Mackie Musical Instrument Onyx 80 User Manual

PREMIUM LIVE ANALOG MIXERS

w/PERKINS EQ & ONYX MIC PREAMPS

O W N E R ’ S M A N U A L

Download from Www.Somanuals.com. All Manuals Search And Download.

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 80 Series Features ........................................................................................10

Channel Strips...........................................................................................................................................10

Auxiliary Section......................................................................................................................................14

Group Section ...........................................................................................................................................16

Metering, Matrix, and Power LEDs...................................................................................................... 17

TALKBACK Section, MUTE GROUPS, and MONO OUT..................................................................19

MAIN MIX and PHONES/MONITOR Section .................................................................................20

Rear Panel................................................................................................................................................... 21

Appendix A: Service Information........................................................................25

Warranty Service......................................................................................................................................25

Troubleshooting .......................................................................................................................................25

Repair ......................................................................................................................................................... 26

Appendix B: Connections ......................................................................................27

Appendix C: Technical Info .................................................................................. 30

Onyx 80 Series Speciﬁcations ............................................................................................................. 30

Onyx 80 Series Dimensions...................................................................................................................32

Onyx 80 Series Block Diagram.............................................................................................................33

Onyx 80 Series Gain Structure Diagram............................................................................................34

Onyx 80 Series Limited Warranty ......................................................................35

Don’t forget to visit our website at www.mackie.com for more

information about this and other Mackie products.

Part No. 0012749-00 Rev. A 1/05

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Introduction

Thank you for choosing a Mackie Onyx 80 Series

professional live mixing console. The Onyx 80 Series of

mixers feature all-new analog circuitry and the latest

technologies for live sound reinforcement in a durable,

road-worthy package.

HOW TO USE THIS MANUAL

We know that many of you can’t wait to get your new

mixing console hooked up, and you’re probably not going

to read the manual ﬁrst (sigh!). So the next section 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 80 Series mixing consoles come in four

sizes: the 24-channel Onyx 2480, 32-channel Onyx 3280,

40-channel Onyx 4080, and the ﬂagship 48-channel Onyx

4880. The master section and channel strip conﬁgura-

tion are the same for all four models, the only difference

being number of channels.

Then, when you have time, read the Features Descrip-

tion section. This describes every knob, button, and con-

nection point on the Onyx 80 Series, roughly following

the signal ﬂow through the mixer.

The Onyx 80 Series consoles are equipped with 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 pre’s

are better than ever, with speciﬁcations rivaling expen-

sive stand-alone mic preampliﬁers.

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 mono channel strip features an individual phan-

tom power switch, low-cut ﬁlter, polarity switch, pre-EQ

channel insert, and an all new four-band EQ design with

sweepable mids and EQ bypass switch.

This icon marks information that is

critically important or unique to the

Onyx 80 Series. For your own good,

read them and remember them. They

will be on the ﬁnal test.

All mono channels have eight Aux sends with a stereo-

link function (can provide up to four IEM mixes), Pan,

Mute and Mute Group assign, PFL Solo, 100 mm Fader,

Group and Main Mix assign, and four signal-level indica-

tors. In addition, balanced direct outputs are provided

on DB-25 connectors (eight channels per connector) for

multitrack recording.

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.

The master section features eight stereo Aux inputs,

eight Master Aux sends, eight Group Masters, an Aux/

Group Flip function, a 10x2 Matrix, a Phones/Monitor

section, and a Talkback section with routing switches

that allow you to communicate through the Aux Sends,

Group outputs, or the L/R mix.

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.

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.

Please write your serial number here for future

reference (i.e., insurance claims, tech support,

return authorization, etc.)

ARCANE MYSTERIES ILLUMINATED

Purchased at:

“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.

Date of purchase:

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

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

isn’t, you might have to readjust these levels during

the middle of the set.

Getting Started

READ THIS PAGE!!

3. Adjust the channel’s GAIN [5] control so that the

LEDs on the Left Solo meter stay around “0” and

never go higher than “+7.”

Even if you’re one of those people

who never read manuals, all we ask

is that you read this page now before

you begin using the Onyx 80 Series.

You’ll be glad you did!

4. If you’d like to apply some EQ, do so now and return

to step 3. Remember to push in the EQ IN/OUT

[12] button or the EQ controls won’t do anything.

5. Disengage that channel’s PFL solo switch.

Zero the Controls

6. Repeat for each channel.

1. Turn down the channel GAIN, AUX, and Fader con-

trols, and center the channel EQ and PAN controls.

2. Set all push button switches to their “out” positions.

Instant Mixing

3. In the Master section, turn all the rotary knobs

1. Leave the microphone plugged into channel 1 and

connect a keyboard, guitar or other instrument to

channel 2. Be sure to “Set the Levels” for channel 2

as described above.

“down,” the switches “out,” and the faders down.

4. Turn the POWER switch off.

2. To get sound out of the speakers, push in the MAIN

MIX assign switch [21] next to the faders on channels

1 and 2, turn up channel 1 and 2 faders [33] to the

“U” mark and slowly turn up the left and right MAIN

MIX [60] faders to a comfortable listening level.

Connections

If you already know how you want to connect the Onyx

80 Series mixing console, 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. You’re 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 chan-

nel 1’s MIC or LINE input [67/68]. If it’s a line-level

input, push in the LINE [2] switch.

Other Nuggets of Wisdom

2. Plug in the detachable linecord, connect it to an

AC outlet, and turn on the Onyx 80 Series’ POWER

switch [85].

•

For optimum sonic performance, the channel and

MAIN MIX faders should be set near the “U” (unity

gain) markings.

3. Connect cords from the Onyx 80 Series’ MAIN OUTS

[79] (XLR connectors or 1/4" TRS connectors on

the rear panel) to your ampliﬁer.

Always turn the MAIN MIX faders, GROUP faders,

and MONITOR knob down before making connec-

tions to and from your Onyx 80 Series.

4. Hook up speakers to the amp and turn it on. If the

ampliﬁer has level controls, set them however the

manufacturer recommends (usually all the way up).

When you shut down your equipment, turn off the

ampliﬁers ﬁrst. When powering up, turn on the

ampliﬁers 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, it’s not even neces-

sary to hear what you’re doing at the outputs of the

mixer. If you want to listen while you work, plug head-

phones into the PHONES jack [65] on the front panel,

then set the PHONES knob [64] about one-quarter of

the way up and the SOLO LEVEL [61] about halfway up.

Save the shipping box! You may need it someday,

and you don’t want to have to pay for another one.

That’s it for the “Getting Started” section. Next comes

the “Hookup” section that shows you some typical ways

that you might use the Onyx 80 Series in real applica-

tions. After that, 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 it’s there if

The following steps must be performed one channel at

a time.

1. Push in the channel’s PFL [22] solo switch.

2. Play something into the selected input. This could

be an instrument, a singing or speaking voice, or

you have any questions.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

This hookup diagram demonstrates how

you can do a live multitrack recording

using the DIRECT OUTs. The DIRECT

OUTs provide an analog balanced direct

output for each channel, post-EQ.

Hookup Diagrams

Aux Send 1 is used for stage monitors,

and Aux Sends 3 and 4 are a stereo pair

driving an IEM system. Aux Sends 5/6

and 7/8 could provide two more stereo

sends for IEM systems.

Electric Guitar

Mono Compressor

Out

Vocal Mics

Bass Guitar

Out

Stereo Compressor

Out

Electric Guitar

10 22

11 23

12 24

DI Boxes

Stage Monitors

Mono Power

Amplifier

Mono EQ

Stereo Guitar Effects

Drum

Machine

Keyboard or other

line level input

Stereo In-Ear Monitor

System (IEM)

Multi Effect

Processor

Stereo Compressor

Out

Stereo Recorder

In (record)

Stereo EQ

Stereo Power

Amplifier

Headphones

Right PA Speaker

Left PA Speaker

SELECT

Digital Multitrack

Hard Disk Recorder

Onyx 2480 Live Mix and Multitrack Recording

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Electric Guitar

Mono Compressor

Out

Vocal Mics

Bass Guitar

Out

Stereo Compressor

Out

Electric Guitar

10 22

11 23

12 24

DI Boxes

Stereo Guitar Effects

Digital Delay

Drum

Machine

Keyboard or other

line level input

Multi Effect

Processor

Powered

Studio Monitors

for Studio

Headphones

for Studio

Powered

Studio Monitors

for Control Room

Headphone Distribution

Amp

SELECT

Digital Multitrack

Hard Disk Recorder

The DIRECT OUTs provide an analog balanced direct output for each chan-

nel, tapped after the GAIN control and EQ controls. The Main Outs are used for

monitors in the studio, and the Monitor Outs are used for monitors in the control

room. In addition, the Phones Out drives a headphone distribution ampliﬁer to

provide individual monitor level control for the talent.

