Mackie Onyx8, Onyx24, Onyx12, Onyx16 Owner's manual

PREMIUM ANALOG MIXERS WITH MULTI-TRACK USB

OWNER’S MANUAL

LOW CUT

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. Minimum distance (5 cm) around the apparatus for sucient ventilation. The ventilation should not be impeded by covering the ventilation openings with items, such as newspapers, table-cloths, curtains, etc.

9. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliﬁers) that produce heat.

10. No naked ﬂame sources, such as lighted candles, should be placed on the apparatus.

11. 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.

12. Protect the power cord from being walked on or pinched particularly at plugs,

convenience receptacles, and the point where they exit from the apparatus.

13. Only use attachments/accessories speciﬁed by the manufacturer.

14. 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.

15. Unplug this apparatus during lightning storms or when unused

for long periods of time.

16. Refer all servicing to qualiﬁed service personnel. Servicing

is required when the apparatus has been damaged in any way, such as power-supply 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.

17. This apparatus shall not be exposed to dripping or splashing, and no object ﬁlled

with liquids, such as vases or beer glasses, shall be placed on the apparatus.

18. Do not overload wall outlets and extension cords as this can result in a risk of ﬁre

Onyx Premium Analog Mixer with Multi-Track USB

or electric shock.

CAUTION

RISK OF ELECTRIC SHOCK! DO NOT OPEN!

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT

REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED PERSONNEL.

The lightning ﬂash with arrowhead symbol within an equilateral triangle is intended to alert the user to the prescence of uninsulated “dangerous voltage” within the product’s enclosure, that may be of signiﬁcant magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user of the prescence of important operating and maintaining (servicing) instructions in the literature accompanying the appliance.

WARNING — To reduce the risk of ﬁre or electric shock, do not expose this apparatus to rain or moisture.

Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan.

Apparatet stikprop skal tilsluttes en stikkontakt med jord, som giver forbindelse til stikproppens jord.

Apparatet må tilkoples jordet stikkontakt.

Apparaten skall anslutas till jordat uttag.

PORTABLE CART

WARNING

19. This apparatus has been designed with Class-I construction

20. 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.

21. The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable.

22. The use of apparatus is in moderate climates.

23. This device should be installed and operated with minimum distance 20cm

between the radiator & your body.

The product can be sold in all EU countries. Bluetooth transmitter Power: ≤8dBm Bluetooth transmitter frequency range: 2.402 – 2.480 GHz

24. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 5 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 o 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 dierent from

that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modiﬁcations to this device not expressly approved by LOUD

Audio, LLC could void the user’s authority to operate the equipment under FCC rules.

25. This apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

Canada ICES-003(B)/NMB-003(B)

26. 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 suciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁed the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits could result

in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:

and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).

Duration, per day in hours

8 90 Duo in small club 6 92

4 95 Subway Train 3 97

2 00 Very loud classical music .5 02

 05 Chaz screaming at Troy about deadlines

0.5 0

0.25 or less 5 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

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 (202/9/EU) 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 eective usage of natural resources. For more information about where you can drop o your waste equipment for recycling, please contact your local city oce, waste authority, or your household waste disposal service.

Onyx Premium Analog Mixer with Multi-Track USB

Features

Owner’s Manual

Classic Sound, Modern Performance

• Award-winning Onyx mic preamps provide up to 60dB of gain

• Premium analog circuitry delivers studio-quality sound and keeps noise to a minimum

• Analog/USB channel strips with ﬂexible routing

• Legendary Perkins “British style” EQ with sweepable midrange oers classic sounds of the 60’s and 70’s

• Robust digital eect engine, including user-customizable

reverbs, delays, and more, with a dedicated FX EQ

Record and Playback via SD Card or USB

• High-resolution 96kHz / 24-bit multi-track recording to Mac/PC via USB

• Direct to SD card stereo recording and playback

• Channel-assignable 4-track USB return (2 stereo pairs)

• Send your Main Mix to USB via a dedicated switch

Studio Command - Powerful and Intuitive Full-Color Display and Single-Knob Interface

• Easy navigation of FX parameters, onboard SD recording and playback

• Visually browse ﬁles on the SD card via the built-in display

• Dedicated physical buttons for Previous, Next, Record, and Play/Pause

• Store up to 6 user FX presets for easy recall

Professional High-Resolution FX Processor

• Utilize built-in eects for live performances, streams, and beyond

• Reverb, delay, chorus, and more

• Dial in the perfect sound with adjustable parameters and dedicated EQ

Hit the Ground Running with Powerful Sofware and Plugins

• Pro Tools® | First recording sofware and plugin bundle o Musician Collection for Pro Tools | First,

with 23 plugins like BBD Delay, Eleven Lite, 304E EQ, and 304C Compressor

• Waveform™ OEM recording sofware and plugin bundle o DAW Essentials™ Bundle for Waveform™

OEM, with 6 powerful plugins like Equaliser, Compressor, Reverber8, and Limiter

Rugged Chassis and Professional Design

• Backlit Mute and Solo buttons provide a positive tactile feel and clear visual feedback

• Sealed rotary pots resist dust and grime

• Built-Like-A-Tank™ heavy steel chassis

• High-visibility, high-contrast controls

• Rugged, QuickGrip™ side cheeks oer convenient mobility and protection

Introduction

Mackie Onyx Premium Analog Mixers with USB

are the ultimate compact solution for live audio, home recording, and content creation.

24-Bit / 96kHz multitrack recording, award-winning, high-

gain Onyx mic preamps, and an end-to-end ultra-low-noise design deliver the sound quality professionals demand.

Packed with features including powerful DSP eects,

British-style Perkins EQ, full-color display, and integrated recording and playback from an SD card.

