Mackie ONYX Series User manual

OWNER’S MANUAL
LOW CUT
PREMIUM ANALOG MIXERS WITH MULTI-TRACK USB

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
2
Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
8. Minimum distance (5 cm) around the apparatus for sucient ventilation.
The ventilation should not be impeded by covering the ventilation openings
with items, such as newspapers, table-cloths, curtains, etc.
9. Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including amplifiers) that produce heat.
10. No naked flame sources, such as lighted candles, should be placed on the apparatus.
11. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized
plug has two blades with one wider than the other. A grounding-type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided
for your safety. If the provided plug does not fit into your outlet, consult an electrician
for replacement of the obsolete outlet.
12. Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
13. Only use attachments/accessories specified by the manufacturer.
14. Use only with a cart, stand, tripod, bracket, or table specified
by the manufacturer, or sold with the apparatus. When a cart
is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
15. Unplug this apparatus during lightning storms or when unused
for long periods of time.
16. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any way,
such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.
17. This apparatus shall not be exposed to dripping or splashing, and no object filled
with liquids, such as vases or beer glasses, shall be placed on the apparatus.
18. Do not overload wall outlets and extension cords as this can result in a risk of fire
or electric shock.
PORTABLE CART
WARNING
CAUTION
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the prescence of uninsulated
“dangerous voltage” within the product’s enclosure, that may be of
significant magnitude to constitute a risk of electric shock to persons.
RISK OF ELECTRIC SHOCK! DO NOT OPEN!
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED PERSONNEL.
The exclamation point within an equilateral triangle is intended
to alert the user of the prescence of important operating and
maintaining (servicing) instructions in the literature accompanying
the appliance.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan.
Apparatet stikprop skal tilsluttes en stikkontakt
med jord, som giver forbindelse til stikproppens jord.
Apparatet må tilkoples jordet stikkontakt.
Apparaten skall anslutas till jordat uttag.
19. This apparatus has been designed with Class-I construction
and must be connected to a mains socket outlet with a protective
earthing connection (the third grounding prong).
20. This apparatus has been equipped with a rocker-style AC mains power switch. This
switch is located on the rear panel and should remain readily accessible to the user.
21. The MAINS plug or an appliance coupler is used as the disconnect device,
so the disconnect device shall remain readily operable.
22. The use of apparatus is in moderate climates.
23. This device should be installed and operated with minimum distance 20cm
between the radiator & your body.
The product can be sold in all EU countries.
Bluetooth transmitter Power: ≤8dBm
Bluetooth transmitter frequency range: 2.402 – 2.480 GHz
24.NOTE: This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to part 5 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment o and on, the user is encouraged
to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit dierent from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly approved by LOUD
Audio, LLC could void the user’s authority to operate the equipment under FCC rules.
25. This apparatus does not exceed the Class B limits for radio noise emissions from
digital apparatus as set out in the radio interference regulations of the Canadian
Department of Communications.
Canada ICES-003(B)/NMB-003(B)
26. Exposure to extremely high noise levels may cause permanent hearing loss.
Individuals vary considerably in susceptibility to noise-induced hearing loss,
but nearly everyone will lose some hearing if exposed to suciently intense
noise for a period of time. The U.S. Government’s Occupational Safety and Health
Administration (OSHA) has specified the permissible noise level exposures shown
in the following chart.
According to OSHA, any exposure in excess of these permissible limits could result
in some hearing loss. To ensure against potentially dangerous exposure to high sound
pressure levels, it is recommended that all persons exposed to equipment capable
of producing high sound pressure levels use hearing protectors while the equipment
is in operation. Ear plugs or protectors in the ear canals or over the ears must
be worn when operating the equipment in order to prevent permanent hearing loss
if exposure is in excess of the limits set forth here:
Duration, per
day in hours Sound Level dBA, Slow Response Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 00 Very loud classical music
.5 02
 05 Chaz screaming at Troy about deadlines
0.5 0
0.25 or less 5 Loudest parts at a rock concert
Correct disposal of this product: This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE directive
(202/9/EU) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment
(EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous
substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the eective
usage of natural resources. For more information about where you can drop o your waste equipment for recycling, please contact your local city oce, waste
authority, or your household waste disposal service.

3
Owner’s Manual
Owner’s Manual
Features
Part No. SW302 Rev. D 08/2
©2021 LOUD Audio, LLC. All Rights Reserved.
Classic Sound, Modern Performance
• Award-winning Onyx mic preamps provide up to 60dB
of gain
• Premium analog circuitry delivers studio-quality sound
and keeps noise to a minimum
• Analog/USB channel strips with flexible routing
• Legendary Perkins “British style” EQ with sweepable
midrange oers classic sounds of the 60’s and 70’s
• Robust digital eect engine, including user-customizable
reverbs, delays, and more, with a dedicated FX EQ
Record and Playback via SD Card or USB
• High-resolution 96kHz / 24-bit multi-track recording
to Mac/PC via USB
• Direct to SD card stereo recording and playback
• Channel-assignable 4-track USB return (2 stereo pairs)
• Send your Main Mix to USB via a dedicated switch
Studio Command - Powerful and Intuitive Full-Color Display
and Single-Knob Interface
• EasynavigationofFXparameters,onboardSDrecording
and playback
• Visually browse files on the SD card via the built-in
display
• Dedicated physical buttons for Previous, Next, Record,
and Play/Pause
• Store up to 6 user FX presets for easy recall
Professional High-Resolution FX Processor
• Utilize built-in eects for live performances, streams,
and beyond
• Reverb, delay, chorus, and more
• Dial in the perfect sound with adjustable parameters
and dedicated EQ
Bluetooth® Streaming – Go Wireless
• Pair your Bluetooth enabled device and stream
audio directly to a channel on the mixer
• Streamed audio can be routed to Aux Sends
and the Main Mix
Powerful Mixing Toolkit
• 3-band Perkins EQ with On/O hard bypass switch
on all channels
• Hi-Z switches allows direct connection of guitars,
basses, and other instruments
• 00Hz low-cut filter and 48V phantom power on all mic
channels
• Stereo /8" input and Bluetooth streaming
• Stereo line inputs
• Aux/Monitor outputs with dedicated per-channel
send control
• Dedicated Control Room outputs
• Headphone output with dedicated level control
• Dedicated L-R Assign switches per channel
• 2-segment stereo meters
• Overload indicators on all channels
• PFL/AFL channel solo
• Footswitch input for FX Mute (footswitch not included)
Hit the Ground Running with Powerful Sofware and Plugins
• Pro Tools® | First recording sofware and plugin bundle
o Musician Collection for Pro Tools | First,
with 23 plugins like BBD Delay, Eleven Lite,
304E EQ, and 304C Compressor
• Waveform™ OEM recording sofware and plugin bundle
o DAW Essentials™ Bundle for Waveform™
OEM, with 6 powerful plugins like Equaliser,
Compressor, Reverber8, and Limiter
Rugged Chassis and Professional Design
• Backlit Mute and Solo buttons provide a positive tactile
feel and clear visual feedback
• Sealed rotary pots resist dust and grime
• Built-Like-A-Tank™ heavy steel chassis
• High-visibility, high-contrast controls
• Rugged, QuickGrip™ side cheeks oer convenient
mobility and protection
Introduction
Mackie Onyx Premium Analog Mixers with USB
are the ultimate compact solution for live audio,
home recording, and content creation.
24-Bit / 96kHz multitrack recording, award-winning, high-
gain Onyx mic preamps, and an end-to-end ultra-low-noise
design deliver the sound quality professionals demand.
Packed with features including powerful DSP eects,
British-style Perkins EQ, full-color display, and integrated
recording and playback from an SD card.
Mackie Onyx Premium analog mixers give you the power
you need to capture your best performance with pristine
fidelity at home or on the go.
How to Use This Manual
Afer this introduction, a getting started guide will help
you get things set up fast. The hookup diagrams show
some typical setups, while the remaining sections provide
details of the Onyx Series mixers.
This icon marks information that is critically
important or unique to Onyx. For your own
good, read and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
This icon draws attention to certain features
and functions relating to the usage of Onyx.

