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O W N E R ’ S M A N U A L
ONYX 1620
Important Safety Instructions
1.Read these instructions.
2.Keep these instructions.
3.Heed all warnings.
4.Follow all instructions.
5.Do not use this apparatus near water.
6.Clean only with dry cloth.
7.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.
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 Onyx mixer 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).
16.This Onyx mixer has been equipped with an all-pole, rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user.
17.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
10.Protect the power cord from being walked on or pinched particularly at radioélectriques dépassant las limites applicables aux appareils numériques de plugs, convenience receptacles, and the point where they exit from the class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
apparatus.
11.Only use attachments/accessories specified by the manufacturer.
12.Use only with a cart, stand, tripod, bracket, or 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.
PORTABLE CART WARNING
Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer.
A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.
radioélectrique édicté par les ministere des communications du Canada.
18.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 |
Sound Level dBA, |
Typical |
In Hours |
Slow Response |
Example |
8 |
90 |
Duo in small club |
CAUTION |
AVIS |
RISK OF ELECTRIC SHOCK |
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DO NOT OPEN |
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RISQUE DE CHOC ELECTRIQUE |
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NE PAS OUVRIR |
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CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK |
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DO NOT REMOVE COVER (OR BACK) |
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NO USER-SERVICEABLE PARTS INSIDE |
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REFER SERVICING TO QUALIFIED PERSONNEL |
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ATTENTION: POUR EVITER LES RISQUES DE CHOC |
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ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN |
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ENTRETIEN DE PIECES INTERIEURES PAR L’USAGER. CONFIER |
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L’ENTRETIEN AU PERSONNEL QUALIFIE. |
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AVIS: POUR EVITER LES RISQUES D’INCENDIE OU |
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D’ELECTROCUTION, N’EXPOSEZ PAS CET ARTICLE |
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A LA PLUIE OU A L’HUMIDITE |
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6 |
92 |
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4 |
95 |
Subway Train |
3 |
97 |
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2 |
100 |
Very loud classical music |
1.5102
1 |
105 |
Tami screaming at Adrian about deadlines |
0.5110
0.25 or less |
115 |
Loudest parts at a rock concert |
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 clair avec point de fl che l’int rieur d’un triangle quilat ral est utilis pour alerter l’utilisateur de la pr sence
l’int rieur du coffret de "voltage dangereux" non isol d’ampleur suffisante pour constituer un risque d’ l ctrocution.
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 l’int rieur d’un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d’instructions importantes pour le fonctionnement et l’entretien (service) dans le livret d’instruction accompagnant l’appareil.
WARNING — To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
2 |
ONYX 1620 |
Table of Contents |
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Introduction................................................................................................................ |
4 |
Getting Started .......................................................................................................... |
5 |
Zero the Controls ....................................................................................................................................... |
5 |
Connections................................................................................................................................................. |
5 |
Set the Levels .............................................................................................................................................. |
5 |
Instant Mixing............................................................................................................................................. |
5 |
Hookup Diagrams...................................................................................................... |
6 |
Onyx 1620 Features ................................................................................................. |
10 |
Channel Strips........................................................................................................................................... |
10 |
Control Room Matrix, Metering, and Phones.................................................................................. |
14 |
Auxiliary Section...................................................................................................................................... |
16 |
TALKBACK Section................................................................................................................................... |
16 |
Front Panel Connectors.......................................................................................................................... |
18 |
Rear Panel................................................................................................................................................... |
18 |
Appendix A: Service Information........................................................................ |
21 |
Warranty Service...................................................................................................................................... |
21 |
Troubleshooting ....................................................................................................................................... |
21 |
Repair .......................................................................................................................................................... |
22 |
Appendix B: Connections ...................................................................................... |
23 |
Appendix C: Technical Info .................................................................................. |
26 |
Onyx 1620 Specifications ...................................................................................................................... |
26 |
Onyx 1620 Block Diagram..................................................................................................................... |
28 |
Onyx 1620 Track Sheet........................................................................................................................... |
29 |
Onyx 1620 Limited Warranty ................................................................................ |
31 |
Don’t forget to visit our website at www.mackie.com for more information about this and other Mackie products.
