Mackie Onyx 2480 User manual

Mackie offers four models of Onyx 80. From the small-footprint 2480 to the massive 48-input 4880, each 80 Series console has the same great feature set—sized to your need.
P/N 0015119
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All other trademarks are property of their respective owners. All specifications are subject to change. So this guy walks into a bar...
800.898.3211 (Toll free within U.S.) 425.487.4333 (Outside U.S.) [email protected]

When it comes to live sound, the margin for error is tight. Nobody knows this better
than regional sound professionals, medium-sized venues, and houses of worship.
Unlike the major touring and live sound companies, these hardy folks must make a
difficult choice when buying a live sound console; it’s the age-old tradeoff between
channel count and sound quality. Pay for quality, and you have to find some way
to cram all your mics and instruments into 16 or fewer inputs. Go cheapo, and you
know it’s only a matter of when—not if—the console fails at some crucial moment.
As of today, that age-old tradeoff has gone the way of grunge and dial-up modems.
Introducing the new Onyx 80 Series 2480, 3280, 4080 and 4880 Premium Live Sound
Consoles—the best value in the history of live sound—from Mackie, of course.
Premium big-console
performance and quality
brought to you by Mackie.
2

Superior sound.
Premium preamps.
Smoother EQ.
Priority one for the Onyx 80 Series design team was to create a live
sound console that made absolutely no sacrifice in sonic integrity at
any stage of the design. To pull this off, the Onyx 80 Series engineers
started with the highest quality analog components available —
from premium op-amps to IC chips costing exponentially more
than previous designs. By utilizing semi-discrete eight channel
modular circuit boards, the Onyx series combine the flexibility
of single PCBs for each channel, with the cost advantages and
minimal cabling of large-scale integrated circuit boards.
No corners were cut. Every Subgroup, Left, Right and Center main
bus is electronically balanced for an uncompromised signal from
input to output. All-new summing bus circuitry was designed
from the ground up to maximize master section headroom, while
minimizing noise and crosstalk. And most notably, we developed
premium Onyx mic preamps and Perkins EQ circuitry specifically for
optimum performance within the total Onyx system.
Sure its electronics are impressive, but what good would it be if
the console chassis had the resilience of an eggshell? That’s why
we went overboard on the toughness factor, even by Mackie
standards, building the Onyx 80 chassis for over-the-top physical
protection of the technology inside.
More inputs.
34

Onyx mic preamps.
Creating our flagship Onyx mic preamps presented a unique
challenge. On one hand, we wanted to deliver traits more
commonly associated with boutique studio mic preamps: a tight,
focused high end, superior ambience retrieval, detailed lower
bass octaves, and highly textural midrange—no matter what you
plug in. On the other hand, we knew Onyx mic preamps would
have to function in the real world of live performance, which
often includes high levels of radio frequency and microwave
energy, long cable runs and the occasional “hot-patched” cable.
The analog engineering staff here at Mackie is always ready
to sink its teeth into a juicy design problem, so the Onyx mic
preamp builds upon our already-impressive XDR mic preamp
design, and adds custom high-performance IC chips developed
specifically for low-noise, high-headroom audio. Onyx preamps
provide a level of accuracy and transparency unsurpassed even
by some expensive esoteric designs.
Onyx mic preamps deliver oustanding, verifiable specs like
130dB total dynamic range, –129 dBm Equivalent Input Noise,
and 0.0007% Total Harmonic Distortion—for real. Their superior
design also addresses problematic issues like input impedance
and linearity, maximum input level handling at low gain settings,
shielding and grounding effectiveness, overload recovery, and
radio frequency interference. And because Onyx mic preamps are
designed for use at “real world” gain settings, they’ll easily handle
anything from +22 dB line level down to microvolt-level signals
from a ribbon mic, without adding noise.
Onyx 80 Series consoles offer individually switchable, true 48v
phantom power on every preamp. That’s because, despite the
widely-held notion that dynamic microphones don’t “see” phantom
power, the presence of phantom power where it’s not needed can
adversely affect overall sound or even damage sensitive ribbon
mics. We provide individual phantom power on every channel.
Problem solved.
But published specifications and technical talk tell only part of
the Onyx preamp story. The real test comes when you plug in a
multitude of the various mics that pop up in live performance
situations—everything from a high-end condenser to the cheesiest
harmonica mic. Listen to the depth, headroom and immense detail.
Then plug those same mics into any of the competetion. We think
you’ll agree the Onyx preamp gives you transparency and fidelity
on par with any console preamp on the market. But hey, don’t take
our word for it... just listen to what Monty Lee Wilkes, FOH Engineer
for Britney Spears, had to say: “Holy crap! ... I have to admit that the
Onyx preamps sounded phenomenal.”
65

