Mackie 1220i User Manual

12-Channel Premium Analog Mixer

with FireWire

QUICK START GUIDE

12

M

I

C

X

Y

P

N

O

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

48V 48V 48V 48V

U

203040

60

U

+40dB

-20dB

SEND

PRE POST

U

HIGH

+15

-15

1k

100 8k

U

+15

-15

U

LOW

+15

-15

AUX

OO

MAX

OO

MAX

PAN

R

L

M

I

C

X

Y

1

N

O

U

203040

U

+40dB

-20dB

SEND

U

+15

-15

1k

100 8k

U

+15

-15

U

+15

-15

60

P

R

LINE

PRE POST

HIGH

12kHz

LOW

EQ

FREQ

MID

E

2

LINE

HI-Z

80Hz

R

E

LINE HI-Z

GAIN GAIN GAIN GAIN

EQ

12kHz

FREQ

MID

80Hz

AUX

1

2

1

OO

MAX

2

OO

MAX

PAN

R

L

X

Y

N

O

75Hz

18dB/OCT

U

203040

U

+40dB

-20dB

SEND

U

+15

-15

1k

100 8k

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

3

M

I

C

P

R

E

3

LINE

60

PRE POST

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

1

2

PAN

R

X

Y

N

O

75Hz

18dB/OCT

U

203040

U

+40dB

-20dB

SEND

U

+15

-15

1k

100 8k

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

CTRL - RM OUT

4

M

I

C

P

R

BAL/UNBAL

E

LRLR

MAIN OUT

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

TAPE

L

IN

R/4L/3

OUT

R

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

LINE

4

(MONO)

BAL/UNBAL BAL/UNBAL BAL/UNBAL

LLL

(MONO)(MONO)

RRR

U

60

PRE POST

HIGH

EQ

12kHz

FREQ

MID

LOW

80Hz

SEND

-15

+20dB-20dB

U

+15

U

+15

U

+15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

U

GAIN GAIN GAIN GAIN

PRE POST

HIGH

AUX

PAN

EQ

12kHz

MID

2.5kHz

LOW

80Hz

+20dB-20dB

SEND

U

+15

-15

U

+15

-15

U

+15

-15

1

OO

MAX

2

OO

MAX

R

L

PRE POST

EQ

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

PAN

+20dB-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

2

1

OO

MAX

2

OO

MAX

PAN

R

L

(MONO)

BAL/UNBAL

U

+20dB-20dB

SEND INPUT

U

HIGH

+15

-15

U

+15

-15

U

LOW

+15

-15

AUX

OO

MAX

OO

MAX

PAN

R

L

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

LINE FW 1-2

12kHz

MID

2.5kHz

OO

CONTROL

ROOM

80Hz

1

PRE POST

2

PRE POST

FW 1-2

SOURCE

MAIN MIX

TAPE

ASSIGN TO

MAIN MIX

MAX

SEND

OO

w/ PERKINS EQ & FIREWIRE

ALT 3-4

OO

MAX

PHONES

AUX MASTER

1

+15

RTN TO

AUX1

2

+15

0dB=0dBu

LR

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

RETURN

OO

+10

OO

+10

POWER

CLIP

LEVEL

SET

1

2

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

2 3 4 7-85-6

9-10 11-12

DESTINATION

PHONES

MIC

OO

LEVEL

dB 10

5

MAX

AUX

1-2

U

5

10

20

30

40 50 60

OO

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

TALKBACK

MAIN MIXTALKBACK

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 a 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 ampliﬁ ers) 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 ﬁ t 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 speciﬁ ed by the manufacturer.

12.

Use only with a cart, stand, tripod, bracket, or

table speciﬁ ed by the manufacturer, or sold with

PORTABLE CART

WARNING

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 qualiﬁ ed 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 ﬁ lled 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 ﬁ re 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.

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 modiﬁ cations 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 Com mu ni ca tions.

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 com mu ni ca tions 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 sufﬁ ciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁ ed 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:

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.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

2 Onyx 1220i

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

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.

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 ofﬁ ce, waste authority, or your household waste disposal service.

Duration, per day in hours

8 90 Duo in small club 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Woody and Anita screaming about

0.5 110

0.25 or less 115 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

deadlines

WARNING — To reduce the risk of ﬁ re or electric shock, do not

expose this apparatus to rain or moisture.

Introduction

Set the levels

It’s not even necessary to hear what you’re doing to set

Thank you for choosing a lovely Mackie Onyx 1220i professional compact mixer. It has built-in FireWire, 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 www.mackie.com.

Setup

Use the mixer in a nice clean and dry environment,

free from dryer lint and dust bunnies.

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.

6. Repeat steps 2 to 5 for the remaining channels.

7. Turn up a channel fader to the "U" mark.

8. Slowly turn up the main mix fader until you hear the signals in your speakers or

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 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 TRS 1/4" plug.

any

headphones.

9. If needed, apply some channel EQ wisely.

10. Adjust the channel levels to get the best mix. Keep the gain controls and faders 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 15 for details of getting started with FireWire. PC drivers are on the supplied CD-ROM. Mac OS X contains built-in drivers.

CONTENTS

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

INTRODUCTION ...................................................... 3

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 the need for a DI box. Press a hi-z switch if you connect a guitar directly.

6. The insert jacks of channels 1 to 4 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 ampliﬁ er (with speakers already attached) or to the line-level inputs of powered speakers.

FEATURES ............................................................... 4

SETTING UP A SYSTEM ............................................ 6

MICROPHONES ....................................................... 8

LINE-LEVEL SOURCES AND GUITARS ......................... 9

AUX 1 AND AUX 2 ................................................ 10

CONTROL ROOM/PHONES/METERS ...................... 11

MAIN MIX ............................................................ 12

ALT 3-4 ............................................................... 13

TALKBACK ............................................................ 14

FIREWIRE ............................................................. 15

TECHNICAL INFORMATION .................................... 18

TRACK SHEET ........................................................ 20

BLOCK DIAGRAM .................................................. 22

MACKIE LIMITED WARRANTY ................................ 23

Quick Start Guide 3

Features

REAR PANEL

1. AC POWER CONNECTION

2. POWER SWITCH

3. FIREWIRE CONNECTIONS

4. MAIN MIX XLR OUTPUTS

5. MAIN OUTPUT LEVEL (+4 dB/MIC)

6. AUX SEND 1 AND 2

7. AUX RETURN 1 AND 2

8. INSERT (CH. 1-4)

CONNECTION SECTION

9. MIC INPUTS

10. MONO LINE INPUTS (CH. 1-4)

11. STEREO LINE INPUTS (CH. 5-12)

12. CONTROL-ROOM OUTPUTS

13. MAIN MIX 1/4" OUTPUTS

27. MID EQ LEVEL (CH. 5-12)

28. LOW EQ LEVEL

29. AUX SEND 1 AND 2 LEVEL

30. PAN CONTROL

31. MUTE/ALT 3-4 SWITCH

32. –20 AND OL LEDS

33. CHANNEL FADER

34. SOLO SWITCH

MASTER SECTION

35. CONTROL ROOM SOURCE: MAIN MIX

36. CONTROL ROOM SOURCE: TAPE, FW 1-2, ALT 3-4

37. ASSIGN CONTROL ROOM SOURCE TO MAIN MIX

38. CONTROL ROOM LEVEL

39. PHONES LEVEL

40. LEFT/RIGHT LEVEL METERS

14. ALT 3-4 OUTPUTS

15. TAPE INPUTS

16. TAPE OUTPUTS

17. HEADPHONE OUTPUT

CHANNEL CONTROLS

18. HI-Z SWITCH (CH. 1 AND 2 ONLY)

19. LOW CUT SWITCH (CH.1-4 ONLY)

20. 48V PHANTOM POWER (MIC ONLY)

21. GAIN CONTROL

22. SEND FIREWIRE PRE/POST EQ

23. CH.11-12 INPUT (LINE OR FW 1-2)

24. HIGH EQ LEVEL

25. MID EQ FREQUENCY (CH. 1-4)

26. MID EQ LEVEL (CH. 1-4)

41. RUDE SOLO LIGHT

42. AUX MASTER SEND 1 AND 2 LEVELS

43. AUX SEND PRE/POST SWITCH

44. AUX MASTER RETURN 1 AND 2 LEVELS

45. AUX RETURN AUX 2 TO AUX1

46. POWER LED

47. TALKBACK MICROPHONE

48. TALKBACK LEVEL

49. TALKBACK DESTINATION: PHONES, AUX 1-2

50. TALKBACK ON SWITCH

51. MAIN MIX FADER

POWER

FIREWIRE

3

1 2

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 ranging from 100 VAC to 240 VAC.

any AC voltage

MAIN OUTPUT

4 Onyx 1220i

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

MAIN OUT

LEVEL

BALANCED

4

5

+4dB

AUX SEND

LR

MIC

1

BAL/UNBAL

2

6

CHANNEL INSERT

43

AUX RETURN LRLR

21

BAL/UNBAL

2

1

8

7

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.

