Premium 8-Channel Analog Mixer
with Perkins EQ and FireWire
O W N E R ’ S M A N U A L
1
2
3-4
AUX SEND
AUX RETURN
MAIN OUT
TAPE
OUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
IN
L
L
L
1
2
(MONO)
R
R
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
L
BAL/UNBAL
1
BAL/UNBAL
2
BAL/UNBAL
R
L
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
LINE
HI Z
LINE
HI Z
+
-10dB
4dB
LINE
-
-
R
R
48V
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
CTRL ROOM/PHONES
30
30
30
U
U
U
U
0dB=0dBu
SOURCE
20
U
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
L
R
GAIN
CLIP
20
15
10
6
-20dB +40dB
-20dB +40dB
-20dB +20dB
-20dB +20dB
MAIN MIX
SEND
SEND
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
TAPE
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
FW 1-2
ALT 3 4
2
LEVEL
SET
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
7
HIGH
MID
FREQ
FREQ
U
U
U
U
10
20
30
ASSIGN TO
MAIN MIX
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
MID
MID
400Hz
O O
O O
MAX
MAX
-15
-15
+15
+15
-15
-15
+15
+15
-15
RUDE
SOLO
CONTROL
ROOM
PHONES
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
1
2
PRE
O O
O O
O O
O O
O O
O O
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
O O
O O
O O
O O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
+15
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
OL
OL
OL
ASSIGN TO
FW 7-8
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O MAX
LEVEL
-
-
-
-
- 20
20
20
20
20
MIC
U
U
U
U
U
U
DESTINATION
O O +10dB
O O +10dB
O O +10dB
LEVEL
O O +10dB
LEVEL
O O +10dB
LEVEL
O O +10dB
AUX 1-2
PHONES
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
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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 headphones
into the phones output jack, then 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 and this
page, and then have a look through some
of the features and details in this manual.
1. Turn on the mixer by pressing the top edge of
the power switch.
2. For one channel, press the solo switch in, and
the rude solo light will turn on.
Setup
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
3. Play something into that input at real-world
levels.
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked "level set").
Zero the controls
1. Fully turn down all the knobs to minimum,
except for the channel EQ and pan controls,
which should be centered.
5. Disengage the channel's solo switch.
6. Repeat steps 2 to 5 for the remaining channels.
7. Turn up the channel level to the "U" mark.
2. Make sure all buttons are in the out position.
8. Slowly turn up the main mix level until you
hear the signals in your speakers.
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 levels to get the best mix.
Keep the gain controls and levels 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.
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.
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 a TRS 1/4" plug.
FireWire
4. If your microphone requires phantom power,
press in the 48V phantom power button.
• See page 35 for details of getting started with
FireWire.
5. You can connect a guitar directly to line inputs
1 or 2 without needing a DI box, if you first
engage the hi-z switch on these channels.
• PC drivers are on the supplied CD-ROM.
Mac OS X contains built-in drivers, so no
software installation is required.
6. The insert jacks of channels 1 and 2 can be
used to connect an external effects or dynamics
processor into the signal chain.
Other Notes
• When shutting down, turn off any power
amplifiers or powered speakers first. When
owering up, turn them on last. This will reduce
the chance of turn-on or turn-off thumps.
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.
• 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. SW0718 Rev. D 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 820i
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 8-channel super-compact analog
mixer with integrated Fire wire I/O
• 2 mono channels (mono mic and mono line
inputs)
The Onyx 820i is equipped with three 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.
• 1 hybrid channel (mono mic and stereo line
inputs)
• 2 stereo channels (stereo line inputs)
• 3 Onyx mic preamps with sound comparable to
boutique preamps
• 3-band Perkins EQ with sweepable mids on
mono channels
Channels 1 and 2 feature high-impedance
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.
• 4-band Perkins EQ on hybrid channels
• 3-band Perkins EQ on stereo line channels
• Flexible FireWire routing with up to 8 channels
pre/post EQ, aux sends and master L/R routable
to computer
Extremely adaptable DAW integration
Recording and Mixing
• 2 channels of FireWire monitoring routable to
either the control room or channels 7 and 8
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
7 and 8 for mix integration.
• 2 independent aux sends with separate pre/post
switches
• Selectable instrument inputs on first two
channels – no DI box is needed
• Individual 48v phantom power switches on all
mic inputs
Powerful Effects Engine
• Talkback section with built in mic and flexible
routing
With both aux sends routable to your DAW, the 820i
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 a channel strip for instant integration into
the mix.
• "Planet-Earth" switching power supply for
worldwide use
• Optional rack kit available
Live Recording
Live sound recording could not be simpler with the
820i. 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 820i
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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?
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
CONTROL ROOM/PHONES AND METERS ............ 23
38. MAIN MIX .............................................. 23
39. TAPE, FW 1-2, ALT 3-4 ............................ 23
40. ASSIGN TO MAIN MIX............................. 23
41. CONTROL ROOM KNOB ........................... 23
42. PHONES KNOB........................................ 24
43. LEFT/RIGHT LEVEL METERS...................... 24
44. RUDE SOLO LIGHT ................................... 24
AUX MASTER..................................................... 25
45. MASTER AUX SEND 1 AND 2.................... 25
46. PRE/POST .............................................. 25
47. MASTER AUX RETURN 1 AND 2 ............... 25
48. RTN TO AUX 1 ........................................ 25
49. AUX SEND 1-2 TO FW 5-6 ....................... 25
50. POWER LED............................................. 26
TALKBACK ......................................................... 26
51. TALKBACK MIC........................................ 26
52. TALKBACK LEVEL ..................................... 26
53. DESTINATION: PHONES, AUX 1-2............. 26
54. TALKBACK SWITCH.................................. 27
MAIN MIX......................................................... 27
55. MAIN MIX ............................................. 27
56. ASSIGN TO FW 7–8 ............................... 27
APPENDIX A: SERVICE INFORMATION.................... 28
APPENDIX B: CONNECTIONS.................................. 29
APPENDIX C: TECHNICAL INFORMATION................ 31
APPENDIX D: RACK EAR INSTALLATION ................. 34
APPENDIX E: FIREWIRE......................................... 35
APPENDIX F: MODIFICATIONS ............................... 39
LIMITED WARRANTY............................................. 41
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
QUICK START.......................................................... 3
INTRODUCTION ...................................................... 4
YOU ARE HERE ....................................................... 6
HOOKUP DIAGRAMS............................................... 7
FEATURES............................................................. 12
REAR PANEL...................................................... 12
1. POWER CONNECTION............................. 12
2. POWER SWITCH..................................... 12
3. FIREWIRE CONNECTIONS........................ 12
4. LEFT/RIGHT XLR MAIN OUTPUTS ........... 13
5. MAIN OUTPUT LEVEL.............................. 13
6. CTRL-RM OUT........................................ 13
7. ALT 3–4 OUT ......................................... 13
CONNECTION SECTION....................................... 14
8. MIC INPUTS........................................... 14
9. INSERT (CH. 1 AND 2)............................ 14
10. MONO LINE INPUTS (CH. 1 AND 2)......... 15
11. STEREO LINE INPUTS (CH. 3-8) ............... 15
