Paul White takes the wraps off the long-awaited Mackie 8-bus mixing console — and likes what he hears.

Few products since the Alesis ADAT have created such a buzz of anticipation as Mackie's 8-bus recording console — which is unusual when you consider that, on the face of it, this desk appears to offer similar features to existing mixers in the same price range. Aside from the undeniably chic look of the product, I can only attribute the high level of interest that it has attracted to the impressive sonic performance of Mackie's smaller brethren, the CR1604 and 1202, which have successfully spanned the gulf between the bedroom studio and the pro audio production suite. There's also been plenty of publicity concerning the forthcoming level and mute automation option for the 8-bus desk. Apparently this will come as a stand-alone package which connects to the console via its insert points; Mackie claim it can be used on any console fitted with insert points, not just theirs. However, don't expect to see this until well into the new year; as delivered, the 8-bus is strictly manual-drive.

Most of you will know your way around the main features of a typical multitrack console, so what I propose to do is cover the general features of the Mackie 8-bus in pretty broad strokes before focusing on the various areas that I feel deserve particular attention. Like most consoles in this price range, the hardware is non-modular, so you have to decide whether you want the 16-, 24- or 32-channel version at the outset. A 24-channel expander module is scheduled for release very shortly and will connect to the main console via a single umbilical cable, so you don't have to get too worried about your studio outgrowing your new console.

In common with most contemporary mid-market mixer designs, the Mackie 8-bus takes a quasi in-line approach which is best described as 'in-line monitoring, split grouping'. Each channel contains a second signal path (Mix B), which may be used either as a tape monitor during recording or as an additional input during mixdown. The Group faders are located to the right of the console beneath the Master section, which also houses eight Group and two Master/Solo bargraph meters; a full-size meter bridge is available as an optional extra.

Although there are only eight output Groups, these feed three sets of tape output jacks wired in parallel, which means that up to 24 tape tracks can be accommodated without repatching. As always, there is the constraint that only eight tracks can be recorded in one pass using this method of routing, though the channel direct outputs may also be used to provide additional tape feeds. By the very nature of its 'in-line' format, there are as many tape returns available as there are input channels.

The external power supply is a 2U rackmount unit cooled by a slow-running (and hence reasonably quiet) fan. A sensibly robust locking connector brings power to the console.

BUILD QUALITY

Construction-wise, the console itself is extremely robust, and the stylish end-cheek mouldings and arm rest extrusion give it a sleek, hi-tech appearance. The colour scheme also works well, with subdued knob cap colours contrasting nicely with the dark, metallic paintwork. It's also encouraging to see that the panel legending is both informative and unobtrusive, though I feel that some of the text is rather too small for easy readability under low lighting conditions. Even though the desk is reasonably compact, it doesn't suffer from the 'miniaturisation at all costs' syndrome, which means all the controls are reasonably spaced and accessible.

Unlike most multitrack consoles, the circuitry is built on horizontal circuit boards which both cuts down on internal wiring and reduces the manufacturing cost. It can be argued that this makes servicing a little more inconvenient, but by the same token the overall reliability should be better, with fewer interconnections to go wrong. All the pots feel fine, even though some offer more physical resistance than others, and the switches are very positive with no tendency to bind on the casework. All the knobs that you'd expect to have centre detents (such as the EQ cut/boost and Pan controls) have them, but as with almost every other mixer I've reviewed, it isn't always clear which routing buttons are up and which are down unless you view them from the side. The channel faders are 100mm travel carbon models built especially for Mackie, and while they won't fool anyone into thinking they're Penny & Giles, they compare well with those found on other mid-market consoles.

CHANNEL DESIGN

As far as I can tell, the mic preamp is based on that used in Mackie's previous two mixers, and this particular piece of circuitry is just one of the reasons those particular mixers established such a reputation for quality. Phantom power (48v) is available, switchable in blocks of eight channels, not individually, and to prevent thumps or potential microphone damage, the phantom power ramps up slowly at switch-on and ramps down again when switched off.

The layout of the mixer means that some connectors are on the top panel while others are on the rear, and all are hidden from view if the (optional) meter bridge is fitted. A minor rankle is that the Mic/Line selector switch and the phantom power buttons are behind the meter bridge position, making them difficult to reach once the meter bridge is fitted. Insert points are provided on all the input channels, as are direct outputs, and further inserts are fitted to the Group and main stereo outputs.

The gain Trim pot is accompanied by a Flip switch, which allows you to toggle between the main channel and Mix B signal paths without repatching. When you come to mix, the Mic/Line input can be diverted to the Mix B (Monitor) controls and the off-tape signal fed via the main channel path, which includes the fader.

Unusually, the Aux controls are mounted above the EQ section rather than directly below it, and are set out as four controls switchable to access six busses. Aux 1 and 2 are switchable (as a pair) for pre-fader or post-fader operation, while Aux 3 and 4 offer the same facility, with the addition of a Shift switch to reassign them to busses 5 and 6, again as a pair. Because there are no dedicated auxiliary sends relating to the Mix B section of the channel, these last two sends may also be switched out of the main signal path and into the Mix B path using the Source button.

