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PREMIUM LIVE ANALOG MIXERS
w/PERKINS EQ & ONYX MIC PREAMPS
OWNER’S MANUAL
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Important Safety Instructions 1. Read these instructions. 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 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 Thank you for choosing a Mackie Onyx 80 Series HOW TO USE THIS MANUAL professional live mixing console. The Onyx 80 Series of We know that many of you can’t wait to get your new mixers feature all-new analog circuitry and the latest mixing console hooked up, and you’re probably not going technologies for live sound reinforcement in a durable, to read the manual fi rst (sigh!). So the next section is a road-worthy package. Quick-Start Guide to help you get the mixer set up fast
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Owner’s Manual a line input such as a CD player or tape recorder output. Be sure that the volume of the input source Getting Started 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. READ THIS PAGE!! 3. Adjust the channel’s GAIN [5] control so that the Even if you’re one of those people LEDs on the Left Solo meter stay around “0” and who never read manuals, all we ask never go higher than “+7.” is that you rea
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CHANNEL INPUTS STEREO AUX INPUTS PHONES MONTIOR MATRIX DIRECT OUT OUT OUT OUT 1-8 This hookup diagram demonstrates how Hookup Diagrams 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. Electric Guitar Mono Compressor In
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Owner’s Manual CHANNEL INPUTS STEREO AUX INPUTS PHONES MONTIOR MATRIX DIRECT OUT OUT OUT OUT 1-8 Electric Guitar In Mono Compressor 1 1 1 13 Out 2 2 2 14 3 3 3 15 Vocal Mics 4 4 4 16 5 5 5 17 6 6 6 18 Bass Guitar In 7 7 7 19 Stereo Compressor Out In 8 8 8 20 Out 9 9 9 21 Electric Guitar 10 10 10 22 11 11 11 23 12 12 12 24 13 13 1 1 14 14 2 2 DI Boxes 15 3 3 15 16 4 4 16 Stereo Guitar Effects 5 5 17 17 6 6 Digital Delay 18 18 7 7 Drum 19 19 8 8 Machine Keyboard or other 20 20 line level input 1
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CHANNEL INPUTS STEREO AUX INPUTS PHONES MONTIOR MATRIX DIRECT OUT OUT OUT OUT 1-8 Electric Guitar Mono Compressor In 1 1 1 13 Out 2 2 2 14 3 3 3 15 Vocal Mics 4 4 4 16 5 5 5 17 6 6 6 18 Bass Guitar In 7 7 7 19 Stereo Compressor Out 8 In 8 8 20 Out 9 9 21 9 Electric Guitar 10 10 10 22 11 11 11 23 12 12 12 24 13 13 1 1 14 14 2 2 DI Boxes 15 3 3 15 4 4 16 16 Stereo Guitar Effects 5 5 17 17 6 6 18 18 Multi Effect 7 7 Processor Drum 19 19 8 8 Machine Keyboard or other 20 20 line level input 1 1 21
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Owner’s Manual CHANNEL INPUTS STEREO AUX INPUTS PHONES MONTIOR MATRIX DIRECT OUT OUT OUT OUT 1-8 Electric Guitar Mono Compressor In 1 1 1 13 Out 2 2 2 14 3 3 3 15 Vocal Mics 4 4 4 16 5 5 5 17 6 6 6 18 Bass Guitar In 7 7 7 19 Stereo Compressor Out 8 In 8 8 20 Out 9 9 21 9 Electric Guitar 10 10 10 22 11 11 23 11 12 12 12 24 13 13 1 1 14 14 DI Boxes 2 2 15 3 3 15 Stage Monitors Mono Power 16 4 4 16 Mono EQ Amplifier Stereo Guitar Effects 5 5 17 17 6 6 18 Stage Monitors 18 Mono Power 7 7 Mono EQ Amp
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Onyx 80 Series Features Channel Strips 3. Low-Cut Switch Depending on the model that you purchased, there are The Low-Cut switch, often referred to as a high-pass 24, 32, 40, or 48 channel strips. Each channel has a mic fi lter, cuts bass frequencies below 100 Hz at a rate of 18 and line input connector and an insert jack for connect- dB per octave. ing an external signal processor. We recommend that you use the Low-Cut fi lter on every microphone application except kick drum, bass 1. 48V Ph
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Owner’s Manual When connected to the 1/4" jack, there is 20 dB of the male vocal range and the fundamentals of some lower attenuation all the way down, and 40 dB of gain fully up, instruments (guitar, lower brass). with a “U” (unity gain) mark at about 10:00. 10. LOW MID FREQ 6. HIGH EQ +15 This knob ranges from +15 +10 This control gives you 100 Hz to 2 kHz and +10 +5 up to 15 dB boost or cut determines the center +5 0 at 12 kHz, and it is also frequency for the LOW 0 –5 fl at at the cente
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400 Hz to 8 kHz on the mono channels, and HIGH shelv- AUX 15. STEREO Switch SEND ing at 12 kHz. “Shelving” means that the circuitry boosts or cuts all frequencies past the specifi ed frequency. For When this switch is pushed in, 1 example, rotating the LOW EQ knob 15 dB to the right the associated odd/even pair of PRE boosts bass frequencies below 80 Hz and continuing on MAX Aux sends become a stereo send down to the lowest note you ever heard. “Peaking” means 2 and pan control, respectively
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Owner’s Manual with the channel’s PAN knob, they are used to deter- 17. MUTE GROUP Assign Switches mine the destination of the channel’s signal. Use these switches to assign the channel to one or With the PAN knob [12] at the center detent, the left more mute groups. The master mute groups [54] are lo- and right sides receive equal signal levels (GROUPS 1-2, cated in the Master section next to the Talkback section. 3-4, 5-6, 7-8, and MAIN MIX L-R). To feed only one side When a master mute g
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Soloed channels are sent to the PHONES output, 23. GAIN Control MONITOR outputs, and SOLO Meters. PFL mode (Pre- Fader Listen) sends the channel’s signal after the GAIN If you haven’t already, please read “Set the Levels” on and EQ controls, but before the channel fader, to the page 5. PFL solo bus. AFL mode (After-Fader Listen), sends the The GAIN control adjusts the input sensitivity of the signal post-fader, making it ideal for mixdown soloing. stereo line inputs. This allows the signal
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Owner’s Manual ance control on your home stereo (panning left turns 28. AUX SEND 1 and 2 (Aux Inputs 1-4) down the right channel, and panning right turns down AUX SEND 5 and 6 (Aux Inputs 5-8) the left channel). These tap a portion of each channel’s signal out to ei- 32. MUTE ther an effects processor or for stage monitoring. These go to the same Aux Send buses as the mono channel Aux Press this switch to mute the channel. This discon- Sends. The Aux Input Aux Sends are always pre-fade
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Remember, PFL solo mode always overides AFL solo Master Aux Send Section mode. If you engage a PFL solo switch on a mono or stereo channel, the AFL solo is disconnected from the 37. AUX 1 -8 MASTERS headphones and monitor outputs and replaced with the PFL signal. The Rude Solo LEDS below the SOLO meters The AUX MASTERS provide overall control over the indicate which solo mode is active. AUX SEND levels, just before they are delivered to the AUX SEND outputs [72]. These knobs go from off (
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Owner’s Manual 45. AFL Solo Switch Metering, Matrix, and Power The AFL switch allows you to hear the Group signal LEDs through your headphones or monitor outputs. This comes after the Group Fader and before the MUTE 47. POWER Indicators switch, so you can hear the relative signal level on each Group even when they are muted. These four LEDs indicate the status of the internal power supply voltages. The +15V and –15V supplies When you engage the AFL switch on two consecutive power the audi
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49. RUDE SOLO Lights 51. MATRIX A and B Input Controls These LEDs fl ash on and off when a channel’s solo is The Matrix A and B controls allow you to create active, as an additional reminder beyond the indicating separate mixes, or a stereo mix, from Groups 1 through LEDs next to each PFL or AFL button. The green LED 8 and the Left and Right Mix outputs. Simply adjust indicates PFL solo mode, and the amber LED indicates the 10 input controls to create the mix you want at the AFL solo mode. If
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Owner’s Manual TALKBACK Section, MUTE GROUPS, and MONO OUT By the way, it is okay to have more than one destina- 54. MUTE GROUPS MASTER tion switch pushed in at the same time. The talkback signal will be routed to all the destinations you have Remember the four MUTE GROUP [17] switches in selected. But if you don’t have any of the destination each channel strip, just above the channel fader and switches pushed in, the talkback signal won’t go to any MUTE switch? Well, these are the master
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63. MONITOR Level Control MAIN MIX and PHONES/ MONITOR Section This controls the signal level at both the Left and Right MONITOR OUTS [81]. 60. MAIN MIX Faders 64. PHONES Level Control These are the master faders that control the levels at This controls the signal level at the stereo headphone the MAIN OUTS. output [65]. When MAIN MIX TO MON/PHONES [62] is selected in the PHONES/MONITOR Section, the MAIN MIX fader also 65. Headphone Jack controls the main mix level in the PHONES and MONI- T