Bluetooth® Streaming – Go Wireless

• Pair your Bluetooth enabled device and stream audio directly to a channel on the mixer

• Streamed audio can be routed to Aux Sends and the Main Mix

Powerful Mixing Toolkit

• 3-band Perkins EQ with On/O hard bypass switch on all channels

• Hi-Z switches allows direct connection of guitars, basses, and other instruments

• 00Hz low-cut ﬁlter and 48V phantom power on all mic channels

• Stereo /8" input and Bluetooth streaming

• Stereo line inputs

• Aux/Monitor outputs with dedicated per-channel send control

• Dedicated Control Room outputs

• Headphone output with dedicated level control

• Dedicated L-R Assign switches per channel

• 2-segment stereo meters

• Overload indicators on all channels

• PFL/AFL channel solo

• Footswitch input for FX Mute (footswitch not included)

Mackie Onyx Premium analog mixers give you the power

you need to capture your best performance with pristine ﬁdelity at home or on the go.

How to Use This Manual

Afer this introduction, a getting started guide will help

you get things set up fast. The hookup diagrams show some typical setups, while the remaining sections provide details of the Onyx Series mixers.

This icon marks information that is critically important or unique to Onyx. For your own good, read and remember them.

This icon leads you to in-depth explanations of features and practical tips. They usually have some valuable nuggets of information.

This icon draws attention to certain features and functions relating to the usage of Onyx.

Part No. SW302 Rev. B 04/2

Owner’s Manual

Table of Contents

Important Safety Instructions ........................... 2

Features ...............................................................3

Introduction ........................................................ 3

Table of Contents ................................................ 4

Quick Start .......................................................... 5

RTC Setup............................................................6

Hookup Diagrams ............................................... 7

Onyx Rear Panel Features ..................................9

. Power Connection ..................................... 9

2. Power Switch ............................................ 9

3. USB Input / Output ................................... 9

4. Mic Ins ..................................................... 0

5. Line Ins .................................................... 0

6. Stereo Line Inputs .................................. 0

7. Insert Jacks ............................................ 0

8. Main Outputs ........................................... 

9. Control Room Out Jacks .........................

0. Mon Send Jacks ....................................2

. FX Send Jack ..........................................2

2. FX Footswitch .........................................2

Onyx Front Panel Features ................................3

Connections and Channel Strip ..................3

3. /8" Stereo Input ..............................3

4. Gain Knobs and OL LEDs .................3

5. Low Cut Switches ............................4

6. Line / Hi-Z Switches [Chs.  and 2] 4

Onyx Premium Analog Mixer with Multi-Track USB

7. EQ In/Out ...........................................4

8. Hi EQ Knobs ......................................4

9. Mid EQ Knobs ...................................5

20. Mid Freq Knobs ...............................5

2. Mid EQ Knobs ...................................5

22. Low EQ Knobs ..................................5

23. Aux Mon Knobs................................5

24. Aux FX Knobs ...................................5

25. Pan Knobs ........................................5

26. Mute Switches ................................5

27. Solo Switches .................................. 6

28. Channel Faders .............................. 6

29. L-R Assign Switches....................... 6

30. Bluetooth On/Off Switch ............... 6

3. Bluetooth Pair Switch..................... 6

32. USB /2 and 3/4 Switches ..............7

33. SD Switch.........................................7

34. Mackiemus Prime Switch ...............7

Master Section ........................................... 8

35. Power LED ....................................... 8

36. 48V Switch and LED ...................... 8

37. Main Meters .................................... 8

38. Phones Out Jack ............................ 9

39. Phones Knob................................... 9

40. Solo Master Knob........................... 9

4. Rude Solo LED ................................. 9

42. AFL/PFL Solo Switch ...................... 9

43. Control Room Knob ........................20

44. FX to Mon Knobs ............................20

45. FX Master Knob / Fader .................20

46. FX Mute Switch and LED ...............20

47. Mon Send Mstr Lvl Knob/Faders ...20

48. Mon Mute Switches and LEDs ......20

49. Master L-R Assign Switches .........20

50. Main Mix Fader................................2

5. Main Mute Switch ............................2

52. Main USB Send Switch ...................2

53. Preset Display ................................22

54. Studio Command Control Knob ..... 22

55. FX Button ........................................ 22

56. SD Button .......................................22

57. Back Button.....................................22

FX Section ................................................... 23

Delay ...................................................... 24

FX EQ ..................................................... 24

FX Presets .............................................26

FX EQ Reset...........................................26

SD Stereo Recording and Playback...........29

Formatting .............................................29

Transport Controls ............................... 30

Recording ..............................................30

Playback ................................................30

Renaming ...............................................3

Final Thoughts .......................................3

Settings ....................................................... 32

Auto-Play...............................................32

Record Mode ......................................... 32

SD Card... ..............................................32

Set Time/Date ....................................... 32

Factory Reset ........................................32

About .....................................................32

Appendix A: Service Information ..................... 33

Appendix B: Technical Information ................. 35

Onyx Dimensions ........................................ 37

Onyx Block Diagrams .................................39

Onyx Track Sheets ...................................... 43

Appendix C: USB 3/4 Return Setup .................48

Limited Warranty ..............................................49

Onyx Premium Analog Mixer with Multi-Track USB

Quick Start

Owner’s Manual

We realize that you must be really keen to try out your new

mixer. Please read the safety instructions on page 2 for information on hearing protection, then have a look through some of the features and details in this manual.

Setup

Use the mixer in a nice clean and dry environment, free from

dryer lint and dust bunnies.

Zero the controls

. Make sure the power switch is o.

2. Fully turn down all the knobs to minimum, except for

the channel EQ and pan controls, which should be at their center detent. Set all faders fully down.

