Mackie Musical Instrument Onyx 1220 User Manual

O W N E R ’ S M A N U A L  
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Table of Contents  
Introduction................................................................................................................4  
Getting Started ..........................................................................................................5  
Zero the Controls .......................................................................................................................................5  
Connections.................................................................................................................................................5  
Set the Levels ..............................................................................................................................................5  
Instant Mixing.............................................................................................................................................5  
Hookup Diagrams......................................................................................................6  
Onyx 1220 Features .................................................................................................10  
Channel Strips...........................................................................................................................................10  
Control Room Matrix, Metering, and Phones..................................................................................14  
Auxiliary Section...................................................................................................................................... 15  
TALKBACK Section ...................................................................................................................................16  
Front Panel Connectors..........................................................................................................................18  
Rear Panel...................................................................................................................................................19  
Appendix A: Service Information........................................................................ 21  
Warranty Service...................................................................................................................................... 21  
Troubleshooting ....................................................................................................................................... 21  
Repair ..........................................................................................................................................................22  
Appendix B: Connections ......................................................................................23  
Appendix C: Technical Info .................................................................................. 26  
Onyx 1220 Specifications ...................................................................................................................... 26  
Onyx 1220 Block Diagram..................................................................................................................... 28  
Onyx 1220 Track Sheet........................................................................................................................... 29  
Onyx 1220 Limited Warranty ................................................................................31  
information about this and other Mackie products.  
Part No. 0008667 Rev. B 4/04  
©2004 LOUD Technologies Inc. All Rights Reserved.  
3
Owner’s Manual  
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Introduction  
Thank you for choosing a Mackie Onyx 1220 profes-  
sional compact mixing console. The Onyx Series of mix-  
ers are designed for the digital era and offer the newest  
features and latest technologies for live sound reinforce-  
ment and analog or digital studio recording in a durable,  
road-worthy package.  
HOW TO USE THIS MANUAL  
We know that many of you can’t wait to get your new  
mixer hooked up, and you’re probably not going to read  
the manual first (sigh!). So the first section after the  
table of contents is a Quick-Start Guide to help you get  
the mixer set up fast so you can start using it right away.  
Right after that are the ever popular hook-up diagrams  
that show typical mixer setups for live sound, recording  
and mixdown.  
The Onyx 1220 is equipped with four of our new  
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 pres are  
better than ever, with specifications rivaling expensive  
stand-alone mic preamplifiers.  
Then, when you have time, read the Features Descrip-  
tion section. This describes every knob, button, and  
connection point on the Onyx 1220, roughly following  
the signal flow through the mixer from top to bottom  
and left to right.  
Channels 1 and 2 feature high-impedance instrument/  
line-level inputs so you can connect an acoustic, elec-  
tric, or bass guitar directly into the mixer, eliminating  
the need for an external direct box.  
Throughout this section you’ll find illustrations with  
each feature numbered. If you want to know more about  
a feature, simply locate it on the appropriate illustra-  
tion, notice the number attached to it, and find that  
number in the nearby paragraphs.  
Each of the four mono channels have individual  
phantom power switches, low-cut filters, pre-EQ chan-  
nel inserts, and an all new three-band EQ design with  
sweepable mids and EQ bypass switch.  
This icon marks information that is  
critically important or unique to the  
Onyx 1220. For your own good, read  
them and remember them. They will  
be on the final test.  
Channels 5 through 12 are four stereo pairs of line  
inputs, featuring a three-band EQ and EQ bypass switch  
for each stereo pair.  
All mono channels and stereo pairs have two Aux  
sends, Pan, Mute/Alt 3-4, Solo, 60 mm Fader, and four  
signal level indicators.  
This icon leads you to in-depth  
explanations of features and practi-  
cal tips. While not mandatory, they  
usually have some valuable nugget of  
information.  
A built-in Talkback mic with routing switches allows  
you to communicate through the Aux Sends or Phones  
outputs.  
All twelve channels have balanced direct outputs  
on two DB-25 connectors for multitrack recording.  
An optional FireWire card provides all twelve direct  
outputs and the L-R Main Mix on a FireWire interface  
for streaming digital audio to a laptop for multitrack  
recording in a live situation, or connecting to a DAW in a  
home studio.  
A PLUG FOR THE CONNECTOR SECTION  
Appendix B is a section on connectors: XLR connec-  
tors, balanced connectors, unbalanced connectors, and  
special hybrid connectors.  
More resources on our website at www.mackie.com.  
Please write your serial number here for future  
reference (i.e., insurance claims, tech support,  
return authorization, etc.)  
THE GLOSSARY: A Haven of Non-Techiness for  
the Neophyte  
The “Glossary of Terms” is a fairly comprehensive  
dictionary of pro-audio terms. If terms like “clipping,”  
“noise floor,” or “unbalanced” leave you blank, refer to  
this glossary for a quick explanation.  
Purchased at:  
Date of purchase:  
ONYX 1220  
ARCANE MYSTERIES ILLUMINATED  
“Arcane Mysteries” discusses some of the down ‘n’  
dirty practical realities of microphones, fixed installa-  
tions, grounding, and balanced versus unbalanced lines.  
It’s a goldmine for the neophyte, and even the seasoned  
pro might learn a thing or two.  
4
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a line input such as a CD player or tape recorder  
output. Be sure that the volume of the input source  
is the same as it would be during normal use. If it  
isnt, you might have to readjust these levels during  
the middle of the set.  
Getting Started  
READ THIS PAGE!!  
Even if youre one of those people  
3. Adjust the channels GAIN control so that the LEDs  
on the RIGHT meter stay around 0and never go  
higher than +7.”  
who never read manuals, all we ask  
is that you read this page now before  
you begin using the Onyx 1220. Youll  
be glad you did!  
4. If youd like to apply some EQ, do so now and return  
to step 3. Remember to push in the EQ IN/OUT but-  
ton or the EQ controls wont do anything.  
Zero the Controls  
5. Disengage that channels SOLO switch.  
1. Turn down the channel GAIN, AUX, and Fader con-  
trols, and center the channel EQ and PAN controls.  
6. Repeat for each channel.  
2. Set all push button switches to their outpositions.  
Instant Mixing  
3. In the output section (right hand side), turn all the  
rotary knobs down,the switches out,and the  
MAIN MIX fader down.  
1. Leave the microphone plugged into channel 1 and  
connect a keyboard, guitar or other instrument to  
channel 2. Be sure to Set the Levelfor channel 2  
as described above.  
4. Turn the POWER switch off.  
2. To get sound out of the speakers, turn up channel 1  
and 2 faders to the Umark and slowly turn up the  
MAIN MIX fader to a comfortable listening level.  
Connections  
If you already know how you want to connect the Onyx  
1220, go ahead and connect the inputs and outputs  
the way you want them. If you just want to get sound  
through the mixer, follow these steps:  
3. Sing and play. Youre a star! Adjust the faders for  
channels 1 and 2 to bring your voice and your  
instrument up and down to create your own mix.  
1. Plug a microphone or other signal source into  
Other Nuggets of Wisdom  
channel 1s MIC or LINE input.  
For optimum sonic performance, the channel and  
MAIN MIX faders should be set near the U(unity  
gain) markings.  
2. Plug in the detachable linecord, connect it to an AC  
outlet, and turn on the Onyx 1220s POWER switch.  
3. Connect cords from the Onyx 1220s MAIN OUTS  
(XLR connectors on the rear panel and 1/4TRS  
connectors on the front panel) to your amplier.  
Always turn the MAIN MIX fader and CONTROL  
ROOM knob down before making connections to  
and from your Onyx 1220.  
4. Hook up speakers to the amp and turn it on. If the  
amplier has level controls, set them however the  
manufacturer recommends (usually all the way up).  
When you shut down your equipment, turn off the  
ampliers rst. When powering up, turn on the  
ampliers last.  
Never listen to loud music for prolonged periods.  
Please see the Safety Instructions on page 2 for  
information on hearing protection.  
Set the Levels  
To set the channel GAIN controls, its not even neces-  
sary to hear what youre doing at the outputs of the  
mixer. If you want to listen while you work, plug head-  
phones into the PHONES jack on the front panel, then  
set the PHONES knob about one-quarter of the way up.  
Save the shipping box! You may need it someday,  
and you dont want to have to pay for another one.  
Thats it for the Getting Startedsection. Next comes  
the Hookupsection that shows you some typical ways  
that you might use the Onyx 1220 in real applications.  
After that, you can take the grand tour of the mixer,  
with descriptions of every knob, button, input, and  
output. We encourage you to take the time to read all of  
the feature descriptions, but at least you know its there  
if you have any questions.  
The following steps must be performed one channel at  
a time.  
1. Push in the channels SOLO switch.  
2. Play something into the selected input. This could  
be an instrument, a singing or speaking voice, or  
5
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Hookup Diagrams  
This hookup diagram demonstrates how  
you can do a live multitrack recording  
using the RECORDING OUTs or the op-  
tional FireWire card.  
Bass Guitar  
Electric Guitar  
Electric Guitar  
The RECORDING OUTs provide an  
analog balanced direct output for each  
channel, and the FireWire card provides  
a digital direct output for each channel.  
Vocal Mics  
Mono Compressor  
Stereo Compressor  
In  
1
1
1
2
3
4
Out  
2
2
In  
3
Out  
In  
4
Out  
Stereo Guitar Effects  
L
5
L
MONO  
1
2
R
6
R
Drum  
Machine  
L
7
MONO  
L
Keyboard or other  
R
8
R
line level input  
L
9
MONO  
Multi Effect  
Processor  
1
2
R
10  
L
11  
12  
MONO  
L
Stage Monitors  
R
Mono Power  
Amplifier  
Mono EQ  
R
L
L
R
R
L
R
Stereo EQ  
Out  
(play)  
Stereo Power  
Amplifier  
In  
(record)  
Headphones  
FIREWIRE  
(OPTION)  
Right PA Speaker  
Left PA Speaker  
Digital Multitrack Recorder  
Laptop Computer  
Onyx 1220 Live Mix and Multitrack Recording  
6
ONYX 1220  
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Bass Guitar  
Electric Guitar  
Electric Guitar  
Vocal Mics  
Mono Compressor  
Stereo Compressor  
In  
1
1
1
2
3
4
Out  
2
2
In  
3
Out  
In  
4
Out  
Stereo Guitar Effects  
Drum  
L
5
L
MONO  
1
2
R
6
R
Machine  
Digital Delay  
L
7
MONO  
L
Keyboard or other  
R
8
R
line level input  
Multi Effect  
Processor  
L
9
MONO  
1
2
R
10  
L
11  
12  
MONO  
L
R
R
Out  
L
L
R
R
(play)  
L
R
In  
(record)  
Powered  
Studio Monitors  
Powered  
Studio Monitors  
for Studio  
Headphones  
for Studio  
Digital Multitrack Recorder  
Headphone Distribution  
Amp  
The RECORDING OUTs provide an analog bal-  
anced direct output for each channel, tapped af-  
ter the GAIN control but before the EQ controls.  
