Mackie Musical Instrument Onyx 1220 User Manual

O W N E R ’ S M A N U A L

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Table of Contents

Introduction................................................................................................................4

Getting Started ..........................................................................................................5

Zero the Controls .......................................................................................................................................5

Connections.................................................................................................................................................5

Set the Levels ..............................................................................................................................................5

Instant Mixing.............................................................................................................................................5

Hookup Diagrams......................................................................................................6

Onyx 1220 Features .................................................................................................10

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

Control Room Matrix, Metering, and Phones..................................................................................14

Auxiliary Section...................................................................................................................................... 15

TALKBACK Section ...................................................................................................................................16

Front Panel Connectors..........................................................................................................................18

Rear Panel...................................................................................................................................................19

Appendix A: Service Information........................................................................ 21

Warranty Service...................................................................................................................................... 21

Troubleshooting ....................................................................................................................................... 21

Repair ..........................................................................................................................................................22

Appendix B: Connections ......................................................................................23

Appendix C: Technical Info .................................................................................. 26

Onyx 1220 Speciﬁcations ...................................................................................................................... 26

Onyx 1220 Block Diagram..................................................................................................................... 28

Onyx 1220 Track Sheet........................................................................................................................... 29

Onyx 1220 Limited Warranty ................................................................................31

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

information about this and other Mackie products.

Part No. 0008667 Rev. B 4/04

Owner’s Manual

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Introduction

Thank you for choosing a Mackie Onyx 1220 profes-

sional compact mixing console. The Onyx Series of mix-

ers are designed for the digital era and offer the newest

features and latest technologies for live sound reinforce-

ment and analog or digital studio recording in a durable,

road-worthy package.

HOW TO USE THIS MANUAL

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

mixer hooked up, and you’re probably not going to read

the manual ﬁrst (sigh!). So the ﬁrst section after the

table of contents is a Quick-Start Guide to help you get

the mixer set up fast so you can start using it right away.

Right after that are the ever popular hook-up diagrams

that show typical mixer setups for live sound, recording

and mixdown.

The Onyx 1220 is equipped with four of our new

premium precision-engineered studio-grade Onyx mic

preamps. Mackie is renowned for the high-quality mic

preamps used in our mixers, and the Onyx mic pre’s are

better than ever, with speciﬁcations rivaling expensive

stand-alone mic preampliﬁers.

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

tion section. This describes every knob, button, and

connection point on the Onyx 1220, roughly following

the signal ﬂow through the mixer from top to bottom

and left to right.

Channels 1 and 2 feature high-impedance instrument/

line-level inputs so you can connect an acoustic, elec-

tric, or bass guitar directly into the mixer, eliminating

the need for an external direct box.

Throughout this section you’ll ﬁnd illustrations with

each feature numbered. If you want to know more about

a feature, simply locate it on the appropriate illustra-

tion, notice the number attached to it, and ﬁnd that

number in the nearby paragraphs.

Each of the four mono channels have individual

phantom power switches, low-cut ﬁlters, pre-EQ chan-

nel inserts, and an all new three-band EQ design with

sweepable mids and EQ bypass switch.

This icon marks information that is

critically important or unique to the

Onyx 1220. For your own good, read

them and remember them. They will

be on the ﬁnal test.

Channels 5 through 12 are four stereo pairs of line

inputs, featuring a three-band EQ and EQ bypass switch

for each stereo pair.

All mono channels and stereo pairs have two Aux

sends, Pan, Mute/Alt 3-4, Solo, 60 mm Fader, and four

signal level indicators.

This icon leads you to in-depth

explanations of features and practi-

cal tips. While not mandatory, they

usually have some valuable nugget of

information.

A built-in Talkback mic with routing switches allows

you to communicate through the Aux Sends or Phones

outputs.

All twelve channels have balanced direct outputs

on two DB-25 connectors for multitrack recording.

An optional FireWire card provides all twelve direct

outputs and the L-R Main Mix on a FireWire interface

for streaming digital audio to a laptop for multitrack

recording in a live situation, or connecting to a DAW in a

home studio.

A PLUG FOR THE CONNECTOR SECTION

Appendix B is a section on connectors: XLR connec-

tors, balanced connectors, unbalanced connectors, and

special hybrid connectors.

More resources on our website at www.mackie.com.

Please write your serial number here for future

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

return authorization, etc.)

THE GLOSSARY: A Haven of Non-Techiness for

the Neophyte

The “Glossary of Terms” is a fairly comprehensive

dictionary of pro-audio terms. If terms like “clipping,”

“noise ﬂoor,” or “unbalanced” leave you blank, refer to

this glossary for a quick explanation.

Purchased at:

Date of purchase:

ONYX 1220

ARCANE MYSTERIES ILLUMINATED

“Arcane Mysteries” discusses some of the down ‘n’

dirty practical realities of microphones, ﬁxed installa-

tions, grounding, and balanced versus unbalanced lines.

It’s a goldmine for the neophyte, and even the seasoned

pro might learn a thing or two.

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a line input such as a CD player or tape recorder

output. Be sure that the volume of the input source

is the same as it would be during normal use. If it

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

the middle of the set.

Getting Started

READ THIS PAGE!!

Even if you’re one of those people

3. Adjust the channel’s GAIN control so that the LEDs

on the RIGHT meter stay around “0” and never go

higher than “+7.”

who never read manuals, all we ask

is that you read this page now before

you begin using the Onyx 1220. 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 but-

ton or the EQ controls won’t do anything.

Zero the Controls

5. Disengage that channel’s SOLO switch.

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

trols, and center the channel EQ and PAN controls.

6. Repeat for each channel.

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

Instant Mixing

3. In the output section (right hand side), turn all the

rotary knobs “down,” the switches “out,” and the

MAIN MIX fader down.

1. Leave the microphone plugged into channel 1 and

connect a keyboard, guitar or other instrument to

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

as described above.

4. Turn the POWER switch off.

2. To get sound out of the speakers, turn up channel 1

and 2 faders to the “U” mark and slowly turn up the

MAIN MIX fader to a comfortable listening level.

Connections

If you already know how you want to connect the Onyx

1220, go ahead and connect the inputs and outputs

the way you want them. If you just want to get sound

through the mixer, follow these steps:

3. Sing and play. 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

Other Nuggets of Wisdom

channel 1’s MIC or LINE input.

•

For optimum sonic performance, the channel and

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

gain) markings.

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

outlet, and turn on the Onyx 1220’s POWER switch.

3. Connect cords from the Onyx 1220’s MAIN OUTS

(XLR connectors on the rear panel and 1/4” TRS

connectors on the front panel) to your ampliﬁer.

Always turn the MAIN MIX fader and CONTROL

ROOM knob down before making connections to

and from your Onyx 1220.

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

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 on the front panel, then

set the PHONES knob about one-quarter of the way up.

Save the shipping box! You may need it someday,

and you 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 1220 in real applications.

After that, you can take the grand tour of the mixer,

with descriptions of every knob, button, input, and

output. We encourage you to take the time to read all of

the feature descriptions, but at least you know it’s there

if you have any questions.

The following steps must be performed one channel at

a time.

1. Push in the channel’s SOLO switch.

2. Play something into the selected input. This could

be an instrument, a singing or speaking voice, or

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Hookup Diagrams

This hookup diagram demonstrates how

you can do a live multitrack recording

using the RECORDING OUTs or the op-

tional FireWire card.

Bass Guitar

Electric Guitar

The RECORDING OUTs provide an

analog balanced direct output for each

channel, and the FireWire card provides

a digital direct output for each channel.

Vocal Mics

Mono Compressor

Stereo Compressor

Out

Stereo Guitar Effects

MONO

Drum

Machine

MONO

Keyboard or other

line level input

MONO

Multi Effect

Processor

MONO

Stage Monitors

Mono Power

Amplifier

Mono EQ

Stereo EQ

Out

(play)

Stereo Power

Amplifier

(record)

Headphones

FIREWIRE

(OPTION)

Right PA Speaker

Left PA Speaker

Digital Multitrack Recorder

Laptop Computer

Onyx 1220 Live Mix and Multitrack Recording

ONYX 1220

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Bass Guitar

Electric Guitar

Vocal Mics

Mono Compressor

Stereo Compressor

Out

Stereo Guitar Effects

Drum

MONO

Machine

Digital Delay

MONO

Keyboard or other

line level input

Multi Effect

Processor

MONO

Out

(play)

(record)

Powered

Studio Monitors

Powered

Studio Monitors

for Studio

Headphones

for Studio

Digital Multitrack Recorder

Headphone Distribution

Amp

The RECORDING OUTs provide an analog bal-

anced direct output for each channel, tapped af-

ter the GAIN control but before the EQ controls.

Onyx 1220 Multitrack Recording in a Studio (Tracking)

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Bass Guitar

Electric Guitar

Vocal Mics

Mono Compressor

Stereo Compressor

Out

Stereo Guitar Effects

Drum

MONO

Machine

Digital Delay

MONO

Keyboard or other

line level input

Multi Effect

Processor

MONO

Sound Card

MONO

LINE

OUTS

Headphones

MIC

Powered

Studio Monitors

for Control Room

Studio Monitors

for Studio

In this hookup diagram, the tracking channels have

the MUTE/ALT 3-4 button pushed in. This routes their

signals to the ALT 3-4 OUT and on to the Sound Card

or other analog audio interface to your DAW.