3. Make sure all buttons are in the out [disengaged] position.

Connections

. Push the power cord securely into the IEC connector on the

rear panel, and plug it into a 3-prong AC outlet. The mixer can accept any AC voltage ranging from 00 VAC to 240 VAC.

Set the levels

. Turn on the mixer by pressing the top edge of the power

switch.

2. Play something into the channel input at real-world levels.

3. Raise the channel fader to unity.

4. Engage the channel's LR switch (Onyx2 / Onyx6 / Onyx24).

5. Adjust the channel's gain control until the meters stay around the 0 dB LED mark.

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

7. Raise the main fader to unity.

8. If needed, apply some channel EQ wisely.

9. Adjust the channel levels to get the best mix. Keep the gain controls and fader levels fully down on unused channels.

0. 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.

2. Connect the main outputs of the mixer (either XLR or TRS /4") to the line level inputs of your ampliﬁer (with speakers already attached) or to the line-level inputs of powered speakers.

3. Plug signal sources into the mixer, such as:

• Microphones plugged into the mic inputs. Engage phantom power if your mics need it.

• Instrument level sources, such as acoustic guitars

w/active pickups into the instrument inputs.

• Line-level sources such as keyboards, drum machines, or CD players plugged into the line-level inputs.

• Phone or tablet paired and connected via Bluetooth.

4. Several channels have insert jacks that can be used to connect an external eects or dynamics processor into the signal chain.

RTC and USB

• Set up RTC before continuing on with anything else. Directions are on the following page.

• The USB driver for PC users is available on the Mackie website (www.mackie.com). Mac OS X contains built-in drivers, so no sofware installation is required.

Other Notes and Things to Remember

• When shutting down, turn o any power ampliﬁers or powered speakers ﬁrst. When powering up, turn them on last. This will reduce the chance of turn-on or turn-o thumps.

• Always turn down the phones level when making connections, pressing solo, or doing anything that may cause loudness in the headphones. This will help protect your hearing.

• Always turn down the main mix level and control room level when making connections to the mixer. Better yet, turn o the power.

• Save the shipping box and packing materials! You may need them someday. Besides, the cats will love playing in them and jumping out at you unexpectedly. Remember to pretend like you are surprised!

• Save your sales receipt in a safe place.

Owner’s Manual

RTC Setup

RTC is short for ‘Real Time Clock’. Recordings require a time

stamp, so if the RTC is not set up correctly (or at all), then your SD recordings could be compromised, ruined or just plain unavailable, lost in the ether. We're pretty conﬁdent that this would not be your intent when recording. With that said, here are the steps to set up the RTC on your Onyx mixer.

. Press and hold the FX and SD buttons down simultaneously

for one second. Doing so will reveal the Settings screen.

STUDIO COMMAND

PRESS TO SELECT

HOLD FOR SETTINGS

2. Rotate the encoder clockwise until ‘Set Time/Date’ is highlighted and press the encoder down to select.

3. Now it's time to set the date and time. Rotate the encoder to the current year followed by pressing the encoder down to select. Once the current year has been selected and the encoder pushed down, the next parameter – month – will be highlighted.

4. Follow the same steps to update the month, day and time .

5. Rotate the encoder until ‘Conﬁrm’ is highlighted and press the encoder down to indeed confirm the changes

See below for a visual representation on how to update the RTC.

You should only have to do this one time unless you live in a region that observes daylight savings time. Unfortunately, you will also need to update the RTC at the time.

Onyx Premium Analog Mixer with Multi-Track USB



Ok, that's not entirely true... the recordings will still be successful. However, they will be dated 999 – “2000 zero zero party over oops out of time, so tonight I'm gonna party like it's 999” – and it will mess up the sorting of the ﬁles.

Onyx Premium Analog Mixer with Multi-Track USB

Hookup Diagrams

POWER

100V-240V 50-60 Hz 40W

BAL/ UNBAL

(MONO)

BAL/ UNBAL

BAL/

UNBAL

LINE IN 14

LINE IN 13

13/14

BAL/ UNBAL

LINE IN 12

LINE IN 11

LINE IN 10

LINE IN 9

LINE IN 8

LINE IN 7

BAL/ UNBAL

LINE IN 6

LINE IN 5

INSERT

LINE IN 4

INSERT

LINE IN 3

INSERT

LINE IN 2

INSERT

LINE IN 1

BAL/ UNBAL

2 1345/67/89/1011/12

(MONO)