Onyx 2480 Multitrack Recording in a Studio (Tracking)

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Electric Guitar

Mono Compressor

Out

Vocal Mics

Bass Guitar

Out

Stereo Compressor

Out

Electric Guitar

10 22

11 23

12 24

DI Boxes

Stereo Guitar Effects

Multi Effect

Processor

Drum

Machine

Keyboard or other

line level input

Headphones

Powered

Studio Monitors

for Studio

Audio I/O for Workstation

Powered

Studio Monitors

for Control Room

To Desktop

Laptop Computer

In this hookup diagram, the tracking channels are routed to the Group 1-8 outputs.

These are connected to the analog audio interface to your DAW or laptop. A 2-track

return is provided by the DAW (or laptop) to Stereo Aux Input 4 on the Onyx 2480 for

playback of the master mix.

Onyx 2480 Computer Recording

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Electric Guitar

Mono Compressor

Out

Vocal Mics

Bass Guitar

Out

Stereo Compressor

Out

Electric Guitar

10 22

11 23

12 24

DI Boxes

Stage Monitors

Mono Power

Amplifier

Mono EQ

Stereo Guitar Effects

Stage Monitors

Mono Power

Amplifier

Mono EQ

Drum

Machine

Keyboard or other

line level input

Stereo In-Ear Monitor

System (IEM)

Assistive Listening

System

Stereo Compressor

Out

Headphones

Mono EQ

Stereo EQ

Stereo Recorder

In (record)

Power Amp

Mono Mode

Power Amp

Mono Mode

Power Amp

Mono Mode

Stereo Power

Amplifier

Mono EQ

Power Amp

Mono Mode

Right PA Speaker

Center PA Speaker

Left PA Speaker

Left and Right Chapel Speakers

(Overflow)

SELECT

Nursery Zone Speaker

Digital Multitrack

Hard Disk Recorder

In a House of Worship application, the Onyx 80 Series provides plenty of Aux Sends

for stage monitors, stereo in-ear monitoring, and assistive listening systems. The

MONO output is used for the center PA speaker located between the Left and Right

speakers. The 1/4-inch Main Outputs provide a feed to the chapel for overﬂow needs.

The Matrix A output provides a custom mix for a mono recording and the Matrix B

output provides a custom mix for the nursery.

Onyx 2480 House of Worship

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Onyx 80 Series Features

Channel Strips

3. Low-Cut Switch

Depending on the model that you purchased, there are

24, 32, 40, or 48 channel strips. Each channel has a mic

and line input connector and an insert jack for connect-

ing an external signal processor.

The Low-Cut switch, often referred to as a high-pass

ﬁlter, cuts bass frequencies below 100 Hz at a rate of 18

dB per octave.

We recommend that you use the Low-Cut ﬁlter on

every microphone application except kick drum, bass

guitar, bassy synth patches, or recordings of earth-

quakes. 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 the Low-Cut ﬁlter can help reduce the possibility

of feedback in live situations and it helps to conserve

ampliﬁer power.

1. 48V Phantom Power Switch

Most professional condenser mi-

crophones require phantom power,

which is a low-current DC voltage

delivered to the microphone on

pins 2 and 3 of the XLR microphone

48V

LINE

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 active on that channel.

Another way to use the Low Cut ﬁlter

is in combination with the LOW EQ on

vocals during live performances. Many

times, bass shelving EQ can really ben-

eﬁt voices. Trouble is, adding LOW EQ

100Hz

-^U20dB

+40dB

Dynamic microphones, like

Shure’s 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 micro-

phones. Check the manual for your

microphone to ﬁnd out for sure

whether or not phantom power can

damage it.

GAIN

also boosts stage rumble, mic handling

HIGH

clunks, and breath pops. Low Cut removes all those prob-

lems so you can add LOW EQ without losing a woofer.

12 kHz

-15 +15

+15

Here’s what the

combination of LOW EQ

and Low Cut looks like

in terms of frequency

+10

FREQ

400Hz 8kHz

–5

curves.

HIGH

MID

–10

–15

-15 +15

20Hz

100Hz

1kHz

10kHz 20kHz

Low Cut with Low EQ Boosted

400

FREQ

Note: Be sure the MAIN MIX

faders [60] are turned down when

connecting microphones to the

MIC Inputs, especially when phan-

tom power is turned on, to prevent

pops from getting through to the

speakers.

100

4. Polarity Switch

LOW

MID

Pushing in this switch simply reverses the polarity of the

signal. This provides an easy way to correct a microphone

or line source whose polarity is opposite from the other

microphones, either from a miswired cable or from not

following the AES standard for Pin 2/Pin 3.

-15 +15

LOW

80 Hz

-15 +15

OUT

5. GAIN Control

If you haven’t already, please read “Set the Levels” on

page 5.

2. MIC/LINE Switch

This button switches between the MIC and LINE in-

puts. When the button is out (MIC), the XLR MIC input

is used and the LINE input is disconnected. When the

button is pushed in, the 1/4" input is used and the XLR

MIC input is disconnected.

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.

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.

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

When connected to the 1/4" jack, there is 20 dB of

the male vocal range and the fundamentals of some lower

attenuation all the way down, and 40 dB of gain fully up, instruments (guitar, lower brass).

with a “U” (unity gain) mark at about 10:00.

10. LOW MID FREQ

6. HIGH EQ

+15

This knob ranges from

+15

+10

This control gives you

up to 15 dB boost or cut

at 12 kHz, and it is also

ﬂat at the center detent.

Use it to add sizzle to

cymbals, and an overall

sense of transparency or

edge to the keyboards,

vocals, guitar, and bacon

100 Hz to 2 kHz and

determines the center

frequency for the LOW

MID EQ ﬁlter. This allows

you to zero in on the

precise narrow band of

frequencies you want to

have affected by the LOW

MID EQ.

+10

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

–15

20Hz

100Hz

1kHz

10kHz 20kHz

Mid EQ Freq Sweep

High EQ

frying. Turn it down a little to reduce sibilance, or to

hide tape hiss.

11. LOW EQ

+15

This control gives you

up to 15 dB of boost or

cut at 80 Hz. The circuit

is ﬂat (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.

7. HIGH MID EQ

+10

+15

Short for “midrange,”

this knob provides 15 dB

of boost or cut centered

at the frequency deter-

mined by its FREQ knob

(see HIGH MID FREQ

next). Midrange EQ is

often thought of as the

+10

–5

–10

–5

–15

–10

20Hz

100Hz

1kHz

10kHz 20kHz

–15

Low EQ

20Hz

100Hz

1kHz

10kHz 20kHz

High Mid EQ

most dynamic because the frequencies that deﬁne any

particular sound are almost always found in this range.

The HIGH MID EQ range (400 Hz to 8 kHz) includes

the female vocal range as well as the fundamentals and

harmonics for many instruments.

Note: Used in conjunction with the Low Cut switch,

you can boost the LOW EQ without injecting tons of

infrasonic debris into the mix.

12. EQ IN/OUT Switch

8. HIGH MID FREQ

This is a true hardware bypass of the Perkins EQ cir-

cuitry 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 EQ’d

signal and the signal without EQ.

+15

This knob ranges from

400 Hz to 8 kHz and

determines the center

frequency for the HIGH

MID EQ ﬁlter. This allows

you to zero in on the

+10

–5

–10

–15

precise narrow band of

We have completely redesigned the

EQ circuits in the Onyx Series of

mixers, based on the designs of Cal

20Hz

100Hz

1kHz

10kHz 20kHz

frequencies you want

to have affected by the

HIGH MID EQ.

Mid EQ Freq Sweep

Perkins, an industry-leader in audio

engineering for over three decades

and long-time Mackie collaborator.

9. LOW MID EQ

This “neo-classic” design 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!).

+15

This is a second mid-

range EQ control that pro-

vides 15 dB of boost or cut

centered at the frequency

determined by its FREQ

knob. It extends down to

100 Hz, which includes

10kHz 20kHz

+10

–5

The 4-band equalization has LOW shelving at 80 Hz,

LOW MID peaking, sweepable from 100 Hz to 2 kHz on

the mono channels, HIGH MID peaking, sweepable from

–10

–15

20Hz

100Hz

1kHz

Low Mid EQ

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

400 Hz to 8 kHz on the mono channels, and HIGH shelv-

ing at 12 kHz. “Shelving” means that the circuitry boosts

or cuts all frequencies past the speciﬁed frequency. For

example, rotating the LOW EQ knob 15 dB to the right

boosts bass frequencies below 80 Hz and continuing on

down to the lowest note you ever heard. “Peaking” means

that the frequencies around the center frequency are

less affected by the EQ the further away they are.

AUX

15. STEREO Switch

SEND

When this switch is pushed in,

the associated odd/even pair of

Aux sends become a stereo send

and pan control, respectively. For

example, if you press the STEREO

switch for Aux 1 and 2, the Aux 1

knob controls the signal level to

both Aux 1 and Aux 2, and the Aux

2 knob controls the panning of the

signal between Aux 1 and 2. This

is useful for providing a stereo mix

for IEM (in-ear monitor) systems.