12. AUX SEND 1 AND 2................................ 15
13. AUX RETURN 1 AND 2 ........................... 15
14. LEFT/RIGHT 1/4" MAIN OUTPUTS ......... 15
15. TAPE INPUTS ......................................... 16
16. TAPE OUTPUTS ...................................... 16
17. HEADPHONE OUTPUT ............................ 16
CHANNEL CONTROLS ......................................... 17
18. HI-Z SWITCH (CH. 1 AND 2 ONLY).......... 18
19. LOW CUT (CH.1–4 ONLY) ....................... 18
20. 48V PHANTOM POWER (CH. 1-4 ONLY).. 18
21. LINE +4 DB/-10 DB (CH. 3 AND 4 ONLY) 19
22. INPUT (LINE OR FW 1-2)........................ 19
23. GAIN CONTROL...................................... 19
24. SEND FIREWIRE PRE/POST..................... 19
25. HIGH EQ................................................ 20
26. MID EQ FREQUENCY (CH. 1 AND 2)......... 20
27. MID EQ LEVEL (CH. 1 AND 2).................. 20
28. HIGH MID EQ LEVEL (CH. 3 AND 4)......... 20
29. LOW MID EQ LEVEL (CH. 3 AND 4).......... 20
30. MID EQ LEVEL (CH. 5/6 AND 7/8) ......... 20
31. LOW EQ................................................. 20
32. AUX SEND 1 AND 2................................ 21
33. PAN....................................................... 21
34. MUTE SWITCH AND ALT 3–4................... 21
35. –20 AND OL LEDS .................................. 22
36. LEVEL .................................................... 22
37. SOLO..................................................... 22
6 Onyx 820i
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Hookup Diagrams
Acoustic Guitar
and Mic
Microphone
Aux 1
Stereo Effects Processor
Guitar Processor
set to
POST
Return
Send
1
2
3-4
AUSEND
ARN
MAIN OUT
TAPE
OUT
BUNBAL
BAL
BAL/UNBAL
1
2
IN
L
1
L
L
MONO)
2
R
R
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6 LI
BAL/UNBAL
1
BAL/UNBAL
NBAL
R
L
L
(MONO)
(MONO)
LINE
E
BAL/UNBAL
BAL/UNBAL
LINE
NE
HI
+
-10dB
4dB
LINE
-
-
Z
HI
Z
R
R
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
CTRL ROOM/PHONES
30
30
U
U
U
U
SOURCE
0dB=0dBu
20
U
40
60
20
60
20
U
40
60
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
L
R
CLIP
20
15
10
6
-20dB +40dB
40dB
-20dB +20dB
SEND
-20dB +20dB
SEND
MAIN MIX
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
Aux 2
set to
PRE
LINE
FW 1-2
TAPE
Drum
Machine
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
4
FW 1-2
ALT 3
2
LEVEL
SET
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
7
HIGH
MID
FREQ
MID
FREQ
MID
U
U
U
U
10
20
30
ASSIGN TO
MAIN MIX
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
400Hz
O
O
MAX
O O
MAX
-15
-15
+15
+15
-15
-15
+15
+15
-15
RUDE
SOLO
CONTROL
ROOM
PHONES
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
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
O
O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
O O
O O
+15
O O
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
Laptop with
audio production
software
ASSIGN TO
FW 7-8
OL
OL
OL
OL
OL
A LT 3-4
A LT 3-4
A LT 3-4
A LT 3-4
A LT 3-4
O O
MAX
LEVEL
MIC
U
U
U
U
U
U
-
-
-
-
- 20
20
20
20
20
DESTINATION
O O
+10dB
O O
+10dB
O O
+10dB
O O
+10dB
O O
+10dB
O O
+10dB
AUX
1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
SRM150
Powered
Monitor
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
•
MANUFACTURED IN CHINA FABRIQUE EN CHINE
•
"MACKIE"
&
"ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC.
•
COPYRIGHT ©2008
Mackie
FIREWIRE
MAIN OUT
CNTL RM OUT
-
BAL/UNBAL
BALANCED
R
L
POWER
ON
Mackie
R
L
SRM450v2
Powered
SRM450v2
Powered
ALT 3-4 OUT
R/4 BAL/UNBAL L/3
Speaker
UT
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
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Bass
Electric
Guitar
Guitar
Condenser
Microphone
Headphones
Stereo Effects Processor
Digital Delay
Headphone Amp
1
2
4
AUSEN
BNB
ARE
OUT
TAPE
L/
NBAL
1
2
OUT
L
1
2
L
Amplifier
Modeler
ONO)
R
R
R
SERT
INSERT
L
(MONO)
LINE IN 5-6 LINE IN 7-8
BAL/UNBAL
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
(MONO)
)
LINE
LINE
BAL/UNBAL
BAL/UNBAL
LINE
LINE
HI
+
-1
4d
LINE
-
-
Z
HI
Z
R
R
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
press HI-Z
button
CTHONES
30
30
U
U
U
U
0dB=0dBu
20
U
40
60
20
U
40
60
20
U
M
GAIN
GAIN
GAIN
GAIN
L
R
CLIP
20
15
10
6
-20dB +40dB
-20dB +40dB
-20dB +20dB
SEND
-20dB +20dB
SEND
MAIN MIX
SEND
SEND
SE
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
TAPE
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
FW 1-2
ALT 3 4
2
LEVEL
SET
Drum
Machine
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
HIGH
MID
FREQ
MID
FREQ
MID
U
U
U
U
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
400Hz
O
-15
-15
+15
+15
-15
-15
+15
+15
-15
CO
R
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
1
2
Keyboard
PRE
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
O
O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
O O
O O
+15
O O
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN TO
FW 7-8
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O
MAX
LEVEL
MIC
U
U
U
U
U
U
-
-
-
-
- 20
20
20
20
20
DESTINATION
Laptop with
audio production
software
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
AUX
1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
Mackie MR8
Powered
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
•
MANUFACTURED IN CHINA FABRIQUE EN CHINE
•
"MACKIE"
&
"ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC.
•
COPYRIGHT ©2008
FIREWIRE
MAIN OUT
CNTL - RM OUT
BAL/UNBAL
BALANCED
Reference
R
L
POWER
ON
R
L
Monitors for
Control Room
LT 3-4 OU
BAL/UNBAL
R
Recorder
T
This diagram shows an electric guitar connected to an amplifier modeler, whose balanced line-level
output is connected to the channel 1 line input, a bass guitar connected directly to the channel 2 input
(with the hi-z switch engaged), a condenser microphone on channel 3/4 with phantom power engaged,
a drum machine connected to channel 5/6, and a keyboard connected to channel 7/8. A headphone
amplifier allows for multiple headphone use.
An effects processor and a digital delay unit each receive a mono input from an aux send (in post
mode), and their stereo outputs connect to their respective stereo return inputs. As an alternative to
hardware units, you can send aux 1 and 2 to your computer by engaging the Aux Send 1-2 to FW 5-6
switch. Then use your DAW's effects plug-ins to add effects. Return them via FireWire to the main mix.
Mackie MR8 powered reference monitors are connected to the left and right control room outputs.
A nice 2 track recorder is connected to the main left and right outputs to record the main mix directly.
A laptop connects to the FireWire port, allowing the 2-channel main mix to be recorded and two
channels to be played back. Individual channels, and aux 1 and aux 2 can also be recorded via
FireWire (a maximum of 8 FireWire outs).
Home Studio System: Straight to stereo
8 Onyx 820i
Download from Www.Somanuals.com. All Manuals Search And Download.
Headphones
Bass
Electric
Guitar
Guitar
Condenser
Microphone
Headphone Amp
1
2
4
AUX SEND
BAL/UNBAL
AUX RETURN
MAIN OUT
TAPE
OUT
BAL/UNBAL
BAL/UNBAL
1
2
L
1
2
L
L
(MONO)
R
R
R
SERT
INSERT
L
(MONO)
LINE IN 5-6 LINE IN 7-8
BAL/UNBAL
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
(MONO)
)
LINE
LINE
press HI-Z
buttons
BAL/UNBAL
BAL/UNBAL
LINE
LINE
HI
+
-10
4d
LINE
-
-
Z
HI
Z
R
R
48V
48V
PREMIUM ANALOG MXER w/ PERKINS EQ
&
FIREWIRE
CTHONES
30
30
U
U
U
U
0dB=0dBu
20
U
40
60
20
U
40
60
20
U
M
GAIN
GAIN
GAIN
GAIN
L
R
CLIP
20
15
10
6
-20dB +40dB
-20dB +40dB
-20dB +20dB
SEND
-20dB +20dB
SEND
MAIN MIX
SEND
SEND
SE
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
TAPE
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
4
FW 1-2
ALT 3
2
LEVEL
SET
Drum
Machine
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
HIGH
MID
FREQ
MID
FREQ
MID
U
U
U
U
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
400Hz
O O
-15
-15
+15
+15
-15
-15
+15
+15
-15
CON
RO
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
1
2
Keyboard
PRE
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
MAX
MAX
O
O
O
O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
O O
O O
+15
O O
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN TO
FW 7-8
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O
MAX
LEVEL
MIC
U
U
U
U
U
U
-
-
-
-
- 20
20
20
20
20
DESTINATION
Laptop Computer
with audio production
software
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
AUX
1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
Mackie MR8
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
•
MANUFACTURED IN CHINA FABRIQUE EN CHINE
•
Powered
"MACKIE"
&
"ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC.
