Mackie Music Mixer 1620i User Manual

16-Channel Premium Analog Mixer

with FireWire

Q U I C K S T A R T G U I D E

48V

MUTE

SOLO

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Set the levels

Introduction

It’s not even necessary to hear what you’re doing to set

optimal levels. But if you’d like to: Plug in headphones

and turn up the phones knob just a little.

Thank you for choosing a lovely Mackie Onyx 1620i

professional compact mixer. It has built-in FireWire,

our premium precision-engineered studio-grade Onyx

mic preamps, along with the newest features and latest

technologies for live sound reinforcement and analog

or digital studio recording, all in a durable, road-worthy

package.

1. Turn on the mixer's power switch.

2. Set the solo mode switch to PFL.

3. For one channel, press the solo switch in, and

the rude solo light will turn on.

We realize that you must be really keen

to try out your new mixer. Please read

4. Play something into that input at real-world

levels.

the safety instructions on page 2 and this

page, and then have a look through some

of the features and details in this quick start guide. A

full manual is available on www.mackie.com.

5. Adjust that channel's gain control until the

right main meter stays around the 0 dB LED

(marked "level set").

6. Disengage the channel's solo switch.

7. Repeat steps 3 to 6 for the remaining channels.

8. Turn up a channel fader to the "U" mark.

Setup

Use the mixer in a nice clean and dry environment,

free from dryer lint and dust bunnies.

9. Slowly turn up the main mix fader until you

hear the signals in your speakers or

headphones.

Zero the controls

10. If needed, apply some channel EQ wisely.

1. Fully turn down all the knobs and faders to

minimum, except for the channel EQ and pan

controls, which should be centered.

11. Adjust the channel faders to get the best mix.

Keep the gain controls and faders fully down on

unused channels.

2. Make sure all buttons are in the out position.

12. During the performance, if you notice a channel

OL LED turning on during peaks, carefully turn

down that channel's gain control until OL does

not turn on.

Connections

1. Make sure the AC power switch is off before

making any connections.

FireWire

2. Push the linecord securely into the IEC

connector on the rear panel, and plug it into a

3-prong AC outlet. The mixer can accept any

AC voltage ranging from 100 VAC to 240 VAC.

3. Plug a balanced microphone into one of the mic

XLR (3-pin) connectors. Or connect any line-

level signal (keyboard, or guitar preamp) to a

line input jack using a TS or TRS 1/4" plug.

4. If your microphone requires phantom power,

press in the 48V phantom power button.

5. You can connect a guitar directly to line inputs

1 or 2 without the need for a DI box. Press a

hi-z switch if you connect a guitar directly.

6. The insert jacks of channels 1 to 8 can be used

to connect an external effects or dynamics

processor into the channel signal chain.

7. Connect the main outputs of the mixer (either

XLR or TRS 1/4") to the line-level inputs of your

ampliﬁer (with speakers already attached) or

to the line-level inputs of powered speakers.

8. Engage the main mix switch in the control

room/phones source selection, so the meters

will show the main mix levels in the next steps.

•

See page 15 for details of getting started with

FireWire. PC drivers are on the supplied

CD-ROM. Mac OS X contains built-in drivers.

CONTENTS

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

INTRODUCTION ...................................................... 3

FEATURES............................................................... 4

SETTING UP A SYSTEM............................................ 6

MICROPHONES....................................................... 8

LINE-LEVEL SOURCES AND GUITARS......................... 9

AUX 1-4............................................................... 10

CONTROL ROOM/PHONES/METERS...................... 11

MAIN MIX............................................................ 12

ALT 3-4 ............................................................... 13

TALKBACK ............................................................ 14

FIREWIRE............................................................. 15

TECHNICAL INFORMATION .................................... 18

TRACK SHEET........................................................ 20

BLOCK DIAGRAM.................................................. 22

MACKIE LIMITED WARRANTY................................ 23

Part No. SW0803 Rev. B00

Quick Start Guide 3

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Features

REAR PANEL

MASTER SECTION

37. CONTROL ROOM SOURCE: MAIN MIX

1. AC POWER CONNECTION

2. POWER SWITCH

38. CONTROL ROOM SOURCE: TAPE, FW 1-2, ALT 3-4

39. ASSIGN CONTROL ROOM SOURCE TO MAIN MIX

40. CONTROL ROOM LEVEL

41. PHONES LEVEL

42. LEFT/RIGHT LEVEL METERS

43. RUDE SOLO LIGHT

3. FIREWIRE CONNECTIONS

4. MAIN MIX XLR OUTPUTS

5. MAIN OUTPUT LEVEL (+4 dB/MIC)

6. AUX SEND 1-4

7. AUX RETURN 1-4

8. INSERT (CH. 1-8)

CONNECTION SECTION

44. SOLO MODE SWITCH: PFL/AFL

45. AUX MASTER SEND 1-4 LEVELS

46. AUX SEND 1-4 PRE/POST SWITCHES

47. AUX MASTER RETURN 1-4 LEVELS

48. AUX RETURN 3 TO AUX 1 SWITCH

49. POWER LED

9. MIC INPUTS (CH. 1-8)

10. MONO LINE INPUTS (CH. 1-8)

11. STEREO LINE INPUTS (CH. 9-16)

12. CONTROL-ROOM OUTPUTS

13. MAIN MIX 1/4" OUTPUTS

14. ALT 3-4 OUTPUTS

50. AUX SEND 1-2 TO FW 13-14 SWITCH

51. TALKBACK MICROPHONE

15. TAPE INPUTS

52. TALKBACK LEVEL

16. TAPE OUTPUTS

17. HEADPHONE OUTPUT

CHANNEL CONTROLS

53. TALKBACK DESTINATION: PHONES, AUX 1-4

54. TALKBACK ON SWITCH

55. MAIN MIX FADER

18. HI-Z SWITCH (CH. 1 AND 2 ONLY)

19. LOW CUT (CH. 1-8 ONLY)

20. 48V PHANTOM POWER (MIC ONLY)

21. GAIN CONTROL

56. ASSIGN MAIN MIX TO FW 15-16

22. SEND FIREWIRE PRE/POST EQ

23. CH. 15-16 INPUT (LINE OR FW 1-2)

24. HIGH EQ LEVEL

25. HIGH MID EQ FREQUENCY (CH. 1-8)

26. HIGH MID EQ LEVEL (CH. 1-8)

27. LOW MID EQ FREQUENCY (CH. 1-8)

28. LOW MID EQ LEVEL (CH. 1-8)

29. MID EQ LEVEL (CH. 9-16)

30. LOW EQ LEVEL

AC POWER NOTES

1. AC POWER CONNECTION

This is a standard 3-prong IEC power connector.