PRE

O O MAX

STEREO

13. AUX Sends

PRE

O O MAX

These tap a portion of each channel’s signal out to

either an effects processor or for stage monitoring. The

AUX Send levels are controlled by the channel’s AUX 1-8

knobs, and by the AUX MASTER 1-8 knobs [37].

STEREO

16. PAN

These are more than just effects and monitor sends.

They can be used to create stereo in-ear monitor mixes,

generate separate mixes for recording, for another zone,

or “mix-minuses” for broadcast.

PRE

O O MAX

PAN adjusts the amount of chan-

nel signal sent to the left versus the

STEREO

right outputs

With the PAN knob hard left,

the signal feeds the MAIN LEFT

(and GROUP 1, 3, 5, and 7,

depending on the setting of the

GROUP ASSIGN switches). With

the knob hard right, the signal

feeds the MAIN RIGHT (and

GROUP 2, 4, 6, and 8).

14. PRE Switch

PRE

O O MAX

This switch is used to select whether the Aux send

signal is pre-fader or post-fader. When the PRE switch

is up, the Aux send signal is post-fader, which is usually

used when you are using the Aux send to go to an effects

processor. This way, when fader changes are made, the

“wet” signal going to the effects processor moves up and

down along with the “dry” signal, maintaining a balance

between them.

STEREO

PAN

Constant Loudness

MUTE GROUP

The Onyx

80 Series

PAN control

employs a

design called

When the PRE switch is pushed in, the Aux send signal

is pre-fader, which is usually used for sending to monitors

(stage monitor wedges or IEM, in-ear monitor systems).

This way, when changes are made to fader levels in the

front-of-house mix, it doesn’t affect the monitor mix.

MUTE

“Constant

Loudness.” If you have a channel

The pre-fader Aux Sends are post-EQ by default. How-

ever, an internal jumper is provided on each channel to

change the pre-fader Aux Sends to pre-EQ, if desired.

This requires some soldering skills, so contact Tech Sup-

port for information on how to access the pre/post-EQ

jumpers for the Aux Sends.

panned hard left (or right) and then pan to the center,

the signal is attenuated 3 dB to maintain the same ap-

parent loudness. Otherwise, it would make the sound

appear much louder when panned center.

IN/OUT

ASSIGN

PAN

MUTE

FADER

INPUT

GAIN

POLARITY

LOW CUT

INSERT

POST-

MUTE

PRE-EQ

DIRECT

OUT

AUX SEND 1

KNOB

INTERNAL JUMPER

PRE/POST

POST-EQ

INTERNAL

JUMPER

"POST"

SIGNAL

TO AUX SEND 1

BUS

AUX SEND 2

KNOB

TO AUX SEND 2

BUS

"PRE" SIGNAL

Aux "Pre vs. Post"

Signal Flow Diagram

TO AUX SENDS 3-8

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

with the channel’s PAN knob, they are used to deter-

mine the destination of the channel’s signal.

17. MUTE GROUP Assign Switches

Use these switches to assign the channel to one or

more mute groups. The master mute groups [54] are lo-

cated in the Master section next to the Talkback section.

When a master mute group switch is pressed, all the

channels assigned to that mute group are muted. This

makes it easy to mute a number of channels all at once,

for example, all the drum mics or all the vocal mics.

With the PAN knob [12] at the center detent, the left

and right sides receive equal signal levels (GROUPS 1-2,

3-4, 5-6, 7-8, and MAIN MIX L-R). To feed only one side

or the other, turn the PAN knob accordingly.

If you’re doing a mixdown to a 2-track, for example,

simply engage the MAIN MIX switch on each channel

that you want to hear, and they’ll be sent to the MAIN

MIX bus. If you want to create a subgroup of certain

channels, engage either the 1-2, 3-4, 5-6, or 7-8 switches

instead of the MAIN MIX, and they’ll be sent to the ap-

propriate Group faders. From there, the groups can be

18. MUTE

Press this switch to mute the individual channel. This

disconnects the channel’s signal from all the Groups,

the Main Mix, and Aux Send buses (pre* and post-

fader). You can still solo the channel (PFL) when the

MUTE switch is pushed in.

sent back to the MAIN MIX (using

the MAIN MIX assign switches [41]

above the Group faders), allowing

you to use the Group faders as a

master control for those channels.

PAN

MUTE GROUP

* If the pre-fader Aux Send’s internal jumper is wired for pre-EQ

[14], the MUTE switch will not affect the PRE Aux Send.

If you’re creating new tracks or

bouncing existing ones, you’ll also

use the GROUP ASSIGN switches,

but not the MAIN MIX switch. Here,

you don’t want the subgroups sent

back into the MAIN MIX bus, but

sent out, via the GROUP SEND jacks

[74], to your multitrack inputs.

However, if you’re printing tracks

via the DIRECT OUTS [70], the

channel assignment switches don’t

matter because the DIRECT OUTS

come before the ASSIGN switches.

19. Channel Fader

MUTE

The fader controls the channel’s level…from off to unity

gain at the “U” marking, on up to 10 dB of additional gain.

“U” Like Unity Gain

Mackie mixers have a “U” symbol

on almost every level control. This

“U” stands for “unity gain,” meaning

no change in signal level. Once you

have adjusted the input signal to

+10

-20

line-level, you can set every control

at “U” and your signals will travel through the mixer at

optimal levels. What’s more, all the labels on our level

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.

22. PFL SOLO Switch

GROUP

ASSIGN

This handy switch allows you to

hear signals through your head-

phones or monitor outputs without

having to route them to the MAIN or

GROUP 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.

1-2

3-4

5-6

7-8

20. Signal Level LEDs

These LEDs indicate the channel’s signal level after

the GAIN and EQ controls, but just prior to the chan-

nel’s fader. So even if the fader is turned down, you can

see if a signal is present.

O O

MAIN

MIX

If you’ve followed the “Set the Levels” procedure, the

–20 and 0 LEDs should light frequently, the +10 LED

should light occasionally, and the OL (Overload) LED

should not light at all. If the OL LED is blinking fre-

quently, the signal is probably distorted from overdriving

the input. Either turn down the GAIN control or turn

down the signal at its source.

PFL

The Onyx 80 Series has two solo

modes. PFL (Pre-Fader Listen) is

the default solo mode, and the mode used for soloing

individual channels and the stereo Aux Inputs. AFL (Af-

ter-Fader Listen) is activated whenever an AFL switch

is pressed on an Aux Send, Matrix, or Group.

PFL solo mode always overides any AFL solo mode.

The Rude Solo LEDS below the SOLO meters indicate

which solo mode is active.

21. GROUP and MAIN MIX ASSIGN Switches

Alongside each channel fader are ﬁve buttons referred

to as channel assignment switches. Used in conjunction

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Soloed channels are sent to the PHONES output,

MONITOR outputs, and SOLO Meters. PFL mode (Pre-

Fader Listen) sends the channel’s signal after the GAIN

and EQ controls, but before the channel fader, to the

PFL solo bus. AFL mode (After-Fader Listen), sends the

signal post-fader, making it ideal for mixdown soloing.

23. GAIN Control

If you haven’t already, please read “Set the Levels” on

page 5.

The GAIN control adjusts the input sensitivity of the

stereo line inputs. This allows the signal from the outside

world to be adjusted to optimal internal operating levels.

VERY IMPORTANT: Remember, PFL

mode taps the channel signal before

the fader. If you have a channel’s

fader set way below “U” (unity gain),

PFL solo won’t know that and will

There is 20 dB of attenuation with the knob turned all

the way down, ramping up to 20 dB of gain fully up, with

a “U” (unity gain) mark at 12:00.

send a unity gain signal to the MONITOR OUT, PHONES

output, and meter display. That may result in a startling

level boost at these outputs when switching from AFL to

PFL mode.

24. HIGH EQ

This control gives you up to 15

dB boost or cut above 12 kHz, and

GAIN

it is also ﬂat at the center detent.

-20dB +20dB

Use it to add sizzle to cymbals, and

an overall sense of transparency

or edge to the keyboards, vocals,

guitar, and bacon frying. Turn it

down a little to reduce sibilance,

or to hide tape hiss.

Auxiliary Section

HIGH

12kHz

This section includes the AUX MASTERS (Sends) and

the STEREO AUX INPUTS. These can be a bit confus-

ing to the uninitiated, so here’s the whole idea behind

aux sends and inputs: sends are outputs and inputs are

inputs. AUX SENDs tap signals off the channels, via the

AUX knobs [13], mix these signals together, then send

them out the AUX SEND jacks [72].

-15 +15

HIGH

MID

2.5kHz

-15 +15

LOW

25. HIGH MID EQ

MID

400Hz

-15 +15

Short for “midrange,” this knob

provides 15 dB of boost or cut at

2.5 kHz. Midrange EQ is often

thought of as the most dynamic

because the frequencies that

deﬁne any particular sound are

almost always found in this range.

The HIGH MID EQ frequencies

include the female vocal range

as well as the fundamentals and

harmonics for many instruments.

LOW

80Hz

These outputs are fed to the inputs of an external

processor like a reverb or digital delay. From there, the

mono or stereo outputs of this external device are fed

back to the mixer’s STEREO AUX INPUT jacks [71].

These signals are sent through the AUX INPUT faders

[33], and ﬁnally delivered to a GROUP [43] and/or

the MAIN MIX [60], depending on the ASSIGN [35]

switches.

-15 +15

AUX

SEND

O O MAX

3-4

STEREO

BAL

So, the original “dry” signals go from the channels to

the MAIN MIX and the affected “wet” signals go from

the AUX INPUTS to the MAIN MIX, and once mixed

together, the dry and wet signals combine to create a

glorious sound!

STEREO

26. LOW MID EQ

MUTE

This is a second midrange EQ

control that provides 15 dB of boost

or cut centered at 400 Hz. This

includes the male vocal range and

the fundamentals of some lower

instruments (guitar, lower brass).

The AUX SENDS can also be used to provide another

mix for stage monitors, for example. In this case, the

AUX INPUTS aren’t used to return the signal. Instead,

they can be used as additional stereo inputs.

+10

-20

Stereo Aux Input Section

27. LOW EQ

GROUP

ASSIGN

The stereo Aux Inputs can be used as mono or stereo

line-input channel strips, or to return the signal from

an external effects processor connected to an Aux Send.

These versatile channel strips are nearly as full-featured

as the mono channel strips.

This control gives you up to 15

dB of boost or cut below 80 Hz. The

circuit is ﬂat (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.

7-8

MAIN

MIX

O O

PFL

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

ance control on your home stereo (panning left turns

down the right channel, and panning right turns down

the left channel).

28. AUX SEND 1 and 2 (Aux Inputs 1-4)

AUX SEND 5 and 6 (Aux Inputs 5-8)

These tap a portion of each channel’s signal out to ei-

ther an effects processor or for stage monitoring. These

go to the same Aux Send buses as the mono channel Aux

Sends. The Aux Input Aux Sends are always pre-fader.

32. MUTE

Press this switch to mute the channel. This discon-

nects the channel’s signal from all the Groups, the Main

Mix, and Aux Send buses. You can still solo the channel

in PFL mode when the MUTE switch is pushed in.

Aux Inputs 1-4 send their signals to Aux 1 and Aux 2.

Aux Inputs 5-8 send their signals to Aux 5 and 6.

FEEDBACK LOOP WARNING: It is

common to use an Aux Send to route

signals to an external processor, and

33. Stereo Aux Input Fader

The fader controls the stereo channel’s level, from

off to unity gain at the “U” marking, on up to 10 dB of

additional gain.

then return the signal from the pro-

cessor via the Aux Inputs. Since the

Aux Inputs on the Onyx 80 Series have Aux Sends of their

own, you could accidentally route the Aux Input to an

Aux Send that is being returned via that same Aux Input.

This will cause a feedback loop, characterized by a LOUD

howl or screech through the sound system, followed by

howls of discontent from the audience. Be careful with

the Aux Sends on the Aux Inputs!

34. Signal Level LEDs

These LEDs indicate the channel’s signal level after

the GAIN and EQ controls, but just prior to the chan-

nel’s fader. So even if the fader is turned down, you can

see if a signal is present.

29. AUX 3-4 Switch (Aux Inputs 1-4)

AUX 7-8 Switch (Aux Inputs 5-8)

If you’ve followed the “Set the Levels” procedure, the

–20 and 0 LEDs should light frequently, the +10 LED

should light occasionally, and the OL (Overload) LED

should not light at all. If the OL LED is blinking fre-

quently, the signal is probably distorted from overdriving

the input. Either turn down the GAIN control or turn

down the signal at its source.

For Aux Inputs 1-4:

Press this switch to send the Aux Input signal to the

Aux 3 and 4 buses instead of the Aux 1 and 2 buses.

The Aux 1 and 2 knobs for that channel strip suddenly

become Aux 3 and 4 knobs!

35. GROUP and MAIN MIX ASSIGN Switches

For Aux Inputs 5-8:

Alongside each channel fader are two buttons referred

to as channel assignment switches. Used in conjunction

with the channel’s BALANCE knob, they are used to

determine the destination of the channel’s signal.

Press this switch to send the Aux Input signal to the

Aux 7 and 8 buses instead of the Aux 5 and 6 buses.

The Aux 5 and 6 knobs for that channel strip suddenly

become Aux 7 and 8 knobs!

The Aux Inputs are assignable to GROUPS 7-8 and

the MAIN MIX. With the BALANCE knob [31] at the

center detent, the left and right stereo signal is equally

balanced. To feed only one side or the other, turn the

BALANCE knob accordingly.

30. STEREO Switch

When this switch is up, both Aux Sends are fed a

mono sum of the stereo channel’s signal (L+R).

When this switch is pushed in, the two Aux sends

become a stereo send, with Aux 1 sending the right

signal and Aux 2 sending the left signal. The same thing

applies when Aux 3-4 is selected for Aux Inputs 1-4, and

for Aux 5 and 6 (and Aux 7-8) for Aux Inputs 5-8.

36. PFL Solo Switch

Like the PFL switch on the mono channels, this

switch allows you to hear signals through your head-

phones or monitor outputs without having to route them

to the MAIN or GROUP mixes. Since this is Pre-Fader

Listen, you can listen to the stereo Aux Input even when

the Aux Input fader is turned down. Unlike the mono

channel PFL, the Aux Input PFL is a stereo signal (post-

balance control).

This is useful for providing a stereo mix for IEM (in-

ear monitor) systems.

31. BALANCE

BALANCE adjusts the amount of channel signal sent

to the left versus the right outputs. On the stereo Aux

Input channels, the BALANCE knob works like the bal-

PFL solo mode always overides AFL solo mode. The

Rude Solo LEDS below the SOLO meters indicate which

solo mode is active.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Remember, PFL solo mode always overides AFL solo

mode. If you engage a PFL solo switch on a mono or

stereo channel, the AFL solo is disconnected from the

headphones and monitor outputs and replaced with the

PFL signal. The Rude Solo LEDS below the SOLO meters

indicate which solo mode is active.

Master Aux Send Section

37. AUX 1 -8 MASTERS

The AUX MASTERS provide overall control over the

AUX SEND levels, just before they are delivered to the

AUX SEND outputs [72]. These knobs go from off (∞)

to +15 dB when turned all the way up.

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.)

Group Section

There are eight group masters (or submasters, if you

prefer) that feed the eight group sends [74].

40. PAN

AUX

38. MUTE

Note: The Group PAN control works only when the

MAIN MIX switch is engaged (see next).

MUTE

Press this switch

to mute the Aux

Send output. When

the MUTE switch is

pushed in on an Aux

Send, you can still

solo the Aux Send

(see AFL Solo Switch

next).

PAN adjusts the amount of signal sent to the left

versus the right outputs.

O O +15

GAIN

O O +15

GAIN

With the PAN knob hard left, the signal feeds the

MAIN LEFT output, and with the knob hard right, the

signal feeds the MAIN RIGHT output.

AFL

STEREO

GROUP/AUX

FLIP

GROUP/AUX

FLIP

41. MAIN MIX Assign Switch

Push in this switch to send the Group signal to the left

and right MAIN OUTS. When the PAN control is centered,

the signal is sent equally to the left and right outputs.

39. AFL Solo

Switch

MAIN

MIX

MAIN

MIX

PAN

The AFL switch

allows you to hear

the Aux Send signal

through your head-

phones or monitor

outputs. This comes

after the Aux Send

GAIN control, so you

can hear the relative

signal level on each

Aux Send.

The signal sent to the MAIN OUTS is after the Group

Insert, Fader, and MUTE switch.

GROUP

MUTE

42. MUTE Switch

Press this switch to mute the Group output. When the

MUTE switch is pushed in on a Group, you can still solo

the Group signal (see AFL Solo Switch [39] ahead).

+10

43. GROUP Fader

-20

When you engage

the AFL switch on two

consecutive odd/even

Aux Sends (i.e., 1 and

2, 3 and 4, etc.), the

soloed signal appears

in stereo in the head-

phones and monitor

outputs. This is useful

when you are using

a pair of Aux Sends

in stereo to feed an

in-ear monitoring

This fader controls the Group’s signal level, from off to

unity gain at the “U” marking, on up to 10 dB of addi-

tional gain.

44. Signal Level LEDs

These LEDs indicate the Group’s signal level after

the Fader and MUTE switch. So if the MUTE switch is

pushed in or the Faders are down, the Signal Level LEDs

won’t light.