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
4
Table of Contents
Important Safety Instructions........................... 2
Features............................................................... 3
Introduction ........................................................ 3
Table of Contents................................................ 4
Quick Start .......................................................... 5
RTC Setup............................................................6
Hookup Diagrams ............................................... 7
Onyx Rear Panel Features..................................9
. Power Connection.....................................9
2. Power Switch............................................9
3. USB Input / Output ...................................9
4. Mic Ins..................................................... 0
5. Line Ins.................................................... 0
6. Stereo Line Inputs.................................. 0
7. Insert Jacks ............................................ 0
8. Main Outputs........................................... 
9. Control Room Out Jacks.........................
0. Mon Send Jacks ....................................2
. FX Send Jack..........................................2
2. FX Footswitch.........................................2
Onyx Front Panel Features................................3
Connections and Channel Strip..................3
3. /8" Stereo Input..............................3
4. Gain Knobs and OL LEDs.................3
5. Low Cut Switches ............................4
6. Line / Hi-Z Switches [Chs.  and 2]4
7. EQ In/Out...........................................4
8. Hi EQ Knobs......................................4
9. Mid EQ Knobs...................................5
20. Mid Freq Knobs ...............................5
2. Mid EQ Knobs...................................5
22. Low EQ Knobs..................................5
23. Aux Mon Knobs................................5
24. Aux FX Knobs...................................5
25. Pan Knobs........................................5
26. Mute Switches ................................5
27. Solo Switches.................................. 6
28. Channel Faders .............................. 6
29. L-R Assign Switches....................... 6
30. Bluetooth On/Off Switch ............... 6
3. Bluetooth Pair Switch..................... 6
32. USB /2 and 3/4 Switches..............7
33. SD Switch.........................................7
34. Mackiemus Prime Switch...............7
Master Section ........................................... 8
35. Power LED....................................... 8
36. 48V Switch and LED ...................... 8
37. Main Meters.................................... 8
38. Phones Out Jack............................ 9
39. Phones Knob................................... 9
40. Solo Master Knob........................... 9
4. Rude Solo LED................................. 9
42. AFL/PFL Solo Switch...................... 9
43. Control Room Knob........................20
44. FX to Mon Knobs............................20
45. FX Master Knob / Fader.................20
46. FX Mute Switch and LED ...............20
47. Mon Send Mstr Lvl Knob/Faders...20
48. Mon Mute Switches and LEDs ......20
49. Master L-R Assign Switches .........20
50. Main Mix Fader................................2
5. Main Mute Switch............................2
52. Main USB Send Switch...................2
53. Preset Display ................................22
54. Studio Command Control Knob.....22
55. FX Button........................................22
56. SD Button .......................................22
57. Back Button.....................................22
FX Section...................................................23
Delay......................................................24
FX EQ .....................................................24
FX Presets.............................................26
FX EQ Reset...........................................26
SD Stereo Recording and Playback...........29
Formatting.............................................29
Transport Controls ...............................30
Recording..............................................30
Playback................................................30
Renaming ...............................................3
Final Thoughts.......................................3
Settings.......................................................32
Auto-Play...............................................32
Record Mode.........................................32
SD Card... ..............................................32
Set Time/Date.......................................32
Factory Reset........................................32
About .....................................................32
Appendix A: Service Information.....................33
Appendix B: Technical Information .................35
Onyx Dimensions........................................37
Onyx Block Diagrams .................................39
Onyx Track Sheets......................................43
Appendix C: USB 3/4 Return Setup.................48
Limited Warranty..............................................49

5
Owner’s Manual
Owner’s Manual
Quick Start
We realize that you must be really keen to try out your new
mixer. Please read the safety instructions on page 2 for
information on hearing protection, then have a look through
some of the features and details in this manual.
Setup
Use the mixer in a nice clean and dry environment, free from
dryer lint and dust bunnies.
Zero the controls
. Make sure the power switch is o.
2. Fully turn down all the knobs to minimum, except for
the channel EQ and pan controls, which should be
at their center detent. Set all faders fully down.
3. Make sure all buttons are in the out [disengaged] position.
Connections
. Push the power cord 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 00 VAC to 240 VAC.
2. Connect the main outputs of the mixer (either XLR or TRS
/4") to the line level inputs of your amplifier (with speakers
already attached) or to the line-level inputs of powered
speakers.
3. Plug signal sources into the mixer, such as:
• Microphones plugged into the mic inputs.
Engage phantom power if your mics need it.
• Instrument level sources, such as acoustic guitars
w/active pickups into the instrument inputs.
• Line-level sources such as keyboards, drum machines,
or CD players plugged into the line-level inputs.
• Phone or tablet paired and connected via Bluetooth.
4. Several channels have insert jacks that can be used
to connect an external eects or dynamics processor
into the signal chain.
Set the levels
. Turn on the mixer by pressing the top edge of the power
switch.
2. Play something into the channel input at real-world levels.
3. Raise the channel fader to unity.
4. Engage the channel's LR switch (Onyx2 / Onyx6 / Onyx24).
5. Adjust the channel's gain control until the meters stay
around the 0 dB LED mark.
6. Repeat steps 2 to 5 for the remaining channels.
7. Raise the main fader to unity.
8. If needed, apply some channel EQ wisely.
9. Adjust the channel levels to get the best mix. Keep the gain
controls and fader levels fully down on unused channels.
0. 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.
RTC and USB
• Set up RTC before continuing on with anything else.
Directions are on the following page.
• The USB driver for PC users is available on the Mackie
website (www.mackie.com). Mac OS X contains built-in
drivers, so no sofware installation is required.
Other Notes and Things to Remember
• When shutting down, turn o any power amplifiers
or powered speakers first. When powering up, turn them
on last. This will reduce the chance of turn-on or turn-o
thumps.
• Always turn down the phones level when making
connections, pressing solo, or doing anything that may
cause loudness in the headphones. This will help protect
your hearing.
• Always turn down the main mix level and control room level
when making connections to the mixer. Better yet, turn o
the power.
• Save the shipping box and packing materials! You may
need them someday. Besides, the cats will love playing
in them and jumping out at you unexpectedly. Remember
to pretend like you are surprised!
• Save your sales receipt in a safe place.