Connect the supplied detachable linecord to the power

receptacle, and plug the other end of the linecord into

an AC outlet. The mixer can accept any AC voltage

ranging from 100 VAC to 240 VAC.

31. AUX SEND 1-4 LEVEL

32. PAN

33. MUTE/ALT 3-4 SWITCH

34. –20 AND OL LEDS

35. CHANNEL FADER

2. POWER SWITCH

Press the top of this rocker switch inwards to turn on

the mixer. The front panel power LED will glow with

happiness and the mixer will become fully operational.

36. SOLO SWITCH

4 Onyx 1620i

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15 16

48V

MUTE

SOLO

Quick Start Guide 5

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Setting up a system

Microphones

iPod

Docking Station

Bass

Electric

Guitar

Headphones

48V

press HI-Z

button

Amplifier

Modeler

press FW button ( ) to send

FW 1-2 computer output into

mixer channels 15-16

Drum

Machine

SRM150

Powered Monitor

for keyboard player

(Aux Send 2)

Keyboard

Set Aux 1, 2 PRE for monitors

Set Aux 3, 4 POST for external processors

HD1531

Powered Speaker

Main Right

HD1531

Powered Speaker

Main Left

MUTE

press FW button (

)

to send main mix to computer

via FireWire channels 15 and 16

HD1801

Powered

SOLO

HD1801

Powered

Subwoofer

Send

Return

Compressor (Vocals)

Send

Return

Compressor (Vocals)

Send

Mackie SRM450v2

Powered Speakers

(Stage Monitors)

Aux Send 1

Return

Dynamics Processor (Bass)

Delay (Aux Send 4)

Laptop Computer

with audio production

software

Reverb (Aux Send 3)

This diagram shows an electric guitar connected to the channel 1 line input via an amp modeler, a bass

guitar connected directly to channel 2 (hi-z switch in), microphones connected to channel 3-8 mic inputs,

a drum machine connected to channel 9-10 stereo line inputs, and a keyboard connected to channel

11-12 stereo line inputs. An iPod dock connects to the tape input. Headphones are used to monitor

levels.

A dynamics processor is connected to the insert jack of channel 2 to work its magic on your bass.

Vocal compressors are connected to the channel 3 and 4 inserts.

A delay processor receives a mono input from aux 4 send (in post-fader mode), and its stereo outputs

connect to the stereo aux 4 return inputs. A reverb processor receives a mono input from aux 3 send (in

post-fader mode), and its stereo outputs connect to the stereo aux 3 return inputs.

An SRM150 powered speaker receives a mono input from aux 2 send (in pre-fader mode), and is used

as a monitor for your keyboard player. SRM450v2 powered speakers are used as stage monitors for the

band; they are connected to the aux 1 send jack (in pre-fader mode). The club is driven by connecting a

pair of HD1801 powered subwoofers and a pair of HD1531 powered speakers to the main left and right

outputs.

A laptop computer connects to a FireWire port, allowing the 2-channel main mix, and individual

channels to be recorded. Two channels can be played back from your audio production software. These

can enter as either a source for the control room and phones, or channels 15-16.

Typical Club System

6 Onyx 1620i

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Studio

Microphones

Mackie

HR824mk2

Bass

Acoustic

Guitar

mic’d up

Powered Reference

Monitors for

Control Room

Guitar

Electric

Guitar

CD Player

Engineer’s

Headphones

press HI-Z

buttons

48V

press FW button ( ) to

send FW 1-2 computer output

into mixer channels 15-16

Keyboard

Electronic

Drum Kit

press FW button ( ) to send Aux 1

and Aux 2 to computer via FireWire

channels 13 and 14

MUTE

press FW button (

)

to send main mix to computer

via FireWire channels 15 and 16

Keyboard

SOLO

Compressor (Vocals)

Effects Processor (Acoustic)

Computer with

audio production

software

Dynamics Processor (Bass)

Multi FX Processor (Guitar)

Digital Reverb

(Aux Send 4)

Headphones

Headphone Amp

(AUX Send 3)

This diagram shows an electric guitar connected directly to the channel 1 input (hi-z switch in), a bass

guitar connected directly to channel 2 (hi-z switch in), an acoustic guitar mic connected to channel 3 mic

input, studio mics connected to channel 4-8 mic inputs, an electronic drum set connected to channel 9-10

stereo line inputs, a keyboard connected to channel 11-12 stereo line inputs, a keyboard mono output

connected to channel 13 (left/mono) input. A CD player connects to the tape input.

A multi-FX processor is connected to the insert jack of channel 1 to work its magic on your guitar. A

dynamics processor is connected to insert 2 for your bass, and an effects processor connects to insert 3

for your acoustic guitar. Compressors are connected to inserts 4-6 for your vocals.

Mackie HR824mk2 powered reference monitors are used for your control room listening. The

engineer's headphones are used to monitor levels.

In this example, aux 3 is set up to provide the feed to a headphone ampliﬁer and your band's

headphones. Aux 4 feeds the input of a digital reverb, whose processed stereo outputs enter aux 4

returns, to be added to the main mix by adjusting the master return knob for aux 4.

