16-Channel Premium Analog Mixer
with FireWire
OWNER'S MANUAL
SUBGROUPS
1
A LT E R N AT E F I R E W I R E A S S I G N M E N T S
AUX MASTERS
3
4
1
2
3
1
2
3
4
5
6
7
8
9
10
LINE
FW 1
LINE
FW 2
LINE
FW 3
LINE
FW 4
LINE
FW 5
LINE
FW 6
LINE
FW 7
LINE
FW 8
LINE
FW 9
LINE
FW 10
48V
48V
48V
GAIN
30
U
40
20
60
U
-20dB +40dB
40
20
U
U
48V
75Hz
18dB/OCT
75Hz
18dB/OCT
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
30
U
40
20
30
U
40
20
60
U
-20dB +40dB
U
40
20
U
40
20
U
20
U
20
U
20
U
U
13
14
15
16
LINE
FW 12
LINE
FW 13
LINE
FW 14
LINE
FW 15
LINE
FW 16
48V
48V
48V
48V
48V
75Hz
18dB/OCT
75Hz
18dB/OCT
75Hz
18dB/OCT
75Hz
18dB/OCT
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
30
U
40
20
30
U
40
20
60
U
-20dB +40dB
U
40
20
U
40
20
U
40
20
U
40
20
U
40
U
PRE
POST
U
HIGH
12kHz
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
SEND
PRE
POST
HIGH
12kHz
LAMP
12V 0.5A
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
R
12
75Hz
18dB/OCT
SEND
12kHz
L
75Hz
18dB/OCT
PRE
POST
HIGH
12kHz
LINE
FW 11
6
75Hz
18dB/OCT
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
5
11
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
MAIN MIX
4
48V
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
48V
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
48V
75Hz
18dB/OCT
SEND
12kHz
48V
75Hz
18dB/OCT
PRE
POST
HIGH
48V
75Hz
18dB/OCT
60
U
-20dB +40dB
SEND
PRE
POST
48V
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
48V
GAIN
30
20
2
L
R
20
CLIP
15
HIGH
12kHz
12kHz
10
MAIN MIX
TAPE
SUB 1-2
SUB 3-4
FW 1-2
ASSIGN TO
MAIN MIX
6
-15
+15
2k
-15
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
3
FREQ
FREQ
0
2
400
8k
U
400
8k
U
HIGH
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
U
HIGH
MID
400
8k
HIGH
MID
400
U
8k
HIGH
MID
400
U
8k
HIGH
MID
400
U
HIGH
MID
LEVEL
SET
8k
U
HIGH
MID
MID
4
7
10
-15
+15
400
-15
+15
400
-15
FREQ
100
2k
U
100
2k
U
LOW
+15
+15
+15
100
+15
2k
U
2k
U
-15
100
+15
2k
U
2k
U
-15
100
+15
2k
U
2k
U
-15
100
+15
2k
U
2k
U
-15
100
+15
2k
U
2k
-15
2k
+15
-15
+15
100
+15
OUT
IN
OO
MID
-15
+15
OO
MAX
RUDE
SOLO
PHONES
+15
U
LOW
80Hz
-15
OUT
IN
EQ
MAX
CONTROL
ROOM
LOW
80Hz
-15
30
2k
U
LOW
80Hz
EQ
20
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
2k
U
LOW
80Hz
EQ
-15
FREQ
MID
LOW
+15
+15
400
100
U
LOW
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
100
U
80Hz
-15
OUT
IN
100
+15
80Hz
EQ
-15
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
LOW
80Hz
-15
OUT
IN
100
+15
80Hz
EQ
-15
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
LOW
80Hz
-15
OUT
IN
100
+15
80Hz
EQ
-15
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
LOW
80Hz
-15
OUT
IN
100
+15
80Hz
EQ
-15
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
LOW
80Hz
-15
OUT
IN
100
+15
80Hz
EQ
-15
FREQ
LOW
U
LOW
+15
+15
400
MID
-15
U
-15
OUT
IN
EQ
-15
FREQ
MID
LOW
+15
+15
400
LOW
80Hz
-15
OUT
IN
EQ
2k
U
-15
U
LOW
80Hz
-15
100
MID
-15
U
-15
FREQ
LOW
MID
-15
+15
400
FREQ
OO
OO
+15
TAPE IN
OUT
IN
EQ
MAX
SOLO
LEVEL
TAPE TO
MAIN MIX
MAX
PFL
AFL
SOLO
MODE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
SENDS
1
OO
MAX
AUX MASTER
SENDS 1-6
TO FW 9-14
1
OO
EFX TO
MON
RETURNS
PRE
POST
1
SOLO
+15
OO
+10
OO
+10
TO AUX 5
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
2
OO
MAX
PRE
POST
OO
2
SOLO
+15
OO
+10
OO
+10
TO AUX 6
3
OO
MAX
3
OO
MAX
4
OO
MAX
MAX
MAX
OO
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
MAX
OO
MAX
MAX
MAX
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
MAIN
SUBS
CR/PHONES
ONLY
SUBS
1-2
3-4
POWER
SOLO
+15
DESTINATION
PHONES
L
+10
PRE
POST
6
OO
PAN
OO
SEND
TO
PRE
POST
SOLO
+15
6
OO
PAN
+10
4
SOLO
+15
5
OO
OO
PRE
POST
4
OO
3
SOLO
+15
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
PAN
3
OO
4
OO
5
6
OO
MAX
4
OO
5
OO
3
OO
PRE
POST
MIC
AUX 1-6
R
OO
MAX
LEVEL
EXTERNAL
MIC
TALKBACK
SUB ASSIGN
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
L
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
MAIN MIX
R
R
R
R
SUB1
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
SUB2
SUB3
ASSIGN TO
FW 15-16
SUB4
dB
10
5
U
5
10
20
30
40
50
60
OO
MAIN
MIX
MAIN
MIX
SOLO
SOLO
1
SOLO
2
MAIN
MIX
MAIN
MIX
SOLO
3
MAIN
MIX
SOLO
4
MAIN
MIX
SOLO
5
MAIN
MIX
SOLO
6
MAIN
MIX
SOLO
7
MAIN
MIX
SOLO
8
MAIN
MIX
SOLO
9
MAIN
MIX
SOLO
10
MAIN
MIX
SOLO
11
MAIN
MIX
SOLO
12
MAIN
MIX
SOLO
13
MAIN
MIX
SOLO
14
MAIN
MIX
SUBS 1-4
TO FW 5-8
SOLO
15
16
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
Important Safety Instructions
1.
2.
3.
4.
5.
6.
7.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
11. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
12. Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
13. Use only with a cart, stand, tripod, bracket, or
WARNING
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
14. Unplug this apparatus during lightning storms or
when unused for long periods of time.
15. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
16. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
17. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
18. This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
CAUTION
AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
2 Onyx 1640i
20. NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the
receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22. Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here:
Duration,
per day in
hours
8
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Anita and Woody screaming at Troy
about deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
Quick Start
We realize that you must be really keen
to try out your new mixer. Please read the
safety instructions on page 2, then have
a look through some of the features and
details in this manual.
Set the levels
It’s not even necessary to hear what you’re doing to
set optimal levels. But if you’d like to: Plug headphones
into the phones output jack, then turn up the phones
knob just a little.
1. Turn on the mixer by pressing the top edge of
the power switch.
2. For one channel, press the solo switch in, and
the rude solo light will turn on.
Setup
3. Play something into that input at real-world
levels.
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked "level set").
Zero the controls
1. Fully turn down all the knobs to minimum,
except for the channel EQ and pan controls,
which should be centered.
5. Disengage the channel's solo switch.
2. Make sure all buttons are in the out position.
8. Slowly turn up the main mix level until you
hear the signals in your speakers.
6. Repeat steps 2 to 5 for the remaining channels.
7. Turn up the channel level to the "U" mark.
Connections
9. If needed, apply some channel EQ wisely.
10. Adjust the channel levels to get the best mix.
Keep the gain controls and levels fully down on
unused channels.
1. Make sure the AC power switch is off before
making any connections.
2. Push the linecord securely into the IEC
connector on the rear panel, and plug it into a
3-prong AC outlet. The mixer can accept any
AC voltage ranging from 100 VAC to 240 VAC.
3. Plug a balanced microphone into one of the mic
XLR (3-pin) connectors. Or connect any
line-level signal (keyboard, or guitar preamp)
to a line input jack using a TS or a TRS 1/4"
plug.
11. During the performance, if you notice a channel
OL LED turning on during peaks, carefully turn
down that channel's gain control until OL does
not turn on.
FireWire
4. If your microphone requires phantom power,
press in the 48V phantom power button.
5. You can connect a guitar directly to line inputs
1 or 2 without needing a DI box, if you first
engage the hi-z switch on these channels.
•
See page 42 for details of getting started with
FireWire.
•
PC drivers are on the supplied CD-ROM. Mac
OS X contains built-in drivers, so no software
installation is required.
Other Notes
6. All 16 channels have insert jacks that can be
used to connect an external effects or dynamics
processor into the signal chain.
7. Connect the main outputs of the mixer (either
XLR or TRS 1/4") to the line level inputs of your
amplifier (with speakers already attached) or
to the line level inputs of powered speakers.
Part No. SW0724 Rev. B 02.2010
©2010 LOUD Technologies Inc. All Rights Reserved.
Loosely based on a dream sequence in which the technical writer is given keys to a
sports car of his choice, unlimited gas, and closed roads. The dream suddenly ends and
reality kicks in. A mixer manual to write, a mixer manual to write!
•
When shutting down, turn off any power
amplifiers or powered speakers first. When
powering up, turn them on last. This will
reduce the chance of turn-on or turn-off
thumps.
•
Always turn down the phones level when
making connections, pressing solo, or doing
anything that may cause loudness in the
headphones. This will help protect your
hearing.
•
Always turn down the main mix level and
control room level when making connections to
the mixer. Better yet, turn off the power.
•
Save the shipping box!
Owner's Manual 3
Introduction
Thank you for choosing a Mackie Onyx 1640i
professional compact mixer. The Onyx-i series of mixers
offer built-in FireWire, along with the newest features
and latest technologies for live sound reinforcement
and analog or digital studio recording, all in a durable,
road-worthy package.
The Onyx 1640i is equipped with 16 of our premium
precision-engineered studio-grade Onyx mic preamps.
Mackie is renowned for the high-quality mic preamps
used in our mixers, and the Onyx mic pre’s are better
than ever, with specifications rivaling expensive
stand-alone mic preamplifiers.
Channels 1 and 2 feature high-impedance
instrument/line-level inputs so you can connect an
acoustic, electric, or bass guitar directly into the mixer,
eliminating the need for an external direct box.
Features
•
16-channel premium analog mixer with
integrated 24-bit/96kHz FireWire I/O
•
16 Onyx boutique quality mic preamps
•
4-band Perkins EQ with sweepable mids on all
channels
•
Full 16x16 FireWire channel streaming for
ultimate DAW integration
•
Flexible FireWire routing, including aux sends,
groups and pre/post EQ assignment for all
channels
Deep FireWire Integration
The Onyx 1640i is the flagship mixer of the series,
boasting a full 16x16 FireWire interface, allowing for
something that a DAW could never do alone: A true
tape-style mixdown.
If you are doing a real analog mixdown, you will
surely benefit from the premium features that the 1640i
provides. Send all channels simultaneously to your DAW,
get them recorded and apply your plug-ins. Once you
have everything edited and ready, you can simply route
up to 16 streams straight back into the 1640i's channel
strips. You can choose to apply some of that lovely
Perkins EQ if you wish. All of these signals hit our
premium, high-headroom custom summing bus. It
combines the best of both the digital and analog realm
to create seamless workflow that makes your sessions
faster, easier and better sounding than ever possible
before.
Wet or Dry?
Every channel on the mixer can be routed pre or post
EQ to the computer, allowing you to choose whether to
implement 'EQ to tape' or not.
Studio Quality Effects
All aux sends are routable to the computer, allowing
you to utilize your computer as a powerful FX engine by
implementing your favorite plug-ins in a live scenario.
Preserve Your Mix
•
6 aux sends with pre/post assignment and solo
Master L/R is routable to the computer for recording
your analog mix. Burn and sell CDs of the mix at the end
of the gig!
•
Smooth 60mm channel and master faders
Mix Integration
•
Built-in DI on first two channels for direct
connection of guitars, bass, etc.
•
Individual 48V phantom power switches on all
mic inputs
Up to 16 sources from your computer can be routed to
either the control room for instant monitoring or right
back into the channel strips for mix integration.
•
4-segment metering on every channel
•
4-bus architecture for flexible sub-grouping of
channels
•
Talkback section for use with internal or
external mic
•
Rotating I/O pod for desktop or rackmount
operation - rack ears included
•
"Planet-Earth" switching power supply for
worldwide use
4 Onyx 1640i
Latency-Free Overdubs
Having a "real" mixer has its benefits. Latency-free
overdubs are simple since you are using an analog
mixer. No more wasted time dealing with the
complicated "DSP" mixers commonly used on
standalone interfaces.
Most DAWs also support device aggregation, allowing
you to use multiple 1640i's in any given session. Imagine
32 or 48 channels, streaming effortlessly to and from
your DAW, with all the power right in your hands. It's
the ideal combination of modern technology and classic
mixing style.
How To Use This Manual
The first pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your mixer.
Next is a detailed tour of the entire mixer. The
descriptions are divided into sections, just as your mixer
is organized into distinct zones:
•
Back panel / connections
•
Channel controls
•
Control room / phones source
•
Aux master
•
Talkback
•
Main and subs mix
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
This icon will lead you to some explanations of
features and practical tips. Go ahead and skip
these if you need to leave the room in a hurry.
Appendix A: Service information.
Appendix B: Connectors.
Appendix C: Technical information.
Appendix D: Rotopod instructions.
Appendix E: FireWire.
Appendix F: Modifications.
Need help with your new mixer?
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums,
and other useful information.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with
one of our splendid technical support
chaps (Monday through Friday, normal
business hours, PST).
Owner's Manual 5
Contents
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
QUICK START .......................................................... 3
INTRODUCTION ...................................................... 4
40. ASSIGN ................................................... 17
41. SOLO ..................................................... 18
CONTROL ROOM/PHONES AND METERS ............ 19
YOU ARE HERE ....................................................... 6
HOOKUP DIAGRAMS............................................... 7
FEATURES ............................................................. 10
REAR PANEL / CONNECTION SECTION ................ 10
42. HEADPHONE OUTPUT ............................ 19
43. LAMP...................................................... 19
44. MAIN MIX .............................................. 19
45. TAPE, SUB 1-4, FW 1-2............................ 20
1.
2.
3.
4.
5.
POWER CONNECTION ............................. 10
POWER SWITCH..................................... 10
FIREWIRE CONNECTIONS ........................ 10
MIC INPUTS ........................................... 11
LINE INPUTS .......................................... 11
46. ASSIGN TO MAIN MIX ............................. 20
47. CONTROL ROOM KNOB ........................... 20
48. PHONES KNOB ........................................ 20
49. LEFT/RIGHT LEVEL METERS ...................... 20
50. RUDE SOLO LIGHT ................................... 21
6.
7.
8.
INSERT .................................................. 11
TALKBACK MIC ....................................... 12
LEFT/RIGHT XLR MAIN OUTPUTS ........... 12
51. SOLO LEVEL............................................. 21
52. SOLO MODE ............................................ 21
53. TAPE IN................................................... 21
9.
10.
11.
12.
13.
14.
MAIN OUTPUT LEVEL.............................. 12
LEFT/RIGHT 1/4" MAIN OUTPUTS.......... 12
MONO OUT............................................ 12
MONO OUT LEVEL CONTROL................... 12
MAIN INSERTS ....................................... 12
TAPE INPUTS ......................................... 12
54. TAPE TO MAIN MIX ................................. 21
AUX MASTER..................................................... 22
55. MASTER AUX SENDS 1-6 ......................... 22
56. PRE/POST .............................................. 22
57. AUX SENDS SOLO .................................... 22
58. AUX SENDS 1-6 TO FW 9-14 ................... 23
15. TAPE OUTPUTS ...................................... 12
16. CTRL-RM OUT ........................................ 13
17. SUB OUTS .............................................. 13
59. MASTER AUX RETURNS 1-4 ..................... 23
60. EFX TO MON ........................................... 23
61. AUX RETURN 3 SEND TO MAIN/SUBS ...... 23
18. AUX RETURNS 1-4 ................................. 13
19. AUX SENDS 1-6 ..................................... 13
20. RECORDING OUTS .................................. 13
21. TURD POLISHER ..................................... 13
CHANNEL CONTROLS ......................................... 14
62. SUBS 1-2/3-4......................................... 23
63. AUX RETURN 4 TO CR/PHONES ONLY ...... 24
64. POWER LED............................................. 24
TALKBACK ......................................................... 25
65. TALKBACK MIC ........................................ 25
22.
23.
24.
25.
26.
48V PHANTOM POWER ......................... 14
LOW CUT ............................................... 14
INPUT (LINE OR FW 1-16) ...................... 15
HI-Z SWITCH (CHS. 1 AND 2 ONLY) ........ 15
GAIN CONTROL ...................................... 15
27.
28.
29.
30.
SEND FIREWIRE PRE/POST..................... 15
EQ IN/OUT ............................................ 16
HIGH EQ ................................................ 16
HIGH-MID EQ FREQUENCY ...................... 16
31.
32.
33.
34.