•
COPYRIGHT ©2008
FIREWIRE
MAIN OUT
CNTL RM OUT
-
BAL/UNBAL
BALANCED
Reference
R
L
POWER
ON
R
L
Monitors for
Control Room
LT 3-4 OU
RBAL/UNBAL
MAIN OUTPUT
LEVEL
+4dB
MIC
This diagram shows an electric guitar connected directly to channel 1 (with the hi-z switch engaged),
a bass guitar connected directly to channel 2 (also with the hi-z engaged), a condenser microphone on
channel 3/4 with the phantom power engaged, a drum machine connected to channel 5/6, and a
keyboard connected to channel 7/8. A headphone amplifier allows for multiple headphone use during
the recording process.
A pair of Mackie MR8 powered reference monitors are connected to the left and right control room
outputs, for careful and accurate monitoring of the performances in the control room.
A laptop computer connects to a FireWire port, allowing each channel to be recorded and two
channels from the laptop to be played back. Note: You can record a maximum of 8 channels via
FireWire if you do not record the auxes or main mix.
The DAW gets the 8 individual channel tracks. You can then mix down the project within the DAW at a
later time. These individual tracks can be pre-EQ or post-EQ depending on the channel pre/post
switches. Post-EQ allows you to use the mixer's high-quality Perkins EQ in your recordings. Software
plug-ins can be used for the effects processing of different tracks, and software amplifier emulators can
be used on the guitars to give the sound of mic'd amps.
Your carefully mixed 2-channel mix can be sent back to the control room via FireWire, by engaging the
FW 1-2 switch in the control room/phones matrix, and sent to the band with the headphone amp fed by
the phones out.
Home Studio System: Recording each channel
Owner's Manual 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Microphone
Stereo Effects Processor
Dynamics
Processor
Aux 1
iPod
Acoustic
Guitar with
pickup
set to
POST
Docking Station
1
2
3-4
AUSEND
ARE
MAIN OUT
TA
OU
BNBAL
AL/
BAL/UNBAL
1
2
IN
1
L
ONO)
Headphones
2
R
R
R
INSERT
INSERT
L
(MONO)
INE IN 5-6 LINE IN 7-8
BAL/UNBAL
1
BAL/UNBAL
L
L
L
(MONO)
press HI-Z
button
LINE
BAL/UNBAL
BAL/UNBAL
LINE
Z
NE
-
Z
LINE
-
HI
HI
B
R
R
48V
8V
RM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
CTNES
SO
30
3
30
U
U
U
U
0dB=0dBu
20
U
40
60
20
U
60
20
U
40
60
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
L
R
CLIP
20
15
10
6
-20dB +40dB
-20dB +40dB
-20dB +20dB
SEND
-20dB +20dB
SEND
MAIN MIX
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
Drum
Machine
LINE
FW 1-2
TAPE
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
FW 1-2
ALT 3 4
2
LEVEL
SET
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
HIGH
MID
FREQ
MID
FREQ
MID
U
U
U
U
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
400Hz
-15
-15
+15
+15
-15
-15
+15
+15
-15
C
U
U
U
Aux 2
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
set to
PRE
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
Keyboard
1
1
1
1
1
1
1
O
O
MA
O
O
+10
+1
TO
1
2
Mackie SRM450v2
Powered Speakers
(Stage Monitors)
O
O
O
O
AN
POWE
L
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN TO
FW 7-8
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O
MAX
LEVEL
MIC
U
U
U
U
U
U
-
-
-
-
- 20
20
20
20
20
DESTINATION
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O O
+10dB
AUX
1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
HD1531
Powered Speaker
Main Right
HD1531
Powered Speaker
Main Left
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
•
MANUFACTURED IN CHINA FABRIQUE EN CHINE
•
"MACKIE"
&
"ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC.
•
COPYRIGHT ©2008
FIREWIRE
MAIN OUT
CNTL - RM OUT
BAL/UNBAL
BALANCED
R
L
POWER
ON
R
L
HD1801
Powered
HD1801
Powered
A3-4 OUT
R/4 L/UNBAL L/
Subwoofers
Subwoofers
UT
Laptop Computer
with audio
production software
SRM350v2
Powered
Speakers
This diagram shows an acoustic-electric guitar connected to the channel 1 input (with the hi-z switch
pressed down), a microphone connected to the channel 2 mic input, a drum machine connected to
channel 3-4, and a keyboard connected to channel 7-8. Engage the +4dBu/–10dBV switch on
channels 3-4 if your drum machine runs at –10 dBV. An iPod® can be used for intermission music.
A dynamics processor is connected to the insert jack of channel 1 to work its magic on your guitar.
An effects processor receives a mono input from aux 1 send, and its stereo outputs connect to the stereo
aux 1 return inputs. Set Aux 1 to post-fader, using the pre/post switch in the Aux Master section.
A plethora of SRM450v2 powered speakers are strewn across the stage as monitors for the band; they
are connected to the aux 2 send jack (in pre-fader mode). Headphones are used to monitor all levels.
The club is driven by four HD1801 powered subwoofers and a pair of HD1531 powered speakers
connected to the main mix outputs. SRM350v2 powered speakers monitor the control room output.
Individual channels 1 to 8 can be sent via the FireWire port to a laptop computer. Aux 1 and 2 can be
sent instead of ch. 5 and 6, or the main L/R mix sent instead of ch. 7 and 8. Two channels can be played
back from the laptop using the same FireWire port. For example, you can play iTunes® as intermission
music in the main system, or send two channels from a virtual instrument into mixer channels 7 and 8.
Club System
10 Onyx 820i
Download from Www.Somanuals.com. All Manuals Search And Download.
Headphones
Effects Processor
Voice-over
Microphone
Headphone Amp
Voice-over booth
record
1
2
3-4
ASEND
BUNBAL
X RN
OUT
E
OUT
BA
NBA
1
2
Video Deck
L
1
2
L
L
MONO)
R
R
R
play
L
(MONO)
LINE IN 5-6 IN 7-8
Effects/ Sampler
BAL/UNBAL
2
R
L
(MONO)
(MONO
LINE
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
/UNBAL
LINE
LINE
HI
+
-10dB
4dB
-
HI
Z
Synthesizer
R
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
RL ROOM/PHONES
SOURCE
30
30
U
U
U
U
0dB=0dBu
20
U
40
60
20
U
40
U
40
60
MIC
GAIN
GAIN
GAIN
GA
L
R
CLIP
20
15
10
6
-20dB +40dB
-20dB +4
-20dB +20dB
SEND
-20dB +20dB
SEND
MAIN MIX
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
TAPE
3
Keyboard Controller
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
HIGH
12kHz
-
FW 1-2
ALT 3 4
2
LEVEL
SET
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
7
HIGH
MID
FREQ
MID
FREQ
MID
U
U
U
U
10
20
30
ASSIGN TO
MAIN MIX
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
400Hz
O O
MAX
O O
MAX
-15
-15
+15
+15
-15
-15
+15
+15
-15
RUDE
SOLO
CONTROL
ROOM
PHONES
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
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
O
O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
O O
O O
+15
O O
Electronic
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
Drum Kit
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN TO
FW 7-8
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O
MAX
LEVEL
MIC
U
U
U
U
U
U
-
-
-
-
- 20
20
20
20
20
DESTINATION
Recorder
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O
O
+10dB
O O
+10dB
AUX
1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
Mackie
HR824mkII
Powered
Mackie
HR824mkII
Powered
DESIGNED BY WOODINVILLE,
NUFACTURED IN CHINA FABRIQUE EN CHINE
•
"MACK
ARE TRADEMARHNOLOGIES INC.