O O

STEREO

system.

AFL

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

45. AFL Solo Switch

Metering, Matrix, and Power

LEDs

The AFL switch allows you to hear the Group signal

through your headphones or monitor outputs. This

comes after the Group Fader and before the MUTE

switch, so you can hear the relative signal level on each

Group even when they are muted.

47. POWER Indicators

These four LEDs indicate the status of the internal

power supply voltages. The +15V and –15V supplies

power the audio circuits, the +48V is the phantom

power applied to the XLR MIC inputs (when the 48V

switch is pushed in on the channel strips), and the –12V

supply powers some internal relay circuits and the lamp

connectors.

When you engage the AFL switch on two consecutive

odd/even Groups (i.e., 1 and 2, 3 and 4, etc.), the soloed

signal appears in stereo in the headphones and moni-

tor outputs. This is useful when you are using a pair

of Group Sends in stereo to feed an in-ear monitoring

system.

When all four LEDs are lit, you know that the internal

power supply (or the external redundant power supply,

if connected) is operating correctly.

Remember, PFL solo mode always overides AFL solo

mode. If you engage a PFL solo switch on a mono or

stereo channel, the AFL solo is disconnected from the

headphones and monitor outputs and replaced with the

PFL signal. The Rude Solo LEDS below the SOLO meters

indicate which solo mode is active.

48. SOLO Meters

POWER

+15V

-15V

+48V

+12V

The Onyx SOLO

CLIP

meters are made up of

two columns of twelve

LEDs, with three

colors to indicate dif-

ferent 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.

46. GROUP/AUX FLIP Switch

This switch “ﬂips” the controls for the Aux Sends and

the Group Sends, so that the Group Faders control the

Aux Send levels, and the Aux Send GAIN controls adjust

the Group levels. The Group signals still appear at the

GROUP SEND outputs and the Aux Send signals still

appear at the AUX SEND outputs.

0dB=0dBu

SOLO

This allows you to use the long-throw (100 mm)

Group Fader to make more precise settings for the Aux

Sends, if required.

If there are no

channels in SOLO, the

meters won’t do any-

RUDE

SOLO

PFL

AFL

The following chart shows what happens to each

control in the Aux Send and Group sections when the

GROUP/AUX FLIP Switch is pushed in:

thing. When a channel is soloed, the meters reﬂect the

program level of the selected source prior to the SOLO,

MONITOR, and PHONES [61/63/64] level knobs.

When a mono channel (or channels) is soloed, only the

left meter indicates signal, conﬁrming the monophonic

status of the soloed signal. When a stereo Aux Input is

soloed, or stereo AFL solo mode is selected, both meters

indicate the corresponding left and right signals.

With GROUP/AUX FLIP Switch Down

Aux Send Control Function

Group Control

Function

Aux Send MUTE Mutes Group Signal

Group MUTE

Group Fader

Group AFL

Mutes Aux Send Signal

Adjusts Aux Send Signal

Solos Aux Send Signal

Aux Send GAIN

Aux Send AFL

Adjusts Group Signal

Solos Group Signal

Signal Level LEDs Indicates Aux Send Signal Level

Main Mix Switch Routes Group Signal to Main Mix

Group PAN

Adjusts amount of Group Signal

to left and right Main Mix

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

49. RUDE SOLO Lights

51. MATRIX A and B Input Controls

These LEDs ﬂash on and off when a channel’s solo is

active, as an additional reminder beyond the indicating

LEDs next to each PFL or AFL button. The green LED

indicates PFL solo mode, and the amber LED indicates

AFL solo mode. If you work on a mixer that has a solo

function with no indicator lights and you happen to

forget you’re in solo mode, you can easily be tricked

into thinking that something is wrong with your mixer.

Hence, the RUDE SOLO lights. It’s especially handy at

about 3 am when no sound is coming out of your moni-

tors but your multitrack is playing back like mad.

The Matrix A and B controls allow you to create

separate mixes, or a stereo mix, from Groups 1 through

8 and the Left and Right Mix outputs. Simply adjust

the 10 input controls to create the mix you want at the

MATRIX A or B outputs.

52. MATRIX A and B MASTER Controls

Use these controls to adjust the overall signal level at

the MATRIX A and B outputs.

53. AFL Solo

Switch

50. LEFT/RIGHT Level Meters

POWER

+15V

-15V

+48V

+12V

Like the SOLO meters, the Onyx 80 Series Left and

Right Level 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.

CLIP

The AFL switch allows

you to hear the Matrix

signal through your

headphones or moni-

tor outputs. This comes

after the MATRIX MAS-

TER, so you can hear the

relative signal level of

each Matrix output.

0dB=0dBu

The 0 LED in the middle is labeled 0 dB = 0 dBu.

SOLO

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”

When you engage the

AFL switch on both MA-

TRIX A and B, the soloed

signal appears in stereo

in the headphones and

monitor outputs. This is

useful when you want to

use both Matrix outputs

to create a stereo mix.

RUDE

SOLO

PFL

AFL

MATRIX

GROUP

mixer, with +4 dBu pouring out the back will actually

read 0 VU on its meters. A “–10” mixer, 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!

GROUP

O O MAX

GROUP

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.

GROUP

Remember, PFL solo

mode always overides

AFL solo mode. If you

engage a PFL solo switch

on a mono or stereo

channel, the AFL solo is

disconnected from the

headphones and moni-

tor outputs and replaced

with the PFL signal. The

Rude Solo LEDS below

the SOLO meters indi-

cate which solo mode is

active.

GROUP

Thanks to the Onyx 80 Series’ wide dynamic range,

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 “+7.”

GROUP

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).

LEFT

RIGHT

O O MAX

MATRIX

MASTER

O O

+15

STEREO

AFL

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

TALKBACK Section, MUTE GROUPS, and MONO OUT

By the way, it is okay to have more than one destina-

54. MUTE GROUPS MASTER

tion switch pushed in at the same time. The talkback

signal will be routed to all the destinations you have

selected. But if you don’t have any of the destination

switches pushed in, the talkback signal won’t go to any

internal destination (it appears at the TALKBACK OUT

jack [77] regardless of the destination switch settings).

Remember the four MUTE GROUP [17] switches in

each channel strip, just above the channel fader and

MUTE switch? Well, these are the master switches used

to engage the four mute groups.

When a MUTE GROUP MASTER switch is pushed

in, all of the channels assigned to that mute group are

muted and their corresponding mute LEDs light. You

can engage more than one mute group at a time. If

a channel is assigned to two or more mute groups, it

remains muted as long as any one of the mute groups it

is assigned to is activated.

57. TALKBACK Switch

This is a latching switch, meaning it’s always active

when the switch is pushed in. As long as the switch is

engaged, the talkback signal is routed to the TALKBACK

OUT jack [77] and to the outputs determined by the

destination switches [56]. Push the switch again to

release it, and the talkback circuit is turned off.

Mute groups are handy for quickly turning off a num-

ber of microphones all at once; for example, all the vocal

mics during a break, or all the drum mics...just for fun.

MONO OUT Section

TALKBACK Section

In addition to the Left and Right Main Mix outputs,

the Onyx 80 Series provides an independent mono-

phonic output. The Left and Right Main Mix signals are

summed and sent to the MONO OUT [78].

The talkback feature allows the engineer to commu-

nicate with the talent either through the AUX 1-8 [72]

outputs, GROUPS 1-8 [74] outputs, or the MAIN L/R

[79] outputs. In addition, a TALKBACK LINE OUT [77]

jack is provided on the rear panel for patching into an

external intercom system. Connect an external micro-

phone to the TALKBACK MIC IN XLR [76] connector on

the rear panel.

58. MONO OUT Level Control

This controls the output level at the MONO OUT.

LEFT

59. PRE FADER

Switch

O O MAX

55. TALKBACK LEVEL

RIGHT

Use this knob to control the level of the talkback

signal being routed to the AUX, GROUP, or MAIN L/R

outputs. This also controls the talkback level for the

TALKBACK LINE OUT.

O O MAX

When this switch is

up, the Mono Out signal

contains the summed

Left and Right Main Mix

signal after the MAIN

MIX faders, so the Mono

Output is controlled by

both the MAIN MIX fad-

ers and the MONO OUT

level control.

MATRIX

MASTER

O O

+15

STEREO

You should start with the TALKBACK LEVEL control

turned down, and then slowly turn it up until you get

conﬁrmation from whoever is listening to headphones

or monitors that they can hear you. Once you have set

the level, you can leave it there for the duration of the

session (or the gig).

AFL

MUTE GROUPS

MASTER

TALKBACK

MUTE

O O MAX

LEVEL

MUTE

DESTINATION

When this switch is

pushed in, the Mono Out

signal sums the Left and

Right Main Mix signal

before the MAIN MIX

faders, so even if the

MAIN MIX faders are

turned all the way down,

you still get a signal at

the MONO OUT.

