80 Series PREMIUM LIVE ANALOG MIXERS w/PERKINS EQ & ONYX MIC PREAMPS O W N E R ’ S M A N U A L
ONYX 4•Bus Important Safety Instructions 1. Read these instructions. 17. This apparatus has been equipped with a rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user. 18. The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6.
Introduction.................................................................................................................4 Getting Started...........................................................................................................5 Zero the Controls........................................................................................................................................5 Connections...............................................................................................
ONYX 4•Bus Introduction Thank you for choosing a Mackie Onyx 4•Bus professional live mixing console. The Onyx 4•Bus mixers feature all-new analog circuitry and the latest technologies for live sound reinforcement in a durable, road-worthy package. The Onyx 4•Bus mixing consoles replace the legendary SR24•4 and SR32•4 VLZ PRO mixers. The new Onyx versions of these mixers maintain the same physical size, channel count and features of the originals, while adding a variety of new and improved features.
READ THIS PAGE!! 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 4•Bus. You’ll be glad you did! Zero the Controls 1. Turn down the channel GAIN, AUX, and Fader controls, and center the channel EQ and PAN controls. 2. Set all push button switches to their “out” positions. 3. In the Master section, turn all the rotary knobs “down,” the switches “out,” and the faders down. 4. Turn the POWER switch off.
ONYX 4•Bus Hookup Diagrams This hookup diagram demonstrates how you can make a live multitrack recording using the DIRECT OUTs. The DIRECT OUTs provide an analog balanced direct output for each channel, pre-EQ. The Matrix outputs are used to create a stereo recording for backup. Aux Send 4 is used for stage monitors, and a graphic EQ is connected to the Aux 4 Insert jack, serving as a dedicated in-line EQ for the monitors. Aux Sends 5 and 6 are used to drive a stereo IEM system.
Owner’s Manual Bass Guitar 1 1 2 2 5 6 6 7 8 9 19 10 20 11 14 14 DI Box 15 DI Box 16 15 16 17 17 18 18 19 20 22 23 24 L 2 R R L R IN-TAPE-OUT L STEREO RETURNS OUT PHONES Listen Wedge 20 21 L 1 R Talkback Mic 19 L R B MATRIX OUT TALKBACK MIC A MONTIOR OUT Mono Power Amplifier AUX SEND AUX SEND INSERTS Keyboard or Synth 4 2 5 3 6 1 4 2 5 3 6 GROUP OUTS GROUP OUT INSERTS Guitar Amp Stereo Guitar Effects 1 In Out Mono EQ Mono Power Amplifier Stage M
ONYX 4•Bus Bass Guitar 1 1 2 2 5 6 6 7 8 9 19 10 20 DI Box 15 DI Box 16 15 16 17 17 18 18 19 20 20 21 22 23 24 L 2 R R L R IN-TAPE-OUT L STEREO RETURNS L 1 R Powered Studio Monitors for Studio 19 OUT PHONES B DIRECT OUT 1-8 In this hookup diagram, the Direct Outs for channels 9-24 are connected to the analog audio interface for your DAW or laptop for tracking. The drum microphones are subgrouped to Groups 1-4 and routed to the analog audio interface for recording.
Owner’s Manual Bass Guitar 1 1 2 2 5 5 6 6 7 8 9 19 10 20 Keyboard or Synth Stereo Guitar Effects 14 14 15 DI Box 16 15 16 17 17 18 18 19 20 20 21 22 23 24 L 2 R R L R IN-TAPE-OUT L STEREO RETURNS L 1 R Stereo Recorder 19 OUT PHONES MONTIOR OUT L R Headphones B Power Amp Mono Mode Power Amp Mono Mode DIRECT OUT 1-8 Mono EQ MATRIX OUT A Mono EQ AUX SEND AUX SEND INSERTS DI Box 1 4 2 5 3 6 1 4 2 5 3 6 GROUP OUTS GROUP OUT INSERTS Guitar Amp 1 3 2
ONYX 4•Bus Onyx 4•Bus Features Mono Channel Strips The Onyx 24•4 has 20 mono channel strips and two stereo channels, and the Onyx 32•4 has 28 mono channel strips and two stereo channels. Each mono channel has a mic and line input connector and an insert jack for connecting an external signal processor. 1. PAD Switch In most cases, you will leave the PAD switch out. However, you may have a microphone that produces a higher output signal than usual, which may require you to turn the GAIN control way down.
9. LOW MID FREQ This control gives you up to 15 dB boost or cut at +5 12 kHz, and is flat at the 0 center detent. Use it to –5 add sizzle to cymbals, and –10 an overall sense of trans–15 parency or edge to the 20 100 1k 10k 20k keyboards, vocals, guitar, High EQ and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss. This knob ranges from 100 Hz to 2 kHz and +5 determines the center 0 frequency for the LOW –5 MID EQ filter.
