THis is Mike on SOS forum reply:-
Like I said, I'm not sure of what 'real world' level the Logic instrument is actually putting out. When you say 'hitting 0' though, I guess that's actually hitting 0dBFS, which is your absolute maximum.
It appears that your Delta card is still on 'consumer' rather than 'pro' level setting. Hence when your mackie is ser to receive -10dBv signals into the tape returns, a 0dBFS signal within logic is hitting your desk at a level of +18dB.
As mentioned earlier, a -18dBFS signal (a good conservative average) coming from Logic/Delta will subsequently produce a 0VU reading on your desk's meters, all being well.
This should also be the case if you set your soundcard and desk to 'pro' (+4dBu) reference level, as opposed to the current -10dBv (consumer) reference level, as the two will be optimised to work together. Don't mix & match the standards though, or you'll have gain structure headaches all over again.
Clarification point: When I refer to -10dBv, I don't mean set the output/control panel faders for the Delta to -10dB. -10dBv is the electronic operating reference level for consumer-type gear. +4dBu is th 'pro' standard, preferable where possible.
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When I plug an soundcard output into the tape returns my Mackie desk gain pot has no effect on the volume, eg it becomes redundant.
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This is correct. The gain pot only affects the signal coming into the main channel input. Think about this following example: Mackie desk like yours, connected to a 24 track tape or hard disk recorder.
Channel 1: Signal comes into channel 1 through mic input or line input - from a microphone, sampler, keyboard... whatever. Signal gets optimised with the channel gain trim, and EQ'ed to your heart's content. We're still within the 'main' channel path here.
Signal now leaves the main channel and exits the desk via the individual tape output for channel 1. Signal is recorded to track 1 on the 24-track machine. Contrary to your inclination, the main channel should not actually be assigned to the main L/R bus at this point. I know this suggests you won't hear anything, but bear with me...
So far so good...
Signal is now output from track 1 the 24-track, either by monitoring during record mode, or playback after the 'take'. Track 1's signal is fed back into the desk, via the tape return connection for channel 1.
You now control the level of this signal (channel 1) heard over your monitors or headphones by adjusting the 'tape return', 'channel monitor' or 'mix B' knob. Different desks call them different things, but they're basically the same thing.
Repeat for all 24 channels/tracks.
The above is a basic explanation of how a 'split' type console works. This is typical 'record mode', where the mic/line signal goes through the main channel controls, and the return from tape goes through the more basic 'mix B' controls, as you're only needing rough-and-ready monitoring of the recorded signal at this point.
On mixdown, you actually 'flip' all of this (using the 'flip' buttons on the console; no need to re-patch), so that the 24 tape tracks come through the 'main' channel controls, for more control during the mix. The mic/line inputs now feed the more basic 'mix B' controls, allowing mixing or monitoring of ancilliary or less important sources.
I've deliberately missed out where insert points & auxes figure in this lot - basically, they normally belong to the main channel, but can be assigned to the 'mix B' path if required (see assign switches on desk).
Complex? Yup. I never said it was easy... for all that most folks aren't particularly enamoured with it's sound, the 8-bus is a serious bit of kit, in terms of the facilities available.
I'd do some reading (as suggested) on in-line consoles, as the concept can take a little getting used to. Once understood though, it's a brilliant way of working. Mackie's FAQ page should make things a bit clearer.
Now... the question... where does your particular setup fit in to all of this?!
That's for you to decide. Personally, I'd connect the 8 analogue inputs and outputs of your soundcard to the first 8 channels of your desk, as if they were int ins/outs of a mulitrack tape recorder, as described in my example above.
This will give you 8 mic preamps with which to feed your soundcard at all times, and 8 returns into the same channels which can be monitored easily using the Mix B controls. When mixdown comes, you can 'flip' the channels and the soundcard outputs will feed the 'main' part of each channel, and the resulting mix of the 8 can be fed back into the computer for recording as a stereo mix.
Happy homework!! Hope this helps.
Mike
Am I stupid for thinking that this is confusing. I just wanna know where to plug my soundcard outputs into. I feel silly.