Onyx 1220 Multitrack Recording in a Studio (Tracking)  
7
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Bass Guitar  
Electric Guitar  
Electric Guitar  
Vocal Mics  
Mono Compressor  
Stereo Compressor  
In  
1
1
1
2
3
4
Out  
2
2
In  
3
Out  
In  
4
Out  
Stereo Guitar Effects  
Drum  
L
5
L
MONO  
1
2
R
6
R
Machine  
Digital Delay  
L
7
MONO  
L
Keyboard or other  
R
8
R
line level input  
Multi Effect  
Processor  
L
9
MONO  
1
2
R
10  
Sound Card  
L
11  
12  
MONO  
L
R
R
L
L
R
R
LINE  
L
IN  
L
R
R
LINE  
OUTS  
Headphones  
1
2
3
4
MIC  
IN  
Powered  
Powered  
Studio Monitors  
for Control Room  
Studio Monitors  
for Studio  
In this hookup diagram, the tracking channels have  
the MUTE/ALT 3-4 button pushed in. This routes their  
signals to the ALT 3-4 OUT and on to the Sound Card  
or other analog audio interface to your DAW.  
IMPORTANT: The playback channels (channels 11-12  
in this case) should have their MUTE/ALT 3-4 buttons  
out or you will get feedback. Ouch!  
Onyx 1220 Computer Recording  
8
ONYX 1220  
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Bass Guitar  
Electric Guitar  
Electric Guitar  
Vocal Mics  
Mono Compressor  
Stereo Compressor  
In  
1
1
1
2
3
4
Out  
2
2
In  
3
Out  
In  
4
Out  
Stereo Guitar Effects  
L
5
L
MONO  
Keyboard or other  
line level input  
1
2
R
6
R
Drum  
Mics  
Digital Delay  
L
7
MONO  
L
R
8
R
Multi Effect  
Processor  
L
9
MONO  
1
2
R
10  
L
11  
12  
MONO  
L
R
R
1202-VLZPRO  
L
L
R
R
L
R
In  
(record)  
Submixer  
for Drums  
Headphones  
FIREWIRE  
(OPTION)  
Powered  
Powered  
Studio Monitors  
for Control Room  
Studio Monitors  
for Studio  
Laptop Computer  
The optional FireWire card provides a digital direct output for each channel,  
tapped after the GAIN control but before the EQ controls, as well as the L-R Mix.  
Two tracks can be returned to the Onyx from the computer for playback monitor-  
ing in the Control Room Outputs, or mixdown to two tracks at the TAPE OUT.  
Onyx 1220 Recording with FireWire to a Laptop  
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Onyx 1220 Features  
Note: For the stereo channels 5-12, if a signal is  
plugged into the LEFT (MONO) side and nothing is  
plugged into the RIGHT side, the signal is automatically  
connected to both LEFT and RIGHT sides. This is called  
jack normalling. As soon as something is plugged into  
the RIGHT side, the normalled connection is broken  
and the LEFT and RIGHT inputs become stereo inputs  
(LEFT goes to the LEFT MAIN OUT and RIGHT goes to  
the RIGHT MAIN OUT).  
Channel Strips  
There are two kinds of channel strips on the Onyx 1220:  
Mono and Stereo. The mono channel strips (channels  
1-4) have mic and line input connectors. In addition,  
channels 1 and 2 have high-impedance instrument  
inputs so you can connect a guitar directly to the mixer.  
The stereo channel strips (channels 5-12), have two  
line input connectors per channel strip, left and right.  
The stereo path is maintained throughout the channel  
strip, sharing the channels controls (the controls work  
on both left and right signals at the same time).  
4. MIC/HI-Z Switch  
Channels 1 and 2 have an extra button for switching  
between the MIC and HI-Z inputs. When the button  
is out (MIC), the XLR MIC input is used and the HI-Z  
input is disconnected. When the button is pushed  
in (HI-Z), the 1/4" HI-Z input is used and the XLR  
MIC input is disconnected. The input stage of the HI-Z  
inputs is specially designed for the high-impedance  
pickups on guitars.  
1
1. MIC Input (Channels 1-4)  
This is a female XLR connector, which  
accepts a balanced microphone input  
from almost any type of microphone. The  
-
microphone preamps feature our new  
Onyx design, with higher delity and  
headroom rivaling any standalone mic  
preamp on the market today.  
HI Z  
1
MIC  
Plugging a guitar into a lower-impedance  
line input (like those on channels  
3-16) can result in the loss of high  
frequencies, causing an unnatural and  
dull sound. Normally, you must use  
-
HI Z  
48V  
The XLR inputs are wired as follows:  
Pin 1 = Shield or ground  
Pin 2 = Positive (+ or hot)  
Pin 3 = Negative (or cold)  
30  
U
20  
U
40  
60  
a direct box between a guitar and a  
-20dB +40dB  
GAIN  
mixers input, which serves to convert the impedance of  
the guitar from high to low. The HI-Z inputs on chan-  
nels 1 and 2 make the need for a direct box unnecessary.  
HOWEVER: The HI-Z inputs are unbalanced, so if youre  
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.  
OUT  
IN  
EQ  
U
2. HI-Z Instrument Input  
(Channels 1-2)  
HIGH  
12kHz  
-
15 +15  
1k  
FREQ  
This is a 1/4" connector, which accepts  
an unbalanced instrument-level input  
signal from a high-impedance instrument  
like a guitar.  
100  
8k  
U
MID  
-
15 +15  
U
5. Low-Cut Switch (Channels 1-4)  
LOW  
80Hz  
-
15 +15  
The Low-Cut switch, often referred to as a high-pass  
lter, cuts bass frequencies below 75 Hz at a rate of 18 dB  
per octave.  
3. LINE Input (Channels 3-12)  
AUX  
1
This is a 1/4 TRS connector, which ac-  
"
O O MAX  
O O MAX  
cepts a balanced or unbalanced line-level  
input signal from almost any source.  
+15  
We recommend that  
you use the Low-Cut lter  
on every microphone  
application except kick  
drum, bass guitar, bassy  
synth patches, or record-  
2
+10  
+5  
When connecting a balanced signal to  
the LINE inputs, wire them as follows:  
Tip = Positive (+ or hot)  
Ring = Negative (or cold)  
Sleeve = Shield or ground  
PAN  
0
–5  
L
R
–10  
–15  
ings of earthquakes.  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
These aside, there isnt  
much down there that  
Low Cut  
When connecting an unbalanced  
signal, wire them as follows:  
Tip = Positive (+ or hot)  
MUTE  
you want to hear, and ltering it out makes the low stuff  
you do want much more crisp and tasty. Not only that,  
but the Low-Cut lter can help reduce the possibility of  
feedback in live situations and it helps to conserve the  
amplier power.  
ALT 3/4  
Sleeve = Shield or ground  
Mono Channel  
10  
ONYX 1220  
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Another way to use the Low Cut lter  
is in combination with the LOW EQ on  
-
LINE IN 5 6  
8. EQ IN/OUT Switch  
(MONO)  
vocals during live performances. Many  
times, bass shelving EQ can really ben-  
et voices. Trouble is, adding LOW EQ  
also boosts stage rumble, mic handling  
L
BAL/  
UNBAL  
This is a true hardware bypass of  
the Perkins EQ circuitry to insure  
that there is no coloration of the  
signal if the EQ is not needed.  
When this button is out, the EQ  
controls have no effect on the  
signal. You can use this switch to  
make an A/B comparison between  
the EQd signal and the signal  
without EQ.  
R
clunks, and breath pops. Low Cut removes all those prob-  
lems so you can add LOW EQ without losing a woofer.  
U
-20dB +20dB  
GAIN  
+15  
Heres what the  
combination of LOW EQ  
and Low Cut looks like  
in terms of frequency  
+10  
OUT  
IN  
EQ  
+5  
U
0
HIGH  
12kHz  
5  
curves.  
-15 +15  
U
We have com-  
pletely rede-  
10  
15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
signed the EQ  
circuits in the  
MID  
2.5kHz  
Low Cut with Low EQ Boosted  
-15 +15  
Onyx Series of  
mixers, based  
U
6. 48V Phantom Power Switch  
(Channels 1-4)  
LOW  
on the designs of Cal Perkins, an  
industry-leader in audio engineer-  
ing for over three decades and  
long-time Mackie collaborator. This  
neo-classicdesign provides the  
sweet musicality of the British EQ  
sound, while still maintaining 15 dB  
of boost and cut with optimum Q  
and minimum phase shift (in other  
words, it gives you plenty of control  
and is pleasing to the ear!).  
80Hz  
-15 +15  
AUX  
Most professional condenser microphones require  
phantom power, which is a low-current DC voltage  
delivered to the microphone on pins 2 and 3 of the XLR  
microphone connector. Push in the 48V button if your  
microphone needs phantom power. An LED lights just  
above the button to indicate that phantom power is ac-  
tive on that channel.  
1
O O MAX  
O O MAX  
2
PAN  
L
R
Dynamic microphones, like Shures SM57 and SM58,  
do not require phantom power. However, phantom  
power will not harm most dynamic microphones should  
you accidentally plug one in while the phantom power  
is turned on. Be careful with older ribbon microphones.  
Check the manual for your microphone to nd out for  
sure whether or not phantom power can damage it.  
The 3-band equalization has LOW  
shelving at 80 Hz, MID peaking  
(sweepable from 100 Hz to 8 kHz  
on the mono channels, xed at 2.5  
kHz on the stereo channels), and  
HIGH shelving at 12 kHz. Shelving”  
MUTE  
ALT 3/4  
Stereo Channel  
means that the circuitry boosts or cuts all frequencies  
past the specied frequency. For example, rotating the  
LOW EQ knob 15 dB to the right boosts bass frequencies  
starting at 80 Hz and continuing on down to the lowest  
note you ever heard. Peakingmeans that the frequen-  
cies around the center frequency are less affected by  
the EQ the further away they are.  
Note: Be sure the MAIN MIX fader (36) is turned  
down when connecting microphones to the MIC Inputs,  
especially when phantom power is turned on, to prevent  
pops from getting through to the speakers.  
7. GAIN Control  
If you havent already, please read Set the Levelson  
page 5.  
9. HIGH EQ  
The GAIN control adjusts the input sensitivity of the mic  
and line inputs. This allows the signal from the outside  
world to be adjusted to optimal internal operating levels.  
+15  
This control gives you up to 15  
dB boost or cut at 12 kHz, and it  
is also at at the center detent.  
Use it to add sizzle to cymbals,  
and an overall sense of transpar-  
ency or edge to the keyboards,  
vocals, guitar, and bacon frying.  
Turn it down a little to reduce  
sibilance, or to hide tape hiss.  
+10  
+5  
0
If the signal is plugged into the XLR jack, there is 0 dB  
of gain (unity gain) with the knob turned all the way  
down, ramping up to 60 dB of gain fully up.  
5  
10  
15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
When connected to the 1/4" jack, there is 20 dB of  
attenuation all the way down, and 40 dB of gain fully  
up, with a U(unity gain) mark at about 10:00. (On the  
stereo channels, the GAIN range is 20 dB to +20 dB  
with unity in the center.)  
High EQ  
11  
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to the AUX 1 and AUX 2 controls, sending the combined  
signal to the AUX SEND outputs.  
10. MID EQ  
+15  
Short for midrange,”  
this knob provides 15 dB  
of boost or cut centered  
at the frequency deter-  
mined by the FREQ knob  
(see FREQ next), or at  
2.5 kHz for the stereo  
channels. Midrange EQ  
is often thought of as the  
most dynamic because  
These are more than just effects and monitor sends.  
They can be used to generate separate mixes for record-  
ing, for another zone, or mix-minusesfor broadcast.  