9

12

M

I

C

X

Y

P

R

N

E

O

M

I

C

X

Y

N

O

3

M

I

C

X

P

R

E

Y

P

R

N

E

O

M

I

C

X

Y

P

R

N

E

O

4

CTRL - RM OUT

BAL/UNBAL

12 13 14

LRLR

MAIN OUT

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

15 16

TAPE

L

IN

R/4L/3

OUT

R

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

10 18

19

21

22

24

25

26

28

29

1

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE

HI-Z

48V 48V 48V 48V

20

U

20

U

-20dB

SEND

-15

100 8k

30

40

GAIN GAIN GAIN GAIN

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

20

U

-20dB

SEND

-15

100 8k

30

1k

MID

+15

-15

U

+15

-15

LOW

80Hz

-15

AUX

1

OO

MAX

OO

2

OO

MAX

OO

PAN

U

+40dB

+15

MAX

40

60

LINE

PRE POST

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

PAN

2

3

LINE

HI-Z

75Hz

18dB/OCT

30

U

20

40

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

2

OO

1

MAX

2

MAX

PAN

75Hz

18dB/OCT

U

20

U

-20dB

SEND

-15

100 8k

-15

OO

30

U

1k

U

+40dB

+15

MAX

40

60

PRE POST

LINE

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

1

2

PAN

4

(MONO)

BAL/UNBAL BAL/UNBAL BAL/UNBAL

11

U

GAIN GAIN GAIN GAIN

SEND

-15

OO

U

+20dB-20dB

+15

27

+15

MAX

PRE POST

EQ

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

PAN

1

2

SEND

-15

OO

+20dB-20dB

PRE POST

U

EQ

HIGH

12kHz

+15

U

MID

2.5kHz

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

SEND

-15

OO

U

L

(MONO)

BAL/UNBAL

R

PREMIUM ANALOG MIXER

w/ PERKINS EQ & FIREWIRE

CTRL ROOM/PHONES

SOURCE

17

0dB=0dBu

LLL

(MONO)(MONO)

RRR

U

LR

CLIP

+20dB-20dB

PRE POST

U

EQ

HIGH

12kHz

+15

U

MID

2.5kHz

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

OO

MAX

OO

MAX

PAN

1

2

23

38

CONTROL

43

FW 1-2

OO

ROOM

PRE POST

MAIN MIX

TAPE

ASSIGN TO

MAIN MIX

MAX

SEND

OO

42

OO

35

36

ALT 3-4

37

39

OO

MAX

PHONES

AUX MASTER

45

1

+15

RTN TO

AUX1

2

+15

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

RETURN

OO

44

OO

40

LEVEL

SET

41

1

+10

2

+10

30

31

33

34

R

L

R

L

R

L

R

L

R

L

R

L

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

32

OL

-

20

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

dB 10

5

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

2 3 4 7-85-6

9-10 11-12

46

L

ALT 3/4

R

POWER

47

48

DESTINATION

PHONES

MIC

OO

LEVEL

MAX

AUX

1-2

dB 10

5

U

51

5

10

20

30

40 50 60

OO

dB 10

5

OL

-

20

U

OL

5

-

20

10

20

30

49

40 50 60

OO

50

TALKBACK

MAIN MIXTALKBACK

Quick Start Guide 5

Setting up a system

Microphones

Electric

Guitar

Bass

Guitar

iPod Docking Station

HD1531 Po w e r ed Speaker Main Right

HD1801

Po w e r ed

Subwoofers

Amplifier

Modeler

Drum

Machine

press HI-Z

button

12

M

I

C

X

Y

P

R

N

E

O

M

I

C

X

Y

P

R

N

E

O

CTRL - RM OUT

3

4

M

I

C

X

Y

P

R

N

E

O

LRLR

1

LINE2LINE

LINE

HI-Z

18dB/OCT

48V 48V 48V 48V

U

203040

U

-20dB

SEND

U

-15

1k

100 8k

U

-15

U

-15

OO

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

203040

GAIN GAIN GAIN GAIN

60

U

-20dB

+40dB

-20dB

+40dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

+15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

234 7-85-6

1

4

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

U

+15

1k

U

+15

U

+15

OO

MAX

OO

MAX

L

ALT 3/4

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

U

100 8k

U

-15

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

LR

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

SEND

-15

OO

LR

ALT 3/4

(MONO)(MONO)(MONO)

U

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

LR

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBALBAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

GAIN GAIN GAIN GAIN

+20dB-20dBU+20dB-20dB

PRE POST

EQ

HIGH

12kHz

+15

MID

2.5kHz

+15

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

9-10 11-12

ALT 3-4 OUT

L

LLL

(MONO)

R

RRR

U

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

LR

BAL/UNBALBAL/UNBAL

R/4L/3

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

FW 1-2

OO

CONTROL

ROOM

PRE POST

SOURCE

MAIN MIX

ASSIGN TO

MAIN MIX

TAPE

SEND

OO

IN OUT

ALT 3-4

MAXOOMAX

PHONES

AUX MASTER

1

+15

2

+15

TAPE

L

R

w/ PERKINS EQ & FIREWIRE

0dB=0dBu

LR

RUDE SOLO

RETURN

OO

RTN TO

AUX1

OO

POWER

CLIP

20

15

10

6

3

0

2

LEVEL

SET

4

7

10

20

30

Aux Send 1 in PRE mode for stage monitors

1

+10

2

+10

Aux Send 2 in POST mode

Headphones

Keyboard

HD1531

Po w e r ed

Speaker

Main Left

for external processor

ALT 3/4

MIC

dB 10

5

U

OL

5

-

20

10

DESTINATION

20

30

PHONES

40 50 60

OO

TALKBACK

LEVEL

TALKBACK

dB 10

5

U

OO

MAX

5

10

20

30

AUX

40

1-2

50 60

OO

MAIN MIX

Send

Return

Compressor (Vocals)

Send

Return

Compressor (Vocals)

Send

HD1801

Po w e r ed

Subwoofers

Return

Dynamics Processor (Bass)

Laptop Computer

with audio

production software

FIREWIRE

POWER

MAIN OUTPUT

LEVEL

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE

MAIN OUT

AUX SEND

BALANCED

1

LR

BAL/UNBAL

2

+4dB

MIC

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

2

AUX RETURN

BAL/UNBAL

LRLR

21

1

Digital Delay

(Aux Send 2)

Return

Send

Mackie SRM450v2 Powered Speakers

(Stage Monitors) Aux Send 1

This diagram shows an electric guitar connected to the channel 1 line iput input via an ampliﬁ er modeller, a bass guitar connected directly to channel 2 (hi-z switch in), microphones connected to channel 3 and 4 mic inputs, a drum machine connected to channel 5-6 stereo line inputs, and a keyboard connected to channel 11-12 stereo line inputs. An iPod dock connects to the tape input.

A dynamics processor is connected to the insert jack of channel 2 to work its magic on your bass. Vocal compressors are connected to the channel 3 and 4 inserts.

