7/1/95

RECORDING AND PA CONSOLES

Since its
introduction, Mackie
Designs 8Bus Series consoles have proven that
excellent sonic quality,
practical features and extreme durability needn't
mandate a premium price.
In hundreds of SR and
recording installations, the
328, 248 and 168 deliver
performance previously
only found in consoles
costing far more.
Instead of offering
dozens of mix-and-match
input and output module
options, we have put more
of what most users need
into a single console design enabling us to make
them in quantities which
can bring costs down.
All three 8Bus consoles
and the 24E expander offer
extensive monitoring, 4-band
EQ, accurate, logarithmic
taper faders and expansive,
forgiving headroom. Equally
as important, they are built
to withstand the rigors of the
environment and the casual,
untrained user. 8Bus consoles have withstood
hundreds of thousands of

miles of
touring,
toppling
monitors
during major
earthquakes, and every
possible liquid that ever got
near a mixing board.
A complete system
The 8Bus console line
consists of three in-line
consoles, the 32x8x2 328,
the 24x8x2 248 and the
16x8x2 168.
The 248 and 328 are
expandable with Mackie's
24E Expander console. The
24E consists of 24 input
channels and tape returns.
It connects to the 328 or
248 via a proprietary cable.
Multiple 24E expanders
may be daisy chained to
provide 128 or more total
input channels. The 24E's
outputs are pre-mixed in
the expander to reduce line
noise, thermal noise and to
maintain sonic quality at
the main console.
All three consoles and
the 24E are shipped with
Mackie's rugged 220-watt
triple-regulated power
supply. Meter bridges and

RELATED PRODUCTS
8BUS MIDI AUTOMATION
METER BRIDGES
FLOOR STANDS & SIDE CAR

MORE INFORMATION
8BUS ARCHITECTS AND
ENGINEERS SPECIFICATIONS
8BUS COLOR
TABLOID BROCHURE

FEATURES
Each channel includes
Mackies famous mic
preamp and a 10/+4
switchable tape return
Eight assignable submasters and a L/R mix
master
4-band EQ with true
paramatric (3-control)
HI MID, LO CUT filter
Extensive routing
capabilities
Available in 16, 24 and
32 channel versions
Optional Meter Bridges
available
Optional 24E Expander
console available
(for 248 and 328 only)
Rugged all-metal
chassis
In-line monitoring
effectively doubles your
input channels

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 channels
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 filewere 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.

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 34channel VCA gain cell that
connects to the 8Bus console via insert points, a fader
pack and Macintosh automation software.
Quality construction
throughout
Mackie Designs mixers have
a well-established reputation
for reliability. The road-rugged
8Bus console series is no
exception.
The console chassis employs a monocoque design
with seamless main front
and bottom panels. Besides
eliminating the bulky frame
that holds modules in a
conventional console, the
8Bus's design resists twisting 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 further stress is spread across the
circuit board. The result is a
design that is virtually impervious to the kind of damage that
is common with vertical channel module circuit boards.
During the 1994 Los Angeles
earthquake, scores of Mackie
8Bus 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 headroom with a verifiable E.I.N.
spec of 129dBm and 10Hz to
300kHz bandwidth.

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 rocksolid panning.
Overload LED and Hyperactive 20dB Signal
Present LED

Selectable SOLO with CHANNEL METERING allows soloing in full stereo perspective; displays soloed channel operating
level on master L/R meters so input trims
can be adjusted for optimum levels.

24E 8Bus Expander

7/1/95

All 8Bus preamps use

conjugate-pair, large-emittergeometry transistors instead of
off-the-shelf integrated circuits.
At any gain setting, you get the
additional headroom and ultralow noise previously only found
in far more expensive consoles.
They can handle virtually any
live source including screaming singers and loud drum kits
without overload.
The 8Bus channel strip
The 8Bus input channels'
physical layout and features are
detailed on the next pages of this
product information sheet. Note
that, although each channel strip
is relatively dense, all controls are
easily accessible. Knobs are large
enough and sufficiently far
apart for even the largest fingers. Markings are legible, even
in low-light situations.
The four-band EQ section is
placed lower on the strip than
the AUX sends for easy access
during sessions. Within the EQ
section, the high and low shelving controls have been placed
next to MIX-B, since their operation can be transferred to
the monitor section. A sharp Hi
pass filter is included for PA
applications.
Within the MIX-B monitor
section, is a Source switch. In
the Channel (down) position,
MIX-B is connected to the
same point in the circuit as the
channel fader input. It provides
a second, independent stereo
mix from the main channel
signal that is handy for broadcast feeds, 2-track recording,
routing to another zone in a
church or club, or an extra set
of aux sends.
8Bus channel and bus faders are a special design that
provides true logarithmic taper.
These smooth, 100mm faders
use a complex network of additive resistive elements that
combine at various points