IMPORTANT: The playback channels (channels 11-12

in this case) should have their MUTE/ALT 3-4 buttons

out or you will get feedback. Ouch!

Onyx 1220 Computer Recording

ONYX 1220

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Bass Guitar

Electric Guitar

Vocal Mics

Mono Compressor

Stereo Compressor

Out

Stereo Guitar Effects

MONO

Keyboard or other

line level input

Drum

Mics

Digital Delay

MONO

Multi Effect

Processor

MONO

1202-VLZPRO

(record)

Submixer

for Drums

Headphones

FIREWIRE

(OPTION)

Powered

Studio Monitors

for Control Room

Studio Monitors

for Studio

Laptop Computer

The optional FireWire card provides a digital direct output for each channel,

tapped after the GAIN control but before the EQ controls, as well as the L-R Mix.

Two tracks can be returned to the Onyx from the computer for playback monitor-

ing in the Control Room Outputs, or mixdown to two tracks at the TAPE OUT.

Onyx 1220 Recording with FireWire to a Laptop

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Onyx 1220 Features

Note: For the stereo channels 5-12, if a signal is

plugged into the LEFT (MONO) side and nothing is

plugged into the RIGHT side, the signal is automatically

connected to both LEFT and RIGHT sides. This is called

jack normalling. As soon as something is plugged into

the RIGHT side, the normalled connection is broken

and the LEFT and RIGHT inputs become stereo inputs

(LEFT goes to the LEFT MAIN OUT and RIGHT goes to

the RIGHT MAIN OUT).

Channel Strips

There are two kinds of channel strips on the Onyx 1220:

Mono and Stereo. The mono channel strips (channels

1-4) have mic and line input connectors. In addition,

channels 1 and 2 have high-impedance instrument

inputs so you can connect a guitar directly to the mixer.

The stereo channel strips (channels 5-12), have two

line input connectors per channel strip, left and right.

The stereo path is maintained throughout the channel

strip, sharing the channel’s controls (the controls work

on both left and right signals at the same time).

4. MIC/HI-Z Switch

Channels 1 and 2 have an extra button for switching

between the MIC and HI-Z inputs. When the button

is out (MIC), the XLR MIC input is used and the HI-Z

input is disconnected. When the button is pushed

in (HI-Z), the 1/4" HI-Z input is used and the XLR

MIC input is disconnected. The input stage of the HI-Z

inputs is specially designed for the high-impedance

pickups on guitars.

1. MIC Input (Channels 1-4)

This is a female XLR connector, which

accepts a balanced microphone input

from almost any type of microphone. The

microphone preamps feature our new

Onyx design, with higher ﬁdelity and

headroom rivaling any standalone mic

preamp on the market today.

HI Z

MIC

Plugging a guitar into a lower-impedance

line input (like those on channels

3-16) can result in the loss of high

frequencies, causing an unnatural and

dull sound. Normally, you must use

HI Z

48V

The XLR inputs are wired as follows:

Pin 1 = Shield or ground

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

a direct box between a guitar and a

-20dB +40dB

GAIN

mixer’s input, which serves to convert the impedance of

the guitar from high to low. The HI-Z inputs on chan-

nels 1 and 2 make the need for a direct box unnecessary.

HOWEVER: The HI-Z inputs are unbalanced, so if you’re

doing a live show and running a long cord between the

instrument and the mixer (say over 25 or 30 feet), it is

best to use a direct box with a balanced output to avoid

picking up noise over the length of the cord.

OUT

2. HI-Z Instrument Input

(Channels 1-2)

HIGH

12kHz

15 +15

FREQ

This is a 1/4" connector, which accepts

an unbalanced instrument-level input

signal from a high-impedance instrument

like a guitar.

100

MID

15 +15

5. Low-Cut Switch (Channels 1-4)

LOW

80Hz

15 +15

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

ﬁlter, cuts bass frequencies below 75 Hz at a rate of 18 dB

per octave.

3. LINE Input (Channels 3-12)

AUX

This is a 1/4 TRS connector, which ac-

O O MAX

cepts a balanced or unbalanced line-level

input signal from almost any source.

+15

We recommend that

you use the Low-Cut ﬁlter

on every microphone

application except kick

drum, bass guitar, bassy

synth patches, or record-

+10

When connecting a balanced signal to

the LINE inputs, wire them as follows:

Tip = Positive (+ or hot)

Ring = Negative (– or cold)

Sleeve = Shield or ground

PAN

–5

–10

–15

ings of earthquakes.

20Hz

100Hz

1kHz

10kHz 20kHz

These aside, there isn’t

much down there that

Low Cut

When connecting an unbalanced

signal, wire them as follows:

Tip = Positive (+ or hot)

MUTE

you want to hear, and 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 the

ampliﬁer power.

ALT 3/4

Sleeve = Shield or ground

Mono Channel

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Another way to use the Low Cut ﬁlter

is in combination with the LOW EQ on

LINE IN 5 6

8. EQ IN/OUT Switch

(MONO)

vocals during live performances. Many

times, bass shelving EQ can really ben-

eﬁt voices. Trouble is, adding LOW EQ

also boosts stage rumble, mic handling

BAL/

UNBAL

This is a true hardware bypass of

the Perkins EQ circuitry to insure

that there is no coloration of the

signal if the EQ is not needed.

When this button is out, the EQ

controls have no effect on the

signal. You can use this switch to

make an A/B comparison between

the EQ’d signal and the signal

without EQ.

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

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

-20dB +20dB

GAIN

+15

Here’s what the

combination of LOW EQ

and Low Cut looks like

in terms of frequency

+10

OUT

HIGH

12kHz

–5

curves.

-15 +15

We have com-

pletely rede-

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

signed the EQ

circuits in the

MID

2.5kHz

Low Cut with Low EQ Boosted

-15 +15

Onyx Series of

mixers, based

6. 48V Phantom Power Switch

(Channels 1-4)

LOW

on the designs of Cal Perkins, an

industry-leader in audio engineer-

ing for over three decades and

long-time Mackie collaborator. This

“neo-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!).

80Hz

-15 +15

AUX

Most professional condenser microphones require

phantom power, which is a low-current DC voltage

delivered to the microphone on pins 2 and 3 of the XLR

microphone connector. Push in the 48V button if your

microphone needs phantom power. An LED lights just

above the button to indicate that phantom power is ac-

tive on that channel.

O O MAX

PAN

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 microphones.

Check the manual for your microphone to ﬁnd out for

sure whether or not phantom power can damage it.

The 3-band equalization has LOW

shelving at 80 Hz, MID peaking

(sweepable from 100 Hz to 8 kHz

on the mono channels, ﬁxed at 2.5

kHz on the stereo channels), and

HIGH shelving at 12 kHz. “Shelving”

MUTE

ALT 3/4

Stereo Channel

means that the circuitry boosts or cuts all frequencies

past the speciﬁed frequency. For example, rotating the

LOW EQ knob 15 dB to the right boosts bass frequencies

starting at 80 Hz and continuing on down to the lowest

note you ever heard. “Peaking” means that the frequen-

cies around the center frequency are less affected by

the EQ the further away they are.

Note: Be sure the MAIN MIX fader (36) is turned

down when connecting microphones to the MIC Inputs,

especially when phantom power is turned on, to prevent

pops from getting through to the speakers.

7. GAIN Control

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

page 5.

9. HIGH EQ

The GAIN control adjusts the input sensitivity of the mic

and line inputs. This allows the signal from the outside

world to be adjusted to optimal internal operating levels.

+15

This control gives you up to 15

dB boost or cut at 12 kHz, and it

is also ﬂat at the center detent.

Use it to add sizzle to cymbals,

and an overall sense of transpar-

ency or edge to the keyboards,

vocals, guitar, and bacon frying.

Turn it down a little to reduce

sibilance, or to hide tape hiss.

+10

If the signal is plugged into the XLR jack, there is 0 dB

of gain (unity gain) with the knob turned all the way

down, ramping up to 60 dB of gain fully up.

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

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

attenuation all the way down, and 40 dB of gain fully

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

stereo channels, the GAIN range is –20 dB to +20 dB

with unity in the center.)

High EQ

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to the AUX 1 and AUX 2 controls, sending the combined

signal to the AUX SEND outputs.

10. MID EQ

+15

Short for “midrange,”

this knob provides 15 dB

of boost or cut centered

at the frequency deter-

mined by the FREQ knob

(see FREQ next), or at

2.5 kHz for the stereo

channels. Midrange EQ

is often thought of as the

most dynamic because

These are more than just effects and monitor sends.

They can be used to generate separate mixes for record-

ing, for another zone, or “mix-minuses” for broadcast.

+10

–5

15. PAN

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

PAN adjusts the amount of channel signal sent to the

left versus the right outputs. On the stereo channels

(channels 5-12), the PAN knob works like the balance

control on your home stereo (panning left turns down

the right channel, and panning right turns down the left

channel).

Mid EQ

the frequencies that deﬁne any particular sound are

almost always found in this range. You can create many

interesting and useful EQ changes by turning this knob

down as well as up.

With the PAN knob hard left, the signal feeds either

the MAIN LEFT (bus 1) or ALT LEFT (bus 3), depend-

ing on the setting of the ALT 3/4 switch. With the knob

hard right, the signal feeds either the MAIN RIGHT (bus

2) or ALT RIGHT (bus 4).

