Mackie 1620i User Manual

16-Channel Premium Analog Mixer

48V 48V 48V 48V 48V 48V 48V 48V

with FireWire

QUICK START GUIDE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

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.

CAUTION AVIS

RISK OF ELECTRIC SHOCK. DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)

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 1620i

RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL

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.

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:

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 at Troy

0.5 110

0.25 or less 115 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

about deadlines

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

expose this apparatus to rain or moisture.

Introduction

Thank you for choosing a lovely Mackie Onyx 1620i 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.

Zero the controls

1. Fully turn down all the knobs and faders 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.

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 8 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.

8. Engage the main mix switch in the control room/phones source selection, so the meters will show the main mix levels in the next steps.

any

Set the levels

It’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug in headphones and turn up the phones knob just a little.

1. Turn on the mixer's power switch.

2. Set the solo mode switch to PFL.

3. For one channel, press the solo switch in, and the rude solo light will turn on.

4. Play something into that input at real-world levels.

5. Adjust that channel's gain control until the right main meter stays around the 0 dB LED (marked "level set").

6. Disengage the channel's solo switch.

7. Repeat steps 3 to 6 for the remaining channels.

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

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

10. If needed, apply some channel EQ wisely.

11. Adjust the channel faders to get the best mix. Keep the gain controls and faders fully down on unused channels.

12. 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

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

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

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

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

AUX 1-4 ............................................................... 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 1-4

7. AUX RETURN 1-4

8. INSERT (CH. 1-8)

CONNECTION SECTION

9. MIC INPUTS (CH. 1-8)

10. MONO LINE INPUTS (CH. 1-8)

11. STEREO LINE INPUTS (CH. 9-16)

12. CONTROL-ROOM OUTPUTS

13. MAIN MIX 1/4" OUTPUTS

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 (CH. 1-8 ONLY)

20. 48V PHANTOM POWER (MIC ONLY)

21. GAIN CONTROL

22. SEND FIREWIRE PRE/POST EQ

23. CH. 15-16 INPUT (LINE OR FW 1-2)

24. HIGH EQ LEVEL

25. HIGH MID EQ FREQUENCY (CH. 1-8)

26. HIGH MID EQ LEVEL (CH. 1-8)

27. LOW MID EQ FREQUENCY (CH. 1-8)

28. LOW MID EQ LEVEL (CH. 1-8)

29. MID EQ LEVEL (CH. 9-16)

30. LOW EQ LEVEL

31. AUX SEND 1-4 LEVEL

32. PAN

33. MUTE/ALT 3-4 SWITCH

34. –20 AND OL LEDS

35. CHANNEL FADER

36. SOLO SWITCH

MASTER SECTION

37. CONTROL ROOM SOURCE: MAIN MIX

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

39. ASSIGN CONTROL ROOM SOURCE TO MAIN MIX

40. CONTROL ROOM LEVEL

41. PHONES LEVEL

42. LEFT/RIGHT LEVEL METERS

43. RUDE SOLO LIGHT

44. SOLO MODE SWITCH: PFL/AFL

45. AUX MASTER SEND 1-4 LEVELS

46. AUX SEND 1-4 PRE/POST SWITCHES

47. AUX MASTER RETURN 1-4 LEVELS

48. AUX RETURN 3 TO AUX 1 SWITCH

49. POWER LED

50. AUX SEND 1-2 TO FW 13-14 SWITCH

51. TALKBACK MICROPHONE

52. TALKBACK LEVEL

53. TALKBACK DESTINATION: PHONES, AUX 1-4

54. TALKBACK ON SWITCH

55. MAIN MIX FADER

56. ASSIGN MAIN MIX TO FW 15-16

AC POWER NOTES

1. AC POWER CONNECTION

This is a standard 3-prong IEC power connector. Connect the supplied detachable linecord to the power receptacle, and plug the other end of the linecord into an AC outlet. The mixer can accept

any AC voltage

ranging from 100 VAC to 240 VAC.

2. POWER SWITCH

Press the top of this rocker switch inwards to turn on the mixer. The front panel power LED will glow with happiness and the mixer will become fully operational.

4 Onyx 1620i

10 18 19 21 22

24 25 26

27 28 30

48V 48V 48V 48V 48V 48V 48V 48V

15 16

12 13 14

31 31

31 32

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

Quick Start Guide 5

Setting up a system

Microphones

Electric

Guitar

Bass

Guitar

iPod Docking Station

Headphones

Amplifier

Modeler

HD1531 Powered Speaker Main Right

HD1801 Po w e r e d

Subwoofer

Laptop Computer

with audio production

software

Drum

Machine

Mackie SRM450v2

Powered Speakers (Stage Monitors)

press HI-Z

button

Aux Send 1

48V 48V 48V 48V 48V 48V 48V 48V

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

press FW button ( ) to send FW 1-2 computer output into mixer channels 15-16

Keyboard

Set Aux 1, 2 PRE for monitors Set Aux 3, 4 POST for external processors

press FW button ( ) to send main mix to computer via FireWire channels 15 and 16

Send

Return

Compressor (Vocals)

Send

Return

Compressor (Vocals)

Send

Return

Dynamics Processor (Bass)

Reverb (Aux Send 3)

Powered Speaker

Subwoofer

Delay (Aux Send 4)

Main Left

HD1801 Po w e r e d

HD1531

SRM150

Powered Monitor

for keyboard player

(Aux Send 2)

This diagram shows an electric guitar connected to the channel 1 line input via an amp modeler, a bass guitar connected directly to channel 2 (hi-z switch in), microphones connected to channel 3-8 mic inputs, a drum machine connected to channel 9-10 stereo line inputs, and a keyboard connected to channel 11-12 stereo line inputs. An iPod dock connects to the tape input. Headphones are used to monitor levels.