Part No. 0008668 Rev. D1 8/04
©2004 LOUD Technologies Inc. All Rights Reserved.
Manual Owner’s
Owner’s Manual |
3 |
1620 |
Introduction |
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Thank you for choosing a Mackie Onyx 1620 profes- |
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ONYX |
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sional compact mixing console. The Onyx Series of mix- |
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ers are designed for the digital era and offer the newest |
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features and latest technologies for live sound reinforce- |
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ment and analog or digital studio recording in a durable, |
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road-worthy package. |
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The Onyx 1620 is equipped with eight of our new |
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premium precision-engineered studio-grade Onyx mic |
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preamps. Mackie is renowned for the high-quality mic |
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preamps used in our mixers, and the Onyx mic pre’s are |
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better than ever, with specifications rivaling expensive |
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stand-alone mic preamplifiers. |
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Channels 1 and 2 feature high-impedance instrument/ |
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line-level inputs so you can connect an acoustic, elec- |
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tric, or bass guitar directly into the mixer, eliminating |
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the need for an external direct box. |
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Each of the eight mono channels has individual |
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phantom power switches, low-cut filters, pre-EQ chan- |
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nel inserts, and an all new four-band EQ design with |
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sweepable mids and EQ bypass switch. |
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Channels 9 through 16 are four stereo pairs of line |
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inputs, featuring a three-band EQ and EQ bypass switch |
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for each stereo pair. |
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All mono channels and stereo pairs have four Aux |
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sends, Pan, Mute/Alt 3-4, Solo, 60 mm Fader, and four |
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signal level indicators. |
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A built-in Talkback mic with routing switches allows |
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you to communicate through the Aux Sends 1-2 or the |
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Phones output. |
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All sixteen channels have balanced direct outputs |
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on two DB-25 connectors for multitrack recording. |
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An optional FireWire card provides all sixteen direct |
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outputs and the L-R Main Mix on a FireWire interface |
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for streaming digital audio to a laptop for multitrack |
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recording in a live situation, or connecting to a DAW in a |
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home studio. |
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Please write your serial number here for future |
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reference (i.e., insurance claims, tech support, |
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return authorization, etc.) |
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Purchased at:
Date of purchase:
4 |
ONYX 1620 |
HOW TO USE THIS MANUAL
We know that many of you can’t wait to get your new mixer hooked up, and you’re probably not going to read the manual first (sigh!). So the first section after the table of contents is a Quick-Start Guide to help you get the mixer set up fast so you can start using it right away. Right after that are the ever popular hook-up diagrams that show typical mixer setups for live sound, recording and mixdown.
Then, when you have time, read the Features Description section. This describes every knob, button, and connection point on the Onyx 1620, roughly following the signal flow through the mixer from top to bottom and left to right.
Throughout this section you’ll find illustrations with each feature numbered. If you want to know more about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that number in the nearby paragraphs.
This icon marks information that is critically important or unique to the Onyx 1620. For your own good, read them and remember them. They will be on the final test.
This icon leads you to in-depth explanations of features and practical tips. While not mandatory, they usually have some valuable nugget of information.
A PLUG FOR THE CONNECTOR SECTION
Appendix B is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, and special hybrid connectors.
More resources on our website at www.mackie.com.
THE GLOSSARY: A Haven of Non-Techiness for the Neophyte
The “Glossary of Terms” is a fairly comprehensive dictionary of pro-audio terms. If terms like “clipping,” “noise floor,” or “unbalanced” leave you blank, refer to this glossary for a quick explanation.
ARCANE MYSTERIES ILLUMINATED
“Arcane Mysteries” discusses some of the down ‘n’ dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines. It’s a goldmine for the neophyte, and even the seasoned pro might learn a thing or two.
Getting Started
READ THIS PAGE!!
Even if you’re one of those people who never read manuals, all we ask is that you read this page now before you begin using the Onyx 1620. You’ll be glad you did!
Zero the Controls
1.Turn down the channel GAIN, AUX, and Fader controls, and center the channel EQ and PAN controls.
2.Set all push button switches to their “out” positions.