A desktop computer connects to a FireWire port, allowing the 2-channel main mix, individual channels,

and the aux sends to be recorded, and two channels to be played back using audio production software.

Mixer channels 15-16 can play the 2-channel signals from your computer if the FW 1-2 switch at the

top of the 15-16 channel strip is engaged. Aux 1 and 2 (in post mode) can be sent via FireWire to

software effects plugins if the Aux Send 1-2 to FW 13-14 switch is engaged in the aux master section.

Typical Recording System

Quick Start Guide 7

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Microphones

Connect your microphones to the female XLR

connectors on mono channels 1-8. The microphone

preamps feature our Onyx design, with super high

ﬁdelity and headroom. Professional ribbon, dynamic,

and condenser mics all sound excellent through these

inputs. Microphone-level signals are passed through

these splendid microphone preampliﬁers to become

line-level signals.

SETTING THE MICROPHONE GAIN

The gain controls allow you to set your input signals

to an optimum level: not so hot that the mixer is

overloaded, and not so low that the signal is lost in

noise. For a signal entering the XLR mic inputs, the

adjustment range is from 0 to 60 dB. Use the following

procedure for setting the gain just right:

1. Press the solo switch at the bottom of the

channel your microphone is connected to.

The ﬂashing rude solo light is a reminder that

what you are listening to in the control room

and headphones, and shown on the main right

meter is the soloed channel.

48V PHANTOM POWER

Press the 48V phantom power switch if your microphones

need it. Most modern professional condenser mics

require 48 V phantom power, which lets the mixer send

low-current DC voltage to the mic’s electronics through

the same wires that carry audio.

2. Make sure the solo mode switch is in the PFL

(pre-fader listen) position (out). This is just

below the rude solo light.

Never plug single-ended (unbalanced) microphones,

or ribbon mics into the mic input jacks if phantom

power is on. Do not plug instrument outputs into the

mic XLR input jacks with phantom power on, unless you

are certain it is safe to do so.

3. Sing/talk/shout/scream into the microphone at

typical loudness levels.

4. Adjust the channel gain control until the right

main meter level is hovering around the 0 dB

mark (labeled "level set").

LOW CUT

5. Now that the gain is set correctly, disengage the

solo switch.

Mono channels 1-8 each have a low-cut switch that

cuts bass frequencies below 75 Hz of the mic and line

inputs. This will reduce any thumps and bangs due to

stage noise and rumble, and mic handling.

6. During a performance, if you notice that the OL

(overload) LED comes on next to the channel

fader, carefully decrease the gain until OL no

longer comes on.

We recommend that you use low-cut on every

microphone application except kick drum, bass guitar,

or bassy synth patches.

Using the low cut switch also allows you to add some

bass EQ to your vocals without boosting the really-low

lows.

Inserts

EQUALIZATION

Mono channels 1-8 have a 4-band EQ, with shelving-

low, shelving-high, and peaking-high-mid and low-mid.

The frequency of the low-mid can be adjusted from 100

Hz to 2 kHz, and the high-mid from 400 Hz to 8 kHz.

XLR Mic

Inputs

Low Cut

48V

Level

Set

Gain

This loving attention to detail in the mid EQ section is

ideal for vocal equalization, so you might consider using

channels 1-8 for your main vocal microphones.

Solo

Mode

INSERTS

Channels 1-8 have insert jacks on the rear panel.

These allow you to send the mic and line signals out

to an external device, and back in again on the same

connector. For example, vocals beneﬁt from having

an external vocal compressor. Use standard 1/4" TRS

"insert" connectors, where tip=send, ring=return, and

sleeve=ground.

MUTE

OL Led

Solo

SOLO

8 Onyx 1620i

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Line-level Sources and Guitars

Connect your line-level sources to the 1/4" TRS line

input connectors. Channels 1-8 have mono line inputs,

and channels 9-16 are stereo. Each line input can

accept TRS (tip-ring-sleeve) balanced or TS (tip-

sleeve) unbalanced sources.

The tape output is a copy of the main mix (post

fader), suitable for analog recording, sending to the

inputs of an external ampliﬁer, or sound card etc.

INSERTS

Line-level sources include keyboards, drum machines,

electronic drum kits, CD players, iPod^®docks, guitar

preamp outputs and so on.

Channels 1-8 have insert jacks on the rear panel.

These allow you to send the mic and line signals out

to an external device, and back in again on the same

connector. For example, you could connect a dynamics

processor for your bass guitar.

If you have a mono source and the mono channels are

already in use, plug it into the left input (labeled left/

mono) of a stereo channel, and the signal will appear

equally on the left and right of the main mix.

SETTING THE LINE INPUT GAIN

The gain controls allow you to set your input signals

to an optimum level: not so hot that the mixer is

overloaded, and not so low that the signal is lost in

noise. For a signal entering the TRS 1/4" line inputs,

the adjustment range is -20 dB to +40 dB for channels

1-8, and -20 dB to +20 dB for channels 9-16. Use the

following procedure for setting the gain just right:

If you have a stereo source and want to use channels

1 and 2 for example, plug the left side into channel 1,

and set the pan control fully-left. Plug the right side into

channel 2 and set the pan control fully-right.

LINE/HI-Z

Engage this switch if you want to connect guitars

directly to the 1/4" line inputs of channels 1 or 2. For

line-level sources, disengage this switch.

1. Press the solo switch at the bottom of the

channel your source is connected to. The rude

solo light will ﬂash to remind you that the

source playing in the control room,

To connect guitars to other channels, you will need a

DI box, or they will not sound good, particularly the high

frequency response. This applies to most mixers and

channels in general, unless they have a hi-z switch.

headphones, and the right main meter is the

soloed channel. Set the solo mode switch to the

PFL position (out).

2. Play your source at typical loudness levels.

LOW CUT

3. Adjust the channel gain control until the right

main meter level is hovering around the 0 dB

mark (labeled "level set").