A delay processor receives a mono input from aux 2 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 1 send jack (in pre-fader mode). Headphones are used to monitor 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 a FireWire port, allowing the 2-channel main mix, individual channels, and the aux sends to be recorded. Two channels can be played back from your audio production software. These can enter as either a source for the control room and phones, or channels 11 and 12.

Typical Club System

6 Onyx 1220i

Electric

Guitar

Keyboard

Electronic

Drum Kit

Bass

Guitar

press HI-Z

buttons

Acoustic

Guitar

Studio

Microphone

mic’d up

12

M

I C

X

Y

P

R

N

E

O

1

LINE2LINE

LINE

HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

3

M

I

C

X

Y

P

R

N

E

O

3

LINE

HI-Z

75Hz

18dB/OCT

U

203040

U

-20dB

SEND

-15

100 8k

-15

U

OO

L

ALT 3/4

203040

60

U

-20dB

+40dB

-20dB

+40dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

U

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

2 3 4 7-85-6

M

I C

X

Y

P

R

N

E

O

LINE

75Hz

U

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

OO

MAX

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

CTRL - RM OUT

4

BAL/UNBAL

LRLR

4

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBALBAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

+20dB-20dBU+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

LR

ALT 3/4

1

OO

MAX

2

OO

MAX

PAN

LR

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

1

2

OL

-

20

MAIN OUT

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)(MONO)(MONO)

U

+20dB-20dB

SEND

PRE POST

U

+15

-15

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

LR

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

9-10 11-12

Mackie

HR824mk2

Powered Reference

Monitors for Control Room

CD Player

Engineer’s

ALT 3-4 OUT

LLL

(MONO)

RRR

U

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

LR

BAL/UNBALBAL/UNBAL

L

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

CONTROL

1

PRE POST

2

PRE POST

TAPE

L

IN OUT

R

R/4L/3

w/ PERKINS EQ & FIREWIRE

TAPE

SEND

OO

ALT 3-4

PHONES

AUX MASTER

1

+15

2

+15

0dB=0dBu

LR

CLIP

20

15

10

6

3

0

2

LEVEL

SET

4

7

10

20

30

MAXOOMAX

RUDE SOLO

RETURN

1

OO

+10

RTN TO AUX1

2

OO

+10

POWER

press FW 1-2 button ( )

to pass FW 1-2 computer

output into channels 11-12

SOURCE

MAIN MIX

FW 1-2

ASSIGN TO

MAIN MIX

OO

ROOM

Headphones

Keyboard

ALT 3/4

MIC

dB 10

5

U

OL

5

-

20

10

20

30

PHONES

40 50 60

OO

TALKBACK

LEVEL

DESTINATION

TALKB A C K

dB 10

5

U

OO

MAX

5

10

20

30

AUX

40

1-2

50 60

OO

MAIN MIX

Return

Send

Compressor (Vocals)

Send

Dynamics Processor (Bass)

Computer with

audio production

software

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

FIREWIRE

POWER

MAIN OUTPUT

LEVEL

MAIN OUT

BALANCED

LR

+4dB

MIC

AUX SEND

BAL/UNBAL

1

2

CHANNEL INSERT

43

2

AUX RETURN

BAL/UNBAL

LRLR

21

1

Return

Send

Multi FX Processor (Guitar)

Headphones

Headphone Amp

This diagram shows an electric guitar connected directly to the channel 1 input (hi-z switch in), a bass guitar connected directly to channel 2 (hi-z switch in), an acoustic guitar microphone connected to channel 3 mic input, a studio mic connected to channel 4 mic input, an electronic drum set connected to channel 5-6 stereo line inputs, a keyboard connected to channel 7-8 stereo line inputs, a keyboard mono output connected to channel 9 (left input). A CD player connects to the tape input.

A multi-FX processor is connected to the insert jack of channel 1 to work its magic on your guitar. A dynamics processor is connected to the insert jack of channel 2 for your bass. A compressor is connected to the insert jack of channel 4 for your vocals.

Mackie HR824mk2 powered reference monitors are used for your control room listening. The engineer's headphones are used to monitor levels. Aux 2 is set up to provide the feed to a headphone ampliﬁ er and your band's headphones.

A desktop computer connects to a 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.

Mixer channels 11-12 can play the 2-channel signals from your computer if the FW 1-2 switch at the top of the 11-12 channel strip is engaged. Aux 1 and 2 can be sent via FireWire to a software effects plugin. (In the case above, aux 2 is used for the headphone amp.)

Typical Recording System

Quick Start Guide 7

Microphones

Connect your microphones to the female XLR connectors on mono channels 1-4. The microphone preamps feature our Onyx design, with super high ﬁ delity and headroom. Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs.

Microphone-level signals are passed through these splendid microphone preampliﬁ ers to become line-level

INSERTS

Channels 1-4 have insert jacks on the rear panel. These 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 beneﬁ t 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

signals.

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) micro phones, 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.

LOW CUT

Mono channels 1-4 each have a low-cut switch (often referred to as a high-pass ﬁ lter) that cuts bass frequencies below 75 Hz. This will reduce the thumps and bangs due to stage noise and rumble, and mic

The gain controls allow you to set your input signals to an optimum level: not so hot that the mixer is overloaded, and not so low that the signal is lost in noise. For a signal entering the XLR mic inputs, the adjustment range is from 0 to 60 dB. Use the following procedure for setting the gain just right:

1. Press the solo switch at the bottom of the channel your microphone is connected to. The rude solo light will ﬂ ash 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.

handling.

We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches.

Using the low cut switch also allows you to add some bass EQ to your vocals without boosting the really-low lows.

EQUALIZATION

Mono channels 1-4 have a 3-band EQ, with shelvinglow, shelving-high and peaking-mid. The frequency of the mid can be adjusted from 100 Hz to 8 kHz.

This loving attention to detail in the mid EQ section is ideal for vocal equalization, so you might consider using channels 1 to 4 for your main vocal microphones.

5. During a performance, if you notice that the OL

XLR Mic

Inputs

Low Cut

48V

Gain

EQ

(overload) LED comes on next to the channel fader, carefully decrease the gain until OL no longer comes on.

U

+20dB-20dB

U

+15

U

+15

U

+15

MAX

R

AUX SEND

(MONO)(MONO)

PRE POST

EQ

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

PAN

BAL/UNBAL

LLL

RRR

1

2

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

1

2

21

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

R/4L/3

L

(MONO)

BAL/UNBAL

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

U

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

HIGH

12kHz

FW 1-2

+15

-15

U

MID

2.5kHz

+15

-15

OO

CONTROL

U

ROOM

LOW

80Hz

+15

-15

AUX

1

PRE

OO

MAX

POST

2

PRE

OO

MAX

POST

PAN

R

L

AUX RETURN

BAL/UNBAL

LRLR

SOURCE

MAIN MIX

TAPE

ALT 3-4

ASSIGN TO

MAIN MIX

PHONES

SEND

OO

+15

OO

+15

2

IN

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

AUX MASTER

1

RTN TO

AUX1

2

TAPE

L

R

0dB=0dBu

LR

RUDE SOLO

RETURN

OO

POWER

1

Inserts

OUT

CLIP

20

15

10

6

3

0

2

LEVEL

SET

4

7

10

20

Level

30

Set

1

+10

2

+10

POWER

12

M

U

203040

U

-20dB

SEND

-15

100 8k

-15

OO

L

M

I

C

X

Y

P

R

N

E

O

LINE

LINE HI-Z

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

FIREWIRE

3

E

3

1

2

75Hz

18dB/OCT

U

203040

U

-20dB

SEND

-15

100 8k

-15

OO

L

4

M

I

C

X

Y

P

R

N

E

O

4

LINE

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

R

MAIN OUT

BALANCED

LR

+4dB

MAIN OUTPUT

MIC

LEVEL

CTRL - RM OUT

LRLR

U

+20dB-20dB

SEND

U

+15

-15

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

8 Onyx 1220i

Solo

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

234 7-85-6

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

9-10 11-12

ALT 3/4

MIC

dB 10

5

U

OL

5

-

20

10

DESTINATION

20

30

PHONES

40 50 60

OO

TALKBACK

dB 10

5

U

OO

MAX

5

LEVEL

10

20

30

AUX

40

1-2

50 60

OO

MAIN MIXTALKBACK

Line-level Sources and Guitars

Connect your line-level sources to the 1/4" TRS line input connectors. Channels 1-4 have mono line inputs, and channels 5-12 are stereo. Each line 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 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 for example, 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.