11. FREQ

+15

This knob ranges from

100 Hz to 8 kHz and de-

termines the center fre-

quency for the MID EQ.

This allows you to zero

in on the precise narrow

band of frequencies you

want to have affected by

the MID EQ.

+10

Constant Loudness: The Onyx 1220’s

PAN control employs a design called

“Constant Loudness.” If you have a

channel panned hard left (or right)

and then pan to the center, the signal

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

is attenuated about 3 dB to maintain

Mid EQ Freq Sweep

the same apparent loudness. Otherwise, it would make

the sound appear much louder when panned center.

12. LOW EQ

16. MUTE/ALT 3-4

+15

This control gives you

up to 15 dB of boost or

cut at 80 Hz. The circuit

is 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.

The dual-purpose MUTE/ALT 3-4 switch is a Mackie

signature. When Greg was designing our ﬁrst product,

he had to include a mute switch for each channel. Mute

switches do just what they sound like they do. They turn

off the signal by “routing” it into oblivion. “Gee, what

a waste,” Greg reasoned. “Why not have the mute

button route the signal somewhere else useful, like

a separate stereo bus?” So MUTE/ALT 3-4 really serves

two functions—muting (often used during mixdown or

live shows), and signal routing (for multitrack and live

work) where it acts as an extra stereo bus.

+10

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

Low EQ

Note: Used in conjunction with the Low Cut switch,

you can boost the LOW EQ without injecting tons of

infrasonic debris into the mix.

To use this as a MUTE switch, all you have to do is

not use the ALT 3-4 outputs (49). Then, whenever you

assign a channel to these unused outputs, you’ll also be

disconnecting it from the MAIN MIX, effectively muting

the channel. The MUTE switch also disconnects the

channel from the POST AUX SEND bus. The channel’s

signal is still present on the PRE AUX SEND bus.

13. and 14. AUX 1 and 2 Sends

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 and AUX 2 knobs, and by the AUX MASTER 1 and 2

knobs (26).

To use this as an ALT 3-4 switch, all you have to do is

connect the ALT 3-4 outputs (49) to whatever destina-

tion you desire. Two popular examples:

When doing multitrack recording, you can use the

ALT 3-4 outputs as a stereo or dual-mono feed to your

multitrack.

Since the AUX Sends are mono, the left and right sig-

nals in the stereo channels are summed together prior

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When doing live sound or mixdown, it’s often handy

to control the level of several channels with one knob.

That’s called subgrouping. Simply assign these channels

to the ALT 3-4 mix, engage ALT 3-4 in the CONTROL

ROOM/PHONES SOURCE matrix (20), and the signals

will appear at the CONTROL ROOM (48) and PHONES

(42) outputs. If you want the ALT 3-4 signals to go back

into the MAIN MIX, engage the ASSIGN TO MAIN MIX

switch (21) and the CONTROL ROOM knob (22) controls

the levels of all the channels assigned to ALT 3-4.

LINE IN 5 6

18. Signal Level LEDs

(MONO)

BAL/

UNBAL

These LEDs indicate the chan-

nel’s signal level after the GAIN

and EQ controls, but just prior to

the channel’s fader. So even if the

fader is turned down, you can see

if a signal is present.

-20dB +20dB

GAIN

If you’ve followed the “Set the

Levels” procedure, the –20 and 0

LEDs should light frequently, the

+10 LED should light occasion-

ally, and the OL (Overload) LED

should not light at all. If the OL

LED is blinking frequently, the

signal is probably distorted from

overdriving the input. Either turn

down the GAIN control or turn

down the signal at its source.

OUT

Another way to do the same thing is to assign the

channels to the ALT 3-4 mix, then patch out of the ALT

3-4 OUT (LEFT/3 and RIGHT/4) back into an unused

stereo channel (5-6, 7-8, 9-10, or 11-12). If that’s your

choice, don’t ever engage the MUTE/ALT 3-4 switch

on that stereo channel, or you’ll have every dog in the

neighborhood howling at your feedback loop.

HIGH

12kHz

-15 +15

MID

2.5kHz

-15 +15

Another beneﬁt of the ALT 3-4 feature is that it can act

as an “AFL” (After Fader Listen). Just engage a channel’s

MUTE/ALT 3-4 switch and the ALT 3-4 switch in the

SOURCE matrix (20) and you’ll get that channel, all by

itself, in the CONTROL ROOM (48) and PHONES (42).

LOW

80Hz

-15 +15

AUX

19. SOLO Switch

O O MAX

This handy switch allows you to

hear signals through your head-

phones or control room outputs

without having to route them to

the MAIN or ALT 3-4 mixes. Folks

use solo in live work to preview

channels before they are let into

the mix, or just to check out what

a particular channel is up to

anytime during a session. You can

solo as many channels at a time

as you like.

MUTE/ALT 3-4 is one of those features that can

bewilder newcomers, so take your time and play around

with it. Once you’ve got it down, you’ll probably think of

a hundred uses for it!

PAN

17. Channel Fader

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

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

tional gain.

MUTE

ALT 3/4

“U” Like Unity Gain

Soloed channels are sent to the

SOURCE mix, which ultimately

feeds your CONTROL ROOM,

PHONES, and Meters. Whenever

SOLO is engaged, all SOURCE

(20) selections (MAIN MIX, ALT

3-4, TAPE, and FIREWIRE) are

defeated, to allow the soloed

signal to do just that—solo!

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 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.

O O

Note: The solo signal is pre-

fader, so you can hear it even

when the channel’s fader is

turned down.

SOLO

Stereo Channel

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Control Room Matrix, Metering, and Phones

Typically, the engineer sends the MAIN MIX to an

audience (if live) or to a mixdown deck (if recording).

MAIN MIX, the MAIN MIX lines to the SOURCE matrix

will be disconnected from the CONTROL ROOM and

But what if the engineer needs to hear something other PHONES outputs, to prevent feedback. Then again, why

than the MAIN MIX in the control room or headphones? on earth would anyone want to assign the MAIN MIX to

With the Onyx 1220, the engineer has several choices

of what to listen to. This is one of those tricky parts, so

buckle up.

the MAIN MIX?

WARNING: Pushing in both the TAPE

button (in the SOURCE matrix) and

ASSIGN TO MAIN MIX (21) can create

a feedback path between TAPE IN and

TAPE OUT. Make sure your tape deck

20. CONTROL ROOM/PHONES SOURCE

Using the SOURCE switches, you can choose to listen

to any combination of MAIN MIX, ALT 3-4, TAPE, and

FIREWIRE (optional). By now, you probably know what

the MAIN MIX is. ALT 3-4 is that additional stereo mix

bus. TAPE is the stereo signal coming in from the TAPE

IN RCA jacks. FIREWIRE is a 2-track feed coming in

through the optional FireWire card from your computer.

is not in record, record-pause, or input monitor mode

when you engage these switches, or make sure the CON-

TROL ROOM knob (22) is turned all the way down (off).

22. CONTROL ROOM Knob

This controls the volume at the CONTROL ROOM

Selections made in the SOURCE matrix deliver stereo outputs, from off (∞) to maximum gain (MAX). It also

signals to the CONTROL ROOM, PHONES, and Meters.

With no switches engaged, there will be no signal at

these outputs and no meter indication.

controls the level of the control room signal going to the

MAIN OUTS when ASSIGN TO MAIN MIX is selected in

the CONTROL ROOM/PHONES SOURCE matrix.

The exception to that is the SOLO function. Re-

gardless of the SOURCE matrix selection, engaging a

channel’s SOLO switch will replace that selection with

the SOLO signal, also sent to the CONTROL ROOM,

PHONES, and Meters.

PREMIUM ANALOG MIXER

w/PERKINS EQ & FIREWIRE OPTION

21. ASSIGN TO MAIN MIX

CONTROL

ROOM/

LEFT RIGHT

PHONES

Let’s say you’re doing a live show. Intermission is

nearing and you want to play a soothing CD for the

crowd to prevent them from becoming antsy. Then you

think, “But I have the CD player plugged into the TAPE

inputs, and that never gets to the MAIN OUTPUTS!” Oh,

but it does. Simply engage this switch and your SOURCE

matrix selection, after going through the CONTROL

ROOM level control, will feed into the MAIN MIX, just as

if it were another stereo channel.

0dB=0dBu

SOURCE

CLIP

MAIN MIX

FIREWIRE

(OPTION)

LEVEL

ALT 3-4

SET

What if you have a playlist of MP3 ﬁles on your laptop

you want to play during the break? Get the optional

FireWire card and engage the FIREWIRE button to play

your MP3s directly from your computer, through the

SOURCE matrix, and into the MAIN MIX.

TAPE

ASSIGN TO

MAIN MIX

Another handy use for this switch is to enable the ALT

3-4 mix to become a submix of the MAIN MIX, using the

CONTROL ROOM level control.

RUDE

SOLO

Side effects: 1) Engaging this switch also feeds any

soloed channels into the MAIN MIX, which may be the

last thing you want. 2) If you have MAIN MIX as your

SOURCE matrix selection and then engage ASSIGN TO

O O MAX

O O

MAX

CONTROL

ROOM

PHONES

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Thanks to the Onyx 1220’s 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.”