Channels 1-8 have a low-cut switch that cuts the bass

frequencies below 75 Hz of the line and mic inputs. See

the previous page for more details of low-cut.

4. Now the gain is set correctly, disengage solo.

5. During a performance, if you notice that the

OL (overload) LED next to the channel fader

turns on, carefully decrease the gain until OL

EQUALIZATION

Mono channels 1-8 have a 4-band EQ, with shelving-

low, shelving-high, and peaking-high-mid and low-mid.

The frequency of the low-mid can be adjusted from 100

Hz to 2 kHz, and the high-mid from 400 Hz to 8 kHz.

no longer comes on.

Stereo Line Inputs

Tape In/Out

Mono

Line

Inputs

Hi-z

Stereo channels 9-16 have a stereo 3-band EQ with

shelving-low, peaking-mid, and shelving-high.

48V

Low Cut

Gain

Tape

These EQ options allow a lot of adjustment to your

line-level sources and guitars. Apply EQ wisely and

carefully, like makeup. (Too much and things can turn

ugly.)

Level

Set

Solo

Mode

TAPE IN and TAPE OUT

Use these RCA unbalanced stereo inputs to connect

the line-level outputs from sources such as tape decks,

CD/DVD players and iPod^®docks. Engage the tape

switch to listen in your control room or phones. Engage

"assign to main mix" to add the sounds to the main mix.

For example, you can play intermission music, or listen

to rare reference material of your band getting it right.

MUTE

OL Led

Solo

SOLO

Quick Start Guide 9

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Aux 1-4

will not be affected by any channel EQ adjustments.

This modiﬁcation can be done by an authorized service

center. Contact our technical support chaps for details.

AUX SEND 1-4

The four mono 1/4" TRS aux sends on the rear panel

allow you to send balanced or unbalanced line-level

outputs to external effects devices or stage monitors,

independent of the main mix.

AUX RETURN 1-4

These 1/4" TRS stereo input connectors allow you to

add the stereo processed output from external effects

processors or other devices to the main mix. Adjust the

level of the incoming signals with the aux return master

controls.

Aux sends 1-4 are independent of each other, so you

can set up four separate aux mixes. The aux 1 send

output signal is the sum of all the channels whose aux

1 send control is set to more than minimum. Similarly,

aux 4 send is the sum of all the channels whose aux 4

send control is set to more than minimum. The overall

aux output level can be adjusted with the aux send

master controls.

Alternatively, you can use these inputs to add any

stereo line-level signals to your main mix, so it could be

another line-level source, not just an effects processor.

If you are connecting a mono source, use the left

(mono) aux return input, and the mono signals will

appear on both sides of the main mix.

AUX SEND 1-2 TO FW 13-14

When this button is engaged, aux send 1 and 2 are

available as FireWire signals 13 and 14 to send to a

computer. For example, you can use a computer with

audio production software and effects plugins, as an

effects host. This substitutes wonderfully for an

outboard hardware effects processor. (Mixer channels

13-14 have no direct FW output when this button is

engaged.)

RETURN to AUX 1

The signals going into aux return 3 can also be added

to aux send 1 by engaging the return to aux 1 switch.

When engaged, the aux return 3 signal to the main mix

will be interrupted.

For example, you could add the effects returned from

an external effects processor fed by aux send 3, to your

stage monitors fed by aux 1.

See page 16 for an example of setting up a software

effects processor using the aux sends and FireWire.

Performance will vary based on system hardware.

Aux Sends

PRE or POST

The aux sends can either be pre-channel-fader or

post-channel-fader, depending on the position of the

pre/post switches in the aux master section.

Aux

Returns

For stage monitor work, use PRE, so the stage

monitors do not increase in volume when the channel

fader is adjusted. This allows you to set up the

48V

monitor mix and levels just right, and not have it change

every time a channel fader is adjusted. Stage monitors

can either be passive speakers powered by an external

ampliﬁer, or powered speakers with their own ampliﬁer.

Aux 1

Aux 2

Aux 3

Aux 4

For external processors, use POST. In this way, the

feed to external processors will vary in level if the

channel fader is adjusted. For example, the level of any

returned effect (like an echo) will also change if the

channel fader is changed, keeping them in the same

ratio (wet/dry).

MUTE

Aux Rtn 3

to Aux 1

SOLO

Aux Return

Masters

Modiﬁcation: Pre-EQ Aux Sends

The pre-fader aux sends are post-EQ, so they are

affected by the channel EQ controls. The circuit boards

can be modiﬁed so the pre-fader aux sends are pre-EQ

instead of post-EQ. For example, your stage monitors

Aux Send Pre/Post

Aux Send 1-2 to FW 13-14

Aux Send Masters

10 Onyx 1620i

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Control Room/Phones/Meters

CONTROL ROOM OUTPUTS

Assign to Main Mix

The 1/4" TRS stereo control room outputs can be used

to run a separate sound system in a control room or a

different zone. Connect these outputs to the line-level

inputs of an ampliﬁer running passive studio monitors,

or to the inputs of powered studio monitors.

Except for the main mix, whatever is selected as a

source for your control room and phones can also be

routed to the main mix by pressing this switch. The

main mix does not play in the control room or phones if

this switch is engaged.

The headphones play the same program material as

the control room. The meters show the levels prior to

the control room and phones level controls.

SOLO

Whenever solo is engaged, all control

room/headphone source selections (main mix, alt 3-4,

tape, and FireWire) are defeated, and you will only hear

the soloed channel(s) in the headphones and control

room. This gives you the opportunity to audition the

channels before they are added to the main mix or

alt 3-4 mix. The main mix continues to play, so the show

can still go on during solo. The solo mode switch allows

solo to be AFL (after-fader listen) or PFL (pre-fader

listen):

CONTROL ROOM/PHONES SOURCE

The source that plays in the control room,

headphones, and meters is selected using the switches

in the control room/phones source matrix:

•

Main mix

Tape

Alt 3-4

FW 1-2: The stereo FireWire 1-2 output from

your computer

SOLO MODE PFL/AFL

When the solo mode switch is out (PFL), soloed

channels will be pre-fader, allowing you to set the

channel gain without regard to fader level. (PFL is

also post-EQ.) When a channel is soled in PFL, you can

adjust the channel gain until your input source reaches

the 0 dB LED in the right meter.