6 STEREO AUX RETURNS. All have 20dB

gain, Solo and can be used in stereo &
mono. 1 & 2 are pannable & bussable.
3 & 4 are assignable to the phones for
wet monitoring.
6 AUX SENDS with Solo and Solo LED.
TALKBACK assigns to all submasters,
main mix, AUX 1, AUX 2 or Phones 1 & 2.
SOLO level adjust and ultra-rude LED.
MONITOR section with separate Control
Room & Studio levels. Source selection
between L/R mix, Mix-B, Tape & External.
Can be switched to Mono.
TWO SEPARATE HEADPHONE
SECTIONS can be used totally independent of each other. Each features source
selection between Control Room & any
combination of AUX 3/4, AUX 5/6, Mix-B
or External source. Solo allows control
room to hear what musicians are
hearing in their headphones.
MIX B/MONITOR section can be used as
an independent stereo out for PA
monitor mix, 2-track recording,video/
broadcast feed or assigned to L/R mix.
40 to +10 bar graph LED DISPLAYS for
each sub-master & Solo/Main (with
main L/R +22dB CLIP LEDs).
EXPANSION CONSOLES let you add
channels in banks of 24 to either the
248 or 328. Expanders have their own
internal mix amps so the main board
only sees one extra channel per
expansion console.
Trick BUS SOLO switches send oddnumbered buses to the left speaker and
even-numbered buses to the right
speaker unless youve pressed the
respective MONO L&R button. When a
bus has been mono-ed, SOLO sends the
bus to both speakers.
L MIX/R MIX & MONO L& R buttons assign
buses to main L/R stereo bus.

Built-in talkback MIC.

7/1/95

along the faders' travel to

achieve an absolutely
even, predictable fade
rate, from the very top all
the way to the bottom
(where you get absolute
attenuation, just like on
more expensive consoles).
The 8Bus output section
We have provided exceptional monitoring flexibility
by providing two separate
headphone sections. Each
lets you build a custom mix
using any combination of
Monitor, Mix-B, AUX 3 & 4,
AUX 5 & 6 and External
(cue/click track) inputs.
Control room and studio/stage monitor levels
are controlled via individual
stereo level controls. Select
any combination of L/R
Mix, Mix-B, 2-Tk. and
External inputs.
An additional Talkback
section can be routed to any
combination of AUX 1, AUX
2, Tape/Submasters (L/R
mix) and Phones/Studio.
The 8Bus power supply
Our 220-Watt Triple-Regulated Power Supply is

designed to withstand high

environmental temperatures and direct sunlight. It
can produce rated output
from as little as 100 volts
(a serious consideration
when running SR at the
end of a long extension
cable). The power supply
has sufficient output to run
both the console and a
meter bridge. Compare it
to what you get with other
consoles in the same price
range. You'll see one more
example of just how overengineered the 8Bus
series is.
The 8Bus meter bridge
MB32, MB24 and MB16
meter bridges provide
12-segment LED ladders
for each input channel
and quality, lighted VU
meters for master Left/
Right output (the MBE
Meter bridge for the 24E
Expander console does
not include VU meters).
Input buttons allow you to
globally switch between
Tape Return input and
Channel Strip Post Fader
output. Each meter assembly attaches in
minutes and can be tilted
as desired. The meter
bridges also tilt down fully
to save road case depth.

The SideCar
For fixed installations,
you can add the
Mackie SideCar.
It is designed
to fit on
either
side of an
8Bus console
or Expander and
provides 11 standard
rack spaces with integral tapped rails
for outboard processors, patch bays or
power supplies.
Horizontal circuit
boards versus
vertical circuit
modules
By avoiding individual,
vertical circuit modules,
we increase parts density
which means fewer wiring harnesses and ribbon
cables, shorter signal
paths and less assembly
time. Yet our 8-channelsper-card circuit boards
can be repaired easily
and are far less prone to
damage in the first place,
thanks to a special knob
design and mounting
method that withstands
all but the most brutal
impacts.