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
6
RTC Setup
RTC is short for ‘Real Time Clock’. Recordings require a time
stamp, so if the RTC is not set up correctly (or at all), then
your SD recordings could be compromised, ruined or just plain
unavailable, lost in the ether. We're pretty confident that this
would not be your intent when recording. With that said, here
are the steps to set up the RTC on your Onyx mixer.
. Press and hold the FX and SD buttons down simultaneously
for one second. Doing so will reveal the Settings screen.
Ok, that's not entirely true... the recordings will still be successful.
However, they will be dated 999 – “2000 zero zero party over oops
out of time, so tonight I'm gonna party like it's 999” – and it will mess
up the sorting of the files.
PRESS TO SELECT
HOLD FOR SETTINGS
STUDIO COMMAND
SD
2. Rotate the encoder clockwise until ‘Set Time/Date’
is highlighted and press the encoder down to select.
3. Now it's time to set the date and time. Rotate the encoder
to the current year followed by pressing the encoder down
to select. Once the current year has been selected and the
encoder pushed down, the next parameter – month – will be
highlighted.
4. Follow the same steps to update the month, day and time .
5. Rotate the encoder until ‘Confirm’ is highlighted and press
the encoder down to indeed confirm the changes
See below for a visual representation on how to update the RTC.
You should only have to do this one time unless you
live in a region that observes daylight savings time.
Unfortunately, you will also need to update the RTC
at the time.

7
Owner’s Manual
Owner’s Manual
Hookup Diagrams
Typical Live Sound System
This diagram shows a guitar and bass attached to the channel  and 2 line-level inputs, each via a mono eects processor.
The Hi-Z switch is engaged on both channels. A mic'd up drum kit utilizes the next four channels of the mixer. Microphones
are connected to the following two channels and will handle lead and background vocal duties. A phone is connected to the last
channel on the board via Bluetooth.
DRM8S powered subwoofers are connected to the lef and right main outputs. Those are then connected to a pair of SRM25 |
V-Class loudspeakers to complete the PA. Four SRM22 | V-Class loudspeakers are also set up as stage monitors and connect to
the mixer's two aux (monitor) outputs via graphic EQs. The aux mon controls of each channel allow you to create a stage monitor
mix as desired. Headphones are used for monitoring and a footswitch allows you to mute/unmute the internal eects as desired.
It's not shown, but a laptop may connect to the USB port on the rear panel of the mixer. It allows the performance to be recorded
to a DAW, as well as playback from the computer to the main mix.
POWER
100V-240V
50-60 Hz 40W
BAL/
UNBAL
BAL/
UNBAL
R
L
(MONO)
R
L
R
L
(MONO)
R
L
(MONO)
R
L
(MONO)
BAL/
UNBAL
BAL/
UNBAL
LINE IN 14
LINE IN 13
13/14
BAL/
UNBAL
LINE IN 12
LINE IN 11
LINE IN 10
LINE IN 9
LINE IN 8
LINE IN 7
BAL/
UNBAL
LINE IN 6
LINE IN 5
INSERT
LINE IN 4
INSERT
LINE IN 3
INSERT
LINE IN 2
INSERT
LINE IN 1
BAL/
UNBAL
2 1345/67/89/1011/12
(MONO)
RL
BAL/
UNBAL
R L
BAL/
UNBAL
CONTROL
ROOM
MON SEND
2 1
BAL/
UNBAL
FX FSW
MAIN OUTS
USB
48V
PHONES
PHANTOM
POWER
POWER
USB 1
2
LINE
13/14
-15 +15
ONYX MIC PRE
MIC
5/6 7/8
LOW CUT
SD
9/10
LOW CUT
USB 3
4
MID
2.5kHz
11/12
LOW CUT
3 4
100Hz 100Hz 100Hz
LINE IN 13/14
GAIN
-20dB +20dB
U
ONYX MIC PRE
MIC/LINE ONYX MIC PRE MIC/LINE
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
LOW CUT
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
100Hz
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
HOLD TO PAIR
ON/OFF
OL
0dB=0dBu
MAIN
METERS
15
10
6
3
0
2
4
7
10
20
30
L R
RUDE SOLO
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
ONYX MIC PRE
MIC/LINE
1
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
ONYX MIC PRE
MIC/LINE
2
HI-Z
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
OFF
ON
OFF
ON
HI-Z
LOW CUT
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
OFF
ON
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
FX FX FX FX FX FX FX FX
TO
MON 1
TO
MON 2
OFF MAX OFF MAX
PRESS TO SELECT
HOLD FOR SETTINGS
STUDIO COMMAND
STEREO RECORDING
AND PLAYBACK
SD
PAIR
EQ EQ EQ EQEQ EQ EQEQ EQ EQ EQ EQEQ EQ EQEQ
Hi-Z

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
8
Typical Recording System
Like the previous hookup diagram, this one also starts with a guitar and bass attached to the channel  and 2 line-level inputs,
each via a mono eects processor. The Hi-Z switch is engaged on both channels. Microphones are attached to channels 3
through 9/0, an electronic drum kit to stereo channels /2 and a keyboard to stereo channels 3/4.
MR Series powered reference subwoofers and monitors are connected to the lef and right control room outputs for careful
and accurate monitoring of the performance. Headphones connected to aux (monitor) out  via a headphone amp are available
for the talent to utilize when tracking.
A desktop computer connects to the USB port to record the mix to the DAW, as well as playback from the DAW.
Hookup Diagrams Continued...
POWER
100V-240V
50-60 Hz 40W
BAL/
UNBAL
BAL/
UNBAL
R
L
(MONO)
R
L
R
L
(MONO)
R
L
(MONO)
R
L
(MONO)
BAL/
UNBAL
BAL/
UNBAL
LINE IN 14
LINE IN 13
13/14
BAL/
UNBAL
LINE IN 12
LINE IN 11
LINE IN 10
LINE IN 9
LINE IN 8
LINE IN 7
BAL/
UNBAL
LINE IN 6
LINE IN 5
INSERT
LINE IN 4
INSERT
LINE IN 3
INSERT
LINE IN 2
INSERT
LINE IN 1
BAL/
UNBAL
2 1345/67/89/1011/12
(MONO)
RL
BAL/
UNBAL
R L
BAL/
UNBAL
CONTROL
ROOM
MON SEND
2 1
BAL/
UNBAL
FX FSW
MAIN OUTS
USB
48V
PHONES
PHANTOM
POWER
POWER
USB 1
2
LINE
13/14
-15 +15
ONYX MIC PRE
MIC
5/6 7/8
LOW CUT
SD
9/10
LOW CUT
USB 3
4
MID
2.5kHz
11/12
LOW CUT
3 4
100Hz 100Hz 100Hz
LINE IN 13/14
GAIN
-20dB +20dB
U
ONYX MIC PRE
MIC/LINE ONYX MIC PRE MIC/LINE
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
LOW CUT
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
100Hz
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
HOLD TO PAIR
ON/OFF
OL
0dB=0dBu
MAIN
METERS
15
10
6
3
0
2
4
7
10
20
30
L R
RUDE SOLO
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
ONYX MIC PRE
MIC/LINE
1
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
ONYX MIC PRE
MIC/LINE
2
HI-Z
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
OFF
ON
OFF
ON
HI-Z
LOW CUT
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
OFF
ON
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
U
-20dB +40dB
+60
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
MON 1
MON 2
AUX
OFF MAX
OFF MAX
FX FX FX FX FX FX FX FX
TO
MON 1
TO
MON 2
OFF MAX OFF MAX
PRESS TO SELECT
HOLD FOR SETTINGS
STUDIO COMMAND
STEREO RECORDING
AND PLAYBACK
SD
PAIR
EQ EQ EQ EQEQ EQ EQEQ EQ EQ EQ EQEQ EQ EQEQ
Hi-Z