HIGH MID EQ LEVEL ............................... 16
LOW-MID EQ FREQUENCY....................... 16
LOW MID EQ LEVEL ................................ 16
LOW EQ ................................................. 16
74. ASSIGN TO FW 15-16............................ 27
APPENDIX A: SERVICE INFORMATION .................... 28
APPENDIX B: CONNECTIONS.................................. 29
APPENDIX C: TECHNICAL INFORMATION ................ 31
35. AUX SENDS 1-6 ..................................... 16
36. PAN....................................................... 17
37. MUTE .................................................... 17
38. CHANNEL FADER .................................... 17
39. -20, 0, +10 AND OL LEDS ........................ 17
APPENDIX D: ROTOPOD INSTRUCTIONS ................ 34
APPENDIX E: FIREWIRE ......................................... 42
APPENDIX F: MODIFICATIONS ............................... 46
LIMITED WARRANTY ............................................. 49
6 Onyx 1640i
66. TALKBACK LEVEL ..................................... 25
67. DESTINATION: PHONES, AUX 1-6 ............. 25
68. TALKBACK SWITCH .................................. 25
69. EXTERNAL MIC SWITCH ........................... 25
MAIN AND SUBS MIX ........................................ 26
70.
71.
72.
73.
SUB ASSIGN .......................................... 26
SUB 1-4 FADERS .................................... 26
SUBS 1-4 TO FW 5-8.............................. 26
MAIN MIX ............................................. 27
Hookup Diagrams
Return
Microphones
Send
Compressor (Vocals)
Send
Dynamics Processor (Bass)
Return
Return
Compressor (Vocals)
iPod Docking
Station
Electric
Guitar
Bass
Guitar
Send
Amplifier
Modeler
Keyboard
16
15
14
13
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
HI-Z
HI-Z
BAL/UNBAL
BAL/UNBAL
YX MIC P
RE
ON
ON
YX MIC P
BAL/UNBAL
BAL/UNBAL
TALKBACK
11
BAL/UNBAL
YX MIC P
RE
ON
YX MIC P
RE
ON
RE
12
ON
YX MIC P
BAL/UNBAL
ON
RE
MAIN OUT
BAL/UNBAL
R
YX MIC P
YX MIC P
TAPE
OO
+ 4dB
BAL/UNBAL
ON
RE
YX MIC P
CTRL-RM OUT
6
BAL/UNBAL
ON
RE
YX MIC P
BAL/UNBAL
4
BAL/UNBAL
YX MIC P
RE
ON
RE
ON
YX MIC P
3
BAL/UNBAL
ON
RE
YX MIC P
2
BAL/UNBAL
ON
YX MIC P
2
4
2
1
L
L
L
(MONO)
(MONO)
(MONO)
R
BAL/UNBAL
ON
RE
YX MIC P
RE
BAL/UNBAL
3
L
(MONO)
R
Mackie SRM450v2
Powered Speakers
(Stage Monitors)
Aux Send 1
AUX SEND
BAL/UNBAL
1
1
BAL/UNBAL
YX MIC P
RE
ON
RE
AUX RETURN
BAL/UNBAL
3
4
L
R
5
SUB OUT
OUT
L
R
R
MAIN OUTPUT
LEVEL
YX MIC P
7
BAL/UNBAL
IN
L
L
8
BAL/UNBAL
ON
RE
(TIP=SEND
RING=RTN)
MONO
L
Stereo Compressor
9
BAL/UNBAL
ON
RE
MAIN INSERT
BALANCED
MIC
+48v
10
R
5
3
1
6
4
2
R
R
+6
MIC
FIREWIRE
POWER
ON
RECORDING OUTS
POST GAIN PRE INSERT
BALANCED
9-16
1-8
Send
L/R Return
Reverb (Aux Send 3)
Send
Laptop Computer with
audio production software
L/R Return
press FW button ( ) to receive
audio playback from computer
SUBGROUPS
1
A LT E R N AT E F I R E W I R E A S S I G N M E N T S
1
2
3
48V
48V
GAIN
GAIN
30
20
GAIN
30
U
40
20
60
U
-20dB +40dB
SEND
40
20
40
40
20
40
20
20
40
20
40
20
40
20
20
20
20
20
20
40
20
40
PRE
POST
U
HIGH
12kHz
12V 0.5A
U
60
U
-20dB +40dB
PRE
POST
U
HIGH
12kHz
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
SEND
PRE
POST
U
HIGH
12kHz
LAMP
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
LINE
FW 16
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
16
LINE
FW 15
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
15
LINE
FW 14
48V
75Hz
18dB/OCT
R
14
LINE
FW 13
48V
75Hz
18dB/OCT
L
13
LINE
FW 12
48V
75Hz
18dB/OCT
6
12
LINE
FW 11
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
20
SEND
PRE
POST
GAIN
30
U
60
U
-20dB +40dB
SEND
U
GAIN
30
U
60
U
-20dB +40dB
75Hz
18dB/OCT
5
11
LINE
FW 10
48V
MAIN MIX
4
10
LINE
FW 9
48V
75Hz
18dB/OCT
3
9
LINE
FW 8
48V
75Hz
18dB/OCT
2
8
LINE
FW 7
48V
75Hz
18dB/OCT
1
7
LINE
FW 6
48V
75Hz
18dB/OCT
4
6
LINE
FW 5
48V
AUX MASTERS
3
5
LINE
FW 4
48V
75Hz
18dB/OCT
press HI-Z
button
2
4
LINE
FW 3
LINE
FW 2
LINE
FW 1
48V
Delay (Aux Send 4)
Headphones
L
R
20
CLIP
15
HIGH
12kHz
12kHz
10
MAIN MIX
TAPE
SUB 1-2
SUB 3-4
FW 1-2
ASSIGN TO
MAIN MIX
6
-15
+15
2k
-15
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
3
FREQ
FREQ
0
2
400
8k
-15
+15
400
U
400
8k
-15
+15
400
U
HIGH
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
HIGH
MID
MID
LEVEL
SET
4
7
10
FREQ
100
2k
U
FREQ
100
2k
U
LOW
+15
+15
-15
+15
+15
+15
2k
U
+15
+15
+15
+15
+15
2k
U
+15
+15
+15
+15
2k
U
+15
+15
+15
+15
2k
+15
MID
-15
+15
OO
MAX
RUDE
SOLO
PHONES
LOW
80Hz
-15
OUT
IN
EQ
MAX
+15
U
80Hz
-15
OUT
IN
OO
CONTROL
ROOM
LOW
MID
LOW
80Hz
EQ
2k
U
LOW
+15
U
LOW
30
FREQ
100
U
-15
U
-15
OUT
IN
EQ
FREQ
100
LOW
MID
-15
80Hz
-15
OUT
IN
EQ
2k
U
MID
LOW
80Hz
-15
OUT
IN
FREQ
100
LOW
+15
U
LOW
80Hz
+15
2k
U
-15
U
LOW
EQ
FREQ
100
LOW
MID
-15
U
-15
OUT
IN
EQ
FREQ
100
LOW
MID
-15
80Hz
-15
OUT
IN
EQ
2k
U
MID
LOW
80Hz
-15
OUT
IN
FREQ
100
LOW
+15
U
LOW
80Hz
+15
2k
U
-15
U
LOW
EQ
FREQ
100
LOW
MID
-15
U
-15
OUT
IN
EQ
FREQ
100
LOW
MID
-15
80Hz
-15
OUT
IN
EQ
2k
U
MID
LOW
80Hz
-15
OUT
IN
FREQ
100
LOW
+15
U
LOW
80Hz
+15
2k
U
-15
U
LOW
EQ
FREQ
100
LOW
MID
-15
U
-15
OUT
IN
2k
U
MID
-15
+15
EQ
FREQ
100
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
100
LOW
+15
U
80Hz
-15
OUT
IN
EQ
FREQ
2k
U
-15
LOW
80Hz
-15
OUT
IN
+15
U
LOW
80Hz
100
LOW
MID
-15
U
LOW
EQ
FREQ
2k
U
MID
-15
U
100
LOW
MID
-15
20
OO
OO
+15
MAX
SOLO
LEVEL
TAPE TO
MAIN MIX
MAX
TAPE IN
OUT
IN
EQ
PFL
AFL
SOLO
MODE
1
2
AUX
MAX
3
AUX
OO
MAX
4
AUX
1
1
OO
MAX
5
AUX
1
OO
MAX
6
AUX
1
OO
MAX
7
AUX
1
OO
MAX
8
AUX
1
OO
MAX
9
AUX
1
OO
MAX
10
AUX
1
OO
MAX
11
AUX
1
OO
MAX
12
AUX
1
OO
MAX
13
AUX
1
OO
MAX
14
AUX
1
OO
MAX
15
AUX
1
OO
MAX
16
AUX
1
OO
AUX
1
OO
MAX
MAX
AUX MASTER
SENDS 1-6
TO FW 9-14
SENDS
1
OO
EFX TO
MON
RETURNS
PRE
POST
1
OO
1
SOLO
+15
OO
+10
OO
2
2
OO
MAX
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
2
OO
MAX
OO
2
SOLO
+15
SRM150
Powered Monitor
for keyboard player
(Aux Send 2)
Set Aux 1 & 2 PRE for monitors (switch UP)
+10
TO AUX 5
PRE
POST
press FW button ( ) to send Auxes 1-6
to computer via FireWire channels 9-14
OO
+10
OO
+10
TO AUX 6
3
3
HD1531
Powered Speaker
Main Left
HD1531
Powered Speaker
Main Right
OO
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
OO
MAX
+15
OO
+15
OO
MAX
OO
MAX
OO
+15
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
Set Aux 3 & 4 POST for external processors
(switch DOWN)
SEND
TO
MAIN
SUBS
CR/PHONES
ONLY
SUBS
1-2
3-4
PRE
POST
POWER
SOLO
DESTINATION
PHONES
L
+10
4
SOLO
+15
+10
OO
PRE
POST
6
OO
PAN
OO
PRE
POST
SOLO
5
6
PAN
3
SOLO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
PAN
3
OO
4
5
6
6
PAN
3
OO
4
5
5
OO
3
OO
4
4
PRE
POST
MIC
AUX 1-6
R
OO
MAX
LEVEL
EXTERNAL
MIC
TALKBACK
SUB ASSIGN
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
L
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
MAIN MIX
R
HD1801
Powered
Subwoofer
SUB1
HD1801
Powered
Subwoofer
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
R
SUB2
R
SUB3
R
ASSIGN TO
FW 15-16
SUB4
dB
10
5
U
5
press FW button ( ) to send
main mix to computer via
FireWire channels 15 and 16
10
20
30
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
40
50
60
OO
SOLO
SOLO
1
SOLO
2
SOLO
3
SOLO
4
SOLO
5
SOLO
6
SOLO
7
SOLO
8
SOLO
9
SOLO
10
SOLO
11
SOLO
12
SOLO
13
SOLO
14
SUBS 1-4
TO FW 5-8
SOLO
15
16
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
This diagram shows an electric guitar connected to the channel 1 line input via an amp modeler, a bass
guitar connected directly to channel 2 (hi-z switch in), microphones connected to channel 3-8 mic inputs, and
a keyboard connected to the channel 9 and 10 inputs. An iPod® dock connects to the tape input. Headphones
are used to monitor levels.
A dynamics processor is connected to the insert jack of channel 2 to work its magic on your bass. Vocal
compressors are connected to the channel 7 and 8 inserts. A stereo compressor is connected to the main
inserts.
SRM450v2 powered speakers are used as stage monitors for the band; they are connected to the aux 1
send jack (in pre-fader mode). An SRM150 powered speaker receives a mono input from aux 2 send (in
pre-fader mode), and is used as a monitor for your keyboard player. A reverb processor receives a mono
input from aux 3 send (in post-fader mode), and its stereo outputs connect to the stereo aux 3 return inputs. A
delay processor receives a mono input from aux 4 send (in post-fader mode), and its stereo outputs connect
to the stereo aux 4 return inputs. The aux 5 and 6 sends are sent directly to the computer for processing by
whatever VST plug-ins you may desire. These are then returned for playback on channels 15/16.
The club is driven by connecting a pair of HD1801 powered subwoofers and a pair of HD1531 powered
speakers to the main left and right outputs. Recording outputs 1-16 may be used in lieu of a splitter. All inputs
fed into the monitor board may then be re-routed from these outputs into a separate front-of-house console.
A laptop connects to a FireWire port, allowing the 2-channel main mix, and individual channels to be
recorded. Any music (iTunes®, mp3s, or other pre-recorded audio) can be played back from the laptop. These
can enter as either a source for the control room and phones, or any available channels.
Typical Live Sound System
Owner's Manual 7
Acoustic
Guitar
mic’d up
Studio
Microphones
Return
Send
Compressor (Vocals)
Send
Dynamics Processor (Acoustic)
Return
Studio
Microphones
Return
Send
Bass
Guitar
Dynamics Processor (Bass)
Send
Compressor (Vocals)
Return
Return
Send
Send
Compressor (Vocals)
Electric
Guitar
Multi FX Processor (Guitar)
Return
16
15
14
13
INSERT
INSERT
INSERT
INSERT
LINE
LINE
BAL/UNBAL
LINE
BAL/UNBAL
YX MIC P
RE
ON
ON
YX MIC P
LINE
BAL/UNBAL
11
YX MIC P
YX MIC P
YX MIC P
YX MIC P
YX MIC P
YX MIC P
YX MIC P
YX MIC P
INSERT
HI-Z
BAL/UNBAL
HI-Z
BAL/UNBAL
YX MIC P
RE
ON
RE
ON
YX MIC P
Headphone Amp
(Aux Send 5)
1
INSERT
LINE
BAL/UNBAL
ON
RE
2
INSERT
LINE
BAL/UNBAL
ON
3
INSERT
LINE
BAL/UNBAL
YX MIC P
RE
ON
RE
4
INSERT
LINE
BAL/UNBAL
ON
RE
5
INSERT
LINE
BAL/UNBAL
ON
RE
6
INSERT
LINE
BAL/UNBAL
ON
RE
7
INSERT
LINE
BAL/UNBAL
ON
RE
8
INSERT
LINE
BAL/UNBAL
ON
RE
9
INSERT
LINE
BAL/UNBAL
ON
10
INSERT
LINE
BAL/UNBAL
YX MIC P
RE
ON
YX MIC P
RE
ON
RE
12
INSERT
BAL/UNBAL
ON
RE
YX MIC P
RE
Electronic
Drum Kit
TALKBACK
MAIN OUT
MAIN INSERT
BALANCED
MIC
+48v
BAL/UNBAL
R
TAPE
L
IN
Keyboard
MAIN OUTPUT
LEVEL
Stereo Compressor
L
L
R
R
OO
+ 4dB
CTRL-RM OUT
SUB OUT
AUX RETURN
AUX SEND
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
(TIP=SEND
RING=RTN)
MONO
OUT
L
3
1
4
2
4
3
2
1
L
L
L
L
(MONO)
(MONO)
(MONO)
(MONO)
R
R
R
R
L
R
R
Multi FX Processor (Aux Send 1)
5
3
1
6
4
2
Sends
+6
MIC
FIREWIRE
POWER
ON
RECORDING OUTS
POST GAIN PRE INSERT
BALANCED
9-16
Right Return
1-8
Multi FX Processor (Aux Send 2)
Left Return
Right Return
Computer with
audio production
software
Headphone Amp
(Aux Send 6)
Headphone Amp
(Aux Send 3)
Headphone Amp
(Aux Send 4)
Left Return
press FW button ( ) to receive
audio playback from computer
SUBGROUPS
1
A LT E R N AT E F I R E W I R E A S S I G N M E N T S
4
1
2
3
3
4
5
6
7
8
9
10
LINE
FW 3
LINE
FW 4
LINE
FW 5
LINE
FW 6
LINE
FW 7
LINE
FW 8
LINE
FW 9
LINE
FW 10
48V
48V
48V
48V
75Hz
18dB/OCT
GAIN
GAIN
30
20
AUX MASTERS
3
2
LINE
FW 2
48V
press HI-Z
button
2
1
LINE
FW 1
40
20
60
U
-20dB +40dB
40
20
60
U
-20dB +40dB
SEND
20
20
20
20
20
20
20
16
LINE
FW 16
48V
40
40
20
40
20
40
PRE
POST
U
HIGH
12kHz
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
SEND
PRE
POST
U
HIGH
12kHz
LAMP
12V 0.5A
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
20
60
U
-20dB +40dB
SEND
PRE
POST
U
40
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
75Hz
18dB/OCT
GAIN
30
U
Headphones
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
12kHz
48V
75Hz
18dB/OCT
GAIN
20
60
U
-20dB +40dB
HIGH
12kHz
48V
75Hz
18dB/OCT
30
U
PRE
POST
U
HIGH
12kHz
R
15
LINE
FW 15
GAIN
20
SEND
PRE
POST
U
HIGH
12kHz
40
L
14
LINE
FW 14
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
6
13
LINE
FW 13
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
5
12
LINE
FW 12
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
48V
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
48V
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
12kHz
40
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
U
HIGH
20
60
U
-20dB +40dB
SEND
PRE
POST
U
40
75Hz
18dB/OCT
GAIN
30
U
48V
75Hz
18dB/OCT
GAIN
30
U
48V
75Hz
18dB/OCT
GAIN
30
U
Engineer’s
Headphones
MAIN MIX
4
11
LINE
FW 11
L
R
20
CLIP
15
HIGH
12kHz
12kHz
MAIN MIX
10
TAPE
6
-15
+15
2k
-15
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
3
FREQ
FREQ
SUB 1-2
SUB 3-4
FW 1-2
ASSIGN TO
MAIN MIX
0
2
400
8k
-15
+15
400
U
400
8k
-15
+15
400
U
HIGH
400
8k
-15
+15
400
U
HIGH
MID
CD Player
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
HIGH
MID
MID
LEVEL
SET
4
7
10
FREQ
100
2k
U
FREQ
100
2k
U
LOW
+15
+15
-15
+15
+15
+15
100
2k
U
+15
2k
U
+15
100
2k
U
+15
2k
U
+15
100
2k
U
+15
2k
U
+15
100
2k
+15
+15
100
+15
+15
OO
MAX
RUDE
SOLO
PHONES
LOW
80Hz
-15
OUT
IN
EQ
MAX
+15
U
80Hz
-15
OUT
IN
OO
CONTROL
ROOM
LOW
MID
-15
LOW
80Hz
EQ
2k
U
LOW
+15
U
LOW
30
FREQ
MID
-15
U
-15
OUT
IN
EQ
2k
U
LOW
MID
-15
20
FREQ
100
U
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
EQ
2k
U
-15
LOW
80Hz
-15
OUT
IN
100
LOW
+15
U
LOW
80Hz
FREQ
MID
-15
U
LOW
EQ
2k
U
MID
-15
U
100
LOW
MID
-15
FREQ
OO
OO
+15
TAPE IN
OUT
IN
EQ
MAX
SOLO
LEVEL
TAPE TO
MAIN MIX
MAX
PFL
AFL
SOLO
MODE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
SENDS
1
OO
MAX
AUX MASTER
SENDS 1-6
TO FW 9-14
PRE
POST
1
OO
EFX TO
MON
RETURNS
1
SOLO
+15
OO
+10
OO
+10
TO AUX 5
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
OO
MAX
PRE
POST
2
2
OO
2
SOLO
+15
OO
+10
OO
+10
TO AUX 6
Mackie HR824mk2
Powered Reference
Monitor for Control
Room (Left)
3
OO
MAX
3
OO
MAX
4
OO
MAX
OO
MAX
OO
MAX
3
OO
MAX
4
OO
MAX
OO
MAX
OO
MAX
5
6
MAX
4
OO
MAX
OO
MAX
OO
MAX
5
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
+15
OO
+15
+15
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
MAIN
SUBS
+10
PRE
POST
SOLO
CR/PHONES
ONLY
SUBS
1-2
3-4
PRE
POST
POWER
SOLO
DESTINATION
PHONES
L
OO
6
OO
PAN
Mackie HR824mk2
Powered Reference
Monitor for Control
Room (Right)
SEND
TO
+10
4
SOLO
5
6
PAN
OO
PRE
POST
4
OO
3
SOLO
+15
5
6
PAN
PRE
POST
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
MIC
AUX 1-6
R
OO
MAX
LEVEL
EXTERNAL
MIC
TALKBACK
SUB ASSIGN
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
L
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
MAIN MIX
R
SUB1
R
SUB2
R
SUB3
R
ASSIGN TO
FW 15-16
SUB4
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
dB
10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
U
5
press FW button ( ) to send
main mix to computer via
FireWire channels 15 and 16
10
20
30
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
40
50
60
3-4
OO
MAIN
MIX
SOLO
1
MAIN
MIX
MAIN
MIX
SOLO
SOLO
2
MAIN
MIX
SOLO
3
MAIN
MIX
SOLO
4
MAIN
MIX
SOLO
5
MAIN
MIX
SOLO
6
MAIN
MIX
SOLO
7
MAIN
MIX
SOLO
8
MAIN
MIX
SOLO
9
MAIN
MIX
SOLO
10
MAIN
MIX
SOLO
11
MAIN
MIX
SOLO
12
MAIN
MIX
SOLO
13
MAIN
MIX
SOLO
14
MAIN
MIX
SUBS 1-4
TO FW 5-8
SOLO
15
16
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
This diagram shows an electric guitar connected directly to the channel 1 input (hi-z switch in), a bass
guitar connected directly to channel 2 (hi-z switch in), an acoustic guitar mic connected to the channel 3
mic input, studio mics connected to channel 4-8 mic inputs, an electronic drum set connected to channel
9-10 line inputs, and a keyboard connected to channel 11-12 line inputs. A CD player connects to the
tape input for referencing pre-recorded material.