•
COPYRIGHT ©2008
FIREWIRE
AIN OUT
CNTL RM OUT
-
BAL/UNBAL
BALANCED
R
L
POWER
ON
LT 3-4 OU
RBAL/UNBAL
Reference
Reference
Monitor for
Control Room
Monitor for
Control Room
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 channel 1 mic input, a video deck's audio
output connected to channels 3/4, with its audio inputs receiving the main mix from the 1/4" outputs.
A synthesizer is connected to channel 5/6, and an electronic drum kit connected to channel 7/8.
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 is 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 main outs, and utilized as the master recorder.
Post-Production System
Owner's Manual 11
Download from Www.Somanuals.com. All Manuals Search And Download.
Onyx 820i Features
CTRL - RM OUT
FIREWIRE
MAIN OUT
BAL/UNBAL
BALANCED
R
L
POWER
ON
R
L
6
7
4
ALT 3-4 OUT
BAL/UNBAL L/3
1
R/4
+4dB
MIC
MAIN OUTPUT
LEVEL
2
3
5
Rear Panel
3. FIREWIRE CONNECTIONS
1. POWER CONNECTION
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.
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
820i has a universal power supply that can accept any
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 1–8, 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).
FireWire outputs 5 and 6 can either be from
channels 5 and 6, or aux send 1 and 2.
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). FireWire outputs 7 and 8 can either be
from channels 7 and 8, or main mix L and R.
2. POWER SWITCH
Press the top of this rocker switch inwards to turn on
the mixer. The front panel power LED [50] will glow
with happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
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 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 computer. This can be routed through the
control room/phones via the FireWire button [39], to
monitor the computer audio through your control room
speakers or headphones (or through the main
speakers if assign to main mix [40] 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.
12 Onyx 820i
Download from Www.Somanuals.com. All Manuals Search And Download.
These same two channels from the computer can
also be chosen as inputs to channels 7 and 8,
allowing you to adjust the gain, EQ, level, and pan,
as well as to solo, and add to aux send 1 and 2. This
is routed using the FW/line input selector [22] on
channels 7 and 8. 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.
• 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 [40] is engaged. The main mix input to the
control room is disconnected if assign to main mix is
engaged.
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).
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.
4. LEFT/RIGHT XLR MAIN OUTPUTS
Control-room out is long for ctrl-rm out, which
translated from the ancient language of the
Pacific NorthWestern I-405 corridor people
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 [14] on the
top panel.
means "I'll have a double latté with chocolate
sprinkles, and a bagel with cream cheese, and I agree,
it does look like it will start raining again, but it might
stop in time for the Mariners game."
7. ALT 3–4 OUT
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.
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.
Any channel whose mute switch [34] 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.
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
CTRL ROOM/PHONES
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.
SOURCE
38
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.
TAPE
39
The switch is recessed, to reduce the chance of
-
FW 1-2
ALT 3 4
accidently turning it on or off when plugging things in.
40
6. CTRL-RM OUT
ASSIGN TO
MAIN MIX
These 1/4" TRS jacks provide balanced left and right-
line-level outputs to run a studio monitors in the control
room. Connect these outputs to the inputs of an
amplifier, powered speakers, or recording device.
O O
O O
MAX
MAX
CONTROL
ROOM
PHONES
The source that plays in the control room,
headphones, and meters can be selected using the
switches [38, 39] in the control room/phones source
matrix:
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1
2
3-4
AUX SEND
AUX RETURN
MAIN OUT
TAPE
OUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
IN
L
L
L
1
(MONO)
8
9
12
16
15
13
14
2
R
R
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
11
1
2
R
L
L
17
10
18
19
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
AL/UNBAL
AL/UNBAL
11
11
LINE
LINE
+4dB
LINE
-
-
HI Z
HI Z
-10dB
R
R
48V
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
20
Connection Section
This is where you plug in things such as: microphones,
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 29) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
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.) “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.
8. 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.
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
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
plug instrument outputs into the mic XLR input jacks
with phantom power on, unless you are certain it is safe.
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
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.
9. INSERT (Ch. 1 and 2)
These unbalanced 1/4" jacks on channels 1 and 2,
are for connecting serial effects processors such as
compressors, equalizers, de-essers, or filters. The insert
point is after the gain control [23] and low cut filter
[19], but before the channel’s EQ and level [36]. 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:
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.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals. The mic input of hybrid channels 3-4
is fed equally to channels 3 and 4.
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
SEND to processor
ring
“tip”
(TRS plug)
tip
sleeve
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
14 Onyx 820i
RETURN from processor
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Insert jacks can be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 30 (figure G) showing three ways to use insert
cables.
The aux 1 send signal is the sum (mix) of all the
channels whose aux 1 send control [32] 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 [45].
10. MONO LINE INPUTS (Ch. 1 and 2)
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources.
The aux sends can either be pre or post fader,
depending on the position of the pre/post switches [46].
For stage monitor work, use pre, so the stage monitors
do not increase in volume when the channel level is
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 level is adjusted.
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
For external processors, use post. In this way, the
feed to external processors will vary with the channel
level, so the level of any returned effect (like an echo)
will also change if the channel level is changed, keeping
them in the same ratio (wet/dry).
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
These line-level inputs 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.
13. 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.
Level adjustment of the incoming signals is made with
the aux return controls [47].
11. STEREO LINE INPUTS (Ch. 3-8)
These 1/4" jacks can be driven by balanced or
unbalanced sources.
The signals going into aux return 2 can also be added
to aux send 1 by engaging the return to aux 1 switch
[48]. For example, you could add effects from an
external effects processor to your stage monitors.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
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.
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
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.
Sleeve = Shield or ground
14. LEFT/RIGHT 1/4" MAIN OUTPUTS
If you just have a mono source, plug it into the left
input (labeled left/mono), and the signal will appear
These 1/4" TRS output connectors provide the
(as if by magic) equally on the left and right of the main balanced or unbalanced line-level output of the main
mix.
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].
12. AUX SEND 1 and 2
These 1/4" TRS connectors allow you to send balanced
or unbalanced line-level outputs to external effects
Connect these outputs to the next device in the signal
devices, headphone amplifiers, or stage monitors. These chain, such as an external processor (graphic equalizer
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with
built-in power amplifiers.
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.
Aux send 1 and aux send 2 are independent of each
other, so you can set up two separate aux mixes.
Owner's Manual 15
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WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
15. TAPE INPUTS
These stereo unbalanced RCA inputs allow you to play
a tape, CD player, iPod® dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
with some headphones. BE CAREFUL! Always turn the
phones level control [42] 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.
Push in the tape button [39] to route the tape input
to the control room and phones outputs [6, 17]. This
allows you to play back recordings of your mixes.
Push in the assign to main mix button [40] to route the
tape input to the main outs [4, 14]. 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.
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.
The tape output is the stereo main mix, and it is
affected by the main mix level control [55]. The output
could also be used as an extra set of main outputs for
feeding another zone.
17. HEADPHONE OUTPUT
This 1/4" TRS connector supplies the output to your
stereo headphones. It is the same signal that is routed
to the control room outputs [6], as determined by the
control room/phones source matrix [38, 39]. The
volume is controlled with the phones knob [42], right
next to the control room knob [41].
Whenever a solo switch [37] 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.)
The phones output follows standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
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Channel Controls
The vertical channel strips look very similar, and have
only a few differences between them. Each
1
2
3-4
AUX SEND
AUX RETU
BAL/UNBAL
BAL/UNBAL
1
channel works independently, and just controls the
signals plugged into the inputs directly above it.
L
1
2
(MONO)
Here are a few features and differences:
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
Mono Channels 1 and 2
BAL/UNBAL
• These are mono channels, and their controls
affect either the mono mic input or the mono
line-level input.