The Mackie's EQ is a four-band arrangement and may be shared between the main and monitor signal paths if required. The HF and LF controls are shelving types, while the two Mid controls are tunable. There's also a Low Cut filter operating at 75Hz (see side panel for full EQ details). A highly desirable EQ Cut switch is included, which bypasses the EQ section but doesn't affect the operation of the Low Cut filter if this happens to be active.

Because of its lack of dedicated aux sends or EQ, the Mix B/Monitor section of the panel looks pretty sparse, with only Level and Pan controls plus a couple of buttons. The upper button is used to commandeer the two aux sends, which is straightforward enough, but the lower button (labelled 'Source') deserves further comment. Although the Flip switch at the top of the channel determines whether the Mic/Line or Tape signal feeds into the Mix B section, the Source switch in the Mix B section provides a third option. With the Source button in its 'up' position, the Mix B signal comes from the Flip switch as described, but in the 'down' position it comes from the channel fader input, enabling an independent stereo mix to be set up. This has a host of applications, especially in installation or PA work, but none are really central to mainstream recording. You could use this facility to create a quadraphonic mix, by using the channel fader and Pan pot to control the 'front' level of sound and the Mix B controls to position the 'rear' sounds. Alternatively, in an installation such as a theatre, the Mix B controls could be used to set up a different version of the mix to feed the foyer or dressing room speaker system. Other than that, there's nothing too unusual about the Mix B controls, though it's worth mentioning that the Level knob has a centre detent set at unity gain and provides a handy 15dB of extra boost when turned fully clockwise. Many in-line mixers route their Mix B busses directly to the main stereo bus, but on this console you have the option, as it is switchable. There's also a separate Mix B output, increasing the flexibility of the routing.

Moving down to the channel Pan control brings us back into familiar territory, with a full complement of Solo, Mute and routing buttons. When selected, Solo allows a channel to be heard in isolation, enabling the channel input gain structure to be set up accurately. Both Mute and Solo have accompanying status LEDs, and when a channel is Solo'd, a large flashing red LED in the Master section ensures you don't forget about it. The channel Clip and -20dB LEDs provide a very worthwhile augmentation to the main metering system; the green -20dB LED comes on when a signal is present, followed by the red Clip LED when overload is imminent. There's more to the Clip LED than you might imagine, because it monitors three important points in the signal path and warns if any one of them comes close to clipping. For example, if the input Trim is set up adequately and then you crank up the EQ boost to a point where the signal is likely to clip (distort), the Clip LED will let you know about it.

Completing the input channel strip are the channel routing buttons, which are located down the side of the 100mm fader and offer the common choices of 1, 2 3, 4 5, 6 7, 8 or L/R Mix.

MASTER SECTION

While offering nothing radically new, there are some features in the Master section of this Mackie desk that have been fine-tuned to make life easier; one of these is a choice of mono or stereo routing whenever the Group faders are used to provide subgrouping facilities during mixdown. There are two routing buttons above each fader, one routing the fader equally to the left and right stereo mix bus (Mono) and the other routing it either to the left or right bus (left for odd-numbered Groups, right for even-numbered). In addition, each Group has its own Solo button.

The Master left/right level control is a ganged stereo fader, which makes controlled fade-outs easier, and above this is mounted an integral talkback mic which may be routed either to Aux 1 and 2 sends (typically the ones used for setting up a cue mix), to all the tape outs, or to the Phones and Studio outputs.

The desk's metering system is set up such that 0VU equates to +4dBu at the output, and is thus compatible with professional tape machines. However, there are switches at the subgroup outputs that enable this to be reset to -10dBV for the benefit of those using narrow format, open reel tape machines or other devices conforming to this standard.

All six Aux Send Masters feature level controls and Solo buttons, and the provision of six stereo Aux Returns seems particularly generous in this price bracket. The first pair of returns is fully routable to all mix and group busses, while the second pair maybe routed to either the Left/Right mix or to either of the Phones outputs. The third pair route directly into the stereo mix bus only. All are equipped with Solo buttons and, like the Mix B controls, the Level pots have a handy centre detent at unity gain and provide an additional 15dB of boost beyond this, enabling semi-pro effects units or even effects pedals to be properly level-matched.

Two independent headphone outputs are provided, each of which may be sourced from either Monitor, Mix B, Aux Send 3-4 or Aux Send 5-6, as well as from an external source. A separate level control is provided for the Mix B stereo signal, and this can be fed into the main mix using the Assign button.

The final stop on this brief tour is the Monitor panel, which contains two separate level controls - one for Studio and one for Control Room. These may be sourced from the L/R Mix, the Mix B bus or from the 2-track Return. There's also a further External setting, which could be used for a second tape machine or a CD player, for instance. Rounding things off is the Mono button, which allows your stereo mix to be monitored in mono without affecting the main stereo output.