9
Owner’s Manual
Owner’s Manual
. Power Connection
This is a standard 3-prong IEC power connector.
Connect the detachable line cord (included in the box
with your mixer) to the power receptacle, and plug the
other end of the line cord into an AC outlet.
Onyx Series mixers have a universal power
supply that accepts any AC voltage ranging from
00 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!
It is less susceptible to voltage sags or spikes,
compared to conventional power supplies,
and provides greater electromagnetic isolation
and better protection against AC line noise.
Disconnecting the plug’s ground pin is
dangerous. Don’t do it.
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... or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to turn the mixer
o. It will not work at this point, but makes a handy
paperweight.
As a general guide, you should turn
on the mixer first, before any external
power amplifiers or powered speakers,
and turn it o last. This will reduce the possibility
of any turn-on, or turn-o thumps in your speakers.
Onyx Rear Panel Features
POWER
100V-240V
50-60 Hz 40W
BAL/
UNBAL
BAL/
UNBAL
R
L
(MONO)
R
L
R
L
(MONO)
R
L
(MONO)
R
L
(MONO)
BAL/
UNBAL
BAL/
UNBAL
LINE IN 14
LINE IN 13
13/14
BAL/
UNBAL
LINE IN 12
LINE IN 11
LINE IN 10
LINE IN 9
LINE IN 8
LINE IN 7
BAL/
UNBAL
LINE IN 6
LINE IN 5
INSERT
LINE IN 4
INSERT
LINE IN 3
INSERT
LINE IN 2
INSERT
LINE IN 1
BAL/
UNBAL
2 1345/67/89/1011/12
(MONO)
R L
BAL/
UNBAL
R L
BAL/
UNBAL
CONTROL
ROOM
MON SEND
2 1
BAL/
UNBAL
FX FSW
MAIN OUTS
USB
1
2
4
7
5
6
8
9
10 11 12 3
3. USB Input / Output
In addition to being a mixer, the Onyx Series also
acts as a high-resolution interface that allows audio
to stream to and from the mixer via computer. As seen
below, they allow for some powerful and flexible routing.
• Onyx8 – 8x4, 24-bit / 96 kHz
• Onyx2 – 4x4, 24-bit / 96 kHz
• Onyx6 – 8x4, 24-bit / 96 kHz
• Onyx24 – 24x4, 24-bit / 96 kHz
This allows you to record all input channels
to the computer via USB and/or return two independent
audio streams of stereo playback from a computer.
The USB routing capabilities are as follows:
USB input TO the mixer – playback:
() A USB -2 switch is located on the third to last
stereo channel – the channel directly to the lef of the
one with the USB 3/4 switch – of each mixer, so one
may route the computer’s DAW output (such as Pro
Tools®, Tracktion®, Cubase®, Reaper®, etc.) to the mixer
and blend that signal with the live inputs of the mixer
in the headphones for latency-free monitoring.
(2) A USB 3-4 switch is located on the second to
last stereo channel – the channel directly to the lef of
the one with the /8" input – of each mixer, so one may
route computer output (such as Spotify®, Apple Music®,
Pandora®, YouTube®, etc.) down this stereo channel.
This stereo signal may then be EQ’d, sent to auxiliaries
(i.e. to feed monitors, headphones or eects) and is
routable to mains via the fader routing features that are
available on all other channels. In short, this signal may
be sent to nearly any desired output or pair of outputs.
Additionally, the associated gain knob adjusts the USB
input level to the mixer to achieve an optimal signal
level.
USB output FROM the mixer – recording, etc:
It is possible to record the main mix to take home
a copy of the live show. These levels are pre-main fader.
Therefore, levels may be mixed up or down in the DAW
later depending on the needs of the recording versus
the live show. The end result is that fade-ins and/or
fade-outs made during the show do not aect recorded
levels.

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
10
4. Mic Ins
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preamps feature higher
fidelity and headroom rivaling any standalone mic
preamp on the market today. These circuits are
excellent at rejecting hum and noise.
Professional ribbon, dynamic, and condenser
mics all sound excellent through these inputs.
The mic / line inputs will handle any kind of level
you can toss at them, without overloading.
They are wired as follows, according to standards
specified by the AES (Audio Engineering Society).
XLR Balanced Wiring:
Pin  = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
NEVER connect the output of an amplifier
directly to a Onyx’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
5. Line Ins
These /4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across.
To connect balanced lines to these outputs, use
a /4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands
for Tip-Ring-Sleeve, the three connection points
available on a stereo /4" or balanced phone jack
or plug. TRS jacks and plugs are used for balanced
signals and are wired as follows:
/4" TRS Balanced Mono Wiring:
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
2
31
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
2
1
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
To connect unbalanced lines to these outputs,
use a /4" mono (TS) phone plug, wired as follows:
/4" TS Unbalanced Mono Wiring:
Sleeve = Shield
Tip = Hot (+)
NEVER connect the output of an amplifier
directly to a Onyx’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
6. Stereo Line Inputs
The stereo line inputs are designed for /4" TRS
balanced or /4" TS unbalanced signals. They may
accept any line-level instrument, eects device, CD
player, etc.
If you are connecting a mono source, use the lef
(mono) input, and the mono signals will appear
on both sides of the main mix.
To connect balanced lines to these inputs, use a /4"
Tip-Ring-Sleeve (TRS) plug. To connect unbalanced
lines to these inputs, use a /4" mono (TS) phone plug.
Wiring diagrams for both connectors are presented to
the lef and above.
NEVER connect the output of an amplifier
directly to a Onyx’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
7. Insert Jacks
These unbalanced /4" jacks are for connecting
serial eects processors such as compressors,
equalizers, de-essers, or filters.
The insert point is afer the gain control and low
cut filter, but before the channel’s EQ and level.
The channel signal can go out of the insert jack
to an external device, be processed and come back
in on the same insert jack.
To do this requires a standard insert cable that must
be wired thusly:
Tip = send (output to eects device)
Ring = return (input from eects device)
Sleeve = common ground
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
tip
This plug connects to one of
the mixer’s channel insert jacks.
ring
tip ring sleeve
SEND to processor
RETURN from processor
(TRS plug)