+10  
+5  
0
5  
15. PAN  
10  
15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
PAN adjusts the amount of channel signal sent to the  
left versus the right outputs. On the stereo channels  
(channels 5-12), the PAN knob works like the balance  
control on your home stereo (panning left turns down  
the right channel, and panning right turns down the left  
channel).  
Mid EQ  
the frequencies that dene any particular sound are  
almost always found in this range. You can create many  
interesting and useful EQ changes by turning this knob  
down as well as up.  
With the PAN knob hard left, the signal feeds either  
the MAIN LEFT (bus 1) or ALT LEFT (bus 3), depend-  
ing on the setting of the ALT 3/4 switch. With the knob  
hard right, the signal feeds either the MAIN RIGHT (bus  
2) or ALT RIGHT (bus 4).  
11. FREQ  
+15  
This knob ranges from  
100 Hz to 8 kHz and de-  
termines the center fre-  
quency for the MID EQ.  
This allows you to zero  
in on the precise narrow  
band of frequencies you  
want to have affected by  
the MID EQ.  
+10  
Constant Loudness: The Onyx 1220s  
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  
+5  
0
5  
10  
15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
is attenuated about 3 dB to maintain  
Mid EQ Freq Sweep  
the same apparent loudness. Otherwise, it would make  
the sound appear much louder when panned center.  
12. LOW EQ  
16. MUTE/ALT 3-4  
+15  
This control gives you  
up to 15 dB of boost or  
cut at 80 Hz. The circuit  
is at (no boost or cut)  
at the center detent  
position. This frequency  
represents the punch in  
bass drums, bass guitar,  
fat synth patches, and  
some really serious male  
singers.  
The dual-purpose MUTE/ALT 3-4 switch is a Mackie  
signature. When Greg was designing our rst 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 routingit into oblivion. “Gee, what  
a waste,” Greg reasoned. “Why not have the mute  
button route the signal somewhere else useful, like  
a separate stereo bus?” So MUTE/ALT 3-4 really serves  
two functionsmuting (often used during mixdown or  
live shows), and signal routing (for multitrack and live  
work) where it acts as an extra stereo bus.  
+10  
+5  
0
5  
10  
15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Low EQ  
Note: Used in conjunction with the Low Cut switch,  
you can boost the LOW EQ without injecting tons of  
infrasonic debris into the mix.  
To use this as a MUTE switch, all you have to do is  
not use the ALT 3-4 outputs (49). Then, whenever you  
assign a channel to these unused outputs, youll also be  
disconnecting it from the MAIN MIX, effectively muting  
the channel. The MUTE switch also disconnects the  
channel from the POST AUX SEND bus. The channels  
signal is still present on the PRE AUX SEND bus.  
13. and 14. AUX 1 and 2 Sends  
These tap a portion of each channels signal out to  
either an effects processor or for stage monitoring. The  
AUX Send levels are controlled by the channels AUX  
1 and AUX 2 knobs, and by the AUX MASTER 1 and 2  
knobs (26).  
To use this as an ALT 3-4 switch, all you have to do is  
connect the ALT 3-4 outputs (49) to whatever destina-  
tion you desire. 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.  
Since the AUX Sends are mono, the left and right sig-  
nals in the stereo channels are summed together prior  
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When doing live sound or mixdown, its often handy  
to control the level of several channels with one knob.  
Thats called subgrouping. Simply assign these channels  
to the ALT 3-4 mix, engage ALT 3-4 in the CONTROL  
ROOM/PHONES SOURCE matrix (20), and the signals  
will appear at the CONTROL ROOM (48) and PHONES  
(42) outputs. If you want the ALT 3-4 signals to go back  
into the MAIN MIX, engage the ASSIGN TO MAIN MIX  
switch (21) and the CONTROL ROOM knob (22) controls  
the levels of all the channels assigned to ALT 3-4.  
-
LINE IN 5 6  
18. Signal Level LEDs  
(MONO)  
L
BAL/  
UNBAL  
These LEDs indicate the chan-  
nels signal level after the GAIN  
and EQ controls, but just prior to  
the channels fader. So even if the  
fader is turned down, you can see  
if a signal is present.  
R
U
-20dB +20dB  
GAIN  
If youve followed the Set the  
Levelsprocedure, the 20 and 0  
LEDs should light frequently, the  
+10 LED should light occasion-  
ally, and the OL (Overload) LED  
should not light at all. If the OL  
LED is blinking frequently, the  
signal is probably distorted from  
overdriving the input. Either turn  
down the GAIN control or turn  
down the signal at its source.  
OUT  
IN  
EQ  
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, 7-8, 9-10, or 11-12). If thats your  
choice, dont ever engage the MUTE/ALT 3-4 switch  
on that stereo channel, or youll have every dog in the  
neighborhood howling at your feedback loop.  
U
HIGH  
12kHz  
-15 +15  
U
MID  
2.5kHz  
-15 +15  
U
Another benet of the ALT 3-4 feature is that it can act  
as an AFL(After Fader Listen). Just engage a channels  
MUTE/ALT 3-4 switch and the ALT 3-4 switch in the  
SOURCE matrix (20) and youll get that channel, all by  
itself, in the CONTROL ROOM (48) and PHONES (42).  
LOW  
80Hz  
-15 +15  
AUX  
19. SOLO Switch  
1
O O MAX  
O O MAX  
This handy switch allows you to  
hear signals through your head-  
phones or control room outputs  
without having to route them to  
the MAIN or ALT 3-4 mixes. Folks  
use solo in live work to preview  
channels before they are let into  
the mix, or just to check out what  
a particular channel is up to  
anytime during a session. You can  
solo as many channels at a time  
as you like.  
MUTE/ALT 3-4 is one of those features that can  
bewilder newcomers, so take your time and play around  
with it. Once youve got it down, youll probably think of  
a hundred uses for it!  
2
PAN  
L
R
17. Channel Fader  
The fader controls the channels levelfrom off to  
unity gain at the Umarking, on up to 10 dB of addi-  
tional gain.  
MUTE  
ALT 3/4  
5
6
dB  
10  
“U” Like Unity Gain  
5
U
5
Soloed channels are sent to the  
SOURCE mix, which ultimately  
feeds your CONTROL ROOM,  
PHONES, and Meters. Whenever  
SOLO is engaged, all SOURCE  
(20) selections (MAIN MIX, ALT  
3-4, TAPE, and FIREWIRE) are  
defeated, to allow the soloed  
signal to do just thatsolo!  
Mackie mixers have a Usymbol on  
almost every level control. This U”  
stands for unity gain,meaning no  
OL  
+
10  
0
10  
change in signal level. Once you have  
-
20  
20  
30  
adjusted the input signal to line-level, you can set every  
control at Uand your signals will travel through the  
mixer at optimal levels. Whats more, all the labels on  
our level controls are measured in decibels (dB), so  
youll know what youre doing level-wise if you choose to  
change a controls settings.  
40  
50  
60  
O O  
Note: The solo signal is pre-  
fader, so you can hear it even  
when the channels fader is  
turned down.  
SOLO  
Stereo Channel  
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Control Room Matrix, Metering, and Phones  
Typically, the engineer sends the MAIN MIX to an  
audience (if live) or to a mixdown deck (if recording).  
MAIN MIX, the MAIN MIX lines to the SOURCE matrix  
will be disconnected from the CONTROL ROOM and  
But what if the engineer needs to hear something other PHONES outputs, to prevent feedback. Then again, why  
than the MAIN MIX in the control room or headphones? on earth would anyone want to assign the MAIN MIX to  
With the Onyx 1220, the engineer has several choices  
of what to listen to. This is one of those tricky parts, so  
buckle up.  
the MAIN MIX?  
WARNING: Pushing in both the TAPE  
button (in the SOURCE matrix) and  
ASSIGN TO MAIN MIX (21) can create  
a feedback path between TAPE IN and  
TAPE OUT. Make sure your tape deck  
20. CONTROL ROOM/PHONES SOURCE  
Using the SOURCE switches, you can choose to listen  
to any combination of MAIN MIX, ALT 3-4, TAPE, and  
FIREWIRE (optional). By now, you probably know what  
the MAIN MIX is. ALT 3-4 is that additional stereo mix  
bus. TAPE is the stereo signal coming in from the TAPE  
IN RCA jacks. FIREWIRE is a 2-track feed coming in  
through the optional FireWire card from your computer.  
is not in record, record-pause, or input monitor mode  
when you engage these switches, or make sure the CON-  
TROL ROOM knob (22) is turned all the way down (off).  
22. CONTROL ROOM Knob  
This controls the volume at the CONTROL ROOM  
Selections made in the SOURCE matrix deliver stereo outputs, from off () to maximum gain (MAX). It also  
signals to the CONTROL ROOM, PHONES, and Meters.  
With no switches engaged, there will be no signal at  
these outputs and no meter indication.  
controls the level of the control room signal going to the  
MAIN OUTS when ASSIGN TO MAIN MIX is selected in  
the CONTROL ROOM/PHONES SOURCE matrix.  
The exception to that is the SOLO function. Re-  
gardless of the SOURCE matrix selection, engaging a  
channels SOLO switch will replace that selection with  
the SOLO signal, also sent to the CONTROL ROOM,  
PHONES, and Meters.  
PREMIUM ANALOG MIXER  
w/PERKINS EQ & FIREWIRE OPTION  
21. ASSIGN TO MAIN MIX  
CONTROL  
ROOM/  
LEFT RIGHT  
PHONES  
Lets say youre doing a live show. Intermission is  
nearing and you want to play a soothing CD for the  
crowd to prevent them from becoming antsy. Then you  
think, But I have the CD player plugged into the TAPE  
inputs, and that never gets to the MAIN OUTPUTS!Oh,  
but it does. 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.  
0dB=0dBu  
SOURCE  
CLIP  
20  
10  
MAIN MIX  
7
4
2
FIREWIRE  
(OPTION)  
0
2
LEVEL  
ALT 3-4  
SET  
4
7
What if you have a playlist of MP3 les on your laptop  
you want to play during the break? Get the optional  
FireWire card and engage the FIREWIRE button to play  
your MP3s directly from your computer, through the  
SOURCE matrix, and into the MAIN MIX.  
TAPE  
10  
20  
30  
ASSIGN TO  
MAIN MIX  
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.  
RUDE  
SOLO  
Side effects: 1) Engaging this switch also feeds any  
soloed channels into the MAIN MIX, which may be the  
last thing you want. 2) If you have MAIN MIX as your  
SOURCE matrix selection and then engage ASSIGN TO  
O O MAX  
O O  
MAX  
CONTROL  
ROOM  
PHONES  
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Thanks to the Onyx 1220s wide dynamic range,  
you can get a good mix with peaks ashing anywhere  
between 20 and +10 dB on the meters. Most ampliers  
clip at about +10 dBu, and some recorders arent so  
forgiving either. For best real-world results, try to keep  
your peaks between 0and +7.”  
23. PHONES Knob  
This controls the volume at the PHONES output, from  
off () to maximum gain (MAX).  
24. LEFT/RIGHT Level Meters  
Remember, audio meters are just tools to help assure  
you that your levels are in the ballpark.You dont have  
to stare at them (unless you want to).  
The Onyx 1220s peak meters are made up of two  
columns of twelve LEDs, with three colors to indicate  
different ranges of signal level, trafc light style. They  
range from 30 at the bottom, to 0 in the middle, to +20  
(CLIP) at the top.  
25. RUDE SOLO Light  
This large green LED ashes on and off when a  
channels solo is active, as an additional reminder  
beyond the indicating LEDs next to each SOLO button.  
