null  null
Premium 8-Channel Analog Mixer
with Perkins EQ and FireWire
QUICK START GUIDE
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
IN
1
2
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
20
20
40
40
R
R
PREMIUM ANALOG MIXER
U
20
40
U
60
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
-10dB
48V
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
30
U
LINE IN 7-8
+4dB
LINE
48V
30
LINE IN 5-6
R
LINE
HI-Z
48V
OUT
L
(MONO)
INSERT
TAPE
BAL/UNBAL
MIC
GAIN
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MAIN MIX
SEND
SEND
SEND
PRE
POST
SEND
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
R
20
+20dB
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
-15
U
2.5KHz
8k
100
8k
+15
-15
+15
OO
MAX
OO
MAX
-15
U
LOW
80Hz
-15
+15
-15
+15
-15
AUX
AUX
1
1
1
1
1
OO
MAX
2
MAX
OO
MAX
2
MAX
OO
MAX
2
PAN
PAN
OO
OO
MAX
OO
MAX
2
PAN
AUX MASTER
+15
AUX
OO
RUDE
SOLO
PHONES
80Hz
AUX
MAX
MAX
OO
LOW
80Hz
AUX
OO
30
MAX
CONTROL
ROOM
U
LOW
20
+15
OO
U
80Hz
+15
+15
+15
LOW
80Hz
-15
-15
10
ASSIGN TO
MAIN MIX
2.5kHz
400Hz
-15
LEVEL
SET
4
MID
MID
2.5kHz
LOW
MID
U
LOW
+15
2
+15
U
+15
U
MID
U
-15
-15
U
MID
-15
-15
ALT 3-4
7
HIGH
MID
FREQ
U
+15
FW 1-2
12kHz
U
FREQ
100
HIGH
12kHz
SEND
RETURN
1
PRE
POST
OO
+15
PRE
POST
OO
+15
2
PAN
1
RTN TO
AUX1
OO
+10
OO
+10
2
2
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
U
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
LEVEL
5-6
7-8
TALKBACK
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. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or
PORTABLE CART
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.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. 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.
15. 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.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
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 820i
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
Woody and Anita 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.
Introduction
Thank you for choosing a lovely Mackie Onyx 820i
professional compact mixer. It has built-in FireWire,
three of our premium precision-engineered studio-grade
Onyx mic preamps, 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.
We realize that you must be really keen
to try out your new mixer. Please read
the safety instructions on page 2 and this
page, and then have a look through some
of the features and details in this quick start guide. A
full manual is available on the supplied CD-ROM.
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.
3. Play something into that input at real-world
levels.
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked "level set").
5. Disengage the channel's solo switch.
Setup
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
Zero the controls
1. Fully turn down all the knobs to minimum,
except for the channel EQ and pan controls,
which should be centered.
2. Make sure all buttons are in the out position.
Connections
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 linelevel signal (keyboard, or guitar preamp) to a
line input jack using a TS or a TRS 1/4" plug.
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 need for a DI box. Press the
channel hi-z switch if you connect a guitar.
6. The insert jacks of channels 1 and 2 can be
used to connect an external effects or dynamics
processor into the channel 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.
6. Repeat steps 2 to 5 for the remaining channels.
7. Turn up the channel level to the "U" mark.
8. Slowly turn up the main mix level until you
hear the signals in your speakers.
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.
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
•
See page 14 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.
CONTENTS
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
INTRODUCTION ...................................................... 3
FEATURES ............................................................... 4
SETTING UP A SYSTEM ............................................ 6
MICROPHONES ....................................................... 7
LINE-LEVEL SOURCES AND GUITARS......................... 8
AUX 1 AND AUX 2 .................................................. 9
CONTROL ROOM/PHONES/METERS ...................... 10
MAIN MIX ............................................................ 11
ALT 3-4 ............................................................... 12
TALKBACK ............................................................ 13
FIREWIRE ............................................................. 14
TECHNICAL INFORMATION .................................... 17
BLOCK DIAGRAM .................................................. 19
TRACK SHEET........................................................ 20
MACKIE LIMITED WARRANTY ................................ 23
Part No. SW0805 Rev. B
©2010 LOUD Technologies Inc. All Rights Reserved.
Quick Start Guide 3
Features
REAR PANEL
1. AC POWER CONNECTION
MASTER SECTION
38. CONTROL ROOM SOURCE: MAIN MIX
2.
3.
4.
POWER SWITCH
FIREWIRE CONNECTIONS
MAIN MIX XLR OUTPUTS
39. CONTROL ROOM SOURCE: TAPE, FW 1-2, ALT 3-4
40. ASSIGN CONTROL ROOM SOURCE TO MAIN MIX
41. CONTROL ROOM LEVEL
5.
6.
7.
MAIN OUTPUT LEVEL
CONTROL-ROOM OUTPUTS
ALT 3–4 OUTPUTS
42. PHONES LEVEL
43. LEFT/RIGHT LEVEL METERS
44. RUDE SOLO LIGHT
CONNECTION SECTION
8. MIC INPUTS
9. INSERT (CH. 1 AND 2)
45. AUX MASTER SEND 1 AND 2 LEVELS
46. AUX PRE/POST
47. AUX MASTER RETURN 1 AND 2 LEVELS
10. MONO LINE INPUTS (CH. 1 AND 2)
11. STEREO LINE INPUTS
12. AUX SEND 1 AND 2
13. AUX RETURN 1 AND 2
14. MAIN MIX 1/4" OUTPUTS
15. TAPE INPUTS
16. TAPE OUTPUTS
17. HEADPHONE OUTPUT
CHANNEL CONTROLS
18. HI-Z SWITCH (CH. 1 AND 2 ONLY)
19. LOW CUT (CH.1–4 ONLY)
20. 48V PHANTOM POWER (MIC ONLY)
21. LINE +4 DB/-10 DB (CH. 3-4 ONLY)
22. INPUT (LINE OR FW 1-2)
23. GAIN CONTROL
24. SEND FIREWIRE PRE/POST
25. HIGH EQ LEVEL
26. MID EQ FREQUENCY (CH. 1 AND 2)
27. MID EQ LEVEL (CH. 1 AND 2)
28. HIGH MID EQ LEVEL (CH. 3-4)
29. LOW MID EQ LEVEL (CH. 3-4)
30. MID EQ LEVEL (CH. 5-6 AND 7-8)
31. LOW EQ LEVEL
32. AUX SEND 1 AND 2 LEVEL
33. PAN
34. MUTE/ALT 3–4 SWITCH
35. –20 AND OL LEDS
36. CHANNEL LEVEL
37. SOLO
48. AUX RETURN AUX 2 TO AUX1
49. AUX SEND 1-2 TO FW 5-6 SWITCH
50. POWER LED
51.
52.
53.
54.
55.
55.
TALKBACK MIC
TALKBACK LEVEL
TALKBACK DESTINATION: PHONES, AUX 1-2
TALKBACK ON SWITCH
MAIN MIX LEVEL
ASSIGN MAIN MIX TO FW 7–8
FIREWIRE
POWER
ON
4
4
MAIN OUT
BALANCED
R
CTRL - RM OUT
R
BAL/UNBAL
L
L
1
R/4
2
3
BAL/UNBAL
L/3
+ 4dB
MAIN OUTPUT
LEVEL
MIC
5
1. AC POWER CONNECTION
This is a standard 3-prong IEC power connector. Connect the
supplied detachable linecord to the power receptacle, and plug
the other end of the linecord into an AC outlet. The mixer can
accept any AC voltage ranging from 100 VAC to 240 VAC.
2. POWER SWITCH
Press the top of this rocker switch inwards to turn on the
mixer. The front panel power LED will glow with happiness and
the mixer will be fully operational.
4 Onyx 820i
6
ALT 3-4 OUT
7
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
8
L
1
LINE
BAL/UNBAL
LINE
HI-Z
30
U
40
20
20
U
40
SEND
24
25
R
-20dB
22
MAIN MIX
EQ
U
L
R
20
10
39
TAPE
LINE
FW 1-2
U
CLIP
15
INPUT
PRE
POST
EQ
0dB=0dBu
6
43
3
0
HIGH
HIGH
12kHz
-15
+15
+15
8k
8k
+15
-15
+15
-15
AUX
MAX
MAX
OO
PAN
33
MAX
OO
PAN
1
46
MAX
2
MAX
OO
PAN
AUX MASTER
48
SEND
AUX
OO
2
R
MUTE
ALT 3-4
L
35
OL
R
MUTE
ALT 3-4
- 20
U
L
R
OO
+15
1
RTN TO
AUX1
47
OO
+10
OO
+10
2
PRE
POST
MAX
OO
RETURN
1
45
PRE
POST
2
PAN
L
R
OO
+15
2
PAN
OL
OL
ALT 3-4
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
OL
ALT 3-4
U
POWER
49
R
MUTE
MUTE
MUTE
44
RUDE
SOLO
AUX SEND 1-2
TO FW 5-6
L
34
2
30
MAX
OO
+15
1
MAX
20
PHONES
80Hz
-15
AUX
OO
7
10
LOW
80Hz
1
MAX
MAX
CONTROL
ROOM
LOW
+15
AUX
OO
2
OO
OO
-15
1
MAX
41
LEVEL
SET
4
40
42
ASSIGN TO
MAIN MIX
+15
U
80Hz
+15
AUX
OO
2.5kHz
-15
U
LOW
-15
1
MAX
MID
MID
+15
80Hz
+15
U
+15
2
+15
400Hz
LOW
80Hz
-15
ALT 3-4
FW 1-2
12kHz
-15
2.5kHz
-15
U
LOW
+15
OO
LOW
MID
U
31
30
+15
29
-15
+15
U
2.5KHz
MID
U
-15
HIGH
MID
U
MID
-15
-15
28
U
27
12kHz
+15
FREQ
100
HIGH
U
FREQ
U
HIGH
12kHz
-15
1k
26
100
HIGH
12kHz
-15
1k
- 20
U
36
50
52
51
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
+10dB
OO
LEVEL
+10dB
OO
LEVEL
LEVEL
1
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
5-6
53
55
PHONES
AUX 1-2
OO
+10dB
54
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
56
U
DESTINATION
OO
37
38
+20dB
SEND
SEND
U
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
GAIN
PRE
POST
EQ
11
PREMIUM ANALOG MIXER
SEND
U
17
(MONO)
BAL/UNBAL
U
MIC
GAIN
60
U
PRE
POST
EQ
U
40
20
SEND
R
L
U
GAIN
PRE
POST
R
LINE IN 7-8
R
30
60
U
-20dB +40dB
60
U
-20dB +40dB
11
(MONO)
BAL/UNBAL
48V
30
GAIN
R
L
+4dB
-10dB
LINE
48V
48V
LINE IN 5-6
R
21
LINE
HI-Z
20
32
(MONO)
BAL/UNBAL
2
LINE
BAL/UNBAL
16
L
INSERT
11
10
18
19
23
L
14 15
13
2
OUT
L
(MONO)
12
9
TAPE
BAL/UNBAL
IN
1
INSERT
MAIN OUT
7-8
TALKBACK
MAIN MIX
Quick Start Guide 5
Setting up a system
The following diagram shows how you can use the Onyx 820i in a typical club system. This may not be exactly
what you want, but it shows most of the features of the mixer that you can apply to your own musical purposes.
Microphone
Dynamics
Processor
Stereo Effects Processor
iPod
Docking Station
Acoustic
Guitar with
pickup
1
ON
YX MIC P
2
ON
RE
3-4
YX MIC PR
E
ON
AUX SEND
AUX RETURN
1 BAL/UNBAL 2
BAL/UNBAL
YX MIC PR
E
MAIN OUT
2
L
L
R
R
R
(MONO)
1
2
LINE
LINE
HI-Z
U
20
40
40
R
PREMIUM ANALOG MIXER
U
20
40
U
60
GAIN
60
U
-20dB +40dB
(MONO)
BAL/UNBAL
R
48V
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
+4dB
-10dB
LINE
48V
30
LINE IN 7-8
L
BAL/UNBAL
LINE
HI-Z
48V
20
LINE IN 5-6
R
LINE
BAL/UNBAL
30
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
SEND
PRE
POST
EQ
U
EQ
U
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
100
U
8k
-15
U
+15
-15
+15
MAX
MAX
OO
MAX
MAX
OO
MAX
80Hz
MAX
OO
MAX
SEND
AUX
RETURN
1
1
OO
MAX
OO
MAX
PRE
POST
OO
+15
PRE
POST
OO
+15
PAN
1
RTN TO
AUX1
2
2
PAN
RUDE
SOLO
AUX MASTER
+15
1
OO
MAX
OO
PHONES
LOW
-15
AUX
2
PAN
PAN
+15
1
OO
2
MAX
OO
CONTROL
ROOM
U
80Hz
-15
AUX
1
OO
2
30
+15
LOW
80Hz
+15
LEVEL
SET
4
20
2.5kHz
-15
U
LOW
-15
AUX
1
MAX
OO
+15
+15
U
80Hz
+15
AUX
OO
-15
400Hz
-15
LOW
80Hz
-15
2
10
ASSIGN TO
MAIN MIX
MID
2.5kHz
LOW
MID
U
LOW
+15
ALT 3-4
+15
U
MID
MID
U
-15
FW 1-2
12kHz
-15
U
+15
U
MID
-15
+15
7
HIGH
MID
FREQ
2.5KHz
8k
HIGH
12kHz
-15
U
FREQ
100
Mackie SRM450v2
Powered Speakers
(Stage Monitors)
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
PRE
POST
R
20
+20dB
MAIN MIX
Drum
Machine
Headphones
L
INSERT
BAL/UNBAL
press HI-Z
button
OUT
L
(MONO)
INSERT
TAPE
BAL/UNBAL
IN
1
OO
+10
OO
+10
2
Keyboard
2
PAN
AUX SEND 1-2
TO FW 5-6
L
R
L
U
L
OL
ALT 3-4
U
- 20
R
L
OL
OL
ALT 3-4
U
- 20
R
L
OL
ALT 3-4
U
- 20
POWER
R
MUTE
MUTE
MUTE
MUTE
MUTE
ALT 3-4
R
OL
ALT 3-4
U
- 20
OO
MIC
- 20
ASSIGN TO
FW 7-8
MAX
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
OO
1
+10dB
LEVEL
2
OO
+10dB
OO
LEVEL
3-4
+10dB
PHONES
LEVEL
OO
AUX
1-2
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
HD1531
Powered Speaker
Main Right
+10dB
LEVEL
5-6
7-8
MAIN MIX
TALKBACK
HD1531
Powered Speaker
Main Left
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
HD1801
Powered
Subwoofers
ON
CNTL - RM OUT
MAIN OUT
BALANCED
POWER
R
R
BAL/UNBAL
L
L
ALT 3-4 OUT
R/4
MAIN OUTPUT
LEVEL
BAL/UNBAL
L/3
HD1801
Powered
Subwoofers
+ 4dB
MIC
Laptop Computer
with audio
production software
This diagram shows an acoustic-electric guitar connected to the channel 1 input (with the hi-z switch
pressed in), a microphone connected to the channel 2 mic input, a drum machine connected to channel
3-4, and a keyboard connected to channel 7-8. Engage the +4dBu/–10dBV switch on channels 3-4 if
your drum machine runs at –10 dBV.
A dynamics processor is connected to the insert jack of channel 1 to work its magic on your guitar.
An effects processor receives a mono input from aux 1 send (in post-fader mode), and its stereo outputs
connect to the stereo aux 1 return inputs.
A plethora of SRM450v2 powered speakers are strewn across the stage as monitors for the band; they
are connected to the aux 2 send jack (in pre-fader mode). Headphones are used to monitor all levels.
The club is driven by connecting quad HD1801 powered subwoofers and a pair of HD1531 powered
speakers to the main left and right outputs.
A laptop computer connects to the FireWire port, allowing the 2-channel main mix, individual
channels, and the aux sends to be recorded, and two channels to be played back using audio
production software.
6 Onyx 820i
Microphones
Connect your microphones to the female XLR
connectors on channels 1, 2, and 3-4. The microphone
preamps feature our Onyx design, with super high
fidelity and headroom. Professional ribbon, dynamic,
and condenser mics all sound excellent through these
inputs.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals. The mic input of hybrid channels 3-4
is fed equally to channels 3 and 4.
48V PHANTOM POWER
Press the 48V phantom power switch if your microphones
need it.
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.
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 do so.
INSERTS
Channels 1 and 2 have insert jacks that allow you to
send the mic and line signals out to an external device,
and back in again on the same connector. For example,
vocals benefit from having an external vocal compressor.
These compress the level of the signals when they reach
a certain threshold, and help prevent overloading.
SETTING THE MICROPHONE GAIN
1. Press the solo switch at the bottom of the
channel your microphone is connected to. The
rude solo light will flash to remind you that
what you are listening to in the control room
and headphones, and shown on the main right
meter is the soloed channel.
2. Sing/talk/shout/scream into the microphone at
typical loudness levels.
3. Adjust the channel gain control until the right
main meter level is hovering around the 0 dB
mark (labeled "level set").
4. Now that the gain is set correctly, disengage
solo.
XLR Mic Inputs
LOW CUT
The mono and hybrid channels each have a low-cut
switch (often referred to as a high-pass filter) that
cuts bass frequencies below 75 Hz. This will reduce the
thumps and bangs due to stage noise and rumble, and
mic handling.
1
2
YX MIC P
ON
RE
ON
YX MIC P
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
Inserts
2
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
Low Cut
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
48V
40
Gain
R
PREMIUM ANALOG MIXER
U
20
40
U
60
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
48V
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
30
20
40
LINE IN 7-8
+4dB
-10dB
LINE
48V
48V
U
LINE IN 5-6
R
LINE
HI-Z
30
20
OUT
L
(MONO)
INSERT
TAPE
BAL/UNBAL
IN
1
LINE
HI-Z
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches.
