Applications Chapter 4 D8B Manual • Chapter 4 • page 87
Setting Up for a Session Channel Configuration/Planning This section of the Digital 8•Bus Owner’s Manual provides very application-specific descriptions of some common usages. Follow the checklist format to help ensure everything is set just right for your configuration. As your skills and knowledge increase, try new techniques. Build a system that’s optimized for your specific application. This actually has a lot to do with how well any audio experience unfolds.
• It’s a good idea to keep a snapshot of each working configuration as a starting point: tracking, overdubs, symphony, grunge band, etc. ❏ Connect all mics and instruments • • • Be sure all channel faders are down. Turn Master Fader down. Turn Speaker level down. Setup Window The Setup Window is very important to the functionality of the Digital 8•Bus. Its settings determine how the console functions within its own architecture as well as how it interfaces with other digital equipment.
Setup Window settings are automatically stored and are recalled in subsequent boot ups.
Installation and Connection of Optional I/O and Effects Cards The Input/Output cards are an essential part of the D8B multitrack system. These cards provided up to 24 tape outputs and inputs for use with any common analog and digital formats. Since the I/O cards are optional and interchangeable, you probably need to install them before you begin creating hit recordings. If you install multiple types of I/O cards, note which slots they’re installed in.
Installation of FX Cards IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. Also, install your FX cards in order. For example, put your first FX card in the slot marked “A,” your second FX card in slot “B,” etc. 1. Loosen the four spring-loaded screws on the blank cover plate to the FX card slot you want to fill. FX Card Cover Plate Removal 2.
Installation of I/O Cards IMPORTANT: Shut off power to the Digital 8•Bus’ Remote CPU before installing or removing cards. 1. Using a #2 Philips screwdriver, unscrew the blank cover plate corresponding to the I/O card slot you want to fill. Remove Cover Plate for Tape I/O Card 2. Holding the I/O card so that the components on the green circuit board face to the left (see diagram), line up the card so the top and bottom edges fit into the white guide slots.
Checklist for Basic Operational Functionality Connecting Analog Multitrack(s) Basic system functionality depends greatly on the accurate selection of a few key items. Work through this checklist to verify console settings. The previous chapters provide an explanation of each item. This checklist simply provides a mental road map to verify proper functionality.
Connecting TASCAM (TDIF) Multitrack(s) ❏ Install DIO•8 card into one or more of the D8B TAPE card slots. ❏ Using a 25-pin D-sub digital cable (TDIF), connect the D8B Digital I/O connector to the TASCAM MDM (e.g., DA-88) Digital I/O connector. ❏ Install BNC clock cable and make sure all connections are tightly secured. ❏ If the D8B is to be the slave, the sync source should be connected to the sync card BNC Word Clock input and the D8B Apogee Clock should be set to External in the Setup>Digital I/O window.
Multitrack Recording Multitrack recording involves a continuous assessment of signal flow. If you follow a wellplanned thought process from the beginning of the signal path to the end, you’ll succeed in each audio task. When multitrack recording using the D8B, it’s helpful to visualize the basic signal flow between fader banks. For any multitrack setup, it’s important to keep track of the signal path from the console to the multitrack, then from the multitrack back into the console.
Multitrack Tracking Checklist ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ ❏ Connect multitrack ins and outs to D8B. Follow basic power-up procedure. Select Mic/Line fader bank. Press phantom power button on the rear of the console for necessary mic inputs. Press Mic button on channels using microphone inputs. Set pre-fader auxes in Setup Window for monitor use. Test each instrument and mic to verify sufficient level at console input meter. Adjust input trim for a reading around –15 on the meter.
❏ Assign MIC/LINE bank channels to desired tape tracks. ❏ If you want to monitor from the multitrack, remove the MIC/LINE Bank from the L/R mix. This has no effect on the output to tape. ❏ Adjust control room monitor mix from TAPE IN Bank. Verify channel assignment to the L/R bus. ❏ Place tape inputs in record/ready to verify signal at machine. It’s typically best to monitor signal from the multitrack rather than from the channel input.
❏ Adjust headphone monitor volume in the PHONES/CUE MIX section. PHONES/CUE MIX 1 PHONES/CUE MIX 2 AUX 9-10 COPY MIX TO CUE AUX 9-10 COPY MIX TO CUE AUX 11-12 CONTROL ROOM AUX 11-12 CONTROL ROOM LEVEL LEVEL ❏ Adjust channel aux levels to onboard or outboard effects from Fader Bank 2 (TAPE IN). ❏ Verify that Master Output is connected to the mixdown machine. The mix should be arriving at the mixdown recorder. It’s good to check this as part of your tracking process.