If you work on a mixer that has a solo function with no  
indicator lights and you happen to forget youre in solo  
mode, you can easily be tricked into thinking that some-  
thing is wrong with your mixer. Hence, the RUDE SOLO  
light. Its especially handy at about 3 am when no sound  
is coming out of your monitors but your multitrack is  
playing back like mad.  
The 0 LED in the middle is labeled LEVEL SET  
to show where the level should be when adjusting a  
channels gain in the solo mode, as described in Set the  
Levelson page 5.  
If nothing is selected in the CONTROL ROOM/  
PHONES SOURCE matrix (20) and no channels are  
in SOLO, the meters wont do anything. To display a  
signal level, a source must be selected in the CONTROL  
ROOM/PHONES SOURCE matrix, which feeds the  
CONTROL ROOM (48) and PHONES (42) outputs. The  
meters reect the program level of the selected source  
prior to the CONTROL ROOM and PHONES level knobs.  
Auxiliary Section  
The reason for this is because you want the meters to  
reect what the engineer is listening to, and as weve  
covered, the engineer is listening either to the CON-  
TROL ROOM outputs or the PHONES outputs. The only  
difference is that while the listening levels are con-  
trolled by the CONTROL ROOM and PHONES knobs, the  
meters indicated the SOURCE mix before those knobs,  
giving you the real facts at all times, even if youre not  
listening at all.  
This section includes the AUX MASTERS (Sends) and  
the AUX RETURNS. These can be a bit confusing to the  
uninitiated, so heres the whole idea behind aux sends  
and returns: sends are outputs and returns are inputs.  
AUX SENDs tap signals off the channels, via the AUX  
knobs (13/14), mix these signals together, then send  
them out the AUX SEND jacks (38).  
These outputs are fed to the inputs of an external  
processor like a reverb or digital delay. From there,  
the outputs of this external device are fed back to the  
mixers AUX RETURN jacks (39). Then these signals are  
sent through the AUX RETURN level controls (28), and  
nally delivered to the MAIN MIX (36).  
When a channel is soloed, the meters change to re-  
ect the level of that channels signal level, pre-fader.  
You may already be an expert at the  
world of +4(+4 dBu=1.23 V) and  
“–10(10 dBV=0.32 V) operating  
levels. What makes a mixer one or  
the other is the relative 0 dB VU (or  
0 VU) chosen for the meters. A +4”  
So, the original drysignals go from the channels to  
the MAIN MIX and the affected wetsignals go from  
the AUX RETURNS to the MAIN MIX, and once mixed  
together, the dry and wet signals combine to create a  
glorious sound!  
mixer, with +4 dBu pouring out the back will actually  
read 0 VU on its meters. A “–10mixer, with a 10 dBV  
signal trickling out will read, you guessed it, 0 VU on its  
meters. So when is 0 VU actually 0 dBu? Right now!  
They can also be used to provide another mix for stage  
monitors, for example. In this case, the AUX RETURNS  
arent used to return the signal. Instead, they can be  
used as additional stereo inputs.  
Mackie mixers show things as they really are. When 0  
dBu (0.775 V) is at the outputs, it shows as 0 dB VU on  
the meters. What could be easier? By the way, the most  
wonderful thing about standards is that there are so  
many to choose from.  
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26. AUX 1 and AUX 2 MASTER  
TALKBACK Section  
The AUX MASTERS provide overall control over the  
AUX SEND levels, just before they are delivered to the  
AUX SEND outputs (38). These knobs go from off ()  
to +15 dB when turned all the way up.  
The talkback feature allows the engineer to communi-  
cate with the talent either through the PHONES outputs  
(42) or the AUX 1-2 outputs (38). A talkback microphone  
is built into the Onyx 1220, or you have the option of  
connecting an external microphone at the TALKBACK  
MIC XLR connector (45) on the rear panel, which may  
be preferable in live or noisy situations.  
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, youd turn the knob  
down, but that never happens.)  
30. Internal TALKBACK MIC  
This is where the built-in talkback microphone is lo-  
cated. This is an omni-directional dynamic microphone,  
so it will pick up your voice from anywhere in front of  
the mixer.  
27. AUX 1 and 2 PRE/POST  
The PRE/POST switches determine whether the AUX  
SEND signal is tapped from the channel before the fader  
(pre-fader) or after the fader and MUTE button (post-  
fader). Typically, you use a pre-fader send for monitors  
so you can control the monitor levels independently  
from the MAIN MIX. Use a post-fader send for effects, so  
that the wetsignal level follows the drysignal level.  
31. TALKBACK LEVEL  
Use this knob to control the level of the talkback  
signal being routed to the PHONES or AUX 1-2 outputs.  
This controls the talkback level for either the internal  
or external TALKBACK MICs.  
Both pre- and post-fader sends are affected by the EQ  
controls (unless the EQ is bypassed, of course).  
MUTE / ALT  
You should start with  
PAN  
FADER  
the TALKBACK LEVEL  
"POST" SIGNAL OBEYS  
MUTE STATUS  
control turned down,  
INPUT  
GAIN  
LOW CUT  
INSERT  
EQ  
EQ  
and then slowly turn it  
up until you get conr-  
mation from whoever is  
IN/OUT  
AUX SEND 1 KNOB  
TO AUX SEND 1  
OUTPUT  
"POST" SIGNAL  
listening to headphones  
AUX SEND 1 PRE/POST SWITCH  
(IN MASTER SECTION)  
"PRE" SIGNAL  
or monitors that they  
can hear you. Once you  
have set the level, you  
can leave it there for  
the duration of the ses-  
sion (or the gig).  
AUX SEND 2 KNOB  
Aux “Pre vs. Post”  
Signal Flow Diagram  
TO AUX SEND 2  
OUTPUT  
AUX SEND 2 PRE/POST SWITCH  
(IN MASTER SECTION)  
28. AUX 1 and 2 RETURN  
32. EXTERNAL MIC Switch  
These two controls set the overall level of effects  
received from the stereo AUX RETURN 1 and 2 inputs.  
These controls range from off () to +10 dB of gain  
when fully clockwise, to compensate for low-level effects.  
If you are in a noisy environment, the built-in talkback  
mic may not work as well because it picks up the ambi-  
ent noise as well as your voice. You will probably have  
better results if you use an external microphone that  
you can talk directly into.  
Signals passing through the AUX RETURN level con-  
trols proceed directly to the MAIN MIX bus where they  
are combined with the other channels just before the  
MAIN MIX fader (36).  
If you are using an external mic, you must push in  
the EXTERNAL MIC switch. The indicating LED lets  
you know when the switch is pushed. When the switch  
is out, the built-in TALKBACK MIC is used, regardless  
of whether or not you have an external mic plugged in.  
When the switch is pushed in, the built-in mic is discon-  
nected and only the external mic is used.  
29. FX TO MON Switch  
This switch routes the signal from AUX RETURN 2 to  
the AUX 1 SEND instead of the MAIN MIX bus. This al-  
lows 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 combined with the signals coming  
from all of the channel AUX 1 send controls.  
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33. TALKBACK to PHONES  
37. POWER LED  
Push in the CR/PHONES switch to route the talkback  
signal to the PHONES (42) output. Use this to commu-  
nicate with the talent in the studio through the head-  
phones during a recording session. When the talkback  
circuit is activated (by pushing the TALKBACK (35)  
switch), the CONTROL ROOM outputs are attenuated by  
20 dB to allow the engineers voice to come through loud  
and clear.  
This LED performs one functionit lets you know  
when the Onyx 1220 is turned on and ready to go!  
34. TALKBACK to AUX 1-2  
This switch routes the talkback signal to the AUX 1  
and 2 outputs (38). Use this to communicate with the  
musicians on-stage through their monitors during a live  
performance.  
AUX MASTER  
AUX RETURN  
By the way, it is okay to have both destination switch-  
es pushed in at the same time. The talkback signal will  
be routed to both destinations. But if you dont have ei-  
ther of the destination switches pushed in, the talkback  
signal wont go anywhere. You might as well be talking to  
a brick wall.  
1
2
1
PRE  
POST  
O O  
O O  
O O  
O O  
+15  
+15  
+10  
+10  
2
FX TO  
MON  
PRE  
POST  
35. TALKBACK Switch  
TALK  
BACK  
MIC  
POWER  
This is a momentary switch, meaning its only active  
when you hold the switch down. As long as you hold  
this switch down, the talkback signal is routed to the  
outputs determined by the destination switches (33/34).  
Release the switch, and the talkback circuit is turned off.  
MAIN MIX and POWER LED  
MAIN  
MIX  
TALKBACK  
These are a few more important features that  
shouldnt be overlooked.  
dB  
10  
36. MAIN MIX Fader  
O O  
LEVEL  
MAX  
5
U
5
The MAIN MIX fader controls the output level just  
before the MAIN OUTPUTS (1/4" and XLR) (40/46) and  
the TAPE OUTPUTS (41). When MAIN MIX is selected  
for the CONTROL ROOM/PHONES SOURCE (20), the  
MAIN MIX fader also controls the main mix level in the  
CONTROL ROOM and PHONES outputs (48/42).  
10  
EXTERNAL  
MIC  
20  
30  
When the fader is fully down, the MAIN MIX is off.  
The Umarking indicates unity gain, and fully up pro-  
vides 10 dB of additional gain. Typically, this fader is set  
near the Ulabel and left alone, but it can be used for  
song fade-outs or quick system-wide mutes.  
DESTINATION  
40  
50  
60  
CR/  
PHONES  
AUX  
1-2  
O O  
TALKBACK  
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Front Panel Connectors  
Besides the channel strip MIC and LINE input con-  
nectors, there are some other connectors located on the  
front panel for easy access.  
Push in the ASSIGN TO MAIN MIX button (21) to route  
the tape input to the MAIN OUTs (40/46). This allows you  
to playback music between sets over the main PA speakers.  
WARNING! Pushing TAPE in the  
SOURCE matrix and ASSIGN TO  
MAIN MIX can create a feedback  
path between TAPE IN and TAPE  
OUT. Make sure your tape deck is not  
38. AUX SEND 1 and 2  
These 1/4" TRS output connectors provide balanced  
or unbalanced line-level signals for connecting to the  
inputs of effects devices or stage monitor amplifiers.  
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.  
39. AUX RETURN 1 and 2  
The TAPE OUT jacks produce an unbalanced signal  
that is tapped off the MAIN OUTs. Normally, you would  
connect these to the inputs of a recorder, but you can  
use them as an extra set of main outputs for feeding  
another zone, for example.  
These 1/4" TRS input connectors accept balanced or  
unbalanced line-level stereo signals from an external  
processor or other device. The stereo AUX RETURNS  
use jack normalling, like the stereo inputs on channels  
5-12. If a signal is plugged into the LEFT (MONO) side  
and nothing is plugged into the RIGHT side, the signal is  
automatically connected to both LEFT and RIGHT sides. 42. PHONES  
As soon as something is plugged into the RIGHT side, the  
This is where you plug in your stereo headphones. It  
normalled connection is broken and the LEFT and RIGHT  
inputs become stereo inputs (LEFT goes to the LEFT  
MAIN OUT and RIGHT goes to the RIGHT MAIN OUT).  
is a 1/4" TRS stereo jack and provides the same signal  
that is routed to the CONTROL ROOM outputs (48), as  
determined by the CONTROL ROOM/PHONES SOURCE  
matrix (20). The volume is controlled with the PHONES  
knob (23), right next to the CONTROL ROOM knob.  