A multi-FX processor is connected to the insert jack of channel 1 to work its magic on your guitar.
A dynamics processor is connected to insert 2 for your bass, and an additional dynamics processor
connects to insert 3 for your acoustic guitar. Compressors are connected to inserts 6-8 for your vocals.
A stereo compressor is connected to the main inserts.
Mackie HR824mk2 powered reference monitors are used for your control room listening. The
engineer's headphones are used to monitor levels.
In this example, auxes 1-2 feed the inputs of multi-FX processors, whose stereo outputs enter the aux
1-2 returns, to be added to the main mix by adjusting the master return knob for auxes 1-2. Auxes 3-6
are set up to provide the feed to separate headphone amplifiers and the bands' headphones. Each
member may set the levels to their liking.
A desktop computer connects to a FireWire port allowing any number of the 16 individual channels to
be tracked at one time using audio production software.
Mixer channels 15/16 can play the 2-channel signals from your computer if the FW 15/16 switches
at the top of the 15/16 channel strips are engaged. This makes for easy playback for any overdubs that
may be necessary.
Typical Recording System
8 Onyx 1640i
Compressor (Vocals)
Return
Send
Studio
Microphones
Compressor (Vocals)
Return
Headphone Amp
(Aux Send 6)
Headphone Amp
(Aux Send 5)
Send
Keyboard
Digital Reverb (Aux Send 1)
Send
CD Player
16
15
14
13
INSERT
INSERT
INSERT
INSERT
LINE
LINE
BAL/UNBAL
Stereo Compressor
LINE
BAL/UNBAL
YX MIC P
RE
ON
ON
YX MIC P
LINE
BAL/UNBAL
TALKBACK
11
YX MIC P
MAIN OUT
BAL/UNBAL
R
YX MIC P
TAPE
R
R
OO
+ 4dB
YX MIC P
BAL/UNBAL
ON
YX MIC P
2
4
2
1
L
L
L
(MONO)
(MONO)
(MONO)
R
YX MIC P
RE
BAL/UNBAL
3
L
(MONO)
R
BAL/UNBAL
ON
RE
AUX SEND
BAL/UNBAL
1
HI-Z
BAL/UNBAL
YX MIC P
RE
ON
RE
INSERT
HI-Z
LINE
BAL/UNBAL
ON
RE
1
INSERT
AUX RETURN
BAL/UNBAL
3
4
L
R
YX MIC P
2
INSERT
LINE
BAL/UNBAL
ON
3
INSERT
LINE
BAL/UNBAL
YX MIC P
RE
ON
RE
SUB OUT
OUT
L
L
YX MIC P
4
INSERT
LINE
BAL/UNBAL
ON
RE
BAL/UNBAL
IN
L
YX MIC P
5
INSERT
LINE
BAL/UNBAL
ON
RE
CTRL-RM OUT
(TIP=SEND
RING=RTN)
MONO
L
MAIN OUTPUT
LEVEL
YX MIC P
6
INSERT
LINE
BAL/UNBAL
ON
RE
7
INSERT
LINE
BAL/UNBAL
ON
RE
MAIN INSERT
BALANCED
MIC
+48v
YX MIC P
8
INSERT
LINE
BAL/UNBAL
ON
RE
9
INSERT
LINE
BAL/UNBAL
ON
10
INSERT
LINE
BAL/UNBAL
YX MIC P
RE
ON
YX MIC P
RE
ON
RE
12
INSERT
R
R
5
3
1
6
4
2
Send
Multi FX Processor (Aux Send 2)
R
+6
MIC
FIREWIRE
POWER
ON
RECORDING OUTS
POST GAIN PRE INSERT
BALANCED
9-16
1-8
L/R Return
Mackie HR824mk2
Powered Reference
Monitors for Control
Room
L/R Return
Multi FX Processor (Aux Send 3)
L/R Return
Send
press FW button ( ) to receive
audio playback from computer
SUBGROUPS
1
A LT E R N AT E F I R E W I R E A S S I G N M E N T S
4
1
2
3
3
4
5
6
7
8
9
10
LINE
FW 3
LINE
FW 4
LINE
FW 5
LINE
FW 6
LINE
FW 7
LINE
FW 8
LINE
FW 9
LINE
FW 10
48V
48V
48V
48V
75Hz
18dB/OCT
GAIN
GAIN
30
40
20
40
20
60
U
-20dB +40dB
SEND
U
20
U
20
U
20
U
20
U
20
U
40
20
U
U
U
48V
40
U
40
20
60
U
-20dB +40dB
U
20
U
40
20
U
40
U
PRE
POST
U
HIGH
12kHz
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
SEND
PRE
POST
HIGH
12kHz
LAMP
12V 0.5A
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
48V
75Hz
18dB/OCT
GAIN
30
U
PRE
POST
HIGH
48V
75Hz
18dB/OCT
GAIN
20
SEND
12kHz
48V
75Hz
18dB/OCT
30
U
PRE
POST
HIGH
12kHz
16
LINE
FW 16
60
U
-20dB +40dB
SEND
R
15
LINE
FW 15
GAIN
20
60
U
-20dB +40dB
PRE
POST
HIGH
12kHz
40
L
14
LINE
FW 14
30
U
6
13
LINE
FW 13
75Hz
18dB/OCT
GAIN
20
SEND
PRE
POST
HIGH
12kHz
40
5
12
LINE
FW 12
48V
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
48V
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
Engineer’s
Headphones
MAIN MIX
4
11
LINE
FW 11
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
48V
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
48V
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
12kHz
40
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
HIGH
20
60
U
-20dB +40dB
SEND
PRE
POST
U
40
75Hz
18dB/OCT
GAIN
30
U
48V
75Hz
18dB/OCT
GAIN
30
U
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
Computer with
audio production
software
AUX MASTERS
3
2
LINE
FW 2
48V
20
2
1
LINE
FW 1
L
R
20
CLIP
15
HIGH
12kHz
12kHz
MAIN MIX
10
TAPE
6
-15
+15
2k
-15
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
-15
FREQ
+15
2k
3
FREQ
FREQ
SUB 1-2
SUB 3-4
FW 1-2
ASSIGN TO
MAIN MIX
0
2
400
8k
-15
+15
400
U
400
8k
-15
+15
400
U
HIGH
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
400
8k
-15
+15
400
U
HIGH
MID
HIGH
MID
MID
LEVEL
SET
4
7
10
FREQ
100
2k
U
FREQ
100
2k
U
LOW
+15
+15
-15
+15
+15
+15
100
2k
U
+15
2k
U
+15
100
2k
U
+15
2k
U
+15
100
2k
U
+15
2k
U
+15
100
2k
+15
+15
100
+15
+15
OO
MAX
RUDE
SOLO
PHONES
LOW
80Hz
-15
OUT
IN
EQ
MAX
+15
U
80Hz
-15
OUT
IN
OO
CONTROL
ROOM
LOW
MID
-15
LOW
80Hz
EQ
2k
U
LOW
+15
U
LOW
30
FREQ
MID
-15
U
-15
OUT
IN
EQ
2k
U
LOW
MID
-15
20
FREQ
100
U
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
2k
U
-15
LOW
80Hz
+15
100
LOW
+15
U
LOW
EQ
FREQ
MID
-15
U
-15
OUT
IN
100
MID
-15
+15
EQ
FREQ
LOW
MID
LOW
80Hz
-15
OUT
IN
EQ
FREQ
LOW
+15
U
80Hz
-15
OUT
IN
EQ
2k
U
-15
LOW
80Hz
-15
OUT
IN
100
LOW
+15
U
LOW
80Hz
FREQ
MID
-15
U
LOW
EQ
2k
U
MID
-15
U
100
LOW
MID
-15
FREQ
OO
OO
+15
MAX
TAPE IN
OUT
IN
EQ
MAX
SOLO
LEVEL
TAPE TO
MAIN MIX
PFL
AFL
SOLO
MODE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
1
OO
MAX
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
1
OO
MAX
SENDS
1
OO
MAX
AUX MASTER
SENDS 1-6
TO FW 9-14
PRE
POST
1
OO
EFX TO
MON
RETURNS
1
SOLO
+15
OO
+10
+10
OO
TO AUX 5
2
2
OO
MAX
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
2
OO
MAX
OO
MAX
PRE
POST
2
2
OO
2
SOLO
+15
OO
+10
+10
OO
TO AUX 6
3
3
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
MAX
4
4
OO
3
OO
OO
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
+15
OO
+15
+15
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
OO
+10
CR/PHONES
ONLY
POWER
MIC
AUX 1-6
R
L
SUBS
1-2
3-4
PRE
POST
SOLO
DESTINATION
PHONES
L
MAIN
SUBS
PRE
POST
SOLO
6
OO
PAN
SEND
TO
+10
4
SOLO
5
6
PAN
OO
PRE
POST
4
OO
3
SOLO
+15
5
6
PAN
PRE
POST
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
PAN
3
OO
4
OO
5
6
6
PAN
MAX
4
OO
5
5
3
OO
OO
MAX
LEVEL
EXTERNAL
MIC
TALKBACK
SUB ASSIGN
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
L
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
MAIN MIX
R
SUB1
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
R
SUB2
R
SUB3
R
ASSIGN TO
FW 15-16
SUB4
dB
10
5
U
5
press FW button ( ) to send
the main mix to computer via
FireWire channels 15 and 16
10
20
30
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
40
50
60
3-4
OO
MAIN
MIX
SOLO
1
MAIN
MIX
MAIN
MIX
SOLO
SOLO
2
MAIN
MIX
SOLO
3
MAIN
MIX
SOLO
4
MAIN
MIX
SOLO
5
MAIN
MIX
SOLO
6
MAIN
MIX
SOLO
7
MAIN
MIX
SOLO
8
MAIN
MIX
SOLO
9
MAIN
MIX
SOLO
10
MAIN
MIX
SOLO
11
MAIN
MIX
SOLO
12
MAIN
MIX
SOLO
13
MAIN
MIX
SOLO
14
MAIN
MIX
SUBS 1-4
TO FW 5-8
SOLO
15
16
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
press FW button ( ) to send
Buses 1-4 to the computer
via FireWire channels 5-8
This diagram shows studio mics connected to the channel 3 and 4 mic inputs and a keyboard
connected to the channel 6 and 7 line inputs. This allows for overdubs when necessary. A CD player
connects to the tape input for referencing pre-recorded material.
Compressors are connected to inserts 3 and 4 for your vocals. An additional stereo compressor is
connected to the main inserts.
Mackie HR824mk2 powered reference monitors are used for your control room listening. The
engineer's headphones are used to monitor levels.
In this example, aux 1 feeds the input of a digital reverb, whose processed stereo outputs enter the aux
1 returns. Auxes 2 and 3 feed the inputs of multi-FX processors, whose stereo outputs enter the aux 2
and 3 returns. Auxes 1-3 may be added to the main mix by adjusting the master return knob for auxes
1-3. Auxes 5 and 6 feed separate headphone amplifiers, there for any possible overdubbing that may be
necessary.
A desktop computer connects to a FireWire port, allowing 16 channels of playback from the audio
production software. Mixer channels 1-16 can play all 16 channel signals from your computer if the FW
1-16 switches at the top of the 1-16 channel strip are engaged. Buses can be used to submix and then
bounce to the DAW. The master output can then be sent to the final destination (tape and/or FireWire
- simultaneously, if needed).
Typical Mixdown System
Owner's Manual 9
Onyx 1640i Features
6
5
4
16
15
14
13
INSERT
INSERT
INSERT
INSERT
LINE
LINE
BAL/UNBAL
ON
YX MIC PR
E
YX MIC PR
YX MIC PR
8
7
MAIN OUTPUT
LEVEL
YX MIC PR
11
BAL/UNBAL
MONO
L
10
L
1
2
MAIN INSERT
TAPE
YX MIC PR
CTRL-RM OUT
BAL/UNBAL
IN
R
OO
FIREWIRE
R
YX MIC PR
YX MIC PR
E
SUB OUT
R
17
YX MIC PR
YX MIC PR
4
3
L
(MONO)
2
R
BAL/UNBAL
YX MIC PR
E
ON
YX MIC PR
E
AUX SEND
BAL/UNBAL
2
1
L
L
L
(MONO)
(MONO)
(MONO)
18
HI-Z
BAL/UNBAL
ON
E
BAL/UNBAL
1
R
R
R
5
3
1
6
19
2
4
+6
12 13 14 15 16
RECORDING OUTS
9-16
3
Rear Panel - Connections
1. POWER CONNECTION
This is a standard 3-prong IEC power connector.
Connect the detachable linecord (included in the box
with your mixer) to the power receptacle, and plug the
other end of the linecord into an AC outlet. The Onyx
1640i has a universal power supply that can accept any
AC voltage ranging from 100 VAC to 240 VAC. No need for
voltage select switches. It will work virtually anywhere
in the world. That’s why we call it a “Planet-Earth” power
supply! It is less susceptible to voltage sags or spikes,
compared to conventional power supplies, and provides
greater electromagnetic isolation and better protection
against AC line noise.
Disconnecting the plug’s ground pin is
dangerous. Don’t do it.
2. POWER SWITCH
Press the top of this rocker switch inwards to turn on
the mixer. The front panel power LED [64] will glow
with happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to put the mixer into
standby mode. It will not function, but the circuits are
still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
As a general guide, you should turn on your
mixer first, before any external power
amplifiers or powered speakers, and turn it off
last. This will reduce the possibilities of any turn-on, or
turn-off thumps in your speakers.