80Hz -15 +15 OUT IN ONYX 4•Bus EQ 15. Channel Fader 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 The fader controls the channel’s level…from off to unity gain at the “U” marking, on up to 10 dB of additional gain. 12. AUX Sends These tap a portion of each channel’s signal (pre or post-fader) out to either an effects processor (post-fader) or for stage monitoring (pre-fader).
Alongside each channel fader are three buttons referred to as channel assignment switches. Used in conjunction with the channel’s PAN knob, they are used to determine the destination of the channel’s signal. With the PAN knob [13] at the center detent, the left and right sides receive equal signal levels (GROUPS 1-2, 3-4, and MAIN MIX L-R). To feed only one side or the other, turn the PAN knob accordingly.
2.5kHz ONYX 4•Bus -15 +15 U LOW MID 400Hz -15 +15 U LOW 80Hz -15 +15 OUT IN EQ AUX 1 OO MAX 2 OO MAX OO MAX OO MAX OO MAX 5 6 MAX PAN L R MUTE 10 31 32 5 OL U +10 0 5 10 20 30 -20 ASSIGN 1-2 3-4 40 50 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). This control gives you up to 15 dB of boost or cut below 80 Hz.
32. MATRIX A and B Input Controls The Matrix A and B controls allow you to create separate mixes, or a stereo mix, from Groups 1 through 4 and the Left and Right Mix outputs. Simply adjust the six matrix input controls to create the mix you want at the MATRIX A or B outputs. 33. MATRIX A and B MASTER Controls Use these controls to adjust the overall signal level at the MATRIX A and B outputs. 34.
ONYX 4•Bus 38. COMP ASSIGN 41. COMPRESSOR Meters Use this switch to assign the compressor to either the MAIN MIX, GROUP 1-2, GROUP 3-4, or OFF (not assigned). The INPUT meter indicates the signal level at the input of the compressor. Use this to help determine the setting of the THRESHOLD control. Once the input level crosses the threshold setting, the G.R. (Gain Reduction) meters begin to light (top to bottom), as they indicate how much gain reduction is being applied to the signal.
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 themselves with short careers.” 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.
ONYX 4•Bus ER w/ PERKINS EQ -10 -20 TALKBACK Section Auxiliary Section The talkback feature allows the engineer to comPOWER with the talent either through the AUX 1-6 municate LAMP [87] Sends, or12V, the MAINPHONES L/R [82] outputs. Connect an 0.5A external microphone MAIN to theMIX TALKBACK MIC XLR [81] COMPRESSOR connector on the rear panel to use the talkback feature. LEFT RIGHT INPUT G.R. This section includes the AUX SEND MASTERS and the STEREO RETURNS.
The pre-fader Aux Sends are post-EQ by default. However, 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 Support for information on how to access the pre/post-EQ jumpers for the Aux Sends. 57. AFL Solo Switch PREMIUM ANALOG MIXER w/ PERKINS EQ The AFL switch allows you toMATRIX hear the Aux Send sigB outputs.
4 MAX OO MAX OO ONYX 4•Bus COMP ASSIGN 63. SHIFT Switch 20 30 30 PFL MAX OO LEFT FAST ATTACK The Stereo Returns have two Aux Send controls. When the SHIFT switch is up, they route the signal to Aux 1 and Aux 2, and when the switch is down, they route the signal to Aux 3 and Aux 4. AFL RUDE SOLO BYPASS COMP ThisMAXfader controls the Group’s signal level, from off to MAX RIGHT unity gain at the “U” marking, on up to 10 dB of additional gain. OO OO +15 OO OO +15 OO MAX OO MAX 69.
Rear Panel 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. This is where all the connections are made to the Onyx 4•Bus (except the headphones and lamps). 73. MIC Input When you engage the AFL switch on two consecutive odd/even Groups (i.e.
ONYX 4•Bus 75. INSERT Here are three ways you use the INSERT jacks: These 1/4" TRS jacks provide a send and return point for each channel. Use the INSERT jacks to connect serial effects devices such as compressors, equalizers, de-essers, or filters to each individual channel. MONO PLUG Channel Insert jack Direct out with no signal interruption to master. Insert only to first “click.” The INSERT points are after the GAIN and Low Cut controls, but before the EQ and Fader controls.
See Appendix B for a wiring diagram of the DIRECT OUT connectors. 77. MATRIX OUT These 1/4" TRS jacks provide balanced line-level signals for the MATRIX A and B mixes. These can be connected to the inputs of an amplifier, powered speaker, headphone distribution amplifier, or recording device. 81. TALKBACK MIC 78.
ONYX 4•Bus 83. MAIN INSERTS 88. 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 and BREAK [61] switch, but before the MAIN MIX faders and the built-in compressor. Refer to the description of the channel insert on the previous page to see how to make this connection. These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, deessers, or filters.
If you think your Mackie product has a problem, please check out the following troubleshooting tips and do your best to confirm the problem. Visit the Support section of our website (www.mackie.com/support) where you will find lots of useful information such as FAQs and other documentation. You may find the answer to the problem without having to send your Mackie product away. • Is there something plugged into the CHANNEL INSERT jack [75]? Try unplugging any INSERT devices.