3.In the output section (right hand side), turn all the rotary knobs “down,” the switches “out,” and the MAIN MIX fader down.
4.Turn the POWER switch off.
Connections
If you already know how you want to connect the Onyx 1620, go ahead and connect the inputs and outputs
the way you want them. If you just want to get sound through the mixer, follow these steps:
1.Plug a microphone or other signal source into channel 1’s MIC or LINE input.
2.Plug in the detachable linecord, connect it to an AC outlet, and turn on the Onyx 1620’s POWER switch.
3.Connect cords from the Onyx 1620’s MAIN OUTS (XLR connectors on the rear panel and 1/4" TRS connectors on the front panel) to your amplifier.
4.Hook up speakers to the amp and turn it on. If the amplifier has level controls, set them however the manufacturer recommends (usually all the way up).
Set the Levels
To set the channel GAIN controls, it’s not even necessary to hear what you’re doing at the outputs of the mixer. If you want to listen while you work, plug headphones into the PHONES jack on the front panel, then set the PHONES knob about one-quarter of the way up.
The following steps must be performed one channel at a time.
1.Push in the channel’s SOLO switch. Make sure the SOLO MODE switch is up (PFL).
2.Play something into the selected input. This could be an instrument, a singing or speaking voice, or
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a line input such as a CD player or tape recorder |
s’Owner |
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output. Be sure that the volume of the input source |
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is the same as it would be during normal use. If it |
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isn’t, you might have to readjust these levels during |
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the middle of the set. |
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3. |
Adjust the channel’s GAIN control so that the LEDs |
Manual |
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on the RIGHT meter stay around “0” and never go |
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higher than “+7.” |
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4. |
If you’d like to apply some EQ, do so now and return |
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to step 3. Remember to push in the EQ IN/OUT but- |
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ton or the EQ controls won’t do anything. |
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5. |
Disengage that channel’s SOLO switch. |
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6. |
Repeat for each channel. |
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Instant Mixing
1.Leave the microphone plugged into channel 1 and connect a keyboard, guitar or other instrument to channel 2. Be sure to “Set the Levels” for channel 2 as described above.
2.To get sound out of the speakers, turn up channel 1 and 2 faders to the “U” mark and slowly turn up the MAIN MIX fader to a comfortable listening level.
3.Sing and play. You’re a star! Adjust the faders for channels 1 and 2 to bring your voice and your instrument up and down to create your own mix.
Other Nuggets of Wisdom
•For optimum sonic performance, the channel and MAIN MIX faders should be set near the “U” (unity gain) markings.
•Always turn the MAIN MIX fader and CONTROL ROOM knob down before making connections to and from your Onyx 1620.
•When you shut down your equipment, turn off the amplifiers first. When powering up, turn on the amplifiers last.
•Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection.
•Save the shipping box! You may need it someday, and you don’t want to have to pay for another one.
That’s it for the “Getting Started” section. Next comes the “Hookup” section that shows you some typical ways that you might use the Onyx 1620 in real applications.
After that, you can take the grand tour of the mixer, with descriptions of every knob, button, input, and output. We encourage you to take the time to read all of the feature descriptions, but at least you know it’s there if you have any questions.
Owner’s Manual |
5 |
ONYX 1620
Hookup Diagrams
This hookup diagram demonstrates how you can do a live multitrack recording
Bass Guitar Electric Guitar |
using the RECORDING OUTs or the op- |
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tional FireWire card. |
The RECORDING OUTs provide an analog balanced direct output for each channel, and the FireWire card provides a digital direct output for each channel.