40. MAIN OUT  
These 1/4" TRS output connectors provide balanced  
or unbalanced line-level signals. This is the same signal  
that appears at the XLR MAIN OUTPUTS (46) on the  
rear panel, except 6 dB lower in level. Connect these  
to the next device in the signal chain like an external  
processor (graphic equalizer or compressor/limiter), or  
directly to the inputs of the main amplifier.  
WARNING: The headphone amp  
is designed to drive any standard  
headphones to a very loud level. We’re  
not kidding! It can cause permanent  
hearing damage. Even intermediate  
levels may be painfully loud with some headphones.  
BE CAREFUL! Always start with the PHONES level (23)  
turned all the way down before connecting headphones  
to the PHONES jack. Keep it down until you’ve put on  
the headphones. Then turn it up slowly. Why? Always  
remember: “Engineers who fry their ears, find them-  
selves with short careers.”  
41. TAPE IN/OUT  
These RCA jacks are used to connect to the inputs and  
outputs of a tape recorder or other recording device.  
The TAPE IN jacks accept an unbalanced signal from  
a tape recorder or other signal source (could be a CD  
player, if you want) using standard hi-fi hookup cables.  
The signal is routed to the CONTROL ROOM/PHONES  
SOURCE matrix (20). Push in the TAPE button to route  
the tape input to the CONTROL ROOM and PHONES  
outputs (48/42). This allows you to playback recordings  
of your mixes.  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
L
L
OUT  
R
IN  
R
LEFT  
(MONO)  
RIGHT  
LEFT  
RIGHT  
LEFT  
RIGHT  
1
2
1
2
(MONO)  
TAPE  
PHONES  
AUX SEND  
AUX RETURN  
MAIN OUT  
18  
ONYX 1220  
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Rear Panel  
There are just a few more connectors and switches to  
talk about and youll have completed your tour of the  
Onyx 1220. Hang in there!  
47. MAIN OUTPUT LEVEL  
When this switch is out (+4 dB), the XLR MAIN  
OUTPUTS provide a +4 dBu line-level signal. When the  
switch is pushed in (MIC), the signal is attenuated by  
40 dB to a microphone level. You can connect the XLR  
MAIN OUTPUTS to the microphone inputs of another  
mixer, providing a submix for keyboards or drums, for  
example, in a live sound application.  
43. POWER Switch  
This one is self-explanatory. When the POWER switch  
is turned ON, power is supplied to the Onyx 1220 and  
the POWER LED on the front panel lights up.  
Note: You can safely plug this output into a micro-  
phone input that provides 48 V phantom power.  
44. Power Receptacle  
This is a standard 3-prong IEC power connector. Con-  
nect the detachable linecord (included in the box with  
your Onyx 1220) to the power receptacle, and plug the  
other end of the linecord into an AC outlet. The Onyx  
1220 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. Thats why we call it a Planet-Earthpower  
supply! This also means that it is less susceptible to  
voltage sags or spikes, providing greater electromagnetic  
isolation and better protection against AC line noise.  
48. CONTROL RM Outputs  
These 1/4" TRS jacks provide a balanced line-level  
signal that can be used to provide another main mix  
output (with MAIN MIX selected in the CONTROL  
ROOM/PHONES SOURCE) (20), or to monitor the ALT  
3-4 outputs, TAPE inputs, or a 2-track feed from your  
computer (with the optional FireWire card installed).  
Connect these outputs to the inputs of an amplier,  
powered speaker, or recording device.  
49. ALT 3-4 OUT  
45. TALKBACK MIC  
These 1/4" TRS jacks provide a balanced line-level sig-  
nal that can provide an alternate stereo mix for record-  
ing or subgrouping. Connect these outputs to the inputs  
of an amplier, powered speaker, or recording device.  
This is where you plug in your external talkback  
microphone if you need to have one. This female XLR  
connector has +48 VDC phantom power always applied,  
so you can use dynamic or condenser microphones.  
Note: The ALT 3-4 OUT doesnt have a master level  
control. All the channels assigned to the ALT 3-4 bus are  
summed together (post-fader and pan) and sent directly  
to the ALT 3-4 OUT.  
Note: Almost all dynamic microphones can be used with  
phantom power, but you might want to check the docu-  
mentation that came with your microphone to be sure.  
46. RIGHT/LEFT MAIN OUTPUTS  
50. CHANNEL INSERT  
These male XLR connectors provide a balanced line-  
level signal that represent 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  
ampliers, powered speakers, or serial effects proces-  
sor (like a graphic equalizer or compressor/limiter). It  
provides a fully balanced signal that is 6 dB higher than  
the 1/4" TRS MAIN OUT jacks on the front panel.  
These 1/4" TRS jacks provide a send and return point  
for channels 1-4. Use the CHANNEL INSERT jacks to  
connect serial effects devices such as compressors,  
equalizers, de-essers, or lters to each individual channel.  
The INSERT points are after the GAIN and Low Cut  
controls, but before the EQ and Fader controls. The  
send (tip) is low-impedance, capable of driving any  
device. The return (ring) is high-impedance and can be  
driven by almost any device.  
~
100-240VAC  
50-60Hz 40W  
POWER  
ON  
TALKBACK  
MIC  
RIGHT  
LEFT  
BALANCED  
CONTROL RM  
ALT 3-4 OUT  
CHANNEL INSERT  
BALANCED  
(
)
BAL/UNBAL  
BAL/UNBAL  
PRE-FADER / PRE EQ TIP SEND / RING RETURN  
+
48V  
R
L
R/4  
L/3  
4
3
2
1
+
4
MIC  
MAIN  
OUTPUT  
LEVEL  
19  
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Special insert cables are available, specially designed  
for this kind of insert jack. They are wired as follows:  
The signal at the RECORDING OUTS comes just after  
the input GAIN control, and before the Low-Cut switch,  
INSERT jacks, and EQ. This way you can EQ a channel,  
connect a compressor or other dynamics processor to  
the INSERT jack, and adjust the channel fader to suit  
your live mix, but it has no effect on the signal going to  
the recorder. This provides maximum exibility for the  
mixdown stage.  
SEND to processor  
ring  
tip”  
(TRS plug)  
tip  
sleeve  
this plug connects to one of the  
mixers Channel Insert jacks.  
ring”  
RETURN from processor  
See Appendix B for a wiring diagram of these connectors.  
Tip = Send (output to effects device)  
Ring = Return ( input from effects device)  
Sleeve = Common ground (connect shield to all  
three sleeves)  
52. FIREWIRE I/O OPTION  
Okay, we saved the best for last. FireWire (a.k.a. IEEE  
1394) is a high-speed serial I/O interface for connecting  
digital devices, with more than 30 times the bandwidth  
of USB 1.1. You can install the optional Onyx FireWire  
interface card in this slot, which provides three  
FireWire connectors for transferring digital audio to and  
from your laptop computer or digital audio workstation  
(DAW) with absolute zero latency.  
Besides being used for inserting external devices,  
these jacks can also be used as channel direct outputs;  
post-TRIM, post-LOW CUT, and pre-EQ. This is an  
unbalanced direct out, in contrast to the RECORDING  
OUTS on the rear panel, which are balanced direct  
outputs, post-TRIM, pre-LOW CUT.  
Here are three ways you use the INSERT jacks:  
The FireWire interface provides the direct outputs  
for all twelve channels and the Left/Right Mix. The  
Left/Right Mix is pre-fader at the FireWire output, so its  
level is independent of the MAIN MIX fader (important  
for live gigs). Instead, it has a rotary level control that  
provides a 10 dB boost or cut for the Left/Right mix,  
to optimize the level for the recorder or DAW. Use the  
FireWire interface to record a live performance directly  
to your laptop, which you can mixdown to a stereo mix  
later. Or you can use it to turn your Onyx mixer into a  
high-quality computer audio interface for your DAW.  
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  
The card also provides a return for two channels  
from a DAW or laptop, which can be routed through the  
CONTROL ROOM/PHONES SOURCE matrix (20) via  
the FIREWIRE button, to monitor the computer audio  
through your control room speakers or headphones  
(or through the main speakers if ASSIGN TO MAIN  
MIX (21) is selected).  
PLUG  
Channel Insert jack  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect)  
51. RECORDING OUTS  
These two DB-25 connectors provide balanced direct  
outputs for channels 1-4 and 5-12, respectively. They are  
designed to be connected directly to a recorders analog  
inputs, and use the TASCAM standard pinout for analog  
signal connections (the same standard used on the ana-  
log cards for the Mackie D8B and Hard Disk Recorder).  
The FireWire interface works with both PC (ASIO  
for Windows XP) and Mac (Core Audio for Mac OS 10.3  
or higher). As an added bonus, we include a free copy  
of Tracktion, our multitrack recording and sequencing  
software application for PC or Mac.  
~
100-240VAC  
50-60Hz 40W  
POWER  
ON  
TALKBACK  
MIC  
RIGHT  
LEFT  
CONTROL RM  
ALT 3-4 OUT  
CHANNEL INSERT  
BALANCED  
BALANCED  
(
)
BAL/UNBAL  
BAL/UNBAL  
PRE-FADER / PRE EQ TIP SEND / RING RETURN  
+
48V  
R
L
R/4  
L/3  
4
3
2
1
+
4
MIC  
MAIN  
OUTPUT  
LEVEL  
CAUTION  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
SERIAL NUMBER  
MANUFACTURING DATE  
LISTED COMMERCIAL  
AUDIO EQUIPMENT  
65HJ  
RECORDING OUTS  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.  
R
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
POST GAIN / PRE INSERT  
AVISS:ERVICEABLE  
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR  
NO USER  
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
1-4  
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA  
"MACKIE" &"ONYX"ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. COPYRIGHT ©2003  
5-12  
OPTION CARD  
BALANCED  
20  
ONYX 1220  
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Appendix A: Service Information  
Warranty Service  
Is there something plugged into the CHANNEL  
INSERT jack (50)? Try unplugging any INSERT  
devices (channels 1-4 only).  
Details concerning Warranty Service are spelled out in  
the Warranty section on page 31.  
If you think your Onyx mixer has a problem, please  
do everything you can to conrm it before calling for  
service. Doing so might save you from the deprivation of  
your Onyx mixer and the associated suffering.  
Try the same source signal in another channel, set  
up exactly like the suspect channel.  
Bad Output  
These may sound obvious to you, but here are some  
things you can check. Read on.  
Is the associated level control (if any) turned up?  
If its one of the MAIN OUTPUTS, try unplugging all  
the others. For example, if its the 1/4" LEFT MAIN  
OUT, unplug the RCA LEFT TAPE OUT and XLR  
LEFT OUTPUT. If the problem goes away, its not  
the mixer.  
Troubleshooting  
No Power  
Our favorite question: Is it plugged in?  
If its a stereo pair, try switching them around. For  
example, if a left output is presumed dead, switch  
the left and right cords at the mixer end. If the  
problem stays on the left side, its not the mixer.  
Make sure the power cord is securely seated in the  
IEC socket (44) and plugged all the way into the  
AC outlet.  
Bad Sound  
Make sure the AC outlet is live (check with a tester  
or lamp).  
Is the input connector plugged completely into the  
jack?  
Is the POWER (43) switch on? Make sure the  
POWER switch on the rear panel is in the ON posi-  
tion (up).  