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
LINE
HI Z
LINE
+4dB
LINE
-
-
HI Z
-10dB
R
R
48V
48V
48V
• Each channel has a hi-z switch, so you can
connect guitars directly without the need for a
DI box.
30
30
30
U
U
U
U
20
U
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
-20dB +40dB
-20dB +40dB
-20dB +20dB
-20dB +20dB
• High pass filter affects both the mic and line
inputs.
SEND
SEND
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
• Gain control adjusts the mic level and line
level.
U
U
U
U
U
EQ
EQ
EQ
EQ
HIGH
HIGH
HIGH
HIGH
HIGH
12kHz
12kHz
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
• The 3-band EQ has shelving high, shelving
low, and peaking mid EQ with adjustable mid
frequency.
1k
1k
U
HIGH
MID
FREQ
FREQ
U
U
U
U
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
MID
MID
Hybrid Channels 3/4
400Hz
-15
-15
+15
+15
-15
-15
+15
+15
-15
U
U
U
• These hybrid channels have a mono mic input
and stereo line-level inputs. The mono mic
signal is sent in equal amounts to the left and
right sides of the stereo channel.
LOW
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
80Hz
-15
-15
+15
-15
+15
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
• High pass filter affects the mic input only.
• Line inputs are switchable +4 dB /–10 dB.
• Gain control adjusts the mic level only.
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
O O
PAN
PAN
PAN
PAN
PAN
• The 4-band EQ has shelving high, shelving low,
with peaking lo-mid and peaking hi-mid.
L
R
L
R
L
R
L
R
L
R
Stereo Channels 5-8
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
OL
OL
OL
• These stereo channels have two line-level
inputs.
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
-
-
-
-
- 20
20
20
20
20
U
U
U
U
U
• Gain control adjusts the line level only.
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
• The 3-band EQ has shelving high, shelving low,
and peaking mid EQ.
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
• Channel 7 and 8 have a switch to select
FireWire inputs instead of the analog line
inputs.
1
2
3-4
5-6
7-8
“U” like Unity gain
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
level-wise if you choose to change a control’s settings.
Owner's Manual 17
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Plugging a guitar into a lower-impedance
line-level input can result in the loss of high
1
2
3-4
AUX SEND
AUX RETU
BAL/UNBAL
BAL/UNBAL
1
frequencies, causing an unnatural and dull
sound. Normally, you must use a direct box
L
1
2
(MONO)
8
9
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.
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
10
18
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
LINE
HI Z
+4dB
LINE
-
-10dB
21
R
R
48V
48V
48V
19
30
30
30
U
U
20
U
U
20
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
19. LOW CUT (Ch.1–4 only)
23
-20dB +40dB
-20dB +20dB
0dB +40dB
-20dB +20dB
22
SEND
SEND
SEND
SEND
SEND
INPUT
The mono and hybrid channels each have a low-cut
switch (often referred to as a high-pass filter) that cuts
bass frequencies below 75 Hz at a rate of 18 dB per
octave.
PRE
POST
PRE
POST
PRE
POST
PRE
POST
24
LINE
FW 1-2
U
U
U
U
U
EQ
EQ
EQ
EQ
HIGH
HIGH
HIGH
HIGH
HIGH
25
26
12kHz
12kHz
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
1k
1k
U
For channels 1 and 2, the low cut switch affects the
mic and line inputs. For channels 3 and 4, it affects the
mic input only.
HIGH
MID
FREQ
FRE
U
U
U
U
28
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
U
U
2.5kHz
2.5kHz
30
-15
+15
-15
+15
LOW
MID
MID
MID
27
29
400Hz
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.
-15
-15
+15
+15
-15
-15
+15
+15
-15
U
LOW
LOW
LOW
LOW
LOW
31
80Hz
80Hz
80Hz
80Hz
80Hz
-15
-15
+15
-15
+15
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
32
33
34
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
O O
O O
PAN
PAN
PAN
PAN
PAN
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the addition of low-cut,
L
R
L
R
L
R
L
R
L
R
you can safely use low equalization on vocals.
36
MUTE
MUTE
MUTE
MUTE
MUTE
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.
35
37
38
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
-
-
-
-
- 20
20
20
20
20
U
U
U
U
U
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
OLO
SOLO
SOLO
SOLO
20. 48V PHANTOM POWER (Ch. 1-4 only)
1
2
3-4
5-6
7-8
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.
18. HI-Z SWITCH (Ch. 1 and 2 only)
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
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.
Press this switch in if your microphone requires
phantom power. (Always check the position of this
switch before connecting microphones.)
18 Onyx 820i
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Never plug single-ended (unbalanced)
microphones, or ribbon mics into the mic
input jacks if phantom power is on. Do not
This 20 dB of attenuation can be very handy when you
are inserting a hot signal, or when you want to add EQ
gain, or both. Without this “virtual pad,” there is more
chance of channel clipping.
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 [55] 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.
24. SEND FIREWIRE PRE/POST
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.)
21. LINE +4 dB/-10 dB (Ch. 3 and 4 only)
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).
This switch affects channel 3 and 4 line inputs only
(not the mic input), and allows them to be connected
to professional sources (+4 dBu) or consumer sources
(–10 dBV). This helps adjust the channels for the right
operating range, so the input is not too hot, or too cold.
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.
For example, leave this switch out if you connect a
+4 dBu recorder source to channels 3 and 4. Press this
switch in if you connect a –10 dBV source.
If your line-level source seems a bit high, make sure
this switch is out (+4dBu).
CHANNEL EQUALIZATION (EQ)
There are three different flavors of EQ:
22. INPUT (LINE or FW 1-2)
Mono Channels 1 and 2
Channel 7 and 8 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.
3-band EQ with shelving high, shelving low, and
peaking mid EQ with adjustable mid frequency.
Hybrid Channels 3/4
4-band EQ with shelving high, shelving low,
with peaking lo-mid and peaking hi-mid.
Stereo Channels 5/6 and 7/8
3-band EQ with shelving high, shelving low, and
peaking mid EQ.
23. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
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.
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.
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.
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. (Ch 3/4 gain affects
the Mic input only.)
Through the 1⁄4" line input of channels 1 and 2, there
is 20 dB of attenuation fully down and 40 dB of gain fully
up, with unity gain "U" at 11:00.
Through the 1⁄4" line input of channels 5/6 and 7/8,
there is 20 dB of attenuation fully down and 20 dB of
gain fully up, with unity gain "U" at 11:00.
Owner's Manual 19
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26. MID EQ FREQUENCY (Ch. 1 and 2)
1
2
3-4
AUX SEND
AUX RETU
BAL/UNBAL
BAL/UNBAL
1
This knob sets the center frequency of the mid EQ
level control [27]. This is sweepable from 100 Hz to
8 kHz.
L
1
(MONO)
8
9
13
12
2
R
Once this is set, the mid EQ level can be adjusted with
the mid EQ level control.
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
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.
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
10
18
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
LINE
HI Z
+4dB
LINE
-
-10dB
21
R
R
48V
48V
48V
19
30
30
30
U
U
20
U
U
20
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
23
0dB +40dB
-20dB +40dB
-20dB +20dB
-20dB +20dB
22
SEND
SEND
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
24
LINE
FW 1-2
U
U
U
U
U
EQ
EQ
EQ
EQ
HIGH
HIGH
HIGH
HIGH
HIGH
25
26
12kHz
12kHz
12kHz
12kHz
12kHz
27. MID EQ LEVEL (Ch. 1 and 2)
The mid EQ provides up to
15 dB of boost or cut, and it is
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 [26].
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
1k
1k
U
+15
HIGH
MID
FREQ
FRE
U
U
U
U
+10
28
2.5KHz
100
8k
100
8k
+5
-15
+15
+15
+15
MID
MID
U
U
U
U
U
2.5kHz
2.5kHz
30
0
-15
+15
-15
+15
LOW
MID
MID
MID
–5
27
29
400Hz
-15
-15
+15
+15
-15
-15
+15
+15
-15
–10
U
–15
20Hz
100Hz
1kHz
10kHz 20kHz
LOW
LOW
LOW
LOW
LOW
31
80Hz
80Hz
80Hz
80Hz
80Hz
-15
-15
+15
-15
+15
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
28. HIGH MID EQ LEVEL (Ch. 3 and 4)
The high mid EQ provides up to 15 dB of boost or cut
at 2.5 kHz, and it is flat at the detent.
O O
O O
O O
O O
O O
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
32
33
2
2
2
2
2
O O
O O
O O
O O
O O
PAN
PAN
PAN
PAN
PAN
29. LOW MID EQ LEVEL (Ch. 3 and 4)
The low mid EQ provides up to 15 dB of boost or cut at
400 Hz, and is flat at the detent.
L
R
L
R
L
R
L
R
L
R
35
MUTE
MUTE
MUTE
MUTE
MUTE
34
36
37
OL
OL
OL
OL
OL
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
-
-
-
-
- 20
20
20
20
20
30. MID EQ LEVEL (Ch. 5/6 and 7/8)
The mid EQ provides up to 15 dB of boost or cut at
2.5 kHz, and is flat at the detent.
U
U
U
U
U
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
31. LOW EQ
SOLO
SOLO
SOLO
OLO
SOLO
+15
1
2
3-4
5-6
7-8
The low EQ provides up to
+10
15 dB of boost or cut below
+5
80 Hz. The circuit is flat at the
center detent position. This
0
25. HIGH EQ
–5
–10
+15
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,
frequency represents the punch
in bass drums, bass guitar, fat
synth patches, and some really serious male singers who
eat raw beef for breakfast.
–15
+10
+5
0
20Hz
100Hz
1kHz
10kHz 20kHz
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
or an edge to keyboards, vocals, guitar and bacon frying.
Turn it down a little to reduce sibilance or to mask tape
hiss.
20 Onyx 820i
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32. AUX SEND 1 and 2
34. 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 [12] 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 [13] 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 [7]. 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.
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
[46]. 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.
33. PAN
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/
phones source matrix [39], and the signals will appear
For mono channels 1 and 2, 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
center position, the mono channel is split equally to the at the control room [6] and phones [17] outputs. If you
left and right.
want the alt 3-4 signals to go back into the main mix,
engage the assign to main mix switch [40] and the
control room knob [41] controls 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 3 to 8, 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 (5-6, or 7-8). 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.
Owner's Manual 21
This is not to be confused with pan, the famous steel
drums of the tropical island paradise of Woodinville.
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correctly for your input device, and that the channel EQ
is not set with too much boost.
1
2
3-4
AUX SEND
AUX RETU
BAL/UNBAL
BAL/UNBAL
1
L
1
The –20 LED comes on when the channel signal
strength has reached that level.
(MONO)
8
9
13
12
2
R
36. LEVEL
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
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 [23] is set correctly.
1
2
R
L
L
10
18
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
LINE
+4dB
LINE
-
HI Z
-10dB
21
R
R
48V
48V
48V
19
30
30
30
U
U
20
U
U
20
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
GAIN
23
0dB +40dB
-20dB +40dB
-20dB +20dB
-20dB +20dB
22
SEND
SEND
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
37. SOLO
24
LINE
FW 1-2
U
U
U
U
U
EQ
EQ
EQ
EQ
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 level is down.
HIGH
HIGH
HIGH
HIGH
HIGH
25
26
12kHz
12kHz
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
1k
1k
U
HIGH
MID
FREQ
FRE
U
U
U
U
28
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
U
U
2.5kHz
2.5kHz
30
-15
+15
-15
+15
LOW
MID
MID
MID
Solo is also used to set the gain of each channel
correctly. When a channel is soloed, you can adjust the
channel gain [23] until your input source reaches the
level of the 0 dB LED of the right meter.
27
29
400Hz
-15
-15
+15
+15
-15
-15
+15
+15
-15
U
LOW
LOW
LOW
LOW
LOW
31
80Hz
80Hz
80Hz
80Hz
80Hz
-15
-15
+15
-15
+15
AUX
AUX
AUX
AUX
AUX
Solo signals reaching the headphones and
control room are not affected by the channel
level or main level; therefore, turn down the
phones level [42] and control room level [41] first, as
soloed channels may be loud.
1
1
1
1
1
O O
O O
O O
O O
O O
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
32
33
2
2
2
2
2
O O
O O
O O
O O
O O
PAN
PAN
PAN
PAN
PAN
The rude solo light [44] will turn on as a reminder
that what you are listening to in the headphones and
control room is just the soloed channel(s).
L
R
L
R
L
R
L
R
L
R
35
MUTE
MUTE
MUTE
MUTE
MUTE
34
36
37
OL
OL
OL
OL
OL
For stereo channels, the mono sum of the left and
right is soloed.
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
-
-
-
-
- 20
20
20
20
20
U
U
U
U
U
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!
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
OLO
SOLO
1
2
3-4
5-6
7-8
Dear Betty,
All this talk of solo reminded me of how happy we
could be together. Let us be married this afternoon, in
the bass amp section of the guitar store where we met!
No longer will I be that guy at the company party who
talks about EQ all evening. No longer will I spend my
time in music stores telling everyone that "I wrote the
manual for that!" Let me be your main mix!
35. –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.
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 [23] is set
22 Onyx 820i
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the FireWire 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 [34].
CTRL ROOM/PHONES
SOURCE
0dB=0dBu
L
R
CLIP
20
15
10
6
Selections made here deliver stereo signals to the
control room, phones, and meters. With no switches or
main mix [38] engaged, there will be no signal at these
outputs and no meter indication.
38
MAIN MIX
39
43
TAPE
3
The exception is the solo function. Regardless of
the source matrix selection, engaging a channel’s solo
switch will replace that selection with the solo signal,
sent to the control room, phones, and the right meter.
0
-
FW 1-2
ALT 3 4
2
LEVEL
SET
4
7
40
40. ASSIGN TO MAIN MIX
10
20
30
ASSIGN TO
MAIN MIX
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.
41
42
O O
O O
MAX
MAX
RUDE
SOLO
CONTROL
ROOM
PHONES
44
What if you have a playlist of MP3 files on your
computer you want to play during the break? Engage
the FireWire button to play your MP3s directly from your
computer, through the source matrix, and into the main
mix.
Control Room/Phones and
Meters
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 820i, 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:
1. It will also feed any soloed channels into the
main mix, which may be the last thing you
want.
38. MAIN MIX
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
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 [39] is
engaged.
disconnected from the control room and phones
outputs, to prevent feedback.
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 [41] is turned all the
way down.
If the assign to main mix switch [40] 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.
39. TAPE, FW 1-2, ALT 3-4
41. CONTROL ROOM Knob
Using these source switches, you can choose to listen
to any combination of alt 3-4, tape, and FireWire in the
control room and headphones, in addition to the main
mix if its switch [38] is engaged.
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 [40] is selected.
Tape is the stereo signal coming in from the tape in
RCA jacks. FireWire is a 2-track feed coming in through
Owner's Manual 23
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42. PHONES Knob
This controls the volume at the phones output, from
off to maximum gain.
CTRL ROOM/PHONES
SOURCE
0dB=0dBu
L
R
CLIP
20
15
10
6
38
WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
MAIN MIX
with some headphones. BE CAREFUL! Always turn this
control all the way down before connecting headphones,
or pressing a solo switch [37], or doing anything new
that may affect the headphone volume. Then turn it up
slowly as you listen carefully.
39
43
TAPE
3
0
-
FW 1-2
ALT 3 4
2
LEVEL
SET
4
7
40
43. LEFT/RIGHT Level Meters
10
20
30
ASSIGN TO
MAIN MIX
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.
41
42
O O
O O
MAX
MAX
RUDE
SOLO
CONTROL
ROOM
PHONES
44
If no source [38, 39] 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 [38] 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.