3-4
ON
RE
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
SEND
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
Using the low cut switch also allows you to add some
bass EQ to your vocals without boosting the really-low
lows.
-15
+15
-15
1k
+15
-15
100
8k
100
U
8k
+15
+15
MAX
MAX
OO
MAX
OO
MAX
PAN
SEND
RETURN
1
1
PRE
POST
MAX
OO
2
OO
PAN
RUDE
SOLO
AUX MASTER
AUX
1
2
MAX
OO
PHONES
80Hz
+15
AUX
MAX
OO
MAX
LOW
-15
1
MAX
OO
2
PAN
+15
AUX
1
2
OO
OO
CONTROL
ROOM
U
80Hz
-15
AUX
MAX
30
+15
LOW
80Hz
+15
20
2.5kHz
-15
U
LOW
-15
1
+15
+15
80Hz
LEVEL
SET
4
400Hz
-15
+15
OO
-15
U
AUX
MAX
OO
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
-15
ALT 3-4
+15
U
+15
LOW
MID
U
80Hz
-15
-15
MID
-15
-15
U
U
MID
+15
+15
7
HIGH
MID
U
LOW
OO
+15
+10
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
2
OO
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
OL
ALT 3-4
- 20
U
L
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
This extra detail in the mid EQ section is ideal for
vocal equalization, so you might consider using
channels 1 and 2 for your main vocal mics. Channel 3-4
has a 4 band EQ, with a high-mid and low-mid control.
-15
FW 1-2
12kHz
U
FREQ
U
Mono channels 1 and 2 have a 3-band EQ, with
shelving-low, shelving-high and peaking-mid. The
frequency of the mid can be adjusted from 100 Hz to
8 kHz.
+15
HIGH
12kHz
2.5KHz
-15
VOCAL EQUALIZATION
HIGH
12kHz
1k
FREQ
EQ
HIGH
12kHz
+10dB
OO
LEVEL
Solo
+10dB
OO
LEVEL
LEVEL
1
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
5-6
7-8
TALKBACK
MAIN MIX
Quick Start Guide 7
Level
Set
Line-level Sources and Guitars
Connect your line-level sources to the 1/4" TRS
connectors. Channels 1 and 2 have mono inputs, and
channels 3-4, 5-6, and 7-8 are stereo. Each input can
accept TRS balanced or TS unbalanced sources.
Line-level sources include keyboards, drum machines,
electronic drum kits, CD players, iPod® docks, guitar
preamp outputs and so on.
If you just have a mono source and the mono channels
are already in use, plug it into the left input (labeled
left/mono) of the stereo channels, and the signal will
appear equally on the left and right of the main mix.
If you have a stereo source and want to use channels 1
and 2, plug the left side into channel 1, and set the pan
control fully-left. Plug the right side into channel 2 and
set the pan control fully-right.
Channels 3-4 have a +4/–10 dB switch that allows
them to accept line-level inputs from +4 dBu or
–10 dBV devices.
TAPE IN and TAPE OUT
Use these RCA unbalanced stereo inputs to connect
the line-level outputs from sources such as tape decks,
CD/DVD players and iPod® docks. Engage the tape
switch to listen in your control room or phones. Engage
assign to main mix to add the sounds to the main mix,
for example you can play intermission music, or listen to
rare reference material of your band getting it right.
The tape output is a copy of the main mix (post
fader), suitable for analog recording, sending to the
inputs of an external amplifier, or sound card etc.
SETTING THE CHANNEL GAIN
1. Press the solo switch at the bottom of the
channel your source is connected to. The rude
solo light will flash to remind you that the
source playing in the control room,
headphones, and the right main meter is the
soloed channel.
LINE/HI-Z
2. Play your source at typical loudness levels.
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
3. Adjust the channel gain control until the right
main meter level is hovering around the 0 dB
mark (labeled "level set").
For line-level sources, disengage this switch.
To connect guitars to other channels, you will need a
DI box, or they will not sound good, particularly the high
frequency response. This applies to most mixers and
channels in general, unless they have a hi-z switch
4. Now the gain is set correctly, disengage solo.
5. The channel 3-4 gain control only affects the
mic input. For channel 3 and 4 line-level inputs,
follow steps 1 and 2, then if the right meter
seems a bit low, engage the –10 dBV switch.
Stereo Line-Level Inputs
LOW CUT
Channels 1 and 2, and channels 3-4 have a low-cut
switch that cuts bass frequencies below 75 Hz.
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
Tape Tape In/Out
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
EQUALIZATION
Mono channels 1 and 2 have a 3-band EQ, with
shelving-low, peaking-mid, and shelving-high controls.
The mid frequency is adjustable from 100 Hz to 8 kHz.
Inserts
Mono Line
Inputs
Line/Hi-Z
Low Cut
Gain
2
INSERT
L
L
R
R
R
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
LINE
HI-Z
20
40
40
R
PREMIUM ANALOG MIXER
U
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
+15
+15
8k
U
+15
8k
U
+15
AUX
MAX
MAX
OO
MAX
OO
SEND
AUX
RETURN
1
1
PRE
POST
MAX
OO
2
PAN
RUDE
SOLO
AUX MASTER
+15
1
2
MAX
OO
PHONES
80Hz
AUX
MAX
OO
MAX
LOW
-15
1
PAN
PAN
+15
AUX
MAX
OO
2
OO
OO
CONTROL
ROOM
U
80Hz
-15
1
2
MAX
+15
30
+15
LOW
80Hz
20
2.5kHz
-15
U
LOW
AUX
MAX
+15
+15
-15
1
OO
-15
U
+15
LEVEL
SET
4
400Hz
-15
80Hz
OO
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
-15
MAX
OO
+15
LOW
MID
U
80Hz
+15
ALT 3-4
+15
U
U
LOW
-15
-15
MID
-15
FW 1-2
12kHz
-15
7
HIGH
MID
U
U
+15
U
FREQ
100
HIGH
12kHz
-15
2.5KHz
100
-15
Stereo channels 5-6 and 7-8 have a stereo 3-band EQ
with shelving-low, peaking-mid, and shelving-high.
HIGH
12kHz
-15
1k
FREQ
EQ
HIGH
12kHz
-15
1k
Hybrid channels 3-4 have a stereo 4-band EQ, with
shelving-low, peaking low-mid, peaking high-mid, and
shelving-high controls.
OO
+15
2
+10
OO
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
8 Onyx 820i
48V
40
20
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
30
U
LINE IN 7-8
+4dB
-10dB
LINE
48V
48V
30
20
LINE IN 5-6
R
LINE
HI-Z
MID
These EQ options allow a lot of adjustment to your
line-level sources and guitars. Apply EQ wisely and
carefully, like makeup. (Too much and things can turn
ugly.)
L
INSERT
BAL/UNBAL
OUT
L
(MONO)
The low cut of channels 1 and 2 affects the line and
the mic inputs. The low cut of channels 3-4 affects the
mic input only.
TAPE
BAL/UNBAL
IN
1
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
Solo
+10dB
OO
LEVEL
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
5-6
7-8
TALKBACK
MAIN MIX
Level
Set
Aux 1 and Aux 2
AUX SEND 1 and 2
The 1/4" TRS aux sends in the connection section
allow you to send balanced or unbalanced line-level
outputs to external effects devices or stage monitors.
Aux send 1 and aux send 2 are independent of each
other, so you can set up two separate aux mixes. The
aux 1 send output signal is the sum of all the channels
whose aux 1 send control is set to more than minimum.
The aux 2 send is the sum of all the channels whose aux
2 send control is set to more than minimum. The overall
aux output level can be adjusted with the aux send
master controls.
AUX SEND 1-2 to FW 5-6
This switch allows you to send a copy of the aux sends
to a computer via FireWire. For example, you can use
your computer with audio production software and
inexpensive effects plug-ins, as an effects host. This
substitutes wonderfully for an outboard hardware
effects processor.
See page 15 for an example of setting up a software
effects processor using the aux sends and FireWire.
Performance will vary based on system hardware.
center. Authorized service centers may be found online
at: www.mackie.com/scripts/service_centers/search.asp
Contact our technical support chaps if you are having
trouble finding an authorized service center in your
area.
AUX RETURN 1 and 2
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. Adjust the
level of the incoming signals with the aux return master
controls.
Alternatively, you can use these inputs to add any
stereo line-level 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.
RETURN to AUX 1
The signals going into aux return 2 can also be added
to aux send 1 by engaging the return to aux 1 switch.
For example, you could add the effects returned from
an external effects processor fed by aux send 2, to your
stage monitors fed by aux 1.
Aux Sends
PRE or POST
1
2
YX MIC P
ON
RE
The aux sends can either be pre-fader or post-fader,
depending on the position of the pre/post switches. By
"fader" we mean the channel level control. Old habits
die hard. It may come in handy to know these terms if
you use a mixer with faders in future.