10 Onyx 1640i
BAL/UNBAL
ON
E
INSERT
HI-Z
LINE
BAL/UNBAL
ON
E
1
INSERT
AUX RETURN
BAL/UNBAL
L
YX MIC PR
2
INSERT
LINE
BAL/UNBAL
ON
3
INSERT
LINE
BAL/UNBAL
ON
E
4
INSERT
LINE
BAL/UNBAL
ON
E
3
OUT
L
YX MIC PR
5
INSERT
LINE
BAL/UNBAL
ON
E
6
INSERT
LINE
BAL/UNBAL
ON
E
(TIP=SEND
RING=RTN)
L
R
MIC
9
YX MIC PR
INSERT
LINE
BAL/UNBAL
ON
E
7
4
+ 4dB
POWER
ON
YX MIC PR
8
INSERT
LINE
BAL/UNBAL
ON
E
9
INSERT
LINE
BAL/UNBAL
ON
E
MAIN OUT
BALANCED
R
YX MIC PR
10
INSERT
LINE
BAL/UNBAL
ON
E
11
INSERT
LINE
BAL/UNBAL
ON
E
TALKBACK
MIC
+48v
LINE
BAL/UNBAL
ON
12
POST GAIN PRE INSERT
BALANCED
20
1- 8
3. FIREWIRE CONNECTIONS
FireWire is a high-speed two-way interface for
connecting digital devices. Two FireWire connectors
allow the transfer of digital audio to and from your
computer or digital audio workstation (DAW) with
ultra-low latency. Usually, only one connector is used.
The FireWire interface provides the following outputs
to your computer:
•
Individual channels, tapped pre-fader, and
either pre-EQ, or post EQ (your choice).
•
Aux sends 1-6 for effects plug-in routing or
alternate mix recording.
•
Subgroups 1-4 for subgroup or alternate mix
recording.
•
Left/right main mix. The left/right main mix at
the FireWire output is not affected by the main
mix fader (important for recording live).
Use FireWire to record a live performance directly to
your computer, then you can mixdown to a stereo mix
or add overdubs later. Or you can use FireWire to turn
your Onyx mixer into a high-quality computer audio
interface for your DAW.
The FireWire interface also provides 16 channels of
audio from your computer. The first two channels can
be routed to either channels 1-2 or the control room for
convenient monitoring of a wide range of applications
(iTunes®, for example).
The FireWire interface works with both PC (using
ASIO for Windows XP and Vista) and Mac (Core Audio
for Mac OS 10.4.11 or higher).
See page 42 for more details about FireWire.
4. MIC INPUTS
5. LINE INPUTS
This is a female XLR connector, that accepts a
balanced microphone input from almost any type of
microphone. The microphone preamps feature our Onyx
design, with higher fidelity and headroom rivaling any
standalone mic preamp on the market today.
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at
rejecting hum and noise. You can plug in almost any
kind of mic that has a standard XLR-type male mic
connector.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic inputs
will handle any kind of mic level you can toss at them,
without overloading.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals.
See Appendix B (page 29) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
PHANTOM POWER
Most modern professional condenser mics require 48V
phantom power, which lets the mixer send
low-current DC voltage to the mic’s electronics through
the same wires that carry audio. (Semi-pro condenser
mics often have batteries to accomplish the same
thing.) “Phantom” owes its name to an ability to be
“unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
Phantom power for each channel can be selected
using that channel's phantom [22] switch.
Never plug single-ended (unbalanced)
microphones, or ribbon mics into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with phantom power on, unless you are certain it is safe.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
These line-level inputs can also accept instrumentlevel signals if the hi-z switches [25] are pressed in.
This allows you to connect guitars directly to channels 1
and 2, without the need for a DI box. The input
impedance is optimized for direct connection, and
high-frequency fidelity is assured.
6. INSERT
These unbalanced 1/4" jacks are for connecting serial
effects processors such as compressors, equalizers,
de-essers, or filters. The insert point is after the gain
control [26] and low cut filter [23], but before the
channel’s EQ [29-34] and level [38]. The channel signal
can go out of the insert jack to an external device, be
processed and come back in on the same insert jack.
To do this requires a standard insert cable that must be
wired thusly:
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
tip
SEND to processor
ring
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Insert jacks can be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 30 (figure G) showing three ways to use insert
cables.
Owner's Manual 11
7. TALKBACK MIC
11. MONO OUT
This is where you plug in your external talkback
microphone if you need to have one. This female XLR
connector has +48 VDC phantom power always applied,
so you may use dynamic or condenser microphones.
This 1/4" TRS output connector provides a balanced
or unbalanced line-level signal that is a combination of
the left and right main out [10] signals (L+R). You may
use this for a separate mix that does not require a stereo
feed, or to simply test the monaural compatibility of the
stereo mix.
Note: Almost all dynamic microphones may be used
with phantom power, but you might want to check the
documentation that came with your microphone just to
be sure.
8. LEFT/RIGHT XLR MAIN OUTPUTS
These male XLR connectors provide a balanced linelevel signal that represents the end of the mixer chain,
where your fully mixed stereo signal enters the real
world. Connect these to the inputs of your main power
amplifiers, powered speakers, or serial effects processor (like a graphic equalizer or compressor/limiter). It
provides a fully balanced signal that is the same level
as the 1/4" TRS main out jacks [10] next door (except
the 1/4" jacks are unaffected by the main output level
switch [9]).
12. MONO OUT LEVEL Control
This is a separate level control for the mono out [11].
It comes after the main mix fader [73] but before the
main output level switch [9], so turning the main mix
fader up and down does affect the mono out signal. With
this control turned all the way up, you will have 6 dB of
extra gain at the mono out.
13. MAIN INSERTS
These 1/4" TRS jacks are for connecting serial effects
such as compressors, equalizers, deessers, or filters. The
insert point is after the mix amps, but before the main
mix fader [73]. Refer to the description of the channel
insert on page 11 to see how to make this connection.
9. MAIN OUTPUT LEVEL
When this switch is out (+4 dB), the XLR main
outputs [8] provide a "+4 dBu" line-level signal. You
can then connect these outputs to the line-level inputs
of power amplifiers, powered loudspeakers, or serial
processors.
When the switch is pushed in (mic), the XLR main
outputs are attenuated to microphone level. You can
then connect these outputs safely to the microphone
inputs of another mixer, providing a submix for
keyboards or drums, for example, in a live sound
application. The main outputs can then be plugged
directly into a stage snake, and appear back at the front
of house console like any other microphone level source.
14. TAPE INPUTS
These stereo unbalanced RCA inputs allow you to play
a tape, CD player, iPod® dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
Push in the tape button [45] to route the tape input
to the control room and phones outputs [16, 42]. This
allows you to play back recordings of your mixes.
Push in the assign to main mix button [46] to route the
tape input to the main outs [8, 10]. This allows you to play
back music between sets over the main PA speakers.
The switch is recessed to reduce the chance of
accidently turning it on or off when plugging things in.
Pushing tape in the source matrix and
pushing assign to main mix can create a
feedback path between tape in and tape out.
Make sure your tape deck is not in record,
record pause, or input monitor mode when you engage
these switches, or make sure the control room level
control is turned all the way down first.
10. LEFT/RIGHT 1/4" MAIN OUTPUTS
15. TAPE OUTPUTS
These 1/4" TRS output connectors provide balanced
or unbalanced line-level signals. This is the same signal
that appears at the XLR main outputs [8] (except
the 1/4" jacks are unaffected by the main output level
switch [9]). Connect these to the next device in the
signal chain like an external processor (graphic
equalizer or compressor/limiter), or directly to the
inputs of the main amplifier.
These stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a tape deck, hard disk
recorder, or automatic CD burner, for example. This
lets you make a recording for posterity/archive/legal
purposes whenever the band gets back together again.
When mic is engaged, you can safely plug the
XLR main output into a mixer's microphone
input, even if it provides 48V phantom power.
12 Onyx 1640i
The tape output is the stereo main mix, and it is
affected by the main mix level control [73]. The output
could also be used as an extra set of main outputs for
feeding another zone.
16. CTRL-RM OUT
These 1/4" TRS jacks provide balanced left and rightline-level outputs to run studio monitors in the control
room. Connect these outputs to the inputs of an
amplifier, powered speakers, or recording device.
The source that plays in the control room,
headphones, and meters can be selected using the
switches [44, 45] in the control room/phones source
matrix:
•
The main mix, if main mix is selected as the
control room/phones source
•
Tape outputs, if tape is selected
•
Sub outputs if sub outs 1-2 / 3-4 is selected
•
A 2-track FireWire feed from your computer if
FW 1-2 is selected
•
A combination of all four above
Except for main mix, whatever is playing in these
outputs can also be routed to the main mix if assign to
main mix [46] is engaged. The main mix input to the
control room is disconnected if assign to main mix is
engaged.
The headphones and meters play the same program
as the control room. The meters show the levels prior to
the control room and phones level controls.
Control-room out is long for ctrl-rm out, which
translated from the ancient language of the Pacific
NorthWestern I-405 corridor people means "I'll have a
double latté with chocolate sprinkles, and a bagel with
cream cheese, and I agree, it does look like it will start
raining again, but it might stop in time for the Mariners
game."
17. SUB OUTS
These 1/4" TRS jacks are usually patched to the
inputs of a multitrack deck, or to secondary amplifiers
in a complex installation.
18. AUX RETURNS 1-4
These 1/4" TRS stereo input connectors allow you to
add the stereo processed output from external effects
processors or other devices to the main mix.
Level adjustment of the incoming signals is made with
the aux return controls [59].
You can also use these inputs to add any stereo linelevel signals to your main mix, so it could be another
line-level source, not just an effects processor.
If you are connecting a mono source, use the left
(mono) aux return input, and the mono signals will
appear on both sides of the main mix.
19. AUX SENDS 1-6
These 1/4" TRS connectors allow you to send balanced
or unbalanced line-level outputs to external effects
devices, headphone amplifiers, or stage monitors. These
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with
built-in power amplifiers. All six auxes are independent
of each other, so you can set up to six separate aux
mixes.
The aux sends can either be pre or post fader,
depending on the position of the pre/post switches [56].
For stage monitor work, use pre, so the stage monitors
do not increase in volume when the channel level is
adjusted. Imagine how upsetting that can be to big hairy
drummers. This allows you to set up the monitor mix
and levels just right, and not have it change every time a
channel level is adjusted.
For external processors, use post. In this way, the
feed to external processors will vary with the channel
level, so the level of any returned effect (like an echo)
will also change if the channel level is changed, keeping
them in the same ratio (wet/dry).
20. RECORDING OUTS
These two DB-25 connectors provide balanced direct
outputs for channels 1-8 and 9-16, respectively. They are
designed to be connected directly to a recorder's analog
inputs, and use the TASCAM standard pinout for analog
signal connections (the same standard used on the
previous generation Onyx 1640 and other legendary
Mackie products).
The signal at the Recording Outs comes from one of
two places: (1) with the FireWire Send button [27] in
the pre position (disengaged) the tap is just after the
input gain control [26] and Low-Cut switch [23], but
before the insert jacks [6] and EQ [29-34]. This way
you may EQ a channel, connect a compressor or other
dynamics processor to the insert jack [6], and adjust
the channel fader to suit your live mix, but it has no
effect on the signal going to the recorder.
(2) With the FireWire Send button [27] in the post
position (engaged) the tap is after the input gain
control [26], Low-Cut switch [23], insert jacks [6] and
EQ [29-34]. This way you may EQ a channel, connect a
compressor or other dynamics processor to the insert
jack [6], adjust the channel fader to suit your live mix,
and your dynamics processor and EQ settings are sent to
the recorder (but not your fader adjustments).
Having these two options on a per-channel basis
provides maximum flexibility for the mixdown stage.
See Appendix B (Figure H) for a wiring diagram of these
connectors.
21. TURD POLISHER
If the songs are no good, engage this switch to polish
them up. It will instantly transform your songs to Top-40
status without all of the hard work. Congratulations, you
just polished a turd!
Owner's Manual 13
22
23
LINE
FW 1
48V
48V
GAIN
30
20
48V
40
20
40
U
-15
8k
U
+15
2k
400
8k
U
2k
U
100
2k
U
+15
-15
+15
28
+15
+15
400
100
2k
U
LOW
LOW
MID
+15
+15
U
LOW
LOW
80Hz
+15
80Hz
-15
OUT
IN
EQ
+15
OUT
IN
EQ
2
3
4
5
AUX
AUX
AUX
AUX
MAX
OO
MAX
OO
MAX
1
OO
MAX
OO
MAX
2
OO
MAX
OO
MAX
35
MAX
MAX
OO
MAX
MAX
OO
MAX
OO
MAX
MAX
OO
MAX
R
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
2
3
4
OO
MAX
OO
MAX
OO
MAX
4
OO
MAX
OO
MAX
OO
MAX
5
5
6
PAN
R
MAX
3
6
L
1
OO
2
5
PAN
L
OO
4
OO
6
PAN
MAX
3
5
6
1
OO
2
4
OO
5
R
OO
3
OO
4
MAX
MAX
2
3
OO
1
OO
6
PAN
L
R
Mackie mixers have a “U” symbol on almost every level
control. It stands for “unity gain,” meaning no change in
signal level. The labels on the controls are measured in
decibels (dB), so you’ll know what you’re doing
level-wise if you choose to change a control’s settings.
22. 48V PHANTOM POWER
MID
-15
U
“U” like Unity gain
FREQ
1
OO
L
2k
U
-15
OUT
IN
MID
AUX
1
36
100
+15
HIGH
FREQ
LOW
EQ
8k
U
-15
80Hz
-15
OUT
IN
EQ
FREQ
400
+15
400
-15
U
LOW
+15
2k
HIGH
MID
+15
12kHz
MID
LOW
80Hz
-15
OUT
IN
EQ
2k
-15
80Hz
8k
U
-15
U
HIGH
FREQ
FREQ
100
+15
U
LOW
34
+15
400
U
-15
MID
The vertical channel strips look very similar, and have
only a few differences between them. Each
channel works independently, and just controls the
signals plugged into the inputs directly behind it.
PRE
POST
HIGH
+15
2k
400
2
60
U
-20dB +40dB
12kHz
HIGH
MID
-15
U
8k
40
SEND
U
-15
U
U
PRE
POST
FREQ
LOW
MID
-15
+15
2k
400
20
60
U
-20dB +40dB
HIGH
FREQ
LOW
40
12kHz
-15
FREQ
100
U
HIGH
+15
400
30
U
SEND
MID
-15
20
PRE
POST
FREQ
HIGH
+15
400
30
40
-15
MID
-15
GAIN
12kHz
FREQ
400
GAIN
U
HIGH
12kHz
+15
2k
GAIN
PRE
POST
U
HIGH
75Hz
18dB/OCT
SEND
27
48V
75Hz
18dB/OCT
60
U
-20dB +40dB
SEND
PRE
POST
-15
20
Channel Controls
LINE
FW 5
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
LINE
FW 4
48V
GAIN
30
U
60
U
-20dB +40dB
29
30
31
32
33
24
25
26
LINE
FW 3
LINE
FW 2
PAN
L
R
Most modern professional condenser mics require 48V
phantom power, which lets the mixer send
low-current DC voltage to the mic’s electronics through
the same wires that carry audio. (Semi-pro condenser
mics often have batteries to accomplish the same
thing.) “Phantom” owes its name to an ability to be
“unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
Press this switch in if your microphone requires
phantom power. (Always check the position of this
switch before connecting microphones.) An LED lights
just above the button to indicate that phantom power is
active on that channel.
Never plug single-ended (unbalanced)
microphones, or ribbon mics into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with phantom power on, unless you know for certain it
is safe to do so. Be sure the main level [73] is turned
down when connecting microphones to the mic inputs
when phantom power is turned on, to prevent pops from
getting through to the speakers.
23. LOW CUT
37
MUTE
MUTE
OL
+10
38
0
39
All 16 channels have a low-cut switch (often referred
to as a high-pass filter) that cuts bass frequencies below
75 Hz at a rate of 18 dB per octave.
MUTE
OL
OL
OL
OL
+10
+10
+10
+10
0
0
0
0
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
3-4
3-4
3-4
3-4
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
40
MAIN
MIX
SOLO
MUTE
-20
3-4
41
MUTE
SOLO
SOLO
SOLO
SOLO
14 Onyx 1640i
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but low-cut can help reduce the
possibility of feedback in live situations, and it helps to
conserve amplifier power.
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts stage rumble, mic
handling clunks and breath pops from way-down low.
Applying low-cut removes all those problems, so you can
add low EQ without blowing your subwoofers.
24. INPUT (LINE or FW 1-16)
All 16 channels may be fed either from the mic/line
inputs, or by up to 16 outputs from a computer via
FireWire. This switch lets you choose (on a per-channel
basis) whether the channel is accepting a mic/line input
or a FireWire output stream from your DAW.
While tracking, you will likely want all of these
switches in the "up" position so you can hear the inputs.
When overdubbing, you will likely want whichever
tracks are already recorded to the DAW to stream back
into the board (e.g. drums on 1-8 while overdubbing
bass on channel 9, so you'll want the input switches on
channels 1-8 in the FW position). And when you are
ready for full analog mixdown, you will probably want all
of these switches in the "down" position so you can do
a full 16-channel "tape style" mix - the way mixing was
meant to be!
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 60 dB of gain fully up.
Through the 1⁄4" line input of all 16 channels, there is
20 dB of attenuation fully down and 40 dB of gain fully
up, with unity gain "U" at 11:00.
This 20 dB of attenuation can be very handy when you
are inserting a hot signal, or when you want to add EQ
gain, or both. Without this “virtual pad,” there is more
chance of channel clipping.
27. SEND FIREWIRE PRE/POST
Each channel of the mixer can send a FireWire output
to your computer or DAW. The FireWire output from
each channel can be tapped before (pre) or after (post)
the channel EQ. (The output is always pre-fader.)