23. PHONES Knob

This controls the volume at the PHONES output, from

off (∞) to maximum gain (MAX).

24. LEFT/RIGHT Level Meters

Remember, audio meters are just tools to help assure

you that your levels are “in the ballpark.” You don’t have

to stare at them (unless you want to).

The Onyx 1220’s peak meters are made up of two

columns of twelve LEDs, with three colors to indicate

different ranges of signal level, trafﬁc light style. They

range from –30 at the bottom, to 0 in the middle, to +20

(CLIP) at the top.

25. RUDE SOLO Light

This large green LED ﬂashes on and off when a

channel’s solo is active, as an additional reminder

beyond the indicating LEDs next to each SOLO button.

If you work on a mixer that has a solo function with no

indicator lights and you happen to forget you’re in solo

mode, you can easily be tricked into thinking that some-

thing is wrong with your mixer. Hence, the RUDE SOLO

light. It’s especially handy at about 3 am when no sound

is coming out of your monitors but your multitrack is

playing back like mad.

The 0 LED in the middle is labeled LEVEL SET

to show where the level should be when adjusting a

channel’s gain in the solo mode, as described in “Set the

Levels” on page 5.

If nothing is selected in the CONTROL ROOM/

PHONES SOURCE matrix (20) and no channels are

in SOLO, the meters won’t do anything. To display a

signal level, a source must be selected in the CONTROL

ROOM/PHONES SOURCE matrix, which feeds the

CONTROL ROOM (48) and PHONES (42) outputs. The

meters reﬂect the program level of the selected source

prior to the CONTROL ROOM and PHONES level knobs.

Auxiliary Section

The reason for this is because you want the meters to

reﬂect what the engineer is listening to, and as we’ve

covered, the engineer is listening either to the CON-

TROL ROOM outputs or the PHONES outputs. The only

difference is that while the listening levels are con-

trolled by the CONTROL ROOM and PHONES knobs, the

meters indicated the SOURCE mix before those knobs,

giving you the real facts at all times, even if you’re not

listening at all.

This section includes the AUX MASTERS (Sends) and

the AUX RETURNS. These can be a bit confusing to the

uninitiated, so here’s the whole idea behind aux sends

and returns: sends are outputs and returns are inputs.

AUX SENDs tap signals off the channels, via the AUX

knobs (13/14), mix these signals together, then send

them out the AUX SEND jacks (38).

These outputs are fed to the inputs of an external

processor like a reverb or digital delay. From there,

the outputs of this external device are fed back to the

mixer’s AUX RETURN jacks (39). Then these signals are

sent through the AUX RETURN level controls (28), and

ﬁnally delivered to the MAIN MIX (36).

When a channel is soloed, the meters change to re-

ﬂect the level of that channel’s signal level, pre-fader.

You may already be an expert at the

world of “+4” (+4 dBu=1.23 V) and

“–10” (–10 dBV=0.32 V) operating

levels. What makes a mixer one or

the other is the relative 0 dB VU (or

0 VU) chosen for the meters. A “+4”

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

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

the AUX RETURNS to the MAIN MIX, and once mixed

together, the dry and wet signals combine to create a

glorious sound!

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!

They can also be used to provide another mix for stage

monitors, for example. In this case, the AUX RETURNS

aren’t used to return the signal. Instead, they can be

used as additional stereo inputs.

Mackie mixers show things as they really are. When 0

dBu (0.775 V) is at the outputs, it shows as 0 dB VU on

the meters. What could be easier? By the way, the most

wonderful thing about standards is that there are so

many to choose from.

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26. AUX 1 and AUX 2 MASTER

TALKBACK Section

The AUX MASTERS provide overall control over the

AUX SEND levels, just before they are delivered to the

AUX SEND outputs (38). These knobs go from off (∞)

to +15 dB when turned all the way up.

The talkback feature allows the engineer to communi-

cate with the talent either through the PHONES outputs

(42) or the AUX 1-2 outputs (38). A talkback microphone

is built into the Onyx 1220, or you have the option of

connecting an external microphone at the TALKBACK

MIC XLR connector (45) on the rear panel, which may

be preferable in live or noisy situations.

This is usually the knob you turn up when the lead

singer glares at you, points at his stage monitor, and

sticks his thumb up in the air. (It would follow that if

the singer stuck his thumb down, you’d turn the knob

down, but that never happens.)

30. Internal TALKBACK MIC

This is where the built-in talkback microphone is lo-

cated. This is an omni-directional dynamic microphone,

so it will pick up your voice from anywhere in front of

the mixer.

27. AUX 1 and 2 PRE/POST

The PRE/POST switches determine whether the AUX

SEND signal is tapped from the channel before the fader

(pre-fader) or after the fader and MUTE button (post-

fader). Typically, you use a pre-fader send for monitors

so you can control the monitor levels independently

from the MAIN MIX. Use a post-fader send for effects, so

that the “wet” signal level follows the “dry” signal level.

31. TALKBACK LEVEL

Use this knob to control the level of the talkback

signal being routed to the PHONES or AUX 1-2 outputs.

This controls the talkback level for either the internal

or external TALKBACK MICs.

Both pre- and post-fader sends are affected by the EQ

controls (unless the EQ is bypassed, of course).

MUTE / ALT

You should start with

PAN

FADER

the TALKBACK LEVEL

"POST" SIGNAL OBEYS

MUTE STATUS

control turned down,

INPUT

GAIN

LOW CUT

INSERT

and then slowly turn it

up until you get conﬁr-

mation from whoever is

IN/OUT

AUX SEND 1 KNOB

TO AUX SEND 1

OUTPUT

"POST" SIGNAL

listening to headphones

AUX SEND 1 PRE/POST SWITCH

(IN MASTER SECTION)

"PRE" SIGNAL

or monitors that they

can hear you. Once you

have set the level, you

can leave it there for

the duration of the ses-

sion (or the gig).

AUX SEND 2 KNOB

Aux “Pre vs. Post”

Signal Flow Diagram

TO AUX SEND 2

OUTPUT

AUX SEND 2 PRE/POST SWITCH

(IN MASTER SECTION)

28. AUX 1 and 2 RETURN

32. EXTERNAL MIC Switch

These two controls set the overall level of effects

received from the stereo AUX RETURN 1 and 2 inputs.

These controls range from off (∞) to +10 dB of gain

when fully clockwise, to compensate for low-level effects.

If you are in a noisy environment, the built-in talkback

mic may not work as well because it picks up the ambi-

ent noise as well as your voice. You will probably have

better results if you use an external microphone that

you can talk directly into.

Signals passing through the AUX RETURN level con-

trols proceed directly to the MAIN MIX bus where they

are combined with the other channels just before the

MAIN MIX fader (36).

If you are using an external mic, you must push in

the EXTERNAL MIC switch. The indicating LED lets

you know when the switch is pushed. When the switch

is out, the built-in TALKBACK MIC is used, regardless

of whether or not you have an external mic plugged in.

When the switch is pushed in, the built-in mic is discon-

nected and only the external mic is used.

29. FX TO MON Switch

This switch routes the signal from AUX RETURN 2 to

the AUX 1 SEND instead of the MAIN MIX bus. This al-

lows you to use an external effects device, like a reverb

or delay, exclusively for the monitors. When this switch

is pushed in, the effects signals coming into the AUX

RETURN 2 jacks are combined with the signals coming

from all of the channel AUX 1 send controls.

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33. TALKBACK to PHONES

37. POWER LED

Push in the CR/PHONES switch to route the talkback

signal to the PHONES (42) output. Use this to commu-

nicate with the talent in the studio through the head-

phones during a recording session. When the talkback

circuit is activated (by pushing the TALKBACK (35)

switch), the CONTROL ROOM outputs are attenuated by

20 dB to allow the engineer’s voice to come through loud

and clear.

This LED performs one function—it lets you know

when the Onyx 1220 is turned on and ready to go!

34. TALKBACK to AUX 1-2

This switch routes the talkback signal to the AUX 1

and 2 outputs (38). Use this to communicate with the

musicians on-stage through their monitors during a live

performance.

AUX MASTER

AUX RETURN

By the way, it is okay to have both destination switch-

es pushed in at the same time. The talkback signal will

be routed to both destinations. But if you don’t have ei-

ther of the destination switches pushed in, the talkback

signal won’t go anywhere. You might as well be talking to

a brick wall.

PRE

POST

O O

+15

+10

FX TO

MON

PRE

POST

35. TALKBACK Switch

TALK

BACK

MIC

POWER

This is a momentary switch, meaning it’s only active

when you hold the switch down. As long as you hold

this switch down, the talkback signal is routed to the

outputs determined by the destination switches (33/34).

Release the switch, and the talkback circuit is turned off.

MAIN MIX and POWER LED

MAIN

MIX

TALKBACK

These are a few more important features that

shouldn’t be overlooked.

36. MAIN MIX Fader

O O

LEVEL

MAX

The MAIN MIX fader controls the output level just

before the MAIN OUTPUTS (1/4" and XLR) (40/46) and

the TAPE OUTPUTS (41). When MAIN MIX is selected

for the CONTROL ROOM/PHONES SOURCE (20), the

MAIN MIX fader also controls the main mix level in the

CONTROL ROOM and PHONES outputs (48/42).