ON
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
IN
2
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
LINE
HI-Z
L
R
R
R
L
(MONO)
BAL/UNBAL
R
48V
R
PREMIUM ANALOG MIXER
30
40
U
40
20
GAIN
60
U
-20dB +40dB
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
48V
U
GAIN
LINE IN 7-8
+4dB
-10dB
LINE
30
20
40
LINE IN 5-6
R
LINE
HI-Z
48V
U
OUT
L
L
INSERT
BAL/UNBAL
TAPE
BAL/UNBAL
L
(MONO)
30
For external processors, use POST. In this way, the
feed to external processors will vary in level if the
channel level is adjusted. For example, 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).
3-4
ON
RE
1
20
For stage monitor work, use PRE, so the stage
monitors do not increase in volume when the channel
level is adjusted. 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. Stage monitors
can either be passive speakers powered by an external
amplifier, or powered speakers with their own amplifier.
YX MIC P
Aux Returns
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
SEND
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
FREQ
FREQ
8k
100
U
8k
+15
+15
Aux 2
OO
MAX
OO
MAX
-15
+15
U
LOW
+15
AUX
AUX
AUX
1
1
1
1
1
OO
MAX
2
OO
MAX
OO
MAX
2
MAX
OO
MAX
2
PAN
PAN
OO
OO
MAX
OO
MAX
SEND
RETURN
1
PRE
POST
2
PAN
AUX MASTER
+15
AUX
MAX
RUDE
SOLO
PHONES
80Hz
-15
AUX
OO
MAX
OO
LOW
80Hz
-15
MAX
CONTROL
ROOM
U
80Hz
+15
30
+15
OO
LOW
-15
20
2.5kHz
-15
400Hz
80Hz
+15
LEVEL
SET
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
MID
LOW
-15
2
4
+15
U
80Hz
+15
ALT 3-4
+15
U
+15
-15
U
LOW
-15
FW 1-2
12kHz
-15
U
U
MID
-15
U
Aux 1
-15
U
MID
-15
+15
7
HIGH
MID
2.5KHz
100
HIGH
12kHz
-15
U
OO
+15
OO
+15
2
PAN
1
RTN TO
AUX1
OO
+10
OO
+10
2
PRE
POST
2
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
5-6
7-8
TALKBACK
MAIN MIX
Modification: Pre-EQ Aux Sends
The pre-fader aux sends are post-EQ, so they are
affected by the channel EQ controls. The circuit boards
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.
This modification can be done by an authorized service
Pre/Post
Aux Send 1-2 to FW 5-6
Aux Return
Masters
Return to Aux 1
Aux Send Masters
Quick Start Guide 9
Control Room/Phones/Meters
CONTROL ROOM OUTPUTS
Assign to Main Mix
The rear panel 1/4" TRS stereo control room outputs
can be used to run a separate sound system in a control
room or a different zone. Connect these outputs to the
line-level inputs of an amplifier running passive studio
monitors, or to the inputs of powered studio monitors.
Except for the main mix, whatever is selected as a
source for your control room and phones can also be
routed to the main mix by pressing this switch. The
main mix does not play in the control room or phones if
this switch is engaged.
The headphones play the same program material as
the control room. The meters show the levels prior to
the control room and phones level controls.
CONTROL ROOM/PHONES SOURCE
The source that plays in the control room,
headphones, and meters is selected using the switches
in the control room/phones source matrix:
•
Main mix
•
Tape
•
Alt 3-4
•
A stereo FireWire feed from your computer
•
A combination of all four above
If you do not select one of these, there will be no
sound in the control room or phones, and no indication
on the meters (unless a solo button is engaged).
SOLO
Whenever solo is engaged, all source selections (main
mix, alt 3-4, tape, and FireWire) are defeated, and 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 or alt 3–4 mix. The main mix continues to play, so
the show can still go on during solo.
When a channel is soled, you can adjust the channel
gain until your input source reaches the 0 dB LED in the
right meter.
Solo signals reaching the headphones and control
room are not affected by the channel level or main level,
therefore turn down the phones level and control room
level first, as soloed channels may be loud.
Main Mix
FIREWIRE
CTRL - RM OUT
MAIN OUT
BALANCED
POWER
ON
Select main mix to listen to the main mix in the
control room or headphones. The meters show the level
after the main mix level control.
R
R
BAL/UNBAL
L
Control
Room
Outputs
L
ALT 3-4 OUT
R/4
BAL/UNBAL
L/3
+ 4dB
MAIN OUTPUT
LEVEL
MIC
Tape
Select tape to listen to the RCA tape input in the
control room or headphones. The meters show the level
coming in from your tape or CD player. Press assign to
main mix to play intermission music in your main mix.
1
2
YX MIC P
ON
RE
ON
YX MIC P
MAIN OUT
(MONO)
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
IN
L
R
R
R
40
48V
Headphones
L
(MONO)
BAL/UNBAL
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
60
U
-20dB +40dB
L
R
30
U
GAIN
LINE IN 7-8
(MONO)
BAL/UNBAL
48V
20
40
OUT
L
+4dB
-10dB
LINE
30
U
LINE IN 5-6
R
LINE
HI-Z
48V
20
TAPE
BAL/UNBAL
L
L
INSERT
BAL/UNBAL
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
TAPE
LINE
FW 1-2
U
Control Room/
Phones Source
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
8k
100
U
8k
-15
U
+15
-15
+15
+15
AUX
MAX
OO
+15
-15
MAX
OO
-15
MAX
OO
RETURN
1
1
PRE
POST
MAX
OO
MAX
PAN
SEND
AUX
2
OO
PAN
RUDE
SOLO
AUX MASTER
+15
1
MAX
OO
2
MAX
OO
PHONES
80Hz
AUX
1
MAX
OO
2
PAN
+15
MAX
LOW
80Hz
AUX
1
MAX
OO
OO
CONTROL
ROOM
U
Phones Level
30
+15
LOW
80Hz
OO
+15
+10
OO
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
2
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
5-6
7-8
Assign to Main Mix
20
2.5kHz
-15
U
LOW
-15
2
+15
+15
AUX
1
MAX
OO
-15
U
80Hz
LEVEL
SET
4
400Hz
-15
LOW
80Hz
-15
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
MID
U
LOW
+15
ALT 3-4
+15
U
+15
MID
U
FW 1-2
12kHz
-15
U
U
MID
-15
+15
7
HIGH
MID
FREQ
2.5KHz
100
HIGH
12kHz
-15
U
FREQ
-15
10 Onyx 820i
BAL/UNBAL
2
INSERT
30
Select FW 1-2 to listen to the FireWire 1 and 2 audio
streams coming from your computer in the control
room or headphones. The meters will show the levels of
signals coming in from your computer.
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
E
(MONO)
Alt 3-4
FireWire.
YX MIC PR
1
1
Select alt 3-4 to listen to the alt 3-4 mix in the control
room or headphones. This is a stereo mix of any
channels that have their mute/alt 3-4 switch engaged.
This can be used for cueing up sources prior to "going
live," and for other useful reasons. The meters show the
level of the alt 3-4 output.
3-4
ON
RE
TALKBACK
MAIN MIX
Control Room
Level
Main Mix
XLR MAIN OUTPUTS
ASSIGN TO FIREWIRE
The male XLR connectors provide a balanced linelevel signal that represents the end of the mixer chain,
where your fully mixed stereo main mix signals enter
the real world. Connect these outputs to the inputs of
your main power amplifiers, powered speakers, or serial
effects processor (like a graphic equalizer or
compressor/limiter). The output provides a fully
balanced signal playing the same program material as
the 1/4" TRS main outs.
The main mix can be sent to your computer using the
assign to FW 7-8 switch, located next to the main mix
level. The output is not affected by the main mix level
control, allowing you to record the main mix of live
performances. The left main mix will appear on
FireWire output channel 7, and the right on channel 8.
MAIN OUTPUT LEVEL
When this recessed switch is out (+4 dB), the XLR
main outputs 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. In a studio setting, you could connect the
main mix to the inputs of a professional stereo recorder.
In addition to recording the main mix using FireWire,
you can record individual channels using FireWire, for
studio mixing at a later date. See page 15.
TAPE OUT
This RCA unbalanced output is a copy of the main mix
(post fader). You can use it to record the main mix on
an analog tape deck for example.
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.