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

A delay processor receives a mono input from aux 4 send (in post-fader mode), and its stereo outputs connect to the stereo aux 4 return inputs. A reverb processor receives a mono input from aux 3 send (in post-fader mode), and its stereo outputs connect to the stereo aux 3 return inputs.

An SRM150 powered speaker receives a mono input from aux 2 send (in pre-fader mode), and is used as a monitor for your keyboard player. SRM450v2 powered speakers are used as stage monitors for the band; they are connected to the aux 1 send jack (in pre-fader mode). The club is driven by connecting a pair of HD1801 powered subwoofers and a pair of HD1531 powered speakers to the main left and right outputs.

A laptop computer connects to a FireWire port, allowing the 2-channel main mix, and individual channels 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 15-16.

Typical Club System

6 Onyx 1620i

Electric

Guitar

Bass

Guitar

press HI-Z

buttons

Studio

Acoustic

Guitar

mic’d up

48V 48V 48V 48V 48V 48V 48V 48V

Microphones

Mackie

HR824mk2

Powered Reference

Monitors for Control Room

CD Player

Engineer’s Headphones

press FW button ( ) to send FW 1-2 computer output into mixer channels 15-16

Electronic

Drum Kit

Keyboard

Computer with audio production software

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

Digital Reverb (Aux Send 4)

press FW button ( ) to send Aux 1 and Aux 2 to computer via FireWire channels 13 and 14

press FW button ( ) to send main mix to computer via FireWire channels 15 and 16

Compressor (Vocals)

Headphone Amp (AUX Send 3)

Keyboard

Effects Processor (Acoustic)

Dynamics Processor (Bass)

Multi FX Processor (Guitar)

Headphones

This diagram shows an electric guitar connected directly to the channel 1 input (hi-z switch in), a bass guitar connected directly to channel 2 (hi-z switch in), an acoustic guitar mic connected to channel 3 mic input, studio mics connected to channel 4-8 mic inputs, an electronic drum set connected to channel 9-10 stereo line inputs, a keyboard connected to channel 11-12 stereo line inputs, a keyboard mono output connected to channel 13 (left/mono) 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 insert 2 for your bass, and an effects processor connects to insert 3 for your acoustic guitar. Compressors are connected to inserts 4-6 for your vocals.

Mackie HR824mk2 powered reference monitors are used for your control room listening. The engineer's headphones are used to monitor levels.

In this example, aux 3 is set up to provide the feed to a headphone ampliﬁ er and your band's headphones. Aux 4 feeds the input of a digital reverb, whose processed stereo outputs enter aux 4 returns, to be added to the main mix by adjusting the master return knob for aux 4.

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 15-16 can play the 2-channel signals from your computer if the FW 1-2 switch at the top of the 15-16 channel strip is engaged. Aux 1 and 2 (in post mode) can be sent via FireWire to software effects plugins if the Aux Send 1-2 to FW 13-14 switch is engaged in the aux master section.

Typical Recording System

Quick Start Guide 7

Microphones

Connect your microphones to the female XLR connectors on mono channels 1-8. 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 signals.

48V PHANTOM POWER

Press the 48V phantom power switch if your microphones need it.

Most modern professional condenser mics require 48 V 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 1-8 each have a low-cut switch that cuts bass frequencies below 75 Hz of the mic and line inputs. This will reduce any thumps and bangs due to stage noise and rumble, and mic handling.

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

SETTING THE MICROPHONE 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 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 ﬂ ashing rude solo light is a reminder that what you are listening to in the control room and headphones, and shown on the main right meter is the soloed channel.

2. Make sure the solo mode switch is in the PFL (pre-fader listen) position (out). This is just below the rude solo light.

3. Sing/talk/shout/scream into the microphone at typical loudness levels.

4. Adjust the channel gain control until the right main meter level is hovering around the 0 dB mark (labeled "level set").

5. Now that the gain is set correctly, disengage the solo switch.

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

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 1-8 have a 4-band EQ, with shelvinglow, shelving-high, and peaking-high-mid and low-mid. The frequency of the low-mid can be adjusted from 100 Hz to 2 kHz, and the high-mid from 400 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 1-8 for your main vocal microphones.

INSERTS

Channels 1-8 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. Use standard 1/4" TRS "insert" connectors, where tip=send, ring=return, and sleeve=ground.

8 Onyx 1620i

Gain

XLR Mic

Inputs

Low Cut

48V

OL Led

Solo

48V 48V 48V 48V 48V 48V 48V 48V

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

Inserts

Level Set

Solo Mode

+ 16 hidden pages