The tape output is a copy of the main mix (post fader), suitable for analog recording, sending to the inputs of an external ampliﬁ er, or sound card etc.

SETTING THE LINE INPUT GAIN

The gain controls allow you to set your input signals to an optimum level: not so hot that the mixer is overloaded, and not so low that the signal is lost in noise. For a signal entering the TRS 1/4" line inputs, the adjustment range is -20 dB to +40 dB for channels 1-4, and -20 dB to +20 dB for channels 5-12. Use the following procedure for setting the gain just right:

1. Press the solo switch at the bottom of the channel your source is connected to. The rude solo light will ﬂ ash to remind you that the source playing in the control room,

LINE/HI-Z

Engage this switch if you want to connect guitars

directly to the 1/4" line inputs of channels 1 or 2.

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.

LOW CUT

Channels 1-4 have a low-cut switch that cuts bass frequencies below 75 Hz. The low cut switch affects the line and mic inputs.

EQUALIZATION

Mono channels 1-4 have a 3-band EQ, with shelvinglow, peaking-mid, and shelving-high controls. The mid frequency is adjustable from 100 Hz to 8 kHz.

Stereo channels 5-12 have a stereo 3-band EQ with shelving-low, peaking-mid, and shelving-high.

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.)

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

headphones, and the right main meter is the soloed channel.

2. Play your source 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 the gain is set correctly, disengage solo.

5. During a performance, if you notice that the OL (overload) LED next to the channel fader turns on, carefully decrease the gain until OL no longer comes on.

Stereo Line Inputs

Tape In/Out

Mono

Line

Inputs

Hi-z

Low Cut

Gain

EQ

Solo

12

M

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

M

I

C

X

Y

P

R

N

E

O

LINE

HI-Z

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

234 7-85-6

3

4

M

I

C

X

Y

P

R

N

E

O

4

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

CTRL - RM OUT

LRLR

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

+20dB-20dB

SEND

U

+15

-15

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

R

L

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)

GAIN GAIN GAIN GAIN

SEND

PRE POST

EQ

HIGH

12kHz

-15

MID

2.5kHz

-15

LOW

80Hz

-15

AUX

1

2

PAN

OL

-

20

OO

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND

SEND INPUT

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

+15

U

+15

OO

MAX

OO

MAX

R

L

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

9-10 11-12

U

+20dB-20dB

U

+15

U

+15

MAX

(MONO)

BAL/UNBAL

+15

R

dB 10

5

U

5

10

20

30

40 50 60

OO

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

L

R

LINE FW 1-2

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

1

2

PAN

OL

-

20

R/4L/3

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

SOURCE

MAIN MIX

TAPE

ALT 3-4

FW 1-2

ASSIGN TO MAIN MIX

OO

CONTROL

PHONES

ROOM

AUX MASTER

SEND

PRE

OO

+15

POST

PRE

OO

+15

POST

MIC

OO

MAX

LEVEL

DESTINATION

PHONES

TALKBACK

TAPE

L

IN OUT

R

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

1

RTN TO

AUX1

2

AUX 1-2

MAIN MIXTALKBACK

0dB=0dBu

LR

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

RETURN

OO

POWER

CLIP

LEVEL

SET

1

+10

2

+10

dB 10

5

U

5

10

20

30

40 50 60

OO

Tape

Level Set

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.

Quick Start Guide 9

Aux 1 and Aux 2

AUX SEND 1 and 2

The 1/4" TRS aux sends on the rear panel allow you to send balanced or unbalanced line-level outputs to external effects devices or stage monitors, independent of the main mix.

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 and FIREWIRE

The aux sends are always available as FireWire signals

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.

13 and 14 to send to a computer. For example, you can use your computer with audio production software and effects plugins, as an effects host. This substitutes wonderfully for an outboard hardware effects processor.

See page 16 for an example of setting up a software effects processor using the aux sends and FireWire. Performance will vary based on system hardware.

PRE or POST

The aux sends can either be pre channel fader or post channel fader, depending on the position of the pre/post switches in the aux master section.

For stage monitor work, use PRE, so the stage monitors do not increase in volume when the channel fader 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 ampliﬁ er, or powered speakers with their own ampliﬁ er.

For external processors, use POST. In this way, the feed to external processors will vary in level if the channel fader 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).

Modiﬁ cation: Pre-EQ Aux Sends

The pre-fader aux sends are post-EQ, so they are

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

AUX SEND

1

BAL/UNBAL

2

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND INPUT

PRE POST

U

EQ

HIGH

12kHz

+15

U

MID

2.5kHz

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

R

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

9-10 11-12

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

AUX RETURN

BAL/UNBAL

LRLR

21

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

R/4L/3

L

(MONO)

BAL/UNBAL

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

U

SOURCE

+20dB-20dB

MAIN MIX

LINE

TAPE

U

FW 1-2

HIGH

12kHz

FW 1-2

+15

-15

U

ASSIGN TO MAIN MIX

MID

2.5kHz

+15

-15

OO

CONTROL

U

ROOM

LOW

80Hz

+15

-15

SEND

AUX

1

PRE

OO

MAX

POST

2

PRE

OO

MAX

POST

PAN

R

L

ALT 3/4

MIC

dB 10

5

U

OL

OO

5

-

20

LEVEL

10

DESTINATION

20

30

PHONES

40 50 60

OO

TALKBACK

ALT 3-4

PHONES

AUX MASTER

+15

MAX

AUX

1-2

2

TAPE

IN

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

1

RTN TO

AUX1

2

L

R

MAIN MIXTALKBACK

1

0dB=0dBu

LR

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

RETURN

OO

POWER

Aux Returns

OUT

CLIP

LEVEL

SET

1

+10

2

+10

dB 10

5

U

5

10

20

30

40 50 60

OO

Aux 1 Aux 2

FIREWIRE

POWER

12

M

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

-15

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

3

M

I

C

X

Y

P

R

N

E

O

LINE HI-Z

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

R

dB

10

5

U

OL

5

-

10

20

30

40 50 60

OO

Y

P

R

N

E

O

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

234 7-85-6

MAIN OUT

BALANCED

MAIN OUTPUT

LEVEL

CTRL - RM OUT

4

BAL/UNBAL

M

I

C

X

P

R

E

LRLR

4

(MONO)

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

60

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

FREQ

MID

+15

LOW

80Hz

+15

AUX

1

2

PAN

R

dB 10

5

U

OL

5

-

10

20

30

40 50 60

OO

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

LR

+4dB

MIC

MAIN OUT

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

SEND

PRE POST

EQ

HIGH

12kHz

-15

MID

2.5kHz

-15

LOW

80Hz

-15

AUX

1

OO

2

OO

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

affected by the channel EQ controls. The circuit boards can be modiﬁ ed 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 modiﬁ cation can be done by an authorized service center. Contact our technical support chaps for details.

10 Onyx 1220i

Pre/Post

Aux Send Masters

Return to Aux 1

Aux Return Masters

Control Room/Phones/Meters

CONTROL ROOM OUTPUTS

The 1/4" TRS stereo control room outputs to run a separate sound system in a control room or a different zone.

Connect these outputs to the line-level inputs of an ampliﬁ er running passive studio monitors, or to the inputs of powered studio monitors.

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.

can be used

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

Assign to Main Mix

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.

SOLO

Whenever solo is engaged, all control room/ headphone 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.

• Tape

• Alt 3-4

• FW 1-2: The stereo FireWire 1-2 output 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).

Main Mix

Select main mix to listen to the main mix in the control room or headphones. The meters show the level after the main mix fader.

