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12-Channel Premium Analog Mixer
with FireWire
QUICK START GUIDE
CTRL - RM OUT MAIN OUT -
12 3 4 ALT 3 4 OUT TAPE
BAL/UNBAL BAL/UNBAL BAL/UNBAL
L
IN OUT
L/3 R/4 R
LR L R
LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
1 2 3 4 L L L L
(MONO) (MONO) (MONO) (MONO)
LINE LINE LINE LINE
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
LINE LINE
HI-Z HI-Z
75Hz 75Hz
18dB/OCT 18dB/OCT
R R R R
48V 48V 48V 48V
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Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC 2. Keep these instructions. Rules. These limits are designed to provide reasonable protection 3. Heed all warnings. against harmful interference in a residential installation. This equip- 4. Follow all instructions. ment generates, uses, and can radiate radio frequency energy and, if 5. Do not use
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Set the levels Introduction It’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones into Thank you for choosing a lovely Mackie Onyx 1220i the phones output jack, then turn up the phones knob professional compact mixer. It has built-in FireWire, just a little. our premium precision-engineered studio-grade Onyx mic preamps, along with the newest features and latest 1. Turn on the mixer by pressing the top edge of technologies for live
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Features REAR PANEL 27. MID EQ LEVEL (CH. 5-12) 1. AC POWER CONNECTION 28. LOW EQ LEVEL 2. POWER SWITCH 29. AUX SEND 1 AND 2 LEVEL 3. FIREWIRE CONNECTIONS 30. PAN CONTROL 4. MAIN MIX XLR OUTPUTS 31. MUTE/ALT 3-4 SWITCH 5. MAIN OUTPUT LEVEL (+4 dB/MIC) 32. –20 AND OL LEDS 6. AUX SEND 1 AND 2 33. CHANNEL FADER 7. AUX RETURN 1 AND 2 34. SOLO SWITCH 8. INSERT (CH. 1-4) MASTER SECTION CONNECTION SECTION 35. CONTROL ROOM SOURCE: MAIN MIX 9. MIC INPUTS 36. CONTROL ROOM SOURCE: TAPE, FW 1-2, ALT 3-4 10.
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E E E E R R R R P P P P C C C C I I I I M M M M - 12 3 4 CTRL - RM OUT MAIN OUT ALT 3 4 OUT 15 TAPE 16 BAL/UNBAL BAL/UNBAL BAL/UNBAL L IN OUT 12 13 14 9 L/3 R/4 R LR L R LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 1 2 3 4 L L L L 17 10 (MONO) (MONO) (MONO) (MONO) LINE LINE LINE LINE BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL 11 LINE LINE - - HI Z HI Z 75Hz 75Hz 18 18dB/OCT 18dB/OCT R R R R PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
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E E E E R R R R P P P P C C C C I I I I M M M M Setting up a system Microphones Electric Bass iPod Guitar Guitar Docking Station 12 3 4 CTRL - RM OUT MAIN OUT ALT 3-4 OUT TAPE BAL/UNBAL BAL/UNBAL BAL/UNBAL L Headphones IN OUT LR L R L/3 R/4 R LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 1 2 3 4 L L L L Amplifier LINE LINE LINE LINE (MONO) (MONO) (MONO) (MONO) BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL LINE LINE HI-Z HI-Z 75Hz 75Hz Model
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E E E E R R R R P P P P C C C C I I I I M M M M Studio Acoustic Microphone Guitar mic’d up Mackie Bass HR824mk2 Guitar Powered Reference Monitors for Electric Control Room Guitar CD Player Engineer’s Headphones - 12 3 4 CTRL - RM OUT MAIN OUT ALT 3 4 OUT TAPE BAL/UNBAL BAL/UNBAL BAL/UNBAL L IN OUT LR L R L/3 R/4 R LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 1 2 3 4 L L L L LINE LINE LINE LINE (MONO) (MONO) (MONO) (MONO) BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
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E E E E R R R R P P P P C C C C I I I I M M M M INSERTS Microphones Channels 1-4 have insert jacks on the rear panel. Connect your microphones to the female XLR These allow you to send the mic and line signals out connectors on mono channels 1-4. The microphone to an external device, and back in again on the same preamps feature our Onyx design, with super high connector. For example, vocals benefi t from having an fi delity and headroom. Professional ribbon, dynamic, e
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E E E E R R R R P P P P C C C C I I I I M M M M Line-level Sources and Guitars Connect your line-level sources to the 1/4" TRS line The tape output is a copy of the main mix (post input connectors. Channels 1-4 have mono line inputs, fader), suitable for analog recording, sending to the and channels 5-12 are stereo. Each line input can inputs of an external amplifi er, or sound card etc. accept TRS balanced or TS unbalanced sources. SETTING THE LINE INPUT GAIN Line-level so
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E E E E R R R R P P P P C C C C I I I I M M M M Aux 1 and Aux 2 AUX RETURN 1 and 2 AUX SEND 1 and 2 These 1/4" TRS stereo input connectors allow you to The 1/4" TRS aux sends on the rear panel allow you to send balanced or unbalanced line-level outputs to add the stereo processed output from external effects processors or other devices to the main mix. Adjust the external effects devices or stage monitors, independent level of the incoming signals with the aux return master