Powerful
Aux/Group
Functionality.
Who wants run-of-the-mill Aux and Group sends? Not our
customers—they’ve come to expect more value when it comes
from Mackie. That’s why each of the eight Aux Sends become
stereo pairs when the stereo switch is engaged, reducing the
amount of head-scratching when asked to provide four stereo
mixes for IEM (in-ear monitor) systems.
AUX/GROUP FLIP switches “flip” the controls for the Aux Sends
and the Group Sends, so that the Group Faders control the
Aux Send levels, and the Aux Send GAIN controls adjust the
Group levels. The Group signals still appear at the GROUP SEND
outputs and the Aux Send signals still appear at the AUX SEND
outputs. This allows you to use the long-throw (100 mm) Group
Fader to make more precise settings for the Aux Sends.
87

More connections than a crooked promoter
Channel Inputs
Balanced 8-channel DB25 Direct Outs
Stereo Aux InputsAux Sends
Talkback
Main Outputs
Left and Right TRS Main Inserts
Power Connector & Switch
Redundant Power Supply Connector
Balanced TRS Matrix Outputs
Balanced TRS Monitor Outputs
Group Sends
109

When it was time for the Onyx EQ section, we turned to veteran
audio engineer Cal Perkins to develop our new Perkins EQ
circuitry—a “neo classic” 4-band design based on classic “British
EQ” circuitry from mixing desks of the ‘60s and ‘70s. Cal devised
a way to give Perkins EQ that sweet “British console” sound, but
with greater filter control and minimum phase shift.
Perkins EQ
Mackie’s latest groundbreaking design incorporates 8 auxiliary
sends logically divided into pairs. Each pair of sends can be
designated as pre- or post-fader. Plus every pair has a Stereo
button that reconfigures two potentiometers to perform level
and pan functions for simple and intuitive control of up to four
stereo In Ear Monitoring (IEM) mixes.
Stereo Linkable Auxiliary Sends
Four mute group switches on every channel allow for fast
and simple assignment of channels to any and all of the mute
groups. Mute Group master controls are accessed in the Master
Section for lightning fast activation/deactivation of the groups.
Mute Groups
Each channel comes equipped with a 100mm Panasonic®
fader for smooth, high-resolution control of your mix. A
four-segment input meter right next to the fader instantly
provides an expanded view of signal level—far superior to
the typical signal/peak LEDs found on most consoles. Mute
and Solo buttons with indicators are positioned above and
below the fader to ensure functional separation.
Channel Master Section
Two extra independent mixes built from the
Subgroups and Main Outputs for recording,
zone outputs, hearing assistance systems,
additional aux sends, etc.
10x2 Matrix
Two large, 12-segment LED meters for Left
and Right Main Outputs plus two additional
12-segment meters dedicated to PFL/AFL
solo levels provide clear indication of primary
signal levels. Two Green and Amber “Rude
Solo” LEDs flash to indicate currently AFL and/
or PFL soloed channels.
Main/Solo Meters
These eight “hybrid” channels provide ample stereo
inputs for all your outboard effects returns and stereo
playback devices, and ensure that you will never
be forced to chew up valuable microphone input
channels. And every Stereo Aux input includes a 4-
band fixed Perkins EQ, 4-segment input meter, 60mm
fader, Mute, PFL Solo, and exceptionally flexible routing
to the Aux sends, Groups 7-8 and Main Outputs.
Stereo Auxiliary Input Channels
Eight Aux Masters provide level control, Mute and
AFL Solo for each output. Master control knobs are
color coded to match the channel Aux send controls
and make locating them fast and simple.
Aux Masters
Functions associated with each set of Aux Master and
Group controls can individually be flipped via these
convenient buttons with LED indicators. Perfect
for simultaneous FOH/Monitor applications, these
switches allow the Aux masters to be controlled via
the 100mm faders and associated 4 segment meters.
Aux/Group Flip
Eight 100mm Panasonic® faders provide smooth and
accurate control of Group levels. A 4-segment input
meter located next to each fader instantly provides
detailed signal level information. Mute and AFL Solo
buttons with LEDs, plus Main Mix assignment and
Group Pan controls round out the section to give you
quick access to all the control you need.
Group Control
Master switches for the four Mute Groups,
Talkback system with extensive routing, Mono
Main Output control with Solo, Headphone
and Monitor Output control, and separate
100mm Panasonic® faders for the Left and
Right Main Outputs provide convenient access
to all necessary functions.
Masters and Utilities
The Onyx 80 Series mixers break the “you get what you pay for” adage by offering more
channels and features than any other mixer even remotely close in price. These features
include eight pre/post-switchable, stereo-linkable Aux sends for in-ear monitoring and
effects routing—plus eight Stereo Aux Inputs (yes, that’s 16 line inputs), each with 4-band
Perkins EQ. This means you’ll no longer sacrifice mic inputs to accommodate effects returns
and playback devices. We’ve also added new features that any hardcore live engineer can
appreciate, like a Monitor Flip function; a 10x2 Matrix Mixer; four Mute Groups; and an
optional redundant power supply.
CHANNEL STRIP. Mackie has combined the premium
sound quality of the Onyx mic preamp and Perkins EQ with an extensive
professional feature set. This intuitive, ergonomic layout creates the most
flexible channel strip in this class of mixer.
M A ST ER S E C T I O N. Mackie’s Onyx 80 Series Master section provides everything you’d expect from a professional full-size mixing console, and more. Designed with a practical
and easy-to-understand layout, everyone from the Sunday School teacher, to the highly experienced mix engineer can quickly learn the console and fully exploit its outstanding flexibility.
The Most Flexible Feature Set
For Your Money. Period.
Mackie’s flagship mic preamplifiers feature individual 48V
phantom power (with indicator), mic/line switch, 100Hz High
Pass filter, and polarity inversion providing exceptional fidelity
and professional functionality.
Onyx Mic Preamplifiers

