Summary of the content on the page No. 1
OWNER’S MANUAL
Summary of the content on the page No. 2
Important Safety Instructions 1. Read these instuctions. 13. Unplug this apparatus during lightning storms or when unused for long 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- 4. Follow all instructions. supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed
Summary of the content on the page No. 3
Owner’s Manual Table of Contents Introduction................................................................................................................4 Getting Started ..........................................................................................................5 Zero the Controls .......................................................................................................................................5 Connections...................................................
Summary of the content on the page No. 4
Introduction Thank you for choosing a Mackie Onyx 1220 profes- HOW TO USE THIS MANUAL 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 the ment and analog or digital studio recording in a durable, table of conten
Summary of the content on the page No. 5
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 control so that the LEDs who never read manuals, all we ask on the RIGHT meter stay around “0” and never go is that you read this page now before hi
Summary of the content on the page No. 6
CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM RECORDING OUT OUT OUTPUTS 1-4 Hookup Diagrams This hookup diagram demonstrates how you can do a live multitrack recording Bass Guitar Electric Guitar using the RECORDING OUTs or the op- tional FireWire card. 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. Vocal Mics Mono Compressor In 1 1 1 Out 2 2 2 In 3 3 3 Stereo Compressor O
Summary of the content on the page No. 7
Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES CONTROL RM RECORDING OUT OUT OUTPUTS 1-4 Bass Guitar Electric Guitar Electric Guitar Vocal Mics Mono Compressor In 1 1 1 Out 2 2 2 In 3 3 3 Stereo Compressor Out In 4 4 4 Out Stereo Guitar Effects L 5 L MONO 1 R 6 R Drum Machine Digital Delay L 7 MONO L Keyboard or other 2 8 R R line level input Multi Effect Processor L 9 MONO 1 10 R 2 L 11 MONO L R 12 R Out L R (play) L L R R In (record) Powered Powered Studio Monitors Studio Mo
Summary of the content on the page No. 8
CHANNEL INPUTS IN-TAPE-OUT PHONES CONTROL RM RECORDING OUT OUT OUTPUTS 1-4 Bass Guitar Electric Guitar Electric Guitar Vocal Mics Mono Compressor In 1 1 1 Out 2 2 2 In 3 3 3 Stereo Compressor Out In 4 4 4 Out Stereo Guitar Effects L 5 MONO L 1 R 6 R Drum Machine Digital Delay L 7 MONO L 2 Keyboard or other 8 R R line level input Multi Effect Processor L 9 MONO 1 R 10 2 Sound Card L 11 MONO L 12 R R L R LINE L IN L R L R R LINE OUTS Headphones 1 2 3 4 MIC IN Powered Powered Stu
Summary of the content on the page No. 9
Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES CONTROL RM RECORDING OUT OUT OUTPUTS 1-4 Bass Guitar Electric Guitar Electric Guitar Vocal Mics Mono Compressor In 1 1 1 Out 2 2 2 In 3 3 3 Stereo Compressor Out 4 In 4 4 Out Stereo Guitar Effects L 5 L MONO Keyboard or other 1 6 R R line level input Drum Digital Delay L 7 Mics MONO L 2 8 R R Multi Effect Processor L 9 MONO 1 R 10 2 L 11 MONO L 12 R R 1202-VLZPRO L R L R L R In (record) Submixer for Drums Headphones FIREWIRE (OPTI
Summary of the content on the page No. 10
E R P C I M Onyx 1220 Features Note: For the stereo channels 5-12, if a signal is plugged into the LEFT (MONO) side and nothing is Channel Strips plugged into the RIGHT side, the signal is automatically There are two kinds of channel strips on the Onyx 1220: connected to both LEFT and RIGHT sides. This is called Mono and Stereo. The mono channel strips (channels jack normalling. As soon as something is plugged into 1-4) have mic and line input connectors. In addition, the RIGHT side, the
Summary of the content on the page No. 11
Owner’s Manual Another way to use the Low Cut fi lter LINE IN 5-6 8. EQ IN/OUT Switch is in combination with the LOW EQ on (MONO) vocals during live performances. Many L This is a true hardware bypass of BAL/ times, bass shelving EQ can really ben- the Perkins EQ circuitry to insure UNBAL efi t voices. Trouble is, adding LOW EQ that there is no coloration of the R also boosts stage rumble, mic handling signal if the EQ is not needed. clunks, and breath pops. Low Cut removes all those prob- W
Summary of the content on the page No. 12