MUTE

AUX

1-2

AUX

3-4

56. TALKBACK DESTINATION Switches

AUX

5-6

AUX

7-8

MUTE

These switches route the talkback signal to various

outputs, including AUX 1-2, AUX 3-4, AUX 5-6, AUX 7-8,

GROUPS 1-8, and MAIN L/R OUTS. You might use a pair

of Aux Sends to communicate with musicians on-stage

through their monitors during a live performance. These

could be ﬂoor wedges or in-ear monitors.

GRPS

1-8

MAIN

L/R

MONO

OUT

O O MAX

PRE

FADER

TALKBACK

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

63. MONITOR Level Control

MAIN MIX and PHONES/

MONITOR Section

This controls the signal level at both the Left and

Right MONITOR OUTS [81].

60. MAIN MIX Faders

64. PHONES Level Control

These are the master faders that control the levels at

the MAIN OUTS.

This controls the signal level at the stereo headphone

output [65].

When MAIN MIX TO MON/PHONES [62] is selected in

the PHONES/MONITOR Section, the MAIN MIX fader also

controls the main mix level in the PHONES and MONI-

TOR outputs [65/81].

65. Headphone Jack

This is where you plug in your stereo headphones. It is

When the faders are fully down, the MAIN MIX is off. The

“U” marking indicates unity gain, and fully up provides 10

dB of additional gain. Typically, these faders are set near

the “U” label and left alone, but they can be used for song

fade-outs or quick system-wide mutes.

1/4" TRS stereo jack and provides the same signal that

is routed to the MONITOR outputs [81]. The volume is

controlled with the PHONES knob [64].

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

61. SOLO LEVEL

The SOLO LEVEL control is used to adjust the volume

of the solo’ed signal as it is routed to the MONITOR and

PHONES outputs. This control is independent of, and

prior to, the MONITOR and PHONES level controls.

levels may be painfully loud with some headphones.

BE CAREFUL! Always start with the PHONES level

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.”

This controls the solo signal level for both PFL and

AFL solo modes.

62. MAIN TO MON/PHONES Switch

66. Lamp Connectors

This switch routes the

MAIN

MIX

PHONES/

MONITOR

These 4-pin connectors provide +12 volts DC for

gooseneck lamps. The Onyx 2480 has two lamp connec-

tors, while the Onyx 3280, 4080, and 4880 all have three

lamp connectors. See your Mackie dealer for gooseneck

lamp recommendations (12 V lamps with 4-pin XLR-type

connectors).

stereo L/R Main Mix sig-

nal (post-fader) to both

the Monitor and Phones

outputs when there are

no solo switches en-

gaged. The L/R Main Mix

signal is overridden in

the Monitor and Phones

outputs by any PFL or

AFL solo.

SOLO

O O MAX

LEVEL

MAIN TO

MON/PHONES

O O MAX

MONITOR

Note: If a PFL solo

switch is engaged, it

overrides the AFL solo

mode, including MAIN

TO MON/PHONES.

O O MAX

PHONES

O O

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

GAIN

+20dB

-20dB +20dB

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

69. INSERT

Rear Panel

These 1/4 TRS jacks provide a send and return point

This is where all the connections are made to the

Onyx 80 Series (except the headphones and lamps).

for each channel. Use the INSERT jacks to connect

serial effects devices such as compressors, equalizers,

de-essers, or ﬁlters to each individual channel.

67. MIC Input

The INSERT points are after the GAIN, Polarity, 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.

This is a female XLR connector, which accepts a bal-

anced microphone input from almost any type of micro-

phone. The microphone preamps feature our new Onyx

design, with higher ﬁdelity and headroom rivaling any

standalone mic preamp on the market today.

Special insert cables are available, specially designed

for this kind of insert jack. They are wired as follows:

The XLR inputs are wired as follows:

Pin 1 = Shield or ground

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

SEND to processor

ring

“from tip”

(TRS plug)

tip

sleeve

this plug connects to one of the

mixer’s Channel Insert jacks.

68. LINE Input

“to ring”

RETURN from processor

This is a 1/4" TRS connector, which accepts a balanced or

unbalanced line-level input signal from almost any source.

Tip = Send (output to effects device)

Ring = Return ( input from effects device)

Sleeve = Common ground (connect shield to all

three sleeves)

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

Besides being used for inserting external devices,

these jacks can also be used as channel direct outputs;

post-GAIN, post-LOW CUT, and pre-EQ. This is an unbal-

anced direct out, in contrast to the DIRECT OUTS on

the rear panel, which are balanced direct outputs, post-

GAIN, post-INSERT, and pre-EQ.

When connecting an unbalanced signal, wire them as

follows:

Tip = Positive (+ or hot)

Sleeve = Shield or ground

CAUTION

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

SERIAL NUMBER

MANUFACTURING DATE

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS^S:^ERVICEABLE

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

NO USER

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

INSERT

LINE

MIC

DIRECT OUTS

CHAN 1-8

(BALANCED)

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Here are three ways you use the INSERT jacks:

71. STEREO AUX INPUTS 1-8

These 1/4" TRS input connectors accept balanced or

unbalanced line-level stereo signals from an external

processor or other line-level device. The stereo AUX IN-

PUTS use a technique called jack normalling. 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. 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).

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.”

72. AUX SENDS 1-8

STEREO

PLUG

These 1/4 TRS output connectors provide balanced

Channel Insert jack

or unbalanced line-level signals for connecting to the

inputs of effects devices or stage monitor ampliﬁers.

For use as an effects loop.

(TIP= SEND to effect, RING = RETURN from effect)

73. AUX SEND INSERTS

These 1/4 TRS jacks are for connecting serial effects

such as compressors, equalizers, deessers, or ﬁlters. The

insert point is after the mix amps, but before the Aux

Send Masters (and before the GROUP/AUX FLIP switch,

so the insert point only affects the Aux Send signal).

Refer to the description of the channel insert on page 21

to see how to make this connection.

70. DIRECT OUTS

Each of these DB-25 connectors provides balanced

direct outputs for eight channels. They are designed to

be connected directly to a recorder’s analog inputs, and

use the TASCAM standard pinout for analog signal con-

nections (the same standard used on the analog cards

for the Mackie D8B and Hard Disk Recorder).

74. GROUP SENDS 1-8

The signal at the DIRECT OUTS comes after the

input GAIN control, Polarity switch, Low-Cut switch,

and INSERT jack, but before the EQ. This way you can

EQ a channel 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 ﬂexibility for the

mixdown stage.

These 1/4 TRS output connectors provide balanced

or unbalanced line-level signals for connecting to the

inputs of any line-level device.

75. GROUP SEND INSERTS

These 1/4 TRS jacks are for connecting serial effects

Internal jumpers are provided to change the DIRECT

OUTS to post-EQ on a channel-by-channel basis, if

desired. This requires some soldering skills, so contact

Tech Support for information on how to access the

pre/post-EQ jumpers for the DIRECT OUTS.

such as compressors, equalizers, deessers, or ﬁlters. The

insert point is after the mix amps, but before the Group

Send Masters (and before the GROUP/AUX FLIP switch,

so the insert point only affects the Group Send signal).

Refer to the description of the channel insert on page 21

to see how to make this connection.

See Appendix B for a wiring diagram of the DIRECT OUT

connectors.

MIC

DIRECT OUTS

CHAN 1-8

(BALANCED)

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

76. TALKBACK MIC IN

80. MAIN INSERT

This is where you plug in your external talkback

microphone. This female XLR connector does not have

phantom power, so use a dynamic microphone or a self-

powered condenser microphone.

These 1/4" TRS jacks are for connecting serial effects

such as compressors, equalizers, deessers, or ﬁlters. The

insert point is after the mix amps, but before the MAIN

MIX faders. Refer to the description of the channel

insert on page 21 to see how to make this connection.

77. TALKBACK LINE OUT

81. MONITOR OUT

This 1/4" TRS output connector provides a balanced or

unbalanced line-level signal for connecting to the input

These 1/4" TRS jacks provide a balanced line-level signal

of an external intercom system or other line-level device. that can be used to provide another main mix output (with

MAIN MIX TO MON/PHONES selected in the PHONES/

MONITOR Section), or to monitor soloed channels.

78. MONO OUT

Connect these outputs to the inputs of an ampliﬁer,

powered speaker, headphone distribution ampliﬁer, or

recording device.

This male XLR output connector provides a balanced

line-level signal that is a combination of the left and right

MAIN OUT signals (L+R). You can use this for a separate

mix that doesn’t require a stereo feed, or to simply test

the monaural compatibility of your stereo mix.

82. MATRIX OUT

These 1/4 TRS jacks provide balanced line-level sig-

79. LEFT/RIGHT MAIN OUTS

nals for the MATRIX A and B mixes. These can be con-

nected to the inputs of an ampliﬁer, powered speaker,

headphone distribution ampliﬁer, or recording device.