Is it loud and distorted? Make sure the input GAIN  
control for the input is set correctly. Reduce the  
signal level on the input source if possible.  
Is the POWER LED (37) on the front panel illumi-  
nated? If not, make sure the AC outlet is live. If so,  
refer to No Soundbelow.  
If possible, listen to the signal with headphones  
plugged into the input source device. If it sounds  
bad there, its not the Onyx causing the problem.  
Are all the lights out in your building? If so, contact  
your local power company to get power restored.  
Noise/Hum  
If the POWER LED is not illuminated, and you are  
certain that the AC outlet is live, it will be necessary  
to have your Onyx 1220 serviced. There are no user  
serviceable parts inside. Refer to Repairat the end  
of this section to nd out how to proceed.  
Turn down the AUX RETURN knobs (28). If the  
noise disappears, its coming from whatever is  
plugged into the AUX RETURNS (39).  
Turn down each channel, one by one. If the noise  
disappears, its coming from whatever is plugged  
into that channel.  
Bad Channel  
Is the MUTE/ALT 3-4 switch (16) in the correct  
position?  
Check the signal cables between the input sources  
and the Onyx. Disconnect them one by one. When  
the noise goes away, youll know which input source  
is causing the problem.  
Is the input GAIN control (7) for the channel  
turned up?  
Sometimes it helps to plug all the audio equipment  
into the same AC circuit so they share a common  
ground.  
Is the fader (17) turned up?  
Is the signal source turned up? Make sure the  
signal level from the selected input source is high  
enough to light up some of the INPUT meter (18)  
LEDs next to the channels fader.  
If it is channel 1 or 2, make sure the MIC/HI-Z  
switch (4) is in the right position.  
21  
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Repair  
Service for Mackie products is available at our galactic  
headquarters, located in sunny Woodinville, Washington.  
Service for Mackie products living outside the United  
States can be obtained through local dealers or distribu-  
tors.  
7. Ship the mixer to us. We suggest insurance for all  
forms of cartage. Ship to this address:  
MACKIE  
SERVICE DEPARTMENT  
16220 Wood-Red Road NE  
Woodinville, WA 98072  
If your Onyx 1220 needs service, follow these instructions:  
1. Review the preceding troubleshooting suggestions.  
Please.  
8. Well try to x the mixer within three to ve busi-  
ness days. Ask Tech Support for the latest turn-  
around times when you call for your RA number.  
The mixer must be packaged in its original packing  
box, and must have the RA number on the box.  
Once its repaired, well ship it back the same way  
in which it was received. This paragraph does not  
necessarily apply to non-warranty repair.  
2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm  
PST, to explain the problem and request an RA  
(Return Authorization) number. Have your Onyx  
1220s serial number ready. You must have an RA  
number before you can obtain service at the  
factory.  
3. Keep this owners manual and the detachable line-  
cord. We dont need them to repair the mixer.  
Note: You must have a sales receipt from an Autho-  
rized Mackie Dealer to qualify for a warranty repair.  
4. Pack the mixer in its original package, including  
endcaps and box. This is VERY IMPORTANT. When  
you call for the RA number, please let Tech Sup-  
port know if you need new packaging. Mackie is  
not responsible for any damage that occurs due to  
non-factory packaging.  
5. Include a legible note stating your name, shipping  
address (no P.O. boxes), daytime phone number, RA  
number, and a detailed description of the problem,  
including how we can duplicate it.  
6. Write the RA number in BIG PRINT on top of the box.  
Units sent to us without the RA number will be refused.  
Need Help?  
You can reach a technical support representative  
Monday through Friday  
from 7 AM to 5 PM PST at:  
1-800-898-3211  
or email us at: [email protected]  
22  
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Appendix B: Connections  
XLR Connectors  
1/4" TS Phone Plugs and Jacks  
Channels 1-4 use 3-pin female XLR connectors on the  
TSstands for Tip-Sleeve, the two connection points  
MIC inputs. They are wired as follows, according to stan- available on a mono 1/4" phone jack or plug. They are  
dards specied by the AES (Audio Engineering Society). used for unbalanced signals.  
2
SHIELD  
HOT  
SLEEVE  
SLEEVE  
TIP  
TIP  
1
3
COLD  
TIP  
SHIELD  
1
SLEEVE  
3
COLD  
2
1/4" TS Unbalanced Wiring:  
Sleeve = Shield  
Tip = Hot (+)  
HOT  
SHIELD  
COLD  
HOT  
1
3
2
XLR Balanced Wiring:  
Pin 1 = Shield  
Pin 2 = Hot (+)  
Pin 3 = Cold ()  
RCA Plugs and Jacks  
RCA-type plugs (also known as phono plugs) and jacks  
are often used in home stereo and video equipment and  
in many other applications. They are unbalanced and  
electrically equivalent to a 1/4" TS phone plug.  
1/4" TRS Phone Plugs and  
Jacks  
TIP  
SLEEVE TIP SLEEVE  
TRSstands for Tip-Ring-Sleeve, the three connection  
points available on a stereo 1/4" or balanced phone  
jack or plug. TRS jacks and plugs are used for balanced  
signals and stereo headphones:  
RCA Unbalanced Wiring:  
Sleeve = Shield  
Tip = Hot (+)  
Balanced Mono  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
Unbalancing a Line  
In most studio, stage, and sound reinforcement situ-  
ations, there is a combination of balanced and unbal-  
anced inputs and outputs on the various pieces of  
equipment. This usually will not be a problem in making  
connections.  
RING  
TIP  
SLEEVE  
1/4" TRS Balanced Mono Wiring:  
Sleeve = Shield  
Tip = Hot (+)  
Ring = Cold ()  
When connecting a balanced output to an unbal-  
anced input, be sure the signal high (hot) connec-  
tions are wired to each other, and that the balanced  
signal low (cold) goes to the ground (earth)  
Stereo Headphones  
connection at the unbalanced input. In most cases,  
the balanced ground (earth) will also be connected  
to the ground (earth) at the unbalanced input. If  
there are ground-loop problems, this connection  
may be left disconnected at the balanced end.  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
RING  
TIP  
SLEEVE  
1/4" TRS Stereo Unbalanced Wiring:  
Sleeve = Shield  
Tip = Left  
Ring = Right  
23  
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When connecting an unbalanced output to a bal-  
anced input, be sure that the signal high (hot)  
connections are wired to each other. The unbal-  
anced ground (earth) connection should be wired  
to the low (cold) and the ground (earth) connec-  
tions of the balanced input. If there are ground-loop  
problems, try disconnecting the unbalanced ground  
(earth) connection from the balanced input ground  
(earth) connection, leaving the unbalanced ground  
connected to the balanced input low (cold) con-  
nection only.  
This allows you to tap out the channel’s signal at that  
point in the circuit without interrupting normal operation.  
Note: Do not overload or short-circuit  
the signal you are tapping from the  
mixer. That will affect the internal  
signal.  
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.  
In some cases, you may have to make up special  
adapters to interconnect your equipment. For example,  
you may need a balanced XLR female connected to an  
unbalanced 1/4" TS phone plug. Many common adapters  
can be found at your local electronics supply store.  
MONO PLUG  
Channel Insert jack  
Direct out with no signal interruption to master.  
Insert only to first click.”  
The balanced-to-unbalanced connection has been  
anticipated in the wiring of Mackie jacks. A 1/4" TS plug  
inserted into a 1/4" TRS balanced input, for example,  
will automatically unbalance the input and make all the  
right connections. Conversely, a 1/4" TRS plug inserted  
into a 1/4" unbalanced input will automatically tie the  
ring (low or cold) to ground (earth).  
MONO PLUG  
Channel Insert jack  
Direct out with signal interruption to master.  
Insert all the way in to the second click.”  
TRS Send/Receive Insert Jacks  
STEREO  
PLUG  
Channel Insert jack  
Mackie’s single-jack inserts are three-conductor 1/4"  
TRS phone jacks. They are unbalanced, but have both  
the mixer output (send) and mixer input (return)  
signals in one connector.  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect)  
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.  
Mults and “Y”s  
A mult or “Y” connector allows you to route one output  
to two or more inputs by simply providing parallel wir-  
ing connections. You can make “Y”s and mults for the  
outputs of both unbalanced and balanced circuits.  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
Remember: Only mult or “Y” an  
output into several inputs. If you need  
to combine several outputs into one  
input, you must use a mixer, not a  
mult or a “Y.”  
this plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
Using the Send Only on an Insert Jack  
If you insert a 1/4" TS (mono) 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).  
Y-Cord Splitter  
24  
ONYX 1220  
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DB25 Connectors  
The RECORDING OUTS on the back of the Onyx 1220  
provide balanced direct outputs for channels 1-12 on  
two female DB25 connectors. These connectors are  
pin-for-pin compatible with the analog (not TDIF) DB25  
connectors found on TASCAM DTRS recorders, which  
has become an industry standard for many professional  
audio manufacturers. They are also the same pinout as the  
analog cards for the Mackie D8B and hard disk recorders.  
Normally, each DB25 connector provides eight bal-  
anced line-level inputs or outputs. Since the Onyx 1220  
has only 12 channels, the top DB25 connector (labeled  
1-4) provides only four balanced direct outputs, while  
the bottom connector (labeled 5-12) provides eight.  
Pin 1  
Pin 2  
Pin 3  
Pin 4  
Pin 5  
Pin 6  
Pin 7  
Pin 8  
Pin 9  
Pin 10  
+
N/C  
N/C  
N/C  
N/C  
N/C  
N/C  
Ch 4 Ch 8  
Ch 4 Ch 8  
Ch 3 Ch 7  
Ch 2 Ch 6  
Ch 2 Ch 6  
Ch 1 Ch 5  
Ch12  
Ch12  
Ch11  
Ch10  
Ch10  
Ch 9  
Pin 14  
Pin 15  
Pin 16 shield  
Pin 17  
Pin 18  
Pin 19 shield  
Pin 20  
Pin 21  
Pin 22 shield  
Pin 23  
Pin 24  
Pin 25 shield  
+
N/C  
N/C  
N/C  
N/C  
N/C  
N/C  
Ch 4 Ch 8  
Ch 3 Ch 7  
Ch 3 Ch 7  
Ch 2 Ch 6  
Ch 1 Ch 5  
Ch 1 Ch 5  
Ch12  
Ch11  
Ch11  
Ch10  
Ch 9  
Ch 9  
shield  
+
shield  
+
shield  
+
+
+
+
Pin 11 shield  
Pin 12  
Pin 13 N/C  
CH 1 CH 2 CH 3 CH 4  
CH 5 CH 6 CH 7 CH 8 CH 9 CH 10 CH 11 CH 12  
N/C  
13 12 11 10 9  
8
7
6
5
4
3
2
1
25 24 23 22 21 20 19 18 17 16 15 14  
Several companies make DB25-to-DB25 cables speci-  
cally for audio, with proper shielding to reduce crosstalk  
and noise.  
DB25 cables that break out to XLR, 1/4" TRS, or TT  
connectors for connecting to other mixers or audio gear  
are also readily available. See your Mackie dealer for  
details.  