EXTERNAL

MIC

When the fader is fully down, the MAIN MIX is off.

The “U” marking indicates unity gain, and fully up pro-

vides 10 dB of additional gain. Typically, this fader is set

near the “U” label and left alone, but it can be used for

song fade-outs or quick system-wide mutes.

DESTINATION

CR/

PHONES

AUX

1-2

O O

TALKBACK

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Front Panel Connectors

Besides the channel strip MIC and LINE input con-

nectors, there are some other connectors located on the

front panel for easy access.

Push in the ASSIGN TO MAIN MIX button (21) to route

the tape input to the MAIN OUTs (40/46). This allows you

to playback music between sets over the main PA speakers.

WARNING! Pushing TAPE in the

SOURCE matrix and ASSIGN TO

MAIN MIX can create a feedback

path between TAPE IN and TAPE

OUT. Make sure your tape deck is not

38. AUX SEND 1 and 2

These 1/4" TRS output connectors provide balanced

or unbalanced line-level signals for connecting to the

inputs of effects devices or stage monitor ampliﬁers.

in record, record pause, or input monitor mode when

you engage these switches, or make sure the CONTROL

ROOM level control is turned all the way down.

39. AUX RETURN 1 and 2

The TAPE OUT jacks produce an unbalanced signal

that is tapped off the MAIN OUTs. Normally, you would

connect these to the inputs of a recorder, but you can

use them as an extra set of main outputs for feeding

another zone, for example.

These 1/4" TRS input connectors accept balanced or

unbalanced line-level stereo signals from an external

processor or other device. The stereo AUX RETURNS

use jack normalling, like the stereo inputs on channels

5-12. If a signal is plugged into the LEFT (MONO) side

and nothing is plugged into the RIGHT side, the signal is

^{automatically connected to both LEFT and RIGHT sides.}42. PHONES

As soon as something is plugged into the RIGHT side, the

This is where you plug in your stereo headphones. It

normalled connection is broken and the LEFT and RIGHT

inputs become stereo inputs (LEFT goes to the LEFT

MAIN OUT and RIGHT goes to the RIGHT MAIN OUT).

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

that is routed to the CONTROL ROOM outputs (48), as

determined by the CONTROL ROOM/PHONES SOURCE

matrix (20). The volume is controlled with the PHONES

knob (23), right next to the CONTROL ROOM knob.

40. MAIN OUT

These 1/4" TRS output connectors provide balanced

or unbalanced line-level signals. This is the same signal

that appears at the XLR MAIN OUTPUTS (46) on the

rear panel, except 6 dB lower in level. Connect these

to the next device in the signal chain like an external

processor (graphic equalizer or compressor/limiter), or

directly to the inputs of the main ampliﬁer.

WARNING: The headphone amp

is designed to drive any standard

headphones to a very loud level. We’re

not kidding! It can cause permanent

hearing damage. Even intermediate

levels may be painfully loud with some headphones.

BE CAREFUL! Always start with the PHONES level (23)

turned all the way down before connecting headphones

to the PHONES jack. Keep it down until you’ve put on

the headphones. Then turn it up slowly. Why? Always

remember: “Engineers who fry their ears, ﬁnd them-

selves with short careers.”

41. TAPE IN/OUT

These RCA jacks are used to connect to the inputs and

outputs of a tape recorder or other recording device.

The TAPE IN jacks accept an unbalanced signal from

a tape recorder or other signal source (could be a CD

player, if you want) using standard hi-ﬁ hookup cables.

The signal is routed to the CONTROL ROOM/PHONES

SOURCE matrix (20). Push in the TAPE button to route

the tape input to the CONTROL ROOM and PHONES

outputs (48/42). This allows you to playback recordings

of your mixes.

BAL/UNBAL

OUT

LEFT

(MONO)

RIGHT

LEFT

RIGHT

LEFT

RIGHT

(MONO)

TAPE

PHONES

AUX SEND

AUX RETURN

MAIN OUT

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Rear Panel

There are just a few more connectors and switches to

talk about and you’ll have completed your tour of the

Onyx 1220. Hang in there!

47. MAIN OUTPUT LEVEL

When this switch is out (+4 dB), the XLR MAIN

OUTPUTS provide a +4 dBu line-level signal. When the

switch is pushed in (MIC), the signal is attenuated by

40 dB to a microphone level. You can connect the XLR

MAIN OUTPUTS to the microphone inputs of another

mixer, providing a submix for keyboards or drums, for

example, in a live sound application.

43. POWER Switch

This one is self-explanatory. When the POWER switch

is turned ON, power is supplied to the Onyx 1220 and

the POWER LED on the front panel lights up.

Note: You can safely plug this output into a micro-

phone input that provides 48 V phantom power.

44. Power Receptacle

This is a standard 3-prong IEC power connector. Con-

nect the detachable linecord (included in the box with

your Onyx 1220) to the power receptacle, and plug the

other end of the linecord into an AC outlet. The Onyx

1220 has a universal power supply that can accept any

AC voltage ranging from 100 VAC to 240 VAC. No need for

voltage select switches. It will work virtually anywhere

in the world. 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.

48. CONTROL RM Outputs

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

signal that can be used to provide another main mix

output (with MAIN MIX selected in the CONTROL

ROOM/PHONES SOURCE) (20), or to monitor the ALT

3-4 outputs, TAPE inputs, or a 2-track feed from your

computer (with the optional FireWire card installed).

Connect these outputs to the inputs of an ampliﬁer,

powered speaker, or recording device.

49. ALT 3-4 OUT

45. TALKBACK MIC

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

nal that can provide an alternate stereo mix for record-

ing or subgrouping. Connect these outputs to the inputs

of an ampliﬁer, powered speaker, or recording device.

This is where you plug in your external talkback

microphone if you need to have one. This female XLR

connector has +48 VDC phantom power always applied,

so you can use dynamic or condenser microphones.

Note: The ALT 3-4 OUT doesn’t have a master level

control. All the channels assigned to the ALT 3-4 bus are

summed together (post-fader and pan) and sent directly

to the ALT 3-4 OUT.

Note: Almost all dynamic microphones can be used with

phantom power, but you might want to check the docu-

mentation that came with your microphone to be sure.

46. RIGHT/LEFT MAIN OUTPUTS

50. CHANNEL INSERT

These male XLR connectors provide a balanced line-

level signal that represent the end of the mixer chain,

where your fully mixed stereo signal enters the real

world. Connect these to the inputs of your main power

ampliﬁers, powered speakers, or serial effects proces-

sor (like a graphic equalizer or compressor/limiter). It

provides a fully balanced signal that is 6 dB higher than

the 1/4" TRS MAIN OUT jacks on the front panel.

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

for channels 1-4. Use the CHANNEL INSERT jacks to

connect serial effects devices such as compressors,

equalizers, de-essers, or ﬁlters to each individual channel.

The INSERT points are after the GAIN and Low Cut

controls, but before the EQ and Fader controls. The

send (tip) is low-impedance, capable of driving any

device. The return (ring) is high-impedance and can be

driven by almost any device.

100-240VAC

50-60Hz 40W

POWER

TALKBACK

MIC

RIGHT

LEFT

BALANCED

CONTROL RM

ALT 3-4 OUT

CHANNEL INSERT

BALANCED

(

)

BAL/UNBAL

PRE-FADER / PRE EQ TIP SEND / RING RETURN

48V

R/4

L/3

MIC

MAIN

OUTPUT

LEVEL

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Special insert cables are available, specially designed

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

The signal at the RECORDING OUTS comes just after

the input GAIN control, and before the Low-Cut switch,

INSERT jacks, and EQ. This way you can EQ a channel,

connect a compressor or other dynamics processor to

the INSERT jack, and adjust the channel fader to suit

your live mix, but it has no effect on the signal going to

the recorder. This provides maximum ﬂexibility for the

mixdown stage.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

this plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

See Appendix B for a wiring diagram of these connectors.

Tip = Send (output to effects device)

Ring = Return ( input from effects device)

Sleeve = Common ground (connect shield to all

three sleeves)

52. FIREWIRE I/O OPTION

Okay, we saved the best for last. FireWire (a.k.a. IEEE

1394) is a high-speed serial I/O interface for connecting

digital devices, with more than 30 times the bandwidth

of USB 1.1. You can install the optional Onyx FireWire

interface card in this slot, which provides three

FireWire connectors for transferring digital audio to and

from your laptop computer or digital audio workstation

(DAW) with absolute zero latency.

Besides being used for inserting external devices,

these jacks can also be used as channel direct outputs;

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

unbalanced direct out, in contrast to the RECORDING

OUTS on the rear panel, which are balanced direct

outputs, post-TRIM, pre-LOW CUT.

Here are three ways you use the INSERT jacks:

The FireWire interface provides the direct outputs

for all twelve channels and the Left/Right Mix. The

Left/Right Mix is pre-fader at the FireWire output, so its

level is independent of the MAIN MIX fader (important

for live gigs). Instead, it has a rotary level control that

provides a 10 dB boost or cut for the Left/Right mix,

to optimize the level for the recorder or DAW. Use the

FireWire interface to record a live performance directly

to your laptop, which you can mixdown to a stereo mix

later. Or you can use it to turn your Onyx mixer into a

high-quality computer audio interface for your DAW.

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click.”

