Mackie Onyx 2480, Onyx 3280, Onyx 4080, Onyx 4880 Owner's Manual
PREMIUM LIVE ANALOG MIXERS
w/PERKINS EQ & ONYX MIC PREAMPS
O W N E R ’ S M A N U A L
ONYX 80 SERIES
ONYX 80 SERIES
Important Safety Instructions
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specified by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.
13.
Unplug this apparatus during lightning storms or when unused for long
periods of time.
14.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
This Onyx mixer has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing con
-
nection (the third grounding prong).
16.
This Onyx mixer has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
17. This apparatus does not exceed the Class A/Class B (whichever is
applicable)
set out in the radio interference regulations of the Canadian Department
limits for radio noise emissions from digital apparatus as
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
radioélectrique édicté par les ministere des communications du Canada.
18.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially danger
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres
sure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duoinsmallclub
6 92
4 95 SubwayTrain
3 97
2 100 Veryloudclassicalmusic
1.5 102
1 105 TamiscreamingatAdrianaboutdeadlines
0.5 110
0.25orless 115 Loudestpartsatarockconcert
WARNING — To reduce the risk of fire or
electric shock, do not expose this apparatus
to rain or moisture.
-
-
Table of Contents
R
Introduction ................................................................................................................4
Getting Started ..........................................................................................................5
Zero the Controls .......................................................................................................................................5
Connections .................................................................................................................................................5
Set the Levels ..............................................................................................................................................5
Instant Mixing .............................................................................................................................................5
Hookup Diagrams .....................................................................................................6
Onyx 80 Series Features ........................................................................................10
Channel Strips ...........................................................................................................................................10
Auxiliary Section ......................................................................................................................................14
Group Section ...........................................................................................................................................16
Owner’s Manual
Metering, Matrix, and Power LEDs ......................................................................................................17
TALKBACK Section, MUTE GROUPS, and MONO OUT ..................................................................19
MAIN MIX and PHONES/MONITOR Section .................................................................................0
Rear Panel ...................................................................................................................................................1
Appendix A: Service Information ........................................................................5
Troubleshooting .......................................................................................................................................5
Repair .........................................................................................................................................................6
Appendix B: Connections ......................................................................................7
Appendix C: Technical Info ..................................................................................0
Onyx 80 Series Specications .............................................................................................................0
Onyx 80 Series Dimensions ...................................................................................................................
Onyx 80 Series Block Diagram .............................................................................................................
Onyx 80 Series Gain Structure Diagram ........................................................................................... 4
Onyx 80 Series Limited Warranty ......................................................................5
Don’t forget to visit our website at www.mackie.com for more
information about this and other Mackie products.
Part No. SW0598 Rev. B 01/08
©2005-2008 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
4
ONYX 80 SERIES
ONYX 80 SERIES
Introduction
Thank you for choosing a Mackie Onyx 80 Series
professional live mixing console. The Onyx 80 Series of
mixers feature all-new analog circuitry and the latest
technologies for live sound reinforcement in a durable,
road-worthy package.
The Onyx 80 Series mixing consoles come in four
sizes: the 24-channel Onyx 2480, 32-channel Onyx 3280,
40-channel Onyx 4080, and the flagship 48-channel Onyx
4880. The master section and channel strip configuration are the same for all four models, the only difference
being number of channels.
The Onyx 80 Series consoles are equipped with our
new premium precision-engineered studio-grade Onyx
mic preamps. Mackie is renowned for the high-quality
mic preamps used in our mixers, and the Onyx mic pre’s
are better than ever, with specifications rivaling expensive stand-alone mic preamplifiers.
Each mono channel strip features an individual phantom power switch, low-cut filter, polarity switch, pre-EQ
channel insert, and an all new four-band EQ design with
sweepable mids and EQ bypass switch.
All mono channels have eight Aux sends with a stereolink function (can provide up to four IEM mixes), Pan,
Mute and Mute Group assign, PFL Solo, 100 mm Fader,
Group and Main Mix assign, and four signal-level indicators. In addition, balanced direct outputs are provided
on DB-25 connectors (eight channels per connector) for
multitrack recording.