IMPRESSIONS

The use of small legending around the controls means that it takes a while longer than it should before the location of the Mackie's various buttons becomes second nature, and it could be argued that making all the buttons grey doesn't help. However, most of the desk's functions are pretty obvious and it really doesn't take that long to to become au fait with the rest. The routing and general operation of this desk are pretty standard, so there's no steep learning curve to climb.

I'm happy to report that the desk maintains Mackie's reputation for clean, quiet circuit design; some of my tests, involving CDs, showed up the noise on the original recording quite clearly. Even without the EQ switched in, the desk displayed a very open, transparent quality. For multitrack work, the performance of a desk's EQ is a major factor, and I must say that I like what Mackie have done here. The HF and LF controls behave in a similar manner to those on their other desks, providing a sweet-sounding but quite basic hi/lo EQ. It is fine for general warming or brightening when used on its own, as is the case when it's switched into the Mix B signal path.

The two swept Mids are another story; these have bags of range and the provision of a bandwidth control on the Upper Mid makes this section particularly versatile. With the Upper Mid tuned to around 6kHz and the bandwidth set as narrow as possible, the result is akin to an exciter. Widening out the bandwidth provides smooth, musical control with sufficient tuning range to cover both the mid and high end of the audio spectrum.

Similarly, the extended range of the Lower Mid EQ allows it to double as a very precise bass control when needed; tuning it to between 60 and 80Hz, with a small amount of boost thrown in, really adds weight and impact to bass signals but without muddling the overall sound in any way. These equalisers are very positive and need to be used sparingly, as even a small amount of boost can produce a dramatic change in a sound. Most routine work can be handled with the Cut/Boost control set between its 9 o'clock and 2 o'clock positions, leaving plenty of reserve power for more specialist tasks.

On balance, there's very little not to like about this desk, though the lack of a tone oscillator is a bit remiss. The Mic/Line switches and Phantom Power buttons are awkward to get at if the meter bridge is fitted, but apart from that the connections seem ideally organised, with the ones you're most likely to need to access on the top panel. I also appreciate the way that extra gain is provided on inputs that may need it, such as the Aux Returns.

Mackie have done a great job with this desk. It doesn't offer anything too radically different to the main competition (so making it instantly familiar) and it's not the cheapest desk in its class, yet it comes over as having been properly thought out and it certainly delivers the goods on the sound front. Although by no means the only choice in this sector of the mixer market, its pedigree places it firmly amongst the frontrunners. When you actually add up what you get for your money, both in terms of quantity and quality, the Mackie 8-bus offers excellent value.

Further Information

16:8:2 £2875; 24:8:2 £3590; 32:8:2 £4395. Meter bridge: 16-channel £649; 24-channel £699; 32-channel £799. Prices include VAT.

Key Audio Systems Ltd, (Contact Details).

Given that this desk is aimed mainly at the private studio owner, Mackie have wisely stuck with jack connectors for everything but the Mic inputs and main stereo outs (the latter are duplicated on jacks). The connections that are most likely to be accessed during a session are located on the top panel of the mixer, including all the Mic and Line inputs, outputs and insert points. The more permanent connections, such as those to the multitrack, are to be found on the rear panel. The Phantom Power switches are also located on the top panel, one for each group of eight input channels, and there are powered BNC sockets which accept 12V gooseneck lamps (useful for live work). +4dBu/-10dBV switching is available on both the multitrack outputs and tape returns. The main connector types are as follows:

• Line Inputs	Balanced TSR jack
• Mic Inputs	Balanced XLR
• Insert Points	Unbal. TSR jack (Tip Send, Ring Return)
• Direct Channel Outs	Unbalanced jacks
• Aux Sends 1, 2	Balanced TSR jacks
• Aux Sends 3 - 6	Unbalanced TSR jacks
• Aux Returns	Unbalanced jacks
• Control Room Out	Unbalanced jacks
• Main Mix	Unbalanced jacks & balanced XLRs
• Mix B Outs	Unbalanced jacks
• Studio Out	Unbalanced jacks
• 2-Track and External Inputs	Unbalanced jacks
• Tape Returns	Balanced TSR jacks
• Submaster/Tape Outs	Balanced TSR jacks

Note: The Mackie 8-bus desk has been designed to allow balanced-to-unbalanced connection without the need to change connectors. A mono jack inserted into a stereo jack input will automatically unbalance the input, while a stereo jack plugged into an unbalanced input will automatically ground the ring connection, again unbalancing the signal.

The Insert points can be used as pre-fader direct outputs when using an unbalanced jack. If the jack is inserted to the first 'click', the direct output causes no interruption to the signal. If the jack is inserted all the way, the internal signal path is broken and the signal routed out of the mixer.