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

STEREO

The card also provides a return for two channels

from a DAW or laptop, which can be routed through the

CONTROL ROOM/PHONES SOURCE matrix (20) via

the FIREWIRE button, to monitor the computer audio

through your control room speakers or headphones

(or through the main speakers if ASSIGN TO MAIN

MIX (21) is selected).

PLUG

Channel Insert jack

For use as an effects loop.

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

51. RECORDING OUTS

These two DB-25 connectors provide balanced direct

outputs for channels 1-4 and 5-12, respectively. They are

designed to be connected directly to a recorder’s analog

inputs, and use the TASCAM standard pinout for analog

signal connections (the same standard used on the ana-

log cards for the Mackie D8B and Hard Disk Recorder).

The FireWire interface works with both PC (ASIO

for Windows XP) and Mac (Core Audio for Mac OS 10.3

or higher). As an added bonus, we include a free copy

of Tracktion, our multitrack recording and sequencing

software application for PC or Mac.

100-240VAC

50-60Hz 40W

POWER

TALKBACK

MIC

RIGHT

LEFT

CONTROL RM

ALT 3-4 OUT

CHANNEL INSERT

BALANCED

(

)

BAL/UNBAL

PRE-FADER / PRE EQ TIP SEND / RING RETURN

48V

R/4

L/3

MIC

MAIN

OUTPUT

LEVEL

CAUTION

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

SERIAL NUMBER

MANUFACTURING DATE

LISTED COMMERCIAL

AUDIO EQUIPMENT

65HJ

RECORDING OUTS

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

RISK OF ELECTRIC SHOCK

DO NOT OPEN

POST GAIN / PRE INSERT

AVIS^S:^ERVICEABLE

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

NO USER

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

1-4

5-12

OPTION CARD

BALANCED

ONYX 1220

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Appendix A: Service Information

Warranty Service

•

Is there something plugged into the CHANNEL

INSERT jack (50)? Try unplugging any INSERT

devices (channels 1-4 only).

Details concerning Warranty Service are spelled out in

the Warranty section on page 31.

If you think your Onyx mixer has a problem, please

do everything you can to 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 RCA LEFT TAPE OUT and XLR

LEFT OUTPUT. If the problem goes away, it’s not

the mixer.

Troubleshooting

No Power

•

Our favorite question: Is it plugged in?

•

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.

Make sure the power cord is securely seated in the

IEC socket (44) and plugged all the way into the

AC outlet.

Bad Sound

•

Make sure the AC outlet is live (check with a tester

or lamp).

•

Is the input connector plugged completely into the

jack?

Is the POWER (43) switch on? Make sure the

POWER switch on the rear panel is in the ON posi-

tion (up).

•

Is it loud and distorted? Make sure the input GAIN

control for the input is set correctly. Reduce the

signal level on the input source if possible.

•

Is the POWER LED (37) on the front panel illumi-

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

refer to “No Sound” below.

•

If possible, listen to the signal with headphones

plugged into the input source device. If it sounds

bad there, it’s not the Onyx causing the problem.

•

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

your local power company to get power restored.

Noise/Hum

If the POWER LED is not illuminated, and you are

certain that the AC outlet is live, it will be necessary

to have your Onyx 1220 serviced. There are no user

serviceable parts inside. Refer to “Repair” at the end

of this section to ﬁnd out how to proceed.

•

Turn down the AUX RETURN knobs (28). If the

noise disappears, it’s coming from whatever is

plugged into the AUX RETURNS (39).

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

disappears, it’s coming from whatever is plugged

into that channel.

Bad Channel

•

Is the MUTE/ALT 3-4 switch (16) in the correct

position?

Check the signal cables between the input sources

and the Onyx. Disconnect them one by one. When

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

is causing the problem.

•

Is the input GAIN control (7) for the channel

turned up?

•

Sometimes it helps to plug all the audio equipment

into the same AC circuit so they share a common

ground.

•

Is the fader (17) turned up?

Is the signal source turned up? Make sure the

signal level from the selected input source is high

enough to light up some of the INPUT meter (18)

LEDs next to the channel’s fader.

•

If it is channel 1 or 2, make sure the MIC/HI-Z

switch (4) is in the right position.

Owner’s Manual

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Repair

Service for Mackie products is available at our galactic

headquarters, located in sunny Woodinville, Washington.

Service for Mackie products living outside the United

States can be obtained through local dealers or distribu-

tors.

7. Ship the mixer to us. We suggest insurance for all

forms of cartage. Ship to this address:

MACKIE

SERVICE DEPARTMENT

16220 Wood-Red Road NE

Woodinville, WA 98072

If your Onyx 1220 needs service, follow these instructions:

1. Review the preceding troubleshooting suggestions.

Please.

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

ness days. Ask Tech Support for the latest turn-

around times when you call for your RA number.

The mixer must be packaged in its original packing

box, and must have the RA number on the box.

Once 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 request an RA

(Return Authorization) number. Have your Onyx

1220’s serial number ready. You must have an RA

number before you can obtain service at the

factory.

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

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

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

rized Mackie Dealer to qualify for a warranty repair.

4. Pack the mixer in its original package, including

endcaps and box. This is VERY IMPORTANT. When

you call for the RA number, please let Tech Sup-

port know if you need new packaging. Mackie is

not responsible for any damage that occurs due to

non-factory packaging.

5. Include a legible note stating your name, shipping

address (no P.O. boxes), daytime phone number, RA

number, and a detailed description of the problem,

including how we can duplicate it.

6. Write the RA number in BIG PRINT on top of the box.

Units sent to us without the RA number will be refused.

Need Help?

You can reach a technical support representative

Monday through Friday

from 7 AM to 5 PM PST at:

1-800-898-3211

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

or email us at: [email protected]

ONYX 1220

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Appendix B: Connections

XLR Connectors

1/4" TS Phone Plugs and Jacks

Channels 1-4 use 3-pin female XLR connectors on the

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

MIC inputs. They are wired as follows, according to stan- available on a mono 1/4" phone jack or plug. They are

dards speciﬁed by the AES (Audio Engineering Society). used for unbalanced signals.

SHIELD

HOT

SLEEVE

TIP

COLD

TIP

SHIELD

SLEEVE

COLD

1/4" TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

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

In most studio, stage, and sound reinforcement situ-

ations, there is a combination of balanced and unbal-

anced inputs and outputs on the various pieces of

equipment. This usually will not be a problem in making

connections.

RING

TIP

SLEEVE

1/4" TRS Balanced Mono Wiring:

Sleeve = Shield

Tip = Hot (+)

Ring = Cold (–)

•

When connecting a balanced output to an unbal-

anced input, be sure the signal high (hot) connec-

tions are wired to each other, and that the balanced

signal low (cold) goes to the ground (earth)

Stereo Headphones

connection at the unbalanced input. In most cases,

the balanced ground (earth) will also be connected

to the ground (earth) at the unbalanced input. If

there are ground-loop problems, this connection

may be left disconnected at the balanced end.

RING SLEEVE

TIP

SLEEVE RING TIP

RING

TIP

SLEEVE

1/4" TRS Stereo Unbalanced Wiring:

Sleeve = Shield

Tip = Left

Ring = Right

Owner’s Manual

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•

When connecting an unbalanced output to a bal-

anced input, be sure that the signal high (hot)

connections are wired to each other. The unbal-

anced ground (earth) connection should be wired

to the low (cold) and the ground (earth) connec-

tions of the balanced input. If there are ground-loop

problems, try disconnecting the unbalanced ground

(earth) connection from the balanced input ground

(earth) connection, leaving the unbalanced ground

connected to the balanced input low (cold) con-

nection only.

This allows you to tap out the channel’s signal at that

point in the circuit without interrupting normal operation.

Note: Do not overload or short-circuit

the signal you are tapping from the

mixer. That will affect the internal

signal.

If you push the 1/4" TS plug in to the second click, you

will open the jack switch and create a direct out, which

does interrupt the signal in that channel.

In some cases, you may have to make up special

adapters to interconnect your equipment. For example,

you may need a balanced XLR female connected to an

unbalanced 1/4" TS phone plug. Many common adapters

can be found at your local electronics supply store.

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click.”

The balanced-to-unbalanced connection has been

anticipated in the wiring of Mackie jacks. A 1/4" TS plug

inserted into a 1/4" TRS balanced input, for example,

will automatically unbalance the input and make all the

right connections. Conversely, a 1/4" TRS plug inserted

into a 1/4" unbalanced input will automatically tie the

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

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

TRS Send/Receive Insert Jacks

STEREO

PLUG

Channel Insert jack

Mackie’s single-jack inserts are three-conductor 1/4"

TRS phone jacks. They are unbalanced, but have both

the mixer output (send) and mixer input (return)

signals in one connector.

For use as an effects loop.

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

The sleeve is the common ground (earth) for both

signals. The send from the mixer to the external unit is

carried on the tip, and the return from the unit to the

mixer is on the ring.

Mults and “Y”s

A mult or “Y” connector allows you to route one output

to two or more inputs by simply providing parallel wir-

ing connections. You can make “Y”s and mults for the

outputs of both unbalanced and balanced circuits.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

Remember: Only mult or “Y” an

output into several inputs. If you need

to combine several outputs into one

input, you must use a mixer, not a

mult or a “Y.”

this plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

Using the Send Only on an Insert Jack

If you insert a 1/4" TS (mono) plug only partially (to

the ﬁrst click) into a Mackie insert jack, the plug will

not activate the jack switch and will not open the insert

loop in the circuit (thereby allowing the channel signal

to continue on its merry way through the mixer).