Mechanically and electronically, the
Onyx 80 Series is the most robust
console Mackie has ever manufactured.
Even the rivets and fasteners are aircraft
quality—ensuring what started out
tight, stays that way.
For precision and consistency, the chassis is
punched from cold-rolled, electro-galvanized
steel that is impervious to rusting. To ensure
superior fit and finish, each Onyx 80 Series
mixer is hand inspected three times during
construction, and units are routinely pulled
from the final product line just to ensure
absolute quality.
The Onyx 80 Series chassis design uses
natural convection to shed heat, taking
advantage of its sloped design to channel
heat away from internal components, and
evacuate it from the thermal relief cowl on
the top edge of the chassis. In fact, the whole
process works so well, the top panel is cool
to the touch even after hours of operation.
When you’re live, there are no second takes.
Superior construction.
Extreme chassis rigidity is achieved from the
tough-as-nails modular monocoque design, then
reinforced with beefy aluminum extrusions, plus
strategically placed steel bulkheads. Then, the
console was torture-tested for impact, shock,
heat, vibration, humidity, and even dropped
repeatedly from a height of three-feet! Take it
from us, a block of onyx stone is gonna flex
before an Onyx 80 Series chassis does.
1413

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STEREO EQ
Before we tell you about the Perkins EQ section, we should probably
introduce you to its designer—the legendary Cal Perkins. Along with
Greg Mackie, Cal was the driving force behind Mackie
innovations like XDR mic preamps, HR Series monitors
and more... not to mention his 30-plus years of
experience designing classic audio gear for other
big names in the business.
To create his all-new Perkins EQ, Cal started
with the Wien Bridge circuit topology
—a very musical design inspired by the
hallowed “British” desks of the 60s and 70s. This design essentially trades
boost/cut capability for a wider, highly musical Q filter. But Cal, being the
cool dude he is, decided that you deserve a better bargain.
To get past the tradeoffs of the Wien Bridge, he wrote a mind-numbing 20
pages of equations describing this seemingly simple circuit in complete
detail. After solving the equations with overclocked brain power, Cal
was able to specify capacitor and resistor values that would give Onyx
mixers an extra 6dB of control (±15 dB) without excessively narrowing
the “Q” or bandwidth of the filters.
Next, Cal employed combining filters for minimum phase shift,
making the entire EQ section as musical as possible. Finally, he added
an individual hardware bypass on every channel that completely removes
the EQ circuitry from the signal path. On the seventh day, he rested. The
end result is a sweet, very musical analog EQ section that sounds great
when it’s “in” and is completely invisible when it’s “out.”
As important as great mic preamps and musical EQ sections are, they are
only part of the reason we can confidently call the Onyx 80 Series a “premium
analog mixer.” Equally as important, though admittedly less sexy, are the Onyx
mixers’ proprietary negative-gain architecture and minimized signal path.
For those of us who don’t speak electrical engineer, negative-gain
architecture means that by running at internal levels of -6dB, Onyx mixers
can handle up to four times the number of hot signals of regular mixers
before clipping. Minimized signal path, on the other hand, is the reason the
Onyx mixers’ EQ section is above the Aux assignments—creating a linear
signal path from the mic preamp to the EQ, through the Aux sends and on
to the channel faders—resulting in a 50% shorter path (and less noise) than
many of our competitors’ mixers.
Extraordinary EQ, from extraordinary engineers.
Cal and Greg cancelled their hip-hop album to design Onyx.
16

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Onyx 2480 Block Diagram
17

Onyx 80 Series Technical Specifications
Frequency Response
Mic Input to Main Output (Gain @ Unity):
+0, –1 dB, <10 Hz to 80 kHz
+0, –3 dB, <10 Hz to 130 kHz
Distortion (THD & IMD)
Mic Input to Main Output (@ +4 dBu):
THD: < 0.007% max, 0.005% typical,
20 Hz to 20 kHz
SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)
Dynamic Range
>105 dB, 24 channels assigned
>115 dB, one-channel assigned
Noise Floor
Signal-to-Noise Ratio:
–87 dBu (ref. +4 dBu, Mic In to Main Out, 48
channels and Main Mix levels at unity)
–90 dBu, (ref. +4 dBu, Mic In to Main Out, 24
channels and Main Mix levels at unity)
Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz
Bandwidth, 150Ω source impedance
–129.5 dBu @ +60 dB gain
Mic Output Noise:
Direct Output: –98 dBu (minimum gain)
Residual Output Noise:
Main Out: –100 dBu (Channel and
Main Mix levels off )
Main Out: –83 dBu (48 channels and
Main Mix levels at unity)
–86 dBu (24 channels and Main Mix
levels at unity)
Crosstalk
Adjacent Inputs: < –95 dB @ 1 kHz
Input to Output: < –85 dB @ 1 kHz
Input Gain Control Range
Mic In: 0 dB to +60 dB
Line In: –20 dB to + 40 dB, mono channels
Phantom Power
+48 VDC
Equalization
Mono Channel EQ:
High: ±15 dB @ 12 kHz
High Mid: ±15 dB, sweepable from
400 Hz to 8 kHz
Low Mid: ±15 dB, sweepable from
100 Hz to 2 kHz
Low: ±15 dB @ 80 Hz
Stereo Channel (Aux Input) EQ:
High: ±15 dB @ 12 kHz
High Mid: ±15 dB @ 2.5 kHz
Low Mid: ±15 dB @ 400 Hz
Low: ±15 dB @ 80 Hz
Mixer Rated Output
Main Outs: +4 dBu
Aux Send: +4 dBu
Group Send: +4 dBu
Monitor Out: +4 dBu
Matrix Out: +4 dBu
Maximum Rated Output:
+21 dBu @ Main XLR and TRS outputs
Maximum Input Levels
Mic Input: +21 dBu, Gain @ unity
Line Input: +30 dBu, Gain @ –20 dB
Aux Input: +21 dBu
Maximum Voltage Gain
Mic Input to:
Main Out: 90 dB
Group Send: 80 dB
Aux Sends: 86 dB
Monitor Out: 102 dB
Matrix Out: 105 dB
Phones Out: 102 dB
Line Input to:
Main Out: 70 dB
Group Send: 60 dB
Aux Sends: 66 dB
Monitor Out: 82 dB
Matrix Out: 85 dB
Phones Out: 82 dB
Stereo Aux Input to:
Main Out: 50 dB
Group Send: 40 dB
Aux Sends: 39 dB
Monitor Out: 62 dB
Matrix Out: 65 dB
Phones Out: 62 dB
Input Impedance
Mic Input: 2.4 kΩ, balanced
Mono Channel Line Input:
30 kΩ balanced; 15 kΩ unbalanced
Stereo Aux Inputs:
20 kΩ balanced; 20 kΩ unbalanced
Output Impedance
Main Out: 150 Ω balanced, XLR outputs;
150 Ω TRS outputs
Direct Out: 300 Ω
Group Sends: 100 Ω
Monitor Out: 100 Ω
Matrix Out: 100 Ω
Aux Sends: 100 Ω
Phones Out: 25 Ω
Common Mode Rejection Ratio (CMRR)
Mic In: >70 dB @ 1 kHz, Gain @ maximum
Physical Dimensions and Weight
Onyx 2480:
Height: 9.4 in/239 mm
Width: 48.8 in/1240 mm
Depth: 29.6 in/751 mm
Weight: 95-lb/43 kg
Onyx 3280:
Height: 9.4 in/239 mm
Width: 60.0 in/1523 mm
Depth: 29.6 in/751 mm
Weight: 113-lb/51 kg
Onyx 4080:
Height: 9.4 in/239 mm
Width: 70.4 in/1788 mm
Depth: 29.6 in/751 mm
Weight: 131-lb/59 kg
Onyx 4880:
Height: 9.4 in/239 mm
Width: 81.3 in/2065 mm
Depth: 29.6 in/751 mm
Weight: 149-lb/68 kg
Onyx 80 Series: Premium sound and features, without the premium price.
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