If you want the mixer EQ to affect the FireWire
recording, then set this switch to post. This is useful
in recording channels in a studio (where the recording
includes the beneficial effect of our Perkins EQ).
If you would rather record the straight signals from a
live performance, and EQ them later in your DAW, then
set this switch to pre. This is good for live work, where
you may have added EQ to adjust for the room, and yet
not want this added to your recording.
25. HI-Z SWITCH (Chs. 1 and 2 only)
CHANNEL EQUALIZATION (EQ)
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
All 16 channels have 4-band EQ with shelving high,
shelving low, and peaking hi-mid and peaking lo-mid
with adjustable mid frequency.
Without this switch, you need to use a DI box first,
before connecting guitars. If these switches are not
pressed in, guitars will not sound good, particularly the
high frequency response.
Plugging a guitar into a lower-impedance
line-level input can result in the loss of high
frequencies, causing an unnatural and dull
sound. Normally, you must use a direct box
between a guitar and a mixer’s input, which serves to
convert the impedance of the guitar from high to low.
The hi-z inputs on channels 1 and 2 make the need for
a direct box unnecessary. However: The hi-z inputs are
unbalanced (when the switch is in), so if you’re doing a
live show and running a long cord between the
instrument and the mixer (say over 25 or 30 feet), it is
best to use a direct box with a balanced output to avoid
picking up noise over the length of the cord.
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset
things. We’ve designed a lot of boost and cut
into each equalizer circuit because we know
that everyone will occasionally need that. But if you max
the EQ on every channel, you’ll get mix mush. Equalize
subtly and use the left sides of the knobs (cut), as well
as the right (boost). If you find yourself repeatedly using
a lot of boost or cut, consider altering the sound source,
such as placing a mic differently, trying a different kind
of mic, a different vocalist, changing the strings, or
gargling.
26. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
The gain knobs adjust the input sensitivity of the mic
and line inputs. This allows signals from the outside
world to be adjusted to run through each channel at
optimal internal operating levels.
Owner's Manual 15
28. EQ IN/OUT
31. HIGH MID EQ LEVEL
This is a true hardware bypass of the Perkins EQ
circuitry to insure that there is no coloration of the
signal if the EQ is not needed. When this button is out,
the EQ controls have no effect on the signal. You may
use this switch to make an A/B comparison between the
EQ'd signal and the signal without EQ.
The high mid EQ provides
up to 15 dB of boost or cut
at 2.5 kHz, and it is flat at
0
the detent. Midrange EQ is
often thought of as the most
dynamic because the
frequencies that define any
particular sound are almost always found within this
range. For example, the female vocal range as well
as the fundamentals and harmonics of many
higher-timbred instruments.
We have completely redesigned the EQ circuits
based upon the designs of Cal Perkins, an
industry-leader in audio engineering for over
three decades and long-time collaborator. This
"neo-classic" design provides the sweet musicality of the
British EQ sound, while still maintaining 15 dB of boost
and cut with optimum Q and minimum phase shift (in
other words, it gives you plenty of control and is pleasing
to the ear!).
The 4-band equalization has low shelving at 80 Hz, low
mid peaking, sweepable from 100 Hz to 2 kHz, high
mid peaking, sweepable from 400 Hz to 8 kHz, and
high shelving at 12 kHz. "Shelving" means that the
circuitry boosts or cuts all frequencies past the specified
frequency. For example, rotating the low EQ knob
15 dB to the right boosts bass frequencies starting at
80 Hz and continuing on down to the lowest note you
ever heard. "Peaking" means that the frequencies
around the center frequency are less affected by the EQ
the further away they are.
29. HIGH EQ
The high EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat (no 0
boost or cut) at the detent.
Use it to add sizzle to cymbals,
an overall sense of
transparency, or an edge to
keyboards, vocals, guitar and bacon frying. Turn it down
a little to reduce sibilance or to mask tape hiss.
+15
+15
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
32. LOW-MID EQ FREQUENCY
This knob ranges from 100 Hz to 2 kHz. This
determines the center frequency for the EQ filter, and
allows you to zero in on the precise narrow band of
frequencies you want to have affected by the low mid EQ
[33].
33. LOW MID EQ LEVEL
The low mid EQ provides up
to 15 dB of boost or cut at 400
Hz, and is flat at the detent.
Frequencies affected typically
include the male vocal range
as well as the fundamentals
and harmonics of many
lower-timbred instruments.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
34. LOW EQ
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
30. HIGH-MID EQ FREQUENCY
This knob ranges from 400 Hz to 8 kHz. This
determines the center frequency for the EQ filter, and
allows you to zero in on the precise narrow band of
frequencies you want to have affected by the high mid
EQ [31].
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is flat at
0
the center detent position.
This frequency represents the
punch in bass drums, bass
guitar, fat synth patches, and
some really serious male singers who eat raw beef for
breakfast.
+15
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
35. AUX SENDS 1-6
These controls allow you to set up to six independent
mixes, typically for running stage monitors or external
effects processors.
The controls are off when turned fully down, deliver
unity gain at the center, and can provide up to 15 dB
of gain turned fully up. Chances are that you will never
need this extra gain, but it's nice to know that it's there
if you do.
16 Onyx 1640i
Aux Sends 1-6 [19] are line-level outputs, and are
used if you want to connect external processors,
powered stage monitors, or external power amps with
passive stage monitors. Aux Returns 1-4 [18] are
line-level inputs, typically used to return the output
from external processors back to the main mix.
Carefully adjust how much of each channel appears
in your aux mixes. For example, if you are running stage
monitors, and someone wants "more me, and less them,"
adjust these carefully.
The aux sends can either be pre or post fader,
depending on the position of the aux pre/post switches
[56]. For stage monitor work, use pre, so the stage
monitors do not increase in volume when the channel
level is adjusted. For external processors, use post. In
this way, the feed to external processors will vary with
the channel level, keeping them in the same ratio (wet/
dry).
36. PAN
This control allows you to adjust how much of the
channel signal is sent to the left versus the right
outputs.
With the knob panned hard left, the signal feeds
the main left, sub 1, or sub 3 busses, depending on the
setting of the assign switches [44-45]. With the knob
panned hard right, the signal feeds the main right, sub
2, or sub 4 busses, again dependent on the setting of the
assign switches [44-45].
The pan control employs a design called “Constant
Loudness.” If you have a channel panned hard left (or
right) and then pan to the center, the signal is
attenuated about 3 dB to maintain the same apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
This is not to be confused with pan, the famous steel
drums of the tropical island paradise of Woodinville.
37. MUTE
Mute switches do just what they sound like they do.
They turn off the signal by “routing” it into oblivion.
Engaging a channel's mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not affected by the channel fader,
but it is by the mute switch). Any channel assignments
to main mix, sub 1-2, or sub 3-4 will be interrupted and
all of the aux sends will be silenced (both pre- and
post-fader). The recording out [20] and channel insert
[6] will continue to provide a signal when a channel is
muted.
The LED next to the mute switch illuminates when
the mute switch is engaged.
38. CHANNEL FADER
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark indicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 10 dB, should you need to boost a section of
a song. If you find that the overall level is too quiet or
too loud with the level near unity, check that the gain
control [26] is set correctly.
39. -20, 0, +10 and OL LEDS
These LEDs indicate the channel’s signal level after
the gain and EQ controls, but just before the channel’s
level. So even if the level is turned down, you can see if
a signal is present, or if the channel is being overloaded.
The OL (overload) LED will come on when the
channel’s input signal is too high. This should be
avoided, as distortion will occur. If the OL LED comes
on regularly, check that the gain control [26] is set
correctly for your input device, and that the channel EQ
is not set with too much boost.
The –20 and 0 LEDs should illuminate frequently and
the +10 LED should light occasionally.
40. ASSIGN
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel's pan knob [36], they
are used to determine the destination of the channel's
signal.
With the pan knob at the center detent, the left and
right sides receive equal signal levels (main mix L-R,
sub 1-2, and sub 3-4). To feed only one side or the other,
turn the pan knob accordingly.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus. If you want to create a subgroup of certain
channels, engage either the 1-2 or 3-4 switches instead
of the main mix, and they will be sent to the appropriate
subgroup faders. From there, the subgroups may be sent
back to the main mix (using the sub assign switches
[70] above the subgroup faders [71]), allowing you to
use the subgroup faders as a master control for those
channels.
If you are creating new tracks or bouncing existing
ones, you will also use the 1-2 and 3-4 switches, but not
the main mix switch. Here you do not want the
subgroups sent back into the main mix bus, but sent
out, via the sub out jacks [17], to your multitrack
inputs.
Owner's Manual 17
However, if you are printing tracks via the recording
outs [20] or via FireWire [3], the channel assignment
switches no longer matter since the recording outs come
before the assign switches.
The Onyx 1640i is what we call a "true 4-bus mixer."
Each channel may be assigned or unassigned to any of
the subgroups without affecting the other subgroups
or settings within the channel, and each subgroup has
its own master fader and dedicated output. In fact,
since there are four subgroups and the main mix, it is
actually a true 6-bus mixer. We should have named it an
Onyx 1660i!
41. SOLO
Whenever a solo switch is engaged, you will only hear
the soloed channel(s) in the headphones and control
room. This gives you the opportunity to audition the
channels before they are added to the main mix. You can
still hear, even when the level is down.
Solo is also used to set the gain of each channel
correctly. When a channel is soloed, you can adjust the
channel gain [26] until your input source reaches the
level of the 0 dB LED of the right meter.
18 Onyx 1640i
Solo signals reaching the headphones and
control room are not affected by the channel
level or main level; therefore, turn down the
phones level [48] and control room level [47] first, as
soloed channels may be loud.
The rude solo light [50] will turn on as a reminder
that what you are listening to in the headphones and
control room is just the soloed channel(s).
Soloed channels are sent to the source mix, which
ultimately feeds your control room, phones, and meters.
Whenever solo is engaged, all source selections (main
mix, tape, and FireWire) are defeated, to allow the
soloed signal to do just that—solo!
Dear Betty,
All this talk of solo reminded me of how happy we
could be together. Let us be married this afternoon, in
the bass amp section of the guitar store where we met!
No longer will I be that guy at the company party who
talks about EQ all evening. No longer will I spend my
time in music stores telling everyone that "I wrote the
manual for that!" Let me be your main mix!
42. HEADPHONE OUTPUT
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
42
43
LAMP
12V 0.5A
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
L
R
20
CLIP
MAIN MIX
10
45
TAPE
49
6
3
45 SUB 1-2
SUB 3-4
FW 1-2
2
LEVEL
SET
4
ASSIGN TO
MAIN MIX
7
10
20
47
48
OO
MAX
CONTROL
ROOM
OO
30
50
MAX
RUDE
SOLO
PHONES
53
54
OO
MAX
TAPE IN
52
WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn the
phones level control [48] all the way down before
connecting headphones or pressing a solo switch, or
doing anything new that may affect the headphone
volume. Then turn it up slowly as you listen carefully.
43. LAMP
44. MAIN MIX
MAX
SOLO
LEVEL
TAPE TO
MAIN MIX
Ring = Right channel
This female BNC connector provides 12 volts DC on
its center pin. Connect any quality gooseneck lamp
here.
51
OO
Tip = Left channel
Sleeve = Common ground
0
46
Whenever a solo switch [41] is engaged, you will
only hear the soloed channel(s) in the headphones.
This gives you the opportunity to audition the channels
before they are added to the main mix. (Solo signals
reaching the headphones are not affected by the
channel level or main level, therefore turn down the
phones level first, as soloed channels may be loud.)
The phones output follows standard conventions:
15
44
This 1/4" TRS connector supplies the output to your
stereo headphones. It is the same signal that is routed
to the control room outputs [16], as determined by the
control room/phones source matrix [44, 45]. The
volume is controlled with the phones knob [48], right
next to the control room knob [47].
PFL
AFL
SOLO
MODE
Control Room/Phones and
Meters
Press this switch in to listen to the main mix in your
control room and headphones, and to check the main
mix levels in the meters. In addition to the main mix,
you can listen to any combination of tape, FireWire and
recording outs, depending on which of these switches
[45] is engaged.
If the assign to main mix switch [46] is
engaged, you cannot hear the main mix in the
control room or headphones, or see its level
on the meters. This is to prevent feedback caused by
sending the main mix to the main mix.
Typically, the engineer sends the main mix to an
audience (for a live show) or to a mixdown deck (if
recording). But what if the engineer needs to hear
something other than the main mix in the control room
or headphones? With the Onyx 1640i, the engineer has
several choices of what to listen to. This is one of those
tricky parts, so buckle up.
Owner's Manual 19
45. TAPE, SUB 1-4, FW 1-2
Using these source switches, you may choose to
listen to any combination of tape, sub 1-2, sub 3-4, and
FireWire in the control room and headphones, in
addition to the main mix if its switch [44] is engaged.
Tape is the stereo signal coming in from the tape in
RCA jacks. The four subgroups may be used for additional mono or stereo mix outputs. FireWire is a 2-track
feed coming in through the FireWire connection from
your computer.
Selections made here deliver stereo signals to the
control room, phones, and meters. With no switches or
main mix [44] engaged, there will be no signal at these
outputs and no meter indication.
3. If you have tape as your source matrix
selection, and then engage this switch, it can
create a feedback path between tape in and
tape out. Make sure your tape deck is not in
record, record-pause, or input monitor mode
when you engage these switches, or make sure
the control room knob [47] is turned all the
way down.
47. CONTROL ROOM Knob
This knob is used to adjust the volume at the control
room outputs [16], from off to maximum gain
(+10 dB). It also controls the level of the control room
signal going to the main outs when assign to main mix
[46] is selected.
The exception is the solo function. Regardless of
the source matrix selection, engaging a channel’s solo
switch will replace that selection with the solo signal,
sent to the control room, phones, and the right meter.
This knob is used to adjust the volume at the phones
output [42], from off to maximum gain (max).
There is an alternate way to get the tape,
sub 1-4, and FireWire signals into the control
room outputs. Each of these signals may be
routed directly to the main mix bus, and then
assigned to the C-R out [16] and phones [42] by
selecting main mix [44] in the source matrix, the
difference being that the signals pass through the main
mix insert [6] and main mix fader [73] first.
WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn this
control all the way down before connecting headphones,
or pressing a solo switch [41], or doing anything new
that may affect the headphone volume. Then turn it up
slowly as you listen carefully.
46. ASSIGN TO MAIN MIX
49. LEFT/RIGHT Level Meters
Let’s say you’re doing a live show. "You're doing a live
show." Intermission is nearing and you want to play a
soothing CD for the crowd to prevent them from
becoming antsy. Simply engage this switch and your
source matrix selection, after going through the control
room level control, will feed into the main mix, just as if
it were another stereo channel.
These peak meters are made up of two columns of
twelve LEDs, with three colors to indicate different
ranges of signal level, traffic light style. They range from
–30 at the bottom, to 0 in the middle, to +20 (CLIP) at
the top.
What if you have a playlist of MP3 files on your
computer you want to play during the break? Engage
the FireWire button to play your MP3s directly from your
computer, through the source matrix, and into the main
mix.
Side effects to engaging this switch:
1. It will also feed any soloed channels into the
main mix, which may be the last thing you
want.
2. If you have main mix as your source matrix
selection and then engage this switch, the main
mix lines to the source matrix will be
disconnected from the control room and phones
outputs, to prevent feedback.
20 Onyx 1640i
48. PHONES Knob
If no source [44, 45] is selected in the control room/
phones, and no channels are in solo, the meters won’t do
anything. To display signal levels, select one or more of
the sources. For example, press main mix [44] to show
the main mix level in the meters. While the listening
levels are controlled by the control room and phones
knobs, the meters indicate the source mix before these
knobs, giving you the real facts at all times, even if
you’re not listening at all.
When a channel is soloed, the left meter shows no
reading, and the right meter shows the level of that
channel’s signal level, pre-fader. The right meter's 0 dB
LED is labeled "level set" to show where the level should
be when adjusting a channel’s gain [26] in the solo
mode (as described in “Set the Levels” on page 3).
When 0 dBu (0.775 V) is at the main mix outputs, it
shows as 0 dB on the meters.
You can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+6.” Remember, audio
meters are just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at them
(unless you want to).
50. RUDE SOLO Light
This large LED flashes when one or more channel
solo switches are engaged [41]. This acts as a reminder
that what you hear in the control room and headphones
is the soloed channel(s). If you forget that you are in
solo mode, you can easily be tricked into thinking that
something is wrong with your mixer. Hence, the rude
solo light. Please forgive its rudeness, it is only trying to
help, and wants to be your friend.
51. SOLO LEVEL
This knob is used to adjust the volume of the soloed
signal as it is routed to the control room [16] and
phones [42] outputs. This control is independent of,
and prior to, the control room [47] and phones [48]
level controls.
It controls the solo signal level for both PFL and AFL
solo modes (see next paragraph).
In PFL mode, solo will not be affected by a channel's
mute switch [37] position.
Remember, PFL mode taps the channel signal
before the fader. If you have a channel's fader
set way below "U" (unity gain), solo will not
know that and will send a unity gain signal to the
C-R outs [16], phones output [42], and meter display
[49]. That may result in a startling level boost at these
outputs when switching from AFL to PFL mode,
depending on the position of the solo level knob [51].
53. TAPE IN
This knob is used to adjust the volume at the tape
input [14], from off to maximum gain (max).
54. TAPE TO MAIN MIX
Push this button in to route the tape in [14] signal to
the main mix bus [73].
WARNING: Pushing in the tape to main mix
button may create a feedback path between
tape in [14] and tape out [15]. Make sure
your tape deck is not in record mode, record-pause
mode, or input monitor mode when you engage this
switch, or make sure the tape in knob [53] is turned all
the way down (off) when recording.