FIREWIRE
BALANCED
ON
ALT 3-4 OUT
R/4
L/3
MIC
Main Output Level +4dB/Mic
1/4" TRS Main Outputs Tape Out
1
2
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
2
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
L
40
48V
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
(MONO)
BAL/UNBAL
R
30
U
GAIN
L
(MONO)
BAL/UNBAL
30
20
40
LINE IN 7-8
+4dB
-10dB
LINE
48V
48V
U
60
U
-20dB +40dB
LINE IN 5-6
R
LINE
HI-Z
30
20
OUT
L
(MONO)
1/4" TRS MAIN OUTPUTS
TAPE
BAL/UNBAL
IN
1
INSERT
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
SEND
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
-15
+15
FREQ
8k
100
U
8k
+15
+15
U
LOW
+15
AUX
AUX
1
1
1
1
1
2
MAX
MAX
OO
2
MAX
OO
MAX
OO
2
MAX
OO
PAN
SEND
RETURN
1
PRE
POST
MAX
OO
2
PAN
PAN
MAX
OO
AUX MASTER
+15
AUX
MAX
RUDE
SOLO
PHONES
80Hz
-15
AUX
OO
MAX
OO
LOW
80Hz
-15
MAX
CONTROL
ROOM
U
80Hz
+15
30
+15
OO
LOW
-15
20
2.5kHz
-15
AUX
MAX
OO
-15
400Hz
80Hz
+15
LEVEL
SET
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
MID
LOW
80Hz
OO
2
4
+15
U
LOW
-15
ALT 3-4
+15
U
+15
-15
U
+15
-15
U
U
MID
-15
U
-15
-15
U
MID
+15
FW 1-2
12kHz
7
HIGH
MID
2.5KHz
100
HIGH
12kHz
U
FREQ
-15
OO
+15
+10
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
2
OO
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
If the gain of each channel has been set up correctly
for all your microphones, line-level sources, guitars, and
so on, then these channels can be added to the main
mix by careful adjustment of the channel level controls.
The main mix level control is then used to turn the
complete main mix up and down in level.
BAL/UNBAL
+ 4dB
XLR Main Outputs
YX MIC P
ON
RE
This is the main level control that adjusts the level of
the XLR and 1/4" main outputs, and the tape output. It
does not affect the FireWire output of the main mix (if
assigned).
L
L
MAIN OUTPUT
LEVEL
The switch is recessed, to reduce the chance of
accidently turning it on or off when plugging things in.
MAIN MIX LEVEL
BAL/UNBAL
R
R
When mic is engaged, you can safely plug the XLR
main output into another mixer's microphone input,
even if it provides 48 V phantom power.
These 1/4" TRS output connectors provide the
balanced or unbalanced line-level output of the main
mix. This is the same signal and level that appears at
the XLR main outputs, except it is not affected by the
main output level switch.
CTRL - RM OUT
MAIN OUT
POWER
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
Main Mix Level
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
LEVEL
Assign to FW 7-8
U
DESTINATION
5-6
7-8
TALKBACK
MAIN MIX
Quick Start Guide 11
Alt 3-4
MUTE/ALT 3-4 SWITCHES
Every time a bell rings, an Angel gets its wings. In a
similar way, every time a mute switch is pressed, that
channel is muted in the main mix and appears in the
alt 3-4 outputs instead.
FIREWIRE
CTRL - RM OUT
MAIN OUT
BALANCED
POWER
ON
If you just want to mute the channels, then don't
connect the alt 3-4 outputs to anything.
BAL/UNBAL
R
R
L
L
ALT 3-4 OUT
R/4
BAL/UNBAL
L/3
+ 4dB
MAIN OUTPUT
LEVEL
MIC
Muted channels can still be soloed to audition them
in the headphones and control room, and to adjust and
check the channel gain levels.
Alt 3-4 outputs
ALT 3-4 OUTPUTS
These 1/4" TRS jacks provide a balanced line-level
signal that can provide an alternate stereo mix for
recording or subgrouping.
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
MAIN OUT
IN
2
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
LINE
HI-Z
L
R
R
R
40
48V
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
30
20
40
LINE IN 7-8
+4dB
-10dB
LINE
48V
48V
U
LINE IN 5-6
R
LINE
HI-Z
30
20
OUT
L
L
INSERT
BAL/UNBAL
TAPE
BAL/UNBAL
L
(MONO)
(MONO)
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
SEND
For example, these outputs could be used to send
particular channels to another zone, or you could create
a sub-mix of several drum microphones. The alt 3-4
submix can then be routed to the control room and
phones, by pressing the control room alt 3-4 switch, and
added to the main mix with the control room assign to
main mix switch.
BAL/UNBAL
1
INSERT
Connect these outputs to the inputs of an amplifier,
powered speaker, or recording device. If you want to
think up some good use for the alt 3-4 outputs then go
ahead.
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
E
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
+15
U
2.5KHz
8k
100
8k
+15
-15
+15
-15
+15
OO
U
LOW
80Hz
+15
+15
80Hz
-15
AUX
AUX
AUX
1
1
1
1
MAX
2
MAX
MAX
OO
2
MAX
OO
MAX
OO
2
MAX
OO
PAN
SEND
RETURN
1
PRE
POST
MAX
OO
2
PAN
PAN
MAX
OO
RUDE
SOLO
AUX MASTER
+15
AUX
1
OO
MAX
OO
PHONES
LOW
80Hz
-15
MAX
CONTROL
ROOM
U
LOW
-15
30
+15
+15
U
+15
Assign to
Main Mix
20
2.5kHz
-15
AUX
MAX
OO
-15
400Hz
-15
80Hz
LEVEL
SET
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
80Hz
OO
+15
LOW
MID
U
LOW
+15
2
4
U
U
MID
U
-15
-15
U
MID
-15
ALT 3-4
+15
7
HIGH
MID
FREQ
U
FW 1-2
12kHz
-15
U
FREQ
100
HIGH
12kHz
-15
OO
+15
+10
OO
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
2
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
The alt 3-4 output doesn’t
have a master level control.
All the channels assigned to
the alt 3-4 bus are summed
together (post-fader and pan)
and sent directly to the alt 3-4 out.
12 Onyx 820i
L
Mute/Alt 3-4 switches
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
5-6
7-8
TALKBACK
Control Room/
Phones Source
Alt 3-4
MAIN MIX
Talkback
The mixer's built-in microphone allows you to talk to
the band through the phones outputs or stage monitors.
This can often be charming, pleasant, informative, and
enlightening.
TALKBACK MIC
The omni-directional dynamic microphone will pick
up your voice from anywhere in front of the mixer. Any
hint of exasperation and despair in your voice will be
faithfully picked up.
TALKBACK Switch
Press this switch in to talk. This is a momentary
switch, and as long as you hold it in, talkback is
activated.
DESTINATION: PHONES, AUX 1-2
Push in the phones talkback destination switch to
communicate with the talent in the studio through the
headphones during a recording session.
The aux 1-2 talkback destination switch routes the
talkback signal to the aux send 1 and 2 outputs. Use this
to communicate with the musicians through their stage
monitors when you are setting up a live performance.
In a studio, the aux out could be fed to the input of a
headphone amplifier feeding several sets of headphones.
It is fine to have both talkback destination switches
pushed in at the same time. If you don’t have either
switch pushed in, the talkback signal won’t go
anywhere.
When it is pressed in, the control room outputs are
attenuated (ducked) to allow your voice to come
through clearly.
Aux Sends
Headphones
TALKBACK LEVEL
1
2
YX MIC P
ON
RE
Use the talkback level knob to control the level of the
signal from the internal microphone.
ON
YX MIC P
3-4
ON
RE
YX MIC PR
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
LINE
HI-Z
R
R
R
40
48V
L
(MONO)
BAL/UNBAL
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
60
U
-20dB +40dB
L
R
30
U
GAIN
LINE IN 7-8
(MONO)
BAL/UNBAL
30
20
40
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
3. Press the talkback switch as you talk.
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
MAIN MIX
SEND
PRE
POST
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
FREQ
8k
100
U
8k
-15
U
U
+15
OO
MAX
OO
MAX
+15
LOW
+15
AUX
AUX
1
1
1
1
1
OO
MAX
2
MAX
OO
MAX
2
MAX
OO
MAX
2
PAN
PAN
OO
OO
MAX
OO
MAX
SEND
RETURN
1
PRE
POST
2
PAN
AUX MASTER
+15
AUX
OO
RUDE
SOLO
PHONES
80Hz
-15
AUX
MAX
MAX
OO
LOW
80Hz
-15
MAX
CONTROL
ROOM
AUX
OO
30
+15
U
80Hz
-15
20
2.5kHz
-15
OO
LOW
80Hz
+15
+15
U
LOW
-15
-15
+15
U
80Hz
LEVEL
SET
4
400Hz
U
+15
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
MID
-15
LOW
-15
ALT 3-4
+15
U
+15
MID
-15
FW 1-2
12kHz
-15
U
U
MID
+15
+15
7
HIGH
MID
2.5KHz
100
HIGH
12kHz
-15
U
FREQ
-15
Once you have set the level, you can leave it there for
the duration of the session or gig.
L
+4dB
-10dB
LINE
48V
48V
U
LINE IN 5-6
R
LINE
HI-Z
30
20
OUT
L
L
INSERT
BAL/UNBAL
TAPE
BAL/UNBAL
IN
2
1. Start with this level turned down.
5. Release the talkback switch when you are
finished talking.
MAIN OUT
L
(MONO)
(MONO)
4. Slowly turn the talkback level knob up until
they can hear you in phones or monitors.
BAL/UNBAL
1
INSERT
2. Select the destination, either headphones
and/or aux 1-2, and make sure the phones level
or aux send master levels are set up nicely.