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.

Alt 3-4

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.

FW 1-2

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 ﬁ rst, as soloed channels may be loud.

Control Room

Outputs

12

M

I

C

X

Y

P

R

N

E

O

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

M

I

C

X

Y

P

R

N

E

O

1

U

203040

U

-20dB

SEND

-15

100 8k

-15

OO

L

ALT 3/4

LINE

LINE HI-Z

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

234 7-85-6

CTRL - RM OUT

3

4

M

I

C

X

Y

P

R

N

E

O

LRLR

4

3

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL

75Hz

18dB/OCT

U

203040

60

U

+20dB-20dBU+20dB-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

U

100 8k

U

+15

-15

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)

GAIN GAIN GAIN GAIN

SEND

PRE POST

EQ

HIGH

12kHz

-15

MID

2.5kHz

-15

LOW

80Hz

-15

AUX

1

OO

2

OO

PAN

L

ALT 3/4

OL

-

20

OO

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND

SEND INPUT

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

+15

U

+15

MAX

R

dB 10

5

U

5

10

20

30

40 50 60

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

9-10 11-12

U

+20dB-20dB

U

+15

U

+15

U

+15

MAX

ALT 3-4 OUT

(MONO)

BAL/UNBAL

LINE FW 1-2

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

PAN

R

dB 10

5

U

5

10

20

30

40 50 60

OO

1

2

BAL/UNBALBAL/UNBAL

L

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

FW 1-2

OO

CONTROL

ROOM

PRE POST

OL

-

20

PHONES

R/4L/3

SOURCE

MAIN MIX

TAPE

ASSIGN TO

MAIN MIX

SEND

OO

MIC

OO

LEVEL

DESTINATION

TALKBACK

IN OUT

ALT 3-4

PHONES

AUX MASTER

1

+15

2

+15

MAX

AUX

1-2

TAPE

L

R

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

RTN TO

AUX1

MAIN MIXTALKBACK

0dB=0dBu

LR

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

RETURN

OO

POWER

Headphones

CLIP

Control Room/ Phones Source

LEVEL SET

Assign to Main Mix Phones Level

1

+10

2

+10

dB 10

5

U

5

10

20

30

40 50 60

OO

Control Room Level

Select FW 1-2 to listen in the control room or headphones to the FireWire 1 and 2 audio streams coming from your computer. The meters will show the levels of the signals coming in from your computer.

Quick Start Guide 11

Main Mix

XLR MAIN OUTPUTS

The male XLR output connectors provide a balanced line-level 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 ampliﬁ ers, powered speakers, or serial effects processor (or 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.

MAIN OUTPUT LEVEL (+4 dB/MIC)

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 ampliﬁ ers, powered loudspeakers, or serial

MAIN MIX and FIREWIRE

The main mix can be sent to your computer via two dedicated Firewire signals. The output is not affected by the main mix fader, allowing you to record the main mix of live performances. The left main mix will appear on FireWire output channel 15, and the right on channel 16.

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.

processors. In a studio setting, you could connect the main mix to the inputs of a professional stereo recorder.

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.

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.

The switch is recessed, to reduce the chance of accidently turning it on or off when plugging things in.

FIREWIRE

POWER

MAIN OUTPUT

LEVEL

MAIN OUT

BALANCED

AUX SEND

1

LR

BAL/UNBAL

2

+4dB

MIC

XLR Main Outputs

Main Output Level +4dB/Mic

1/4" TRS Main Outputs Tape Out

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

2

AUX RETURN

BAL/UNBAL

LRLR

21

1

1/4" TRS MAIN OUTPUTS

These 1/4" TRS output connectors provide the balanced or unbalanced line-level output of the main mix. This is the same signal that appears at the XLR main outputs, except it is not affected by the main output level switch.

MAIN MIX FADER

This is the main stereo fader 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 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 faders. The

12

M

I

C

X

Y

P

R

N

E

O

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE

HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

M

I

C

X

Y

P

R

N

E

O

1

LINE

HI-Z

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

2 3 4 7-85-6

CTRL - RM OUT

3

4

M

I

C

X

Y

P

R

N

E

O

LRLR

4

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+20dB-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

U

100 8k

U

+15

-15

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)

BAL/UNBAL BAL/UNBAL BAL/UNBAL

GAIN GAIN GAIN GAIN

SEND

PRE POST

EQ

HIGH

12kHz

-15

MID

2.5kHz

-15

LOW

80Hz

-15

AUX

1

2

PAN

R

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

9-10 11-12

U

+20dB-20dB

SEND INPUT

U

+15

-15

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

ALT 3/4

BAL/UNBAL

R

dB 10

5

U

5

10

20

30

40 50 60

(MONO)

HIGH

LOW

AUX

PAN

OO

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

L

R

LINE FW 1-2

12kHz

MID

2.5kHz

80Hz

1

2

OL

-

20

CONTROL

R/4L/3

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

SOURCE

MAIN MIX

TAPE

ALT 3-4

FW 1-2

ASSIGN TO MAIN MIX

OO

PHONES

ROOM

AUX MASTER

SEND

PRE

OO

+15

POST

PRE

OO

+15

POST

MIC

OO

MAX

LEVEL

DESTINATION

AUX

PHONES

TALKBACK

IN

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

1

RTN TO

AUX1

2

1-2

TAPE

L

OUT

R

0dB=0dBu

LR

CLIP

20

15

10

6

3

0

2

LEVEL

SET

4

7

10

20

30

RUDE SOLO

RETURN

1

OO

+10

2

OO

+10

POWER

dB 10

5

U

Main Mix Fader

5

10

20

30

40 50 60

OO

MAIN MIXTALKBACK

main mix fader is then used to turn the complete main mix level up and down.

12 Onyx 1220i

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.

If you just want to mute the channels, then don't connect the alt 3-4 outputs to anything.

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

These 1/4" TRS jacks provide a balanced line-level signal that can provide an alternate stereo mix for recording or subgrouping.

Connect these outputs to the inputs of an ampliﬁ er, powered speaker, or recording device. If you want to think up some good uses for the alt 3-4 outputs then go ahead.

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 then added to the main mix with the control room "assign to main mix" switch.

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 outputs

alt 3-4 out.

Mute/Alt 3-4

switches

12

M

I

C

X

Y

P

R

N

E

O

M

I

C

X

Y

P

R

N

E

O

CTRL - RM OUT

3

4

M

I

C

X

Y

P

R

N

E

O

LRLR

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE

HI-Z

75Hz

18dB/OCT

48V 48V 48V 48V

U

203040

U

+40dB

-20dB

SEND

U

+15

-15

1k

100 8k

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

203040

GAIN GAIN GAIN GAIN

60

U

-20dB

+40dB

-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

234 7-85-6

1

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

4

3

LINE

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

1

MAX

2

MAX

PAN

R

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

75Hz

18dB/OCT

U

203040

U

-20dB

SEND

-15

100 8k

-15

OO

L

ALT 3/4

60

+40dB

PRE POST

U

+15

1k

U

+15

U

+15

MAX

R

dB 10

5

U

5

10

20

30

40 50 60

OO

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

+20dB-20dB

SEND

U

EQ

HIGH

12kHz

+15

-15

FREQ

U

+15

-15

MID

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

MAIN OUT

BAL/UNBAL

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

(MONO)

LLL

(MONO)(MONO)

RRR

U

GAIN GAIN GAIN GAIN

PRE POST

HIGH

LOW

AUX

PAN

OO

U

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

MID

2.5kHz

80Hz

1

2

OL

-

20

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

9-10 11-12

U

+20dB-20dB

SEND INPUT

U

+15

-15

U

+15

-15

U

+15

-15

OO

MAX

OO

MAX

L

ALT 3/4

BAL/UNBAL

R

dB 10

10

(MONO)

HIGH

2.5kHz

LOW

AUX

PAN

5

U

5

20

30

40 50 60

OO

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

L

R

LINE FW 1-2

12kHz

MID

80Hz

1

2

OL

-

20

CONTROL

R/4L/3

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

SOURCE

MAIN MIX

TAPE

ALT 3-4

FW 1-2

ASSIGN TO

MAIN MIX

OO

PHONES

ROOM

AUX MASTER

SEND

PRE

OO

+15

POST

PRE

OO

+15

POST

MIC

OO

MAX

LEVEL

DESTINATION

AUX

PHONES

TALKBACK

TAPE

L

IN OUT

R

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

1

RTN TO

AUX1

2

1-2

MAIN MIXTALKBACK

0dB=0dBu

LR

20

15

10

20

30

RUDE SOLO

RETURN

OO

POWER

Control Room/

CLIP

10

6

3

0

2

4

7

Phones Source Alt 3-4

LEVEL SET

Assign to Main Mix

1

+10

2

+10

dB 10

5

U

Main Mix Level

5

10

20

30

40 50 60

OO

Quick Start Guide 13

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.