All channels have Mackies renowned discrete, wide-bandwidth MIC PREAMP circuit for ultrahigh
headroom & low noise. All mic inputs have RFI choking, ferrite beads and +48V phantom power
(switchable in banks of 8 channels).

Three TAPE OUTPUT jacks per

bus (total of 24). Balanced
outputs, switchable from
+4/10.

Balanced MIC, bal./unbal.

LINE IN, MIC/LINE switch ,
DIRECT OUT & CH. INSERT on
every channel.

+4dBu balanced TAPE RETURNS,

switchable to 10dBV in banks
of 8 returns.

8Bus SideCar
(not included)

(PER 8 CH'S)

+4dBU/10dBV Select

+
-

TRIM

+
-

Mackie Designs 8Bus Console

Block Diagram 6/95

(#4 IDENTICAL)

LEVEL

(#6 IDENTICAL)

LEVEL

EXTERNAL
IN R

EXTERNAL
IN L

2-TK IN
R

2-TK IN
L

STEREO AUX RETURN 5

RIGHT

LEFT
(MONO)

STEREO AUX RETURN 3

RIGHT

POST
PRE

POST
PRE

POST
PRE

SOLO

L/R

7-8

5-6

3-4

1-2

SOURCE

SOLO

L/R

SOLO

L/R

PHONES 2

PHONES 1

LO MID

PARAMETRIC
EQ
HI MID

MIX-B
SOURCE

SHIFT

AUX 2

AUX 1

AUX 3

HI

CHANNEL

FLIP SW

AUX 6

LO

SHELVING
EQ

AUX 5
AUX 4

GAIN FREQ "Q" GAIN FREQ

HI/LO EQ
TO MIX B
SPLIT

CHAN
FADER

LEVEL

MUTE

SOLO

L/R

7-8

5-6

3-4

1-2

MIC

MIX B
MASTER

MIC LEVEL

INSERT

L/R
MIX
FADER

INSERT

INSERT

MIX-B
TO
L/R MIX

CH. OUT

2
3

R BAL OUTPUT

R UNBAL OUTPUT

TALKBACK:

L BAL OUTPUT

L UNBAL OUTPUT

MIX-B OUTPUT

vu

OPTIONAL METER BRIDGE

TAPE IN

GLOBAL
SELECT

vu

L/R MIX

TO AUX 1

TO TAPE/
SUBMASTER
TO PHONES
(AND STUDIO)

TO AUX 2

EXTERNAL

2-TK

MIX-B

SOLO
CONTROL

R METER

L METER

SOLO
LEVEL

LEVEL

METER

LEVEL

MONITOR
SOURCE

AUX
SEND 1
(#2 IDENTICAL)

SUB MSTR
FADER

AUX
SEND 3
(#4, 5, 6 IDENTICAL)

INSERT

SUB MSTR
FADER

METER

SUB(#3MASTER
1&2
- 8 IDENTICAL)

To on-ramp #257
of the Santa Ana Freeway

PAN

PFL MOD

PAN

POST
PRE

PRE EQ
TO AUX MOD

EQ
IN/OUT

LEFT
(MONO)

LEVEL

75Hz
HPF

MIX-B SOURCE MOD

BALANCE

FLIP

20dB

STEREO AUX RETURN 1

(#2 IDENTICAL)

LO CUT
IN/OUT

0L

NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION

RIGHT

LEFT
(MONO)

INPUT
1 OF 16 (24) (32)

DIRECT
OUT

TAPE
IN

LINE
IN

(PER 8 CHANNELS)

PHANTOM POWER

INSERT

BUS 8
BUS 6
BUS 4
BUS 2

AUX 6
AUX 4
AUX 2

MIC/LINE

BUS 7
BUS 5
BUS 3
BUS 1
R-SOLO

MIC IN

L-SOLO
R-BUS
L-BUS
R-MIX-B

OPTIONAL 24E
24-CHANNEL MACKIE 8BUS
EXPANDER CONSOLE

AUX 5
AUX 3
AUX 1

L-MIX-B

INSERT

L+R

L+R

MONITOR

MONITOR

CONTROL ROOM
PAD LOGIC

MONO

EXTERNAL

AUX 5/6

AUX 3/4

MIX-B

EXTERNAL

AUX 5/6

AUX 3/4

MIX-B

AUX OUT

SOLO

AUX OUT

SOLO

SOLO

PHONES 1
SOURCE

R MIX

SUB OUTS 2, 10 & 18

SOLO

L MIX

SUB OUTS 1, 9 & 17

PHONES 2
SOURCE

+4/-10

+4/-10

CNTRL RM
LEVEL

PHONES 2
LEVEL

PHONES 1
LEVEL

SOLO

SOLO

STUDIO
LEVEL

(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)