to the AUX 1 and AUX 2 controls, sending the combined 10. MID EQ signal to the AUX SEND outputs. +15 Short for “midrange,” These are more than just effects and monitor sends. +10 this knob provides 15 dB They can be used to generate separate mixes for record- +5 of boost or cut centered ing, for another zone, or “mix-minuses” for broadcast. 0 at the frequency deter- –5 mined by the FREQ knob 15. PAN –10 (see FREQ next), or at –15 2.5 kHz for the stereo 20Hz 100Hz 1kHz 10kHz 20kHz PAN adj
Summary of the content on the page No. 13
Owner’s Manual When doing live sound or mixdown, it’s often handy LINE IN 5-6 18. Signal Level LEDs to control the level of several channels with one knob. (MONO) That’s called subgrouping. Simply assign these channels L These LEDs indicate the chan- BAL/ to the ALT 3-4 mix, engage ALT 3-4 in the CONTROL nel’s signal level after the GAIN UNBAL ROOM/PHONES SOURCE matrix (20), and the signals and EQ controls, but just prior to R will appear at the CONTROL ROOM (48) and PHONES the channel’s fa
Summary of the content on the page No. 14
Control Room Matrix, Metering, and Phones Typically, the engineer sends the MAIN MIX to an MAIN MIX, the MAIN MIX lines to the SOURCE matrix audience (if live) or to a mixdown deck (if recording). will be disconnected from the CONTROL ROOM and But what if the engineer needs to hear something other PHONES outputs, to prevent feedback. Then again, why than the MAIN MIX in the control room or headphones? on earth would anyone want to assign the MAIN MIX to With the Onyx 1220, the engineer has s
Summary of the content on the page No. 15
Owner’s Manual Thanks to the Onyx 1220’s wide dynamic range, 23. PHONES Knob you can get a good mix with peaks fl ashing anywhere between –20 and +10 dB on the meters. Most amplifi ers This controls the volume at the PHONES output, from clip at about +10 dBu, and some recorders aren’t so off (∞) to maximum gain (MAX). forgiving either. For best real-world results, try to keep your peaks between “0” and “+7.” 24. LEFT/RIGHT Level Meters Remember, audio meters are just tools to help assure Th
Summary of the content on the page No. 16
26. AUX 1 and AUX 2 MASTER TALKBACK Section The AUX MASTERS provide overall control over the The talkback feature allows the engineer to communi- AUX SEND levels, just before they are delivered to the cate with the talent either through the PHONES outputs AUX SEND outputs (38). These knobs go from off (∞) (42) or the AUX 1-2 outputs (38). A talkback microphone to +15 dB when turned all the way up. is built into the Onyx 1220, or you have the option of connecting an external microphone at t
Summary of the content on the page No. 17
Owner’s Manual 33. TALKBACK to PHONES 37. POWER LED Push in the CR/PHONES switch to route the talkback This LED performs one function—it lets you know signal to the PHONES (42) output. Use this to commu- when the Onyx 1220 is turned on and ready to go! nicate with the talent in the studio through the head- phones during a recording session. When the talkback circuit is activated (by pushing the TALKBACK (35) switch), the CONTROL ROOM outputs are attenuated by 20 dB to allow the engineer’s vo
Summary of the content on the page No. 18
Front Panel Connectors Besides the channel strip MIC and LINE input con- Push in the ASSIGN TO MAIN MIX button (21) to route nectors, there are some other connectors located on the the tape input to the MAIN OUTs (40/46). This allows you front panel for easy access. to playback music between sets over the main PA speakers. WARNING! Pushing TAPE in the 38. AUX SEND 1 and 2 SOURCE matrix and ASSIGN TO MAIN MIX can create a feedback These 1/4" TRS output connectors provide balanced path betw
Summary of the content on the page No. 19
Owner’s Manual Rear Panel There are just a few more connectors and switches to 47. MAIN OUTPUT LEVEL talk about and you’ll have completed your tour of the When this switch is out (+4 dB), the XLR MAIN Onyx 1220. Hang in there! OUTPUTS provide a +4 dBu line-level signal. When the switch is pushed in (MIC), the signal is attenuated by 43. POWER Switch 40 dB to a microphone level. You can connect the XLR MAIN OUTPUTS to the microphone inputs of another This one is self-explanatory. When the P
Summary of the content on the page No. 20
Special insert cables are available, specially designed The signal at the RECORDING OUTS comes just after for this kind of insert jack. They are wired as follows: the input GAIN control, and before the Low-Cut switch, INSERT jacks, and EQ. This way you can EQ a channel, SEND to processor connect a compressor or other dynamics processor to ring “tip” (TRS plug) tip sleeve the INSERT jack, and adjust the channel fader to suit your live mix, but it has no effect on the signal going to the rec