Y-Cord Splitter

ONYX 1220

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DB25 Connectors

The RECORDING OUTS on the back of the Onyx 1220

provide balanced direct outputs for channels 1-12 on

two female DB25 connectors. These connectors are

pin-for-pin compatible with the analog (not TDIF) DB25

connectors found on TASCAM DTRS recorders, which

has become an industry standard for many professional

audio manufacturers. They are also the same pinout as the

analog cards for the Mackie D8B and hard disk recorders.

Normally, each DB25 connector provides eight bal-

anced line-level inputs or outputs. Since the Onyx 1220

has only 12 channels, the top DB25 connector (labeled

1-4) provides only four balanced direct outputs, while

the bottom connector (labeled 5-12) provides eight.

Pin 1

Pin 2

Pin 3

Pin 4

Pin 5

Pin 6

Pin 7

Pin 8

Pin 9

Pin 10

N/C

Ch 4 Ch 8

Ch 3 Ch 7

Ch 2 Ch 6

Ch 1 Ch 5

Ch12

Ch11

Ch10

Ch 9

Pin 14

Pin 15

Pin 16 shield

Pin 17

Pin 18

Pin 19 shield

Pin 20

Pin 21

Pin 22 shield

Pin 23

Pin 24

Pin 25 shield

–

N/C

Ch 4 Ch 8

Ch 3 Ch 7

Ch 2 Ch 6

Ch 1 Ch 5

Ch12

Ch11

Ch10

Ch 9

shield

–

shield

–

shield

–

Pin 11 shield

Pin 12

Pin 13 N/C

–

CH 1 CH 2 CH 3 CH 4

CH 5 CH 6 CH 7 CH 8 CH 9 CH 10 CH 11 CH 12

N/C

13 12 11 10 9

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

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Appendix C: Technical Info

Onyx 1220 Speciﬁcations

Frequency Response

Maximum Input Levels

Mic Input to Main Output (Gain @ Unity)

+0, –1 dB, 10 Hz to 50 kHz

Mic Input:

Inst Input:

+21 dBu, Gain @ Unity

+21 dBu, Gain @ –20 dB

+0, –3 dB, <10 Hz to >100 kHz

Mono Channel Line Input:

+30 dBu, Gain @ Unity

Stereo Channel Line Input:

+21 dBu, Gain @ –20 dB

+15 dBu

+21 dBu

Distortion (THD & IMD)

Mic Input to Main Output (@ +4 dBu output)

THD: < 0.01%, 20 Hz to 20 kHz

SMPTE IMD: < 0.005%

Tape Input:

Aux Return:

Maximum Voltage Gain

Dynamic Range

Mic Input to:

>113 dB (Mic In to Main Out)

Main Output (XLR): 85 dB

Main Output (TRS): 79 dB

Noise Floor

Tape Output:

Aux Sends:

79 dB

85 dB

(20 Hz to 20 kHz Bandwidth, 150Ω source impedance)

Equivalent Input Noise (E.I.N.)

–129 dBu @ +60 dB gain

Control Rm Output: 89 dB

Alt 3/4 Output:

Phones Output:

64 dB

87 dB

Mic Output Noise:

Recording Output: –100 dBu (minimum gain)

Inst Input to:

Main Output (XLR): 66 dB

Main Output (TRS): 60 dB

Residual Output Noise:

Main Out: –97 dBu (Channel and Main Mix levels off)

Main Out: –87 dBu (Channel and Main Mix levels at

unity)

Tape Output:

Aux Sends:

60 dB

66 dB

Control Rm Output: 70 dB

Common Mode Rejection Ratio (CMRR)

Mic In: >60 dB @ 1 kHz, Gain @ maximum

Alt 3/4 Output:

Phones Output:

45 dB

68 dB

Stereo Line Input to:

Crosstalk

Main Output (XLR): 46 dB

Main Output (TRS): 40 dB

Tape Output:

Aux Sends:

Adjacent Inputs or Input to Output: < –75 dB @ 1 kHz

Adjacent Inputs to Recording Outputs: < –90 dB @ 1 kHz

40 dB

45 dB

Input Gain Control Range

Mic In: 0 dB to +60 dB

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

Line In: –20 dB to +20 dB, stereo channels

Control Rm Output: 49 dB

Alt 3/4 Output:

Phones Output:

24 dB

47 dB

Tape Input to:

Main Output (XLR): 31 dB

Main Output (TRS): 25 dB

Phantom Power

Tape Output:

Control Rm Output: 16 dB

Phones Output: 14 dB

25 dB

+48 VDC

Equalization

Mono Channel EQ:

Aux Return to:

High:

Mid:

Low:

15 dB @ 12 kHz

15 dB, sweepable from 100 Hz to 8 kHz

15 dB @ 80 Hz

Main Output (XLR): 26 dB

Main Output (TRS): 20 dB

Tape Output:

Aux Send:

Control Rm Output: 29 dB

Phones Output:

20 dB

26 dB

Stereo Channel EQ:

High:

Mid:

Low:

15 dB @ 12 kHz

15 dB @ 2.5 kHz

15 dB @ 80 Hz

27 dB

Input Impedance

Mixer Rated Output

Mic Input:

Inst Input:

2.4 kΩ, balanced

1 MΩ

Main:

+4 dBu

Mono Channel Line Input: 30 kΩ balanced;

15 kΩ unbalanced

Stereo Channel Line Input: 20 kΩ balanced;

10 kΩ unbalanced

Stereo Aux Returns:

Aux Send:

Control Room:

Alt 3/4:

Maximum Rated Output:

+27 dBu @ Main XLR Outputs

+21 dBu @ TRS Outputs

20 kΩ balanced;

10 kΩ unbalanced

20 kΩ unbalanced

Tape In:

ONYX 1220

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Physical Dimensions and Weight

Output Impedance

Height:

Width:

Depth:

Weight:

17.3 in/439 mm

13.9 in/353 mm

5.9 in/150 mm

16.0 lb/7.3 kg

Main:

100 Ω balanced, XLR outputs;

300 Ω TRS outputs

Recording Outputs: 300 Ω

Control Room:

Alt 3/4:

Aux Sends:

Tape Output:

Phones Output:

300 Ω

2.0 kΩ

25 Ω

Options

Onyx FireWire Interface Card

Rack Mount Kit

Channel Level Set LED (Sensitivity)

LOUD Technologies Inc. is always striving to improve our prod-

ucts by incorporating new and improved materials, components,

and manufacturing methods. Therefore, we reserve the right to

change these speciﬁcations at any time without notice.

0 dBu (normal operating level)

VU Meters

Main Left and Right, 12 segments:

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

0 LED = 0 dBu

“Mackie.”, “Onyx,” and the “Running Man” are registered

trademarks of LOUD Technologies Inc. All other brand names

mentioned are trademarks or registered trademarks of their

respective holders, and are hereby acknowledged.

AC Power Requirements

Power Consumption: 40 watts

Universal AC Power Supply:

100 VAC – 240 VAC, 50-60 Hz

13.9 in/35.3 cm

WEIGHT

16.0 lb/

7.3 kg

Owner’s Manual

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Onyx 1220 Block Diagram

L o g i c S o l o

( p f l ) S o l o

( p 2 o s x t u ) A

L o g i c S o l o

S o l o ( p f l )

( p 2 o s x t u ) A

( p 2 r e x ) A u

( p 1 o s x t u ) A

( p 2 r e x ) u A

( p 1 o s x t u ) A

( p 1 r e x ) u A

R / 4

A l t

L / 3

M a i n

ONYX 1220

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Onyx 1220 Track Sheet

BAL/UNBAL

PREMIUM ANALOG MIXER

w/PERKINS EQ

FIREWIRE OPTION

OUT

Session:

Date:

LEFT

(MONO)

RIGHT

LEFT

RIGHT

LEFT

RIGHT

(MONO)

AUX SEND

AUX RETURN

MAIN OUT

TAPE

PHONES

LINE IN 5 6

LINE IN 7 8

LINE IN 9 10

LINE IN 11 12

(MONO)

HI Z

LINE

BAL/

UNBAL

LINE

BAL/

UNBAL

BAL/

UNBAL

BAL/

UNBAL

BAL/

UNBAL

BAL/

UNBAL

MIC

HI Z

75Hz

18dB/OCT

75Hz

18dB/OCT

CONTROL

ROOM/

PHONES

SOURCE

48V

LEFT RIGHT

0dB=0dBu

CLIP

MAIN MIX

-20dB +40dB

GAIN

-20dB +40dB

GAIN

-20dB +40dB

GAIN

-20dB +40dB

GAIN

-20dB +20dB

GAIN

-20dB +20dB

GAIN

-20dB +20dB

GAIN

-20dB +20dB

GAIN

NOTES:

FIREWIRE

(OPTION)