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E E E E R R R R P P P P C C C C I I I I M M M M Control Room/Phones/Meters CONTROL ROOM OUTPUTS Assign to Main Mix The 1/4" TRS stereo control room outputs can be used Except for the main mix, whatever is selected as a to run a separate sound system in a control room or a source for your control room and phones can also be different zone. Connect these outputs to the line-level routed to the main mix by pressing this switch. The inputs of an amplifi er running passive studio mo
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E E E E R R R R P P P P C C C C I I I I M M M M Main Mix XLR MAIN OUTPUTS MAIN MIX and FIREWIRE The male XLR output connectors provide a balanced The main mix can be sent to your computer via two line-level signal that represents the end of the mixer dedicated Firewire signals. The output is not affected by chain, where your fully mixed stereo main mix signals the main mix fader, allowing you to record the main mix enter the real world. Connect these outputs to the of live pe
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E E E E R R R R P P P P C C C C I I I I M M M M Alt 3-4 MUTE/ALT 3-4 SWITCHES Every time a bell rings, an Angel gets its wings. In a similar way, every time a mute switch is pressed, that channel is muted in the main mix and appears in the alt 3-4 outputs instead. If you just want to mute the channels, then don't connect the alt 3-4 outputs to anything. Muted channels can still be soloed to audition them in the headphones and control room, and to adjust and check the chan
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E E E E R R R R P P P P C C C C I I I I M M M M Talkback The mixer's built-in microphone allows you to talk to DESTINATION: PHONES, AUX 1-2 the band through the phones outputs or stage monitors. Push in the phones talkback destination switch to This can often be charming, pleasant, informative, and communicate with the talent in the studio through the enlightening. headphones during a recording session. TALKBACK MIC The aux 1-2 talkback destination switch routes the talkba
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E E E E R R R R P P P P C C C C I I I I M M M M FireWire Connections FireWire The mixer comes with a CD containing the PC driver ( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) FIREWIRE MAIN OUT AUX SEND CHANNEL INSERT BALANCED POWER 1 43 2 1 software needed to use your mixer's internal FireWire R L BAL/UNBAL AUX RETURN BAL/UNBAL 2RL 21 L R interface. Macintosh OS X contains built-in drivers, and +4dB MAIN OUTPUT LEVEL MIC no software installation is required. Please check
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E E E E R R R R P P P P C C C C I I I I M M M M FireWire also provides a return for two channels from CONTROL ROOM FW 1-2 your computer to your mixer: If this is engaged, you can listen to FireWire 1 and 2 playback from your computer in the control room and � These can be routed through the control headphones. This can also be added to the main mix if room/phones via the FW 1-2 button, to monitor control room assign to main mix is engaged. See below. the computer audio thro
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AUX SEND 1-2 Post-Fader FireWire Sends A direct copy of the aux send 1 and 2 outputs can The post-EQ channel FireWire sends are pre-fader, be sent via FireWire to your computer. This makes it but the circuit boards can be modifi ed so that they are possible to use a software effects processor instead of an post-fader instead. This allows the channel fader to expensive external processor. control the level of the FireWire sends from each channel. To setup a software effects processor:
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Technical Information Specifi cations Noise Characteristics: Distortion (THD+N): Equivalent Input Noise (EIN), mic input at insert, 150 Ω source 20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth impedance, 20 to 20 kHz: Mic input at insert 60 dB (max) gain: -127 dBu (+4 dBu in, 0 dB gain, +4 dBu out): 0.0015% 40 dB gain: -126.5 dBu Mic input at insert Equivalent Input Noise (EIN), mic input at insert, 50 Ω source (-36 dBu in, +40 dB gain, +4 dBu out): 0.017% impedance, A-weigh
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FireWire Output Impedance: Sample Rates Available: 44.1 kHz, 48 kHz, Main XLR output: 100 Ω balanced 88.2 kHz, 96 kHz Phones output: 75 Ω Buffer Size: 32 (44.1 kHz and 48 kHz All other outputs: 300 Ω only), 64, 128, 256, 512, 1024, 2048 samples AC Power Requirements: Resolution: 24-bit Power Consumption: 30 Watts Universal AC Power Supply: 100 VAC – 240 VAC, Meters 50-60 Hz 2-segment pre-fader channel meters: OL (+18 dBu), -20 d
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E E E E R R R R P P P P C C C C I I I I M M M M Track Sheet - 12 3 4 CTRL - RM OUT MAIN OUT ALT 3 4 OUT TAPE BAL/UNBAL BAL/UNBAL BAL/UNBAL L IN OUT R L/3 R/4 LR L R LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 1 2 3 4 L L L L LINE LINE LINE LINE (MONO) (MONO) (MONO) (MONO) BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL LINE LINE HI-Z HI-Z 75Hz 75Hz 18dB/OCT 18dB/OCT R R R R PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE 48V 48V 48V 48V CTRL