Electric Guitar
Vocal Mics
Stereo Guitar Effects
Drum
Machine
Keyboard or other line level input
Out (play)
In (record)
1 |
1 |
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2 |
2 |
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3 |
3 |
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4 |
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5 |
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6 |
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7 |
7 |
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8 |
8 |
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9 |
L |
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MONO |
CHANNEL |
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10 |
R |
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11 |
L |
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MONO |
INPUTS |
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12 |
R |
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13 |
L |
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MONO |
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14 |
R |
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15 |
L |
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MONO |
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16 |
R |
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L |
R |
OUT-TAPE-IN |
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R |
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PHONES OUT |
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ROOM CNTRL OUTPUTS |
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1 |
In |
Mono Compressor |
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Out |
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2 |
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3 |
In |
Stereo Compressor |
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INSERTS |
Out |
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Out |
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4 |
In |
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CHANNEL |
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5 |
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6 |
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7 |
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8 |
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RETURNS |
L |
L |
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1 |
3 |
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R |
R |
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AUX |
L |
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2 |
4 |
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R |
R |
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1 |
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Multi Effect |
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2 |
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Processor |
AUX SEND |
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3 |
Mono Power Stage Monitors |
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4 |
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ALT3/4 OUT |
Mono EQ |
Amplifier |
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R |
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L |
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MAIN OUT |
L |
Stereo EQ |
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Stereo Power |
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MAIN OUT |
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Amplifier |
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8-1 |
OUTRECORDING |
RECORDINGOUT 9-16 |
Headphones |
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FIREWIRE |
Left PA Speaker Right PA Speaker |
(OPTION) |
Digital Multitrack Recorder
Laptop Computer
Onyx 1620 Live Mix and Multitrack Recording
6 |
ONYX 1620 |
Bass Guitar |
Electric Guitar |
Electric Guitar
Vocal Mics
Stereo Guitar Effects
Drum
Machine
Keyboard or other line level input
Out (play)
In (record)
1 |
1 |
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1 |
In Mono Compressor |
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Out |
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2 |
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3 |
3 |
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In |
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INSERTS |
3 |
Out Stereo Compressor |
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Out |
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In |
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8 |
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9 |
MONOL |
CHANNEL |
RETURNS |
L |
L |
Digital Delay |
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L |
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1 |
3 |
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R |
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12 |
R |
INPUTS |
AUX |
2 |
4 |
Multi Effect |
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Processor |
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14 |
R |
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AUX SEND |
2 |
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15 |
MONOL |
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16 |
R |
OUT-TAPE-IN |
3/4ALT OUT |
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PHONES OUT |
MAIN OUT |
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OUTPUTS |
ROOM CNTRL |
MAIN OUT |
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8-1 |
OUT RECORDING |
RECORDING OUT |
9-16 |
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Powered
Studio Monitors for Control Room
Digital Multitrack Recorder
Headphone Distribution
Amp
The RECORDING OUTs provide an analog balanced direct output for each channel, tapped after the GAIN control but before the EQ controls.
Powered
Studio Monitors
for Studio
Headphones
for Studio
Onyx 1620 Multitrack Recording in a Studio (Tracking)
Manual s’Owner
Owner’s Manual |
7 |
ONYX 1620
Bass Guitar |
Electric Guitar |
Electric Guitar
Vocal Mics
Stereo Guitar Effects
Drum
Machine
Keyboard or other line level input
Headphones
1 |
1 |
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1 |
In Mono Compressor |
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Out |
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2 |
2 |
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2 |
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3 |
3 |
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In |
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INSERTS |
3 |
Out Stereo Compressor |
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4 |
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Out |
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4 |
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4 |
In |
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CHANNEL |
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6 |
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5 |
5 |
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5 |
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6 |
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7 |
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7 |
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8 |
8 |
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9 |
L |
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MONO |
CHANNEL |
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10 |
R |
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11 |
L |
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MONO |
INPUTS |
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12 |
R |
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13 |
L |
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MONO |
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14 |
R |
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15 |
L |
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MONO |
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16 |
R |
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L |
R |
OUT-TAPE-IN |
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R |
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PHONES OUT |
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OUTPUTS |
ROOM CNTRL |
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8-1 |
RECORDING |
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OUT |
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8 |
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RETURNS |
L |
L |
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1 |
Digital Delay |
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3 |
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R |
R |
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AUX |
L |
L |
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2 |
4 |
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1 |
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AUX SEND |
2 |
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3 |
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ALT3/4 OUT |
4 |
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R |
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MAIN OUT |
L |
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R |
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MAIN OUT |
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RECORDING OUT |
9-16 |
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Multi Effect
Processor
Sound Card
LINE
IN L
R
LINE
OUTS 
1
2
3
4
MIC
IN
Powered |
Powered |
Studio Monitors |
Studio Monitors |
for Control Room |
for Studio |
In this hookup diagram, the tracking channels have the MUTE/ALT 3-4 button pushed in. This routes their signals to the ALT 3-4 OUT and on to the Sound Card or other analog audio interface to your DAW.