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
E
OO
+15
OO
+15
2
PAN
1
RTN TO
AUX1
OO
+10
OO
+10
2
PRE
POST
2
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
L
L
OL
ALT 3-4
R
OL
ALT 3-4
- 20
U
L
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
MUTE
OL
- 20
U
R
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
ASSIGN TO
FW 7-8
MAX
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
OO
AUX 1-2
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
5-6
7-8
TALKBACK
MAIN MIX
Built-in Microphone
Destination
Talkback Switch
Talkback Level
Quick Start Guide 13
FireWire
The mixer comes with a CD containing the PC driver
software needed to use your mixer's internal FireWire
interface. Macintosh OS X contains built-in drivers, and
no software installation is required.
INSTALLATION ON A MAC:
1. Connect a FireWire cable from your mixer to a
FireWire port on your Mac.
2. Turn on your mixer.
Please check our website (www.mackie.com) for
any updated PC drivers that may exist. If one does,
download this installer and follow the instructions that
accompany the download. Otherwise, continue on with
the CD installation instructions listed below.
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.
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.
INSTALLATION ON A PC:
1. Connect a FireWire cable from your mixer to a
FireWire port on your computer.
6. You’re ready to go with any Mac OS X Core
Audio host application (i.e., Tracktion, Logic,
Cubase, Nuendo, Live, Digital Performer, etc.).
2. Turn on your mixer.
3. The Windows application (XP or Vista) will
start its "Found New Hardware" wizard.
7. In your audio software applications, select and
activate the inputs from the mixer and outputs
to the mixer.
4. In the details that follow, ignore any attempt
to connect to Windows Update to find the
software. Also ignore any warnings about the
software not having passed Windows testing.
Trust software from LOUD Technologies Inc.
5. Select "Locate and install driver software that
came with your device."
FIREWIRE
CTRL - RM OUT
MAIN OUT
BALANCED
POWER
ON
BAL/UNBAL
R
R
L
L
ALT 3-4 OUT
6. You will be prompted to insert the CD that
came with your mixer.
R/4
7. Select "Install," and the driver software should
be installed.
BAL/UNBAL
L/3
+ 4dB
MAIN OUTPUT
LEVEL
MIC
FireWire Connections
8. For Windows XP users, depending upon your
configuration, repeat steps 1-7 if prompted to
install a second driver.
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
2
INSERT
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
FW Pre
or Post
40
48V
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
30
20
40
LINE IN 7-8
+4dB
-10dB
LINE
48V
48V
U
LINE IN 5-6
R
LINE
HI-Z
30
20
OUT
L
(MONO)
9. In your audio software application, select and
activate all the inputs from the mixer and the
outputs to the mixer.
TAPE
BAL/UNBAL
IN
1
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
MAIN MIX
SEND
SEND
SEND
PRE
POST
EQ
U
FW 1-2
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
PRE
POST
EQ
U
TAPE
LINE
FW 1-2
U
Line/FW 1-2
R
20
+20dB
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
+15
8k
100
U
8k
+15
U
+15
-15
+15
+15
-15
OO
U
+15
+15
-15
AUX
AUX
AUX
1
1
1
1
2
MAX
MAX
OO
2
MAX
OO
MAX
OO
2
MAX
OO
PAN
SEND
RETURN
1
PRE
POST
MAX
OO
2
PAN
PAN
MAX
OO
AUX MASTER
+15
AUX
MAX
RUDE
SOLO
PHONES
80Hz
1
OO
MAX
OO
OO
+15
2
+10
OO
2
PRE
POST
MAX
OO
PAN
1
RTN TO
AUX1
OO
+15
2
+10
OO
PAN
AUX SEND 1-2
TO FW 5-6
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
L
R
L
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
OO
1
+10dB
LEVEL
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
14 Onyx 820i
+10dB
LEVEL
5-6
Assign to
main mix
LOW
80Hz
-15
MAX
CONTROL
ROOM
U
LOW
80Hz
-15
30
+15
400Hz
LOW
20
2.5kHz
AUX
MAX
OO
LOW
MID
LEVEL
SET
4
+15
U
80Hz
-15
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
80Hz
OO
+15
-15
U
LOW
+15
ALT 3-4
+15
U
U
MID
-15
U
-15
-15
U
MID
-15
FW 1-2
12kHz
-15
7
HIGH
MID
FREQ
2.5KHz
100
HIGH
12kHz
-15
U
FREQ
7-8
TALKBACK
MAIN MIX
Aux send 1-2
to FW 5-6
Assign to
FW 7-8
FIREWIRE CONNECTIONS
Two FireWire connectors allow the transfer of
digital audio to and from your computer or digital audio
workstation (DAW). There are two identical connectors,
but you only need one. The other is used for
connecting additional devices if your mixer is using up
your computer's only FireWire connector. For example,
you could daisy-chain multiple Onyx 820i mixers or add
an external hard drive since the FireWire connectors
are run in serial. Performance will vary based on system
hardware.
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 send 1 and 2 (a copy of the final aux
outputs to your stage monitors or processors).
FireWire outputs 5 and 6 can either be from
channels 5 and 6, or aux send 1 and 2.
•
Left/right main mix. The left/right main mix
at the FireWire output is not affected by the
main mix level control (important for recording
live). FireWire outputs 7 and 8 can either be
from channels 7 and 8, or main mix L and R.
Use FireWire to record a live performance directly to
your computer, then mixdown to a stereo mix later. Or
you can use it to turn your Onyx mixer into a
high-quality computer audio interface for your DAW.
The following FireWire modifications can be done 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 boards can be modified so that they are
post-insert instead. This allows for the use of an
external processor on the mic signal, sending the result
to the FireWire, while still pre-EQ.
Modifications: Post-Fader FireWire Sends
The post-EQ channel FireWire sends are pre-fader,
but the circuit boards can be modified so that they are
post-fader instead. This allows the channel level to
control the level of the FireWire sends.
FIREWIRE
CTRL - RM OUT
MAIN OUT
BALANCED
POWER
ON
BAL/UNBAL
R
R
L
L
ALT 3-4 OUT
R/4
BAL/UNBAL
L/3
+ 4dB
MAIN OUTPUT
LEVEL
MIC
FireWire Connections
FireWire also provides a return for two channels from
your computer to your mixer:
1
2
YX MIC P
ON
RE
•
These can be routed through the control
room/phones via the FW 1-2 button, to monitor
the computer audio through your control room
speakers or headphones (or through the main
speakers if assign to main mix is selected).
ON
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
IN
2
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
LINE
HI-Z
L
R
R
R
40
48V
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
30
U
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
48V
20
40
LINE IN 7-8
+4dB
-10dB
LINE
30
U
LINE IN 5-6
R
LINE
HI-Z
48V
20
OUT
L
L
INSERT
BAL/UNBAL
TAPE
BAL/UNBAL
L
(MONO)
These same two channels can also be routed FW Pre
through channels 7 and 8, and treated just
or Post
like any other channel, with adjustment for
gain, EQ, level, and pan, as well as to solo, and
add to the main mix and aux send 1 and 2.
This routing is done using the FW/line input
selector switch on channels 7 and 8.
60
U
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MIC
GAIN
SEND
SEND
PRE
POST
EQ
U
FW 1-2
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
PRE
POST
EQ
U
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
+15
8k
100
U
8k
+15
U
+15
LOW
MID
+15
-15
+15
-15
+15
+15
-15
AUX
AUX
AUX
1
1
1
1
MAX
2
MAX
MAX
OO
2
MAX
OO
MAX
OO
2
MAX
OO
PAN
SEND
RETURN
1
PRE
POST
MAX
OO
2
PAN
PAN
MAX
OO
AUX MASTER
+15
AUX
1
OO
RUDE
SOLO
PHONES
80Hz
AUX
MAX
MAX
OO
L
R
MUTE
ALT 3-4
L
R
MUTE
OL
ALT 3-4
- 20
U
L
R
OO
+15
+10
OO
2
PRE
POST
MAX
OO
1
RTN TO
AUX1
2
PAN
L
R
OO
+15
2
+10
OO
PAN
L
OL
ALT 3-4
- 20
OL
ALT 3-4
U
POWER
R
MUTE
MUTE
MUTE
OL
- 20
U
- 20
Assign to
main mix
LOW
80Hz
-15
MAX
CONTROL
ROOM
U
LOW
80Hz
+15
30
OO
U
LOW
20
2.5kHz
400Hz
-15
LEVEL
SET
4
+15
U
80Hz
-15
2
10
ASSIGN TO
MAIN MIX
MID
MID
2.5kHz
LOW
80Hz
OO
+15
-15
U
LOW
+15
ALT 3-4
+15
U
U
MID
-15
U
-15
-15
U
MID
-15
FW 1-2
12kHz
-15
7
HIGH
MID
FREQ
2.5KHz
100
HIGH
12kHz
-15
U
FREQ
AUX SEND 1-2
TO FW 5-6
The FireWire output from each channel can be tapped
before (pre) or after (post) the channel EQ. The output
is 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 live, where the recording
includes your careful channel EQ settings. If you want
to record the straight signals now and EQ them later in
your DAW, then set this to switch to pre.
