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and the other one up for stage monitor. If you
need to do some combination of house/recorder
feed or vocal/drum/keyboard monitors, divide
the functions up between L/R Mix, AUX buses
and MIX-B buses as described above.
Mic Splitters
If you are using one mixing console for your
main or house mix and another for stage moni-
tors, the best way to distribute the microphone
signals to both consoles is by using a good quality
mic splitter box. Splitters use transformers spe-
cially designed to split the signal and keep the
impedance match correct while rejecting noise
and preventing ground loops. You can get split-
ters with as many input channels as you need,
each with from two to five outputs for each mic
input.
Mic splitter transformers are expensive, but
are well worth the investment. They will provide
the most consistent trouble-free performance
with multiple mixers.
If you need to split your inputs but do not
have splitter transformers, you can make a spe-
cial harness of cables to split out of the Mackie
channel insert. This technique is not always as
flexible or ground-loop-proof as splitter trans-
formers, but is much less expensive. See Figure
11 in Appendix A: “Connections.”
FINDING MORE INPUTS
You bought a 32-channel mixer and you still
don’t have enough inputs. Well, before you go to
the bank again, remember that the Mackie
8•Bus Series has some options for you:
• You can get up to 32 additional line inputs using
the Tape In to MIX-B path. You can even split
the EQ and Aux Buses to the MIX-B inputs if
you want. Then assign Mix-B to L/R Mix.
• Any unused AUX returns (there are 12
inputs) can be used as additional line inputs.
• In a pinch, you can use the eight Submaster’s
inserts providing the sub is currently unused
(no channels assigned to it). Use a 1/4” TS
cable and plug in only to the first click. Signals
entering here will be kicked up by +6dB.
• Expand your mixer with the Mackie
24-Channel Expander Console.
You can hook up several expanders to your
24 or 32 channel 8•Bus console.
PA
&
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