a
conventional console, the
8•Bus's design resists twist-
ing forces that can plague
many consoles. The less
twisting, the less potential
service problems.
Channel strip circuitry is
located on 8-channel,
fiberglass, double-sided
through-hole-plated
circuit boards. The
circuit boards are
firmly attached
to the control surface sheet
metal via brass standoffs. A
special impact-absorbing knob
design limits downward travel
in the event of impact. Any fur-
ther stress is spread across the
circuit board. The result is a
design that is virtually impervi-
ous to the kind of damage that
is common with vertical chan-
nel module circuit boards.
During the 1994 Los Angeles
earthquake, scores of Mackie
8•Bus consoles received the
full force of falling monitors.
Most survived with little more
than a few shattered knobs.
All rotary potentiometers are
sealed to prevent liquid and
particle contamination. Internal
interconnects are gold-plated.
All
1
/4" input jack sleeves are
solid metal and create a firm
electrical contact with the main
chassis. In combination with an
internal shunting capacitor, this
configuration keeps RFI away
from the console's main circuit
boards where it can add noise.
XLR inputs use ferrite beads to
achieve the same purpose.
Mic preamps that can
handle any input
The latest version of our very
low impedance preamplifier
design provides high head-
room with a verifiable E.I.N.
spec of –129dBm and 10Hz to
300kHz bandwidth.
In-line FLIP reverses tape and mic/line
inputs between channel strip and Mix-B/
Monitor section.
AUX SENDS 1-2 — PRE button selects
pre-fader/post EQ or post- fader/post EQ.
AUX 3-4 / 5-6 — SHIFT changes 3-4 to
5-6. SOURCE selects signal source of AUX
3-4/5-6 from channel strip or channel’s
Mix B/Monitor send so you can build an
effects mix (pre or post-MIX-B level) to
assign to phones during tracking.
True parametric, 3-control HI MID EQ that
has seasoned engineers swooning
(quotes and raves on file…we’re not
kidding). Ultra-wide 500-18k frequency
sweep range; bandwidth can be adjusted
from a very wide 3-octave width to a very
narrow
1
/
12
-octave width. 15dB boost/cut.
LO MID EQ with ultra-wide 45Hz-3K sweep,
15dB boost/cut.
±
15dB shelving HI (12kHz) & LO (80Hz) EQ.
Multipurpose 18dB/oct. LO CUT filter
@75Hz. Cleans up “mix mud,” cuts PA
rumble, creates a “neo-peaking” bass
control when used with LO shelving boost.
Independent MIX-B (Monitor) section with
pan, level & source. During mixdown, use as
extra pre-fader stereo AUX send or double
your inputs.
Mix-B SPLIT EQ assigns HI & LO EQ to Mix-B.
MIX-B SOURCE selects from flip switch or
channel strip (pre-fader) for in-line
monitoring while recording or provides an
extra stereo aux bus.
Constant power, buffered PAN pot for rock-
solid panning.
Overload LED and Hyperactive –20dB Signal
Present LED
Selectable SOLO with CHANNEL METER-
ING allows soloing in full stereo perspec-
tive; displays soloed channel operating
level on master L/R meters so input trims
can be adjusted for optimum levels.
24•E 8•Bus Expander
(18 pages)
(17 pages)
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