11
Owner’s Manual
Owner’s Manual
Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. If you insert a TS (mono) /4"
plug only partially (to the first click) into an 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). This allows you to tap out the channel signal
without interrupting normal operation.
If you push the /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.
See illustration below.
Do not overload or short-circuit the signal
you are tapping from the mixer. That will
aect the internal signal.
8. Main Outputs
The main outputs provide a line-level signal
that represents the end of the mixer chain, where
the fully mixed stereo signal enters the real world.
Connect these to the lef and right inputs of your
main power amplifiers, powered speakers, or
serial eects processor (like a graphic equalizer
or compressor/limiter).
Direct out with no signal interruption to master.
Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
For use as an eects loop.
(TIP = SEND to eect, RING = RETURN from eect.)
MONO PLUG
MONO PLUG
STEREO
PLUG
R L
BAL/
UNBAL
R L
BAL/
UNBAL
CONTROL
ROOM
MAIN OUTS
8
9
The male XLR connectors provide a balanced
line-level signal and is wired as follows, according
to standards specified by the AES (Audio Engineering
Society):
XLR Balanced Wiring:
Pin  = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
In addition to accepting balanced XLR connectors,
the main outputs may also accept /4" connectors
driven by balanced or unbalanced sources. Wiring
diagrams for both connectors are presented on the
previous page.
The XLR outputs are 6 dB hotter than
the TRS outputs. So when the meters
read “0”, the TRS outputs are at 0 dBu.
9. Control Room Out Jacks
These /4" jacks are usually patched
to the inputs of a control room amplifier, studio
monitors or a headphone distribution amplifier.
The control room outputs may also be used for other
applications. The sound quality is just as impeccable
as the main outputs. It may be used as an additional
main mix output and this one will have its own level
control. However, be aware that if a solo switch
is engaged, the mix will be interrupted:
When a channel’s solo switch is engaged,
any existing selection is replaced by the solo
signal, appearing at the control room
outputs and headphones. The audible solo levels
are then controlled by the control room knob.
The solo levels appearing on the meters are not
controlled by the control room knob – you would
not want that, anyway. What you do want to see
is the actual channel level on the meters regardless
of how loud the control room output level might be.
2
1
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
12
0. Mon Send Jacks
Stage monitors allow the talented musicians
in the band to hear themselves clearly on stage.
This can be a good thing! The monitor mix may be
carefully adjusted in level using the aux mon controls.
These tap a portion of each channel's signal to provide
a /4" TRS output here to feed external stage monitors.
These could either be passive stage monitors powered
by an external amplifier, or powered stage monitors
with their own built-in amplifier.
The monitor signal is the sum (mix) of all
the channels whose aux mon control is set to more
than minimum. If they want “more me and less Brian,”
you may turn up their channel's aux mon control,
and turn down Brian’s.
The overall output level may be adjusted with
the aux master mon fader. Additionally, you could
add an external graphic EQ between this output
and your powered monitors. This will allow you
to adjust the EQ, and minimize the chance of feedback
from nearby microphones.
The monitor output is not aected by the main
mix fader or the channel faders. This allows you
to set up the monitor mix and level just right, and not
have it change when a channel fader or the main mix
fader is adjusted. This is known as “pre-fader.”
There is one mon send jack on the Onyx8 and
two mon send jacks on the Onyx2, Onyx6
and Onyx24.
MON SEND
2 1
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
FX FSW
10 11 12
. FX Send Jack
This /4" TRS line-level output may be used to feed
an external eects processor (FX), such as a nice
sound eect or delay unit. The output from this jack
is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
aux FX control is turned to more than minimum.
(The processed output of the internal FX does
not come out of this output, but is added internally
to the main mix or monitor mix.)
The overall output level may be adjusted with the aux
master FX fader. (This fader also aects the level going
into the internal FX.)
The output is “post-fader,” so any changes
to the channel faders will also aect the level
going to the external processor.
The processed output from the eects processor
is usually returned to a spare channel, and you may
carefully mix the original unprocessed channel (dry)
and the processed channel (wet). Altering the original
channel fader increases both the wet and dry
signals and keeps them at the same delicate ratio.
For example, the reverb remains at the same level
relative to the original.
2. FX Footswitch
This /4" TRS connector is where to connect your
favorite footswitch. This allows you to easily mute
or un-mute the internal eects at will.
There are two types of footswitches to choose from:
latching and momentary:
• Latching – Latching means the switch is either
in the on or o position when engaged.
• Momentary – Momentary means the switch
is engaged when pressed [and held] down.
Any one-button on/o footswitch will work, although
a latching switch is recommended.
If the internal FX have already been muted
with the internal FX mute switch, then the footswitch
has no eect.
The FX footswitch jack on the Onyx8
is located on the top panel just above
the headphones jack.

13
Owner’s Manual
Owner’s Manual
Onyx Front Panel Features
Connections and Channel Strip
3. /8" Stereo Input
This stereo input may accept an /8" line-level signal
from a phone, MP3 player, or other signal source.
Last one! NEVER connect the output of an
amplifier directly to an Onyx’s input jack.
This could damage the input circuitry and
we wouldn’t want that now, would we?
“U” like Unity gain
Onyx Series mixers have a “U” symbol on many level
controls. It stands for “unity gain,” meaning no change
in signal level. The labels on the 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.
4. Gain Knobs and OL LEDs
If you haven’t already, please read the “Quick Start”
section on page 5. Setting the gain correctly will ensure
that the preamplifier’s gain is not too high, where
distortion could occur, and not too low, where
the quieter, exquisitely-delicate passages might
be lost in background noise.
The gain knobs – in conjunction with the OL LEDs –
adjust the input sensitivity of the mic and line inputs.
This allows signals from the outside world to be
adjusted to run through each channel at optimal
internal operating levels.
For mono channels (mic input with
a mono line input), the gain knob
adjusts the input sensitivity of the
mic and line inputs.
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 60 dB of gain fully up.
Through the /4" mono line inputs, there is –20 dB
of attenuation fully down and 40 dB of gain fully up,
with unity gain “U” at 2:00.
This 20 dB of attenuation can be very handy when
you are inserting a hot signal, or when you want to add
EQ gain, or both. Without this “virtual pad,” there is
more chance of channel clipping.
For hybrid channels (mic input and stereo
line input), the gain control just aects
the microphone input.
GAIN
U
-20dB +40dB
+60
GAIN
U+60dB
M
I
C
G
A
I
N
Hybrid Channels:
• Onyx8 – Channels 3/4 – 5/6
• Onyx2 – Channels 5/6 – /2
• Onyx6 – Channels 9/0 – 5/6
• Onyx24 – Channels 5/6 – 2/22
The gain control on the /8" stereo input
channel has 20 dB of gain and 20 dB
of attenuation.
1/8" Stereo Channels:
• Onyx8 – Channels 7/8
• Onyx2 – Channels 3/4
• Onyx6 – Channels 7/8
• Onyx24 – Channels 23/24
Near the top-right of every channel fader lies an OL
LED. These LEDs are used with the gain control to set
the channel preamplifier gain just right for each source.
If one or more channels are distorting, check the OL
LEDs. If they are on continuously, turn down the gain.
GAIN
-20dB +20dB
U
OL
1
USB 1
2
LINE
23/24
dB
10
5
U
5
10
20
30
40
50
60
L-R
-15 +15
ONYX MIC PRE
MIC
15/16
15/16
17/18
LOW CUT
17/18
SD
19/20
LOW CUT
19/20
USB 3
4
MID
2.5kHz
21/22
LOW CUT
21/22
100Hz 100Hz 100Hz
LINE IN 23/24
GAIN
-20dB +20dB
U
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
OFF
ON
LOW CUT
HI
12kHz
LOW
80Hz
OL
dB
10
5
U
5
10
20
30
40
50
60
L-R
-15 +15
-15 +15
OUT
IN
100Hz
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
OL
dB
10
5
U
5
10
20
30
40
50
60
L-R
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
OL
dB
10
5
U
5
10
20
30
40
50
60
L-R
-15 +15
-15 +15
OUT
IN
-15 +15
ONYX MIC PRE
MIC
MID
2.5kHz
HI
12kHz
LOW
80Hz
OL
dB
10
5
U
5
10
20
30
40
50
60
L-R
-15 +15
-15 +15
OUT
IN
23/24
OL
dB
10
5
U
5
10
20
30
40
50
60
L-R
HOLD TO PAIR
ON/OFF
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
ONYX MIC PRE
MIC/LINE
1
HI-Z
PAN
MON 1
MON 2
AUX
LOW CUT
OFF MAX
OFF MAX
OFF MAX
L R
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz
GAIN
OFF
ON
OFF
ON
U
-20dB +40dB
+60
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
L R
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
L R
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
L R
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
L R
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
L R
FX FX FX FX FX
MUTE
SOLO
MUTE
SOLO
MUTE
SOLO
MUTE
SOLO
MUTE
SOLO
MUTE
SOLO
EQ EQ EQ EQ EQEQ EQ EQEQ
PAIR
14
15
16
18
17
19 21 30
31
20
22
23
24
25
26
27
28
29
14
33 32
13