BAL/ UNBAL

R L

BAL/ UNBAL

CONTROL

ROOM

MON SEND

2 1

BAL/

UNBAL

FX FSW

MAIN OUTS

USB

48V

PHONES

PHANTOM

POWER

USB

1 2

LINE

13/14

-15 +15

ONYX MIC PRE

MIC

5/6 7/8

LOW CUT

9/10

LOW CUT

USB

3 4

MID

2.5kHz

11/12

LOW CUT

3 4

100Hz 100Hz 100Hz

LINE IN 13/14

GAIN

-20dB +20dB

ONYX MIC PRE

MIC/LINE

ONYX MIC PRE

MIC/LINE

OFFONOFF

OFF

LOW CUT

12kHz

LOW 80Hz

-15 +15

OUT

100Hz

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW

80Hz

-15 +15

OUT

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW

80Hz

-15 +15

OUT

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW 80Hz

-15 +15

OUT

HOLD TO PAIR

ON/OFF

0dB=0dBu

MAIN

METERS

15 10 6 3 0 2 4 7 10 20 30

L R

RUDE SOLO

GAIN

U +60dB

GAIN

U +60dB

GAIN

U +60dB

GAIN

U +60dB

12kHz

MID

FREQ

LOW 80Hz

-15 +15

ONYX MIC PRE

MIC/LINE

MON 1

MON 2

AUX

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

12kHz

MID

FREQ

LOW 80Hz

-15 +15

ONYX MIC PRE

MIC/LINE

HI-Z

MON 1

MON 2

AUX

LOW CUT

OFF MAX

OFF

HI-Z

LOW CUT

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

12kHz

MID

FREQ

LOW 80Hz

-15 +15

MON 1

MON 2

AUX

LOW CUT

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

OFF

12kHz

MID

FREQ

LOW

80Hz

-15 +15

MON 1

MON 2

AUX

LOW CUT

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

OFF MAX

PRESS TO SELECT

HOLD FOR SETTINGS

STUDIO COMMAND

STEREO RECORDING

AND PLAYBACK

PAIR

EQ EQ EQ EQEQ EQ EQEQ EQ EQ EQ EQEQ EQ EQEQ

Owner’s Manual

Hi-Z

This diagram shows a guitar and bass attached to the channel  and 2 line-level inputs, each via a mono eects processor.

The Hi-Z switch is engaged on both channels. A mic'd up drum kit utilizes the next four channels of the mixer. Microphones are connected to the following two channels and will handle lead and background vocal duties. A phone is connected to the last channel on the board via Bluetooth.

DRM8S powered subwoofers are connected to the lef and right main outputs. Those are then connected to a pair of SRM25 |

V-Class loudspeakers to complete the PA. Four SRM22 | V-Class loudspeakers are also set up as stage monitors and connect to the mixer's two aux (monitor) outputs via graphic EQs. The aux mon controls of each channel allow you to create a stage monitor mix as desired. Headphones are used for monitoring and a footswitch allows you to mute/unmute the internal eects as desired.

It's not shown, but a laptop may connect to the USB port on the rear panel of the mixer. It allows the performance to be recorded

to a DAW, as well as playback from the computer to the main mix.

Typical Live Sound System

Owner’s Manual

Hookup Diagrams Continued...

POWER

100V-240V 50-60 Hz 40W

BAL/

UNBAL

BAL/

UNBAL

(MONO)

BAL/ UNBAL

BAL/

UNBAL

LINE IN 14

LINE IN 13

13/14

BAL/

UNBAL

LINE IN 12

LINE IN 11

LINE IN 10

LINE IN 9

LINE IN 8

LINE IN 7

BAL/

UNBAL

LINE IN 6

LINE IN 5

INSERT

LINE IN 4

INSERT

LINE IN 3

INSERT

LINE IN 2

INSERT

LINE IN 1

BAL/ UNBAL

2 1345/67/89/1011/12

(MONO)

BAL/ UNBAL

R L

BAL/ UNBAL

CONTROL

ROOM

MON SEND

2 1

BAL/ UNBAL

FX FSW

MAIN OUTS

USB

48V

PHONES

PHANTOM

POWER

USB

1 2

LINE

13/14

-15 +15

ONYX MIC PRE

MIC

5/6 7/8

LOW CUT

9/10

LOW CUT

USB

3 4

MID

2.5kHz

11/12

LOW CUT

3 4

100Hz 100Hz 100Hz

LINE IN 13/14

GAIN

-20dB +20dB

ONYX MIC PRE

MIC/LINE

ONYX MIC PRE

MIC/LINE

OFFONOFF

OFF

LOW CUT

12kHz

LOW 80Hz

-15 +15

OUT

100Hz

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW 80Hz

-15 +15

OUT

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW

80Hz

-15 +15

OUT

-15 +15

ONYX MIC PRE

MIC

MID

2.5kHz

12kHz

LOW

80Hz

-15 +15

OUT

HOLD TO PAIR

ON/OFF

0dB=0dBu

MAIN

METERS

15 10 6 3 0 2 4 7 10 20 30

L R

RUDE SOLO

GAIN

U +60dB

GAIN

U +60dB

GAIN

U +60dB

GAIN

U +60dB

12kHz

MID

FREQ

LOW 80Hz

-15 +15

ONYX MIC PRE

MIC/LINE

MON 1

MON 2

AUX

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

12kHz

MID

FREQ

LOW 80Hz

-15 +15

ONYX MIC PRE

MIC/LINE

HI-Z

MON 1

MON 2

AUX

LOW CUT

OFF MAX

OFF

HI-Z

LOW CUT

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

12kHz

MID

FREQ

LOW 80Hz

-15 +15

MON 1

MON 2

AUX

LOW CUT

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

OFF

12kHz

MID

FREQ

LOW

80Hz

-15 +15

MON 1

MON 2

AUX

LOW CUT

OFF MAX

-15 +15

100 8k

-15 +15

OUT

100Hz

GAIN

-20dB +40dB

+60

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

MON 1

MON 2

AUX

OFF MAX

TO MON 1

MON 2

OFF MAX

PRESS TO SELECT

HOLD FOR SETTINGS

STUDIO COMMAND

STEREO RECORDING

AND PLAYBACK

PAIR

EQ EQ EQ EQEQ EQ EQEQ EQ EQ EQ EQEQ EQ EQEQ

Hi-Z

Onyx Premium Analog Mixer with Multi-Track USB

Like the previous hookup diagram, this one also starts with a guitar and bass attached to the channel  and 2 line-level inputs,

each via a mono eects processor. The Hi-Z switch is engaged on both channels. Microphones are attached to channels 3 through 9/0, an electronic drum kit to stereo channels /2 and a keyboard to stereo channels 3/4.

MR Series powered reference subwoofers and monitors are connected to the lef and right control room outputs for careful

and accurate monitoring of the performance. Headphones connected to aux (monitor) out  via a headphone amp are available for the talent to utilize when tracking.