Line/FW 1-2
R
20
+20dB
MAIN MIX
SEND
OO
FIREWIRE PRE/POST
3-4
ON
RE
1
30
•
YX MIC P
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
Aux send 1-2
to FW 5-6
Assign to
FW 7-8
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
2
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
LEVEL
5-6
7-8
TALKBACK
MAIN MIX
Quick Start Guide 15
INPUT (LINE or FW 1-2)
ASSIGN TO FW 7–8
Channel 7 and 8 can either be fed from the 1/4" stereo
line-level inputs, or by FireWire outputs 1 and 2 from
your computer. This switch lets you choose which to use.
Either way, channels 7 and 8 receive line-level analog
audio signals just prior to the gain control, so channel
setup, gain adjustment and EQ adjustment are the same
for line or FireWire.
This switch allows you to assign the left and right
main mix to FireWire outputs 7 and 8. For example, you
can record the live performance main mix onto your
computer. The output level to your computer is not
affected by the main mix level control.
CONTROL ROOM FW 1-2
If this is engaged, you can listen to FireWire 1 and 2
playback from your computer in the control room and
headphones. This can also be added to the main mix if
control room assign to main mix is engaged. See below.
ASSIGN TO MAIN MIX
Engage the control room FW 1-2 switch and the
assign to main mix switch to play two tracks directly
from your computer through the control room/phones
source matrix and into the main mix. This is great for
listening to iTunes® or other pre-recorded material from
your computer.
AUX SEND 1-2 to FW 5-6
This switch allows you to send a direct copy of the
aux send 1 and 2 outputs via FireWire to your computer.
This makes it possible to use a software effects
processor instead of an expensive external processor.
To setup a software effects processor:
•
Set up an aux send in post mode
•
Engage this switch, and aux send FireWire
outputs 5 and 6 will be available for your
computer.
•
Pass this through your audio production
software running effects plug-ins.
•
Return the processed output to mixer channels
7 and 8 (input switch set to FW 1-2).
•
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 two separate
independent mono in, stereo out processors.
Have aux 1 go into one plug-in, and aux 2 go
into a different one. The stereo outputs of both
plug-ins are combined back into the stereo
stream coming back to the mixer. Again,
performance will vary based on system
hardware.
Note: If this switch is selected, then there is no FireWire
output to your computer directly from mixer channels 5
and 6. Aux sends 1 and 2 go to your computer instead.
16 Onyx 820i
Note: If this switch is engaged, then there is no FireWire
output to your computer directly from mixer channels 7
and 8. The main mix goes to your computer instead.
Technical Information
Specifications
Attenuation and Crosstalk:
1 kHz relative to 0 dBu, 20 Hz to 20 kHz
Main Mix knob down:
-80 dBu
Noise Characteristics:
Equivalent Input Noise (EIN), mic input at insert, 150 Ω source
impedance, 20 to 20 kHz:
60 dB (max) gain:
40 dB gain:
-127 dBu
-126.5 dBu
Equivalent Input Noise (EIN), mic input at insert, 50 Ω source
impedance, A-weighted:
60 dB (max) gain:
-130.5 dBu
40 dB gain:
-130 dBu
Output Noise Figure (1/4" Main out, all channels assigned to
main, Gain knobs at unity, 20 Hz to 30 kHz):
Main Mix knob down, channel Level knobs down:
-107 dBu (-111 dB SNR,
ref +4 dBu)
Main Mix knob unity, channel Level knobs down:
-95.5 dBu (-99.5 dB
SNR, ref +4 dBu)
Main Mix knob unity, channel Level knobs unity:
-91.5 dBu (-95.5 dB
SNR, ref +4 dBu)
Channel Alt/Mute switch engaged:
-90 dBu
Channel Level knob down:
-80 dBu
Common Mode Rejection Ratio (CMRR):
Mic input to insert, max gain, 1 kHz, 150 ohm termination:
-70 dB
Maximum Input Levels:
Mic input, gain at min (0 dB):
+22 dBu
Mic input, gain at max (60 dB):
–38 dBu
Line input, gain at -20 dB:
+22 dBu
Instrument input, gain at -20 dB:
+22 dBu
Tape input:
+12 dBu
Aux return:
+22 dBu
Maximum Output Levels:
All outputs:
Equalization
Mono Channels
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:
44.1 kHz sample rate:
-104 dB
96 kHz sample rate:
-106.5 dB
Low:
±15 dB at 80 Hz
Mid frequency:
100 Hz to 8 kHz
Mid gain:
±15 dB
High:
±15 dB at 12 kHz
Hybrid Channel:
Frequency Response:
Mic input to any output (all gain stages at unity):
+0/-0.5 dB,
20 Hz to 20 kHz
Stereo channel line input to any output (all gain stages unity):
+0/-0.5 dB,
20 Hz to 20 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
96 kHz sample rate:
+/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 45 kHz
Low:
±15 dB at 80 Hz
Low Mid:
±15 dB at 400 Hz
High Mid:
±15 dB at 2.5 kHz
High:
±15 dB at 12 kHz
Stereo Channels:
Low:
±15 dB at 80 Hz
Mid:
±15 dB at 2.5 kHz
High:
±15 dB at 12 kHz
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
Resolution:
24-bit
FireWire
Distortion (THD+N):
20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth
Mic input at insert
(+4 dBu in, 0 dB gain, +4 dBu out):
0.001%
Mic input at insert
(-36 dBu in, +40 dB gain, +4 dBu out): 0.007%
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:
0.01%, 20 Hz to 2 kHz
0.02%, 2 kHz to 20 kHz
96 kHz sample rate:
+22 dBu
0.01%, 10 Hz to 1 kHz
0.03%, 1 kHz to 47 kHz
VU Meters
2-segment pre-fader channel meters:
OL (+18 dBu), -20 dBu
12-segment pre-fader Control Room meters:
OL (+20 dBu), +15, +10,
+6, +3, 0, -2, -4, -7, -10,
-20, -30 (0 VU = 0 dBu)
Quick Start Guide 17
Input Impedance:
Physical Dimensions and Weight
Mic input:
2.8 kΩ balanced
Height:
14.2 in/361 mm
Hi-Z input:
1 MΩ unbalanced
Width
9.0 in/229 mm
Mono channel line input:
30 kΩ balanced
15 kΩ unbalanced
Depth:
3.8 in/96 mm
Weight:
10.0 lb/4.4 kg
Stereo Channel line input:
20 kΩ balanced
10 kΩ unbalanced
Options:
Rack Mount Kit
Output Impedance:
Main XLR output:
100 Ω balanced
Phones output:
75 Ω
All other outputs:
300 Ω
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.
AC Power Requirements:
Power Consumption:
25 watts
Universal AC Power Supply:
100 VAC – 240 VAC,
50-60 Hz
“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.
The technical writer responsible for this manual tends to fade in and
out of various different realities, depending on how many cups of tea
he has had. Please check our website for any updates to this manual,
or updates to the PC drivers: www.mackie.com.
©2010 LOUD Technologies Inc. All Rights Reserved.
Dimensions
WEIGHT
3.8 in / 96 mm
10.0 lb
4.5 kg
3.7 in/
94 mm
LINE
LINE
48V
14.2 in / 361 mm
9 rack spaces
14.2 in / 361 mm
48V
48V
48V
13.68 in / 347.5 mm
48V
48V
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
9.0 in/ 229 mm
1.6 in / 40.6 mm
19.0 in/ 482.6 mm
(with optional rack ears)
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: [email protected]
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday
through Friday, normal business hours, PST).