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
14
5. Low Cut Switches
All channels with a mic input have a low-cut switch
(ofen referred to as a high-pass filter) that cuts bass
frequencies below 00 Hz at a rate of 8 dB per octave.
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it
out makes the low stu you do want much more crisp
and tasty. Not only that, but low-cut can help reduce
the possibility of feedback in live situations, and it
helps to conserve amplifier power.
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts stage rumble,
mic handling clunks and breath pops from way-down
low. Applying low-cut removes all those problems,
so you can add low EQ without blowing the woofers.
6. Line / Hi-Z Switch [Chs.  and 2]
To connect a guitar or bass directly to the mixer
without using a DI Box, press this switch in first;
then connect the output from the instrument
to the channel’s /4" TRS input. The input impedance
is optimized for direct connection and high-frequency
fidelity is assured.
In the out position, the channel’s /4" TRS input
becomes a line input just like the other mono line
inputs.
To use guitars or other instruments on other
channels, you will need to use an external DI box first.
Without the DI box – or if this switch is not pressed
in – guitars may sound dull and muddy.
-15 +15
MID
2.5kHz
OFF
ON
LOW CUT
HI
12kHz
LOW
80Hz
-15 +15
-15 +15
OUT
IN
100Hz
HI
12kHz
MID
FREQ
LOW
80Hz
-15 +15
HI-Z
LOW CUT
-15 +15
100 8k
1K
-15 +15
OUT
IN
100Hz OFF
ON
OFF
ON
EQ EQ
15
16
17
18
19 21
20
22
Channel Equalization (EQ)
All Onyx mixers have 3-band EQ with shelving hi,
peaking mid with adjustable mid frequency and shelving
low.
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset
things. We’ve designed a lot of boost
and cut into each equalizer circuit because
we know that everyone will occasionally
need that. But if you max the EQ on every channel, you’ll
get mix mush. Equalize subtly and use the lef sides
of the knobs (cut), as well as the right (boost).
If you find yourself repeatedly using a lot of boost
or cut, consider altering the sound source, such
as placing a mic dierently, trying a dierent kind
of mic, a dierent vocalist, changing the strings,
or gargling.
7. EQ In/Out
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 eect on the signal. You may
use this switch to make an A/B comparison between
the EQ'd signal and the signal without EQ.
The EQ circuits are based upon the designs of Cal
Perkins, an industry-leader in audio engineering
for over four decades and a long-time collaborator.
This “neo-classic” design provides the sweet musicality
of the British EQ sound, while still maintaining 5 dB
of boost and cut with optimum Q and minimum phase
shif (in other words, it gives you plenty of control
and is pleasing to the ear!).
The 3-band equalization has low shelving
at 80 Hz, mid peaking, sweepable from 00 Hz
to 8 kHz, and high shelving at 2 kHz. “Shelving”
means that the circuitry boosts or cuts all frequencies
past the specified frequency. For example, rotating
the low EQ knob 5 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 frequencies around
the center frequency are less aected by the EQ
the further away they are.
8. Hi EQ Knobs
The hi EQ provides up
to 5 dB of boost or cut above
2 kHz, and it is also flat
(no boost or cut) at the
detent. Use it to add sizzle
to cymbals, an overall sense
of transparency, or an edge
to keyboards, vocals, guitar and bacon frying. Turn it
down a little to reduce sibilance or to mask tape hiss.
+15
+5
0
+
10
–
15
20 Hz 100 Hz 1 kHz 10 k 20 k
–5
–
10

15
Owner’s Manual
Owner’s Manual
9. Mid EQ Knobs
20. Freq Knobs
Onyx mixers employ
a semi-parametric mid-sweep
EQ. The gain (up to 5 dB
of boost or cut) is set via
the mid EQ, and then “aimed”
at a specific frequency, from
00 Hz to 8 kHz, via the freq
control.
2. Mid EQ Knobs
Short for “midrange,” this
knob provides up to 5 dB
of boost or cut, centered at
2.5 kHz, also flat at the center
detent. Midrange EQ is ofen
thought of as the most
dynamic, because 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.
22. Low EQ Knobs
The low EQ provides up
to 5 dB of boost or cut below
80 Hz. The circuit is flat
at the center detent position.
This frequency represents
the punch in bass drums,
bass guitar, fat synth patches,
and some really serious male singers who eat raw beef
for breakfast.
23. Aux Mon Knobs
These knobs tap a portion of each channel's signal
to set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls
on each channel until the band is happy with the stage
monitor mix.
The controls are o when fully turned down, deliver
unity gain at the center detent, and can provide up
to 5 dB of gain turned fully up.
The pan and channel fader do not aect the monitor
output, but the other channel controls will. The aux
mon is pre-fader.
The overall output level may be adjusted with the
master mon controls. Internal FX may also be added
to the monitor mix with the FX to mon master knobs.
+15
+5
0
+10
–
15
20 Hz 100 Hz 1 kHz 10 k 20 k
–5
–
10
+15
+5
0
+10
–
15
20 Hz 100 Hz 1 kHz 10 k 20 k
–5
–
10
+15
+5
0
+10
–
15
20 Hz 100 Hz 1 kHz 10 k 20 k
–5
–
10
24. Aux FX Knobs
These knobs tap a portion of each channel’s signal to
set up a nice FX mix feeding the internal FX processor,
and to feed external processors via the FX send.
The controls are o when fully turned down, deliver
unity gain at the center detent, and can provide up
to 5 dB of gain turned fully up.
The mute, channel fader and other channel controls
aect the FX output, but pan does not. The aux FX is
post-fader.
The FX signal reaching the internal FX processor
and the FX send output jack is the sum (mix) of all
the channels whose aux FX control is set to more than
minimum.
The overall output level may be adjusted with the aux
master FX fader. FX are then added to the main mix
when the FX fader's L-R switch is engaged.
25. Pan Knobs
This control allows you to adjust
how much of the channel signal is
sent to the lef versus the right
outputs.
The pan control employs a design
called “Constant Loudness.” If you
have a channel panned hard lef
(or right) and then pan to the center,
the signal is attenuated about
3 dB to maintain the same apparent
loudness. Otherwise, it would make
the sound appear much louder when
panned center.
26. Mute Switches
Mute switches do just what they sound like they do.
They turn o the signal by “routing” it into oblivion.
Engaging a channel’s mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not aected by the channel fader,
but it is by the mute switch).
The channel insert will continue to provide a
signal when a channel is muted. Mute switches
illuminate red when engaged.
PAN
MON 1
MON 2
AUX
OFF MAX
OFF MAX
OFF MAX
L R
FX
MUTE
25
26
23
24