25  
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Appendix C: Technical Info  
Onyx 1220 Specifications  
Frequency Response  
Maximum Input Levels  
Mic Input to Main Output (Gain @ Unity)  
+0, –1 dB, 10 Hz to 50 kHz  
Mic Input:  
Inst Input:  
+21 dBu, Gain @ Unity  
+21 dBu, Gain @ –20 dB  
+0, –3 dB, <10 Hz to >100 kHz  
Mono Channel Line Input:  
+30 dBu, Gain @ Unity  
Stereo Channel Line Input:  
+21 dBu, Gain @ –20 dB  
+15 dBu  
+21 dBu  
Distortion (THD & IMD)  
Mic Input to Main Output (@ +4 dBu output)  
THD: < 0.01%, 20 Hz to 20 kHz  
SMPTE IMD: < 0.005%  
Tape Input:  
Aux Return:  
Maximum Voltage Gain  
Dynamic Range  
Mic Input to:  
>113 dB (Mic In to Main Out)  
Main Output (XLR): 85 dB  
Main Output (TRS): 79 dB  
Noise Floor  
Tape Output:  
Aux Sends:  
79 dB  
85 dB  
(20 Hz to 20 kHz Bandwidth, 150source impedance)  
Equivalent Input Noise (E.I.N.)  
–129 dBu @ +60 dB gain  
Control Rm Output: 89 dB  
Alt 3/4 Output:  
Phones Output:  
64 dB  
87 dB  
Mic Output Noise:  
Recording Output: –100 dBu (minimum gain)  
Inst Input to:  
Main Output (XLR): 66 dB  
Main Output (TRS): 60 dB  
Residual Output Noise:  
Main Out: –97 dBu (Channel and Main Mix levels off)  
Main Out: –87 dBu (Channel and Main Mix levels at  
unity)  
Tape Output:  
Aux Sends:  
60 dB  
66 dB  
Control Rm Output: 70 dB  
Common Mode Rejection Ratio (CMRR)  
Mic In: >60 dB @ 1 kHz, Gain @ maximum  
Alt 3/4 Output:  
Phones Output:  
45 dB  
68 dB  
Stereo Line Input to:  
Crosstalk  
Main Output (XLR): 46 dB  
Main Output (TRS): 40 dB  
Tape Output:  
Aux Sends:  
Adjacent Inputs or Input to Output: < –75 dB @ 1 kHz  
Adjacent Inputs to Recording Outputs: < –90 dB @ 1 kHz  
40 dB  
45 dB  
Input Gain Control Range  
Mic In: 0 dB to +60 dB  
Line In: –20 dB to + 40 dB, mono channels  
Line In: –20 dB to +20 dB, stereo channels  
Control Rm Output: 49 dB  
Alt 3/4 Output:  
Phones Output:  
24 dB  
47 dB  
Tape Input to:  
Main Output (XLR): 31 dB  
Main Output (TRS): 25 dB  
Phantom Power  
Tape Output:  
Control Rm Output: 16 dB  
Phones Output: 14 dB  
25 dB  
+48 VDC  
Equalization  
Mono Channel EQ:  
Aux Return to:  
High:  
Mid:  
Low:  
15 dB @ 12 kHz  
15 dB, sweepable from 100 Hz to 8 kHz  
15 dB @ 80 Hz  
Main Output (XLR): 26 dB  
Main Output (TRS): 20 dB  
Tape Output:  
Aux Send:  
Control Rm Output: 29 dB  
Phones Output:  
20 dB  
26 dB  
Stereo Channel EQ:  
High:  
Mid:  
Low:  
15 dB @ 12 kHz  
15 dB @ 2.5 kHz  
15 dB @ 80 Hz  
27 dB  
Input Impedance  
Mixer Rated Output  
Mic Input:  
Inst Input:  
2.4 k, balanced  
1 MΩ  
Main:  
+4 dBu  
+4 dBu  
+4 dBu  
+4 dBu  
Mono Channel Line Input: 30 kbalanced;  
15 kunbalanced  
Stereo Channel Line Input: 20 kbalanced;  
10 kunbalanced  
Stereo Aux Returns:  
Aux Send:  
Control Room:  
Alt 3/4:  
Maximum Rated Output:  
+27 dBu @ Main XLR Outputs  
+21 dBu @ TRS Outputs  
20 kbalanced;  
10 kunbalanced  
20 kunbalanced  
Tape In:  
26  
ONYX 1220  
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Physical Dimensions and Weight  
Output Impedance  
Height:  
Width:  
Depth:  
Weight:  
17.3 in/439 mm  
13.9 in/353 mm  
5.9 in/150 mm  
16.0 lb/7.3 kg  
Main:  
100 balanced, XLR outputs;  
300 TRS outputs  
Recording Outputs: 300 Ω  
Control Room:  
Alt 3/4:  
Aux Sends:  
Tape Output:  
Phones Output:  
300 Ω  
300 Ω  
300 Ω  
2.0 kΩ  
25 Ω  
Options  
Onyx FireWire Interface Card  
Rack Mount Kit  
Channel Level Set LED (Sensitivity)  
LOUD Technologies Inc. is always striving to improve our prod-  
ucts by incorporating new and improved materials, components,  
and manufacturing methods. Therefore, we reserve the right to  
change these specifications at any time without notice.  
0 dBu (normal operating level)  
VU Meters  
Main Left and Right, 12 segments:  
Clip (+20), +10, +7, +4, +2, 0, 2, 4, 7, 10, 20, 30  
0 LED = 0 dBu  
“Mackie.”, “Onyx,” 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.  
AC Power Requirements  
Power Consumption: 40 watts  
©2004 LOUD Technologies Inc. All Rights Reserved.  
Universal AC Power Supply:  
100 VAC 240 VAC, 50-60 Hz  
13.9 in/35.3 cm  
WEIGHT  
16.0 lb/  
7.3 kg  
27  
Owner’s Manual  
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Onyx 1220 Block Diagram  
L o g i c S o l o  
( p f l ) S o l o  
( p 2 o s x t u ) A  
L o g i c S o l o  
S o l o ( p f l )  
( p 2 o s x t u ) A  
( p 2 r e x ) A u  
( p 1 o s x t u ) A  
( p 2 r e x ) u A  
( p 1 o s x t u ) A  
( p 1 r e x ) u A  
( p 1 r e x ) u A  
R / 4  
R / 4  
A l t  
A l t  
L / 3  
L / 3  
R
L
R
M a i n  
L
M a i n  
28  
ONYX 1220  
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Onyx 1220 Track Sheet  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
PREMIUM ANALOG MIXER  
1
2
3
4
w/PERKINS EQ  
&
FIREWIRE OPTION  
L
L
OUT  
R
IN  
R
Session:  
Date:  
LEFT  
(MONO)  
RIGHT  
LEFT  
RIGHT  
LEFT  
RIGHT  
1
2
1
2
(MONO)  
AUX SEND  
AUX RETURN  
MAIN OUT  
TAPE  
PHONES  
-
-
-
-
LINE IN 5 6  
LINE IN 7 8  
LINE IN 9 10  
LINE IN 11 12  
(MONO)  
(MONO)  
(MONO)  
(MONO)  
-
-
HI Z  
1
HI Z  
2
LINE  
3
BAL/  
UNBAL  
LINE  
4
BAL/  
UNBAL  
L
BAL/  
UNBAL  
L
BAL/  
UNBAL  
L
BAL/  
UNBAL  
L
BAL/  
UNBAL  
MIC  
MIC  
-
-
HI Z  
HI Z  
75Hz  
18dB/OCT  
75Hz  
18dB/OCT  
CONTROL  
R
R
R
R
ROOM/  
PHONES  
SOURCE  
48V  
48V  
48V  
48V  
LEFT RIGHT  
0dB=0dBu  
30  
30  
30  
U
30  
U
U
U
U
U
CLIP  
20  
10  
7
U
U
20  
U
40  
60  
20  
U
40  
60  
20  
40  
60  
20  
40  
60  
U
U
MAIN MIX  
-20dB +40dB  
GAIN  
-20dB +40dB  
GAIN  
-20dB +40dB  
GAIN  
-20dB +40dB  
GAIN  
-20dB +20dB  
GAIN  
-20dB +20dB  
GAIN  
-20dB +20dB  
GAIN  
-20dB +20dB  
GAIN  
4
2
NOTES:  
FIREWIRE  
(OPTION)  
0
OUT  
IN  
OUT  
IN  
OUT  
IN  
OUT  
IN  
OUT  
IN  
OUT  
IN  
OUT  
IN  
OUT  
IN  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
2
LEVEL  
SET  
ALT 3-4  
TAPE  
U
U
U
U
U
U
U
U
4
7
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
HIGH  
12kHz  
10  
20  
30  
-
-
-
-
15 +15  
15 +15  
15 +15  
15 +15  
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
1k  
1k  
1k  
1k  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
FREQ  
MID  
ASSIGN TO  
MAIN MIX  
100  
8k  
100  
8k  
100  
8k  
100  
8k  
MID  
MID  
MID  
MID  
U
U
U
U
RUDE  
SOLO  
2.5kHz  
2.5kHz  
2.5kHz  
2.5kHz  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-
-
-
-
15 +15  
15 +15  
15 +15  
15 +15  
O O MAX  
O O MAX  
U
U
U
U
U
U
U
U
CONTROL  
ROOM  
PHONES  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
AUX MASTER  
AUX RETURN  
-
-
-
-
15 +15  
15 +15  
15 +15  
15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
1
2
1
PRE  
POST  
O O +15  
O O +15  
O O +10  
1
1
1
1
1
1
1
1
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
O O MAX  
2
FX TO  
MON  
PRE  
POST  
O O +10  
POWER  
2
2
2
2
2
2
2
2
O O MAX  
TALK  
BACK  
MIC  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
NOTES:  
MAIN  
MIX  
TALKBACK  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
MUTE  
ALT 3/4  
dB  
10  
1
2
3
4
5
6
7
8
9
11  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
O O MAX  
LEVEL  
5
U
5
10  
12  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
10  
+
10  
+
10  
+
10  
+
10  
+
10  
+
10  
+
10  
+
10  
EXTERNAL  
MIC  
0
0
0
0
0
0
0
0
10  
10  
10  
10  
10  
10  
10  
10  
20  
30  
-
-
-
-
-
-
-
-
20  
20  
20  
20  
20  
20  
20  
20  
DESTINATION  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
40  
50  
60  
CR/  
PHONES  
AUX  
1-2  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
TALKBACK  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
29  
Owner’s Manual  
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Onyx 1220 Track Sheet  
The Other Side  
L
U / N B A B A L  
L
U / N B A B A L  
L
U / N B A B A L  
U / N B A B L A L  
P R E M I U M A N A L O G M I X E R  
P E w R K / I N S  
4
3
2
1
O P T I O N F I R & E Q W I R E  
E
L
L
O U T  
I N  
R
S e s s i o n :  
D a t e :  
R
R I G H T  
L E F T  
M A I N O U T  
R I G H T  
2
T
L E F  
( M O N O )  
R I G H T  
T
L E F  
( M O N O )  
2
1
1
P H O N E S  
A T P E  
U T R N  
A U X R E  
A U X S E
-
-
-
-
1 2 1  
L I N E I N 0 1 1  
L I N E I N 8 9  
L I N E I N 6 7  
L I N E I N 5  
( M O N O )  
( M O N O )  
( M O N O )  
( M O N O )  
-
-
E N L I  
4
B A L /  
U N B A L  
E N L I  
3
B A L /  
U N B A L  
Z
H I  
Z
H I  
2
1
L
L
L
L
C
M I  
H I  
C
M I  
H I  
-
Z
-
Z
B A L /  
U N B A L  
B A L /  
U N B A L  
B A L /  
U N B A L  
B A L /  
U N B A L  
7 5 H z  
1 8 d B / O C T  
7 5 H z  
1 8 d B / O C T  
C O N T R O L  
R
R
R
R
R O O M /  
P H O N E S  
S O U R C E  
4 8 V  
4 8 V  
4 8 V  
4 8 V  
T H R I G T F L E  
0 d B = 0 d B u  
3 0  
3 0  
3 0  
3 0  
U
U
U
U
C L I P  
2 0  
1 0  
U
U
U
U
4 0  
6 0  
2 0  
4 0  
6 0  
2 0  
4 0  
6 0  
2 0  
4 0  
6 0  
2 0  
U
2 - 0 d B  
U
2 - 0 d B  
U
2 - 0 d B  
U
2 - 0 d B  
M A I N M I X  
7
2 0 + d B  
2 - 0 d B  
G A I N  
2 0 + d B  
2 - 0 d B  
G A I N  
2 0 + d B  
2 - 0 d B  
G A I N  
2 0 + d B  
2 - 0 d B  
G A I N  
4 0 + d B  
4 0 + d B  
4 0 + d B  
4 0 + d B  
G A I N  
G A I N  
G A I N  
G A I N  
4
2
0
2
4
7
T E S N : O  
F I R E W I R E  
( O P T I O N )  
O U T  
I N  
O U T  
I N  
O U T  
I N  
O U T  
I N  
O U T  
I N  
O U T  
I N  
O U T  
I N  
O U T  
E Q  
I N  
E Q  
E Q  
E Q  
E Q  
E Q  
E Q  
E Q  
L E V E L  
S E T  
A L T 3 - 4  
U
U
U
U
U
U
U
U
H I
H I G
H I G
H I
H I G
H I
H I
H I G
1 2 k H z  
T A P E  
z H k 1 2  
z H k 1 2  
z H k 1 2  
z H k 1 2  
1 2 k H z  