18 Onyx 820i
R
FW
FW
FW IN 1
FW IN 2
48V
FW
Line
Bypass
Low Cut
HPF
- 20 dB
Pad
Pre
Direct
FW Tap
Gain
-20 ~ +20dB
(CH 7-8 only)
0 ~ +60dB
+4dB
-10dB
Level
- 20 dB
Pad
Gain
HI-Z
Normal
Gain
HPF
2.5K
80
12K
HI
12K
HI
FW
FW
FW
FW
OUT 1, 2
100~8K
Min to +10 dB
MOD13
(MOD17)
MOD15
option (MOD19)
MOD16
(MOD20) option
MOD14
(MOD18)
12K
HI
OL
-20dBu
Level
Talkback
OL
-20dBu
FW OUT 4
HI
2.5k 12k
MID
400
HI
2.5k 12k
MID
400
FW OUT 3
80
LO
80
LO
MID
3-Band EQ
2
2
2
to Main L/R
to Aux1
Aux1-2
Talkback Assign
Talkback to Phones
Min to 0 dB
Level
Level
Solo
Aux
Sends
Main L/R
Alt 3/4
1
Aux
Sends
1
Main L/R
Alt 3/4
Mute
Aux
Sends
1
Main L/R
Alt 3/4
Mute
Solo
Solo
Pan
Pan Mute
MOD10
MOD9
MOD12 option
MOD11 option
Min to +10 dB
Level
MOD5
(MOD7)
option
MOD6
(MOD8)
Level
Pan
Min to +10 dB
OL
-20dBu
SoloLogic
Solo(PFL)
Aux 2 (post)
Aux 2 (pre)
Aux 1 (post)
Aux 1 (pre)
Alt R/4
L/3
Main R
L
NOTE: Modifications (marked MOD above) must be undertaken by authorized LOUD service centers only
Level
CH 6 (8) FW
CH 5 (7) FW
MID
2.5K
80
LO
MID
LO
3-Band EQ
Pre
Direct
Pre
Post
80
LO
4-band EQ
Insert
MOD2
(MOD4)
option
FW Tap
MOD1
(MOD3)
Bypass
Low Cut
HPF
FW Tap
Line: -20 ~ +40dB
Mic: 0 ~ +60dB
NOTE: Switches are shown in the default (out) position
Internal
Talkback mic
R
L
Aux Return 2
L
Aux Return 1
R
Stereo L
Channels
5-6 (7-8) R
Hybrid
Ch.3-4
L
Mic
Mono Mic
Channels
1 (2) Line
48V
Solo sum
R
Tape in
L
+10 dB
Alt R/4 sum
Alt L/3 sum
R sum
L sum
Aux 2
Aux 1
OFF
CR to Main
FW IN 1, 2
FW
FW
Main
pre
post
pre
post
FW
FW
solo logic
C/R
R
C/R
L
C/R
duck
Meter
Aux 2 sum
Phones
level
CH 6 FW
Min to +15 dB
Aux 2 level
Min to +15 dB
Bal
R
L
Phones
Alt 3-4 out
R/4
L/3
R
Line
L
R
Main
output
L
R
FW OUT 6
Aux 2 out
Aux 1 out
FW
FW
FW OUT 5
Control room
outputs
Bal
+4dBu
Mic level
AUX SENDS 1-2
TO FW 5-6
Min to +10 dB
Control Room
level
CH 5 FW
Aux 1 level
FW OUT 8
FW OUT 7
Aux 1 sum
ASSIGN TO
FW 7-8
RUDE
SOLO
LED
CH 8 FW
CH 7 FW
C/R Source
CD/Tape
Alt3/4
Min to +10 dB
Main level
L
Tape
Block Diagram
SoloLogic
Solo(PFL)
Aux 2 (post)
Aux 2 (pre)
Aux 1 (post)
Aux 1 (pre)
R/4 Alt
L/3
R Main
L
Quick Start Guide 19
Track Sheet
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
IN
1
2
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
20
40
40
R
PREMIUM ANALOG MIXER
U
40
20
GAIN
60
U
-20dB +40dB
L
(MONO)
BAL/UNBAL
R
48V
30
U
GAIN
60
U
-20dB +40dB
L
+4dB
-10dB
LINE
30
U
LINE IN 7-8
(MONO)
BAL/UNBAL
48V
30
20
LINE IN 5-6
R
LINE
HI-Z
48V
OUT
L
(MONO)
INSERT
TAPE
BAL/UNBAL
60
U
U
MIC
GAIN
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
MAIN MIX
SEND
SEND
SEND
PRE
POST
EQ
U
EQ
U
INPUT
10
6
EQ
U
CLIP
15
PRE
POST
PRE
POST
EQ
U
SEND
SEND
PRE
POST
R
20
+20dB
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
-15
U
2.5KHz
8k
100
8k
+15
-15
+15
+15
AUX
OO
MAX
AUX
1
OO
MAX
OO
MAX
2
MAX
OO
MAX
OO
MAX
2
PAN
RETURN
1
1
OO
MAX
OO
MAX
PRE
POST
OO
+15
PRE
POST
OO
+15
PAN
1
RTN TO
AUX1
2
2
PAN
SEND
AUX
1
MAX
RUDE
SOLO
AUX MASTER
+15
AUX
OO
MAX
OO
PHONES
80Hz
-15
1
OO
2
PAN
+15
MAX
LOW
80Hz
-15
AUX
1
MAX
LOW
80Hz
+15
30
CONTROL
ROOM
U
LOW
-15
20
+15
OO
U
80Hz
-15
10
ASSIGN TO
MAIN MIX
2.5kHz
-15
+15
LOW
80Hz
+15
400Hz
-15
LEVEL
SET
4
MID
MID
2.5kHz
-15
U
LOW
OO
+15
LOW
MID
U
+15
2
+15
U
U
MID
U
-15
-15
U
MID
-15
-15
ALT 3-4
7
HIGH
MID
FREQ
U
+15
FW 1-2
12kHz
U
FREQ
100
HIGH
12kHz
OO
+10
OO
+10
2
2
PAN
AUX SEND 1-2
TO FW 5-6
R
L
MUTE
ALT 3-4
R
L
MUTE
OL
ALT 3-4
- 20
U
R
L
R
L
OL
ALT 3-4
U
MUTE
MUTE
MUTE
OL
- 20
- 20
OL
ALT 3-4
U
POWER
R
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
2
20 Onyx 820i
OO
+10dB
LEVEL
3-4
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
LEVEL
5-6
7-8
TALKBACK
MAIN MIX
Track Sheet
• Session:
• Date:
• Notes:
Quick Start Guide 21
Bonus single-page Track Sheet!
• Session:
• Date:
• Notes:
1
2
YX MIC P
ON
RE
ON
YX MIC P
3-4
ON
RE
YX MIC PR
AUX RETURN
1 BAL/UNBAL 2
AUX SEND
BAL/UNBAL
E
MAIN OUT
IN
1
2
L
L
R
R
R
L
INSERT
(MONO)
BAL/UNBAL
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
HI-Z
20
U
20
40
L
LINE
U
40
R
R
PREMIUM ANALOG MIXER
U
20
40
U
60
GAIN
60
U
-20dB +40dB
(MONO)
BAL/UNBAL
-10dB
48V
30
GAIN
L
(MONO)
BAL/UNBAL
30
60
U
-20dB +40dB
LINE IN 7-8
+4dB
48V
30
LINE IN 5-6
R
LINE
HI-Z
48V
OUT
L
(MONO)
INSERT
TAPE
BAL/UNBAL
MIC
GAIN
GAIN
-20dB
0dB=0dBu
L
GAIN
-20dB
+20dB
w/ PERKINS EQ & FIREWIRE
CTRL ROOM/PHONES
SOURCE
U
MAIN MIX
SEND
SEND
SEND
PRE
POST
PRE
POST
EQ
U
EQ
U
10
6
EQ
U
CLIP
15
INPUT
PRE
POST
PRE
POST
EQ
U
SEND
SEND
R
20
+20dB
TAPE
LINE
FW 1-2
U
3
0
HIGH
HIGH
12kHz
-15
+15
HIGH
12kHz
-15
1k
+15
HIGH
12kHz
-15
1k
+15
12kHz
-15
FREQ
100
8k
U
+15
-15
+15
-15
MAX
OO
MAX
U
LOW
+15
AUX
AUX
1
1
1
1
1
OO
MAX
2
MAX
OO
MAX
2
PAN
OO
MAX
OO
MAX
2
PAN
OO
MAX
OO
MAX
SEND
RETURN
1
PRE
POST
OO
+15
PAN
PRE
POST
OO
+15
1
RTN TO
AUX1
2
2
PAN
AUX MASTER
+15
AUX
OO
RUDE
SOLO
PHONES
80Hz
-15
AUX
MAX
MAX
OO
LOW
80Hz
-15
AUX
OO
30
MAX
CONTROL
ROOM
U
80Hz
+15
20
+15
OO
LOW
-15
LEVEL
SET
10
ASSIGN TO
MAIN MIX
2.5kHz
-15
+15
80Hz
+15
+15
400Hz
LOW
80Hz
OO
2.5kHz
-15
U
LOW
-15
2
4
MID
MID
LOW
MID
U
+15
ALT 3-4
+15
U
+15
U
MID
U
-15
-15
U
MID
-15
FW 1-2
12kHz
-15
7
HIGH
MID
2.5KHz
8k
U
+15
U
FREQ
100
HIGH
OO
+10
OO
+10
2
2
PAN
AUX SEND 1-2
TO FW 5-6
R
L
MUTE
ALT 3-4
R
L
MUTE
OL
ALT 3-4
- 20
U
R
L
R
L
OL
ALT 3-4
U
MUTE
MUTE
MUTE
OL
- 20
- 20
OL
ALT 3-4
U
POWER
R
L
- 20
OL
ALT 3-4
U
- 20
U
OO
MIC
MAX
ASSIGN TO
FW 7-8
LEVEL
U
DESTINATION
OO
+10dB
OO
LEVEL
+10dB
OO
LEVEL
1
2
OO
+10dB
LEVEL
3-4
22 Onyx 820i
OO
+10dB
LEVEL
PHONES
AUX 1-2
OO
+10dB
SOLO
SOLO
SOLO
SOLO
SOLO
+10dB
LEVEL
5-6
7-8
TALKBACK
MAIN MIX
Mackie 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.
Quick Start Guide 23
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: [email protected]
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement