Mackie Music Mixer 1220I User Manual
12-Channel Premium Analog Mixer  
with FireWire  
O W N E R ' S M A N U A L  
-
CTRL - RM OUT  
MAIN OUT  
BAL/UNBAL  
1
2
3
4
ALT 3 4 OUT  
TAPE  
L
BAL/UNBAL  
BAL/UNBAL  
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
(MONO)  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
LINE  
HI Z  
LINE  
HI Z  
-
-
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ  
&
FIREWIRE  
48V  
48V  
48V  
48V  
CTRL ROOM/PHONES  
SOURCE  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
40  
L
R
GAIN  
GAIN  
GAIN  
60  
GAIN  
60  
GAIN  
GAIN  
GAIN  
GAIN  
U
U
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
SEND  
MAIN MIX  
TAPE  
SEND  
SEND  
SEND  
SEND  
SEND  
INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
-
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
-15  
100  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
4
1k  
U
U
1k  
U
U
7
FREQ  
FREQ  
FREQ  
FREQ  
U
U
U
U
ASSIGN TO  
MAIN MIX  
10  
20  
30  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
MID  
MID  
MID  
MID  
O O  
O O  
MAX  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX MASTER  
SEND  
RETURN  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
2
PRE  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O +10  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
O O  
O O  
+15  
+15  
POST  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
+10  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
POWER  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
MIC  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
U
5
5
U
5
5
U
5
5
U
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
O O MAX  
LEVEL  
-
-
-
-
-
-
-
-
20  
20  
20  
20  
20  
20  
20  
20  
10  
10  
10  
0  
0  
10  
10  
0  
0  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
0  
30  
20  
30  
20  
30  
20  
30  
20  
30  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
TALKBACK  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
TALKBACK  
MAIN MIX  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
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Set the levels  
Quick Start  
It’s not even necessary to hear what you’re doing to  
set optimal levels. But if you’d like to: Plug in  
headphones and turn up the phones knob just a little.  
We realize that you must be really keen  
to try out your new mixer. Please read the  
safety instructions on page 2, read this  
page, and then have a look through some  
1. Turn on the mixer's power switch.  
of the features and details in this manual.  
2. For one channel, press the solo switch in, and  
the rude solo light will turn on.  
Setup  
3. Play something into that input at real-world  
levels.  
Use the mixer in a nice clean and dry environment,  
free from dryer lint and dust bunnies.  
4. Adjust that channel's gain control until the  
right main meter stays around the 0 dB LED  
(marked "level set").  
Zero the controls  
5. Disengage the channel's solo switch.  
1. Fully turn down all the knobs and faders to  
minimum, except for the channel EQ and pan  
controls, which should be centered.  
6. Repeat steps 2 to 5 for the remaining channels.  
7. Turn up a channel fader to the "U" mark.  
8. Slowly turn up the main mix fader until you  
hear the signals in your speakers or  
headphones.  
2. Make sure all buttons are in the out position.  
Connections  
9. If needed, apply some channel EQ wisely.  
1. Make sure the AC power switch is off before  
making any connections.  
10. Adjust the channel faders to get the best mix.  
Keep the gain controls and faders fully down on  
unused channels.  
2. Push the linecord 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 100 VAC to 240 VAC.  
3. Plug a balanced microphone into one of the mic  
XLR (3-pin) connectors. Or connect any line-  
level signal (keyboard, or guitar preamp) to a  
line input jack using a TS or TRS 1/4" plug.  
4. If your microphone requires phantom power,  
press in the 48V phantom power button.  
11. 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.  
FireWire  
• See page 34 for details of getting started with  
FireWire.  
5. You can connect a guitar directly to line inputs  
1 or 2 without the need for a DI box. Press a  
hi-z switch if you connect a guitar directly.  
6. The insert jacks of channels 1 to 4 can be used  
to connect an external effects or dynamics  
processor into the channel signal chain.  
• PC drivers are on the supplied CD-ROM. Mac  
OS X contains built-in drivers, so no software  
installation is required.  
Other Notes  
7. Connect the main outputs of the mixer (either  
XLR or TRS 1/4") to the line-level inputs of your  
amplifier (with speakers already attached) or  
to the line-level inputs of powered speakers.  
8. Engage the main mix switch in the control  
room/phones source selection, so the meters  
will show the main mix levels in the next steps.  
• When shutting down, turn off any power  
amplifiers or powered speakers first. When  
powering up, turn them on last. This will  
reduce the chance of turn-on or turn-off  
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 off the power.  
Part No. SW0722 Rev. B 02/2010  
©2010 LOUD Technologies Inc. All Rights Reserved.  
Loosely based on a dream sequence in which the technical writer is given keys to a  
sports car of his choice, unlimited gas, and closed roads. The dream suddenly ends and  
reality kicks in. A mixer manual to write, a mixer manual to write!  
• Save the shipping box!  
Owner's Manual 3  
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Introduction  
Thank you for choosing a Mackie Onyx 1220i  
professional compact mixer. The Onyx-i series of mixers  
offer built-in FireWire, along with the newest features  
and latest technologies for live sound reinforcement  
and analog or digital studio recording, all in a durable,  
road-worthy package.  
Features  
• Premium 12-channel super-compact analog  
mixer with integrated Fire wire I/O  
• 4 mono channels (mono mic and mono line  
inputs)  
The Onyx 1220i is equipped with four of our premium  
precision-engineered studio-grade Onyx mic preamps.  
Mackie is renowned for the high-quality mic preamps  
used in our mixers, and the Onyx mic pre’s are better  
than ever, with specifications rivaling expensive  
stand-alone mic preamplifiers.  
• 4 stereo channels (stereo line inputs)  
• 4 Onyx mic preamps with sound comparable to  
boutique preamps  
• 3-band Perkins EQ with sweepable mids on  
mono channels  
• 3-band Perkins EQ on stereo line channels  
Channels 1 and 2 feature high-impedance  
• Flexible FireWire routing with up to 12  
channels pre/post EQ, aux sends and master  
L/R routable to computer  
instrument/line-level inputs so you can connect an  
acoustic, electric, or bass guitar directly into the mixer,  
eliminating the need for an external direct box.  
• 2 channels of FireWire monitoring routable to  
either the control room or channels 11 and 12  
Extremely adaptable DAW integration  
• 2 independent aux sends with separate pre/post  
switches  
Recording and Mixing  
• Selectable instrument inputs on first two  
channels – no DI box is needed  
Channels, aux sends or the master L/R can be sent  
straight to your computer via FireWire for recording.  
Pre/post EQ taps on every channel allow you to integrate  
our renowned Perkins EQ into the record path. Plus, a  
stereo return from your DAW, or iTunes® is assignable to  
the control room section or straight back into channels  
11-12 for mix integration.  
• Individual 48v phantom power switches on all  
mic inputs  
• Talkback section with built in mic and flexible  
routing  
• "Planet-Earth" switching power supply for  
worldwide use  
Powerful Effects Engine  
• Optional rack kit available  
With both aux sends routable to your DAW, the 1220i  
allows you to use your favorite plug-in as a realtime  
effect. Just route an aux send to your DAW, apply the  
plug-in and assign your DAW outputs to the control  
room or to channels 11-12 for instant integration into  
the mix.  
Live Recording  
Live sound recording could not be simpler with the  
1220i. The ability to record individual channels either  
wet or dry allows for studio quality multi-track  
recordings for later editing and mixdown. Or simply  
record the main mix, allowing for immediate creation of  
CDs right at the gig.  
4 Onyx 1220i  
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How To Use This Manual  
The first pages after the table of contents are the  
hookup diagrams. These show typical setups for fun  
times with your mixer.  
Next is a detailed tour of the entire mixer. The  
descriptions are divided into sections, just as your mixer  
is organized into distinct zones:  
• Back panel  
• Connection section  
• Channel controls  
• Master controls  
Throughout these sections you’ll find illustrations  
with each feature numbered and described in nearby  
paragraphs.  
This icon marks information that is critically  
important or unique to the mixer. For your own  
good, read them and remember them.  
This icon will lead you to some explanations of  
features and practical tips. Go ahead and skip  
these if you need to leave the room in a hurry.  
Appendix A: Service information.  
Appendix B: Connectors.  
Appendix C: Technical information.  
Appendix D: Rack ear installation.  
Appendix E: FireWire.  
Appendix F: Modifications.  
Need help with your new mixer?  
• Visit www.mackie.com and click  
Support to find: FAQs, manuals,  
addendums, and other useful  
information.  
• Email us at: techmail@mackie.com.  
• Telephone 1-800-898-3211 to speak with  
one of our splendid technical support  
chaps (Monday through Friday, normal  
business hours, PST).  
Owner's Manual 5  
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Contents  
IMPORTANT SAFETY INSTRUCTIONS ........................ 2  
QUICK START.......................................................... 3  
INTRODUCTION ...................................................... 4  
HOOKUP DIAGRAMS............................................... 7  
FEATURES............................................................. 11  
REAR PANEL...................................................... 11  
1. POWER CONNECTION............................. 11  
2. POWER SWITCH..................................... 11  
3. FIREWIRE CONNECTIONS........................ 11  
4. LEFT/RIGHT XLR MAIN OUTPUTS ........... 12  
5. MAIN OUTPUT LEVEL.............................. 12  
6. AUX SEND 1 AND 2................................ 12  
7. AUX RETURN 1 AND 2 ........................... 12  
8. INSERT (CH. 1-4) ................................... 12  
CONNECTION SECTION....................................... 13  
9. MIC INPUTS........................................... 13  
10. MONO LINE INPUTS (CH. 1-4) ................ 13  
11. STEREO LINE INPUTS (CH. 5-12) ............. 14  
12. CTRL-RM OUT........................................ 14  
13. LEFT/RIGHT 1/4" MAIN OUTPUTS ......... 14  
14. ALT 3–4 OUT ......................................... 14  
15. TAPE INPUTS ......................................... 15  
16. TAPE OUTPUTS ...................................... 15  
17. HEADPHONE OUTPUT ............................ 15  
CHANNEL CONTROLS ......................................... 16  
18. HI-Z SWITCH (CH. 1 AND 2 ONLY).......... 17  
19. LOW CUT (CH.1–4 ONLY) ....................... 17  
20. 48V PHANTOM POWER (CH.1–4 ONLY).. 18  
21. GAIN CONTROL...................................... 18  
22. SEND FIREWIRE PRE/POST..................... 18  
23. INPUT (LINE OR FW 1-2)........................ 18  
24. HIGH EQ................................................ 19  
25. MID EQ FREQUENCY (CH. 1-4)................ 19  
26. MID EQ LEVEL (CH. 1-4) ......................... 19  
27. MID EQ LEVEL (CH. 5-12) ....................... 19  
28. LOW EQ................................................. 19  
29. AUX SEND 1 AND 2................................ 20  
30. PAN....................................................... 20  
31. MUTE SWITCH AND ALT 3–4................... 20  
32. –20 AND OL LEDS .................................. 21  
33. CHANNEL FADER .................................... 21  
34. SOLO..................................................... 21  
CONTROL ROOM/PHONES AND METERS ............ 22  
35. MAIN MIX .............................................. 22  
36. TAPE, FW 1-2, ALT 3-4 ............................ 22  
37. ASSIGN TO MAIN MIX............................. 22  
38. CONTROL ROOM KNOB ........................... 22  
39. PHONES KNOB........................................ 23  
40. LEFT/RIGHT LEVEL METERS...................... 23  
41. RUDE SOLO LIGHT ................................... 23  
AUX MASTER..................................................... 24  
42. MASTER AUX SEND 1 AND 2.................... 24  
43. PRE/POST .............................................. 24  
44. MASTER AUX RETURN 1 AND 2 ............... 24  
45. RTN TO AUX 1 ........................................ 24  
46. POWER LED............................................. 25  
TALKBACK ......................................................... 25  
47. TALKBACK MIC........................................ 25  
48. TALKBACK LEVEL ..................................... 25  
49. DESTINATION: PHONES, AUX 1-2............. 25  
50. TALKBACK SWITCH.................................. 26  
MAIN MIX......................................................... 26  
51. MAIN MIX ............................................. 26  
MAIN MIX AND FIREWIRE..................................... 26  
APPENDIX A: SERVICE INFORMATION.................... 27  
APPENDIX B: CONNECTIONS.................................. 28  
APPENDIX C: TECHNICAL INFORMATION................ 30  
APPENDIX D: RACK EAR INSTALLATION ................. 33  
APPENDIX E: FIREWIRE......................................... 34  
APPENDIX F: MODIFICATIONS ............................... 38  
LIMITED WARRANTY............................................. 40  
6 Onyx 1220i  
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Hookup Diagrams  
Acoustic Guitar  
and Mic  
Microphone  
1
2
3
4
CTRL - RM OUT  
BAL/UNBAL  
MAIN OUT  
BAL/UNBAL  
ALT 3-4 OUT  
BAL/UNBAL  
TAPE  
L
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
(MONO)  
Aux 2  
set to  
PRE  
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  
CTRL ROOM/PHONES  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
SOURCE  
MAIN MIX  
TAPE  
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
L
R
GAIN  
GAIN  
GAIN  
60  
-20dB +40dB  
-20dB
GAIN  
GAIN  
GAIN  
GAIN  
U
U
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEN
SEND  
INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
-
3 4  
2
FW 1-2  
ALT  
LEVEL  
SET  
-15  
100  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
4
1k  
U
U
1k  
U
U
Drum  
Machine  
7
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
U
U
U
U
ASSIGN TO  
MAIN MIX  
10  
20  
30  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
O O  
MAX  
O O  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
2
PRE  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
O
O
+10  
+10  
+15  
+15  
POST  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
POWER  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
SRM150  
Powered  
Monitor  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
MIC  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
5
U
5
5
U
5
U
5
5
5
5
U
5
5
U
5
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
O
LEVEL  
O
MAX  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
10  
0  
0  
0  
0  
0  
10  
0  
0  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
Guitar Processor  
Send  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
Laptop with  
audio production  
software  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
TALKBACK  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
TALKBACK  
MAIN MIX  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
Return  
Stereo Effects Processor  
DESIGNED BY KOIDS IN WOODINVILLE, WA, USA  
•
MANUFACTURED ICHINA FABRIQUE EN CHINE  
•
"MACK"ONYX" ARE TRADEMARKS OF LOUD TECHNNC.  
&
•
COPYR8  
(
PRE-FADER  
/
PRE EQ ND  
/
RING
)
Mackie  
SRM450v2  
Powered  
FIREWIRE  
MAIN OUT  
BALANCED  
AUX ND  
CHANNERT  
4
R
3
2
1
POWER  
Mackie  
SRM450v2  
Powered  
R
L
BAL/UNBAL  
2
AUX RETUN  
BAL/UNBAL  
2
L
1
Speaker  
Speaker  
This diagram shows an acoustic guitar mic'd up directly to channel 1 and a microphone connected to  
channel 2 for vocals. A guitar processor is connected to the insert jack of channel 1.  
An effects processor receives a mono input from the aux 1 send, and its stereo outputs connect to the  
stereo return inputs. Aux 1 is set post-fader, using the Aux 1 pre/post switch in the Aux Master section.  
A Mackie SRM150 powered speaker is connected to aux send 2 as a monitor for the performer(s).  
Aux 2 is set to pre-fader, using the Aux 2 pre/post switch in the Aux Master section.  
Mackie SRM450v2 powered speakers are connected to the left and right main outputs.  
A laptop connects to the FireWire port, and allows the 2-channel main mix of the performance to be  
recorded using your audio production software. Two channels of audio can also play from the computer  
to the main mix. For example, you can play intermission music when the call for an egg-nog decaf latté  
or green tea gets too strong and you have to take a break.  
1-2 Man Coffeehouse Gig  
Owner's Manual 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Microphones  
Electric  
Guitar  
Bass  
iPod  
Guitar  
Docking Station  
1
2
4
CTRL - RM OUT  
BAL/UNBAL  
MAIN OUT  
BAL/UNBAL  
ALT 3-4 OUT  
BAL/UNBAL  
Headphones  
Keyboard  
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
2
3
4
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
Amplifier  
Modeler  
LINE  
LINE  
LINE  
LINE  
(MONO)  
BAL/UNBAL  
LINE  
Z
BAL/UNBAL  
LINE  
-
Z
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BABAL  
BAL/UNBAL  
BAL/UNBAL  
-
HI  
HI  
75Hz  
75Hz  
18dB/OCT  
18dB/OCT  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ  
&
FIREWIRE  
48V  
48V  
48V  
press HI-Z  
button  
CTRL ROOM/PHONES  
30  
30  
30  
U
3
U
U
U
U
U
U
U
SOURCE  
MAIN MIX  
TAPE  
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
L
R
GAIN  
GAIN  
GAIN  
60  
G
60  
GAIN  
GAIN  
GA
GAIN  
U
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
-20dB +20dB  
-2
SEND  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEN
SEND  
INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PR
POS
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
Drum  
Machine  
12kHz  
12kHz  
12kHz  
12kHz  
-
3 4  
2
FW 1-2  
ALT  
LEVEL  
SET  
-15  
100  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
4
1k  
U
U
1k  
U
U
7
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
U
U
U
U
ASSIGN TO  
MAIN MIX  
10  
20  
30  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
HD1531  
O
O
MAX  
O O  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
Powered  
Speaker  
Aux Send 1 in PRE mode  
for stage monitors  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
HD1531  
Powered  
Speaker  
1
1
1
1
1
1
1
1
1
1
2
Main Left  
PRE  
POST  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O O  
MAX  
MAX  
O O  
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
O
O
+10  
+10  
+15  
+15  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O
O
O
O
O O  
O O  
O
O
O
O
O O  
O O  
O
O
O
O
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
Main Right  
POWER  
Aux Send 2 in POST mode  
for external processor  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
MIC  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
U
5
5
U
5
U
5
5
U
5
5
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
O
LEVEL  
O
MAX  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
10  
0  
0  
10  
0  
10  
0  
0  
0  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
Send  
TALKBACK  
HD1801  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
HD1801  
TALKBACK  
MAIN RMIeXturn  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
Powered  
Powered  
Compressor (Vocals)  
Subwoofers  
Subwoofers  
Send  
Return  
Compressor (Vocals)  
Send  
Return  
Dynamics Processor (Bass)  
Laptop Computer  
DESIGNED BY MACKOIDS IN WOOLLE, WA, USA  
•
MFACTURED IN CFABRIQUE EN CHINE  
•
"MACKIE" "ONYX" ARE TMARKS OF LOUD HNOLOGIES INC
&
PYRIGHT ©2008  
PRE-FADER  
/
EQ TIP SEN
ING RETURN  
)
FIREWIRE  
AIN OUT  
BALANCED  
AUX SEND  
1
CNNEL INST  
with audio  
Digital Delay  
(Aux Send 2)  
R
1
POWER  
production software  
/UNBAL  
2
AUX RETURN  
BAL/UNBAL  
2
L
R
1
L
MAIN OUTPUT  
LEVEL  
+4dB  
MIC  
Return  
Send  
Mackie SRM450v2 Powered Speakers  
(Stage Monitors) Aux Send 1  
This diagram shows an electric guitar connected to the channel 1 line input via an amplifier modeller, a  
bass guitar connected directly to channel 2 (hi-z switch in), microphones connected to the channel 3 and  
4 mic inputs, a drum machine connected to the channel 5-6 stereo line inputs, and a keyboard connected  
to the channel 7-8 stereo line inputs. An iPod dock connects to the tape input.  
A dynamics processor is connected to the insert jack of channel 2 to work its magic on your bass.  
Vocal compressors are connected to the channel 3 and 4 inserts.  
A delay processor receives a mono input from aux 2 send (in post-fader mode), and its stereo outputs  
connect to the stereo aux 1 return inputs.  
A plethora of SRM450v2 powered speakers are strewn across the stage as monitors for the band; they  
are connected to the aux 1 send jack (in pre-fader mode). Headphones are used to monitor levels.  
The club is driven by connecting quad HD1801 powered subwoofers and a pair of HD1531 powered  
speakers to the main left and right outputs.  
A laptop computer connects to a FireWire port, allowing the 2-channel main mix, individual channels,  
and the aux sends to be recorded. Two channels can be played back from your audio production  
software. These can enter as either a source for the control room and phones, or channels 11 and 12.  
Typical Club System  
8 Onyx 1220i  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Studio  
Microphone  
Acoustic  
Guitar  
mic’d up  
Mackie  
HR824mk2  
Bass  
Guitar  
Powered Reference  
Monitors for  
Control Room  
Electric  
Guitar  
CD Player  
Engineer’s  
Headphones  
1
2
3
4
CRL - RM OU
BAL/UNBAL  
MAIN OUT  
BAL/UNBAL  
ALT 3-4 OUT  
BAL/UNBAL  
T
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
(MONO)  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
L/UNBAL  
BAL/UNBAL  
LINE  
LINE  
HI  
press HI-Z  
buttons  
-
-
Z
HI  
Z
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ  
&
FIREWIRE  
48V  
48V  
48V  
CTRL ROOM/PHONES  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
SOURCE  
MAIN MIX  
TAPE  
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
L
R
GAIN  
GAIN  
GAIN  
60  
G
6
GAIN  
GAIN  
U
U
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB
-20d
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEN
SEND  
INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
RE  
POST  
RE  
POST  
PRE  
POST  
PRE  
POST  
press FW 1-2  
to pass FW 1-2 computer  
output into channels 11-12  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
-
3 4  
2
FW 1-2  
ALT  
LEVEL  
SET  
-15  
100  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
4
1k  
U
U
1k  
U
U
7
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
U
U
U
U
ASSIGN TO  
MAIN MIX  
10  
20  
30  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
O O  
MAX  
O O  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
2
PRE  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
O
O
+10  
+10  
+15  
+15  
POST  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
POWER  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
Electronic  
Drum Kit  
Keyboard  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
Send  
MIC  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
5
5
5
U
5
5
U
5
5
5
U
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
Return  
O
LEVEL  
O
MAX  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
Compressor (Vocals)  
10  
10  
0  
0  
0  
10  
10  
0  
10  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
Send  
Send  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
Keyboard  
TALKBACK  
Return  
Return  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
Dynamics Processor (Bass)  
TALKBACK  
MAIN MIX  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
Computer with  
audio production  
software  
Multi FX Processor (Guitar)  
Headphones  
DESIGNED BY MACKOIDS IN WOOE, WA, USA  
•
MANUFACTURED IN FABRIQUE EN E  
•
"MACKIE" "ONYX" ARE TMARKS OF LOUD TECHNOLOGIES INC
&
PYRIGHT ©200
PRE-FADER  
/
PRE EQ TIP SEN
ING RETURN  
FIREWIRE  
MAIN OUT  
BALANCED  
AUX SEND  
1
CHANNEL INST  
R
3
POWER  
R
L
BAL/UNBAL  
2
AUX RETURN  
BAL/UNBAL  
2
L
R
1
L
MAIN OUTPUT  
LEVEL  
+4dB  
MIC  
Headphone Amp  
This diagram shows an electric guitar connected directly to the channel 1 input (hi-z switch in), a bass  
guitar connected directly to channel 2 (hi-z switch in), an acoustic guitar mic'd up and connected to the  
channel 3 mic input, a studio mic connected to the channel 4 mic input, an electronic drum set connected  
to the channel 5-6 stereo line inputs, a keyboard connected to the channel 7-8 stereo line inputs, and a  
keyboard mono output connected to channel 9 (left input). A CD player connects to the tape input.  
A multi-FX processor is connected to the insert jack of channel 1 to work its magic on your guitar. A  
dynamics processor is connected to the insert jack of channel 2 for your bass. A compressor is connected  
to the insert jack of channel 4 for your vocals.  
Mackie HR824mk2 powered reference monitors are used for your control room listening. The  
engineer's headphones are used to monitor levels. Aux 2 is set up to provide the feed to a headphone  
amplifier and your band's headphones.  
A desktop computer connects to a FireWire port, allowing the 2-channel main mix, individual channels,  
and the aux sends to be recorded, and two channels to be played back using audio production software.  
Mixer channels 11-12 can play the 2-channel signals from your computer if the FW 1-2 switch at the  
top of the 11-12 channel strip is engaged. Aux 1 and 2 can be sent via FireWire to a software effects  
plug-in. (In the case above, aux 2 is used for the headphone amp.)  
Typical Recording System  
Owner's Manual 9  
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Headphones  
Mackie  
HR824mkII  
Powered  
Voice-over  
Microphone  
Reference  
Monitors for  
Control Room  
Headphone Amp  
Voice-over booth  
record  
-
CRL - RM OU
MAIN OUT  
BAL/UNBAL  
1
2
3
4
ALT 3 4 OUT  
TAPE  
L
BAL/UNBAL  
BAL/UNBAL  
Video Deck  
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
2
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
play  
LINE  
LINE  
LINE  
(MONO)  
BAL/UNBAL  
LINE  
Z
BAL/UNBAL  
LINE  
-
Z
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
UNBAL  
-
HI  
HI  
75Hz  
18dB/OCT  
7
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ  
&
FIREWIRE  
48V  
48V  
48V  
RL ROOM/PHONES  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
SOURCE  
MAIN MIX  
TAPE  
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
40  
L
R
GAIN  
GAIN  
GAIN  
60  
GAIN  
60  
AIN  
GAIN  
GAIN  
GA
U
U
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEND  
SEND  
INPUT  
Synthesizer  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
-
2
FW 1-2  
ALT 3  
4
LEVEL  
SET  
-15  
100  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
4
1k  
U
U
1k  
U
U
7
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
U
U
U
U
ASSIGN TO  
MAIN MIX  
10  
20  
30  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
O O  
MAX  
O O  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
2
PRE  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
MAX  
MAX  
O
O
O
O
+10  
+10  
+15  
+15  
POST  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
Electronic  
Drum Kit  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
POWER  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
MIC  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
U
5
5
U
5
U
5
5
5
U
5
U
5
5
U
5
5
5
U
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
O
LEVEL  
O
MAX  
-
-
-
-
-
-
-
-
20  
20  
20  
20  
20  
20  
20  
20  
10  
0  
0  
0  
0  
0  
10  
0  
0  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
Keyboard Controller  
TALKBACK  
Recorder  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
TALKBACK  
MAIN MIX  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
Effects Processor  
DESIGNED KOIDS IN WOODINVILLE, WA, USA  
•
MANUFACTURED IN ABRIQUE E
"MAC"ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES I
RIGHT ©20
(
PRE-FADER  
/
PRE EQ TIP SE
G RETUR
FIREWIRE  
AIN OUT  
BALANCED  
AUX ND  
CHANNEL IN
4
R
3
POWER  
BAL/UNBAL  
2
Effects/ Sampler  
AUX RETUR
BAL/UNBAL  
2
L
1
MAIN OUTPUT  
LEVEL  
+4dB  
MIC  
RAID rack  
Desktop  
Mac or PC  
Cinema Display for Audio  
Cinema Display for Video  
This diagram shows a voice-over microphone connected to the channel 1 mic input, a video deck's  
audio outputs connected to channels 5/6, with its audio inputs receiving the main mix from the  
1/4" main outputs. A synthesizer is connected to channel 7/8, and an electronic drum kit is connected  
to channel 11/12.  
An effects processor and a sampler each receive a mono input from an aux send (post-fader), and  
their stereo outputs connect to the respective stereo return inputs. A keyboard controller is attached to the  
sampler. Headphones are used to monitor all levels, using a headphone amp with multiple headphones,  
including one in the voice-over booth.  
A pair of Mackie HR824mkII powered reference monitors are connected to the left and right control  
room outputs for careful and accurate monitoring in the control room.  
A desktop Mac or PC is connected to a FireWire port, allowing the 2-channel main mix to be recorded  
and two channels to be played back. Two cinema screens are connected to the desktop, one displaying  
audio and the second for video. A RAID rack is attached to the computer for mass storage. A recorder is  
connected to the XLR main outs, and utilized as the master recorder.  
Post-Production System  
10 Onyx 1220i  
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Onyx 1220i Features  
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )  
FIREWIRE  
POWER  
MAIN OUT  
AUX SEND  
1
CHANNEL INSERT  
BALANCED  
4
R
3
2
1
R
L
8
7
4
BAL/UNBAL  
AUX RETURN  
BAL/UNBAL  
2
L
R
L
2
1
3
+4dB  
MIC  
MAIN OUTPUT  
LEVEL  
1
2
6
5
Rear Panel  
1. POWER CONNECTION  
3. FIREWIRE CONNECTIONS  
This is a standard 3-prong IEC power connector.  
Connect the detachable linecord (included in the box  
with your mixer) to the power receptacle, and plug the  
other end of the linecord into an AC outlet. The Onyx  
1220i has a universal power supply that can accept any  
FireWire is a high-speed two-way interface for  
connecting digital devices. Two FireWire connectors  
allow the transfer of digital audio to and from your  
computer or digital audio workstation (DAW) with  
ultra-low latency. Usually, only one connector is used.  
AC voltage ranging from 100 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.  
The FireWire interface provides the following outputs  
to your computer:  
• Channels 1–12, tapped pre-fader, and either  
pre-EQ, or post EQ (your choice).  
• Aux send 1 and 2 (a copy of the final aux  
outputs to your stage monitors or processors).  
Disconnecting the plug’s ground pin is  
dangerous. Don’t do it.  
• Left/right main mix. The left/right main mix  
at the FireWire output is not affected by the  
main mix level control (important for recording  
live).  
2. POWER SWITCH  
Use FireWire to record a live performance directly to  
your computer, then you can mixdown to a stereo mix  
later. Or you can use FireWire to turn your Onyx mixer  
into a high-quality computer audio interface for your  
DAW.  
Press the top of this rocker switch inwards to turn on  
the mixer. The front panel power LED [46] 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 put the mixer into  
standby mode. It will not function, but the circuits are  
still live. To remove AC power, either turn off the AC  
mains supply, or unplug the power cord from the mixer  
and the AC mains supply.  
FireWire also provides a return for two channels from  
a DAW or laptop. This can be routed through the control  
room/phones via the FireWire button [36], to  
monitor the computer audio through your control room  
speakers or headphones (or through the main  
speakers if assign to main mix [37] is selected). In  
this way, you can listen to pre-recorded songs and  
iTunes® as intermission music, or examples of how the  
practice sessions should really sound.  
As a general guide, you should turn on your  
mixer first, before any external power  
amplifiers or powered speakers, and turn it off  
last. This will reduce the possibilities of any  
turn-on, or turn-off thumps in your speakers.  
These same two channels from the computer can  
also be chosen as inputs to channels 11 and 12,  
allowing you to adjust the gain, EQ, level, and pan,  
Owner's Manual 11  
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as well as to solo, and add to aux send 1 and 2. This  
is routed using the FW/line input selector [23] on  
channels 11 and 12. This is useful for live  
performances, where those 2 channels might have,  
for example, a software synthesizer you are  
triggering from a MIDI keyboard, and you want to  
treat the softsynth as "just another instrument," with  
equal processing and routing options as the hardware  
keyboards coming into the other channels.  
Aux send 1 and aux send 2 are independent of each  
other, so you can set up two separate aux mixes.  
The aux 1 send signal is the sum (mix) of all the  
channels whose aux 1 send control [29] is set to more  
than minimum. The aux 2 send is the sum of all the  
channels whose aux 2 send control is set to more than  
minimum. The overall aux output level can be adjusted  
with the aux send master controls [42].  
The aux sends can either be pre or post fader,  
depending on the position of the pre/post switches [43].  
For stage monitor work, use pre, so the stage monitors  
do not increase in volume when the channel faders are  
adjusted. Imagine how upsetting that can be to big hairy  
drummers. This allows you to set up the monitor mix  
and levels just right, and not have it change every time a  
channel fader is adjusted.  
The FireWire interface works with both PC (using  
ASIO for Windows XP and Vista) and Mac (Core Audio  
for Mac OS 10.4.11 or higher).  
4. LEFT/RIGHT XLR MAIN OUTPUTS  
These male XLR connectors provide a balanced line-  
level signal that represents the end of the mixer chain,  
where your fully mixed stereo signal enters the real  
world. Connect these to the inputs of your main power  
amplifiers, powered speakers, or serial effects  
processor (like a graphic equalizer or compressor/  
limiter). It provides a fully balanced signal that is the  
same level as the 1/4" TRS main out jacks [13] on the  
top panel.  
For external processors, use post. In this way, the feed  
to external processors will vary with the channel faders,  
so the level of any returned effect (like an echo) will  
also change if the channel fader is changed, keeping  
them in the same ratio (wet/dry).  
7. AUX RETURN 1 and 2  
These 1/4" TRS stereo input connectors allow you to  
add the stereo processed output from external effects  
processors or other devices to the main mix.  
5. MAIN OUTPUT LEVEL  
When this switch is out (+4 dB), the XLR main  
outputs [4] provide a "+4 dBu" line-level signal. You  
can then connect these outputs to the line-level inputs  
of power amplifiers, powered loudspeakers, or serial  
processors.  
Level adjustment of the incoming signals is made with  
the aux return controls [44].  
The signals going into aux return 2 can also be added  
to aux send 1 by engaging the return to aux 1 switch  
[45]. For example, you could add effects from an  
external effects processor to your stage monitors.  
When the switch is pushed in (mic), the XLR main  
outputs are attenuated to microphone level. You can  
then connect these outputs safely to the microphone  
inputs of another mixer, providing a submix for  
keyboards or drums, for example, in a live sound  
application. The main outputs can then be plugged  
directly into a stage snake, and appear back at the front  
of house console like any other microphone level source.  
You can also use these inputs to add any stereo line-  
level signals to your main mix, so it could be another  
line-level source, not just an effects processor.  
If you are connecting a mono source, use the left  
(mono) aux return input, and the mono signals will  
appear on both sides of the main mix.  
When mic is engaged, you can safely plug the  
XLR main output into a mixer's microphone  
input, even if it provides 48 V phantom power.  
8. INSERT (Ch. 1-4)  
These unbalanced 1/4" jacks on channels 1-4, are for  
connecting serial effects processors such as  
The switch is recessed, to reduce the chance of  
accidently turning it on or off when plugging things in.  
compressors, equalizers, de-essers, or filters. The insert  
point is after the gain control [21] and low cut filter  
[19], but before the channel’s EQ and fader [33]. 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:  
6. AUX SEND 1 and 2  
These 1/4" TRS connectors allow you to send balanced  
or unbalanced line-level outputs to external effects  
devices, headphone amplifiers, or stage monitors. These  
could either be passive stage monitors powered by an  
external amplifier, or powered stage monitors with  
built-in power amplifiers.  
Tip = send (output to effects device)  
Ring = return (input from effects device)  
Sleeve = common ground  
12 Onyx 1220i  
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-
CTRL - RM OUT  
MAIN OUT  
15 TAPE 16  
1
2
3
4
ALT 3 4 OUT  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
L
IN  
OUT  
12  
13  
14  
9
R
L/3  
R/4  
L
R
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
(MONO)  
L
17  
10  
(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  
HI Z  
LINE  
HI Z  
-
-
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
18  
19  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE  
48V  
48V  
48V  
48V  
20  
Insert jacks continued...  
Professional ribbon, dynamic, and condenser mics all  
sound excellent through these inputs. The mic inputs  
will handle any kind of mic level you can toss at them,  
without overloading.  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
Microphone-level signals are passed through the  
mixer's splendid microphone preamplifiers to become  
line-level signals.  
This plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
Insert jacks can be used as channel direct outputs;  
post-gain, and pre-EQ. See the connector section on  
page 29 (figure G) showing three ways to use inserts.  
PHANTOM POWER  
Most modern professional condenser mics require  
48V phantom power, which lets the mixer send low-  
current DC voltage to the mic’s electronics through the  
same wires that carry audio. (Semi-pro condenser mics  
often have batteries to accomplish the same thing.)  
Connection Section  
This is where you plug in things such as: microphones, “Phantom” owes its name to an ability to be “unseen”  
line-level instruments, guitars, effects, a recorder, PA  
system, powered monitors, powered subwoofer, etc.  
Check out the hookup diagrams for some connection  
ideas. See Appendix B (page 28) for further details and  
some rather lovely drawings of the connectors you can  
use with your mixer.  
by dynamic mics (Shure SM57/SM58, for instance),  
which don’t need external power and aren’t affected by  
it anyway.  
Phantom power for each channel can be selected  
using that channel's phantom [20] switch.  
Never plug single-ended (unbalanced)  
microphones, or ribbon mics into the mic  
input jacks if phantom power is on. Do not  
9. MIC INPUTS  
This is a female XLR connector, that accepts a  
balanced microphone input from almost any type of  
microphone. The microphone preamps feature our Onyx  
design, with higher fidelity and headroom rivaling any  
standalone mic preamp on the market today.  
plug instrument outputs into the mic XLR input jacks  
with phantom power on, unless you are certain it is safe.  
10. MONO LINE INPUTS (Ch. 1-4)  
These 1/4" jacks share circuitry (but not phantom  
power) with the mic preamps, and can be driven by  
balanced or unbalanced sources.  
The XLR inputs are wired as follows:  
Pin 1 = Shield or ground  
Pin 2 = Positive (+ or hot)  
Pin 3 = Negative (– or cold)  
To connect balanced lines to these inputs, use a 1⁄4"  
Tip-Ring-Sleeve (TRS) plug, wired as follows:  
Tip = Positive (+ or hot)  
We use phantom-powered, balanced microphone  
inputs just like the big studio mega-consoles, for exactly  
the same reason: This kind of circuit is excellent at  
rejecting hum and noise. You can plug in almost any  
kind of mic that has a standard XLR-type male mic  
connector.  
Ring = Negative (– or cold)  
Sleeve = Shield or ground  
Owner's Manual 13  
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To connect unbalanced lines to these inputs, use a  
1⁄4" mono (TS) phone plug, wired as follows:  
Tip = Positive (+ or hot)  
The headphones and meters play the same program  
as the control room. The meters show the levels prior to  
the control room and phones level controls.  
Sleeve = Shield or ground  
13. LEFT/RIGHT 1/4" MAIN OUTPUTS  
The line-level inputs of channels 1 and 2 can also  
accept instrument-level signals if the hi-z switches  
[18] are pressed in. This allows you to connect guitars  
directly to channels 1 and 2, without the need for a  
DI box. The input impedance is optimized for direct  
connection, and high-frequency fidelity is assured.  
These 1/4" TRS output connectors provide the  
balanced or unbalanced line-level output of the main  
mix to an anxiously-waiting world. This is the same  
signal that appears at the XLR main outputs [4] on the  
rear panel, except it is not affected by the main output  
level switch [5].  
11. STEREO LINE INPUTS (Ch. 5-12)  
These 1/4" jacks can be driven by balanced or  
unbalanced sources.  
Connect these outputs to the next device in the signal  
chain, such as an external processor (graphic equalizer  
or compressor/limiter), external power amplifiers  
running passive loudspeakers, or to the inputs of  
powered loudspeakers. They could also be connected to  
the inputs of a balanced 2-track recorder, when doing a  
"live to 2-track" type recording.  
To connect balanced lines to these inputs, use a  
1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows:  
Tip = Positive (+ or hot)  
Ring = Negative (– or cold)  
Sleeve = Shield or ground  
14. ALT 3–4 OUT  
To connect unbalanced lines to these inputs, use a  
1⁄4" mono (TS) phone plug, wired as follows:  
Tip = Positive (+ or hot)  
These 1/4" TRS jacks provide a balanced line-level  
signal that can provide an alternate stereo mix for  
recording or subgrouping. Connect these outputs to the  
inputs of an amplifier, powered speaker, or recording  
device.  
Sleeve = Shield or ground  
If you just have a mono source, plug it into the left  
input (labeled left/mono), and the signal will appear  
(as if by magic) equally on the left and right of the main  
mix.  
Any channel whose mute switch [31] is engaged, is  
added to the alt 3-4 outputs.  
The alt 3-4 output doesn’t have a master level control.  
All channels assigned to the alt 3-4 bus are summed  
together (post-fader and pan) and sent directly to the  
alt 3-4 out.  
12. CTRL-RM OUT  
These 1/4" TRS jacks provide balanced left and right-  
line-level outputs to run studio monitors in the control  
room. Connect these outputs to the inputs of an  
amplifier, powered speakers, or recording device.  
The source that plays in the control room,  
headphones, and meters can be selected using the  
switches [35, 36] in the control room/phones source  
matrix:  
• The main mix, if main mix is selected as the  
control room/phones source  
• Tape outputs, if tape is selected  
• Alt 3-4 outputs if alt 3-4 is selected  
• A 2-track FireWire feed from your computer if  
FW 1-2 is selected  
• A combination of all four above  
Except for main mix, whatever is playing in these  
outputs can also be routed to the main mix if assign to  
main mix [37] is engaged. (The main mix input to the  
control room is disconnected if assign to main mix is  
engaged.)  
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-
CTRL - RM OUT  
MAIN OUT  
15 TAPE 16  
1
2
3
4
ALT 3 4 OUT  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
L
IN  
OUT  
12  
13  
14  
9
R
L/3  
R/4  
L
R
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
(MONO)  
L
17  
10  
(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  
HI Z  
LINE  
HI Z  
-
-
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
18  
19  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE  
48V  
48V  
48V  
48V  
20  
15. TAPE INPUTS  
17. HEADPHONE OUTPUT  
These stereo unbalanced RCA inputs allow you to play  
This 1/4" TRS connector supplies the output to your  
a tape, CD player, iPod® dock, or other line-level source. stereo headphones. It is the same signal that is routed  
The tape in jacks accept an unbalanced signal using  
standard hi-fi hookup cables.  
to the control room outputs [12], as determined by the  
control room/phones source matrix [35, 36]. The  
volume is controlled with the phones knob [39], right  
next to the control room knob [38].  
Push in the tape button [36] to route the tape input  
to the control room and phones outputs [12, 17]. This  
allows you to play back recordings of your mixes.  
Whenever a solo switch [34] is engaged, you will  
only hear the soloed channel(s) in the headphones.  
This gives you the opportunity to audition the channels  
before they are added to the main mix. (Solo signals  
reaching the headphones are not affected by the  
channel level or main level, therefore turn down the  
phones level first, as soloed channels may be loud.)  
Push in the assign to main mix button [37] to route the  
tape input to the main outs [4, 13]. This allows you to play  
back music between sets over the main PA speakers.  
Pushing tape in the source matrix and  
pushing assign to main mix can create a  
feedback path between tape in and tape out.  
Make sure your tape deck is not in record, record pause,  
or input monitor mode when you engage these switches,  
or make sure the control room level control is turned all  
the way down first.  
The phones output follows standard conventions:  
Tip = Left channel  
Ring = Right channel  
Sleeve = Common ground  
WARNING: The headphone amp is loud, and  
can cause permanent hearing damage. Even  
intermediate levels may be painfully loud  
16. TAPE OUTPUTS  
These stereo unbalanced RCA outputs allow you to  
record the main stereo mix onto a tape deck, hard disk  
recorder, or automatic CD burner, for example. This  
lets you make a recording for posterity/archive/legal  
purposes whenever the band gets back together again.  
with some headphones. BE CAREFUL! Always turn the  
phones level control [39] all the way down before  
connecting headphones or pressing a solo switch, or  
doing anything new that may affect the headphone  
volume. Then turn it up slowly as you listen carefully.  
The tape output is the stereo main mix, and it is  
affected by the main mix level control [51]. The output  
could also be used as an extra set of main outputs for  
feeding another zone.  
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Channel Controls  
The vertical channel strips look very similar, and have  
only a few differences between them. Each  
CTRL - RM O  
channel works independently, and just controls the  
signals plugged into the inputs directly above it.  
1
2
3
4
BAL/UNBAL  
Here are a few features and differences:  
L
LINE IN 5-6  
Mono Channels 1-4  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
• These are mono channels, and their controls  
affect either the mono mic input or the mono  
line-level input.  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
LINE  
LINE  
-
-
HI Z  
HI Z  
75Hz  
75Hz  
18dB/OCT  
18dB/OCT  
R
48V  
48V  
48V  
48V  
30  
30  
30  
U
30  
U
U
U
U
• Channel 1 and 2 each have a hi-z switch, so you  
can connect guitars directly without the need  
for a DI box.  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
40  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
U
60  
U
60  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEND  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
• 48 Volt Phantom Power can be selected for each  
mic input.  
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
100  
• High pass filters affects both the mic and line  
inputs.  
1k  
U
U
1k  
U
U
FREQ  
FREQ  
FREQ  
FREQ  
U
U
100  
U
100  
U
MID  
• Gain control adjusts the mic level and line  
level.  
2.5kHz  
MID  
MID  
MID  
MID  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
• The 3-band EQ has shelving high, shelving  
low, and peaking mid EQ with adjustable mid  
frequency.  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
Stereo Channels 5-12  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
• The stereo channels each have two line-level  
inputs.  
2
2
2
2
2
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
• For mono sources, use the left input only, and  
it will appear equally on both sides of the main  
mix.  
L
R
L
R
L
R
L
R
L
R
• Gain control adjusts the line level only.  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
• The 3-band EQ has shelving high, shelving low,  
and peaking mid EQ.  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
• Channel 11 and 12 have a switch to select  
FireWire inputs instead of the analog line  
inputs.  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
OL  
OL  
OL  
OL  
OL  
-
-
-
-
-
20  
20  
20  
20  
20  
“U” like Unity gain  
10  
10  
10  
0  
0  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
Mackie mixers have a “U” symbol on almost every level  
control. 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  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
level-wise if you choose to change a control’s settings.  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
1
2
3
4
5-6  
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-
CTRL - RM OUT  
MAIN OUT  
1
2
3
4
ALT 3 4 OUT  
TAPE  
L
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
IN  
OUT  
12  
9
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
2
3
4
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
10  
(MONO)  
LINE  
LINE  
LINE  
LINE  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
11  
LINE  
HI Z  
LINE  
HI Z  
-
-
75Hz  
75Hz  
18  
19  
18dB/OCT  
18dB/OCT  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE  
48V  
48V  
48V  
48V  
20  
CTRL ROOM/PHONES  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
SOURCE  
0dB=0dBu  
20  
U
40  
60  
20  
40  
60  
20  
40  
20  
40  
L
R
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
21  
U
U
60  
U
60  
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
23  
MAIN MIX  
TAPE  
SEND  
SEND  
SEND  
SEND  
SEND  
SEND INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
22  
24  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
-
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
100  
+15  
8k  
-15  
100  
4
1k  
U
U
1k  
U
U
7
FREQ  
FREQ  
FREQ  
FREQ  
U
U
U
U
10  
20  
30  
25  
26  
28  
ASSIGN TO  
MAIN MIX  
27  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
MID  
MID  
MID  
MID  
O O  
O O  
MAX  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
19. LOW CUT (Ch.1–4 only)  
18. HI-Z SWITCH (Ch. 1 and 2 only)  
The mono channels each have a low-cut switch (often  
referred to as a high-pass filter) that cuts bass  
Engage this switch if you want to connect guitars  
directly to the 1/4" line inputs of channels 1 or 2.  
frequencies below 75 Hz at a rate of 18 dB per octave.  
Without this switch, you need to use a DI box first,  
before connecting guitars. If these switches are not  
pressed in, guitars will not sound good, particularly the  
high frequency response.  
The low cut switch affects both the mic and line  
inputs.  
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 stuff 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.  
Plugging a guitar into a lower-impedance  
line-level input can result in the loss of high  
frequencies, causing an unnatural and dull  
sound. Normally, you must use a direct box  
between a guitar and a mixer’s input, which serves to  
convert the impedance of the guitar from high to low.  
The hi-z inputs on channels 1 and 2 make the need for  
a direct box unnecessary. However: The hi-z inputs are  
unbalanced (when the switch is in), so if you’re doing a  
live show and running a long cord between the  
instrument and the mixer (say over 25 or 30 feet), it is  
best to use a direct box with a balanced output to avoid  
picking up noise over the length of the cord.  
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 your subwoofers.  
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20. 48V PHANTOM POWER (Ch.1–4 only)  
22. SEND FIREWIRE PRE/POST  
Most modern professional condenser mics require  
48V phantom power, which lets the mixer send  
low-current DC voltage to the mic’s electronics through  
the same wires that carry audio. (Semi-pro condenser  
mics often have batteries to accomplish the same  
thing.) “Phantom” owes its name to an ability to be  
“unseen” by dynamic mics (Shure SM57/SM58, for  
instance), which don’t need external power and aren’t  
affected by it anyway.  
Each channel of the mixer can send a FireWire output  
to your computer or DAW. The FireWire output from  
each channel can be tapped before (pre) or after (post)  
the channel EQ. (The output is always pre-fader.)  
If you want the mixer EQ to affect the FireWire  
recording, then set this switch to post. This is useful  
in recording channels in a studio (where the recording  
includes the beneficial effect of our Perkins EQ).  
If you would rather record the straight signals from a  
live performance, and EQ them later in your DAW, then  
set this switch to pre. This is good for live work, where  
you may have added EQ to adjust for the room, and yet  
not want this added to your recording.  
Press this switch in if your microphone requires  
phantom power. (Always check the position of this  
switch before connecting microphones.)  
Never plug single-ended (unbalanced)  
microphones, or ribbon mics into the mic  
input jacks if phantom power is on. Do not  
23. INPUT (LINE or FW 1-2)  
plug instrument outputs into the mic XLR input jacks  
with phantom power on, unless you know for certain it  
is safe to do so. Be sure the main level [51] is turned  
down when connecting microphones to the mic inputs  
when phantom power is turned on, to prevent pops from  
getting through to the speakers.  
Channel 11 and 12 can either be fed from the  
1/4" line level inputs, or by two outputs from a computer  
via FireWire. This switch lets you choose which to use.  
Either way, the channels receive line-level analog audio  
signals just prior to the gain control, so channel setup,  
gain adjustment and EQ adjustment are the same for  
line or FireWire. This is useful for virtual instruments  
that want to be "just another channel" among hardware  
instruments.  
21. GAIN CONTROL  
If you haven’t already, please read the level-setting  
procedure on page 3.  
CHANNEL EQUALIZATION (EQ)  
The gain knobs 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.  
There are two different flavors of EQ:  
Mono Channels 1-4  
3-band EQ with shelving high, shelving low, and  
peaking mid EQ with adjustable mid frequency.  
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.  
Stereo Channels 5-12  
3-band EQ with shelving high, shelving low, and  
peaking mid EQ.  
Through the 1⁄4" line input of channels 1-4, there is  
20 dB of attenuation fully down and 40 dB of gain fully  
up, with unity gain "U" at 11:00.  
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.  
Through the 1⁄4" line input of channels 5-12, there is  
20 dB of attenuation fully down and 20 dB of gain fully  
up, with unity gain "U" at 11:00.  
This 20 dB of attenuation can be very handy when  
you are inserting a hot signal, when you want to add EQ  
gain, or both. Without this “virtual pad,” there is more  
chance of channel clipping.  
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 left 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 differently, trying a different kind  
of mic, a different vocalist, changing the strings, or  
gargling.  
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24. HIGH EQ  
+15  
+10  
The high EQ provides up to  
15 dB of boost or cut above  
12 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,  
CTRL - RM O  
1
2
3
4
+5  
0
BAL/UNBAL  
–5  
12  
–10  
–15  
9
L
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
LINE IN 5-6  
or an edge to keyboards, vocals, guitar and bacon frying.  
Turn it down a little to reduce sibilance or to mask tape  
hiss.  
1
2
3
4
L
(MONO)  
10  
LINE  
LINE  
LINE  
LINE  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
11  
LINE  
HI Z  
LINE  
HI Z  
-
-
75Hz  
75Hz  
18  
19  
18dB/OCT  
18dB/OCT  
R
48V  
48V  
48V  
48V  
20  
25. MID EQ FREQUENCY (Ch. 1-4)  
30  
30  
30  
U
30  
U
U
U
U
20  
U
40  
60  
20  
40  
60  
20  
40  
20  
40  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
21  
This knob sets the center frequency of the mid  
EQ level control [26]. This is sweepable from 100 Hz to  
8 kHz.  
U
U
60  
U
60  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEND  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
22  
24  
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
Once this is set, the mid EQ level can be adjusted with  
the mid EQ level control.  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
100  
+15  
8k  
-15  
100  
1k  
U
U
1k  
U
U
FREQ  
FREQ  
FREQ  
FREQ  
25  
26  
28  
Most of the root and lower harmonics that define  
a sound are located in the 100 Hz–8 kHz frequency  
range, and you can create drastic changes with these  
two knobs. Many engineers use mid EQ to cut midrange  
frequencies, not boost them. One popular trick is to  
set the mid fully up, turn the frequency knob until you  
find a point where it sounds just terrible, then back the  
mid down into the cut range, causing those terrible  
frequencies to disappear. Sounds silly, but it works.  
Sometimes.  
27  
100  
U
100  
U
MID  
2.5kHz  
MID  
MID  
MID  
MID  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
29  
29  
30  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
2
2
2
2
2
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
26. MID EQ LEVEL (Ch. 1-4)  
L
R
L
R
L
R
L
R
L
R
+15  
The mid EQ provides up to  
+10  
15 dB of boost or cut, and it is  
+5  
also flat (no boost or cut) at  
the detent. The frequency at  
which the cut or boost occurs is  
set by the mid EQ frequency  
control [25].  
0
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
31  
33  
34  
–5  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
–10  
–15  
dB  
dB  
dB  
dB  
dB  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
32  
OL  
OL  
OL  
OL  
OL  
-
-
-
-
-
20  
20  
20  
20  
20  
27. MID EQ LEVEL (Ch. 5-12)  
The mid EQ provides up to 15 dB of boost or cut at  
2.5 kHz, and is flat at the detent.  
10  
10  
10  
0  
10  
20  
30  
20  
30  
20  
30  
0  
30  
20  
30  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
28. LOW EQ  
The low EQ provides up to  
15 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  
+15  
+10  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
+5  
0
1
2
3
4
5-6  
–5  
–10  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
synth patches, and some really serious male singers who  
eat raw beef for breakfast.  
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29. AUX SEND 1 and 2  
31. MUTE switch and ALT 3–4  
These controls allow you to set up two independent  
mixes, typically for running stage monitors or external  
effects processors.  
The dual-purpose mute/alt 3-4 switch is a Mackie  
signature. When Greg was designing our first product,  
he had to include a mute switch for each channel. Mute  
switches do just what they sound like they do. They turn  
off the signal by “routing” it into oblivion. “Gee, what  
a waste,” he reasoned. “Why not have the mute button  
route the signal somewhere else useful, like a separate  
stereo bus?”  
The controls are off when turned fully down, deliver  
unity gain at the center, and can provide up to 15 dB  
of gain turned fully up. Chances are that you will never  
need this extra gain, but it’s nice to know it’s there if  
you do.  
So mute/alt 3-4 really serves two functions—muting  
(often used during mixdown or live shows), and signal  
routing (for multitrack and live work) where it acts as  
an extra stereo bus.  
Aux Send 1 and 2 [6] are line-level outputs, and  
are used if you want to connect external processors,  
powered stage monitors, or external power amps with  
passive stage monitors. Aux Return 1 and 2 [7] are line-  
level inputs, typically used to return the output from  
external processors back to the main mix.  
To use this as a mute switch, all you have to do is not  
use the alt 3-4 outputs [14]. Then, whenever you assign  
a channel to these unused outputs, you’ll also be  
disconnecting it from the main mix, effectively  
muting the channel. The mute switch also disconnects  
the channel from the post-fader aux send bus. The  
channel’s signal is still present on the pre-fader aux  
send bus, so muting a channel does not affect your stage  
monitors, and the quiet and gentle disposition of your  
lead singer.  
Carefully adjust how much of each channel appears  
in your aux mixes. For example, if you are running stage  
monitors, and someone wants "more me, and less them,"  
adjust these carefully.  
The aux sends can either be pre or post fader,  
depending on the position of the aux pre/post switches  
[43]. For stage monitor work, use pre, so the stage  
monitors do not increase in volume when the channel  
level is adjusted. For external processors, use post. In  
this way, the feed to external processors will vary with  
the channel level, keeping them in the same ratio  
(wet/dry).  
To use this as an alt 3-4 switch, all you have to do is  
connect the alt 3-4 outputs to whatever destination you  
desire. Here are two popular examples:  
When doing multitrack recording, you can use the  
alt 3-4 outputs as a stereo or dual-mono feed to your  
multitrack.  
30. PAN  
For mono channels 1-4, this control allows you to  
adjust how much of the channel signal goes to the left  
main mix, and how much goes to the right main mix.  
It has no effect on the aux, as these are mono. In the  
When doing live sound or mixdown, it’s often handy  
to control the level of several channels with one knob.  
That’s called subgrouping. Simply assign these channels  
to the alt 3-4 mix, engage alt 3-4 in the control room/  
center position, the mono channel is split equally to the phones source matrix [36], and the signals will appear  
left and right.  
at the control room [12] and phones [17] outputs. If  
you want the alt 3-4 signals to go back into the main  
mix, engage the assign to main mix switch [37] and the  
control room knob [38] will control the levels of all the  
channels assigned to alt 3-4.  
Pan also affects the channel output to the Alt 3–4 mix  
if a channel mute switch is engaged.  
For channels 5-12, pan acts in a similar way to a home  
stereo balance control (panning left turns down the  
right channel, and panning right turns down the left  
channel).  
Another way to do the same thing is to assign the  
channels to the alt 3-4 mix, then patch out of the alt  
3-4 out (left/3 and right/4) back into an unused stereo  
channel (5-12). If that’s your choice, don’t ever engage  
the mute/alt 3-4 switch on that stereo channel, or you’ll  
have every dog in the neighborhood howling at your  
feedback loop.  
If you have a stereo source and the mixer's stereo  
inputs are already taken, connect the source's left  
output into channel 1, and the right into channel 2. Pan  
the channel 1 fully left, and channel 2 fully right, then  
the source will appear in the main mix in full stereo.  
Another benefit of the alt 3-4 feature is that it can act  
as an “afl” (after fader listen). Just engage a channel’s  
mute/alt 3-4 switch and the alt 3-4 switch in the source  
matrix and you’ll get that channel, all by itself, in the  
control room and headphones.  
The pan control employs a design called “Constant  
Loudness.” If you have a channel panned hard left (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.  
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32. –20 and OL LEDs  
These LEDs indicate the channel’s signal level after  
the gain and EQ controls, but just before the channel’s  
level. So even if the level is turned down, you can see if  
a signal is present, or if the channel is being overloaded.  
CTRL - RM  
1
2
3
4
BAL/UNBA  
12  
9
L
The OL (overload) LED will come on when the  
channel’s input signal is too high. This should be  
avoided, as distortion will occur. If the OL LED comes  
on regularly, check that the gain control [21] is set  
correctly for your input device, and that the channel EQ  
is not set with too much boost.  
LINE IN 5-6  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
10  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
11  
LINE  
LINE  
-
-
HI Z  
HI Z  
75Hz  
75Hz  
18  
19  
18dB/OCT  
18dB/OCT  
R
48V  
48V  
48V  
48V  
20  
30  
30  
30  
U
30  
U
U
U
U
20  
U
40  
60  
20  
40  
60  
20  
40  
20  
40  
The –20 LED comes on when the channel signal  
strength has reached that level.  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
21  
U
U
60  
U
60  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
SEND  
SEND  
SEND  
SEND  
PRE  
POST  
PRE  
POST  
PRE  
PRE  
PRE  
POST  
POST  
POST  
22  
24  
33. CHANNEL FADER  
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
This is the last control in a channel’s signal path, and  
it adjusts the level of each channel onto the main mix.  
The “U” mark indicates unity gain, meaning no increase  
or decrease of signal level. All the way up provides an  
additional 10 dB, should you need to boost a section of  
a song. If you find that the overall level is too quiet or  
too loud with the level near unity, check that the gain  
control [21] is set correctly.  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
100  
+15  
8k  
1k  
U
U
1k  
U
U
FREQ  
FREQ  
FREQ  
FREQ  
25  
26  
28  
27  
100  
U
100  
U
MID  
2.5kHz  
MID  
MID  
MID  
MID  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
29  
29  
30  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
34. SOLO  
2
2
2
2
2
Whenever a solo switch is engaged, you will only hear  
the soloed channel(s) in the headphones and control  
room. This gives you the opportunity to audition the  
channels before they are added to the main mix or alt  
3–4 mix. You can still hear, even when the fader is down.  
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
L
R
L
R
L
R
L
R
L
R
Solo is also used to set the gain of each channel  
correctly. When a channel is soloed, you can adjust the  
channel gain [21] until your input source reaches the  
level of the 0 dB LED of the right meter.  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
31  
33  
34  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
Solo signals reaching the headphones and  
control room are not affected by the channel  
level or main level; therefore, turn down the  
phones level [39] and control room level [38] first, as  
soloed channels may be loud.  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
32  
OL  
OL  
OL  
OL  
OL  
-
-
-
-
-
20  
20  
20  
20  
20  
10  
10  
10  
0  
10  
20  
30  
20  
30  
20  
30  
0  
30  
20  
30  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
The rude solo light [41] will turn on as a reminder  
that what you are listening to in the headphones and  
control room is just the soloed channel(s).  
O O  
O O  
O O  
O O  
O O  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
For stereo channels, the mono sum of the left and  
right is soloed.  
1
2
3
4
5-6  
Soloed channels are sent to the source mix, which  
ultimately feeds your control room, phones, and meters.  
Whenever solo is engaged, all source selections (main  
mix, alt 3-4, tape, and FireWire) are defeated, to allow  
the soloed signal to do just that—solo!  
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Tape is the stereo signal coming in from the tape in  
[15] RCA jacks. FireWire is a 2-track feed coming in  
through the FireWire [3] connection from your  
computer. Alt 3-4 is the additional stereo mix bus  
formed when any channel is muted with the  
mute/alt 3-4 switch [31].  
CTRL ROOM/PHONES  
SOURCE  
0dB=0dBu  
L
R
CLIP  
20  
15  
10  
6
35  
MAIN MIX  
Selections made here deliver stereo signals to the  
control room, phones, and meters. With no switches or  
main mix [35] engaged, there will be no signal at these  
outputs and no meter indication.  
36  
40  
TAPE  
3
0
-
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
The exception is the solo function. Regardless of the  
source matrix selection here, engaging a channel’s solo  
switch will replace that selection with the solo signal,  
sent to the control room, phones, and the right meter.  
4
7
37  
10  
20  
30  
ASSIGN TO  
MAIN MIX  
37. ASSIGN TO MAIN MIX  
O O  
O O  
MAX  
MAX  
Let’s say you’re doing a live show: "You're doing a live  
show." Intermission is nearing and you want to play a  
soothing CD for the crowd to prevent them from  
becoming antsy. Simply engage this switch and your  
source matrix selection, after going through the control  
room level control, will feed into the main mix, just as if  
it were another stereo channel.  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
38  
39  
41  
Control Room/Phones and  
Meters  
What if you have a playlist of MP3 files on your  
computer you want to play during the break? Engage  
this switch and the FireWire switch [36] to play your  
MP3s directly from your computer, through the source  
matrix, and into the main mix.  
Typically, the engineer sends the main mix to an  
audience (for a live show) or to a mixdown deck (if  
recording). But what if the engineer needs to hear  
something other than the main mix in the control room  
or headphones? With the Onyx 1220i, the engineer has  
several choices of what to listen to. This is one of those  
tricky parts, so buckle up.  
Another handy use for this switch is to enable the  
alt 3-4 mix to become a submix of the main mix, using  
the control room level control.  
Side effects to engaging this switch:  
35. MAIN MIX  
1. It will also feed any soloed channels into the  
main mix, which may be the last thing you  
want.  
Press this switch in to listen to the main mix in your  
control room and headphones, and to check the main  
mix levels in the meters. In addition to the main mix,  
you can listen to any combination of tape, FW 1-2 and  
alt 3-4, depending on which of these switches [36] is  
engaged.  
2. If you have main mix as your source matrix  
selection and then engage this switch, the main  
mix lines to the source matrix will be  
disconnected from the control room and phones  
outputs, to prevent feedback.  
If the assign to main mix switch [37] is  
engaged, you cannot hear the main mix in the  
control room or headphones, or see its level  
on the meters. This is to prevent feedback caused by  
sending the main mix to the main mix.  
3. If you have tape as your source matrix  
selection, and then engage this switch, it can  
create a feedback path between tape in and  
tape out. Make sure your tape deck is not in  
record, record-pause, or input monitor mode  
when you engage these switches, or make sure  
the control room knob [38] is turned all the  
way down.  
36. TAPE, FW 1-2, ALT 3-4  
Using these source switches, you can choose to listen  
to any combination of tape, FireWire, and alt 3-4 in the  
control room and headphones, in addition to the main  
mix if its source switch [35] is engaged.  
38. CONTROL ROOM Knob  
This controls the volume at the control room outputs,  
from off to maximum gain (+10 dB). It also controls the  
level of the control room signal going to the main outs  
when assign to main mix [37] is selected.  
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39. PHONES Knob  
CTRL ROOM/PHONES  
SOURCE  
U
0dB=0dBu  
This controls the volume at the phones output, from  
off to maximum gain.  
L
R
GAIN  
CLIP  
20  
15  
10  
6
35  
-20dB +20dB  
SEND  
23  
MAIN MIX  
WARNING: The headphone amp is loud, and  
can cause permanent hearing damage. Even  
intermediate levels may be painfully loud  
INPUT  
36  
LINE  
FW 1-2  
TAPE  
3
U
with some headphones. BE CAREFUL! Always turn this  
control all the way down before connecting headphones,  
or pressing a solo switch [34], or doing anything new  
that may affect the headphone volume. Then turn it up  
slowly as you listen carefully.  
0
HIGH  
-
12kHz  
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
-15  
-15  
-15  
+15  
+15  
+15  
40  
4
7
37  
U
U
10  
20  
30  
ASSIGN TO  
MAIN MIX  
MID  
2.5kHz  
40. LEFT/RIGHT Level Meters  
O O  
O O  
MAX  
MAX  
RUDE  
SOLO  
These peak meters are made up of two columns of  
twelve LEDs, with three colors to indicate different  
ranges of signal level, traffic light style. They range from  
–30 at the bottom, to 0 in the middle, to +20 (CLIP) at  
the top.  
CONTROL PHONES  
ROOM  
LOW  
39  
41  
38  
80Hz  
AUX MASTER  
RETURN  
SEND  
AUX  
45  
43  
1
1
2
1
2
If no source [35, 36] is selected in the control room/  
phones, and no channels are in solo, the meters won’t do  
anything. To display signal levels, select one or more of  
the sources. For example, press main mix [35] to show  
the main mix level in the meters. While the listening  
levels are controlled by the control room and phones  
knobs, the meters indicate the source mix before these  
knobs, giving you the real facts at all times, even if  
you’re not listening at all.  
PRE  
POST  
O O  
O O  
10  
MAX  
MAX  
O
5  
42  
RTN TO  
AUX1  
44  
2
PRE  
POST  
O O  
O O  
O O  
+15  
+10  
PAN  
46  
POWER  
L
R
When a channel is soloed, the left meter shows no  
reading, and the right meter shows the level of that  
channel’s signal level, pre-fader. The right meter's 0 dB  
LED is labeled "level set" to show where the level should  
be when adjusting a channel’s gain [21] in the solo  
mode (as described in “Set the Levels” on page 3).  
MUTE  
ALT 3/4  
47  
48  
51  
MIC  
dB  
dB  
10  
10  
When 0 dBu (0.775 V) is at the main mix outputs, it  
shows as 0 dB on the meters.  
5
U
5
5
U
5
OL  
You can get a good mix with peaks flashing anywhere  
between –20 and +10 dB on the meters. Most amplifiers  
clip at about +10 dBu, and some recorders aren’t so  
forgiving either. For best real-world results, try to keep  
your peaks between “0” and “+6.” Remember, audio  
meters are just tools to help assure you that your levels  
are “in the ballpark.” You don’t have to stare at them  
(unless you want to).  
O O  
MAX  
-
20  
LEVEL  
10  
10  
DESTINATION  
20  
30  
20  
30  
49  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
O O  
O O  
50  
41. RUDE SOLO Light  
TALKBACK  
SOLO  
This large LED flashes when one or more channel solo  
switches are engaged [34]. This acts as a reminder that  
what you hear in the control room and headphones is  
the soloed channel(s). If you forget you’re in solo mode,  
you can easily be tricked into thinking that something  
is wrong with your mixer. Hence, the rude solo light.  
Please forgive its rudeness, it is only trying to help, and  
wants to be your friend.  
TALKBACK  
MAIN MIX  
11-12  
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For stage monitor work, use pre, so the stage  
monitors do not increase in volume when the channel  
level is adjusted.  
Aux Master  
This section includes the aux sends and the aux  
returns. Aux sends tap signals off the channels, via the  
aux knobs [29], mix these signals from each channel  
together, then sends them out the aux send jacks [6]  
and FireWire outputs 11 and 12. The aux sends can be  
pre-fader or post-fader (both are post-EQ, but see  
page 38).  
For external processors, use post. In this way, the feed  
to external processors will vary with the channel level,  
keeping them in the same ratio, so that the “wet” signal  
level follows the “dry” signal level.  
44. MASTER AUX RETURN 1 and 2  
Post-fader aux sends can be fed to the inputs of an  
external processor like a reverb or digital delay. From  
there, the outputs of this external processor are fed  
back to the mixer’s aux return jacks [7]. Then these  
signals are sent through the aux return level controls  
[44], and finally delivered to the main mix.  
These two controls set the overall level of effects  
received from the stereo aux return 1 and 2 inputs [7].  
These controls range from off to +10 db of gain when  
fully clockwise, to compensate for low-level effects.  
Signals passing through these controls go directly to  
the main mix bus where they are combined with the  
other channels. Alternatively, the aux 2 return can be  
routed to aux 1 send instead, using the rtn to aux 1  
switch [45] described next.  
So, the original unprocessed “dry” signals go from  
the channels to the main mix, and the processed “wet”  
signals go from the aux returns to the main mix, and  
once mixed together, the dry and wet signals combine to  
create a glorious sound!  
45. RTN TO AUX 1  
Pre-fader aux sends are typically used to provide  
another mix for stage monitors. In this case, the aux  
returns aren’t used to return the signal. Instead, they  
can be used as additional stereo inputs, or not used at  
all.  
This switch routes the signal from aux return 2 to the  
aux 1 send mix instead of to the main mix bus.  
For example, this allows you to use an external effects  
device, like a reverb or delay, exclusively for the  
monitors. When this switch is pushed in, the effects  
signals coming into the aux return 2 jacks are added to  
your aux 1 stage monitor mix. Adjust the effects level  
coming in with the aux 2 return controls [44], until it  
sounds just right in your monitors.  
42. MASTER AUX SEND 1 and 2  
These knobs provide overall control over the aux send  
levels, just before they are delivered to the aux send  
outputs [6]. These knobs go from off to +15 db when  
turned all the way up.  
AUX SEND 1-2 and FIREWIRE  
The aux sends can either be pre or post fader,  
depending on the position of the aux pre/post  
switches [43].  
A copy of the aux send 1 and 2 outputs is always  
available via FireWire to send to a computer. The  
FireWire output is affected by the channel aux send and  
master aux send controls. For example, you can set up a  
software effects processor as follows:  
This is usually the knob you turn up when the lead  
singer glares at you, points at his stage monitor, and  
sticks his thumb up in the air. (It would follow that if  
the singer stuck his thumb down, you’d turn the knob  
down, but that never happens.)  
• Set up an aux send in post mode.  
• FireWire outputs 11 and 12 are always available  
to send aux send 1 and 2 to your computer.  
The aux sends are also sent to FireWire output 11 and  
12 for recording. The levels to FireWire are affected by  
these send controls and the pre/post switch.  
• Pass this through a software effects processor  
or plug-in of your choice.  
• Return the processed output from the effects  
processor to mixer channels 11 and 12 (input  
switch [23] set to FW 1-2).  
43. PRE/POST  
The pre/post switches determine whether the aux  
send signal is tapped from the channels before the  
channel level controls (pre-fader) or after (post-fader).  
Having a separate pre/post switch for each aux is a  
super-useful feature as it allows the use of one effects  
processor and one stage monitor chain, at the same  
time.  
• Alternatively bring the processed sounds into  
the control room matrix (engage FW 1-2 [36])  
and add it to the main mix (engage assign to  
main mix [37]).  
• You can even use the computer as two separate  
independent mono in, stereo out processors.  
Have aux 1 go into one plug-in, and aux 2 go  
into a different one. The stereo outputs of both  
plug-ins are combined back into the stereo  
stream coming back to the mixer.  
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46. POWER LED  
CTRL ROOM/PHONES  
SOURCE  
U
0dB=0dBu  
This green LED will turn on when the mixer is turned  
on, as a reminder of how on it really is. If it is not on,  
then it is off, and the mixer becomes a rather nice  
weight for keeping your morning newspaper from  
blowing away in the wind.  
L
R
GAIN  
CLIP  
20  
15  
10  
6
35  
-20dB +20dB  
SEND  
23  
MAIN MIX  
INPUT  
36  
LINE  
FW 1-2  
TAPE  
3
U
If it does not turn on, make sure the power cord is  
correctly inserted at both ends, the local AC mains  
supply is active, and the power switch [2] is on.  
0
HIGH  
-
12kHz  
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
-15  
-15  
-15  
+15  
+15  
+15  
40  
4
7
37  
U
U
10  
20  
30  
ASSIGN TO  
MAIN MIX  
MID  
Talkback  
2.5kHz  
The talkback feature allows the engineer to  
communicate with the talent either through the phones  
outputs [17] or the aux 1-2 send outputs [6] using the  
built-in talkback microphone. This saves a lot of  
shouting over the audience's heads as you set up the  
talented one's stage monitors to their peculiarly-picky  
satisfaction.  
O O  
O O  
MAX  
MAX  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
39  
41  
38  
80Hz  
AUX MASTER  
RETURN  
SEND  
AUX  
45  
43  
1
1
2
1
2
PRE  
POST  
O O  
O O  
10  
MAX  
MAX  
O
5  
42  
RTN TO  
AUX1  
44  
47. TALKBACK MIC  
2
This is where the built-in talkback microphone is  
located. It is an omni-directional dynamic microphone,  
and it will pick up your voice from anywhere in front of  
the mixer.  
PRE  
POST  
O O  
O O  
O O  
+15  
+10  
PAN  
46  
POWER  
L
R
48. TALKBACK LEVEL  
Use this knob to control the level of the talkback  
signal being routed to the phones or aux 1-2 outputs,  
from the internal microphone.  
MUTE  
ALT 3/4  
1. Start with this control turned down.  
47  
48  
51  
2. Select the destination, either headphones  
and/or aux 1-2, and make sure their levels are  
already set nicely, such as phones [39] or aux  
sends [42].  
MIC  
dB  
dB  
10  
10  
5
U
5
5
U
5
OL  
3. Hold down the talkback switch [50] as you  
make your fruity-toned announcements.  
O O  
MAX  
-
20  
LEVEL  
10  
10  
4. Slowly turn this talkback level control up until  
you get confirmation from whoever is listening  
to headphones or monitors that they can hear  
and obey your every command.  
DESTINATION  
20  
30  
20  
30  
49  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
O O  
Once you have set the level, you can leave it there for  
the duration of the session or gig.  
O O  
50  
TALKBACK  
49. DESTINATION: PHONES, AUX 1-2  
SOLO  
Push in the phones switch to route the talkback signal  
to the headphones. Use this to communicate with the  
talent in the studio through the headphones during a  
recording session. When the talkback circuit is  
activated by pushing the talkback [50] switch, the  
control room outputs [12] are attenuated to allow your  
voice to come through clearly.  
TALKBACK  
MAIN MIX  
11-12  
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The aux 1-2 switch routes the talkback signal to the  
aux send 1 and 2 outputs [6]. Use this to communicate  
with the musicians through their stage monitors when  
you are setting up a live performance.  
MAIN MIX and FIREWIRE  
The left and right main mix are permanently assigned  
to FireWire outputs 11 and 12. For example, you can  
record the live performance main mix onto your  
computer. This does not affect the analog main mix  
outputs.  
It is fine to have both destination switches pushed in  
at the same time, so the talkback signal will be routed  
to both destinations. But if you don’t have either of the  
destination switches pushed in, the talkback signal  
won’t go anywhere. You might as well be talking to a  
brick wall.  
The output level to your computer is not affected by  
the main mix fader [51].  
Congratulations! You’ve just read about all the  
features of your mixer. Time for a frosty beverage.  
50. TALKBACK Switch  
This is a momentary switch, and as long as you hold  
it down, talkback is activated. You can talk into the  
built-in microphone and be heard in the headphones  
and/or stage monitors.  
Release the switch so you can talk about the band  
without them hearing you.  
Main Mix  
51. MAIN MIX  
This stereo fader allows you to adjust the levels of the  
main mix signals sent to the XLR and 1/4" main  
line-level outputs [4, 13], and the tape outputs [16].  
This gives you the ultimate feeling of power and  
control over the sound levels sent to your audience. If  
you press the main mix switch [35], you can see the  
main mix levels in the meters [40]. Adjust this control  
carefully, with your good eye on the meters to check  
against overloading, and your good ear to the levels to  
make sure your audience (if any) is happy.  
This fader does not affect the aux send outputs [6],  
alt 3-4 outputs [14], or the main mix FireWire outputs  
11-12. It affects the control room or headphones if the  
main mix switch [35] is engaged.  
The main mix signals are off with the fader fully down,  
the “U” marking is unity gain, and fully up provides  
10 dB of additional gain. This additional gain will  
typically never be needed, but once again, it’s nice to  
know that it’s there. The fader is stereo, as it affects  
both the left and right of the main mix equally. This is  
the ideal control to slowly bring down at the end of a  
song (or quickly in the middle of a song if the need ever  
arises).  
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Power  
Appendix A: Service  
Information  
• The power LED should come on if the mixer is  
connected to a suitable live AC mains outlet,  
and the power switch is on. Check to make sure  
that the power cord is securely plugged in.  
If you think your mixer has a problem, please check  
out the following troubleshooting tips and do your best  
to confirm the problem. Visit the Support section of our  
website (www.mackie.com) where you will find lots of  
useful information such as FAQs, documentation and  
any updated PC drivers etc. You may find the answer to  
the problem without having to send your mixer away.  
Repair  
For warranty service, refer to the warranty  
information on page 40.  
Non-warranty service for Mackie products is  
available at a factory-authorized service center. To  
locate your nearest service center, visit  
www.mackie.com, click “Support” and select “Locate  
a Service Center.” Service for Mackie products living  
outside the United States can be obtained through local  
dealers or distributors.  
Troubleshooting  
Bad Channel  
• Is the channel EQ set up nicely?  
• Is the channel gain set correctly?  
• Is the channel level up enough?  
• Is the channel OL led on?  
If you do not have access to our website, you can  
call our Tech Support department at 1-800-898-3211,  
Monday-Friday, normal business hours, Pacific Time, to  
explain the problem. Tech Support will tell you where  
the nearest factory-authorized service center is located  
in your area.  
• Is the channel pan set in the middle?  
• Are the hi-z instrument switches set OK for any  
guitars connected to channels 1 or 2?  
• Try unplugging any insert devices from the  
insert jacks on channels 1-4.  
• Try the same source signal in another channel,  
set up exactly like the suspect channel.  
• Is phantom power required for your  
microphone?  
Bad Output  
• Is the main level turned up?  
• Are the EQs set to reasonable levels?  
• Are any aux returns maxed out?  
• Unplug anything from the other line-level  
outputs, such as alt 3-4, control room out,  
just in case one of your external pieces has a  
problem.  
• Make sure that you are not overdriving your  
amplifiers. Check the loudspeaker average load  
impedance is not less than the minimum your  
amplifier can handle. Check the speaker wiring.  
Noise  
• Turn the channel gains down, one by one. If the  
sound disappears, it’s either that channel or  
whatever is plugged into it, so unplug whatever  
that is. If the noise disappears, it’s from your  
whatever.  
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Appendix B: Connections  
“XLR” Connectors  
Mackie mixers use 3-pin female “XLR” connectors on  
all microphone inputs, with pin 1 wired to the grounded  
(earthed) shield, pin 2 wired to the “high” (”hot” or  
positive polarity) side of the audio signal and pin 3  
wired to the “low” (“cold” or negative polarity) side of  
the signal. See Figure A.  
• Unbalanced Send/Return circuits. When wired  
as send/return “Y” connector, a 1⁄4" TRS jack  
or plug is connected tip to signal send (output  
from mixer), ring to signal return (input back  
into mixer), and sleeve to ground (earth).  
1⁄4" TS Phone Plugs and Jacks  
Use a male “XLR”-type connector, usually found on the  
nether end of what is called a “mic cable,” to connect to  
a female XLR jack.  
“TS” stands for Tip-Sleeve, the two connections  
available on a “mono” 1⁄4" phone jack or plug.  
See Figure C.  
2
SHIELD  
HOT  
TS jacks and plugs are used in many different  
applications, always unbalanced. The tip is connected to  
the audio signal and the sleeve to ground (earth). Some  
examples:  
1
3
COLD  
SHIELD  
1
3
COLD  
2
HOT  
SHIELD  
COLD  
HOT  
1
SLEEVE  
SLEEVE  
TIP  
3
2
TIP  
TIP  
SLEEVE  
Figure A: XLR Connectors  
Figure C: TS Plug  
1⁄4" TRS Phone Plugs and Jacks  
• Unbalanced microphones  
• Electric guitars and electronic instruments  
• Unbalanced line-level connections  
• Speaker connections  
“TRS” stands for Tip-Ring-Sleeve, the three  
connections available on a “stereo” 1⁄4" or “balanced”  
phone jack or plug. See Figure B.  
TRS jacks and plugs are used in several different  
applications:  
Don’t use guitar cords for speaker cables!  
They’re not designed to handle speaker-level  
signals and could overheat.  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
RCA Plugs and Jacks  
RING  
TIP  
RCA-type plugs (also known as phono plugs) and  
jacks are often used in home stereo and video  
equipment and in many other applications (Figure D).  
They are unbalanced and electrically identical to a  
1⁄4" TS phone plug or jack. See Figure C. Connect the  
signal to the center post and the ground (earth) or  
shield to the surrounding “basket.”  
SLEEVE  
Figure B: 1⁄4" TRS Plugs  
• Balanced mono circuits. When wired as a  
balanced connector, a 1⁄4" TRS jack or plug  
is connected tip to signal high (hot), ring to  
signal low (cold), and sleeve to ground (earth).  
• Stereo Headphones, and rarely, stereo  
microphones and stereo line connections.  
When wired for stereo, a 1⁄4" TRS jack or plug is  
connected tip to left, ring to right and sleeve to  
ground (earth). Mackie mixers do not directly  
accept 1-plug-type stereo microphones. They  
must be separated into a left cord and a right  
cord, which are plugged into two mic preamps.  
SLEEVE TIP SLEEVE TIP  
Figure D: RCA Plug  
(Figure E does not appear in this owner's manual, due  
to a contractual obligation, but performs nightly at the  
downtown Woodinville Cocoa Rooms and Tea Bar.)  
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TRS Send/Receive Insert Jacks  
Mackie’s single-jack inserts are the three-conductor,  
TRS 1⁄4" phone type. They are unbalanced, but have  
both the mixer output (send) and the mixer input  
(return) signals in one connector. See Figure F.  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
This plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
Figure F  
The sleeve is the common ground (earth) for both  
signals. The send from the mixer to the external unit is  
carried on the tip, and the return from the unit to the  
mixer is on the ring.  
Using the Send-only on an Insert Jack  
If you insert a TS (mono) 1⁄4" plug only partially (to  
the first click) into a Mackie 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 1⁄4" 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 Figure G.  
NOTE: Do not overload or short-circuit the signal you  
are tapping from the mixer. That will affect the internal  
signal.  
MONO PLUG  
Channel Insert jack  
Direct out with no signal interruption to master.  
Insert only to first “click.”  
MONO PLUG  
Channel Insert jack  
Direct out with signal interruption to master.  
Insert all the way in to the second “click.”  
STEREO  
PLUG  
Channel Insert jack  
For use as an effects loop.  
(TIP = SEND to effect, RING = RETURN from effect.)  
Figure G  
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Appendix C: Technical Information  
Specifications  
Noise Characteristics:  
Distortion (THD+N):  
Equivalent Input Noise (EIN), mic input at insert, 150 Ω source  
impedance, 20 to 20 kHz:  
20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth  
Mic input at insert  
(+4 dBu in, 0 dB gain, +4 dBu out): 0.0015%  
60 dB (max) gain:  
40 dB gain:  
-127 dBu  
-126.5 dBu  
Mic input at insert  
(-36 dBu in, +40 dB gain, +4 dBu out):0.017%  
Equivalent Input Noise (EIN), mic input at insert, 50 Ω source  
impedance, A-weighted:  
Stereo channel line input to any output  
60 dB (max) gain:  
40 dB gain:  
-130.5 dBu  
-130 dBu  
(+4 dBu in, all gain stages at unity +4 dBu out): 0.005%  
FireWire in and out (+4 dBu in, mic input to FireWire send,  
returned to Control Room, all gain stages at unity):  
Output Noise Figure (1/4" Main out, all channels assigned to  
main, Gain knobs at unity, 20 Hz to 30 kHz):  
44.1 kHz sample rate:  
0.01%, 20 Hz to 2 kHz  
0.02%, 2 kHz to 20 kHz  
Main Mix knob down, channel Level knobs down:  
-102 dBu (-106 dB SNR,  
96 kHz sample rate:  
0.01%, 10 Hz to 1 kHz  
0.03%, 1 kHz to 47 kHz  
ref +4 dBu)  
Main Mix knob unity, channel Level knobs down:  
-96 dBu (-100 dB SNR,  
Attenuation and Crosstalk:  
@ 1 kHz relative to 0 dBu  
Main Mix knob down:  
ref +4 dBu)  
-85 dBu  
-95 dBu  
-95 dBu  
Main Mix knob unity, channel Level knobs unity:  
-93 dBu (-97 dB SNR,  
Channel Alt/Mute switch engaged:  
Channel Level knob down:  
ref +4 dBu)  
FireWire Through (Record + Playback) Dynamic Range:  
0 dBu mic input, to DAW, routed back to mixer direct to Control  
Room, all gain stages unity, 20 Hz to 20 kHz:  
Common Mode Rejection Ratio (CMRR):  
Mic input to insert, max gain, 1 kHz, 150 ohm termination:  
-70 dB  
44.1 kHz sample rate:  
96 kHz sample rate:  
-104 dB  
-106.5 dB  
Maximum Input Levels:  
Frequency Response:  
Mic input to any output (all gain stages at unity):  
+0/-0.5 dB,  
Mic input, gain at min (0 dB):  
Mic input, gain at max (60 dB):  
Line input, gain at -20 dB:  
Instrument input, gain at -20 dB:  
Tape input:  
+22 dBu  
–38 dBu  
+22 dBu  
+22 dBu  
+12 dBu  
+22 dBu  
20 Hz to 20 kHz  
Stereo channel line input to any output (all gain stages unity):  
+0/-0.5 dB,  
20 Hz to 20 kHz  
Aux return:  
FireWire in and out (mic input to FireWire send, returned to  
Control Room, all gain stages at unity):  
44.1 kHz sample rate:  
Maximum Output Levels:  
+/-0.5 dB,  
20 Hz to 20 kHz  
-3 dB at 21 kHz  
All outputs:  
+22 dBu  
Equalization  
Mono Channels  
Low:  
96 kHz sample rate:  
+/-0.5 dB,  
20 Hz to 20 kHz  
-3 dB at 45 kHz  
15 dB at 80 Hz  
100 Hz to 8 kHz  
15 dB  
Mid frequency:  
Mid gain:  
High:  
15 dB at 12 kHz  
Stereo Channels:  
Low:  
15 dB at 80 Hz  
15 dB at 2.5 kHz  
15 dB at 12 kHz  
Mid:  
High:  
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FireWire  
Sample Rates Available:  
Output Impedance:  
Main XLR output:  
Phones output:  
44.1 kHz, 48 kHz,  
88.2 kHz, 96 kHz  
100 Ω balanced  
75 Ω  
Buffer Size:  
Resolution:  
32 (44.1 kHz and 48 kHz  
only), 64, 128, 256, 512,  
1024, 2048 samples  
All other outputs:  
300 Ω  
AC Power Requirements:  
Power Consumption:  
24-bit  
30 Watts  
Universal AC Power Supply:  
100 VAC – 240 VAC,  
50-60 Hz  
Meters  
2-segment pre-fader channel meters:  
OL (+18 dBu), -20 dBu  
Physical Dimensions and Weight  
12-segment pre-fader Control Room meters:  
OL (+20 dBu), +15, +10,  
Height:  
16.75 in/420 mm  
12.25 in/310 mm  
3.85 in/96 mm  
13.5 lb/6 kg  
Width  
+6, +3, 0, -2, -4, -7, -10,  
-20, -30 (0 VU = 0 dBu)  
Depth:  
Weight:  
Input Impedance:  
Mic input:  
2.8 kΩ balanced  
Options:  
Rack Mount Kit  
Hi-Z input:  
1 MΩ unbalanced  
LOUD Technologies Inc. is always striving to improve our products  
by incorporating new and improved materials, components, and  
manufacturing methods. Therefore, we reserve the right to change  
these specifications at any time without notice.  
Mono channel line input:  
30 kΩ balanced  
15 kΩ unbalanced  
Stereo Channel line input:  
20 kΩ balanced  
10 kΩ unbalanced  
“Mackie,” and the “Running Man” are registered trademarks of LOUD  
Technologies Inc. All other brand names mentioned are trademarks  
or registered trademarks of their respective holders, and are hereby  
acknowledged.  
Dimensions  
The technical writer responsible for this manual tends to fade in and  
out of various different realities, depending on how many cups of tea  
he has had. Please check our website for any updates to this manual,  
or updates to the PC drivers: www.mackie.com.  
WEIGHT  
13.5 lb  
6 kg  
©2010 LOUD Technologies Inc. All Rights Reserved.  
3.85 in/  
96 mm  
48V  
48V  
48V  
48V  
48V  
48V  
48V  
48V  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
OL  
20  
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
12.25 in/ 310 mm  
19.0 in/ 482.6 mm  
With Optional Rack Ear Kit  
1.9 in / 47.7 mm  
Need help with your new mixer?  
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums, and other useful  
information.  
• Email us at: techmail@mackie.com.  
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday  
through Friday, normal business hours, PST).  
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BlockDiagram  
SoloLogic  
Solo(PFL)  
Aux 2 (post)  
Aux 2 (pre)  
Aux 1 (post)  
Aux 1 (pre)  
R/4  
SoloLogic  
Solo(PFL)  
Aux 2 (post)  
Aux 2 (pre)  
Aux 1 (post)  
Aux 1 (pre)  
R/4  
Alt  
Alt  
L/3  
L/3  
R
Main  
L
R
Main  
L
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Appendix D: Rack Ear installation instructions  
The optional Rack Ear Kit allows the Onyx 1220i  
mixer to be mounted in a standard 19” rack. It will be  
out of harm’s way and the band may continue tearin’ it  
up without fearing any consequences. The mixer takes  
up ten rack spaces. Be sure to allow for an extra space  
or two above to make connections. The kit contains two  
rack ear brackets and six black screws (M3.5 x 8mm).  
3. Remove the six silver screws as shown below,  
place them in the shoe box housing all of those  
old baseball cards, and keep them in a safe  
place for further use.  
4. Using only the new screws supplied, secure  
the rack ear brackets to each side of the mixer  
as shown. Hand-tighten the screws securely.  
The brackets are NOT identical. The right side  
bracket has an ‘R’ on the inside of the bracket  
flange (see drawing below).  
Tools Required:  
One phillips screwdriver, a comfy chair, a bowl of cereal  
with milk and bananas (or strawberries, your choice),  
toast, and a glass of orange juice (optional).  
5. Offer up the mixer to the rack and secure it  
in place with four rack screws (not supplied).  
Remember to leave enough room at the top to  
attach the AC power cord and any other con-  
nections needed.  
Procedure:  
6. Relax, you did it! Break out the cereal, frosty  
glass of orange juice, the buttered-just-right  
toast, and plant your bottom on that comfy  
chair of yours and enjoy the sweet taste of  
success!  
1. Turn off the mixer and disconnect all cords.  
2. Place the mixer face up on a soft and dry flat  
surface.  
R
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Appendix E: FireWire  
The mixer comes with a CD containing the PC driver  
software needed to use your mixer's internal FireWire  
interface with Windows XP or Windows Vista.  
3. The Windows application will start its "Found  
New Hardware" wizard. Select "Locate and  
install driver software."  
Mac OS X contains built-in drivers, so no software  
installation is required.  
Before installing the drivers from the CD,  
please check our website in case there are any  
updated drivers available. These will come with  
their own installation instructions which will  
supercede those shown here.  
The CD that contains the PC driver software  
is the same CD that this owner's manual PDF  
is on. So if you have not browsed the CD and  
looked at this owner's manual, you will not be  
reading this yet. Its a bit of a paradox really,  
because didn't you just read it? Like this bit of  
text right now? Hmm..  
4. In the details that follow, ignore any attempt to  
connect to Windows Update to find the soft-  
ware. You will be prompted to insert the CD  
that came with your mixer.  
Mackie Windows FireWire Audio Driver  
Installation Instructions  
System Requirements  
Windows XP SP 2 or greater (Home and Pro)  
Windows Vista 32 RTM or greater (Home, Business,  
and Ultimate)  
Installation for Windows Vista  
1. Connect the FireWire cable from your Onyx  
1220i to the computer.  
5. Check the box: "Always trust software from  
LOUD Technologies Inc.  
2. Power on your Onyx 1220i, or make sure it is  
powered on.  
34 Onyx 1220i  
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6. Select "Install," and the driver software will be  
installed.  
Installation for Windows XP  
1. Connect the FireWire cable from your Onyx  
1220i to the computer.  
2. Power on your Onyx 1220i .  
3. The Windows XP application will start its  
“Found New Hardware” wizard.  
7. The following message confirms that the driver  
software has been successfully installed.  
4. Ignore any attempt to connect to Windows Up-  
date to find the software, by checking the "No,  
not at this time" button. Select "Next."  
The audio interface is now ready to use with the  
Digital Audio Workstation software of choice, as well as  
with consumer audio applications such as iTunes® or  
Windows Media Player.  
5. Insert the CD that came with your Onyx 1220i  
(if you haven't already).  
6. Select “Install the software automatically.”  
Owner's Manual 35  
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7. Select the “Next” command and the driver  
software will begin installing.  
10. The following message confirms that the new  
software has been installed successfully and  
that the found new hardware wizard is  
complete.  
8. When Windows presents you with a warning  
about the software not having passed Windows  
testing, select “Continue Anyway.”  
11. Pack yourself a big lunch and go for a nice walk  
outside. Have a picnic and lie back and dream.  
Things are going to be so good now.  
The audio interface is now ready to use with the  
Digital Audio Workstation software of your dreams,  
as well as with consumer audio applications such as  
iTunes® or Windows Media Player.  
A Note on Available Buffer Sizes  
In general, you should always experiment with the  
available buffer sizes, to find the lowest buffer size that  
the machine and recording project can comfortably  
work with.  
9. Repeat steps 3-8 to allow a second driver to  
be installed. The found new hardware box will  
appear all over again, so follow these steps and  
you are almost done.  
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5. Here you can see the settings for the mixer.  
You can also choose it as your default input or  
output, as well as designate it to be used for  
system sound output. There are 12 channels of  
audio input from the Onyx 1220i, and  
USING THE ONYX 1220i WITH A MAC  
The Onyx 1220i works with Mac OS 10.4.11 and higher.  
This OS includes the Apple FireWire 2.0 driver. The  
Onyx 1220i will only work with the 2.0 driver, so if you  
have an OS before 10.4.11, you will need to check your  
system for updates from the nice folks at Apple.  
2 channels of audio output to the Onyx 1220i.  
1. Connect a FireWire cable from your Onyx 1220i  
to a FireWire port on your Mac.  
2. Turn on your Onyx 1220i.  
3. Go to the applications folder, open the utilities  
folder, and double-click “Audio MIDI Setup.”  
4. Click the Audio Devices tab, and select  
Onyx i in the “Properties For” drop-down box.  
6. The Sample Rate is also shown from 44.1 kHz,  
48 kHz, 88.2 kHz and 96 kHz.  
7. You’re ready to go with any Mac OS X Core  
Audio host application (i.e., Tracktion, Logic,  
Cubase, Nuendo, Live, Digital Performer, etc.).  
8. In your audio software applications, select and  
activate the inputs from the mixer and outputs  
to the mixer.  
Owner's Manual 37  
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Appendix F: Modifications  
The following modifications can be carried out on the  
Onyx 1220i by an authorized service center. Authorized  
service centers may be found online at:  
www.mackie.com/scripts/service_centers/search.asp  
Please contact our technical support department if you  
are having trouble finding an authorized service center  
in your area.  
The block diagram on page 32 shows these  
modifications as dotted lines in the channel signal flow.  
Modifications: Post-Insert FireWire Sends  
The pre-EQ channel FireWire sends are pre-insert,  
but the circuit board can be modified so that they are  
post-insert instead.  
For example, this allows for the use of an external  
processor on the mic signal, sending the result to the  
FireWire, while still being pre-EQ.  
Modifications: Post-Fader FireWire Sends  
The post-EQ channel FireWire sends are pre-fader,  
but the circuit board can be modified so that they are  
post-fader instead.  
This allows the channel level to control the level of  
the FireWire sends.  
Modification: Pre-EQ Aux Sends  
The pre-fader aux sends are post-EQ, so they are  
affected by the channel EQ controls. The circuit board  
can be modified so the pre-fader aux sends are pre-EQ  
instead of post-EQ.  
For example, your stage monitors will not be affected  
by any channel EQ adjustments.  
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Onyx 1220i Track Sheet  
-
CTRL - RM OUT  
MAIN OUT  
BAL/UNBAL  
1
2
3
4
ALT 3 4 OUT  
TAPE  
L
BAL/UNBAL  
BAL/UNBAL  
IN  
OUT  
R
L/3  
LINE IN 9-10 LINE IN 11-12  
R/4  
L
R
L
R
LINE IN 5-6  
LINE IN 7-8  
1
LINE  
2
LINE  
3
LINE  
4
LINE  
L
(MONO)  
L
L
(MONO)  
L
(MONO)  
(MONO)  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
LINE  
HI Z  
LINE  
HI Z  
-
-
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
R
R
R
R
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE  
48V  
48V  
48V  
48V  
CTRL ROOM/PHONES  
30  
30  
30  
U
30  
U
U
U
U
U
U
U
SOURCE  
0dB=0dBu  
20  
U
40  
60  
20  
U
40  
60  
20  
40  
20  
40  
L
R
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
U
60  
U
60  
CLIP  
20  
15  
10  
6
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +40dB  
-20dB +20dB  
SEND  
-20dB +20dB  
-20dB +20dB  
SEND  
-20dB +20dB  
SEND  
MAIN MIX  
TAPE  
SEND  
SEND  
SEND  
SEND  
SEND  
INPUT  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
PRE  
POST  
LINE  
FW 1-2  
3
U
U
U
U
U
U
U
U
U
U
U
U
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
0
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
HIGH  
-
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
12kHz  
2
FW 1-2  
ALT 3 4  
LEVEL  
SET  
+15  
8k  
-15  
100  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
1k  
+15  
8k  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
-15  
-15  
+15  
+15  
+15  
-15  
100  
4
1k  
U
U
1k  
U
U
7
FREQ  
FREQ  
FREQ  
FREQ  
U
U
U
U
10  
20  
30  
ASSIGN TO  
MAIN MIX  
100  
U
100  
U
MID  
MID  
MID  
MID  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
MID  
MID  
MID  
MID  
O O  
O O  
MAX  
MAX  
-15  
-15  
+15  
+15  
-15  
-15  
+15  
+15  
-15  
U
+15  
+15  
-15  
U
+15  
+15  
RUDE  
SOLO  
CONTROL PHONES  
ROOM  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
80Hz  
-15  
-15  
AUX MASTER  
RETURN  
SEND  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
1
1
1
1
1
1
1
1
1
2
PRE  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
MAX  
O O  
O O  
+10  
+10  
+15  
+15  
POST  
RTN TO  
AUX1  
2
2
2
2
2
2
2
2
2
PRE  
POST  
O O  
O O  
O O  
O O  
O O  
O O  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
POWER  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
ALT 3/4  
MIC  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
dB  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
O O MAX  
LEVEL  
-
-
-
-
-
-
-
-
20  
20  
20  
20  
20  
20  
20  
20  
10  
10  
10  
10  
10  
10  
10  
10  
10  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
AUX  
1-2  
PHONES  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
TALKBACK  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
TALKBACK  
MAIN MIX  
1
2
3
4
5-6  
7-8  
9-10  
11-12  
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Onyx 1220i Limited Warranty  
Please keep your sales receipt in a safe place.  
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)  
and is applicable to products purchased in the United States or Canada through a LOUD-authorized  
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the  
product (hereinafter, “Customer,” “you” or “your”).  
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find  
contact information for your local distributor, and information on any warranty coverage provided by the  
distributor in your local market.  
LOUD warrants to Customer that the product will be free from defects in materials and workmanship  
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD  
or its authorized service representative will at its option, either repair or replace any such nonconforming  
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the  
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-  
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD  
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it  
to obtain any warranty service.  
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit  
www.mackie.com/warranty.  
The Product Warranty, together with your invoice or receipt, and the terms and conditions located  
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior  
agreements between LOUD and Customer related to the subject matter hereof. No amendment,  
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a  
written instrument signed by the party to be bound thereby.  
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA  
United States and Canada: 800.898.3211  
Europe, Asia, Central and South America: 425.487.4333  
Middle East and Africa: 31.20.654.4000  
Fax: 425.487.4337 • www.mackie.com  
E-mail: sales@mackie.com  
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