AUX MASTER
SEND
RETURN
48
1
2
1
2
PRE
POST
O
15
0
RTN TO
AUX1
45
47
46
49
51
PRE
O O
O O
+15
+10
POST
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 [23] in the solo
mode (as described in “Set the Levels” on page 3).
AUX SEND 1-2
TO FW 5-6
50
POWER
When 0 dBu (0.775 V) is at the main mix outputs, it
shows as 0 dB on the meters.
56
55
52
ASSIGN TO
FW 7-8
O O
MAX
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).
LEVEL
MIC
U
DESTINATION
53
54
O O
+10dB
AUX 1-2
PHONES
44. RUDE SOLO Light
TALKBACK
MAIN MIX
This large LED flashes when one or more channel solo
switches are engaged [37]. 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.
24 Onyx 820i
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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.
Aux Master
This section includes the aux sends and the aux
returns. Aux sends tap signals off the channels, via the
aux knobs [32], mix these signals from each channel
together, then sends them out the aux send jacks [12]
and FireWire outputs 7 and 8. The aux sends can be pre-
fader or post-fader (both are post-EQ, but see page 39).
47. MASTER AUX RETURN 1 and 2
These two controls set the overall level of effects
received from the stereo aux return 1 and 2 inputs [13].
These controls range from off to +10 db of gain when
fully clockwise, to compensate for low-level effects.
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 [13]. Then these
signals are sent through the aux return level controls
[47], and finally delivered to the main mix.
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 [48].
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!
48. RTN TO AUX 1
This switch routes the signal from aux return 2 to the
aux 1 send mix instead of to the main mix bus.
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.
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 [47], until it
sounds just right in your monitors.
45. 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 [12]. These knobs go from off to +15 db when
turned all the way up.
49. AUX SEND 1-2 to FW 5-6
This switch allows you to send a copy of the aux
send 1 and 2 outputs via FireWire to a computer. The
FireWire output is affected by the channel aux send and
master aux send controls.
The aux sends can either be pre or post fader,
depending on the position of the aux pre/post
switches [46].
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.
• Engage this switch to make aux send FireWire
outputs 5 and 6 available to your computer.
• Pass this through a software effects processor
or plug-in of your choice.
The aux sends can also be sent to FireWire output 7
and 8 for recording. The levels to FireWire are affected
by these send controls and the pre/post switch.
• Return the processed output from the effects
processor to mixer channels 7 and 8 (input
switch set to FW 1-2).
46. PRE/POST
• Alternatively bring the processed sounds into
the control room matrix (engage FW 1-2) and
add it to the main mix (engage assign to main
mix).
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.
• 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.
For stage monitor work, use pre, so the stage
monitors do not increase in volume when the channel
level is adjusted.
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50. POWER LED
CTRL ROOM/PHONES
SOURCE
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
CLIP
20
15
10
6
38
MAIN MIX
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.
39
43
TAPE
3
0
-
FW 1-2
ALT 3 4
2
LEVEL
SET
4
Talkback
7
40
10
20
30
ASSIGN TO
MAIN MIX
The talkback feature allows the engineer to
communicate with the talent either through the phones
outputs [17] or the aux 1-2 send outputs [12] 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.
41
42
O O
O O
MAX
MAX
RUDE
SOLO
CONTROL
ROOM
PHONES
44
AUX MASTER
51. TALKBACK MIC
SEND
RETURN
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.
48
1
2
1
2
PRE
POST
O
15
0
RTN TO
AUX1
45
47
46
49
51
52. TALKBACK LEVEL
PRE
POST
O O
O O
+15
+10
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.
AUX SEND 1-2
TO FW 5-6
50
POWER
1. Start with this control turned down.
2. Select the destination, either headphones
and/or aux 1-2, and make sure their levels are
already set nicely, such as phones [42] or aux
sends [45].
56
55
52
ASSIGN TO
FW 7-8
O O
MAX
3. Hold down the talkback switch [54] as you
make your fruity-toned announcements.
LEVEL
MIC
U
4. Slowly turn this control up until you get
confirmation from whoever is listening to
headphones or monitors that they can hear and
obey your every command.
DESTINATION
53
54
O O
+10dB
AUX 1-2
PHONES
Once you have set the level, you can leave it there for
the duration of the session or gig.
TALKBACK
MAIN MIX
53. DESTINATION: PHONES, AUX 1-2
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 [54] switch, the
control room outputs [6] are attenuated to allow your
voice to come through clearly.
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The aux 1-2 switch routes the talkback signal to the
aux send 1 and 2 outputs [12]. Use this to communicate
with the musicians through their stage monitors when
you are setting up a live performance.
56. ASSIGN TO FW 7–8
This switch allows you to assign the left and right
main mix to FireWire outputs 7 and 8. 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 level control [55].
When this switch is disengaged, then mixer
channels 7 and 8 are assigned to FireWire
outputs 7 and 8 instead.
54. 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.
Congratulations! You’ve just read about all the
features of your mixer. Time for a frosty beverage.
Release the switch so you can talk about the band
without them hearing you.
Main Mix
55. MAIN MIX
This stereo control allows you to adjust the levels of
the main mix signals sent to the XLR and 1/4" main line-
level outputs [4, 14], 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 [38], you can see the
main mix levels in the meters [43]. 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 control does not affect the aux outputs [12],
alt 3-4 outputs [7], or the main mix FireWire outputs
7-8. It affects the control room or headphones if the
main mix switch [38] is engaged.
The main mix signals are off with the knob 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
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 41.
Non-warranty service for Mackie products is
available at a factory-authorized service center. To
locate your nearest service center, visit
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 or 2.
• 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
• 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).
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.
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
SLEEVE
SLEEVE
TIP
SHIELD
COLD
HOT
1
3
TIP
2
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.
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
TRS jacks and plugs are used in several different
applications:
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).
SLEEVE TIP SLEEVE TIP
• 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.
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:
Attenuation and Crosstalk:
Equivalent Input Noise (EIN), mic input at insert, 150 Ω source
impedance, 20 to 20 kHz:
1 kHz relative to 0 dBu, 20 Hz to 20 kHz
Main Mix knob down:
-80 dBu
60 dB (max) gain:
40 dB gain:
-127 dBu
-126.5 dBu
Channel Alt/Mute switch engaged:
Channel Level knob down:
-90 dBu
-80 dBu
Equivalent Input Noise (EIN), mic input at insert, 50 Ω source
impedance, A-weighted:
Common Mode Rejection Ratio (CMRR):
Mic input to insert, max gain, 1 kHz, 150 ohm termination:
-70 dB
60 dB (max) gain:
40 dB gain:
-130.5 dBu
-130 dBu
Output Noise Figure (1/4" Main out, all channels assigned to
main, Gain knobs at unity, 20 Hz to 30 kHz):
Maximum Input Levels:
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
Main Mix knob down, channel Level knobs down:
-107 dBu (-111 dB SNR,
ref +4 dBu)
Main Mix knob unity, channel Level knobs down:
-95.5 dBu (-99.5 dB
SNR, ref +4 dBu)
Aux return:
Main Mix knob unity, channel Level knobs unity:
-91.5 dBu (-95.5 dB
Maximum Output Levels:
SNR, ref +4 dBu)
All outputs:
+22 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:
Equalization
Mono Channels
Low:
44.1 kHz sample rate:
96 kHz sample rate:
-104 dB
-106.5 dB
15 dB at 80 Hz
100 Hz to 8 kHz
15 dB
Mid frequency:
Mid gain:
High:
Frequency Response:
Mic input to any output (all gain stages at unity):
+0/-0.5 dB,
15 dB at 12 kHz
Hybrid Channel:
Low:
20 Hz to 20 kHz
15 dB at 80 Hz
15 dB at 400 Hz
15 dB at 2.5 kHz
15 dB at 12 kHz
Stereo channel line input to any output (all gain stages unity):
+0/-0.5 dB,
20 Hz to 20 kHz
Low Mid:
High Mid:
High:
FireWire in and out (mic input to FireWire send, returned to
Control Room, all gain stages at unity):
Stereo Channels:
Low:
44.1 kHz sample rate:
+/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 21 kHz
15 dB at 80 Hz
15 dB at 2.5 kHz
15 dB at 12 kHz
Mid:
96 kHz sample rate:
+/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 45 kHz
High:
FireWire
Sample Rates Available:
44.1 kHz, 48 kHz,
88.2 kHz, 96 kHz
Distortion (THD+N):
20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth
Buffer Size:
Resolution:
32 (44.1 kHz and 48 kHz
only), 64, 128, 256, 512,
1024, 2048 samples
Mic input at insert
(+4 dBu in, 0 dB gain, +4 dBu out): 0.001%
Mic input at insert
(-36 dBu in, +40 dB gain, +4 dBu out):0.007%
24-bit
Stereo channel line input to any output
(+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):
44.1 kHz sample rate:
0.01%, 20 Hz to 2 kHz
0.02%, 2 kHz to 20 kHz
96 kHz sample rate:
0.01%, 10 Hz to 1 kHz
0.03%, 1 kHz to 47 kHz
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VU Meters
Options:
2-segment pre-fader channel meters:
Rack Mount Kit
OL (+18 dBu), -20 dBu
12-segment pre-fader Control Room meters:
OL (+20 dBu), +15, +10,
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.