HOW TO USE THIS MANUAL
We know that many of you can’t wait to get your new
mixing console hooked up, and you’re probably not going
to read the manual first (sigh!). So the next section is a
Quick-Start Guide to help you get the mixer set up fast
so you can start using it right away. Right after that are
the ever popular hook-up diagrams that show typical
mixer setups for live sound, recording and mixdown.
Then, when you have time, read the Features Description section. This describes every knob, button, and connection point on the Onyx 80 Series, roughly following
the signal flow through the mixer.
Throughout this section you’ll find illustrations with
each feature numbered. If you want to know more about
a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that
number in the nearby paragraphs.
This icon marks information that is
critically important or unique to the
Onyx 80 Series. For your own good,
read them and remember them. They
will be on the final test.
This icon leads you to in-depth
explanations of features and practical tips. While not mandatory, they
usually have some valuable nugget of
information.
The master section features eight stereo Aux inputs,
eight Master Aux sends, eight Group Masters, an Aux/
Group Flip function, a 10x2 Matrix, a Phones/Monitor
section, and a Talkback section with routing switches
that allow you to communicate through the Aux Sends,
Group outputs, or the L/R mix.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
Purchased at:
Date of purchase:
A PLUG FOR THE CONNECTOR SECTION
Appendix B is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, and
special hybrid connectors.
More resources on our website at www.mackie.com.
THE GLOSSARY: A Haven of Non-Techiness for
the Neophyte
The “Glossary of Terms” is a fairly comprehensive
dictionary of pro-audio terms. If terms like “clipping,”
“noise floor,” or “unbalanced” leave you blank, refer to
this glossary for a quick explanation.
ARCANE MYSTERIES ILLUMINATED
“Arcane Mysteries” discusses some of the down ‘n’
dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines.
It’s a goldmine for the neophyte, and even the seasoned
pro might learn a thing or two.
Getting Started
READ THIS PAGE!!
a line input such as a CD player or tape recorder
output. Be sure that the volume of the input source
is the same as it would be during normal use. If it
isn’t, you might have to readjust these levels during
the middle of the set.
Owner’s Manual
Even if you’re one of those people
who never read manuals, all we ask
is that you read this page now before
you begin using the Onyx 80 Series.
You’ll be glad you did!
Zero the Controls
1. Turn down the channel GAIN, AUX, and Fader controls, and center the channel EQ and PAN controls.
2. Set all push button switches to their “out” positions.
3. In the Master section, turn all the rotary knobs
“down,” the switches “out,” and the faders down.
4. Turn the POWER switch off.
Connections
If you already know how you want to connect the Onyx
80 Series mixing console, go ahead and connect the
inputs and outputs the way you want them. If you just
want to get sound through the mixer, follow these steps:
1. Plug a microphone or other signal source into chan
nel 1’s MIC or LINE input [67/68]. If it’s a line-level
input, push in the LINE [2] switch.
2. Plug in the detachable linecord, connect it to an
AC outlet, and turn on the Onyx 80 Series’ POWER
switch [85].
3. Connect cords from the Onyx 80 Series’ MAIN OUTS
[79] (XLR connectors or 1/4" TRS connectors on
the rear panel) to your amplifier.
4. Hook up speakers to the amp and turn it on. If the
amplifier has level controls, set them however the
manufacturer recommends (usually all the way up).
3. Adjust the channel’s GAIN [5] control so that the
LEDs on the Left Solo meter stay around “0” and
never go higher than “+7.”
4. If you’d like to apply some EQ, do so now and return
to step 3. Remember to push in the EQ IN/OUT
[12] button or the EQ controls won’t do anything.
5. Disengage that channel’s PFL solo switch.
6. Repeat for each channel.
Instant Mixing
1. Leave the microphone plugged into channel 1 and
connect a keyboard, guitar or other instrument to
channel 2. Be sure to “Set the Levels” for channel 2
as described above.
2.
To get sound out of the speakers, push in the MAIN
MIX assign switch [21] next to the faders on channels
1 and 2, turn up channel 1 and 2 faders [33] to the
“U” mark and slowly turn up the left and right MAIN
MIX [60] faders to a comfortable listening level.
3. Sing and play. You’re a star! Adjust the faders for
-
channels 1 and 2 to bring your voice and your
instrument up and down to create your own mix.
Other Nuggets of Wisdom
• For optimum sonic performance, the channel and
MAIN MIX faders should be set near the “U” (unity
gain) markings.
• Always turn the MAIN MIX faders, GROUP faders,
and MONITOR knob down before making connections to and from your Onyx 80 Series.
• When you shut down your equipment, turn off the
amplifiers first. When powering up, turn on the
amplifiers last.
Set the Levels
To set the channel GAIN controls, it’s not even necessary to hear what you’re doing at the outputs of the
mixer. If you want to listen while you work, plug headphones into the PHONES jack [65] on the front panel,
then set the PHONES knob [64] about one-quarter of
the way up and the SOLO LEVEL [61] about halfway up.
The following steps must be performed one channel at
a time.
1. Push in the channel’s PFL [22] solo switch.
2. Play something into the selected input. This could
be an instrument, a singing or speaking voice, or
• Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for
information on hearing protection.
• Save the shipping box! You may need it someday,
and you don’t want to have to pay for another one.
That’s it for the “Getting Started” section. Next comes
the “Hookup” section that shows you some typical ways
that you might use the Onyx 80 Series in real applications. After that, take the grand tour of the mixer, with
descriptions of every knob, button, input, and output.
We encourage you to take the time to read all of the
feature descriptions, but at least you know it’s there if
you have any questions.
Owner’s Manual
5
6
ONYX 80 SERIES
ONYX 80 SERIES
Stereo Power
Amplifier
In (record)
Stereo Compressor
Mono Compressor
Multi Effect
Processor
Mono Power
Amplifier
Stage Monitors
Left PA Speaker
Right PA Speaker
Stereo EQ
Mono EQ
Headphones
Keyboard or other
line level input
Stereo Guitar Effects
Drum
Machine
Bass Guitar
Electric Guitar
DI Boxes
Electric Guitar
Vocal Mics
Digital Multitrack
Hard Disk Recorder
Stereo In-Ear Monitor
System (IEM)
Out
In
Out
In
Out
In
Stereo Compressor
Stereo Recorder
Out
In
Out
In
SELECT
SELECTSELECTSELECT
11
12
10
16
16
15
14
15
13
14
9
7
8
6
5
23
24
22
21
19
20
18
17
3
4
2
1
15
16
14
13
13
12
12
11
10
11
9
10
9
8
8
7
6
7
5
6
5
4
4
3
2
3
1
2
1
24
24
23
22
23
21
22
21
20
20
19
18
19
17
18
17
CHANNEL INSERTS
CHANNEL INPUTS
STEREO AUX INPUTS
MONO
OUT
PHONES
OUT
3
4
5
1
2
6
7
8
MAIN
OUT
MONTIOR
OUT
MATRIX
OUT
MAIN
OUT
DIRECT OUT
9-16
DIRECT OUT
1-8
L
R
MAIN
INSERTS
L
R
DIRECT OUT
17-24
3
4
5
1
2
6
7
8
AUX SEND
AUX SEND INSERTS
3
4
5
1
2
6
7
8
3
4
5
1
2
6
7
8
GROUP SEND
GROUP SEND INSERTS
3
4
L
R
L
R
L
R
A
B
7
8
L
R
L
R
1
2
L
R
L
R
5
6
L
R
L
R
Hookup Diagrams
This hookup diagram demonstrates how
you can do a live multitrack recording
using the DIRECT OUTs. The DIRECT
OUTs provide an analog balanced direct
output for each channel, post-EQ.
Aux Send 1 is used for stage monitors,
and Aux Sends 3 and 4 are a stereo pair
driving an IEM system. Aux Sends 5/6
and 7/8 could provide two more stereo
sends for IEM systems.
Onyx 2480 Live Mix and Multitrack Recording
Stereo Compressor
Mono Compressor
Multi Effect
Processor
Keyboard or other
line level input
Drum
Machine
Vocal Mics
Digital Multitrack
Hard Disk Recorder
Out
In
Out
In
Out
In
SELECT
SELECTSELECTSELECT
Powered
Studio Monitors
for Studio
Powered
Studio Monitors
for Control Room
Headphone Distribution
Amp
Headphones
for Studio
Stereo Guitar Effects
Bass Guitar
Electric Guitar
Electric Guitar
DI Boxes
Digital Delay
11
12
10
16
16
15
14
15
13
14
9
7
8
6
5
23
24
22
21
19
20
18
17
3
4
2
1
15
16
14
13
13
12
12
11
10
11
9
10
9
8
8
7
6
7
5
6
5
4
4
3
2
3
1
2
1
24
24
23
22
23
21
22
21
20
20
19
18
19
17
18
17
CHANNEL INSERTS
CHANNEL INPUTS
STEREO AUX INPUTS
MONO
OUT
PHONES
OUT
3
4
5
1
2
6
7
8
MAIN
OUT
MONTIOR
OUT
MATRIX
OUT
MAIN
OUT
DIRECT OUT
9-16
DIRECT OUT
1-8
L
R
MAIN
INSERTS
L
R
DIRECT OUT
17-24
3
4
5
1
2
6
7
8
AUX SEND
AUX SEND INSERTS
3
4
5
1
2
6
7
8
3
4
5
1
2
6
7
8
GROUP SEND
GROUP SEND INSERTS
3
4
L
R
L
R
L
R
A
B
7
8
L
R
L
R
1
2
L
R
L
R
5
6
L
R
L
R
The DIRECT OUTs provide an analog balanced direct output for each channel, tapped after the GAIN control and EQ controls. The Main Outs are used for
monitors in the studio, and the Monitor Outs are used for monitors in the control
room. In addition, the Phones Out drives a headphone distribution amplifier to
provide individual monitor level control for the talent.
Owner’s Manual
Onyx 2480 Multitrack Recording in a Studio (Tracking)
Owner’s Manual
7
8
ONYX 80 SERIES
ONYX 80 SERIES
To Desktop
or
Laptop Computer
Stereo Compressor
Mono Compressor
Multi Effect
Processor
Keyboard or other
line level input
Drum
Machine
Vocal Mics
Out
In
Out
In
Out
In
Powered
Studio Monitors
for Studio
Powered
Studio Monitors
for Control Room
Headphones
Audio I/O for Workstation
Stereo Guitar Effects
Bass Guitar
Electric Guitar
Electric Guitar
DI Boxes
11
12
10
16
16
15
14
15
13
14
9
7
8
6
5
23
24
22
21
19
20
18
17
3
4
2
1
15
16
14
13
13
12
12
11
10
11
9
10
9
8
8
7
6
7
5
6
5
4
4
3
2
3
1
2
1
24
24
23
22
23
21
22
21
20
20
19
18
19
17
18
17
CHANNEL INSERTS
CHANNEL INPUTS
STEREO AUX INPUTS
MONO
OUT
PHONES
OUT
3
4
5
1
2
6
7
8
MAIN
OUT
MONTIOR
OUT
MATRIX
OUT
MAIN
OUT
DIRECT OUT
9-16
DIRECT OUT
1-8
L
R
MAIN
INSERTS
L
R
DIRECT OUT
17-24
3
4
5
1
2
6
7
8
AUX SEND
AUX SEND INSERTS
3
4
5
1
2
6
7
8
3
4
5
1
2
6
7
8
GROUP SEND
GROUP SEND INSERTS
3
4
L
R
L
R
L
R
A
B
7
8
L
R
L
R
1
2
L
R
L
R
5
6
L
R
L
R
In this hookup diagram, the tracking channels are routed to the Group 1-8 outputs.
These are connected to the analog audio interface to your DAW or laptop. A 2-track
return is provided by the DAW (or laptop) to Stereo Aux Input 4 on the Onyx 2480 for
playback of the master mix.