(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)

R
CNTRL RM
OUTPUT

L
CNTRL RM
OUTPUT

R
STUDIO
OUTPUT

L
STUDIO
OUTPUT

PHONES 2
OUTPUT

PHONES 1
OUTPUT

168
console
WEIGHT*
50 lbs.

16x8x2 8-BUS MIXING CONSOLE

24x8x2 8-BUS MIXING CONSOLE

*exclusive
of
meter
bridge

1995 MACKIE DESIGNS INC.

V. 1.4 4/4/94

*exclusive
of
meter
bridge

1995 MACKIE DESIGNS INC.

1.00"
4.78"

1.00"

35.02"
37.02"

28.74"

28.74"

27.17"
29.17"

0.54"

1.00"

0.54"

1.00"
4.78"

V. 1.5 6/95

248
console
WEIGHT*
64 lbs.

29.20"

6.00"

MB168 Optional Meter Bridge

3.38"
5.50"

6.00"

3.38"
5.50"

37.00"

MB248 Optional Meter Bridge

STAND FOR 248 & 328 CONSOLES

1995 MACKIE DESIGNS INC.

2.65"

3.67"

2.70"

2.50"
4.25"
4.78"
6.00"

9.00"
5.50"

V. 1.0 4/4/94

0.69"
25.24"
28.58"
28.74"

Note: add 3.75" to depth for

power supply cable clearance
Stand
WEIGHT
44 lbs.

29.00"

26.80"

28.40"
22.50"

24E
console
WEIGHT*
50 lbs.

328
console
WEIGHT*
78 lbs.

32x8x2 8-BUS MIXING CONSOLE

24-CH. EXPANSION CONSOLE FOR 248 & 328

*exclusive
of
meter
bridge

V. 1.0 4/4/94

*exclusive
of
meter
bridge

1995 MACKIE DESIGNS INC.

1.00"
4.78"

1995 MACKIE DESIGNS INC.

0.54"

1.00"

27.17"
29.17"

28.74"

43.82"
45.82"

28.74"

1.00"

0.54"

1.00"
4.77"

V. 1.4 4/4/94

7/1/95

45.80"

MIC INPUT

from point (A)

AUX RETURN

CH. LEVEL

MIX

-50 trim up

O/P LEVEL

OUTPUT

AUX SEND

L/R bal max out +28

+22 max in
gain up +15
0 trim dn

level up +15

level up +15

0
to point (B)

-10 trim dn

MBE Optional Meter Bridge

max out +22

level up +20

+14 max in

6.00"

MB328 Optional Meter Bridge

3.20"
5.50"

6.00"

3.38"
5.50"

29.15"

fader up +10

0 (B)

(A)
pan center -3

gain dn -15

-6 -6

max out +22

fader up +10 1-8 bal/unbal
L/R unbal
0
(C)

max out +22

0
(D)

level up 0

EQ

FADER

PAN

MIX

SUB INSERT

CHANNEL

gain up +15

-12.3 @-10
TAPE INPUT

CONTROL ROOM

max out +22

+22 max in

0 switch @+4

OUTPUT
FADER
SUBMASTER or MAIN MIX

level up +15

gain dn -15
SPLIT EQ

CH. LEVEL

19.00"

level up +15
0

MIX
MIX B

O/P LEVEL

OUTPUT

220-W
Power Supply
WEIGHT
24 lbs.

0
1-8 from point (C)
L/R from point (d)

-4
to meters

METER FEED (+4 @ O/P = 0 @ METERS)

3.50"
(2 rack spaces)

INSERT

10.10"

LINE INPUT
-40 trim up

19.00"