IMPORTANT: The playback channels (channels 15-16 in this case) should have their MUTE/ALT 3-4 buttons out or you will get feedback. Ouch!
Onyx 1620 Computer Recording
8 |
ONYX 1620 |
Electric Guitar
Vocal Mics
Stereo Guitar Effects
Keyboard or other
line level input
Drum
Mics
In (record)
Submixer for Drums
Headphones
Bass Guitar |
Electric Guitar |
1 |
1 |
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1 |
In Mono Compressor |
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Out Stereo Compressor |
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MONOL |
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RETURNS |
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OUT RECORDING |
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FIREWIRE (OPTION)
Manual s’Owner
Powered |
Powered |
Studio Monitors |
Studio Monitors |
for Control Room |
for Studio |
Laptop Computer
The optional FireWire card provides a digital direct output for each channel, tapped after the GAIN control but before the EQ controls, as well as the L-R Mix. Two tracks can be returned to the Onyx from the computer for playback monitoring in the Control Room Outputs, or mixdown to two tracks at the TAPE OUT.
Onyx 1620 Recording with FireWire to a Laptop
Owner’s Manual |
9 |
1620 |
Onyx 1620 Features |
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Channel Strips |
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ONYX |
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There are two kinds of channel strips on the Onyx 1620: |
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Mono and Stereo. The mono channel strips (channels |
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inputs so you can connect a guitar directly to the mixer. |
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right. The stereo path is maintained |
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XDR MIC P |
RE |
throughout the channel strip, sharing |
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the channel’s controls (the controls |
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work on both left and right signals at |
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the same time). |
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20 U |
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EQ |
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400 |
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MAX |
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PAN
L R
Mono Channel
1. MIC Input (Channels 1-8)
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. The microphone preamps feature our new Onyx design, with higher fidelity and headroom rivaling any standalone mic preamp on the market today.
The XLR inputs are wired as follows: Pin 1 = Shield or ground Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)
2.HI-Z Instrument Input (Channels 1-2)
This is a 1/4" connector, which accepts an unbalanced instrument-level input signal from a high-impedance instrument like a guitar.
3. LINE Input (Channels 3-16)
This is a 1/4" TRS connector, which accepts a balanced or unbalanced line-level input signal from almost any source.
When connecting a balanced signal to the LINE inputs, wire them as follows:
Tip = Positive (+ or hot) Ring = Negative (– or cold) Sleeve = Shield or ground
When connecting an unbalanced signal, wire them as follows:
Tip = Positive (+ or hot) Sleeve = Shield or ground
10 |
ONYX 1620 |
Note: For the stereo channels 9-16, if a signal is plugged into the LEFT (MONO) side and nothing is plugged into the RIGHT side, the signal is automatically connected to both LEFT and RIGHT sides. This is called jack normalling. As soon as something is plugged into the RIGHT side, the normalled connection is broken and the LEFT and RIGHT inputs become stereo inputs (LEFT goes to the LEFT MAIN OUT and RIGHT goes to the RIGHT MAIN OUT).
4. MIC/HI-Z Switch
Channels 1 and 2 have an extra button for switching between the MIC and HI-Z inputs. When the button
is out (MIC), the XLR MIC input is used and the HI-Z input is disconnected. When the button is pushed in (HI-Z), the 1/4" HI-Z input is used and the XLR MIC input is disconnected. The input stage of the HI-Z inputs is specially designed for the high-impedance pickups on guitars.
Plugging a guitar into a lower-impedance
line input (like those on channels
3-16) 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, 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.
5. Low-Cut Switch (Channels 1-8)
The Low-Cut switch, often referred to as a high-pass filter, cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use the Low-Cut filter on every microphone application except kick drum, bass guitar, bassy synth patches, or record-
ings of earthquakes. 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 the Low-Cut filter can help reduce the possibility of feedback in live situations and it helps to conserve the amplifier power.
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