A desktop computer connects to the USB port to record the mix to the DAW, as well as playback from the DAW.

Onyx Premium Analog Mixer with Multi-Track USB

Typical Recording System

Onyx Rear Panel Features

Owner’s Manual

13/14

100V-240V

50-60 Hz 40W

POWER

MAIN OUTS

BAL/

R L

UNBAL

CONTROL

ROOM

BAL/

R L

UNBAL

MON SEND

BAL/

2 1

UNBAL

LINE IN 13

LINE IN 14

LINE IN 11

(MONO)

BAL/

LINE IN 12

UNBAL

FX FSW

BAL/

UNBAL

(MONO)

UNBAL

LINE IN 9

BAL/

LINE IN 10

BAL/

10 11 12 3

. Power Connection

This is a standard 3-prong IEC power connector. Connect the detachable line cord (included in the box with your mixer) to the power receptacle, and plug the other end of the line cord into an AC outlet.

Onyx Series mixers have a universal power supply that accepts any AC voltage ranging from 00 VAC to 240 VAC. No need for voltage select switches. It will work virtually anywhere in the world. That’s why we call it a “Planet-Earth” power supply! It is less susceptible to voltage sags or spikes, compared to conventional power supplies, and provides greater electromagnetic isolation and better protection against AC line noise.

Disconnecting the plug’s ground pin is dangerous. Don’t do it.

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... or at least it will if you have the mixer plugged into a suitable live AC mains supply.

Press the bottom of this switch to turn the mixer o. It will not work at this point, but makes a handy paperweight.

As a general guide, you should turn on the mixer ﬁrst, before any external

power ampliﬁers or powered speakers, and turn it o last. This will reduce the possibility of any turn-on, or turn-o thumps in your speakers.

2 1345/67/89/1011/12

LINE IN 7

(MONO)

BAL/

LINE IN 8

UNBAL

3. USB Input / Output

acts as a high-resolution interface that allows audio to stream to and from the mixer via computer. As seen below, they allow for some powerful and ﬂexible routing.

• Onyx8 – 8x4, 24-bit / 96 kHz

• Onyx2 – 4x4, 24-bit / 96 kHz

• Onyx6 – 8x4, 24-bit / 96 kHz

• Onyx24 – 24x4, 24-bit / 96 kHz

to the computer via USB and/or return two independent audio streams of stereo playback from a computer.

USB input TO the mixer – playback:

stereo channel – the channel directly to the lef of the one with the USB 3/4 switch – of each mixer, so one may route the computer’s DAW output (such as Pro Tools®, Tracktion®, Cubase®, Reaper®, etc.) to the mixer and blend that signal with the live inputs of the mixer in the headphones for latency-free monitoring.

last stereo channel – the channel directly to the lef of the one with the /8" input – of each mixer, so one may route computer output (such as Spotify®, Apple Music®, Pandora®, YouTube®, etc.) down this stereo channel. This stereo signal may then be EQ’d, sent to auxiliaries (i.e. to feed monitors, headphones or eects) and is routable to mains via the fader routing features that are available on all other channels. In short, this signal may be sent to nearly any desired output or pair of outputs. Additionally, the associated gain knob adjusts the USB input level to the mixer to achieve an optimal signal level.

(MONO)

UNBAL

LINE IN 5

BAL/

LINE IN 6

(MONO)

UNBAL

LINE IN 4

BAL/

INSERT

LINE IN 3

INSERT

LINE IN 2

INSERT

USB

LINE IN 1

INSERT

5 7

In addition to being a mixer, the Onyx Series also

This allows you to record all input channels

The USB routing capabilities are as follows:

() A USB -2 switch is located on the third to last

(2) A USB 3-4 switch is located on the second to

USB output FROM the mixer – recording, etc:

It is possible to record the main mix to take home a copy of the live show. These levels are pre-main fader. Therefore, levels may be mixed up or down in the DAW later depending on the needs of the recording versus the live show. The end result is that fade-ins and/or fade-outs made during the show do not aect recorded levels.

Owner’s Manual

4. Mic Ins

tip

This plug connects to one of the mixer’s channel insert jacks.

ring

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source. These Onyx mic preamps feature higher ﬁdelity and headroom rivaling any standalone mic preamp on the market today. These circuits are excellent at rejecting hum and noise.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic / line inputs will handle any kind of level you can toss at them, without overloading.

They are wired as follows, according to standards speciﬁed by the AES (Audio Engineering Society).

To connect unbalanced lines to these outputs,

use a /4" mono (TS) phone plug, wired as follows:

/4" TS Unbalanced Mono Wiring:

Sleeve = Shield Tip = Hot (+)

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

XLR Balanced Wiring:

Pin  = Shield (ground) Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

SHIELD

HOT

COLD

NEVER connect the output of an ampliﬁer directly to a Onyx’s input jack. This could

Onyx Premium Analog Mixer with Multi-Track USB

damage the input circuitry and we wouldn’t want that now, would we?

5. Line Ins

These /4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across.

To connect balanced lines to these outputs, use a /4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands for Tip-Ring-Sleeve, the three connection points available on a stereo /4" or balanced phone jack or plug. TRS jacks and plugs are used for balanced signals and are wired as follows:

/4" TRS Balanced Mono Wiring:

Sleeve = Shield Tip = Hot (+) Ring = Cold (–)

SHIELD

COLD

HOT

NEVER connect the output of an ampliﬁer directly to a Onyx’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

6. Stereo Line Inputs

The stereo line inputs are designed for /4" TRS balanced or /4" TS unbalanced signals. They may accept any line-level instrument, eects device, CD player, etc.

If you are connecting a mono source, use the lef (mono) input, and the mono signals will appear on both sides of the main mix.