220-WATT POWER SUPPLY FOR

8BUS CONSOLES & EXPANDER
V. 1.2 4/4/94

1995 MACKIE DESIGNS INC.

+15

+15

+10

+10

+5

+5

10

10

15

SPECIFICATIONS

15

20Hz

100Hz

1kHz

10kHz 20kHz

20Hz

HI MID1/12 oct. bandwidth

boost/cut
+15

+15

+10

+10

+5

+5

10

10

15

100Hz

1kHz

10kHz 20kHz

HI MID1/12 oct. sweeps

15

20Hz

100Hz

1kHz

10kHz 20kHz

20Hz

HI MID2 oct. bandwidth

boost/cut

100Hz

1kHz

10kHz 20kHz

HI MID2 oct. sweeps

+15

+15

+10

+10

+5

+5

10

10

15

15

20Hz

100Hz

1kHz

10kHz 20kHz

20Hz

HI MID3 oct. bandwidth boost/cut

+15

+15

+10

+10

+5

+5

10

10

15

100Hz

1kHz

10kHz 20kHz

HI MID3 oct. sweeps

15

20Hz

100Hz

1kHz

10kHz 20kHz

20Hz

LO MIDboost/cut

100Hz

1kHz

10kHz 20kHz

1kHz

10kHz 20kHz

1kHz

10kHz 20kHz

LO MIDsweeps

+15

+15

+10

+10

+5

+5

10

10

15

15

20Hz

100Hz

1kHz

10kHz 20kHz

20Hz

LO SHELF

100Hz

HI SHELF

+15

+15

+10

+10

+5

+5

10

10

CHANNEL STRIP
Mic In
Electronically balanced;
discrete input configuration
Noise, Mic E.I.N. (20Hz20kHz)
129.0 dBm, 150 source
136.0 dBV, input shorted
Mic Preamp Distortion
0.001% 20Hz20kHz
Mic Preamp Bandwidth
10Hz to 300kHz 3dB
Mic Gain Range
+10dB to +50dB
Mic Max Input
+14dBu
Line In
Electronically balanced
Line in Gain Range
Unity to +40dB
Line in Max Input
+22dBu
Noise (Ch. @ Unity Gain)
94dBu
Channel Fader
log taper using 100mm
precision network design
Channel Fader Range
off to Unity to +10dB
Aux Send Gain Range
off to Unity to +15dB
Mix B Gain Range
off to Unity to +15dB
Hi Mid EQ
full parametric, 15dB freq.
sweep from 500Hz18kHz
bandwidth variable from
1/12 octave to 3 octaves
Lo Mid EQ
sweep from 45Hz3kHz
15dB
Hi Shelving EQ
12kHz 15dB
Lo Shelving EQ
80Hz 15dB
Lo Cut EQ (HPF)
75Hz 18dB/octave
(Tchebechev)
Channel Direct Out
Max Output +22dBu
Output Impedance
120 (60 @ XLR out)

Tape Returns
Bal./unbal. 1/4 jacks,
globally switchable from
+4dBu to 10dBV
Ch. Insert Max In/Out
+22dBu
Ch.-to-Ch. Crosstalk
85dB
SUBMASTER SECTION
Noise
90dB re +4dBu 16 chs.
assigned & set @ Unity
Gain
Submaster Output
Max Out
+22dBu
Submaster Insert
Max In/Out
+22dBu
Submaster Fader
log taper using 100mm
precision network design
Fader Range
off to Unity to +10dB
MAIN SECTION
Working S/N ratio
90 dBu (ref: +4 dBu), all
channels assigned, all
faders @ Unity Gain.
Max Output
+28dBu balanced XLR,
+22dBu unbalanced 1/4"
Aux Returns Gain Range
off to Unity to +20dB
Aux Sends Max Out
+22dBu
GENERAL
Distortion
Better than 0.01%, any
input to any output
Frequency Response
20Hz-40kHz 1dB any
input to any output;
10Hz-120kHz 3dB
Max Gain mic in to bal.
main out
+76dB
AC Power Consumption
200 watts typical 300
watts max (328 w/
Meter Bridge)

15

15
20Hz

100Hz

1kHz

LO CUT (HI PASS)

10kHz 20kHz

20Hz

100Hz

Interaction of LO CUT with

LO SHELF boost

MACKIE DESIGNS INC. 16220 WOOD-RED RD. N.E.

WOODINVILLE WA USA PHONE TOLLFREE 800/258-6883
FAX 425/487-4337 OUTSIDE THE U.S., PHONE 425/487-4333

Mackie Designs Inc. is engaged in a continuous program of

product evaluation and improvement and reserves the right to
change product specifications at any time without notice.
1995 Mackie Designs Inc. All rights reserved. Mackie. is a
registered trademark of Mackie Designs Inc. Printed in USA.
12022951.2