52. SOLO MODE
Engaging a channel's solo switch [41] will cause this
dramatic turn of events: Any existing source matrix
selections [44, 45] are replaced by the solo signal,
appearing at the control room outputs [16], phones
[42] and at the right meter [49] (left and right meters
when in AFL solo mode). The audible solo levels are
then controlled by the control room knob [47]. The solo
levels appearing on the meters are not controlled by
the control room knob [47] - you would not want that,
anyway. What you do want to see is the actual channel
level on the meters regardless of how loud the signals'
output may be.
With the solo mode switch in the up position, you are
in PFL mode, meaning Pre-Fader Listen (post-EQ). This
mode is required for the "Set the Levels" procedure and
is handy for quick spot-checks of channels, especially
ones that have their faders turned down.
With the solo mode switch down, you are in AFL
mode, meaning After-Fader Listen. You will be able to
hear the stereo output of the soloed channel - it will
follow the channel's gain [26], EQ [29-34], fader [38]
and pan [36] settings. It is similar to muting all of the
other channels, but without the hassle. AFL mode is
typically used during mixdown.
Owner's Manual 21
SENDS 1-6
TO FW 9-14
58
SENDS
PRE
POST
1
+15
57
OO
55
59
PRE
POST
+15
60
+10
61
SEND
TO
+10
4
SOLO
The aux sends can either be pre or post fader,
depending on the position of the aux pre/post
switches [56].
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow that if
the singer stuck his thumb down, you’d turn the knob
down, but that never happens.)
The aux sends can also be sent to FireWire outputs
9-14 for recording [58]. The levels to FireWire are
affected by these send controls and the pre/post switch.
MAIN
SUBS
56. PRE/POST
+10
63
CR/PHONES
ONLY
62
SUBS
1-2
3-4
PRE
POST
6
OO
OO
3
OO
SOLO
+15
+10
PRE
POST
5
OO
+10
TO AUX 6
OO
SOLO
+15
OO
PRE
POST
SOLO
+15
OO
2
SOLO
+15
+10
PRE
POST
4
OO
OO
TO AUX 5
3
OO
1
SOLO
2
These knobs provide overall control over the aux send
levels, just before they are delivered to the aux send
outputs [19]. These knobs go from off to +15 db when
turned all the way up.
EFX TO
MON
RETURNS
56
OO
55. MASTER AUX SENDS 1-6
AUX MASTER
POWER
64
Aux Master
This section includes the aux sends and the aux
returns. Aux sends tap signals off the channels, via the
aux knobs [35], mix these signals from each channel
together, then sends them out the aux send jacks [19]
and FireWire outputs 9-14. The aux sends can be prefader or post-fader (both are post-EQ, but see page 46).
Post-fader aux sends can be fed to the inputs of an
external processor like a reverb or digital delay. From
there, the outputs of this external processor are fed
back to the mixer’s aux return jacks [18]. Then these
signals are sent through the aux return level controls
[59], and finally delivered to the main mix.
So, the original unprocessed “dry” signals go from
the channels to the main mix, and the processed “wet”
signals go from the aux returns to the main mix, and
once mixed together, the dry and wet signals combine to
create a glorious sound!
Pre-fader aux sends are typically used to provide
another mix for stage monitors. In this case, the aux
returns aren’t used to return the signal. Instead, they
can be used as additional stereo inputs, or not used at
all.
22 Onyx 1640i
The pre/post switches determine whether the aux
send signal is tapped from the channels before the
channel level controls (pre-fader) or after (post-fader).
Having a separate pre/post switch for each aux is a
super-useful feature as it allows the use of one effects
processor and one stage monitor chain, at the same
time.
For stage monitor work, use pre, so the stage
monitors do not increase in volume when the channel
level is adjusted.
For external processors, use post. In this way, the feed
to external processors will vary with the channel level,
keeping them in the same ratio, so that the “wet” signal
level follows the “dry” signal level.
57. AUX SENDS SOLO
This button allows you to solo an individual aux send.
If you are using the aux sends to feed your stage
monitors, you may use these buttons to check your
monitor mix. Beside each switch is an indicating LED to
let you easily spot a soloed aux send.
The aux send solo is not affected by the solo mode
switch (PFL/AFL) [52], except that in PFL mode only
the right meter indicates the signal. The aux send's
PFL/AFL status is determined by the pre/post switches
[56] next to the aux send masters [55].
58. AUX SENDS 1-6 to FW 9-14
This switch allows you to send a copy of the aux send
1-6 outputs via FireWire to a computer. The FireWire
output is affected by the channel aux send and master
aux send controls.
For example, you can set up a software effects
processor as follows:
•
Set any aux send (auxes 1-6) in post mode, by
pressing the post switch in the aux master
section.
•
With 'aux send 1-6 to FW 9-14' engaged, aux
sends 1-6 are available for your computer via
FireWire signals 9-14. (Mixer channels 9-14 are
no longer available to send via FireWire.)
•
Pass aux 1-6 through your audio production
software running effects plug-ins.
•
Return the processed output to mixer channels
1 and 2 (input switches set to FW 1 and FW 2).
•
Alternatively bring the processed sounds into
the control room (engage FW 1-2) and add it to
the main mix (engage assign to main mix).
•
You can even use the computer as up to six
separate mono in / stereo out processors. Have
aux 1 go into one plug-in, aux 2 into a different
one, and so on. The stereo outputs of all
plug-ins are combined back into the stereo
stream coming back in to the mixer.
Performance will vary based on system
hardware.
59. MASTER AUX RETURNS 1-4
These four controls set the overall level of effects
received from the stereo aux return 1-4 inputs [18].
These controls range from off to +10 db of gain when
fully clockwise, to compensate for low-level effects.
Signals passing through these controls go directly to
the main mix bus where they are combined with the
other channels.
60. EFX TO MON
These controls route the signal from aux returns 1
and 2 to the aux 5 and 6 sends. This allows you to use an
external effects device, like a reverb or delay,
exclusively for the monitors. When these controls are
turned up, the stereo effects return signal is summed
to mono and combined with the signals coming from all
the channel aux 5 and aux 6 send controls.
If you want to add reverb or delay to the stage monitor
mixes, these are the knobs for you. Operating
independently of their respectively numbered aux
returns level controls, these knobs are exactly the same
as the aux 5 and aux 6 knobs found in the channel strip.
These two knobs feed their respective stereo aux
return signals to a mono summing amp and then: to aux
5 feeds aux return 1 to aux send 5 master, and to aux
6 feeds aux return 2 to aux send 6 master. They are off
when turned fully down, and provide up to 10 dB gain
turned fully up.
61. AUX RETURN 3 SEND TO MAIN/SUBS
With this button up, aux return 3 behaves like the
other aux returns - it delivers a stereo signal, regulated
by its level knob, to the main mix. When you push this
button in, the aux return 3 signals are removed from the
main mix buses and sent to the subs 1-2 / 3-4 switch,
which diverts the signal once more. See below.
62. SUBS 1-2/3-4
If the aux return 3 send to main/subs button [61] is
up, the subs 1-2 / 3-4 button does absolutely nothing.
Let us now assume it is pushed down. Aux return 3's
stereo signal will not be sent to the main mix, but to the
subgroup faders 1 and 2 (subs 1-2 / 3-4 button up) or to
subgroup faders 3 and 4 (subs 1-2 / 3-4 button down).
Let us now assume that you made a stereo drum
submix on subgroup faders 1 and 2, so you can ride
those two faders instead of the seven channels that the
drums came from. Subgroup fader 1 has its assign to
main mix left button [70] engaged and subgroup fader
has its assign to main mix right button [70] engaged,
blending the drum submix back into the main mix [73].
The drum channels are also sending signals to your
reverb via the aux sends and the reverb outputs are
patched into aux return 3. So far, so good!
Even though you could send aux return 3 directly to
the main mix (aux return 3 send to main / subs button
up), you do not want to. Instead, engage the aux return
3 send to main / subs switch and make sure the subs 1-2
/ 3-4 switch is up. Now the reverb return is blended into
the drum submix, and as you ride the two subgroup
faders, the reverb level will follow.
Why do we want that? Because if you had just sent the
reverb directly to the main mix (aux return 3 send to
main / subs button up) and you did a drum fadeout
using the subgroup faders 1 and 2, the "dry" signals
would fade out, but the "wet" signals would continue.
All you would hear is the drum reverb (the "wet"), and
none of the original drum signals (the "dry"). That's
because the reverb is being fed by the channel's aux
send [35], and they have no idea that you have pulled
down the subgroup faders. That's why we added these
switches.
Owner's Manual 23
63. AUX RETURN 4 to CR/PHONES ONLY
When this button is up, aux return 4 is routed to the
main mix bus, just as aux returns 1-3 are. When the
button is down, however, the aux return 4 stereo signal
is routed to the CR / phones matrix instead. It does
not matter if any of the source buttons [44, 45] are
assigned, but it will be interrupted, as usual, if a solo
button [41] is engaged.
Let's pretend that you are doing a live mix to a 2-track
deck, a house PA, or both, and you want to play along to
a click track. You could run the click track directly into
the main mix, but you do not want the mixdown deck or
the audience to hear it. Therefore, you may route it to
the control room and phones output instead! Similarily,
it may be used for voice-over tracks, narration, anything
you want heard by the engineer and players but not by
the audience and mixdown deck.
64. POWER LED
This green LED will turn on when the mixer is turned
on, as a reminder of how on it really is. If it is not on,
then it is off, and the mixer becomes a rather nice
weight for keeping your morning newspaper from
blowing away in the wind.
If it does not turn on, make sure the power cord is
correctly inserted at both ends, the local AC mains
supply is active, and the power switch [2] is on.
24 Onyx 1640i
DESTINATION
PHONES
67
AUX 1-6
The aux 1-6 switch routes the talkback signal to the
aux send 1-6 outputs [19]. Use this to communicate
with the musicians through their stage monitors when
you are setting up a live performance.
MIC
65
66
OO
68
TALKBACK
69
MAX
LEVEL
EXTERNAL
MIC
Talkback
The talkback feature allows the engineer to
communicate with the talent either through the phones
outputs [42] or the aux 1-6 send outputs [19] using
the built-in talkback microphone. This saves a lot of
shouting over the audience's heads as you set up the
talented one's stage monitors to their peculiarly-picky
satisfaction.
65. TALKBACK MIC
This is where the built-in talkback microphone is
located. It is an omni-directional dynamic microphone,
and it will pick up your voice from anywhere in front of
the mixer.
66. TALKBACK LEVEL
Use this knob to control the level of the talkback
signal being routed to the phones or aux 1-6 outputs,
from the internal microphone.
1. Start with this control turned down.
2. Select the destination, either headphones
and/or aux 1-6, and make sure their levels are
already set nicely, such as phones [48] or aux
sends [55].
It is fine to have both destination switches pushed in
at the same time, so the talkback signal will be routed
to both destinations. But if you don’t have either of the
destination switches pushed in, the talkback signal
won’t go anywhere. You might as well be talking to a
brick wall.
68. TALKBACK Switch
This is a momentary switch, and as long as you hold
it down, talkback is activated. You can talk into the
built-in microphone and be heard in the headphones
and/or stage monitors.
Release the switch so you can talk about the band
without them hearing you.
69. EXTERNAL MIC Switch
If you are in a noisy environment, the built-in
talkback mic may not work as well because it picks
up the ambient noise as well as your voice. You will
probably have better results if you use an external
microphone that you can talk directly into.
If you are using an external mic, you must push in the
external mic switch. The indicating LED lets you know
when the switch is engaged. When the switch is out, the
built-in talkback mic [65] is used, regardless of whether
or not you have an external mic plugged in. When the
switch is pushed in, the built-in mic is disconnected and
only the external mic is used.
3. Hold down the talkback switch [68] as you
make your fruity-toned announcements.
4. Slowly turn this control up until you get
confirmation from whoever is listening to
headphones or monitors that they can hear and
obey your every command.
Once you have set the level, you can leave it there for
the duration of the session or gig.
67. DESTINATION: PHONES, AUX 1-6
Push in the phones switch to route the talkback signal
to the headphones. Use this to communicate with the
talent in the studio through the headphones during a
recording session. When the talkback circuit is
activated by pushing the talkback switch [68], the
control room outputs [16] are attenuated to allow your
voice to come through clearly.
Owner's Manual 25
74
SUB ASSIGN
L
70 MAIN MIX
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
R
R
R
R
SUB1
SUB2
SUB3
71. SUB 1-4 FADERS
ASSIGN TO
FW 15-16
SUB4
dB
10
5
71
U
73
5
10
20
30
40
50
60
OO
72
SUBS 1-4
TO FW 5-8
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
Main and Subs Mix
70. SUB ASSIGN
One popular use of the subgroups is to use them as
master faders for a group of channels on their way to the
main mix [73]. Let us say you have a drum kit hogging
up seven channels and you are going to want to fade
them out at a different rate than the other channels.
You do not want to try that with seven hands or seven
fingers, so just un-assign these channels from the main
mix and reassign them to subgroups 1-2, engage the
assign to main mix left on subgroup 1 and assign to main
mix right on subgroup 2. Now you may ride the entire
drum mix with two faders - subgroups 1 and 2.
If you engage just one assign to main mix button per
subgroup (left or right), the signal sent to the main mix
[73] will be the same level as the sub outs [17]. If you
want the subgroup to appear in the center of the main
mix, engage both the assign to main mix left and right
buttons. The signal will be sent to both sides.
26 Onyx 1640i
As you might expect, these faders control the levels of
the signals sent to the sub outs [17]. All channels that
are assigned to subgroups, not muted, and not turned
fully down will appear at the sub outs. Unlike the main
outs [8, 10], the subgroup signals do not pass through
an insert jack on their way to the subgroup faders. That
is not a problem - should you want to send these signals
through a serial effects processsor, simply patch from
the sub outs to the effect's input, and from the effect's
output to whatever the final destination is, usually a
multitrack recorder.
The subgroup signal is off when its fader is fully down,
the "U" marking is unity gain, and fully up provides 10
dB additional gain. Remember that if you are treating
two subgroups as a stereo pair, subgroup 1 and 2 for
example, make sure that both subgroup faders "ride"
together to maintain the left/right balance.
72. SUBS 1-4 TO FW 5-8
Engage this button, located just below the subgroup
faders, and the subs 1-4 mix can be sent to your
computer via FireWire channels 5-8. The sub 1 mix
will appear on FireWire output signal 5, the sub 2 mix
will appear on FireWire output signal 6, and so on. The
FireWire output is affected by the sub faders. (When
this button is engaged, mixer channels 5-8 are not
available to send via FireWire.)
This switch is here for additional flexibility. As
mentioned in the 'Sub Assign' section to the left, you
can assign a group of channels to subgroups and then
re-assign those subgroups to the main mix. In that
example, we assigned the seven channels that were
being hogged by the 'can't-keep-a-steady-beat' drummer
to subgroups 1-2. Still with us?
Now imagine this: We have already successfully
recorded the drummer's tracks from the live show
and are returning them from the computer on tracks
1-7. Each of the seven tracks contains a collection of
processing and quantization. Doing so makes each
individual component of the drum kit sound better...
and in time! Those seven tracks can now be EQ'd on the
Onyx 1640i mixer and routed to subgroups 1-2. These
are then transmitted back for recording to your digital
audio workstation (DAW) via FireWire. This is called
track bounce. The seven tracks have now been reduced
to a stereo pair, allowing us to free up processing power
that may be applied to pitch correction and reverb
plug-ins for the egomaniac vocalist. This is called LSD
(Lead Singer Disease).
73. MAIN MIX
This stereo fader allows you to adjust the levels of the
main mix signals sent to the XLR and 1/4" main
line-level outputs [8, 10], and the tape outputs [15].
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience. If
you press the main mix switch [44], you can see the
main mix levels in the meters [49]. Adjust this control
carefully, with your good eye on the meters to check
against overloading, and your good ear to the levels to
make sure your audience (if any) is happy.
This control does not affect the aux outputs [19] or
the main mix FireWire outputs. It affects the control
room or headphones if the main mix switch [44] is
engaged.
The main mix signals are off with the knob fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know that
it’s there. The fader is stereo, as it affects both the left
and right of the main mix equally. This is the ideal
control to slowly bring down at the end of a song (or
quickly in the middle of a song if the need ever arises).
74. ASSIGN TO FW 15-16
This switch allows you to assign the left and right
main mix to FireWire outputs 15 and 16. For example,
you can record the live performance main mix onto your
computer. This does not affect the analog main mix
outputs.
The output level to your computer is not affected by
the main mix fader [73].
Congratulations! You’ve just read about all the
features of your mixer. Time for a frosty beverage.
Owner's Manual 27
Appendix A: Service
Information
If you think your mixer has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the Support section of our
website (www.mackie.com) where you will find lots of
useful information such as FAQs, documentation and
any updated PC drivers etc. You may find the answer to
the problem without having to send your mixer away.
Troubleshooting
Bad Channel
•
Is the channel EQ set up nicely?
•
Is the channel gain set correctly?
•
Is the channel level up enough?
•
Is the channel OL led on?
•
Is the channel pan set in the middle?
•
Are the hi-z instrument switches set OK for any
guitars connected to channels 1 or 2?
•
Try unplugging any insert devices from the
insert jacks on channels 1 or 2.
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
•
Is phantom power required for your
microphone?
Bad Output
•
Is the main level turned up?
•
Are the EQs set to reasonable levels?
•
Are any aux returns maxed out?
•
Unplug anything from the other line-level
outputs, such as alt 3-4, control room out,
just in case one of your external pieces has a
problem.