Sample Tracking Setup This diagram shows a typical hookup for tracking. Four microphones are connected to channels 1–4 for vocals. Two of them are condenser mics, which require phantom power, so the +48V PH switch is pushed in on those channels. A vocal enhancer is connected to the channel 1 INSERT jack to add a special effect to the lead vocal. Note: During tracking, dynamics control, like compression and limiting, are often included (insert or onboard) at the beginning of a signal path.
ANALOG I/O ANALOG I/O ANALOG I/O MASTER OUT 21 2 TRACK C CR NEAR FIELD Powered near-field monitor speakers 2 TRACK B 2 TRACK A 22 CR MAIN MASTER OUT 23 24 15 LINE IN 16 19 13 PNCH I/0 TLKBK STUDIO OUT PHNS 1 PHNS 2 20 14 LINE IN INSERT LINE IN INSERT LINE IN INSERT AUX 12 AUX 11 AUX 10 10 11 12 Stereo Effects Procesor R L BUS OUT 1-8 & SURROUND OUT 17 18 Direct Box AUX 9 INSERT LINE IN 9 INSERT LINE IN 8 AUX 8 Reverb Digital 8•Bus Analog Recording/Trackin
Mixdown Setup This simple checklist will help get the mix started. Notice that, each time, we follow the signal path from its source to its destination. ❏ Be sure the multitrack recorder is connected properly to the Tape In card(s). ❏ Roll tape to verify signal at TAPE IN Fader Bank. ❏ If any track reads excessively hot or cold on the D8B meter bridge, adjust the Digital Trim for a reading around -15 with no peaks (OL). Pressing DIGITAL TRIM activates the channel V-Pots as digital input trim adjustments.
Optional AIO•8 Cards ANALOG I/O ANALOG I/O TO TAPE FROM TAPE ANALOG I/O TO TAPE FROM TAPE R L MASTER OUT BUS OUT 1-8 & SURROUND OUT 23 24 21 2 TRACK C CR NEAR FIELD Control Room Monitors Near-field Powered Monitors 2 TRACK B 2 TRACK A 22 15 LINE IN 16 CR MAIN MASTER OUT 2-Track Recorder 17 18 Digital 8•Bus Analog Recording/Mixdown Hookup Example Digital I/O AES/EBU OUT IN 2-inch 24 track TO TAPE FROM TAPE 2-Track DAT MIDI I/O (rear of D8B Remote CPU) Sync Interface Out In
Effects/Plug-ins MFX/UFX Before we look at more setup examples, lets cover some quick tips on efficient use of the Digital 8•Bus plugins. Follow these easy steps to use the Digital 8•Bus internal plug-ins. Note: In the plug-in windows, clicking directly on the Effects patch name displays a large pop-up menu of Factory or User patch names, which points to available patches in your working directory’s Presets folder. Always save your custom presets to the User Presets folder.
6. Use the channel V-Pots to set individual channel send to the selected aux bus. Note: Alternately, you can click and drag on the horizontal bar in the auxes section at the top of the channel strip to adjust the aux send level. 7. Click and drag on the Master V-Pot to adjust the overall aux send level to the selected effect. You can click on the SOLO button in the Master V-Pot Section to monitor the aux send signal. 8. Click on the EFFECTS button to select Fader Bank 3.
Dynamics and EQ Applications Dynamics and equalization are typically applied in one of three ways: 1. Processing Dynamics and EQ Before Tape • Select Fader Bank 1 (MIC/LINE). • Double-click SELECT on the desired channel to open the on-screen Fat Channel. • Set compression, EQ, or gate. Since Fader Bank 1 (MIC/LINE) feeds the multitrack inputs, any changes made from that bank are printed to tape. 2. Processing Dynamics and EQ After Tape • Choose Fader Bank 2 (TAPE IN).
MIDI and the D8B MIDI Basics Your Digital 8•Bus works very well when incorporated in a MIDI network, utilizing a computer referenced to time code. Be sure to connect the D8B MIDI jacks to your MIDI interface. Within your computer-based MIDI sequencer, set the MIDI channel connected to the D8B to transmit MIDI Time Code (MTC). This is necessary to run automation from a Digital Audio Workstation (DAW).
MIDI Snapshots Once you’ve developed several snapshots for a mix, they can be recorded into a sequencer for consistent playback. 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.
Word Clock INPUT Word Clock OUTPUT Word Clock OUTPUT 9-pin OUT 9-pin IN PCI-324 9-pin IN 9-pin OUT Computer MIDI MIDI IN OUT Control Track IN MIDI MIDI IN OUT Control Track 1 DTP Word Clock INPUT Word Clock INPUT Word Clock OUTPUT From PCI 324 Word Clock INPUT MIDI MIDI IN OUT Digital 8•Bus Master Word Clock Out From D8B Computer Every digital system needs a master sync source. The D8B prefers to be the master source but will function as a master or slave.