ONYX 4•Bus Repair For warranty service, refer to the warranty information on page 35. Non-warranty service for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click “Support” and select “Locate a Service Center.” Service for Mackie products living outside the United States can be obtained through local dealers or distributors.
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.
ONYX 4•Bus • When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections 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) connection only.
Owner’s Manual DB25 Connectors CH 1 CH 9 CH 17 CH 25 CH 2 CH 10 CH 18 CH 26 CH 3 CH 11 CH 19 CH 27 DIRECT OUTS 1-8 Pin 14 Pin 15 Pin 16 Pin 17 Pin 18 Pin 19 Pin 20 Pin 21 Pin 22 Pin 23 Pin 24 Pin 25 – + shield – + shield – + shield – + shield Ch 8 Ch 7 Ch 7 Ch 6 Ch 5 Ch 5 Ch 4 Ch 3 Ch 3 Ch 2 Ch 1 Ch 1 CH 5 CH 13 CH 21 CH 29 CH 6 CH 14 CH 22 CH 30 CH 7 CH 15 CH 23 CH 31 CH 8 CH 16 CH 24 CH 32 GROUND COLD HOT CH 4 CH 12 CH 20 CH 28 GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT
ONYX 4•Bus Appendix C: Technical Info Onyx 4•Bus Specifications Frequency Response Mixer Rated Output Mic Input to Main Output (Gain @ Unity) +0, –1 dB, <10 Hz to 80 kHz +0, –3 dB, <10 Hz to 120 kHz Main Outs: +4 dBu +4 dBu Aux Send: Group Send: +4 dBu +4 dBu Monitor Out: Matrix Out: +4 dBu Maximum Rated Output: +21 dBu @ Main XLR and TRS outputs Distortion (THD & IMD) Mic Input to Main Output (@ +4 dBu) THD: < 0.007% 20 Hz to 20 kHz 0.003% @ 1kHz typical SMPTE IMD: < 0.
Physical Dimensions and Weight 0 LED = 0 dBu (normal operating level) VU Meters Main Left and Right, Compressor Input, 12 segments: Clip (+20), +15, +10, +6, +3, 0, –2, –4, –7, –10, –20, –30 0 LED = 0 dBu Compressor Gain Reduction, 12 segments: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15 dB AC Power Requirements Power Consumption: Onyx 24•4 Onyx 32•4 100 watts 120 watts Onyx 24•4 Height: Width: Depth: Weight: 7.3 in/185 mm 31.2 in/792 mm 21.9 in/555 mm 39.5 lb/17.
L R Main 1 2 Group 3 4 Aux 1 (Pre) Aux 1 (Post) Aux 2 (Pre) Aux 2 (Post) Aux 3 (Pre) Aux 3 (Post) Aux 4 (Pre) Aux 4 (Post) Aux 5 (Pre) Aux 5 (Post) Aux 6 (Pre) Aux 6 (Post) Matrix A Matrix B AFL L AFL R PFL L PFL R ONYX 4•Bus Onyx 4•Bus Block Diagram Phantom Power Insert 48V Mic: 0 to +60 dB Line: –20 to +40 dB Mic/Line Inputs Mic 1 Gain Mic Line (PAD) 2 OL +10 0 -20 Bypass Low Cut Mute EQ out in LO MID MID Fader Level Pan Assign L Sum + - 3 R Sum 80 100~2K 400~8K 12K 1/2 HPF 100 Hz
L R Main 1 2 Group 3 4 Aux 1 (Pre) Aux 1 (Post) Aux 2 (Pre) Aux 2 (Post) Aux 3 (Pre) Aux 3 (Post) Aux 4 (Pre) Aux 4 (Post) Aux 5 (Pre) Aux 5 (Post) Aux 6 (Pre) Aux 6 (Post) Matrix A Matrix B AFL L AFL R PFL L PFL R Fader Level Pan Assign 2 L Sum Main Mix L 2 R Sum to/from Compressor Assign switch R Insert from Tape L In R jumper Main Mix R to Matrix A Right to Monitor/ Phones to Matrix B Matrix A Matrix A AFL R Tape Out Matrix A Out Matrix B AFL A Matrix Master Matrix B B Matrix B Out Gr
ONYX 4•Bus 0dB 0 dB 0dB to A to A (Insert Send) 0dB MACKIE ONYX 40 SERIES LEVEL DIAGRAM 010505 TALKBACK IN –40 dB 0 dB LINE IN, stereo channels 20 dB gain, TRIM up 20 dB loss, TRIM down +21 dBu max in LINE IN, mono channels 40 dB gain, TRIM up 20 dB loss, TRIM down +30 dBu max in MIC IN, mono channels 60 dB gain, TRIM up 0 dB gain, TRIM down +21 dBu max in EQ 0 dB +13 dB up STEREO RETURNS TALKBACK M –15 dB down –15 dB down L 0 dB +10 dB up TB ASSIGN EQ HIGH MID LOW M
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