To connect balanced lines to these inputs, use a /4" Tip-Ring-Sleeve (TRS) plug. To connect unbalanced lines to these inputs, use a /4" mono (TS) phone plug. Wiring diagrams for both connectors are presented to the lef and above.

NEVER connect the output of an ampliﬁer directly to a Onyx’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

7. Insert Jacks

These unbalanced /4" jacks are for connecting serial eects processors such as compressors, equalizers, de-essers, or ﬁlters.

The insert point is afer the gain control and low cut ﬁlter, but before the channel’s EQ and level. The channel signal can go out of the insert jack to an external device, be processed and come back in on the same insert jack.

To do this requires a standard insert cable that must be wired thusly:

Onyx Premium Analog Mixer with Multi-Track USB

TIP

TIPSLEEVE

SLEEVERING

RING

Tip = send (output to eects device) Ring = return (input from eects device) Sleeve = common ground

RING

TIP

SLEEVE

Insert jacks may be used as channel direct outputs;

Direct out with no signal interruption to master.

Insert only to ﬁrst “click.”

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

For use as an eects loop.

(TIP = SEND to eect, RING = RETURN from eect.)

MONO PLUG

STEREO

PLUG

post-gain, and pre-EQ. If you insert a TS (mono) /4" plug only partially (to the ﬁrst click) into an insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer). This allows you to tap out the channel signal without interrupting normal operation.

If you push the /4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See illustration below.

Do not overload or short-circuit the signal you are tapping from the mixer. That will aect the internal signal.

The male XLR connectors provide a balanced line-level signal and is wired as follows, according to standards speciﬁed by the AES (Audio Engineering Society):

XLR Balanced Wiring:

Pin  = Shield (ground) Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

SHIELD

COLD

HOT

SHIELD

COLD

HOT

In addition to accepting balanced XLR connectors, the main outputs may also accept /4" connectors driven by balanced or unbalanced sources. Wiring diagrams for both connectors are presented on the previous page.

Owner’s Manual

8. Main Outputs

The main outputs provide a line-level signal that represents the end of the mixer chain, where the fully mixed stereo signal enters the real world. Connect these to the lef and right inputs of your main power ampliﬁers, powered speakers, or serial eects processor (like a graphic equalizer or compressor/limiter).

R L

MAIN OUTS

CONTROL

BAL/

UNBAL

ROOM

BAL/

UNBAL

The XLR outputs are 6 dB hotter than the TRS outputs. So when the meters read “0”, the TRS outputs are at 0 dBu.

9. Control Room Out Jacks

These /4" jacks are usually patched to the inputs of a control room ampliﬁer, studio monitors or a headphone distribution ampliﬁer.

The control room outputs may also be used for other applications. The sound quality is just as impeccable as the main outputs. It may be used as an additional main mix output and this one will have its own level control. However, be aware that if a solo switch is engaged, the mix will be interrupted:

When a channel’s solo switch is engaged, any existing selection is replaced by the solo

signal, appearing at the control room outputs and headphones. The audible solo levels are then controlled by the control room knob. The solo levels appearing on the meters are not controlled by the control room knob – you would not want that, anyway. What you do want to see is the actual channel level on the meters regardless of how loud the control room output level might be.

Owner’s Manual

0. Mon Send Jacks

Stage monitors allow the talented musicians in the band to hear themselves clearly on stage. This can be a good thing! The monitor mix may be carefully adjusted in level using the aux mon controls. These tap a portion of each channel's signal to provide a /4" TRS output here to feed external stage monitors. These could either be passive stage monitors powered by an external ampliﬁer, or powered stage monitors with their own built-in ampliﬁer.

The monitor signal is the sum (mix) of all the channels whose aux mon control is set to more than minimum. If they want “more me and less Brian,” you may turn up their channel's aux mon control, and turn down Brian’s.

The overall output level may be adjusted with the aux master mon fader. Additionally, you could add an external graphic EQ between this output and your powered monitors. This will allow you to adjust the EQ, and minimize the chance of feedback from nearby microphones.

The monitor output is not aected by the main mix fader or the channel faders. This allows you to set up the monitor mix and level just right, and not have it change when a channel fader or the main mix fader is adjusted. This is known as “pre-fader.”

. FX Send Jack

This /4" TRS line-level output may be used to feed an external eects processor (FX), such as a nice sound eect or delay unit. The output from this jack is an exact copy of what goes into the internal FX processor, being the careful mix of all channels whose aux FX control is turned to more than minimum.

(The processed output of the internal FX does not come out of this output, but is added internally to the main mix or monitor mix.)

The overall output level may be adjusted with the aux master FX fader. (This fader also aects the level going into the internal FX.)

The output is “post-fader,” so any changes to the channel faders will also aect the level going to the external processor.

The processed output from the eects processor is usually returned to a spare channel, and you may carefully mix the original unprocessed channel (dry) and the processed channel (wet). Altering the original channel fader increases both the wet and dry signals and keeps them at the same delicate ratio. For example, the reverb remains at the same level relative to the original.

There is one mon send jack on the Onyx8 and two mon send jacks on the Onyx2, Onyx6

Onyx Premium Analog Mixer with Multi-Track USB

2 1

and Onyx24.

MON SEND

FX FSW

BAL/

UNBAL

BAL/

UNBAL

10 11 12

BAL/

UNBAL

2. FX Footswitch

This /4" TRS connector is where to connect your favorite footswitch. This allows you to easily mute or un-mute the internal eects at will.

There are two types of footswitches to choose from: latching and momentary:

• Latching – Latching means the switch is either in the on or o position when engaged.

• Momentary – Momentary means the switch is engaged when pressed [and held] down.

Any one-button on/o footswitch will work, although a latching switch is recommended.