•
Make sure that you are not overdriving your
amplifiers. Check the loudspeaker average load
impedance is not less than the minimum your
amplifier can handle. Check the speaker wiring.
Noise
•
Turn the channel gains down, one by one. If the
sound disappears, it’s either that channel or
whatever is plugged into it, so unplug whatever
that is. If the noise disappears, it’s from your
whatever.
28 Onyx 1640i
Power
•
The power LED should come on if the mixer is
connected to a suitable live AC mains outlet,
and the power switch is on. Check to make sure
that the power cord is securely plugged in.
Repair
For warranty service, refer to the warranty
information on page 49.
Non-warranty service for Mackie products is
available at a factory-authorized service center. To
locate your nearest service center, visit
www.mackie.com, click “Support” and select “Locate
a Service Center.” Service for Mackie products living
outside the United States can be obtained through local
dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211,
Monday-Friday during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell you
where the nearest factory-authorized service center is
located in your area.
Appendix B: Connections
“XLR” Connectors
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A.
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a female XLR jack.
2
SHIELD
•
Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
1⁄4"
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections
available on a “mono” 1⁄4" phone jack or plug. See
Figure C.
HOT
COLD
SHIELD
COLD 3
HOT
1
3
TS jacks and plugs are used in many different
applications, always unbalanced. The tip is connected to
the audio signal and the sleeve to ground (earth). Some
examples:
1
3
1
2
SLEEVE
SHIELD
SLEEVE
TIP
COLD
2
TIP
HOT
TIP
Figure A: XLR Connectors
SLEEVE
Figure C: TS Plug
1⁄4"
TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
TRS jacks and plugs are used in several different
applications:
RING SLEEVE
•
Electric guitars and electronic instruments
•
Unbalanced line-level connections
•
Speaker connections
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
RCA Plugs and Jacks
RING
TIP
SLEEVE
Figure B: 1⁄4" TRS Plugs
•
Unbalanced microphones
SLEEVE RING TIP
TIP
•
•
Balanced mono circuits. When wired as a
balanced connector, a 1⁄4" TRS jack or plug
is connected tip to signal high (hot), ring to
signal low (cold), and sleeve to ground (earth).
Stereo Headphones, and rarely, stereo
microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug is
connected tip to left, ring to right and sleeve to
ground (earth). Mackie mixers do not directly
accept 1-plug-type stereo microphones. They
must be separated into a left cord and a right
cord, which are plugged into two mic preamps.
RCA-type plugs (also known as phono plugs) and
jacks are often used in home stereo and video
equipment and in many other applications (Figure D).
They are unbalanced and electrically identical to a
1⁄4" TS phone plug or jack. See Figure C. Connect the
signal to the center post and the ground (earth) or
shield to the surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Figure E: Does not appear in this owner's manual, due
to a contractual obligation, but performs nightly at the
downtown Woodinville Cocoa Rooms and Tea Bar
Owner's Manual 29
TRS Send/Receive Insert Jacks DB25 Connectors
If you insert a TS (mono) 1⁄4" plug only partially (to
the first click) into a Mackie insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure G
30 Onyx 1640i
Ch16
Ch16
Ch15
Ch14
Ch14
Ch 13
Ch 12
Ch 12
Ch 11
Ch 10
Ch 10
Ch 9
Pin 14
Pin 15
Pin 16
Pin 17
Pin 18
Pin 19
Pin 20
Pin 21
Pin 22
Pin 23
Pin 24
Pin 25
–
+
shield
–
+
shield
–
+
shield
–
+
shield
REC OUTS
9-16
Ch 8
Ch 8
Ch 7
Ch 6
Ch 6
Ch 5
Ch 4
Ch 4
Ch 3
Ch 2
Ch 2
Ch 1
Ch 8
Ch 7
Ch 7
Ch 6
Ch 5
Ch 5
Ch 4
Ch 3
Ch 3
Ch 2
Ch 1
Ch 1
Ch16
Ch15
Ch15
Ch14
Ch 13
Ch 13
Ch 12
Ch 11
Ch 11
Ch 10
Ch 9
Ch 9
CH 1 CH 2 CH 3 CH 4 CH 5 CH 6 CH 7 CH 8
CH 9 CH 10 CH 11 CH 12 CH 13 CH 14 CH 15 CH 16
This allows you to tap out the channel signal without
interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a direct out, which
does interrupt the signal in that channel. See Figure G.
+
shield
–
+
shield
–
+
shield
–
+
shield
–
N/C
GROUND
COLD
HOT
Using the Send-only on an Insert Jack
Pin 1
Pin 2
Pin 3
Pin 4
Pin 5
Pin 6
Pin 7
Pin 8
Pin 9
Pin 10
Pin 11
Pin 12
Pin 13
GROUND
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
REC OUTS
1-8
Figure F
Signal
Description
“ring”
RETURN from processor
REC OUTS
9-16
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
GROUND
COLD
HOT
GROUND
COLD
HOT
GROUND
COLD
HOT
GROUND
COLD
HOT
(TRS plug)
REC OUTS
1-8
sleeve
Signal
Description
SEND to processor
ring
GROUND
COLD
HOT
GROUND
COLD
HOT
tip
The Recording Outs on the back of the Onyx 1640i
provide balanced direct outputs for channels 1-16 on
two female DB25 connectors. These connectors are
pin-for-pin compatible with the analog (not TDIF) DB25
connectors found on TASCAM DTRS recorders, which
has become an industry standard for many professional
audio manufacturers. They are also the same pinout
as the analog cards for the Mackie D8B and hard disk
recorders.
COLD
HOT
Mackie’s single-jack inserts are the three-conductor,
TRS 1⁄4" phone type. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure F.
N/C
13 12 11 10 9
8
7 6
5
4
3
2
1
25 24 23 22 21 20 19 18 17 16 15 14
Figure H
Several companies make DB25-to-DB25 cables
specifically for audio, with proper shielding to reduce
crosstalk and noise.
DB25 cables that break out to XLR, 1/4" TRS, or
TT connectors for connecting to other mixers or audio
gear are also readily available. See your Mackie dealer
for details.
Appendix C: Technical Information
Specifications
Noise Characteristics:
Attenuation and Crosstalk:
Equivalent Input Noise (EIN), mic input at insert, 150 Ω source
impedance, 20 to 20 kHz:
@1 kHz
60 dB (max) gain:
40 dB gain:
-129 dBu
-128 dBu
Output Noise Figure (1/4" Main out, all channels assigned to
main, Gain knobs at unity, 20 Hz to 20 kHz):
Main Mix knob down:
-80 dBu
Channel Alt/Mute switch engaged:
-96 dBu
Channel Level knob down:
-96 dBu
Common Mode Rejection Ratio (CMRR):
Main Mix knob down, channel Level knobs down:
-100 dBu (-104 dB SNR,
ref +4dBu)
Mic input to insert, max gain, 1 kHz: >70 dB
Main Mix knob unity, channel Level knobs down:
-93 dBu (-97 dB SNR,
ref +4 dBu)
Mic input, gain at unity (0 dB):
+21 dBu
Mic input, gain at max (60 dB):
–38 dBu
Line input, gain at -20 dB:
+30 dBu
Instrument input, gain at -20 dB:
+21 dBu
Tape input:
+21 dBu
FireWire Through (Record + Playback) Dynamic Range:
0 dBu mic input, to DAW, routed back to mixer direct to Control
Room, all gain stages unity, 20 Hz to 20 kHz:
All sample rates:
-105 dB
Aux return:
+21 dBu
Frequency Response:
Equalization
Mic input to main output (all gain stages at unity):
+0, -1 dB, <10 Hz to 80 kHz
+0, -3 dB, <10 Hz to >100 kHz
Low:
±15 dB at 80 Hz
Lo-Mid frequency:
100 Hz to 2 kHz
Channel line input to any output (all gain stages unity):
+0/-1 dB, 20 Hz to 20 kHz
Lo-Mid gain:
±15 dB
Hi-Mid frequency:
400 Hz to 8 kHz
FireWire in and out (mic input to FireWire send, returned to
Control Room, all gain stages at unity):
44.1 kHz sample rate:
+/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 21 kHz
Hi-Mid gain:
±15 dB
High:
±15 dB at 12 kHz
Main Mix knob unity, channel Level knobs unity:
-91 dBu (-95 dB SNR,
ref +4 dBu)
Maximum Input Levels:
Maximum Output Levels:
All outputs:
+21 dBu
FireWire
Sample Rates Available:
44.1 kHz, 48 kHz,
88.2 kHz, 96 kHz
Buffer Size:
32 (44.1 kHz and 48 kHz
only), 64, 128, 256, 512,
1024, 2048 samples
20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth
Resolution:
24-bit
Mic input at insert
(+4 dBu in, 0 dB gain, +4 dBu out):
Meters
96 kHz sample rate:
+/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 45 kHz
Distortion (THD+N):
0.005%
Mic input at insert
(-10 dBu in, +20 dB gain, 20 Hz to 20 kHz bandwidth):
0.0007%
Stereo channel line input to any output
(+4 dBu in, all gain stages at unity +4 dBu out): 0.005%
FireWire in and out (+4 dBu in, mic input to FireWire send,
returned to Control Room, all gain stages at unity):
44.1 kHz sample rate:
0.02%, 10 Hz to 20 kHz
96 kHz sample rate:
4-segment pre-fader channel meters:
OL (+18 dBu), +10, 0,
-20 dBu
12-segment pre-fader Control Room meters:
OL (+20 dBu), +15, +10,
+6, +3, 0, -2, -4, -7, -10,
-20, -30 (0 dB = 0 dBu)
0.02%, 10 Hz to 10 kHz
0.05%, 10 kHz to 47 kHz
Owner's Manual 31
Mic input:
2.7 kΩ balanced
Hi-Z input:
1 MΩ unbalanced
Mono channel line input:
30 kΩ balanced
15 kΩ unbalanced
Stereo aux returns:
20 kΩ balanced
10 kΩ unbalanced
20 kΩ unbalanced
WEIGHT
35 lbs.
15.9 kg
Jacks to the rear
(default configuration)
7.59 in / 192.7 mm
19.0 in / 482.6 mm
Main XLR output:
150 Ω balanced
Phones output:
25 Ω
Channel Inserts:
150 Ω
Tape Output:
2 kΩ
All other outputs:
300 Ω (balanced)
26.24 in / 666.7 mm
16 rack spaces
Output Impedance:
AC Power Requirements:
Power Consumption:
80 Watts
Universal AC Power Supply:
100 VAC – 240 VAC,
50-60 Hz
20.83 in / 529.2 mm
Tape in:
7.59 in / 192.7 mm
Input Impedance:
Physical Dimensions and Weight
Height:
7.59 in / 192.7 mm
Width:
17.50 in / 444.6 mm
Depth:
26.24 in / 666.7 mm
Weight:
35 lb. / 15.9 kg
17.50 in / 444.6 mm
Options:
2.50 in / 63.5 mm
Jacks to the back
Rack Mount Kit
19.0 in / 482.6 mm
9.07 in / 230.3 mm
“Mackie,” and the “Running Man” are registered trademarks of LOUD
Technologies Inc. All other brand names mentioned are trademarks
or registered trademarks of their respective holders, and are hereby
acknowledged.
20.83 in / 529.2 mm
12 rack spaces
LOUD Technologies Inc. is always striving to improve our products
by incorporating new and improved materials, components, and
manufacturing methods. Therefore, we reserve the right to change
these specifications at any time without notice.
The technical writer responsible for this manual thinks that his
editor is a pasty wanker. Please check our website for any updates to
this manual, or updates to the PC drivers: www.mackie.com.
©2009 LOUD Technologies Inc. All Rights Reserved.
17.50 in / 444.6 mm
Dimensions
2.50 in / 63.5 mm
28.5 in / 722.7 mm
17 rack spaces
Jacks to the front
(with optional rotopod bracket)
19.0 in / 482.6 mm
17.50 in / 444.6 mm
7.81 in / 198.5 mm
2.50 in / 63.5 mm
32 Onyx 1640i
L
R
L
R
L
R
R
L
Mic
Hi-Z
Ext TB
-
+
Gain
-
+
Mic: 0 ~ +60dB
Line: -20 ~ +40dB
Int TB Mic
Ext TB Mic
75 Hz
HPF
bypass
Low Cut
AGC
Level
assign to Main
MID
12K
HI
EQ out
in
Talkback
Level
Level
Level
Level
Pre
Post
FW/D-Sub Tap
4-Band EQ
L to C/R Source
switches
R
Direct out
to FW
outs and
D-sub
Outs
MID
80 100~2K 400~8K
LO
Insert
Aux
sends
Mute
to Aux 1-6
Pan
Main
Control Room
Sub 1-2
Sub 3-4
Return 2 to Aux 6
solo
3/4
1/2
L/R
Assign
Return 1 to Aux 5
Level
Talkback Assign
to Phones
Main
Subs
PK
+10
0
-20
CR in R
CR in L
logic
pfl
afl R
afl L
aux 6 (post)
aux 6 (pre)
aux 5 (post)
aux 5 (pre)
aux 4 (post)
aux 4 (pre)
aux 3 (post)
aux 3 (pre)
aux 2 (post)
aux 2 (pre)
aux 1 (post)
aux 1 (pre)
4
3
Sub 2
1
R
Main L
NOTE: Switches are shown in the default (out) position.
Internal
Talkback mic
External
Tape in
Aux Return 4
L
Aux Return 3
R
Aux Return 2
Aux Return 1
Line
Hi-Z
Ch 1-2
Line
Mic
Mono Channels
48V
Mono FW
stream from
computer
Analog
Firewire
afl R
pfl
afl L
afl
pfl
3
4
1
2
pre
post
Aux 2
Sub 3-4
Sub 1-2
Sub 2
level
pre
post
Aux 1
Sub 2 sum
R
L
Sub 1
level
solo level
from Sub
outputs
Tape
L
R
Main
R Insert
Sub 1 sum
C/R
Source
R sum
L sum
L Insert
RUDE
SOLO
LED
C/R R
C/R L
Sub 1
Channel
Direct outs
Main outs
Firewire to C/R
Subgroups 1-4 to FW Inputs 5-8
2
1
Phones level
Aux 2 solo
Aux 1 solo
Aux 2 level
FW
9-14
Aux 1 level
Subs to Main
R
L
R
L
dim
C/R
Control Room level
Channels 5-8 to FW inputs 5-8
Aux 2 sum
Aux 1 sum
+4dBu
Mic level
Firewire to Main
Mono level
Meter
to C/R Source
switches
Sub 2
solo logic
on
off
off
on
Main level
Aux 2 out
Aux 1 out
Sub 2 out
(Sub 3-4 identical)
Sub 1 out
Phones
Right
Control Room out
Left
L-R mix to FW inputs 15-16
Channels 15-16 to FW inputs 15-16
Aux Masters 1-6 to FW 9-14
Channels 9-14 to FW inputs 9-14
(Aux 3-6 identical)
16
Firewire I/O
Tape
Right
Main out
Left
Tape
Mono out
Block Diagram
CR in R
CR in L
logic
pfl
afl R
afl L
aux 6 (post)
aux 6 (pre)
aux 5 (post)
aux 5 (pre)
aux 4 (post)
aux 4 (pre)
aux 3 (post)
aux 3 (pre)
aux 2 (post)
aux 2 (pre)
aux 1 (post)
aux 1 (pre)
4
3
2 Sub
1
R
L Main
Owner's Manual 33
Appendix D: Rotopod Instructions
The Pod section of the Onyx 1640i mixer can be fitted in three different orientations to suit your preference:
1. From the factory, the Pod section has the input and output connections at the rear of the mixer. If you rack
mount it, this will take up 16 rack spaces. (Allow one or two extra spaces for making your connections.)
2. The Pod can be fitted on the back of the mixer, with the connections pointing out the back. This will take
up 12 rack spaces. (Allow one or two extra spaces for making your connections.) Details follow on how to
change to this configuration.
3. Using an optional bracket, it may also be fitted so that the connections face the same direction as the
console side. This will take up 17 rack spaces. If you would like to order the bracket, please contact your
Mackie dealer or the Mackie Parts Department. Details follow on how to change to this configuration.
34 Onyx 1640i
Rear Mounting the Pod Section
Tools and qualifications:
1. Phillips screwdriver.
2. Pod Relocation Operator's General Journeyman's Certification License (PROGJCL grade III or higher)
from a Mackie-accredited Four-Year Pod Relocation Technical Institute.
Procedure:
1. Turn off the mixer, and disconnect the power cord, and all connecting cords.
2. Place the mixer face down on a soft and dry flat surface.
3. Remove the 22 screws as shown below, and keep them handy for step 6. The side trim pieces utilize seven
screws for each side. There are two screws on each side of the mixer attaching the Pod to the mixer. And
there are four screws for the bottom wire cover plate. (Cables not shown for clarity).
Pod mounting screws
Pod mounting screws
Owner's Manual 35
4. Gently pull straight back on the Pod until it stops.
5. Rotate Pod as shown below. Hold both sides of the Pod to keep the travel even. Move the Pod all the way
back until it stops and the bottom surface of the Pod is parallel to the bottom of the main unit.
36 Onyx 1640i
6. The Pod should drop down on to the chassis after a complete rotation. Give 'er a good wriggle if the screw
holes do not line up properly. Reattach the recently rotated Pod with the four screws removed in step 3.
Attach the rack ears to the mixer using the same silver flathead screws removed from the side trim. The
rack ears are stamped with an 'R' or 'L' to denote which side of the mixer it goes on, based on house view.
Finally, attach the wire cover bracket with the screws that it arrived with.
NOTE: Be sure that the exposed cables are not pinched between the Pod and mixer body when seating
the rotated Pod.