+6, +3, 0, -2, -4, -7, -10,
-20, -30 (0 VU = 0 dBu)
“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.
Input Impedance:
Mic input:
2.8 kΩ balanced
Hi-Z input:
1 MΩ unbalanced
The technical writer responsible for this manual thinks that his
editor has a fake British accent. Please check our website for any
Mono channel line input:
30 kΩ balanced
15 kΩ unbalanced
Stereo Channel line input:
20 kΩ balanced
10 kΩ unbalanced
©2010 LOUD Technologies Inc. All Rights Reserved.
Output Impedance:
Main XLR output:
Phones output:
100 Ω balanced
75 Ω
All other outputs:
300 Ω
AC Power Requirements:
Power Consumption:
25 watts
Universal AC Power Supply:
100 VAC – 240 VAC,
50-60 Hz
Physical Dimensions and Weight
Height:
14.2 in/361 mm
9.0 in/229 mm
3.8 in/96 mm
10.0 lb/4.4 kg
Width
Depth:
Weight:
Dimensions
1W0E.0IGHlbT
4.5 kg
3.7 in/
94 mm
LINE
LINE
48V
48V
48V
48V
48V
48V
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
9.0 in/ 229 mm
19.0 in/ 482.6 mm
(with optional rack ears)
1.6 in / 40.6 mm
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BlockDiagram
SoloLogic
Solo(PFL)
Aux 2 (post)
Aux 2 (pre)
Aux 1 (post)
Aux 1 (pre)
SoloLogic
Solo(PFL)
Aux 2 (post)
Aux 2 (pre)
Aux 1 (post)
Aux 1 (pre)
R/4
R/4
Alt
Alt
L/3
L/3
R
R
Main
Main
L
L
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Appendix D: Rack Ear installation instructions
The optional Rack Ear Kit allows the Onyx 820i 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
nine rack spaces. Be sure to allow for an extra space or
two above to make connections. The kit contains two
rack ear brackets and eight black screws (M3.5 x 8mm).
3. Remove the eight silver screws as shown below,
wrap them up in an old sock, 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 identical, so it does not matter
which one goes on which side.
Tools Required:
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.
One phillips screwdriver, two bales of hay, cheese and
crackers, and a box of wine (optional).
Procedure:
6. This might be a good time to sit on one of the
bales of hay and enjoy the cheese, crackers, and
boxed wine!
1. Turn off the mixer and disconnect all cords.
2. Place the mixer face up on a soft and dry flat
surface.
7. Cross this off the ‘to do’ list and move on to the
next project.
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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
software. 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
820i to the computer.
5. Check the box: "Always trust software from
LOUD Technologies Inc.
2. Power on your Onyx 820i, or make sure it is
powered on.
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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
820i to the computer.
2. Power on your Onyx 820i .
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
Update 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 820i
(if you haven't already).
6. Select “Install the software automatically.”
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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 8 channels of
audio input from the Onyx 820i, and 2 channels
of audio output to the Onyx 820i.
USING THE ONYX 820i WITH A MAC
The Onyx 820i works with Mac OS 10.4.11 and higher.
This OS includes the Apple FireWire 2.0 driver. The
Onyx 820i 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.
1. Connect a FireWire cable from your Onyx 820i
to a FireWire port on your Mac.
2. Turn on your Onyx 820i.
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.
38 Onyx 820i
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Appendix F: Modifications
The following modifications can be carried out on the
Onyx 820i by an authorized service center. Authorized
service centers may be found online at:
Please contact our technical support department if you
are having trouble finding an authorized service center
in your area.
The block diagram on page 33 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.
Owner's Manual 39
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Track Sheet
1
2
3-4
AUX SEND
AUX RETURN
MAIN OUT
TAPE
OUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
IN
L
L
L
1
2
(MONO)
R
R
R
INSERT
INSERT
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
1
BAL/UNBAL
2
BAL/UNBAL
R
L
L
LINE
LINE
(MONO)
(MONO)
BAL/UNBAL
BAL/UNBAL
LINE
HI Z
LINE
HI Z
+
-10dB
4dB
LINE
-
-
R
R
48V
48V
48V
PREMIUM ANALOG MIXER w/ PERKINS EQ
&
FIREWIRE
CTRL ROOM/PHONES
30
30
30
U
U
U
U
0dB=0dBu
SOURCE
20
U
40
60
20
U
40
60
40
60
20
U
MIC
GAIN
GAIN
GAIN
GAIN
L
R
GAIN
CLIP
20
15
10
6
-20dB +40dB
-20dB +20dB
-20dB +40dB
-20dB +20dB
MAIN MIX
SEND
SEND
SEND
SEND
SEND
INPUT
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LINE
FW 1-2
TAPE
3
U
U
U
U
U
EQ
EQ
EQ
EQ
0
HIGH
HIGH
HIGH
HIGH
HIGH
-
FW 1-2
ALT 3 4
2
12kHz
12kHz
12kHz
12kHz
12kHz
LEVEL
SET
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
4
1k
1k
U
7
HIGH
MID
FREQ
FREQ
U
U
U
U
10
20
30
ASSIGN TO
MAIN MIX
2.5KHz
100
8k
100
8k
-15
+15
+15
+15
MID
MID
U
U
U
2.5kHz
2.5kHz
-15
+15
-15
+15
LOW
MID
MID
MID
400Hz
O O
O O
MAX
MAX
-15
-15
+15
+15
-15
-15
+15
+15
-15
RUDE
SOLO
CONTROL
ROOM
PHONES
U
U
U
LOW
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
80Hz
AUX MASTER
-15
-15
+15
-15
+15
SEND
RETURN
AUX
AUX
AUX
AUX
AUX
1
1
1
1
1
1
2
1
2
PRE
O O
O O
O O
O O
O O
O O
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
O O
O O
O O
O O
+15
+10
+10
POST
RTN TO
AUX1
2
2
2
2
2
PRE
POST
O O
O O
O O
O O
+15
PAN
PAN
PAN
PAN
PAN
AUX SEND 1-2
TO FW 5-6
POWER
L
R
L
R
L
R
L
R
L
R
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
OL
OL
OL
ASSIGN TO
FW 7-8
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
O O
MAX
-
-
-
-
- 20
20
20
20
20
LEVEL
MIC
U
U
U
U
U
U
DESTINATION
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
O O +10dB
AUX 1-2
PHONES
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
SOLO
SOLO
SOLO
SOLO
SOLO
1
2
TALKBACK
MAIN MIX
3-4
5-6
7-8
40 Onyx 820i
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Onyx 820i 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.
Owner's Manual 41
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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
E-mail: sales@mackie.com
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