Verifying Word Clock Sync Between Devices and the Digital 8•Bus • When the D8B is set to “Internal” in the Apogee Clock pop-up window, it generates word clock as a master device. All other devices must be connected as slaves. • If the D8B is slaved properly to a master word clock source, “Locked.” is displayed in the Setup>Digital I/O window next to the Apogee Clock pop-up window and an asterisk (*) flashes in the right-most portion of the control surface VFD.
Dither - To UV22 or Not to UV22: That Is the Question Digital audio’s weakness is its ability to accurately reproduce extremely low-level signals. As the amplitude decreases, there are fewer and fewer bits available to accurately represent the audio wave. In an analog system the audio simply sinks into the noise floor. Even when covered by noise, the waveform is still audibly intact. In a digital system, low level audio simply becomes inaccurate and sounds really bad.
2. Connect three snakes between the HDR24/96 Outputs (top connector) and the corresponding D8B Tape Inputs (bottom connector). D8B–HDR24/96 Setup Hookups This section shows how the D8B is connected to the Mackie HDR24/96. These examples assume that the rest of your studio equipment (monitors, sound sources, outboard processing, etc.) is already connected.
DIO•8 Sync out) to the HDR24/96 Word Clock In. To make the HDR24/96 the clock master, connect its Word Clock Out to the D8B Word Clock In. TDIF Hookup to HDR24/96 (DIO•8) Cables & Hardware (3) DIO•8 cards for HDR24/96 (3) DIO•8 cards for D8B (1) Clock I/O card for D8B (3) TDIF cables (1) 75 Ω BNC word clock cable HDR24/96 Settings 1. Set the Tape Input format for each DIO•8 card to TDIF, and the Tape Output format to TDIF. Hookup 2.
Console Settings 1. Set the Tape Input and Tape Output format for each DIO•8 card to TDIF. 2. If the D8B is the clock master, set the Sample Rate to either 44.1kHz or 48kHz, and set the Apogee Clock to Internal (in the Digital I/O Setup window). If it is a clock slave, set the Apogee Clock to Word Clock. Set the Sample Rate to match the Sample Rate selected on the HDR24/96.
Console Settings 1. If you have DIO•8 cards installed, set the Tape Input and Tape Output format for each card to ADAT. OPT•8 cards need no configuration. 2. If the D8B is the clock master, set the Sample Rate to either 44.1kHz or 48kHz, and set the Apogee Clock to Internal (in the Digital I/O Setup window). If it is a clock slave, then set the Apogee Clock to Word Clock. Set the Sample Rate to match the Sample Rate selected on the HDR24/96.
HDR24/96 Settings AES/EBU Hookup to HDR24/96 (PDI•8) 1. If the HDR24/96 is the clock master, set the Sample Clock to Internal; if it is a clock slave, set the Sample Clock to Word Clock and depress the 75Ω termination switch on the Sync card. Cables & Hardware (3) PDI•8 cards for HDR24/96 (3) PDI•8 cards for D8B (1) Clock I/O card for D8B (3) DB25 to DB25 AES/EBU snakes (1) 75Ω BNC word clock cable 2. Set the Sample Rate to 44.1kHz or 48kHz according to your preference. Hookup Console Settings 1.
OK, so we fibbed a little. You can use PDI•8 cards in the D8B without a Clock I/O card installed, but doing so requires that you enable sample rate conversion on both the D8B and the HDR24/96 in lieu of word clock synchronization. Sample rate conversion results in a 4-bit loss in sample resolution that may degrade the quality of the sound slightly. On the positive side, you don’t need a Clock I/O card! 4. Set “Samplerate” to match the sample rate of the formatted ADAT tapes (typically 48kHz or 44.1kHz).
Connecting the Digital 8•Bus to a BRC and ADATs The inclusion of a BRC controller or, for that matter, any other sync controller box with word clock and MTC, vastly increases the capabilities of the Digital 8•Bus. With centralized controls, common sync reference, and MIDI Time Code communication established, the digital system works together as one unit. Automation is achieved, referenced to MTC, and digital devices work together, sample-by-sample to make the most of your recordings.
BRC REMOTE OUT TO ADAT MIDI OUT INPUT 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 LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 DIGITAL IN 8 SYNC OUT IN OUT INPUT INPUT OUTPUT OUTPUT 3 D 1 APOGEE CLOCK I/O IN 6 7 ADAT XT SLAVE DECK (TRACKS 17-24) 8 SYNC OUT IN TAPE 1- 8 TAPE 9- 16 TAPE 17- 24 APOGEE DIGITAL I/O APOGEE DIGITAL I/O TDIF IN 5 APOGEE DIGITAL I/O WORD CLOCK OUT DIGITAL I/O
Connecting the Digital 8•Bus to ADATs Using an External Sync Box Cabling and Hookup 1. Connect a fiber optic cable between the ADAT’s lightpipe output and the D8B’s lightpipe input. Likewise, connect the D8B’s lightpipe output to the ADAT’s lightpipe input. (A DIO•8 or OPT•8 lightpipe card must be installed in the D8B to gain access to the digital tape inputs and outputs.) 2. Connect the 9-pin D-sub sync cables between the Sync Box (SYNC OUT) and the first ADAT’s SYNC IN connector.