If the internal FX have already been muted with the internal FX mute switch, then the footswitch has no eect.

The FX footswitch jack on the Onyx8 is located on the top panel just above the headphones jack.

Onyx Premium Analog Mixer with Multi-Track USB

Onyx Front Panel Features

GAIN

Connections and Channel Strip

3. /8" Stereo Input

This stereo input may accept an /8" line-level signal

from a phone, MP3 player, or other signal source.

Last one! NEVER connect the output of an ampliﬁer directly to an Onyx’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

“U” like Unity gain

Onyx Series mixers have a “U” symbol on many level controls. It stands for “unity gain,” meaning no change in signal level. The labels on the controls are measured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

4. Gain Knobs and OL LEDs

If you haven’t already, please read the “Quick Start” section on page 5. Setting the gain correctly will ensure that the preampliﬁer’s gain is not too high, where distortion could occur, and not too low, where the quieter, exquisitely-delicate passages might be lost in background noise.

The gain knobs – in conjunction with the OL LEDs – adjust the input sensitivity of the mic and line inputs. This allows signals from the outside world to be adjusted to run through each channel at optimal internal operating levels.

For mono channels (mic input with a mono line input), the gain knob adjusts the input sensitivity of the

+60

-20dB +40dB

mic and line inputs.

15/16

14 15

16 17 18

19 20 22

24 25

26 27

MIC/LINE

ONYX MIC PRE

-20dB +40dB

GAIN

100Hz

LOW CUT

HI-Z

OUT

-15 +15

-15 +15 1K

100 8k

-15 +15

OFF MAX

L R

MUTE

SOLO

dB 10

50 60

ONYX MIC PRE

+60

U +60dB

OFF

LOW CUT

OFF

EQ EQ EQ EQ EQEQ EQ EQEQ

12kHz

-15 +15

MID

FREQ

-15 +15

LOW 80Hz

-15 +15

AUX

MON 1

OFF MAX

MON 2

OFF MAX

PAN

dB 10

L-R

50 60

Hybrid Channels:

17/18

MIC

GAIN

100Hz

OUT

L R

MUTE

SOLO

15/16

MIC

ONYX MIC PRE

U +60dB

GAIN

100Hz 100Hz 100Hz

OFF

33 32

12kHz

MID

2.5kHz

LOW

80Hz

AUX

MON 1

MON 2

PAN

LOW CUT

OUT

-15 +15

OFF MAX

L R

OFF

12kHz

MID

2.5kHz

LOW

80Hz

AUX

MON 1

MON 2

PAN

MUTE

SOLO

17/18

dB 10

L-R

50 60

19/20

MIC

ONYX MIC PRE

U +60dB

GAIN

LOW CUT

USB

OUT

-15 +15

OFF MAX

L R

MUTE

SOLO

19/20

dB 10

40 50 60

Owner’s Manual

MIC

3 4

OUT

MUTE

SOLO

21/22

OFF

12kHz

MID

2.5kHz

LOW

80Hz

AUX

MON 1

MON 2

PAN

L-R

23/24

LINE

-20dB +20dB

GAIN

LINE IN 23/24

ON/OFF

PAIR

HOLD TO PAIR

OFF MAX

L R

MUTE

SOLO

23/24

dB 10

40 50 60

AUX

MON 1

MON 2

PAN

L-R

21/22

ONYX MIC PRE

U +60dB

GAIN

OFF

LOW CUT

OFF

USB

12kHz

-15 +15

MID

2.5kHz

-15 +15

LOW

80Hz

-15 +15

AUX

MON 1

OFF MAX

MON 2

OFF MAX

PAN

L R

L-R

50 60

If the signal originates through the mic XLR jack, there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully up.

Through the /4" mono line inputs, there is –20 dB of attenuation fully down and 40 dB of gain fully up, with unity gain “U” at 2:00.

This 20 dB of attenuation can be very handy when you are inserting a hot signal, or when you want to add EQ gain, or both. Without this “virtual pad,” there is more chance of channel clipping.

For hybrid channels (mic input and stereo line input), the gain control just aects the microphone input.

U +60dB

• Onyx8 – Channels 3/4 – 5/6

• Onyx2 – Channels 5/6 – /2

• Onyx6 – Channels 9/0 – 5/6

• Onyx24 – Channels 5/6 – 2/22

The gain control on the /8" stereo input channel has 20 dB of gain and 20 dB of attenuation.

-20dB +20dB

1/8" Stereo Channels:

• Onyx8 – Channels 7/8

• Onyx2 – Channels 3/4

• Onyx6 – Channels 7/8

• Onyx24 – Channels 23/24

Near the top-right of every channel fader lies an OL LED. These LEDs are used with the gain control to set the channel preampliﬁer gain just right for each source. If one or more channels are distorting, check the OL LEDs. If they are on continuously, turn down the gain.

Owner’s Manual

5. Low Cut Switches

+15

–

All channels with a mic input have a low-cut switch (ofen referred to as a high-pass ﬁlter) that cuts bass frequencies below 00 Hz at a rate of 8 dB per octave.

Channel Equalization (EQ)

All Onyx mixers have 3-band EQ with shelving hi, peaking mid with adjustable mid frequency and shelving low.

We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn’t much down there that you want to hear, and ﬁltering it out makes the low stu you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve ampliﬁer power.

Another way to consider low-cut’s function is that it actually adds ﬂexibility during live performances. With the addition of low-cut,

you can safely use low equalization on vocals. Many times, bass shelving EQ can really beneﬁt voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops from way-down low. Applying low-cut removes all those problems, so you can add low EQ without blowing the woofers.