•

A combination of all four above

Select one or more of these, or there will be no sound

in the control room or phones, and no indication on the

meters (unless a solo button is engaged).

Main Mix

When solo mode is in (AFL), soloed channels will be

post-fader, EQ, and pan, allowing you to hear fader, EQ,

and pan adjustments on soloed channels.

Select main mix to listen to the main mix in the

control room or headphones. The meters show the levels

after the main mix fader.

Solo signals reaching the headphones and control

room may be loud, therefore turn down the phones level

and control room level before channels are soloed.

Tape

Select tape to listen to the RCA tape input in the

control room or headphones. The meters show the level

coming in from your tape or CD player. Press "assign to

main mix" to play intermission music in your main mix.

Control Room Outputs

Headphones

48V

Alt 3-4

Select alt 3-4 to listen to the alt 3-4 mix in the control

room or headphones. This is a stereo mix of any

channels that have their mute/alt 3-4 switch engaged.

This can be used for cueing up sources prior to "going

live," and for other useful reasons. The meters show the

level of the alt 3-4 output.

Solo Mode

MUTE

Control Room/

Phones Source

FW 1-2

SOLO

Solo

Select FW 1-2 to listen in the control room or

headphones to the FireWire 1 and 2 audio streams

coming from your computer. The meters will show the

levels of the signals coming in from your computer.

Assign to Main Mix

Phones Level

Control Room

Level

Quick Start Guide 11

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Main Mix

XLR MAIN OUTPUTS

ASSIGN to FW 15-16

The male XLR output connectors provide a balanced

line-level signal that represents the end of the mixer

chain, where your fully mixed stereo main mix signals

enter the real world. Connect these outputs to the

Engage this button (just above the main mix fader)

and the main mix can be sent to your computer via

FireWire. The FireWire output is not affected by the

main mix fader, allowing you to record the main mix

inputs of your main power ampliﬁers, powered speakers, of live performances. The left main mix will appear on

serial effects processor, graphic equalizer, or FireWire output signal 15, and the right on signal 16.

compressor/limiter. The output provides a fully balanced (When this button is engaged, mixer channels 15-16 are

signal playing the same program material as the 1/4"

TRS main outs.

not available to send via FireWire.)

In addition to recording the main mix using FireWire,

you can record individual mixer channels 1-14 using

FireWire, for studio mixing at a later date. See page 15.

MAIN OUTPUT LEVEL (+4 dB/MIC)

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

main outputs provide a "+4 dBu" line-level signal. You

can then connect these outputs to the line-level inputs

of power ampliﬁers, powered loudspeakers, or serial

processors. In a studio setting, you could connect the

main mix to the inputs of a professional stereo recorder.

TAPE OUT

This RCA unbalanced output is a copy of the main mix

(post fader). You can use it to record the main mix on

an analog tape deck for example.

When the switch is pushed in (mic), the XLR main

outputs are attenuated to microphone level. You can

then connect these outputs safely to the microphone

inputs of another mixer, providing a submix for

keyboards or drums, for example, in a live sound

application. The main outputs can then be plugged

directly into a stage snake, and appear back at the front

of house console like any other microphone level source.

When mic is engaged, you can safely plug the XLR

main output into another mixer's microphone input,

even if it provides 48 V phantom power.

XLR Main Outputs

Main Output Level +4dB/Mic

The switch is recessed to reduce the chance of

accidently turning it on or off when plugging things in.

1/4" TRS Main Outputs

Tape Out

1/4" TRS MAIN OUTPUTS

These 1/4" TRS output connectors provide the

balanced or unbalanced line-level output of the main

mix. This is the same signal that appears at the XLR

main outputs, except it is not affected by the main

output level switch.

48V

MAIN MIX FADER

This is the main stereo fader that adjusts the level of

the XLR and 1/4" main outputs, and the tape output. It

does not affect the FireWire output of the main mix.

Assign to

MUTE

FW 15-16

Main Mix

Fader

If the gain of each channel has been set up correctly

for all your microphones, line-level sources, guitars, and

so on, then these channels can be added to the main

mix by careful adjustment of the channel faders. The

main mix fader is then used to turn the complete main

mix level up and down.

SOLO

12 Onyx 1620i

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Alt 3-4

MUTE/ALT 3-4 SWITCHES

Every time a bell rings, an Angel gets its wings. In

a similar way, every time a mute switch is pressed,

that channel is muted in the main mix and

appears in the alt 3-4 outputs instead. Aux

sends 1-4 in post-mode (for external

processors) are also muted, but aux sends

1-4 in pre-mode (for stage monitors) are not

muted.

Alt 3-4 outputs

48V

Control Room/

Phones Source

Alt 3-4

Assign to Main

Mix

If you just want to mute the channels, then

don't connect the alt 3-4 outputs to anything.

Muted channels can still be soloed to

audition them in the headphones and control

room, and to adjust and check the channel

gain levels.

MUTE

Mute/Alt 3-4

switches

ALT 3-4 OUTPUTS

SOLO

These 1/4" TRS jacks provide a balanced

line-level signal that can provide an alternate

stereo mix for recording or subgrouping.

Connect these outputs to the inputs of an ampliﬁer,

powered speaker, or recording device. If you want to

think up some good uses for the alt 3-4 outputs then go

ahead.

For example, these outputs could be used to send

particular channels to another zone, or you could create

a sub-mix of several drum microphones. The alt 3-4

submix can then be routed to the control room and

phones, by pressing the control room alt 3-4 switch, and

then added to the main mix with the control room

"assign to main mix" switch.