There are two sets of outputs for the Left/Right Main

Outputs: Male XLR connectors that provide balanced

line-level signals and 1/4" TRS connectors that provide

balanced or unbalanced line-level signals. Each XLR

connector is in parallel with its corresponding 1/4" TRS

connector, and carries exactly the same signal.

83. REDUNDANT POWER SUPPLY Connector

This is where you connect the optional Onyx PS

External Redundant Power Supply. Normally, the Onyx

80 Series operates on its built-in universal power sup-

ply. With the Onyx PS connected, in the unlikely event

that the internal power supply should fail, the external

This 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 ampli-

ﬁers, powered speakers, or serial effects processor (like supply will seamlessly take over powering the Onyx 80

a graphic equalizer or compressor/limiter).

Series mixing console.

This provides an extra measure of insurance that the

show will go on.

STEREO AUX INPUT

BAL/UNBAL

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

(MONO)

AUX SEND

GROUP SEND

BAL/UNBAL

INSERT

TALKBACK

MAIN OUTS

MAIN

INSERT

MONITOR

OUT

MATRIX

REDUNDANT

POWER SUPPLY

100-240VAC

OUT

LINE

50-60Hz 240W

FUSE: 5A SLO-BLO

OUT

BAL/UNBAL

POWER

MIC

MONO

RIGHT

LEFT

(TIP=SEND

RING=RETURN)

BALANCED

BAL/UNBAL

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

84. Power Receptacle

This is a standard 3-prong IEC power connector.

Connect the detachable linecord (included in the box

with your Onyx 80 Series) to the power receptacle, and

plug the other end of the linecord into an AC outlet.

The Onyx 80 Series 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! This also means that it

is less susceptible to voltage sags or spikes, providing

greater electromagnetic isolation and better protection

against AC line noise.

85. POWER Switch

This one is self-explanatory. When the POWER switch

is turned ON, power is supplied to the Onyx 80 Series

and the four POWER LEDs on the front panel light up.

Note: If the external Redundant Power Supply is con-

nected and turned on, the unit will power up regardless

of the setting of this switch.

STEREO AUX INPUT

BAL/UNBAL

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

(MONO)

AUX SEND

GROUP SEND

BAL/UNBAL

INSERT

TALKBACK

MAIN OUTS

MAIN

INSERT

MONITOR

OUT

MATRIX

REDUNDANT

POWER SUPPLY

100-240VAC

OUT

LINE

50-60Hz 240W

FUSE: 5A SLO-BLO

OUT

BAL/UNBAL

POWER

MIC

MONO

RIGHT

LEFT

(TIP=SEND

RING=RETURN)

BALANCED

BAL/UNBAL

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix A: Service Information

•

Is the channel assigned to a bus (GROUP ASSIGN

or MAIN MIX button pushed in)?

Warranty Service

Details concerning Warranty Service are spelled out in

the Warranty section on page 35.

•

Is there something plugged into the CHANNEL

INSERT jack [63]? Try unplugging any INSERT

devices.

If you think your Onyx mixer has a problem, please

do everything you can to conﬁrm 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 it’s one of the MAIN OUTPUTS, try unplugging all

the others. For example, if it’s the 1/4 LEFT MAIN

OUT, unplug the XLR LEFT OUTPUT. If the problem

goes away, it’s not the mixer.

Troubleshooting

No Power

•

If it’s 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, it’s not the mixer.

•

Our favorite question: Is it plugged in?

Make sure the power cord is securely seated in the

IEC socket [84] 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 [85] 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.

•

Are the POWER LEDs [47] on the front panel il-

luminated? If not, make sure the AC outlet is live.

•

If possible, listen to the signal with headphones

plugged into the input source device. If it sounds

bad there, it’s not the Onyx 80 Series causing the

problem.

Are all the lights out in your building? If so, contact

your local power company to get power restored.

If the POWER LEDs are not illuminated, and you

are certain that the AC outlet is live, it will be nec-

essary to have your Onyx 80 Series serviced. There

are no user serviceable parts inside. Refer to “Repair”

at the end of this section to ﬁnd out how to proceed.

Noise/Hum

•

Turn down the AUX INPUT faders [33]. If the noise

disappears, it’s coming from whatever is plugged

into the AUX INPUTS [71].

Turn down each channel, one by one. If the noise

disappears, it’s coming from whatever is plugged

into that channel.

•

If you have an external Redundant Power Supply, try

using it to power the Onyx 80 Series. It is possible to

operate the Onyx 80 Series in this way, even if the

internal supply has failed.

Check the signal cables between the input sources

and the Onyx. Disconnect them one by one. When

the noise goes away, you’ll know which input source

is causing the problem.

Bad Channel

•

Is the MUTE button [18] pushed in?

Is the input GAIN control [5] 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 [19] 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 [20]

LEDs next to the channel’s fader.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Repair

Service for Mackie products is available at a factory-

authorized service center. Service for Mackie products

living outside the United States can be obtained through

local dealers or distributors.

6. Write the Service Request Number in BIG PRINT on

top of the box. Units sent to us without the Service

Request Number will be refused.

7. Tech Support will tell you where to ship the mixer

for repair. We suggest insurance for all forms of

cartage.

If your Onyx 80 Series needs service, follow these

instructions:

1. Review the preceding troubleshooting suggestions.

Please.

8. We’ll try to ﬁx the mixer within three to ﬁve

business days. Ask Tech Support for the latest

turn-around times when you call for your Service

Request Number. The mixer must be packaged in

its original packing box, and must have the Service

Request Number on the box. Once it’s repaired, we’ll

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 obtain a Service

Request Number. Have your Onyx 80 Series’ serial

number ready. You must have a Service Request

Number before you can obtain service at the

factory.

3. Keep this owner’s manual and the detachable line-

Note: You must have a sales receipt from an Autho-

rized Mackie Dealer to qualify for a warranty repair.

cord. We don’t need them to repair the mixer.

4. Pack the mixer in its original package, includ-

ing endcaps and box. This is VERY IMPORTANT.

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,

Service Request Number, and a detailed description

of the problem, including how we can duplicate it.

Need Help?

You can reach a technical support representative

Monday through Friday

from 7 AM to 5 PM PST at:

1-800-898-3211

After hours, visit www.mackie.com and click Support,

or email us at: [email protected]

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix B: Connections

XLR Connectors

1/4" TS Phone Plugs and Jacks

The mono channels use 3-pin female XLR connectors

on the MIC inputs. They are wired as follows, according

to standards speciﬁed by the AES (Audio Engineering

Society).

“TS” stands for Tip-Sleeve, the two connection points

available on a mono 1/4 phone jack or plug. They are

used for unbalanced signals.

SLEEVE

TIP

SHIELD

HOT

TIP

COLD

SLEEVE

SHIELD

1/4 TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

COLD

HOT

SHIELD

COLD

HOT

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

“TRS” stands 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

RING

TIP

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.

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

RING SLEEVE

TIP

SLEEVE RING TIP

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

TIP

SLEEVE

1/4 TRS Stereo Unbalanced Wiring:

Sleeve = Shield

Tip = Left

Ring = Right

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

•

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

MONO PLUG

unbalanced 1/4

TS phone plug. Many common adapters

Channel Insert jack

can be found at your local electronics supply store.

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

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 not necessarily tie the

TS plug

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

ring (low or cold) to ground (earth).

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

Mults and “Y”s

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.

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

“from 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.

“to 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

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

DB25 Connectors

The DIRECT OUTS on the back of the Onyx 80 Series

provide balanced direct outputs for all the mono chan-

nels on 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 ana-

log cards for the Mackie D8B and hard disk recorders.