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
16
27. Solo Switches
When a channel’s solo switch is engaged, any existing
selection is replaced by the solo signal, appearing
at the control room outputs, phones and at the lef
meter (lef and right meters when in AFL solo mode).
The audible solo levels are then controlled by the solo
master, control room and phones knobs.
The solo levels appearing on the meters are not
controlled by the control room and phones knobs – you
would not want that, anyway. What you do want to see
is the actual channel level on the meters regardless
of how loud the control room and phones output levels
might be.
Solo buttons illuminate amber when a channel's solo
switch is engaged. Additionally, the rude solo LED will
flash red.
How solo works is also dictated by the setting
of the AFL/PFL solo switch located just below
the meters. More information about the AFL/
PFL solo switch may be found on page 9.
28. Channel Faders
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark indicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 0 dB, should you need to boost a section of
a song. If you find that the overall level is too quiet or
too loud with the level near unity, check that the gain
control is set correctly.
The “Channel Faders” on the Onyx8
are actually “Channel Knobs”.
But they behave similarly.
OL
1
dB
10
5
U
5
10
20
30
40
50
60
L-R
SOLO
27
28
14
29
29. L-R Assign Switches
[Onyx2, Onyx6, Onyx24]
Alongside each channel fader are L-R buttons (also
known as channel assignment switches). They are used
for routing the channel’s signal to the main outputs.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus.
30. Bluetooth On/O Switch
Mixers can only accept one input per channel
and the Onyx Series lineup is no dierent. As indicated
earlier, the last input channel may accept /4" TRS or TS
connectors, an /8" connector or Bluetooth connection.
If the button is up [o], then the mixer will use
the analog input signal. However, when this switch
is pressed down [on], then you have chosen to use
the Bluetooth signal instead. The button will illuminate
solid blue when engaged.
3. Bluetooth Pair Switch
This switch will engage the
channel’s pairing mode, allowing
the mixer to be seen by other
Bluetooth devices such as a phone
or tablet.
Pairing and Connecting – Press
and hold the Bluetooth's ‘PAIR’ button
to select it. The button will flash blue
when selected. This is to indicate
that the Onyx mixer and device are
in pairing mode.
While the Onyx mixer is in pairing
mode, simultaneously scan for
Bluetooth devices on the phone
or tablet. You should see Onyx appear in the “available
devices” list. Select it. From there, the device should
indicate that it is successfully connected. Additionally,
the ‘PAIR’ button on the mixer will be solid instead
of flashing.
A previously paired device will auto reconnect
if both the device and mixer are powered on
and in range.
The Bluetooth may disconnect when
aected by Electrostatic Discharge [ESD].
Manually reconnect the Bluetooth
connection.
HOLD TO PAIR
ON/OFF
PAIR
30
31

17
Owner’s Manual
Owner’s Manual
32. USB /2 and USB 3/4 Switches
When engaged, these switches override their
respective inputs and allow the USB return to flow
through the signal path instead. Like any other input,
these signals may also be EQ’d, sent to monitors,
or mixed in with the other signals and assigned
to the main outs.
There is additional information about the USB
/2 and 3/4 Return Switches, including setup
help and other tips and tricks in Appendix C
on page 48.
USB 1
2
17/18
LOW CUT
SD
19/20
LOW CUT
USB 3
4
21/22
LOW CUT
100Hz 100Hz 100Hz
OFF
ON
OFF
ON
OFF
ON
OFF
ON
MACKIEMUS
PRIME
OFF
ON
OFF
ON
OFF
ON
ONYX MIC PRE
MIC ONYX MIC PRE MIC ONYX MIC PRE MIC
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
GAIN
U+60dB
M
I
C
G
A
I
N
3233
34
33. SD Switch
The SD switch is similar to that of the USB /2 and
3/4 switches in that it will “mute” the input and allows
the SD card return to flow through the channel instead.
In short, this is how to hear playback from your SD
recordings
The SD switch is located on the front panel near
the top of the second stereo channel strip.
This switch is located on the last stereo
channel strip 7/8 on the Onyx8.
There is a plethora of information regarding SD
recording / playback starting on page 29.
34. Mackiemus Prime Switch
The (seemingly) infinite love for Optimus Prime™
created an opportunity for the Engineering team
to design something similar. Simply engage the switch
to turn Mackiemus Prime on; the mixer will transform
into an automobile that will head to the gig,
recording session, house of worship venue, rehearsals,
etc... wherever it’s needed! Once Mackiemus Prime
has arrived at the desired location, push the switch
again to disengage Mackiemus Prime mode and return
it to mixer status.

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
18
Onyx Front Panel Features
Master Section
35. Power LED
This LED will illuminate green when the mixer
is turned on, as a reminder of how on it really is.
If it is not on, then it is o, and the mixer becomes
a rather nice weight for keeping your morning
newspaper from blowing away in the wind.
If it does not turn on, make sure the power cord
is correctly inserted at both ends, the local AC mains
supply is active and the power switch is on.
Phantom Power
Most modern professional condenser mics require
48V phantom power, which lets the mixer send
low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics ofen have batteries to accomplish
the same thing.) “Phantom” owes its name to an ability
to be “unseen” by dynamic mics (Shure SM57/SM58,
for instance), which don’t need external power and
aren’t aected by it anyway.
The Onyx mixer’s phantom power is globally
controlled by the phantom power switch
(meaning that phantom power for all mic
inputs is turned on and o together.)
Never plug single-ended (unbalanced)
microphones or ribbon microphones into
the mic input jacks if phantom power is on.
Do not plug instrument outputs into the mic input jacks
with phantom power on unless you know for certain it
is safe to do so. Be sure the main mix fader is turned
down when connecting microphones to the mic inputs
when phantom power is turned on to prevent pops from
getting through to the speakers.
36. 48V Phantom Power Switch and LED
Press this switch in if a microphone requires
phantom power. (Always check the position
of this switch before connecting microphones.)
The accompanying LED will illuminate red to indicate
that phantom power is active. This is a global switch
that aects all mic channels’ XLR jacks at once.
37. Main Meters
These peak meters are made up of two columns
of twelve LEDs, with three colors to indicate dierent
ranges of signal level, trac light style. They range
from –30 at the bottom, to 0 in the middle, to OL at
the top.
When a channel is soloed (in PFL), the right meter
shows no reading, and the lef meter shows the level
of that channel’s signal level, pre-fader.
When not in solo mode, you can get a good mix with
peaks flashing anywhere between –20 and +0 dB on
the 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).
MON 2
48V
PHONES
PHANTOM
POWER
POWER
MON 1
dB
10
5
U
5
10
20
30
40
50
60
PHONES
MAX
FX
dB
10
5
U
5
10
20
30
40
50
60
L-R
dB
10
5
U
5
10
20
30
40
50
60
L-R
dB
10
5
U
5
10
20
30
40
50
60
L-R
OL
0dB=0dBu
MAIN
METERS
15
10
6
3
0
2
4
7
10
20
30
L R
RUDE SOLO
AFL
PFL SOLO
SOLO
MASTER
MAX
CONTROL
ROOM
MAX
MAIN
TO
MON 1
TO
MON 2
OFF MAX OFF MAX
PRESS TO SELECT
HOLD FOR SETTINGS
STUDIO COMMAND
STEREO RECORDING
AND PLAYBACK
SD
MUTE MUTE MUTE MUTE
SND
55
58
44
56 57
54 38
36
35
37
41
42
51
46
45
49
43 40 39
48
47
52
50
53