When it is pressed in, the control room outputs are

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 ampliﬁ er feeding several sets of headphones.

It is ﬁ ne 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.

attenuated (ducked) to allow your voice to come through clearly.

TALKBACK LEVEL

Use the talkback level knob to control the level of the

signal from the internal microphone.

1. Start with this level turned down.

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.

3. Press the talkback switch as you talk.

4. Slowly turn the talkback level knob up until they can hear you in phones or monitors.

5. Release the talkback switch when you are ﬁ nished talking.

Once you have set the level, you can leave it there for

the duration of the session or gig.

POWER

12

M

U

203040

U

-20dB

SEND

-15

100 8k

-15

OO

L

M

I

C

X

Y

P

R

N

E

O

LINE HI-Z

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

Aux Sends

U

+20dB-20dB

U

+15

U

+15

U

+15

MAX

R

AUX SEND

(MONO)(MONO)

PRE POST

EQ

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

PAN

BAL/UNBAL

LLL

RRR

1

2

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

1

2

21

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

L

(MONO)

BAL/UNBAL

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

U

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

HIGH

12kHz

FW 1-2

+15

-15

U

MID

2.5kHz

+15

-15

OO

CONTROL

U

ROOM

LOW

80Hz

+15

-15

AUX

1

PRE

OO

MAX

POST

2

PRE

OO

MAX

POST

PAN

R

L

AUX RETURN

BAL/UNBAL

LRLR

R/4L/3

SOURCE

MAIN MIX

TAPE

ASSIGN TO MAIN MIX

SEND

OO

2

IN OUT

ALT 3-4

MAXOOMAX

PHONES

AUX MASTER

1

+15

RTN TO

2

+15

TAPE

L

R

w/ PERKINS EQ & FIREWIRE

0dB=0dBu

LR

20

15

10

20

30

RUDE SOLO

RETURN

OO

AUX1

OO

POWER

1

Headphones

CLIP

6

3

0

2

LEVEL SET

4

7

1

+10

2

+10

FIREWIRE

3

I

C

X

Y

P

R

N

E

O

3

LINE

75Hz

18dB/OCT

U

203040

U

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

L

MAIN OUT

BALANCED

MAIN OUTPUT

LEVEL

CTRL - RM OUT

4

BAL/UNBAL

M

I

C

P

R

E

LRLR

4

(MONO)

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

60

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

FREQ

U

MID

2.5kHz

+15

-15

MID

U

LOW

AUX

PAN

R

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

LR

+4dB

MIC

MAIN OUT

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

SEND

PRE POST

EQ

HIGH

12kHz

-15

MID

2.5kHz

-15

LOW

80Hz

-15

AUX

1

OO

2

OO

PAN

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

234 7-85-6

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

ALT 3/4

dB

10

5

U

OL

5

-

20

OO

20

10

20

30

40

50

60

OO

9-10 11-12

Built-in Microphone

Destination

Talkback Switch

ALT 3/4

MIC

dB 10

5

U

OL

5

-

20

10

DESTINATION

20

30

PHONES

40 50 60

OO

TALKBACK

dB 10

5

U

OO

MAX

5

LEVEL

10

20

30

AUX

40

1-2

50 60

OO

MAIN MIXTALKBACK

Talkback Level

14 Onyx 1220i

FireWire

FireWire Connections

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.

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.

INSTALLATION ON A PC:

1. Connect a FireWire cable from your mixer to a FireWire port on your computer.

2. Turn on your mixer.

3. The Windows application (XP or Vista) will start its "Found New Hardware" wizard.

4. In the details that follow, ignore any attempt to connect to Windows Update to ﬁ nd the software. Also ignore any warnings about the software not having passed Windows testing.

FW Pre or Post

FIREWIRE

POWER

12

M

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE

HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

-15

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

3

M

I

C

X

Y

P

R

N

E

O

LINE

HI-Z

U

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

dB 10

5

U

OL

5

-

10

20

30

40 50 60

OO

Y

P

R

N

E

O

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

234 7-85-6

MAIN OUT

BALANCED

MAIN OUTPUT

LEVEL

CTRL - RM OUT

4

BAL/UNBAL

M

I

C

X

P

R

E

LRLR

4

(MONO)

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

60

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

FREQ

U

MID

2.5kHz

+15

-15

MID

U

LOW

AUX

PAN

R

dB 10

5

U

5

10

20

30

40 50 60

OO

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

AUX SEND

LR

+4dB

MIC

MAIN OUT

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

9-10 11-12

BAL/UNBAL

OL

20

1

2

SEND INPUT

-15

OO

L

ALT 3/4

U

+20dB-20dB

U

+15

U

+15

U

+15

MAX

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

43

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

L

(MONO)

BAL/UNBAL

R

LINE FW 1-2

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

AUX

1

2

PAN

R

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

CHANNEL INSERT

2

1

AUX RETURN

BAL/UNBAL

LRLR

21

TAPE

L

IN OUT

R

R/4L/3

PREMIUM ANALOG MIXER

w/ PERKINS EQ & FIREWIRE

ALT 3-4

PHONES

AUX MASTER

1

+15

MAX

AUX

1-2

0dB=0dBu

LR

CLIP

20

15

10

6

3

0

2

LEVEL

SET

4

7

10

20

30

MAXOOMAX

RUDE SOLO

RETURN

1

OO

+10

RTN TO AUX1

2

OO

+10

POWER

dB 10

5

U

5

10

20

30

40 50 60

OO

MAIN MIXTALKBACK

CTRL ROOM/PHONES

SOURCE

MAIN MIX

TAPE

FW 1-2

ASSIGN TO

MAIN MIX

OO

CONTROL

ROOM

SEND

PRE

OO

POST

PRE

OO

POST

MIC

OO

LEVEL

DESTINATION

PHONES

TALKBACK

Headphones Line/FW 1-2

FW 1-2 Assign to

main mix

Aux master controls

Trust software from LOUD Technologies, Inc.

5. Select "Locate and install driver software that came with your device."

6. You will be prompted to insert the CD that came with your mixer. Do so.

7. Select "Install," and the driver software should be installed.

8. For Windows XP users, depending upon your conﬁ guration, repeat steps 1-7 if prompted to install a second driver.

9. In your audio software application, select and activate all the inputs from the mixer and the outputs to the mixer.

INSTALLATION ON A MAC:

1. Connect a FireWire cable from your mixer to a FireWire port on your Mac.

2. Turn on your mixer.

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.

7. In your audio software applications, select and activate the inputs from the mixer and outputs to the mixer.

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 1220i 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 for effects plug-in routing.

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.

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.).

• Left/right main mix. The left/right main mix at the FireWire output is not affected by the main mix fader (important for recording live).

Use FireWire to record a live performance directly

to your

computer, then mixdown to a stereo mix later. Or you can use it to turn your Onyx mixer into a highquality

computer audio interface for your DAW.

Quick Start Guide 15

FireWire also provides a return for two channels from

your computer to your mixer:

CONTROL ROOM FW 1-2

If this is engaged, you can listen to FireWire 1 and 2

• These can be routed through the control room/phones via the computer audio

the FW 1-2 button, to monitor

through your control room speakers or headphones (or through the main speakers if assign to main mix is selected).

• Alternatively, these same two channels can be routed through channels 11 and 12, and treated just 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. In this way, your stereo computer source can be used alongside the other channels as "just another source" in the band, such as a virtual instrument, or the output of a guitar going through amp-modelling software. This routing is done using the FW/line input selector switch on

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 your computer.

FireWire Connections

®

or other pre-recorded material from

channels 11/12.

• Note: Route the two channels from your computer through the control room/ headphones or through channels 11 and 12. Do not use both.

FIREWIRE PRE/POST

Each channel of the mixer can send a FireWire output to your computer or DAW. The FireWire output from each channel can be tapped before (pre) or after (post) the channel EQ. (The output is pre-fader.)

If you want the mixer EQ to affect the FireWire recording, then set this switch to post. This is useful in recording channels in a studio (where the recording includes the beneﬁ cial effect of our Perkins EQ).

If you would rather record the straight signals from a live performance, and EQ them later in your DAW, then set this switch to pre. This is good for live work, where you may have added EQ to adjust for the room, and yet not want this added to your recording.

FW Pre or Post

FIREWIRE

POWER

12

M

I

C

X

Y

P

R

N

E

O

1

LINE2LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LINE HI-Z

48V 48V 48V 48V

U

203040

GAIN GAIN GAIN GAIN

60

U

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

-15

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

3

M

I

C

X

Y

P

R

N

E

O

LINE

HI-Z

U

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

dB 10

5

U

OL

5

-

10

20

30

40 50 60

OO

Y

P

R

N

E

O

3

LINE

75Hz

18dB/OCT

U

203040

60

U

+40dB

-20dB

+40dB

-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

1k

FREQ

100 8k

U

MID

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

234 7-85-6

MAIN OUT

BALANCED

MAIN OUTPUT

LEVEL

CTRL - RM OUT

4

BAL/UNBAL

M

I

C

X

P

R

E

LRLR

4

(MONO)

LINE

BAL/UNBAL BAL/UNBAL BAL/UNBAL

U

GAIN GAIN GAIN GAIN

60

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

FREQ

MID

+15

LOW

80Hz

+15

AUX

1

2

PAN

R

dB 10

5

U

OL

5

-

10

20

30

40 50 60

OO

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

AUX SEND

LR

BAL/UNBAL

+4dB

MIC

MAIN OUT

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

LLL

(MONO)(MONO)

RRR

U

+20dB-20dB

SEND

PRE

POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

1

OO

MAX

2

OO

MAX

PAN

R

L

ALT 3/4

dB

10

5

U

OL

5

-

20

10

20

30

40

50

60

OO

9-10 11-12

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

CHANNEL INSERT

43

1

2

21

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

R/4L/3

L

(MONO)

BAL/UNBAL

R

PREMIUM ANALOG MIXER

CTRL ROOM/PHONES

U

+20dB-20dB

SEND INPUT

LINE

U

FW 1-2

HIGH

12kHz

FW 1-2

+15

-15

U

MID

2.5kHz

+15

-15

OO

CONTROL

U

ROOM

LOW

80Hz

+15

-15

AUX

1

PRE

OO

MAX

POST

2

PRE

OO

MAX

POST

PAN

R

L

ALT 3/4

dB 10

5

U

OL

5

-

20

10

DESTINATION

20

30

PHONES

40 50 60

OO

TALKBACK

AUX RETURN

BAL/UNBAL

LRLR

SOURCE

MAIN MIX

TAPE

ALT 3-4

ASSIGN TO MAIN MIX

PHONES

AUX MASTER

SEND

OO

+15

OO

+15

MIC

OO

MAX

LEVEL

2

TAPE

IN OUT

w/ PERKINS EQ & FIREWIRE

MAXOOMAX

1

RTN TO

AUX1

2

AUX

1-2

MAIN MIXTALKBACK

L

R

0dB=0dBu

LR

RETURN

POWER

1

Headphones Line/FW 1-2

CLIP

20

15

10

6

3

0

2

4

7

10

20

30

RUDE SOLO

OO

+10

OO

+10

LEVEL

SET

1

2

FW 1-2 Assign to

main mix

Aux master controls

dB

10

5

U

5

10

20

30

40 50 60

OO

INPUT (LINE or FW 1-2)

Channel 11 and 12 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 11 and 12 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.

16 Onyx 1220i

AUX SEND 1-2

Post-Fader FireWire Sends

A direct copy of the aux send 1 and 2 outputs can be sent 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, by pressing the post switch in the aux master section.

• Aux send FireWire outputs 13 and 14 are available for your computer.

• Pass this through your audio production software running effects plugins.

• Return the processed output to mixer channels 11 and 12 (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 post-EQ channel FireWire sends are pre-fader, but the circuit boards can be modiﬁ ed so that they are post-fader instead. This allows the channel fader to control the level of the FireWire sends from each channel.

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 plugin, and aux 2 go into a different one. The stereo outputs of both plugins are combined back into the stereo stream coming back to the mixer. Again, performance will vary based on system hardware.

MAIN MIX

The left and right main mix is always available on FireWire channels 15 and 16 to send to your computer. 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.

Modiﬁ cations:

The following FireWire modiﬁ cations 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 ﬁ nding an authorized service center in your area.

Post-Insert FireWire Sends

The pre-EQ channel FireWire sends are pre-insert, but the circuit boards can be modiﬁ ed 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.

Quick Start Guide 17

Technical Information

Speciﬁ cations

Noise Characteristics:

Equivalent Input Noise (EIN), mic input at insert, 150 Ω source impedance, 20 to 20 kHz:

60 dB (max) gain: -127 dBu 40 dB gain: -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:

-102 dBu (-106 dB SNR, ref +4 dBu)

Main Mix knob unity, channel Level knobs down:

-96 dBu (-100 dB SNR, ref +4 dBu)

Main Mix knob unity, channel Level knobs unity:

-93 dBu (-97 dB SNR, ref +4 dBu)

FireWire Through (Record + Playback) Dynamic Range: 0 dBu mic input, to DAW, routed back to mixer direct to Control Room, all gain stages unity, 20 Hz to 20 kHz:

44.1 kHz sample rate: -104 dB 96 kHz sample rate: -106.5 dB

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): 0.0015%

Mic input at insert (-36 dBu in, +40 dB gain, +4 dBu out): 0.017%

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: 0.01%, 10 Hz to 1 kHz

0.03%, 1 kHz to 47 kHz

Attenuation and Crosstalk:

@ 1 kHz relative to 0 dBu

Main Mix knob down: -85 dBu

Channel Alt/Mute switch engaged: -95 dBu

Channel Level knob down: -95 dBu

Common Mode Rejection Ratio (CMRR):

Mic input to insert, max gain, 1 kHz, 150 ohm termination:

-70 dB

Maximum Input Levels:

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 20kHz

-3 dB at 21 kHz

96 kHz sample rate: +/-0.5 dB, 20 Hz to 20 kHz

-3 dB at 45 kHz

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: +22 dBu

Equalization

Mono Channels

Low: ±15 dB at 80 Hz

Mid frequency: 100 Hz to 8 kHz

18 Onyx 1220i

Mid gain: ±15 dB

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

FireWire

Output Impedance:

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

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)

Input Impedance:

Mic input: 2.8 kΩ balanced

Hi-Z input: 1 MΩ unbalanced

Main XLR output: 100 Ω balanced

Phones output: 75 Ω

All other outputs: 300 Ω

AC Power Requirements:

Power Consumption: 30 Watts

Universal AC Power Supply: 100 VAC – 240 VAC, 50-60 Hz

Physical Dimensions and Weight

Height: 16.75 in/420 mm

Width 12.25 in/310 mm

Depth: 3.85 in/96 mm

Weight: 13.5 lb/6 kg

Options:

Rack Mount Kit

Mono channel line input: 30 kΩ balanced 15 kΩ unbalanced

Stereo Channel line input: 20 kΩ balanced 10 kΩ unbalanced

Dimensions

WEIGHT

13.5 lb 6 kg

3.85 in / 96 mm

3.85 in/ 96 mm

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 speciﬁ cations at any time without notice.