OUT

LEVEL

SET

ALT 3-4

TAPE

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

HIGH

12kHz

15 +15

-15 +15

FREQ

MID

FREQ

MID

FREQ

MID

FREQ

MID

ASSIGN TO

MAIN MIX

100

MID

RUDE

SOLO

2.5kHz

-15 +15

15 +15

O O MAX

CONTROL

ROOM

PHONES

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

AUX MASTER

AUX RETURN

15 +15

-15 +15

AUX

PRE

POST

O O +15

O O +10

O O MAX

FX TO

MON

PRE

POST

O O +10

POWER

O O MAX

TALK

BACK

MIC

PAN

NOTES:

MAIN

MIX

TALKBACK

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

O O MAX

LEVEL

EXTERNAL

MIC

DESTINATION

CR/

PHONES

AUX

1-2

TALKBACK

SOLO

Owner’s Manual

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Onyx 1220 Track Sheet

The Other Side

U / N B A B A L

U / N B A B L A L

P R E M I U M A N A L O G M I X E R

P E w R K / I N S

O P T I O N F I R & E Q W I R E

O U T

I N

S e s s i o n :

D a t e :

R I G H T

L E F T

M A I N O U T

R I G H T

L E F

( M O N O )

R I G H T

L E F

( M O N O )

P H O N E S

A T P E

U T R N

A U X R E

A U X S E N D

1 2 1

L I N E I N 0 1 1

L I N E I N 8 9

L I N E I N 6 7

L I N E I N 5

( M O N O )

E N L I

B A L /

U N B A L

E N L I

B A L /

U N B A L

H I

M I

H I

M I

H I

B A L /

U N B A L

B A L /

U N B A L

B A L /

U N B A L

B A L /

U N B A L

7 5 H z

1 8 d B / O C T

7 5 H z

1 8 d B / O C T

C O N T R O L

R O O M /

P H O N E S

S O U R C E

4 8 V

T H R I G T F L E

0 d B = 0 d B u

3 0

C L I P

2 0

1 0

4 0

6 0

2 0

4 0

6 0

2 0

4 0

6 0

2 0

4 0

6 0

2 0

2 - 0 d B

M A I N M I X

2 0 + d B

2 - 0 d B

G A I N

2 0 + d B

2 - 0 d B

G A I N

2 0 + d B

2 - 0 d B

G A I N

2 0 + d B

2 - 0 d B

G A I N

4 0 + d B

G A I N

T E S N : O

F I R E W I R E

( O P T I O N )

O U T

I N

O U T

I N

O U T

I N

O U T

I N

O U T

I N

O U T

I N

O U T

I N

O U T

E Q

I N

E Q

L E V E L

S E T

A L T 3 - 4

H I G H

1 2 k H z

T A P E

z H k 1 2

1 2 k H z

1 0

+ 1 5 - 1

+ 1 1 5

2 0

3 0

1 k

F R E Q

A S S I G N T O

M A I N M I X

8 k

1 0

8 k

1 0

8 k

1 0

8 k

1 0

M I D

H k z 2 . 5

R U D E

S O L O

H k z 2 . 5

+ 1 5 - 1 5

M I D

+ 1 1 5

M A

P H O N E S

C O N T R O L

R O O M

L O W

8 0 H

L O W

8 0 H

U A X R E T U R N

U A X M A S T E R

+ 1 5 - 1

+ 1 1 5

A U

X U A

A U

X U A

A U

P R E

P O S T

+ 1 0 OO

+ 1 5 OO

M A X OO

_{F X T O}2

P R E

P O S T

M O N

+ 1 5 OO

T A L K

B A C K

M I C

P A N

P O W E R

T E S N : O

M A I N

M I X

A T L K B A C K

M U T E

3 T / L A

d B

1 0

1 1

d B

1 0

d B

1 0

d B

1 0

d B

1 0

d B

1 0

d B

1 0

d B

1 0

M A OO

L E V E L

1 0

1 2

1 0

O L

1 0

E X T E R N A L

M I C

1 0

2 0

3 0

2 0

D E S T I N A T I O N

2 0

3 0

2 0

3 0

2 0

3 0

2 0

3 0

2 0

3 0

2 0

3 0

2 0

3 0

2 0

3 0

4 0

5 0

6 0

A U X

1 - 2

C R /

P H O N E S

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

4 0

5 0

6 0

T A L K B A C K

S O L O

ONYX 1220

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Onyx 1220 Limited Warranty

Please keep your sales receipt in a safe place.

4. If the Authorized Mackie Service Center is located in

A. LOUD Technologies Inc. warrants all materials, workmanship

and proper operation of this product for a period of three years

from the original date of purchase. If any defects are found

in the materials or workmanship or if the product fails to

function properly during the applicable warranty period, LOUD

Technologies, at its option, will repair or replace the product.

This warranty applies only to equipment sold and delivered

within the U.S. by LOUD Technologies Inc. or its authorized

dealers.

another city, pack the mixer in its original shipping carton.

More information on packing can be found in the Service

section of this manual.

5. Contact the Authorized Mackie Service Center to arrange

service or bring the Mackie product to them.

F. LOUD Technologies and Authorized Mackie Service Centers

reserve the right to inspect any products that may be the subject

of any warranty claims before repair or replacement is carried

out. LOUD Technologies and Authorized Mackie Service Centers

may, at their option, require proof of the original date of purchase

in the form of a dated copy of the original dealer’s invoice or

sales receipt. Final determination of warranty coverage lies solely

with LOUD Technologies or its Authorized Service Centers.

B. Failure to register online or return the product registration

card will not void the three-year warranty.

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

only at the factory (see D below) OR at an Authorized Mackie

Service Center (see E below). Unauthorized service, repairs,

or modiﬁcation will void this warranty. To obtain repairs under

warranty, you must have a copy of your sales receipt from the

store where you bought the product. It is necessary to establish

purchase date and thus determine whether or not your Mackie

product is still under warranty.

G. Mackie products returned to LOUD Technologies and

deemed eligible for repair or replacement under the terms of

this warranty will be repaired or replaced within thirty days

of receipt by LOUD Technologies. LOUD Technologies may

use refurbished parts for repair or replacement of any product.

Products returned to LOUD Technologies that do not meet the

terms of this Warranty will be repaired and returned C.O.D.

with billing for labor, materials, return freight, and insurance.

Products repaired under warranty at the factory will be returned

freight prepaid by LOUD Technologies to any location within the

boundaries of the USA.

D. To obtain factory service:

1. Call Mackie Service at 800/898-3211, 7 AM to 5 PM

Monday through Friday (Paciﬁc Time) to get a Return

Authorization (RA). Products returned without an RA number

will be refused.

2. Pack the product in its original shipping carton. If you do

not have the carton, just ask for one when you get your RA

number, and we’ll send a shipping carton out promptly. More

information on packing can be found in the Service section of

this manual. Please seal the Mackie product in a plastic bag.

H. LOUD Technologies warrants all repairs performed for 90

days or for the remainder of the warranty period. This warranty

does not extend to damage resulting from improper installation,

misuse, neglect or abuse, or to exterior appearance. This

warranty is recognized only if the inspection seals and serial

number on the unit have not been defaced or removed.

3. Also include a note explaining exactly how to duplicate

the problem, a copy of the sales receipt with price and date

showing, and your return street address (no P.O. boxes or

route numbers, please!). If we cannot duplicate the problem

or establish the starting date of your Limited Warranty, we

may, at our option, charge for service time.

I. LOUD Technologies assumes no responsibility for the quality

or timeliness of repairs performed by Authorized Mackie Service

Centers.

J. This warranty is extended to the original purchaser and to

anyone who may subsequently purchase this product within the

applicable warranty period. A copy of the original sales receipt is

required to obtain warranty repairs.

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

prepaid to:

K. This is your sole warranty. LOUD Technologies does

not authorize any third party, including any dealer or sales

representative, to assume any liability on behalf of LOUD

Technologies or to make any warranty for LOUD Technologies Inc.

MACKIE SERVICE DEPARTMENT

16220 Wood-Red Road NE

Woodinville, WA, 98072, USA

IMPORTANT: Make sure that the RA number is plainly

written on the shipping carton.

L. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE

WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND IS IN

LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED,

INCLUDING THE WARRANTIES OF MERCHANTABILITY AND

FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY

GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN

DURATION TO THREE YEARS FROM THE DATE OF ORIGINAL

PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON

EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, LOUD

TECHNOLOGIES INC. SHALL HAVE NO FURTHER WARRANTY

OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC.

SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR

CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY

DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY

CLAIM. Some states do not allow exclusion or limitation of

incidental, special, or consequential damages or a limitation on

how long warranties last, so some of the above limitations and

exclusions may not apply to you. This warranty provides speciﬁc

legal rights and you may have other rights which vary from state

to state.

E. To obtain service from an Authorized Mackie Service Center:

1. Call Mackie Service at 800/898-3211, 7 AM to 5 PM

Monday through Friday (Paciﬁc Time) to get: 1) The name and

address of your nearest Authorized Mackie Service Center

and 2) A return authorization (RA). You must have an RA

number before taking your unit to a service center.

2. Make sure that you have a copy of your sales receipt from

the store where you bought the product. If you can’t ﬁnd it,

the Authorized Service Center may charge you for repairs

even if your Mackie product is still covered by the Three-Year

Limited Warranty.

3. Make sure that the problem can be duplicated. If you bring

your Mackie product to an Authorized Service Center and

they can’t ﬁnd anything wrong with it, you may be charged a

service fee.

Owner’s Manual

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

United States and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: [email protected]

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