19
Owner’s Manual
Owner’s Manual
38. Phones Out Jack
This /4" TRS connector supplies the output to stereo
headphones.
The phones volume is controlled with the phones
knob located above the main mon 2 fader and mute
switch (except for the Onyx8, in which case it’s directly
to the lef of the main mix knob).
Whenever a solo switch is engaged, you will only
hear the soloed channel(s) in the headphones.
This gives you the opportunity to audition the channels
before they are added to the main mix. (PFL solo
signals reaching the headphones are not aected
by the channel level or main level, therefore turn down
the phones level first, as soloed channels may be loud.)
The phones output follows standard conventions:
Tip = Lef channel
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud
and can cause permanent hearing damage.
Even intermediate levels may be painfully
loud with some headphones. BE CAREFUL! Always
turn the phones level control all the way down before
connecting headphones or pressing a solo switch,
or doing anything new that may aect the headphone
volume. Then turn it up slowly as you listen carefully.
39. Phones Knob
This knob is used to adjust the volume at the phones
output from (o) to maximum gain (max, +5 dB).
Make sure that this knob is fully o [counter-clock-
wise] before selecting or adding a new source.
WARNING: The headphone amp is loud,
and can cause permanent hearing damage.
Even intermediate levels may be painfully
loud with some headphones. BE CAREFUL! Always
turn this control all the way down before connecting
headphones, or pressing a solo switch, or doing
anything new that may aect the headphone volume.
Then turn it up slowly as you listen carefully.
40. Solo Master Knob
This knob is used to adjust the volume of the soloed
signal(s) at it is routed to the control room outputs
and phones output from (o) to maximum gain
(max, +5 dB).
Additionally, it is useful for osetting level
discrepancies when going in and out of solo.
For example, the phones knob might be cranked
to hear the dynamic mix, but when switched to PFL,
it blows your eardrums. The solo level helps with
this discrepancy. See AFL/PFL Solo Switch below.
This control is independent of, and prior to,
the control room and phones level controls.
This controls the solo signal level for both PFL
and AFL solo modes.
4. Rude Solo LED
This large LED flashes red when one or more solo
switches are engaged. While this may be the most
obnoxious solo LED allowed under international trade
and safety regulations, it also acts as a reminder that
what you hear in the control room and headphones
is the soloed channel(s). If you forget that you are
in solo mode, you can easily be tricked into thinking
that something is wrong with your mixer. Hence,
the rude solo light. We hope it gets your attention!
42. AFL/PFL Solo Switch
With the solo mode switch in the down position, you
are in PFL mode, meaning Pre-Fader Listen (post-EQ).
This mode is handy for quick spot-checks of channels,
especially ones that have their faders turned down.
With the solo mode switch up, you are in AFL mode,
meaning Afer-Fader Listen. You will be able to hear the
stereo output of the soloed channel – it will follow the
channel’s gain, EQ, fader and pan settings. It is similar
to muting all of the other channels, but without the
hassle. AFL mode is typically used during mixdown.
In PFL mode, solo will not be aected by a channel's
mute switch position.
Remember, PFL mode taps the channel signal
before the fader. If you have a channel's
fader set way below “U” (unity gain), solo will
not know that and will send a unity gain signal to the
control room outputs, phones output and meter display.
That may result in a startling level boost at these
outputs when switching from AFL to PFL mode,
depending on the position of the solo level knob.
PHONES
MAX
RUDE SOLO
AFL
PFL SOLO
SOLO
MASTER
MAX
CONTROL
ROOM
MAX
40 39
42
41
43

Onyx Premium Analog Mixer with Multi-Track USB
Onyx Premium Analog Mixer with Multi-Track USB
20
43. Control Room Knob
This knob is used to adjust the volume at the control
room outputs, from (o) to maximum gain
(max, +5 dB). Make sure that this knob is fully
o [counter-clockwise] before selecting or adding
a new source.
44. FX to Mon Knobs
These knobs route the pre-fader level of the FX
return to the monitor mix. Use the mon controls
to provide eects to monitors. Slowly add eects
to the monitors by turning the FX to mon knobs
clockwise. These range from (o) to maximum gain
(max, +0 dB).
Because the Onyx8 has one mon send jack,
it also has a single FX to mon knob.
45. FX Master Knob / Fader
Stereo signals come through this FX fader – FX
knob on the Onyx8 – and continue on to the outputs.
They contain the eects’ “wet” signals and are mixed
together with the channels’ “dry” original signals. This
ranges from (o) to maximum gain (max, +0 dB).
MON 2MON 1FX
dB
10
5
U
5
10
20
30
40
50
60
L-R
dB
10
5
U
5
10
20
30
40
50
60
L-R
dB
10
5
U
5
10
20
30
40
50
60
L-R
TO
MON 1
TO
MON 2
OFF MAX OFF MAX
MUTE MUTE MUTE
44
47
48
49
45
46
46. FX Mute Switch and LED
When engaged, the internal eects processor
is muted, and its output will not appear on the main
mix, monitor mix or control room outs. This switch
illuminates red when this switch is engaged
as a reminder that the eects are indeed muted.
If this switch is not engaged, then the internal eects
are set free and may be added as required to the main
mix and/or monitor mix.
Additionally, if this switch is not engaged, then
the internal eects may be muted or un-muted
with a footswitch [on all Onyx Series mixers except
the Onyx8].
When power is first applied to the mixer, this LED will
illuminate and the FX will be muted for a second or two
while the little FX gerbils inside settle down.
47. Mon Send Master Level Knob / Faders
These provide overall control over the mon levels just
before they are delivered to the mon outputs. It ranges
from (o) to maximum gain (max, +0 dB).
This is the control 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.)
The Onyx8 has a single aux mon master.
Additionally, the “Mon Master Fader”
on the Onyx8 is actually a “Mon Master
Knob”. But it behaves similarly.
48. Mon Mute Switches and LEDs
When engaged, the monitor output will be muted
and the switch illuminates red as a reminder that
the mon outs are indeed muted.
This is the switch you might engage during load-in /
load-out, in-between bands (and/or sets) or any other
time you don't need the monitors. Then the main
outputs would handle the house music for the audience.
49. Master L-R Assign Switches
[Onyx2, Onyx6, Onyx24]
Alongside the FX and Mon faders are L-R buttons
(also known as assignment switches). They are used
for routing the FX and/or monitor signals to the main
L/R audio bus.