“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.

48V 48V 48V 48V

16.75 in / 420 mm

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL

-

20

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

-

20

-

20

12.25 in/ 310 mm

10 rack spaces

16.1 in / 408.7 mm

OL

-

20

OL

-

20

1.9 in / 47.7 mm

48V 48V 48V 48V

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL

-

20

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

-

20

19.0 in/ 482.6 mm

With Optional Rack Ear Kit

-

20

OL

-

20

Need help with your new mixer?

• Visit www.mackie.com and click Support to ﬁ nd: FAQs, manuals, addendums, and other useful information.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday, normal business hours, PST).

Quick Start Guide 19

Track Sheet

U

20

U

-20dB

SEND

-15

100 8k

-15

12

M

I

C

X

Y

P

R

N

E

O

M

I

C

X

Y

P

N

O

1

LINE

HI-Z

R

E

LINE

HI-Z

2

75Hz

18dB/OCT

3

M

I

C

X

Y

P

R

N

E

O

3

LINE

48V 48V 48V 48V

30

40

GAIN GAIN GAIN GAIN

60

+40dB

PRE POST

U

EQ

HIGH

12kHz

+15

1k

FREQ

U

MID

+15

U

LOW

80Hz

+15

AUX

U

20

U

-20dB

SEND

-15

100 8k

-15

30

U

1k

U

+40dB

+15

40

60

PRE POST

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

U

20

U

-20dB

SEND

-15

100 8k

-15

30

U

1k

U

+40dB

+15

40

60

PRE POST

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

75Hz

18dB/OCT

U

20

U

-20dB

SEND

-15

100 8k

-15

CTRL - RM OUT

4

M

I

C

X

Y

P

R

N

E

O

BAL/UNBAL

MAIN OUT

ALT 3-4 OUT

BAL/UNBALBAL/UNBAL

TAPE

L

IN OUT

LRLR

R/4L/3

R

LINE IN 9-10 LINE IN 11-12LINE IN 7-8LINE IN 5-6

30

1k

U

+40dB

+15

40

60

LINE

PRE POST

EQ

HIGH

12kHz

FREQ

MID

LOW

80Hz

AUX

4

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBALBAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

LLL

(MONO)(MONO)(MONO)

RRR

U

GAIN GAIN GAIN GAIN

+20dB-20dB

SEND

PRE POST

U

EQ

HIGH

12kHz

+15

-15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

AUX

SEND

-15

U

+20dB-20dB

PRE POST

U

EQ

HIGH

12kHz

+15

U

MID

2.5kHz

+15

U

LOW

80Hz

+15

AUX

SEND

-15

U

+20dB-20dB

SEND INPUT

PRE POST

U

EQ

HIGH

12k Hz

+15

U

+15

U

+15

MID

2.5kHz

LOW

80Hz

-15

AUX

L

(MONO)

R

PREMIUM ANALOG MIXER

U

+20dB-20dB

U

+15

U

+15

U

+15

CTRL ROOM/PHONES

LINE FW 1-2

HIGH

12kHz

MID

2.5kHz

LOW

80Hz

FW 1-2

OO

CONTROL

ROOM

AUX

SOURCE

MAIN MIX

TAPE

ASSIGN TO

MAIN MIX

MAX

SEND

w/ PERKINS EQ & FIREWIRE

ALT 3-4

OO

MAX

PHONES

AUX MASTER

0dB=0dBu

LR

CLIP

20

15

10

6

3

0

2

LEVEL

4

7

10

20

30

RUDE SOLO

RETURN

SET

1

OO

MAX

OO

2

OO

MAX

PAN

R

L

OO

L

MAX

1

OO

2

OO

PAN

R

L

MAX

1

OO

2

OO

PAN

R

L

MAX

1

OO

2

OO

PAN

R

L

MAX

1

OO

2

OO

PAN

R

L

MAX

1

OO

2

OO

PAN

R

L

MAX

1

OO

2

OO

PAN

R

L

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ALT 3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

dB 10

5

OL

-

20

U

5

10

20

30

40 50 60

OO

ALT 3/4

OL

-

20

MAX

1

PRE POST

2

PRE POST

1

OO

+15

RTN TO

AUX1

2

OO

+15

1

OO

+10

2

OO

+10

PAN

R

DESTINATION

PHONES

MIC

OO

LEVEL

MAX

AUX

1-2

dB

10

5

U

OL

5

-

20

10

20

30

40 50 60

OO

POWER

dB 10

5

U

5

10

20

30

40 50 60

OO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1

2 3 4 7-85-6

20 Onyx 1220i

9-10 11-12

TALKBACK

MAIN MIXTALKBACK

Track Sheet

• Session:

• Date:

• Notes:

Quick Start Guide 21

Block Diagram

A

L

R

Tape

Left

Bal

Bal/Unbal

Main level

Phones

Control

Right

Bal

Main Out

+4dBu

Mic level

Bal/Unbal

Tape

Alt out

Left/3

Right/4

Meter

LED

RUDE

SOLO

Room Out

L

C/R

level

Room

Control

dim

C/R

R

C/R

Solo logic

C/R Source

off

Alt3/4

Main

CD/Tape

C/R to Main

Firewire I/O

level

Phones

off

Firewire1-2 to C/R

Ch 11-12

FW 1-2 to

FW 15-16

Firewire

direct outs

Channel 1-12

outputs

FW 1-12

FW 13-14

Aux 1 level

Aux 1 Out

Aux 2 Out

Aux 2 level

Aux 1 sum

L sum

R sum

L

R

Alt R/4 sum

Alt L/3 sum

CD/Tape in

Solo sum

Aux 1

SoloLogic

Solo(PFL)

Aux 2 (post)

Aux 2 (pre)

ux 1 (post)

Aux 1 (pre)

R/4

Alt

L/3

R

Main

L

Main L/R

Alt 3/4

Pan

Aux Sends

Solo

Mod Pt

Alt 3/4

Pan

Solo

Level

PK

-20

Level

Mod Pt

HI

12K

MID

3-Band EQ

80 100~8K

LO

To FW

Pre

Post

PK

-20

Mod Pt

to Aux1

to Main L/R

Level

to Phones

Talkback Assign

Talkback

Aux 2 sum

post

pre

Aux 2

post

pre

SoloLogic Solo(PFL) Aux 2 (post) Aux 2 (pre) Aux 1 (post) Aux 1 (pre) R/4

Alt

L/3 R

Main

L

to Aux1-2

FW Tap

Mod Pt

Bypass

Low Cut

75Hz

HPF

-

+

-

+

Insert

Phantom

48V

Mic: 0 ~ +60dB

Gain

Line: -20 ~ +40dB

Hi-Z

Line

HI

MID

LO

3-Band EQ

HI

12K

MID

80 2.5K

LO

(Ch.11-12 only)

Line

FW

L

Mic

Mono

Line

Mic

Channels 1-4

Hi-Z

Line

Ch 1-2

(Ch.11-12 only)

Input from FW 1 ret

Stereo

To FW

Pre

Post

80 2.5K 12K

Gain

-20 ~ +20dB

R

5-12

Channels

FW Tap

Input from FW 2 ret

To FW

(Ch.11-12 only)

Level

L

Aux Return 1

L

R

Internal

Aux Return 2

Talkback mic

NOTE: Modifications (marked MOD above) must be undertaken by authorized LOUD service centers only

NOTE: Switches are shown in the default (out) position.

22 Onyx 1220i

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 ﬁ nd 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 Paciﬁ c 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 speciﬁ c 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, modiﬁ cation 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: sales@mackie.com

Mackie 1220i User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Safety Instructions

Features

Microphones

Line-level Sources and Guitars

Aux 1 and Aux 2

Control Room/Phones/Meters

Main Mix

Alt 3-4

Talkback

FireWire

Technical Information

Dimensions

Track Sheet

Block Diagram

Mackie Limited Warranty