The alt 3-4 output 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.

Quick Start Guide 13

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Talkback

The mixer's built-in microphone allows you to talk to

the band through the phones outputs or stage monitors.

This can often be charming and enlightening.

DESTINATION: PHONES, AUX 1-4

Push in the phones talkback destination switch to

communicate with the talent in the studio through the

headphones during a recording session.

TALKBACK MIC

The aux 1-4 talkback destination switch routes the

talkback signal to the aux send 1-4 outputs. Use this to

communicate with the musicians through their stage

monitors when you are setting up a live performance.

The omni-directional dynamic microphone will pick

up your voice from anywhere in front of the mixer. Any

hint of exasperation and despair in your voice will be

faithfully picked up.

In a studio, an aux out could be fed to the input of a

headphone ampliﬁer feeding several sets of headphones.

TALKBACK Switch

Press this switch in to talk. This is a momentary

switch, and as long as you hold it in, talkback is

activated.

It is ﬁne to have both talkback destination switches

pushed in at the same time. If you don’t have either

switch pushed in, the talkback signal won’t go

anywhere.

If phones is chosen as your talkback destination, the

control room outputs are attenuated (ducked) to allow

your voice to come through clearly.

TALKBACK LEVEL

Use the talkback level knob to control the level of the

signal from the internal microphone.

Aux Sends

1. Start with this level turned down.

2. Select the destination: headphones and/or aux

1-4, and make sure the phones level or aux send

master levels are set up nicely.

3. Press the talkback switch as you talk.

4. Slowly turn the talkback level knob up until

they can hear you in phones or monitors.

Headphones

48V

5. Release the talkback switch when you are

ﬁnished talking.

Once you have set the level, you can leave it there for

the duration of the session or gig.

MUTE

SOLO

Built-in Microphone

Destination

Talkback

Level

Talkback Switch

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FireWire

The mixer comes with a CD containing the PC driver

software needed to use your mixer's internal FireWire

interface. Macintosh OS X contains built-in drivers, and

no software installation is required.

FireWire Connections

Please check our website (www.mackie.com) for

any updated PC drivers that may exist. If one does,

download this installer and follow the instructions that

accompany the download. Otherwise, continue on with

the CD installation instructions listed below.

48V

Line/FW 1-2

FW 1-2

FW Pre

or Post

INSTALLATION ON A PC:

Assign to

main mix

1. Connect a FireWire cable from your mixer to a

FireWire port on your computer.

Aux

Master

controls

2. Turn on your mixer.

Aux Send 1-2

3. The Windows application (XP or Vista) will

start its "Found New Hardware" wizard.

to FW 13-14

MUTE

Assign to

FW 15-16

4. In the details that follow, ignore any attempt

to connect to Windows Update to ﬁnd the

software. Also ignore any warnings about the

software not having passed Windows testing.

Trust software from LOUD Technologies, Inc.

SOLO

5. Select "Locate and install driver software that

came with your device."

7. In your audio software applications, select and

activate the inputs from the mixer and outputs

to the mixer.

6. You will be prompted to insert the CD that

came with your mixer. Do so.

7. Select "Install," and the driver software should

be installed.

FIREWIRE CONNECTIONS

Two FireWire connectors allow the transfer of

digital audio to and from your computer or digital audio

workstation (DAW). There are two identical connectors,

but you only need one. The other is used for connecting

additional devices if your mixer is using up your

computer's only FireWire connector. For example, you

could daisy-chain multiple Onyx 1620i mixers or add an

external hard drive since the FireWire connectors are

run in serial. Performance will vary based on system

hardware.

8. For Windows XP users, depending upon your

conﬁguration, repeat steps 1-7 if prompted to

install a second driver.

9. In your audio software application, select and

activate all the inputs from the mixer and the

outputs to the mixer.

INSTALLATION ON A MAC:

1. Connect a FireWire cable from your mixer to a

FireWire port on your Mac.

The FireWire interface provides the following outputs

to your computer:

2. Turn on your mixer.

3. Go to the applications folder, open the utilities

folder, and double-click “Audio MIDI Setup.”

•

Individual channels, tapped pre-fader, and

either pre-EQ, or post-EQ (your choice).

4. Click the Audio Devices tab, and select

Onyx-i in the “Properties For” drop-down box.

•

Aux send 1 and 2 for effects plug-in routing.

Left/right main mix. The left/right main mix at

the FireWire output is not affected by the main

mix fader (important for recording live).

5. Here you can see the settings for the mixer.

You can also choose it as your default input or

output, as well as designate it to be used for

system sound output.

Use FireWire to record a live performance directly to

your computer, then mixdown to a stereo mix later. Or

you can use it to turn your Onyx mixer into a

6. You’re ready to go with any Mac OS X Core

Audio host application (i.e., Tracktion, Logic,

Cubase, Nuendo, Live, Digital Performer, etc.).

high-quality computer audio interface for your DAW.

Quick Start Guide 15

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FireWire also provides a return for two channels from

your computer to your mixer:

CONTROL ROOM FW 1-2

If this is engaged, you can listen to FireWire 1 and 2

playback from your computer in the control room and

headphones. This can also be added to the main mix if

control room assign to main mix is engaged. See below.

•

These can be routed through the control

room/phones via the FW 1-2 button, to monitor

the computer audio through your control room

speakers or headphones (or through the main

speakers if assign to main mix is selected).

ASSIGN TO MAIN MIX

•

Alternatively, these same two channels can

be routed through channels 15 and 16, and

treated just like any other channel, with

adjustment for gain, EQ, level, and pan, as

well as to solo, and add to the main mix and

aux sends 1-4. In this way, your stereo

computer source can be used alongside the

other channels as "just another source" in the

band, such as a virtual instrument, or the

output of a guitar going through

Engage the control room FW 1-2 switch and this

"assign to main mix" switch to play two tracks directly

from your computer through the control room/phones

source matrix and into the main mix. This is great for

listening to iTunes^®or other pre-recorded material from

your computer.

amp-modelling software. This routing is done

using the FW/line input selector switch on

channels 15-16.