Onyx 2480 Computer Recording
Owner’s Manual
Power Amp
Mono Mode
In (record)
Stereo Compressor
Mono Compressor
Mono Power
Amplifier
Stage Monitors
Left PA Speaker
Right PA Speaker
Stereo EQ
Mono EQ
Headphones
Mono EQ
Keyboard or other
line level input
Stereo Guitar Effects
Drum
Machine
Bass Guitar
Electric Guitar
DI Boxes
Electric Guitar
Vocal Mics
Digital Multitrack
Hard Disk Recorder
Mono Power
Amplifier
Stage Monitors
Mono EQ
Assistive Listening
System
Out
In
Out
In
Out
In
Stereo Compressor
Stereo Recorder
Out
In
Out
In
SELECT
SELECTSELECTSELECT
Power Amp
Mono Mode
Center PA Speaker
Mono EQ
Power Amp
Mono Mode
Nursery Zone Speaker
Power Amp
Mono Mode
Stereo Power
Amplifier
Left and Right Chapel Speaker
s
(Overflow)
Stereo EQ
Stereo In-Ear Monitor
System (IEM)
11
12
10
16
16
15
14
15
13
14
9
7
8
6
5
23
24
22
21
19
20
18
17
3
4
2
1
15
16
14
13
13
12
12
11
10
11
9
10
9
8
8
7
6
7
5
6
5
4
4
3
2
3
1
2
1
24
24
23
22
23
21
22
21
20
20
19
18
19
17
18
17
CHANNEL INSERTS
CHANNEL INPUTS
STEREO AUX INPUTS
MONO
OUT
PHONES
OUT
3
4
5
1
2
6
7
8
MAIN
OUT
MONTIOR
OUT
MATRIX
OUT
MAIN
OUT
DIRECT OUT
9-16
DIRECT OUT
1-8
L
R
MAIN
INSERTS
L
R
DIRECT OUT
17-24
3
4
5
1
2
6
7
8
AUX SEND
AUX SEND INSERTS
3
4
5
1
2
6
7
8
3
4
5
1
2
6
7
8
GROUP SEND
GROUP SEND INSERTS
3
4
L
R
L
R
L
R
A
B
7
8
L
R
L
R
1
2
L
R
L
R
5
6
L
R
L
R
In a House of Worship application, the Onyx 80 Series provides plenty of Aux Sends
for stage monitors, stereo in-ear monitoring, and assistive listening systems. The
MONO output is used for the center PA speaker located between the Left and Right
speakers. The 1/4-inch Main Outputs provide a feed to the chapel for overflow needs.
The Matrix A output provides a custom mix for a mono recording and the Matrix B
output provides a custom mix for the nursery.
Onyx 2480 House of Worship
Owner’s Manual
9
10
ONYX 80 SERIES
ONYX 80 SERIES
Onyx 80 Series Features
FREQ
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
HIGH
MID
LOW
80 Hz
FREQ
LOW
MID
100Hz
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
1
OUT
IN
2k
8kHz400Hz
400
2k100
EQ
LINE
0
EQ
48V48V
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Channel Strips
Depending on the model that you purchased, there are
24, 32, 40, or 48 channel strips. Each channel has a mic
and line input connector and an insert jack for connecting an external signal processor.
1. 48V Phantom Power Switch
Most professional condenser microphones require phantom power,
which is a low-current DC voltage
delivered to the microphone on
pins 2 and 3 of the XLR microphone
connector. Push in the 48V button
if your microphone needs phantom
power. An LED lights just above the
button to indicate that phantom
power is active on that channel.
Dynamic microphones, like
Shure’s SM57 and SM58, do not
require phantom power. However,
phantom power will not harm most
dynamic microphones should you
accidentally plug one in while the
phantom power is turned on. Be
careful with older ribbon microphones. Check the manual for your
microphone to find out for sure
whether or not phantom power can
damage it.
Note: Be sure the MAIN MIX
faders [60] are turned down when
connecting microphones to the
MIC Inputs, especially when phantom power is turned on, to prevent
pops from getting through to the
speakers.
. Low-Cut Switch
The Low-Cut switch, often referred to as a high-pass
filter, cuts bass frequencies below 100 Hz at a rate of 18
dB per octave.
We recommend that you use the Low-Cut filter on
every microphone application except kick drum, bass
guitar, bassy synth patches, or recordings of earthquakes. These aside, there isn’t much down there that
you want to hear, and filtering it out makes the low stuff
you do want much more crisp and tasty. Not only that,
but the Low-Cut filter can help reduce the possibility
of feedback in live situations and it helps to conserve
amplifier power.
Another way to use the Low Cut filter
is in combination with the LOW EQ on
vocals during live performances.
Many
times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ
also boosts stage rumble, mic handling
clunks, and breath pops. Low Cut removes all those problems so you can add LOW EQ without losing a woofer.