Pin 1

Pin 2

Pin 3

Pin 4

Pin 5

Pin 6

Pin 7

Pin 8

Pin 9

Pin 10

Ch 8

Ch 7

Ch 6

Ch 5

Ch 4

Ch 3

Ch 2

Ch 1

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

–

Ch 8

Ch 7

Ch 6

Ch 5

Ch 4

Ch 3

Ch 2

Ch 1

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 CH 13 CH 14 CH 15 CH 16

CH 17 CH 18 CH 19 CH 20 CH 21 CH 22 CH 23 CH 24

CH 25 CH 26 CH 27 CH 28 CH 29 CH 30 CH 31 CH 32

CH 33 CH 34 CH 35 CH 36 CH 37 CH 38 CH 39 CH 40

CH 41 CH 42 CH 43 CH 44 CH 45 CH 46 CH 47 CH 48

N/C

13 12 11 10 9

25 24 23 22 21 20 19 18 17 16 15 14

Several companies make DB25-to-DB25 cables speciﬁ-

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.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix C: Technical Info

Onyx 80 Series Speciﬁcations

Frequency Response

Mixer Rated Output

Mic Input to Main Output (Gain @ Unity)

+0, –1 dB, <10 Hz to 80 kHz

Main Outs:

Aux Send:

Group Send:

Monitor Out:

Matrix Out:

+4 dBu

+0, –3 dB, <10 Hz to 130 kHz

Distortion (THD & IMD)

Maximum Rated Output:

+21 dBu @ Main XLR and TRS outputs

Mic Input to Main Output (@ +4 dBu)

THD: < 0.007% max, 0.005% typical, 20 Hz to 20 kHz

SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)

Maximum Input Levels

Dynamic Range

Mic Input:

Line Input:

Aux Input:

+21 dBu, Gain @ unity

+30 dBu, Gain @ –20 dB

+21 dBu

>105 dB, 24 channels assigned

>115 dB, one-channel assigned

Maximum Voltage Gain

Noise Floor

Mic Input to:

Main Out:

Signal-to-Noise Ratio:

90 dB

80 dB

86 dB

102 dB

105 dB

102 dB

–87 dBu (ref. +4 dBu, Mic In to Main Out,

48 channels and Main Mix levels at unity)

Group Send:

Aux Sends:

Monitor Out:

Matrix Out:

Phones Out:

–90 dBu, (ref. +4 dBu, Mic In to Main Out,

24 channels and Main Mix levels at unity)

Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth,

150Ω source impedance

Line Input to:

Main Out:

–129.5 dBu @ +60 dB gain

70 dB

60 dB

66 dB

82 dB

85 dB

82 dB

Mic Output Noise:

Group Send:

Aux Sends:

Monitor Out:

Matrix Out:

Phones Out:

Direct Output: –98 dBu (minimum gain)

Residual Output Noise:

Main Out: –100 dBu (Channel and Main Mix levels off)

Main Out: –83 dBu (48 channels and Main Mix levels

at unity)

Stereo Aux Input to:

Main Out:

–86 dBu (24 channels and Main Mix levels

at unity)

50 dB

40 dB

39 dB

62 dB

65 dB

62 dB

Group Send:

Aux Sends:

Monitor Out:

Matrix Out:

Common Mode Rejection Ratio (CMRR)

Mic In: >70 dB @ 1 kHz, Gain @ maximum

Phones Out:

Crosstalk

Adjacent Inputs: < –95 dB @ 1 kHz

Input to Output: < –85 dB @ 1 kHz

Input Impedance

Mic Input:

2.4 kΩ, balanced

Mono Channel Line Input: 30 kΩ balanced;

Input Gain Control Range

Mic In: 0 dB to +60 dB

Line In: –20 dB to + 40 dB, mono channels

15 kΩ unbalanced

Stereo Aux Inputs:

20 kΩ balanced;

20 kΩ unbalanced

Output Impedance

Main Out:

Phantom Power

150 Ω balanced, XLR outputs;

+48 VDC

150 Ω TRS outputs

300 Ω

Direct Out:

Group Sends:

Monitor Out:

Matrix Out:

Aux Sends:

Phones Out:

Equalization

Mono Channel EQ:

100 Ω

High:

15 dB @ 12 kHz

100 Ω

High Mid: 15 dB, sweepable from 400 Hz to 8 kHz

Low Mid: 15 dB, sweepable from 100 Hz to 2 kHz

Low:

100 Ω

25 Ω

15 dB @ 80 Hz

Stereo Channel (Aux Input) EQ:

High:

15 dB @ 12 kHz

High Mid: 15 dB @ 2.5 kHz

Low Mid: 15 dB @ 400 Hz

Low:

15 dB @ 80 Hz

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Channel Level LED (Sensitivity)

0 LED = 0 dBu (normal operating level)

VU Meters

Main and Solo Left and Right, 12 segments:

Clip (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30

0 LED = 0 dBu

AC Power Requirements

Power Consumption:

Onyx 2480

Onyx 3280

Onyx 4080

Onyx 4880

180 watts

200 watts

220 watts

240 watts

Universal AC Power Supply:

100 VAC – 240 VAC, 50-60 Hz

Physical Dimensions and Weight

Onyx 2480

Height:

Width:

Depth:

Weight:

9.4 in/239 mm

48.8 in/1240 mm

29.6 in/751 mm

95 lb/43 kg

Onyx 3280

Height:

Width:

Depth:

Weight:

9.4 in/239 mm

60.0 in/1523 mm

29.6 in/751 mm

113 lb/51 kg

Onyx 4080

Height:

Width:

Depth:

Weight:

9.4 in/239 mm

70.4 in/1788 mm

29.6 in/751 mm

131 lb/59 kg

Onyx 4880

Height:

Width:

Depth:

Weight:

9.4 in/239 mm

81.3 in/2065 mm

29.6 in/751 mm

149 lb/68 kg

Options

Onyx PS External Redundant Power Supply

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.

“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.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Onyx 80 Series Dimensions

48.8 in/1240 mm

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

POWER

WEIGHT

95 lb/

MATRIX

GROUP

43 kg

GROUP

AUX

GROUP

SEND

GROUP

LEFT

RIGHT

MATRIX

MASTER

TALKBACK

PAN

GROUP

MUTE

PFL

48.8 in/1240 mm

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

WEIGHT

113 lb/

51 kg

MATRIX

GROUP

AUX

GROUP

SEND

GROUP

LEFT

RIGHT

MATRIX

MASTER

TALKBACK

PAN

GROUP

MUTE

PFL

60.0 in/1523 mm

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

WEIGHT

131 lb/

MATRIX

GROUP

59 kg

GROUP

AUX

GROUP

SEND

GROUP

LEFT

RIGHT

MATRIX

MASTER

TALKBACK

PAN

GROUP

MUTE

PFL

70.4 in/1788 mm

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

WEIGHT

149 lb/

68 kg

MATRIX

GROUP

AUX

GROUP

SEND

GROUP

LEFT

RIGHT

MATRIX

MASTER

TALKBACK

PAN

GROUP

MUTE

PFL

81.3 in/2065 mm

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Onyx 80 Series Block Diagram

R L F P

L L F P

R L F A

L L F A

R L F P

L L F P

R L F A

L L F A

B i x t r a M

A i x t r a M

8 x u A

7 x u A

6 x u A

5 x u A

4 x u A

3 x u A

2 x u A

1 x u A

A i x t r a M

8 x u A

7 x u A

6 x u A

5 x u A

4 x u A

3 x u A

2 x u A

1 x u A

p u r o G

i n a M

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

Onyx 80 Series Gain Structure Diagram

ONYX 80 SERIES

Download from Www.Somanuals.com. All Manuals Search And Download.

Onyx 80 Series Limited Warranty

Please keep your sales receipt in a safe place.

F. Any products returned to one of the LOUD Technologies

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.

factory-authorized service centers and deemed eligible for repair

or replacement under the terms of this warranty will be repaired

or replaced within thirty days of receipt. LOUD Technologies

and its authorized service centers 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

not be repaired unless payment is received for labor, materials,

return freight, and insurance. Products repaired under warranty

will be returned freight prepaid by LOUD Technologies to any

location within the boundaries of the USA.

B. Failure to register online or return the product registration

card will not void the three-year warranty.

G. 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.

C. Service and repairs of Mackie products are to be performed

only at a factory-authorized facility (see D 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 authorized Mackie dealer where you purchased the

product. It is necessary to establish purchase date and determine

whether your Mackie product is within the warranty period.

H. LOUD Technologies assumes no responsibility for the quality

or timeliness of repairs performed by an authorized service

center.

D. To obtain factory-authorized service:

1. Call Mackie Technical Support at 800/898-3211, 7 AM

to 5 PM Monday through Friday (Paciﬁc Time) to get a

Service Request Number. Products returned without a Service

Request Number will be refused.

I. 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.

2. Pack the product in its original shipping carton. 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.

J. 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.

K. 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.

3. Ship the product in its original shipping carton, freight

prepaid to the authorized service center. The address of

your closest authorized service center will be given to you by

Technical Support.

IMPORTANT: Make sure that the Service Request Number

is plainly written on the shipping carton.

E. LOUD Technologies reserves the right to inspect any products

that may be the subject of any warranty claims before repair

or replacement is carried out. LOUD Technologies may, at our

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.

Owner’s Manual

Download from Www.Somanuals.com. All Manuals Search And Download.

16220 Wood-Red Road NE • Woodinville, WA 98072 • USA

United States and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: [email protected]

Download from Www.Somanuals.com. All Manuals Search And Download.

KWC Indoor Furnishings 10501164 User Manual
Lincoln Electric Welder SVM118 A User Manual
Linear Telephone AE1000Plus User Manual
Link electronic Switch 860 XL162A User Manual
LST Smoke Alarm WMSOU xx P01 User Manual
Magnavox Blu ray Player MBP5220F User Manual
Magnavox Computer Hardware G43TWINS FULLHD User Manual
Makita Power Hammer HM1100 User Manual
Metra Electronics Automobile Accessories 99 8903B User Manual
Metrologic Instruments Scanner MS7620 User Manual