100Hz

LOW CUT

OUT

-15 +15

OFF

12kHz

MID

2.5kHz

Onyx Premium Analog Mixer with Multi-Track USB

100Hz

LOW CUT

HI-Z

OUT

-15 +15

-15 +15 1K

OFF

EQ EQ

12kHz

MID

FREQ

100 8k

LOW

-15 +15

80Hz

-15 +15

6. Line / Hi-Z Switch [Chs.  and 2]

To connect a guitar or bass directly to the mixer without using a DI Box, press this switch in ﬁrst; then connect the output from the instrument to the channel’s /4" TRS input. The input impedance is optimized for direct connection and high-frequency ﬁdelity is assured.

LOW 80Hz

Shelving means that the circuitry boosts or cuts all frequencies past the speciﬁed frequency. For example, the low EQ boosts bass frequencies below 80 Hz and continuing down to the lowest note you never heard. Peaking means that certain frequencies form a “hill” around the center frequency.

With too much EQ, you can really upset things. We’ve designed a lot of boost and cut into each equalizer circuit because

we know that everyone will occasionally need that. But if you max the EQ on every channel, you’ll get mix mush. Equalize subtly and use the lef sides of the knobs (cut), as well as the right (boost). If you ﬁnd yourself repeatedly using a lot of boost or cut, consider altering the sound source, such as placing a mic dierently, trying a dierent kind of mic, a dierent vocalist, changing the strings, or gargling.

7. EQ In/Out

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 eect on the signal. You may use this switch to make an A/B comparison between the EQ'd signal and the signal without EQ.

The EQ circuits are based upon the designs of Cal Perkins, an industry-leader in audio engineering for over four decades and a long-time collaborator. This “neo-classic” design provides the sweet musicality of the British EQ sound, while still maintaining 5 dB of boost and cut with optimum Q and minimum phase shif (in other words, it gives you plenty of control and is pleasing to the ear!).

The 3-band equalization has low shelving at 80 Hz, mid peaking, sweepable from 00 Hz to 8 kHz, and high shelving at 2 kHz. “Shelving” means that the circuitry boosts or cuts all frequencies past the speciﬁed frequency. For example, rotating the low EQ knob 5 dB to the right boosts bass frequencies starting at 80 Hz and continuing on down to the lowest note you ever heard. “Peaking” means that the frequencies around the center frequency are less aected by the EQ the further away they are.

In the out position, the channel’s /4" TRS input becomes a line input just like the other mono line inputs.

To use guitars or other instruments on other channels, you will need to use an external DI box ﬁrst. Without the DI box – or if this switch is not pressed in – guitars may sound dull and muddy.

8. Hi EQ Knobs

The hi EQ provides up to 5 dB of boost or cut above 2 kHz, and it is also ﬂat (no boost or cut) at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge

–5

to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

Onyx Premium Analog Mixer with Multi-Track USB

9. Mid EQ Knobs

+15

–

20 Hz 100 Hz 1 kHz 10 k 20 k

–

+15

–

20 Hz 100 Hz 1 kHz 10 k 20 k

–

20. Freq Knobs

Onyx mixers employ a semi-parametric mid-sweep EQ. The gain (up to 5 dB of boost or cut) is set via the mid EQ, and then “aimed” at a speciﬁc frequency, from 00 Hz to 8 kHz, via the freq control.

+10

–5

2. Mid EQ Knobs

Short for “midrange,” this knob provides up to 5 dB of boost or cut, centered at

2.5 kHz, also ﬂat at the center detent. Midrange EQ is ofen thought of as the most dynamic, because the frequencies that deﬁne any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down as well as up.

+10

–5

22. Low EQ Knobs

The low EQ provides up to 5 dB of boost or cut below 80 Hz. The circuit is ﬂat at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast.

+15

+10

–5

24. Aux FX Knobs

These knobs tap a portion of each channel’s signal to set up a nice FX mix feeding the internal FX processor, and to feed external processors via the FX send.

The controls are o when fully turned down, deliver unity gain at the center detent, and can provide up to 5 dB of gain turned fully up.

The mute, channel fader and other channel controls aect the FX output, but pan does not. The aux FX is post-fader.

The FX signal reaching the internal FX processor and the FX send output jack is the sum (mix) of all the channels whose aux FX control is set to more than minimum.

The overall output level may be adjusted with the aux master FX fader. FX are then added to the main mix when the FX fader's L-R switch is engaged.

25. Pan Knobs

This control allows you to adjust how much of the channel signal is sent to the lef versus the right outputs.

The pan control employs a design called “Constant Loudness.” If you have a channel panned hard lef (or right) and then pan to the center, the signal is attenuated about 3 dB to maintain the same apparent loudness. Otherwise, it would make the sound appear much louder when panned center.

OFF MAX

AUX

MON 1

MON 2

PAN

L R

MUTE

Owner’s Manual

23. Aux Mon Knobs

These knobs tap a portion of each channel's signal to set up a nice monitor mix feeding stage monitors, independent of the main mix. Adjust these controls on each channel until the band is happy with the stage monitor mix.

The controls are o when fully turned down, deliver unity gain at the center detent, and can provide up to 5 dB of gain turned fully up.

The pan and channel fader do not aect the monitor output, but the other channel controls will. The aux mon is pre-fader.

The overall output level may be adjusted with the master mon controls. Internal FX may also be added to the monitor mix with the FX to mon master knobs.

26. Mute Switches

Mute switches do just what they sound like they do. They turn o the signal by “routing” it into oblivion. Engaging a channel’s mute switch (almost) provides the same results as turning the fader all the way down (a pre-aux send is not aected by the channel fader, but it is by the mute switch).

The channel insert will continue to provide a signal when a channel is muted. Mute switches illuminate red when engaged.

Owner’s Manual

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