1 2 k H
1 2 k H
1 0  
-
-
-
-
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 1 5  
5
+ 1 1 5  
5
+ 1 1 5  
5
+ 1 1 5  
2 0  
3 0  
1 k  
1 k  
1 k  
1 k  
F R E Q  
F R E Q  
F R E Q  
F R E Q  
U
U
U
U
A S S I G N T O  
M A I N M I X  
8 k  
0
1 0  
8 k  
0
1 0  
8 k  
0
1 0  
8 k  
0
1 0  
M I
M I D  
M I D  
M I
H k z 2 . 5  
R U D E  
S O L O  
U
U
U
U
H k z 2 . 5  
H k z 2 . 5  
H k z 2 . 5  
+ 1 5 - 1 5  
+ 1 5 - 1 5  
+ 1 5 - 1 5  
+ 1 5 - 1 5  
M I D  
M I D  
M I D  
M I D  
-
-
-
-
5
+ 1 1 5  
U
5
+ 1 1 5  
U
5
+ 1 1 5  
U
5
+ 1 1 5  
U
M A  
O
X
O
M A  
O
X
O
U
U
U
U
P H O N E S  
C O N T R O L  
R O O M  
L O
L O
L O
L O
8 0 H  
L O
L O
L O
L O
8 0 H  
z
8 0 H  
z
8 0 H  
z
8 0 H  
z
z
8 0 H  
z
8 0 H  
z
8 0 H  
z
U A X R E T U R N  
U A X M A S T E R  
-
-
-
-
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 5 - 1  
5
+ 1 1 5  
5
+ 1 1 5  
5
+ 1 1 5  
5
+ 1 1 5  
X
A U  
X U A  
X
A U  
X U A  
X
A U  
X
A U  
X
A U  
X
A U  
1
1
P R E  
P O S T  
+ 1 0 OO  
+ 1 0 OO  
+ 1 5 OO  
1
1
2
1
1
2
1
1
1
1
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
M A X OO  
2
F X T O 2  
P R E  
P O S T  
M O N  
+ 1 5 OO  
2
2
2
2
2
2
T A L K  
B A C K  
M I C  
P A N  
P A N  
P A N  
P A N  
P A N  
P A N  
P A N  
P A N  
P O W E R  
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
T E S N : O  
M A I N  
M I X  
A T L K B A C K  
M U T E  
M U T E  
M U T E  
M U T E  
M U T E  
M U T E  
M U T E  
M U T E  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
4
3 T / L A  
d B  
1 0  
1 1  
d B  
9
7
8
5
6
1
2
3
4
d B  
1 0  
d B  
1 0  
d B  
1 0  
d B  
1 0  
d B  
1 0  
d B  
1 0  
d B  
1 0  
X
M A OO  
L E V E L  
1 0  
5
1 2  
1 0  
5
5
5
5
5
5
5
5
U
5
U
U
U
5
U
5
U
5
U
5
U
5
U
5
O L  
O L  
O L  
O L  
O L  
O L  
O L  
O L  
5
5
1 0  
+
1 0  
+
1 0  
+
1 0  
+
1 0  
+
1 0  
+
1 0  
+
1 0  
+
1 0  
E X T E R N A L  
M I C  
0
0
0
0
0
0
0
0
1 0  
1 0  
1 0  
1 0  
1 0  
1 0  
1 0  
1 0  
2 0  
3 0  
-
2 0  
-
2 0  
-
2 0  
-
2 0  
-
2 0  
-
2 0  
-
2 0  
-
2 0  
D E S T I N A T I O N  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
2 0  
3 0  
4 0  
5 0  
6 0  
A U X  
1 - 2  
C R /  
P H O N E S  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
4 0  
5 0  
6 0  
OO  
OO  
OO  
OO  
OO  
OO  
OO  
OO  
OO  
T A L K B A C K  
S O L O  
S O L O  
S O L O  
S O L O  
S O L O  
S O L O  
S O L O  
S O L O  
30  
ONYX 1220  
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Onyx 1220 Limited Warranty  
Please keep your sales receipt in a safe place.  
4. If the Authorized Mackie Service Center is located in  
A. LOUD Technologies Inc. warrants all materials, workmanship  
and proper operation of this product for a period of three years  
from the original date of purchase. If any defects are found  
in the materials or workmanship or if the product fails to  
function properly during the applicable warranty period, LOUD  
Technologies, at its option, will repair or replace the product.  
This warranty applies only to equipment sold and delivered  
within the U.S. by LOUD Technologies Inc. or its authorized  
dealers.  
another city, pack the mixer in its original shipping carton.  
More information on packing can be found in the Service  
section of this manual.  
5. Contact the Authorized Mackie Service Center to arrange  
service or bring the Mackie product to them.  
F. LOUD Technologies and Authorized Mackie Service Centers  
reserve the right to inspect any products that may be the subject  
of any warranty claims before repair or replacement is carried  
out. LOUD Technologies and Authorized Mackie Service Centers  
may, at their option, require proof of the original date of purchase  
in the form of a dated copy of the original dealer’s invoice or  
sales receipt. Final determination of warranty coverage lies solely  
with LOUD Technologies or its Authorized Service Centers.  
B. Failure to register online or return the product registration  
card will not void the three-year warranty.  
C. Service and repairs of Mackie products are to be performed  
only at the factory (see D below) OR at an Authorized Mackie  
Service Center (see E below). Unauthorized service, repairs,  
or modification will void this warranty. To obtain repairs under  
warranty, you must have a copy of your sales receipt from the  
store where you bought the product. It is necessary to establish  
purchase date and thus determine whether or not your Mackie  
product is still under warranty.  
G. Mackie products returned to LOUD Technologies and  
deemed eligible for repair or replacement under the terms of  
this warranty will be repaired or replaced within thirty days  
of receipt by LOUD Technologies. LOUD Technologies may  
use refurbished parts for repair or replacement of any product.  
Products returned to LOUD Technologies that do not meet the  
terms of this Warranty will be repaired and returned C.O.D.  
with billing for labor, materials, return freight, and insurance.  
Products repaired under warranty at the factory will be returned  
freight prepaid by LOUD Technologies to any location within the  
boundaries of the USA.  
D. To obtain factory service:  
1. Call Mackie Service at 800/898-3211, 7 AM to 5 PM  
Monday through Friday (Pacific Time) to get a Return  
Authorization (RA). Products returned without an RA number  
will be refused.  
2. Pack the product in its original shipping carton. If you do  
not have the carton, just ask for one when you get your RA  
number, and we’ll send a shipping carton out promptly. More  
information on packing can be found in the Service section of  
this manual. Please seal the Mackie product in a plastic bag.  
H. LOUD Technologies warrants all repairs performed for 90  
days or for the remainder of the warranty period. This warranty  
does not extend to damage resulting from improper installation,  
misuse, neglect or abuse, or to exterior appearance. This  
warranty is recognized only if the inspection seals and serial  
number on the unit have not been defaced or removed.  
3. Also include a note explaining exactly how to duplicate  
the problem, a copy of the sales receipt with price and date  
showing, and your return street address (no P.O. boxes or  
route numbers, please!). If we cannot duplicate the problem  
or establish the starting date of your Limited Warranty, we  
may, at our option, charge for service time.  
I. LOUD Technologies assumes no responsibility for the quality  
or timeliness of repairs performed by Authorized Mackie Service  
Centers.  
J. This warranty is extended to the original purchaser and to  
anyone who may subsequently purchase this product within the  
applicable warranty period. A copy of the original sales receipt is  
required to obtain warranty repairs.  
4. Ship the product in its original shipping carton, freight  
prepaid to:  
K. This is your sole warranty. LOUD Technologies does  
not authorize any third party, including any dealer or sales  
representative, to assume any liability on behalf of LOUD  
Technologies or to make any warranty for LOUD Technologies Inc.  
MACKIE SERVICE DEPARTMENT  
16220 Wood-Red Road NE  
Woodinville, WA, 98072, USA  
IMPORTANT: Make sure that the RA number is plainly  
written on the shipping carton.  
L. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE  
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND IS IN  
LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED,  
INCLUDING THE WARRANTIES OF MERCHANTABILITY AND  
FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY  
GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN  
DURATION TO THREE YEARS FROM THE DATE OF ORIGINAL  
PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON  
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, LOUD  
TECHNOLOGIES INC. SHALL HAVE NO FURTHER WARRANTY  
OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC.  
SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR  
CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY  
DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY  
CLAIM. Some states do not allow exclusion or limitation of  
incidental, special, or consequential damages or a limitation on  
how long warranties last, so some of the above limitations and  
exclusions may not apply to you. This warranty provides specific  
legal rights and you may have other rights which vary from state  
to state.  
E. To obtain service from an Authorized Mackie Service Center:  
1. Call Mackie Service at 800/898-3211, 7 AM to 5 PM  
Monday through Friday (Pacific Time) to get: 1) The name and  
address of your nearest Authorized Mackie Service Center  
and 2) A return authorization (RA). You must have an RA  
number before taking your unit to a service center.  
2. Make sure that you have a copy of your sales receipt from  
the store where you bought the product. If you can’t find it,  
the Authorized Service Center may charge you for repairs  
even if your Mackie product is still covered by the Three-Year  
Limited Warranty.  
3. Make sure that the problem can be duplicated. If you bring  
your Mackie product to an Authorized Service Center and  
they can’t find anything wrong with it, you may be charged a  
service fee.  
31  
Owner’s Manual  
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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  
Download from Www.Somanuals.com. All Manuals Search And Download.  

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