SYNC BOX (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 SYNC DIGITAL IN IN OUT OUT INPUT INPUT OUTPUT OUTPUT 1 LOCATE/PLAY LRC REMOTE 2 3 PUNCH IN/OUT 4 5 6 7 IN OUT OUT INPUT INPUT OUTPUT 3 D DIGITAL I/O AES/EBU 1 5 6 7 SYNC DIGITAL IN 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 OUT LINE INP
Connecting the D8B to TASCAM MDMs 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 PW-88D (1 meter) or PW-88DL (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 PW-88S) between the master deck and the slaves in a daisy-chain fashion.
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 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 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 SYNC SYNC (FROM RC-808) METER UNI
Digital Audio Workstation Setup Connecting the Digital 8•Bus to a Digital Audio Workstation (Digital Performer, Studio Vision Pro, Cakewalk Pro, etc.) shares considerations with the ADAT and TASCAM hookups. Word clock synchronization must be addressed; the master and slaves must be established; the clock rate must be consistent throughout; and the audio path into the console must be intelligently configured. computer’s sample rate (typically 48kHz or 44.1kHz).
MIDI IN MIDI Interface MIDI OUT Software-based Digital Audio Workstation ADAT OPTICAL ADAT OPTICAL ADAT OPTICAL IN IN IN DAW Digital Interface 8 C TAPE 1- 8 TAPE 9- 16 TAPE 17- 24 APOGEE DIGITAL I/O APOGEE DIGITAL I/O APOGEE DIGITAL I/O D DIGITAL I/O AES/EBU 1 OUT IN OUT DIGITAL 8•BUS LINE INPUTS BUS OUT 1-8 & SURROUND OUT TDIF B OUT TDIF OUTPUT (BAL /UNBAL) 18 17 16 15 14 13 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
Live Sound/Live Recording Setup In a live sound/recording application the console fader banks are chained together to form one large console. With the addition of up to 24 more mic preamplifiers, the tape inputs can be used to receive signal from any mic-level or linelevel source. The setups for live concert recording and live sound are similar. Each involves mixing everything as you go—moving faders, or setting and selecting snapshots.
ANALOG I/O FOH Speakers MASTER OUT 2 TRACK B 2 TRACK C CR MAIN CR NEAR FIELD 2 TRACK A 19 13 AUX 12 Separate Mix for Live Broadcast Feed PNCH I/0 TLKBK STUDIO OUT PHNS 1 PHNS 2 20 Processor Connecting the Digital 8•Bus for Live Sound/Live Recording Optional AIO•8 Cards R L MASTER OUT Cassette Deck 21 14 AUX 10 AUX 9 INSERT LINE IN 11 AUX 8 AUX 7 INSERT LINE IN 9 INSERT LINE IN 10 Stereo Monitors for Finicky Keyboard Player AUX 11 INSERT LINE IN 12 Stereo Reverb Dig
Post-Production Setup The Digital 8•Bus is an amazing tool, no matter what the setup. However, the more complex the setup, the more amazing the D8B becomes. Post-production provides potential for any tracks, effects, snapshots, automation moves, and general madness mayhem. Most post-production facilities use house sync to lock all video equipment together.
Using Basic Automation What Type of Data Can Be Automated Virtually all of the D8B channel parameters are available for automation. However, there are a few exceptions—some obvious and some not so obvious.
Save Snapshot For Safety As you build the mix, save snapshots as soon as the music begins to reveal itself. Label the snapshots for your own reference. Sometimes these basic mixes, which are derived from your initial “gut” reaction to the music, are the most powerful. Basic dynamic automation does not require these snapshot saves, but they’re often useful as the mix comes together, even if only as a crossreference.
Move a channel fader Press the D8B Record Button • • As soon as the fader moves, the WRITE button illuminates, indicating automation data is being recorded. Exit Record and Rewind to Beginning of Track • Stop playback or press the WRITE button on the active channels to exit automation record mode. Rewind playback/Record device to the beginning of the automation pass.
subtracts the same amount from a previously adjusted automation track. For example, when used for faders, all moves are maintained but the overall volume changes. Press TRIM LEVELS • Press TRIM LEVELS in the control surface Automation section, on-screen Locator window, or in the Options>Automation menu. Notice that the faders all snap to unity position.