Pod mounting screws
wire cover bracket
Pod mounting screws
Owner's Manual 37
Front Mounting the Pod Section
Tools and qualifications:
1. Phillips screwdriver.
2. Pod Relocation Operator's General Journeyman's Certification License (PROGJCL grade III or higher)
from a Mackie-accredited Four-Year Pod Relocation Technical Institute.
Procedure:
1. Turn off the mixer, and disconnect the power cord, and all connecting cords.
2. Place the mixer face down on a soft and dry flat surface.
3. Remove the 14 screws as shown below and keep them handy, as you will need them again. Only one screw
from each side of the trim is removed; it is the silver flathead screw all by his lonesome on the Pod end
of the mixer. Additionally, there are four screws on each side of the mixer attaching the Pod to the mixer.
Finally, there are four screws for the bottom wire cover plate that must also be removed. (Cables not shown
for clarity.)
4. Gently pull straight back on the Pod until it stops.
38 Onyx 1640i
5. Rotate the Pod arms and reinstall the four arm screws. Rotate the Pod so that the connection jacks are
parallel to the top of the mixer. Reinstall the two silver flathead screws through the side trim and back into
the Pod.
Owner's Manual 39
6. Attach the two triangular cosmetic pieces with the supplied screws. Place the Pod bucket as shown. Attach
the Pod bucket to the mixer using the screws removed in step 3. Screw the Pod bucket to the Pod using the
supplied screws. Unscrew the feet from the Pod and reattach them to the Pod bucket.
40 Onyx 1640i
7. This step is optional. Remove the 14 screws from the two side trim pieces. Screw the rack ears to the mixer
where the side trim pieces used to reside. You will only use eight screws (four on each side) for the rack
ears. The trim pieces and remaining screws should be stored away for safekeeping.
8. This step does not exist. You have completly front-mounted the Onyx 1640i Pod section. There is nothing
else left to say about it, no more instructions. The thought of an almost nearly blank page is utterly
intolerable, though. And this is included for a step that is only optional, not mandatory. Oh, the humanity.
So these words are here to try and somewhat fill the gap, but it is looking like it could be difficult to keep
writing about nothing to fill up space.
9. Ok, you are still here, even after what is written above. We should probably stop while we’re ahead because
it seems to be that the keyboard is slowly running out of ink.
Owner's Manual 41
Appendix E: FireWire
The mixer comes with a CD containing the PC driver
software needed to use your mixer's internal FireWire
interface with Windows XP or Windows Vista.
3. The Windows application will start its "Found
New Hardware" wizard. Select "Locate and
install driver software."
Mac OS X contains built-in drivers, so no software
installation is required.
Before installing the drivers from the CD,
please check our website in case there are any
updated drivers available. These will come with
their own installation instructions which will
supercede those shown here.
The CD that contains the PC driver software
is the same CD that this owner's manual PDF
is on. So if you have not browsed the CD and
looked at this owner's manual, you will not be
reading this yet. It's a bit of a paradox really,
because didn't you just read it? Like this bit of
text right now? Hmm..
Mackie Windows FireWire Audio Driver
Installation Instructions
4. In the details that follow, ignore any attempt to
connect to Windows Update to find the
software. You will be prompted to insert the CD
that came with your mixer.
System Requirements
Windows XP SP 2 or greater (Home and Pro)
Windows Vista 32 RTM or greater (Home, Business,
and Ultimate)
Installation for Windows Vista
1. Connect the FireWire cable from your Onyx
1640i to the computer.
2. Power on your Onyx 1640i, or make sure it is
powered on.
42 Onyx 1640i
5. Check the box: "Always trust software from
LOUD Technologies Inc.
6. Select "Install," and the driver software will be
installed.
Installation for Windows XP
1. Connect the FireWire cable from your Onyx
1640i to the computer.
2. Power on your Onyx 1640i .
3. The Windows XP application will start its
“Found New Hardware” wizard.
7. The following message confirms that the driver
software has been successfully installed.
4. Ignore any attempt to connect to Windows
Update to find the software, by checking the
"No, not at this time" button. Select "Next."
The audio interface is now ready to use with the
Digital Audio Workstation software of choice, as well as
with consumer audio applications such as iTunes® or
Windows Media Player.
5. Insert the CD that came with your Onyx 1640i
(if you haven't already).
6. Select “Install the software automatically.”
Owner's Manual 43
7. Select the “Next” command and the driver
software will begin installing.
8. When Windows presents you with a warning
about the software not having passed Windows
testing, select “Continue Anyway.”
10. The following message confirms that the new
software has been installed successfully and
that the found new hardware wizard is
complete.
11. Pack yourself a big lunch and go for a nice walk
outside. Have a picnic and lie back and dream.
Things are going to be so good now.
The audio interface is now ready to use with the
Digital Audio Workstation software of your dreams,
as well as with consumer audio applications such as
iTunes® or Windows Media Player.
A Note on Available Buffer Sizes
In general, you should always experiment with the
available buffer sizes, to find the lowest buffer size that
the machine and recording project can comfortably
work with.
9. Repeat steps 3-8 to allow a second driver to
be installed. The found new hardware box will
appear all over again, so follow these steps and
you are almost done.
44 Onyx 1640i
USING THE ONYX 1640i WITH A MAC
The Onyx 1640i works with Mac OS 10.4.11 and higher.
This OS includes the Apple FireWire 2.0 driver. The
Onyx 1640i will only work with the 2.0 driver, so if you
have an OS before 10.4.11, you will need to check your
system for updates from the nice folks at Apple.
5. Here you can see the settings for the mixer.
You can also choose it as your default input or
output, as well as designate it to be used for
system sound output. There are 16 channels of
audio input from the Onyx 1640i, and
2 channels of audio output to the Onyx 1640i.
1. Connect a FireWire cable from your Onyx 1640i
to a FireWire port on your Mac.
2. Turn on your Onyx 1640i.
3. Go to the applications folder, open the utilities
folder, and double-click “Audio MIDI Setup.”
4. Click the Audio Devices tab, and select
Onyx i in the “Properties For” drop-down box.
6. The Sample Rate is also shown from 44.1 kHz,
48 kHz, 88.2 kHz and 96 kHz.
7. You’re ready to go with any Mac OS X Core
Audio host application (i.e., Tracktion, Logic,
Cubase, Nuendo, Live, Digital Performer, etc.).
8. In your audio software applications, select and
activate the inputs from the mixer and outputs
to the mixer.
Owner's Manual 45
Appendix F: Modifications
The following modifications can be carried out on the
Onyx 1640i by an authorized service center. Authorized
service centers may be found online at:
www.mackie.com/scripts/service_centers/search.asp
Please contact our technical support department if you
are having trouble finding an authorized service center
in your area.
Modifications: Post-Insert FireWire Sends
The pre-EQ channel FireWire sends are pre-insert,
but the circuit board can be modified so that they are
post-insert instead.
For example, this allows for the use of an external
processor on the mic signal, sending the result to the
FireWire, while still being pre-EQ.
Modifications: Post-Fader FireWire Sends
The post-EQ channel FireWire sends are pre-fader,
but the circuit board can be modified so that they are
post-fader instead.
This allows the channel level to control the level of
the FireWire sends.
Modification: Pre-EQ Aux Sends
The pre-fader aux sends are post-EQ, so they are
affected by the channel EQ controls. The circuit board
can be modified so the pre-fader aux sends are pre-EQ
instead of post-EQ.
For example, your stage monitors will not be affected
by any channel EQ adjustments.
46 Onyx 1640i
Track Sheet
SUBGROUPS
1
A LT E R N AT E F I R E W I R E A S S I G N M E N T S
6
7
8
9
10
LINE
FW 1
LINE
FW 2
LINE
FW 3
LINE
FW 4
LINE
FW 5
LINE
FW 6
LINE
FW 7
LINE
FW 8
LINE
FW 9
LINE
FW 10
48V
GAIN
48V
GAIN
48V
20
60
U
-20dB +40dB
40
60
U
-20dB +40dB
SEND
U
U
FREQ
8k
U
400
8k
U
+15
400
2k
100
2k
U
+15
-15
+15
-15
+15
+15
+15
+15
2k
U
-15
+15
2k
U
+15
-15
+15
+15
2k
U
+15
2k
U
-15
+15
2k
U
+15
-15
+15
+15
2k
U
+15
2k
U
-15
+15
+15
400
100
+15
2k
-15
+15
+15
+15
+15
+15
400
+15
400
2k
FREQ
100
2k
U
LOW
LOW
MID
+15
MID
-15
U
+15
U
LOW
LOW
80Hz
-15
OUT
IN
HIGH
MID
-15
U
-15
+15
8k
U
FREQ
LOW
EQ
FREQ
400
80Hz
-15
OUT
IN
+15
2k
HIGH
100
80Hz
12kHz
MID
LOW
U
LOW
EQ
8k
U
MID
-15
U
-15
OUT
IN
2k
HIGH
FREQ
-15
U
U
-15
FREQ
100
80Hz
+15
2k
400
+15
400
PRE
POST
HIGH
MID
LOW
60
U
-20dB +40dB
12kHz
HIGH
MID
LOW
EQ
8k
U
-15
U
U
-15
FREQ
LOW
U
-15
OUT
IN
EQ
400
40
SEND
FREQ
HIGH
MID
LOW
+15
2k
U
PRE
POST
12kHz
MID
-15
80Hz
-15
OUT
IN
100
+15
80Hz
8k
U
FREQ
LOW
U
LOW
EQ
+15
400
MID
-15
U
-15
OUT
IN
EQ
100
400
20
60
U
-20dB +40dB
HIGH
FREQ
HIGH
40
SEND
U
-15
MID
-15
MID
LOW
8k
U
FREQ
LOW
80Hz
-15
OUT
IN
EQ
100
400
MID
+15
400
+15
2k
GAIN
30
U
PRE
POST
HIGH
FREQ
HIGH
FREQ
LOW
U
8k
U
-15
MID
LOW
400
GAIN
20
SEND
12kHz
-15
FREQ
HIGH
+15
400
+15
2k
40
PRE
POST
U
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
12kHz
-15
GAIN
20
60
U
-20dB +40dB
HIGH
75Hz
18dB/OCT
30
40
48V
75Hz
18dB/OCT
GAIN
U
PRE
POST
U
48V
75Hz
18dB/OCT
20
60
U
-20dB +40dB
+15
2k
48V
30
40
12kHz
MID
-15
80Hz
-15
OUT
IN
100
+15
80Hz
8k
U
FREQ
LOW
U
LOW
EQ
+15
400
MID
-15
U
-15
OUT
IN
EQ
100
400
LINE
FW 16
U
HIGH
FREQ
HIGH
LINE
FW 15
SEND
U
-15
MID
-15
MID
LOW
8k
U
FREQ
LOW
80Hz
-15
OUT
IN
EQ
100
400
LINE
FW 14
PRE
POST
HIGH
+15
2k
LINE
FW 13
GAIN
20
60
U
-20dB +40dB
12kHz
-15
MID
+15
400
U
FREQ
HIGH
FREQ
LOW
U
8k
U
-15
MID
LOW
400
HIGH
+15
400
+15
2k
40
SEND
12kHz
16
LINE
FW 12
30
U
PRE
POST
HIGH
FREQ
MID
-15
80Hz
-15
OUT
IN
100
+15
80Hz
8k
U
FREQ
LOW
U
LOW
EQ
+15
400
MID
-15
U
-15
OUT
IN
2k
U
400
MID
FREQ
100
FREQ
HIGH
U
12kHz
-15
GAIN
20
SEND
PRE
POST
HIGH
+15
2k
40
R
15
75Hz
18dB/OCT
30
U
60
U
-20dB +40dB
SEND
U
-15
20
60
U
-20dB +40dB
PRE
POST
12kHz
+15
2k
40
L
14
48V
75Hz
18dB/OCT
30
U
6
13
+15
-15
OUT
IN
EQ
80Hz
+15
OUT
IN
EQ
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
1
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
2
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
R
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
2
3
4
5
6
6
PAN
L
MUTE
MAX
5
PAN
R
OO
4
6
L
MAX
3
5
PAN
1
OO
2
4
6
MUTE
MAX
3
5
R
1
OO
2
4
L
MUTE
MAX
3
PAN
R
1
OO
2
6
L
MUTE
MAX
5
PAN
R
OO
4
6
L
MAX
3
5
PAN
1
OO
2
4
6
MUTE
MAX
3
5
R
1
OO
2
4
L
MUTE
MAX
3
PAN
R
1
OO
2
6
L
MUTE
MAX
5
PAN
R
OO
4
6
L
MAX
3
5
PAN
1
OO
2
4
6
MUTE
MAX
3
5
R
1
OO
2
4
L
MUTE
MAX
3
PAN
R
1
OO
2
6
L
MUTE
MAX
5
PAN
R
OO
4
6
L
MAX
3
5
PAN
1
OO
2
4
6
MUTE
MAX
3
5
R
1
OO
2
4
L
MUTE
MAX
3
PAN
R
1
OO
2
6
L
MUTE
MAX
5
PAN
L
OO
4
6
PAN
MAX
3
5
6
1
OO
2
4
5
MUTE
MAX
3
4
R
1
OO
2
3
L
-15
8k
U
-15
MID
LOW
EQ
+15
400
60
U
-20dB +40dB
HIGH
FREQ
400
20
SEND
U
-15
MID
LOW
80Hz
-15
OUT
IN
2k
U
+15
2k
40
5
12
48V
GAIN
30
U
PRE
POST
12kHz
HIGH
FREQ
100
+15
U
8k
U
-15
MID
LOW
EQ
+15
400
60
U
-20dB +40dB
HIGH
FREQ
400
20
SEND
U
-15
MID
LOW
80Hz
-15
OUT
IN
2k
U
+15
2k
40
4
LINE
FW 11
75Hz
18dB/OCT
GAIN
30
U
PRE
POST
12kHz
HIGH
FREQ
100
+15
U
80Hz
8k
U
-15
MID
LOW
EQ
+15
400
60
U
-20dB +40dB
HIGH
FREQ
400
20
SEND
U
-15
MID
LOW
MID
+15
2k
40
MAIN MIX
11
48V
75Hz
18dB/OCT
GAIN
30
U
PRE
POST
12kHz
HIGH
FREQ
LOW
U
8k
U
-15
60
U
-20dB +40dB
HIGH
FREQ
400
20
SEND
U
-15
MID
FREQ
U
+15
2k
40
48V
75Hz
18dB/OCT
GAIN
30
U
PRE
POST
12kHz
HIGH
MID
-15
60
U
-20dB +40dB
HIGH
FREQ
HIGH
+15
400
U
-15
20
SEND
12kHz
+15
2k
40
48V
75Hz
18dB/OCT
GAIN
30
U
PRE
POST
HIGH
12kHz
-15
20
SEND
PRE
POST
HIGH
+15
2k
40
48V
75Hz
18dB/OCT
GAIN
30
U
60
U
-20dB +40dB
SEND
PRE
POST
-15
20
48V
75Hz
18dB/OCT
GAIN
30
U
48V
75Hz
18dB/OCT
GAIN
30
40
-15
3
5
30
100
2
4
U
-15
1
3
48V
400
4
2
75Hz
18dB/OCT
-15
3
1
48V
20
2
AUX MASTERS
R
PAN
L
MUTE
R
MUTE
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
+10
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
SUB
ASSIGN
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
MAIN
MIX
SOLO
SOLO
1
SOLO
2
SOLO
3
SOLO
4
SOLO
5
SOLO
6
SOLO
7
SOLO
8
SOLO
9
SOLO
10
SOLO
11
SOLO
12
SOLO
13
SOLO
14
SOLO
15
16
Owner's Manual 47
Track Sheet
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
LAMP
12V 0.5A
0dB=0dBu
CTRL ROOM/PHONES
SOURCE
L
R
20
CLIP
15
MAIN MIX
10
TAPE
6
3
SUB 3-4
SUB 1-2
0
2
LEVEL
SET
4
FW 1-2
ASSIGN TO
MAIN MIX
7
10
20
30
OO
MAX
OO
CONTROL
ROOM
MAX
RUDE
SOLO
PHONES
OO
OO
TAPE TO
MAIN MIX
MAX
TAPE IN
MAX
SOLO
LEVEL
PFL
AFL
SOLO
MODE
AUX MASTER
SENDS 1-6
TO FW 9-14
SENDS
1
OO
EFX TO
MON
RETURNS
PRE
POST
1
SOLO
+15
OO
+10
OO
+10
TO AUX 5
PRE
POST
2
OO
2
SOLO
+15
OO
+10
OO
+10
TO AUX 6
PRE
POST
3
OO
OO
OO
SOLO
+15
CR/PHONES
ONLY
+15
POWER
SOLO
DESTINATION
PHONES
SUBS
1-2
3-4
PRE
POST
6
OO
+10
PRE
POST
5
OO
MAIN
SUBS
4
SOLO
+15
SEND
TO
+10
PRE
POST
4
OO
3
SOLO
+15
MIC
AUX 1-6
OO
MAX
LEVEL
EXTERNAL
MIC
TALKBACK
SUB ASSIGN
L
L
L
L
MAIN MIX
MAIN MIX
MAIN MIX
MAIN MIX
R
R
R
R
SUB1
SUB2
SUB3
ASSIGN TO
FW 15-16
SUB4
dB
10
5
U
5
10
20
30
40
50
60
OO
SUBS 1-4
TO FW 5-8
SUB1 SUB2 SUB3 SUB4
MAIN
MIX
48 Onyx 1640i
Onyx 1640i Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need
it to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Need help with your new mixer?
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums, and other useful
information.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday
through Friday, normal business hours, PST).
Owner's Manual 49
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: sales@mackie.com