Here’s what the
combination of LOW EQ
and Low Cut looks like
in terms of frequency
curves.
Low Cut with Low EQ Boosted
4. Polarity Switch
Pushing in this switch simply reverses the polarity of the
signal. This provides an easy way to correct a microphone
or line source whose polarity is opposite from the other
microphones, either from a miswired cable or from not
following the AES standard for Pin 2/Pin 3.
. MIC/LINE Switch
This button switches between the MIC and LINE inputs. When the button is out (MIC), the XLR MIC input
is used and the LINE input is disconnected. When the
button is pushed in, the 1/4" input is used and the XLR
MIC input is disconnected.
5. GAIN Control
If you haven’t already, please read “Set the Levels” on
page 5.
The GAIN control adjusts the input sensitivity of the mic
and line inputs. This allows the signal from the outside
world to be adjusted to optimal internal operating levels.
If the signal is plugged into the XLR jack, there is 0 dB
of gain (unity gain) with the knob turned all the way
down, ramping up to 60 dB of gain fully up.
When connected to the 1/4" jack, there is 20 dB of
20
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attenuation all the way down, and 40 dB of gain fully up,
with a “U” (unity gain) mark at about 10:00.
6. HIGH EQ
This control gives you
up to 15 dB boost or cut
at 12 kHz, and it is also
flat at the center detent.
Use it to add sizzle to
cymbals, and an overall
sense of transparency or
High EQ
frying. Turn it down a little to reduce sibilance, or to
hide tape hiss.
edge to the keyboards,
vocals, guitar, and bacon
the male vocal range and the fundamentals of some lower
instruments (guitar, lower brass).
10. LOW MID FREQ
This knob ranges from
100 Hz to 2 kHz and
determines the center
frequency for the LOW
MID EQ filter. This allows
you to zero in on the
precise narrow band of
Mid EQ Freq Sweep
frequencies you want to
have affected by the LOW
MID EQ.
11. LOW EQ
Owner’s Manual
7. HIGH MID EQ
High Mid EQ
most dynamic because the frequencies that define any
particular sound are almost always found in this range.
The HIGH MID EQ range (400 Hz to 8 kHz) includes
the female vocal range as well as the fundamentals and
harmonics for many instruments.
8. HIGH MID FREQ
Mid EQ Freq Sweep
9. LOW MID EQ
Low Mid EQ
This control gives you
up to 15 dB of boost or
Short for “midrange,”
this knob provides 15 dB
of boost or cut centered
at the frequency determined by its FREQ knob
(see HIGH MID FREQ
next). Midrange EQ is
often thought of as the
Low EQ
cut at 80 Hz. The circuit
is flat (no boost or cut)
at the center detent
position. This frequency
represents the punch in
bass drums, bass guitar,
fat synth patches, and
some really serious male
singers.
Note: Used in conjunction with the Low Cut switch,
you can boost the LOW EQ without injecting tons of
infrasonic debris into the mix.
1. EQ IN/OUT Switch
This knob ranges from
400 Hz to 8 kHz and
determines the center
frequency for the HIGH
MID EQ filter. This allows
you to zero in on the
precise narrow band of
frequencies you want
to have affected by the
HIGH MID EQ.
This is a second midrange EQ control that provides 15 dB of boost or cut
centered at the frequency
determined by its FREQ
knob. It extends down to
100 Hz, which includes
This is a true hardware bypass of the Perkins EQ circuitry to insure that there is no coloration of the signal
if the EQ is not needed. When this button is out, the EQ
controls have no effect on the signal. You can use this
switch to make an A/B comparison between the EQ’d
signal and the signal without EQ.
We have completely redesigned the
EQ circuits in the Onyx Series of
mixers, based on the designs of Cal
Perkins, an industry-leader in audio
engineering for over three decades
and long-time Mackie collaborator.
This “neo-classic” design provides the sweet musicality
of the British EQ
boost and cut with optimum Q
sound, while still maintaining 15 dB of
and minimum phase shift
(in other words, it gives you plenty of control and is
pleasing to the ear!).
The 4-band equalization has LOW shelving at 80 Hz,
LOW MID peaking, sweepable from 100 Hz to 2 kHz on
the mono channels, HIGH MID peaking, sweepable from
Owner’s Manual
11
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