FireWire Connections

•

Note: Route the two channels from your

computer through the control room/

headphones or through channels 15-16.

Do not use both.

FIREWIRE PRE/POST

Each channel of the mixer can send a FireWire

output to your computer or DAW. The FireWire

output from each channel can be tapped before

(pre) or after (post) the channel EQ. (The output

is pre-fader.)

48V

Line/FW 1-2

FW 1-2

FW Pre

or Post

Assign to

main mix

Aux

If you want the mixer EQ to affect the FireWire

recording, then set this switch to post. This is

useful in recording channels in a studio (where

the recording includes the beneﬁcial effect of our

Perkins EQ).

Master

controls

Aux Send 1-2

to FW 13-14

MUTE

Assign to

FW 15-16

If you would rather record the straight signals

from a live performance, and EQ them later in your

DAW, then set this switch to pre. This is good for

live work, where you may have added EQ to

adjust for the room, and yet not want this added to your

recording.

SOLO

INPUT (LINE or FW 1-2)

Mixer channel 15 and 16 can either be fed from the

1/4" stereo line-level inputs, or by FireWire outputs 1

and 2 from your computer. This switch lets you choose

which to use. Either way, channels 15 and 16 receive

line-level analog audio signals just prior to the gain

control, so channel setup, gain adjustment and EQ

adjustment are the same for line or FireWire.

16 Onyx 1620i

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AUX SEND 1-2 to FW 13-14

Modiﬁcations:

Engage this button in the aux master section, and

a copy of aux send 1 and 2 outputs can be sent via

The following FireWire modiﬁcations can be done by

an authorized service center. Authorized service centers

FireWire to your computer. This makes it possible to set may be found online at:

up a software effects processor thus-wisely: www.mackie.com/scripts/service_centers/search.asp

Please contact our technical support department if you

are having trouble ﬁnding an authorized service center

in your area.

•

Set aux send 1 and/or 2 in post mode, by

pressing the post switch in the aux master

section.

•

With "aux send 1-2 to FW 13-14" engaged, aux

send 1-2 are available for your computer via

FireWire signals 13 and 14. (Mixer channels

13-14 are no longer available to send via

FireWire.)

Post-Insert FireWire Sends

The pre-EQ channel FireWire sends are pre-insert,

but the circuit boards can be modiﬁed so that they are

post-insert instead. This allows for the use of an

external processor on the mic or line signal, sending the

result to FireWire, while still pre-EQ.

•

Pass aux 1 or 2 through your audio production

software running effects plugins.

Return the processed output to mixer channels

15 and 16 (input switch set to FW 1-2).

Alternatively bring the processed sounds into

the control room (engage FW 1-2) and add it to

the main mix (engage assign to main mix).

Post-Fader FireWire Sends

The post-EQ channel FireWire sends are pre-fader,

but the circuit boards can be modiﬁed so that they are

post-fader instead. This allows the channel fader to

control the level of the FireWire sends from each

channel.

•

You can even use the computer as two separate

independent mono in, stereo out processors.

Have aux 1 go into one plugin, and aux 2 go into

a different one. The stereo outputs of both

plug-ins are combined back into the stereo

stream coming back to the mixer. Again,

performance will vary based on system

hardware.

ASSIGN to FW 15-16

Engage this button near the main fader, and the main

mix can be sent to your computer via Firewire. The

FireWire output is not affected by the main mix fader,

allowing you to record the main mix of live

performances. The left main mix will appear on

FireWire output signal 15, and the right on signal 16.

(When this button is engaged, mixer channels 15-16 are

not available to send via FireWire.)

Quick Start Guide 17

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Technical Information

Speciﬁcations

Noise Characteristics:

Attenuation and Crosstalk:

@1 kHz relative to 0 dBu

Main Mix knob down:

Equivalent Input Noise (EIN), mic input at insert, 150 Ω source

impedance, 20 to 20 kHz:

-85 dBu

-88 dBu

-87 dBu

60 dB (max) gain:

40 dB gain:

-127 dBu

-126.5 dBu

Channel Alt/Mute switch engaged:

Channel Level knob down:

Equivalent Input Noise (EIN), mic input at insert, 50 Ω source

impedance, A-weighted:

Common Mode Rejection Ratio (CMRR):

60 dB (max) gain:

40 dB gain:

-130.5 dBu

-130 dBu

Mic input to insert, max gain, 1 kHz, 150 ohm termination:

-60 dB

Output Noise Figure (1/4" Main out, all channels assigned to

main, Gain knobs at unity, 20 Hz to 20 kHz):

Maximum Input Levels:

Mic input, gain at min (0 dB):

Mic input, gain at max (60 dB):

Line input, gain at -20 dB:

Instrument input, gain at -20 dB:

Tape input:

+22 dBu

–38 dBu

+22 dBu

+12 dBu

+22 dBu

Main Mix knob down, channel Level knobs down:

-102 dBu (-106 dB SNR,

ref +4 dBu)

Main Mix knob unity, channel Level knobs down:

-92 dBu (-96 dB SNR,

ref +4 dBu)

Aux return:

Main Mix knob unity, channel Level knobs unity:

-88 dBu (-92 dB SNR,

Maximum Output Levels:

All outputs:

ref +4 dBu)

+22 dBu

FireWire Through (Record + Playback) Dynamic Range:

0 dBu mic input, to DAW, routed back to mixer direct to Control

Room, all gain stages unity, 20 Hz to 20 kHz:

Equalization

Mono Channels

Low:

44.1 kHz sample rate:

96 kHz sample rate:

-104 dB

-106.5 dB

15 dB at 80 Hz

100 Hz to 2 kHz

15 dB

Lo-Mid frequency:

Lo-Mid gain:

Hi-Mid frequency:

Hi-Mid gain:

High:

Frequency Response:

Mic input to any output (all gain stages at unity):

+0/-0.5 dB, 20 Hz to 20k

400 Hz to 8 kHz

15 dB

Stereo channel line input to any output (all gain stages unity):

+0/-0.5 dB, 20 Hz to 20k

15 dB at 12 kHz

FireWire in and out (mic input to FireWire send, returned to

Control Room, all gain stages at unity):

Stereo Channels:

Low:

15 dB at 80 Hz

15 dB at 2.5 kHz

15 dB at 12 k

44.1 kHz sample rate:

+/-0.5 dB, 20 Hz to 20k

-3 dB at 21 kHz

Mid:

High:

96 kHz sample rate:

+/-0.5 dB, 20 Hz to 20k

-3 dB at 45 kHz

FireWire

Distortion (THD+N):

20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth

Sample Rates Available:

44.1 kHz, 48 kHz,

88.2 kHz, 96 kHz

Buffer Size:

Resolution:

32 (44.1 kHz and 48 kHz

only), 64, 128, 256, 512,

1024, 2048 samples

Mic input at insert

(+4 dBu in, 0 dB gain, +4 dBu out): 0.0057%

Mic input at insert

(-36 dBu in, +40 dB gain, +4 dBu out):0.017%

24-bit

Stereo channel line input to any output

(+4 dBu in, all gain stages at unity +4 dBu out): 0.005%

Meters

2-segment pre-fader channel meters:

FireWire in and out (+4 dBu in, mic input to FireWire send,

returned to Control Room, all gain stages at unity):

OL (+18 dBu), -20 dBu

12-segment pre-fader Control Room meters:

OL (+20 dBu), +15, +10,

44.1 kHz sample rate:

0.01%, 20 Hz to 2 kHz

0.02%, 2 kHz to 20 kHz

+6, +3, 0, -2, -4, -7, -10,

-20, -30 (0 dB = 0 dBu)

96 kHz sample rate:

0.01%, 10 Hz to 1 kHz

0.03%, 1 kHz to 47 kHz

18 Onyx 1620i

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Input Impedance:

Mic input:

Physical Dimensions and Weight

Height:

2.8 kΩ balanced

19.1 in/485 mm

16.6 in/422 mm

4.3 in/110.2 mm

20 lb./9.1 kg

Hi-Z input:

1 MΩ unbalanced

Width

Mono channel line input:

30 kΩ balanced

15 kΩ unbalanced

Depth:

Weight:

Stereo Channel line input:

20 kΩ balanced

10 kΩ unbalanced

Options:

Rack Mount Kit

Output Impedance:

Main XLR output:

Phones output:

LOUD Technologies Inc. is always striving to improve our products

by incorporating new and improved materials, components, and

manufacturing methods. Therefore, we reserve the right to change

these speciﬁcations at any time without notice.

100 Ω balanced

25 Ω

Channel Inserts:

Tape Output:

150 Ω

“Mackie,” and the “Running Man” are registered trademarks of LOUD

Technologies Inc. All other brand names mentioned are trademarks

or registered trademarks of their respective holders, and are hereby

acknowledged.

2 kΩ

All other outputs:

300 Ω (balanced)

AC Power Requirements:

Power Consumption:

40 Watts

The technical writer responsible for this manual tends to fade in and

out of various different realities, depending on how many cups of tea

he has had. Please check our website for any updates to this manual,

or updates to the PC drivers: www.mackie.com.

Universal AC Power Supply:

100 VAC – 240 VAC,

50-60 Hz

Dimensions

WEIGHT

20 lb

9.1 kg

4.3 in /

110.2 mm

16.6 in / 422.0 mm

19.0 in/ 482.6 mm

1.9 in / 47.7 mm

Need help with your new mixer?

• Visit www.mackie.com and click Support to ﬁnd: FAQs, manuals, addendums, and other useful

information.

• Email us at: [email protected].

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday

through Friday, normal business hours, PST).

Quick Start Guide 19

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Track Sheet

48V

MUTE

SOLO

20 Onyx 1620i

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Track Sheet

• Session:

• Date:

• Notes:

Quick Start Guide 21

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Block Diagram

logic

pfl

logic

pfl

afl R

afl L

aux 4 (post)

aux 4 (pre)

aux 3 (post)

aux 3 (pre)

aux 2 (post)

aux 2 (pre)

aux 1 (post)

aux 1 (pre)

aux 4 (post)

aux 4 (pre)

aux 3 (post)

aux 3 (pre)

aux 2 (post)

aux 2 (pre)

aux 1 (post)

aux 1 (pre)

R/4

Alt

L/3

Main

22 Onyx 1620i

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Mackie Limited Warranty

Please keep your sales receipt in a safe place.

This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)

and is applicable to products purchased in the United States or Canada through a LOUD-authorized

reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of

the product (hereinafter, “Customer,” “you” or “your”).

For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to ﬁnd

contact information for your local distributor, and information on any warranty coverage provided by the

distributor in your local market.

LOUD warrants to Customer that the product will be free from defects in materials and workmanship

under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD

or its authorized service representative will at its option, either repair or replace any such nonconforming

product, provided that Customer gives notice of the noncompliance within the Warranty Period to the

Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-

free in the U.S. and Canada) during normal business hours Paciﬁc Time, excluding weekends or LOUD

holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it

to obtain any warranty service.

For full terms and conditions, as well as the speciﬁc duration of the Warranty for this product, please visit

www.mackie.com/warranty.

The Product Warranty, together with your invoice or receipt, and the terms and conditions located

at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior

agreements between LOUD and Customer related to the subject matter hereof. No amendment,

modiﬁcation or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a

written instrument signed by the party to be bound thereby.

Quick Start Guide 23

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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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