Mackie ONYX-820i User manual

OWNER’S MANUAL
Premium 8-Channel Analog Mixer
with Perkins EQ and FireWire
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
T A PE
PAN
2
1
MID
FR EQ
MID
FR EQ
BAL/UNBAL B AL/ UNB AL
ALT 3-4AL T 3-4AL T 3-4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
LOW
80Hz
EQ
IN SERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
HIG H
MID
2. 5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEN D RET U RN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/U NBAL
L
(MONO)
R
BAL/U NBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHON ES
CONTR O L
ROOM
MID
2. 5 k Hz
LOW
80Hz
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
HIG H
1 2 kHz
MID
2. 5 k Hz
LOW
80Hz
HIG H
1 2 kHz
RU DE
SO LO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
PO WER
ON
FW 1-2
LINE
HI -Z
LINE
-10dB
+ 4dB
HI -Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RT N TO
AU X1
AU X SE ND 1 -2
TO F W 5- 6
ASSIGN TO
FW 7-8
MA IN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MA X
OL
- 2 0
OL
- 2 0 - 2 0
OLOL
- 2 0
OL
- 2 0
12 TALKBACK
BAL /U NBA L BAL /U NBA L BAL /UNBAL
SE ND SE ND SEND SEND SE ND IN PUT
MAIN OUT
LR
BALANC ED
PO WER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1 -2
AS SIGN TO
MA IN MIX
3-4 5-6 7-8
GA IN
+20d B-20d B
U
GA IN
MI C
GA IN
GA IN
+20d B-20d B
U
U
20
30
40
60
+40d B
U
-20d B
U
20
30
40
60
GA IN
+40d B
U
-20d B
U
20
30
40
60
1
LINE
2
LINE
1k
10 0 8k
1k
10 0 8k
MA X
OO
MA X
OO
MA X
OO
MA X
OO
+15
OO
+15
OO
+10
OO
+10
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
LR LR LR LR LR
MAIN OUT PUT
L EVEL MIC
+4d B

2 Onyx 820i
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. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. 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.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. 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.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. 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.
15. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
16. 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.
17. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing con-
nection (the third grounding prong).
18. 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.
19. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
20.NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equip-
ment 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 off 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different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 Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22. 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
sufficiently 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 danger-
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
sure 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:
Important Safety Instructions
PORTABLE CART
WARNING
CAUTION AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PA S CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
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
2 100 Veryloudclassicalmusic
1.5 102
1 105 Woody and Anita screaming at Troy
about deadlines
0.5 110
0.25 or less 115 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 (2002/96/EC) 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 effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.

Owner's Manual 3
Part No. SW0718 Rev. C 05/09
©2009 LOUD Technologies Inc. All Rights Reserved.
Loosely based on a dream sequence in which the technical writer is given keys to a
sports car of his choice, unlimited gas, and closed roads. The dream suddenly ends and
reality kicks in. A mixer manual to write, a mixer manual to write!
Set the levels
It’s not even necessary to hear what you’re doing to
set optimal levels. But if you’d like to: Plug headphones
into the phones output jack, then turn up the phones
knob just a little.
1. Turn on the mixer by pressing the top edge of
the power switch.
2. For one channel, press the solo switch in, and
the rude solo light will turn on.
3. Play something into that input at real-world
levels.
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked "level set").
5. Disengage the channel's solo switch.
6. Repeat steps 2 to 5 for the remaining channels.
7. Turn up the channel level to the "U" mark.
8. Slowly turn up the main mix level until you
hear the signals in your speakers.
9. If needed, apply some channel EQ wisely.
10. Adjust the channel levels to get the best mix.
Keep the gain controls and levels fully down on
unused channels.
11. 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.
FireWire
• