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OWNER’S MANUAL
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Important Safety Instructions 13. Unplug this apparatus during lightning storms or when unused for long 1. Read these instuctions. periods of time. 2. Keep these instructions. 14. Refer all servicing to qualifi ed service personnel. Servicing is required 3. Heed all warnings. 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 4. Follow all instructions. fallen into the apparatus, the apparatus has been expose
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Owner’s Manual Table of Contents Introduction................................................................................................................4 Getting Started ..........................................................................................................5 Zero the Controls .......................................................................................................................................5 Connections...................................................
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Introduction HOW TO USE THIS MANUAL Thank you for choosing a Mackie Onyx 1640 profes- sional compact mixing console. The Onyx Series of mix- We know that many of you can’t wait to get your new ers are designed for the digital era and offer the newest mixer hooked up, and you’re probably not going to read features and latest technologies for live sound reinforce- the manual fi rst (sigh!). So the fi rst section after this ment and analog or digital studio recording in a durable, Introduction is
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Owner’s Manual a line input such as a CD player or tape recorder Getting Started 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 READ THIS PAGE!! the middle of the set. Even if you’re one of those people 3. Adjust the channel’s GAIN [4] control so that the who never reads manuals, all we ask LEDs on the RIGHT meter [31] stay around “0” and is that you read this page now before n
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CHANNEL INPUTS IN-TAPE-OUT PHONES SUB OUT CNTRL ROOM RECORDING OUT OUT OUTPUTS 1-8 Hookup Diagrams This hookup diagram demonstrates how you can do a live multitrack recording using the RECORDING OUTs or the op- tional FireWire card. Bass Guitar Electric Guitar The RECORDING OUTs provide an analog balanced direct output for each channel, and the FireWire card provides a digital direct output for each channel. Electric Guitar 1 9 1 1 2 10 Vocal Mics 2 2 Mono Compressor In 3 11 Out 3 3 4 12 4
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Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM SUB OUT RECORDING OUT OUT OUTPUTS 1-8 Bass Guitar Electric Guitar Mono Compressor Electric Guitar In 1 9 1 Out 1 2 10 2 Vocal Mics 2 In 3 11 Stereo Compressor Out 3 3 In 4 12 4 Out 4 5 13 5 5 6 14 6 6 7 15 7 7 8 16 8 8 Stereo Guitar Effects L L 9 9 1 3 R R 10 10 Digital Delay L L Drum 11 2 4 11 Machine R R Multi Effect 12 Processor 12 Keyboard or other 1 line level input 13 13 2 14 14 3 15 4 15 16 5 16 6 Out L R (play) L R In L (reco
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CHANNEL INPUTS IN-TAPE-OUT PHONES SUB OUT CNTRL ROOM RECORDING OUT OUT OUTPUTS 1-8 Bass Guitar Electric Guitar Electric Guitar 1 9 1 1 2 10 2 Vocal Mics 2 Mono Compressor In 3 11 Out 3 3 4 12 4 4 In Stereo Compressor 5 13 Out 5 5 In 6 14 Out 6 6 7 15 7 7 8 16 8 8 Stereo Guitar Effects L L 9 9 1 3 R R 10 10 L L Drum 11 2 4 11 Machine R R 12 Digital Delay Keyboard or other 12 1 line level input 13 13 Multi Effect 2 Processor 14 14 3 15 4 15 16 5 16 6 L R L R L R Headphones 1 3 L 2 4 R Powered St
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Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES SUB OUT CNTRL ROOM RECORDING OUT OUT OUTPUTS 1-8 Bass Guitar Electric Guitar Mono Compressor In 1 9 Out 1 1 Electric Guitar 2 10 2 Vocal Mics 2 In 3 11 Stereo Compressor 3 Out 3 In 4 12 4 Out 4 5 13 5 5 6 14 6 6 Headphones 7 15 for Studio 7 7 8 16 8 8 Stereo Guitar Effects L L 9 Headphone Distribution 1 3 9 Amp R R 10 Keyboard or other 10 line level input L L 11 2 4 11 R R Drum 12 12 Mics 1 13 13 2 14 14 3 15 4 15 16 5 16 6 1202-VLZPRO L R L R In
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Onyx 1640 Features Channel Strips +15 All sixteen channels on the Onyx 1640 We recommend that you +10 1 look alike and function identically with use the Low-Cut fi lter on +5 the following exception: Channels 1 every microphone appli- 48V 0 and 2 have high-impedance instrument cation except kick drum, 75Hz –5 18dB/OCT inputs in addition to the mic and line in- bass guitar, bassy synth MIC –10 HI-Z puts so you can connect a guitar directly patches, or recordings of 30 U –15 20 40 to the m
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Owner’s Manual HOWEVER: The HI-Z inputs are unbalanced, so if you’re 6. HIGH EQ doing a live show and running a long cord between the instrument and the mixer (say over 25 or 30 feet), it is +15 This control gives you best to use a direct box with a balanced output to avoid +10 up to 15 dB boost or cut at picking up noise over the length of the cord. +5 12 kHz, and it is also fl at 0 at the center detent. Use –5 it to add sizzle to cymbals, 4. GAIN Control –10 and an overall sense of –15
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10. LOW EQ 13. MUTE +15 This control gives you Engaging a channel’s MUTE switch provides (almost) +10 up to 15 dB of boost or cut the same results as turning the fader all the way down +5 at 80 Hz. The circuit is fl at (a pre-aux send is not affected by the channel fader, but 0 (no boost or cut) at the it is by the MUTE switch). Any channel assignments to –5 center detent position. MAIN MIX, SUB 1-2, or SUB 3-4 will be interrupted, all –10 This frequency represents the AUX sends will be sile
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Owner’s Manual If you’re doing a mixdown to a 2-track, for example, Control Room Matrix, simply engage the MAIN MIX switch on each channel that you want to hear, and they’ll be sent to the MAIN Metering, and Phones MIX bus. If you want to create a subgroup of certain Typically, the engineer sends the MAIN MIX to an audi- channels, engage either the 1-2 or 3-4 switches instead ence (if live) or to a mixdown deck (if recording). But of the MAIN MIX, and they’ll be sent to the appropriate w
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The ASSIGN TO MAIN MIX button [19] routes the TALKBACK Section stereo mix from the optional FIREWIRE card to the main mix bus. The talkback feature allows the engineer to communi- cate with the talent either through the PHONES output This gives you the fl exibility of monitoring the TAPE, [30], the AUX 1-4 outputs [62], the AUX 5-6 outputs, SUB 1-4, or FIREWIRE signals as they appear at the or the SUB 1-4 outputs [60]. A talkback microphone is MAIN OUT rather than at a point just after the
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Owner’s Manual tion switches pushed in, the talkback signal won’t go 25. TALKBACK LEVEL anywhere. You might as well be talking to a brick wall. Use this knob to control the level of the talkback signal being routed to the various outputs. This controls 28. TALKBACK Switch the talkback level for either the internal or external TALKBACK MICs. This is a momentary switch, meaning it’s only active when you hold the switch down. As long as you hold You should start with the TALKBACK LEVEL contro
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The reason for this is because you want the meters to especially handy at about 3 am when no sound is coming refl ect what the engineer is listening to, and as we’ve out of your monitors but your multitrack is playing back covered, the engineer is listening either to the CON- like mad. TROL ROOM outputs or the PHONES outputs. The only difference is that while the listening levels are con- 33. SOLO LEVEL trolled by the CONTROL ROOM and PHONES knobs, the meters indicate the SOURCE mix before th
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Owner’s Manual (pre-fader) or after the fader (post-fader). Typically, Auxiliary Section you use a pre-fader send for monitors so you can control the monitor levels independently from the MAIN MIX. This section includes the AUX MASTERS (Sends) and Use a post-fader send for effects, so that the “wet” signal the AUX RETURNS. These can be a bit confusing to the level follows the “dry” signal level. uninitiated, so here’s the whole idea behind aux sends and returns: sends are outputs and retu
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37. AUX SENDS SOLO This button allows you to solo an individual AUX AUX MASTERS SEND. If you are using the aux sends to feed your stage EFX AUX AUX monitors, you can use these buttons to check your moni- TO SENDS RETURNS MON tor mix. Beside each switch is an indicating LED to let PRE you easily spot a soloed aux send. POST 1 1 The aux send solo is not affected by the SOLO MODE MON +15 +10 +10 SOLO switch (PFL/AFL), except that in PFL mode only the TO AUX 5 right meter indicates the signal
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Owner’s Manual These two knobs feed their respective stereo AUX 45. SUB 1-4 Faders RETURN signals to a mono summing amp and then: TO AUX 5 feeds AUX RETURN 1 to AUX SEND 5 master, and As you might expect, these faders control the levels of TO AUX 6 feeds AUX RETURN 2 to AUX SEND 6 master. the signals sent to the SUB OUTS. All channels that are They are off when turned fully down, and provide up to assigned to subgroups, not muted, and not turned fully 10 dB gain turned fully up. down wi
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E E E E E E E E E E E E E E E E R R R R R R R R R R R R R R R R P P P P P P P P P P P P P P P P C C C C C C C C C C C C C C C C I I I I I I I I I I I I I I I I M M M M M M M M M M M M M M M M When connecting an unbalanced signal, wire them as Rear Panel follows: Tip = Positive (+ or hot) This is where all the connections are made to the Sleeve = Shield or ground Onyx 1640 (except the headphones and the lamp). One of the things that revolutionized the compact 49. HI-Z Instrument Input mixer
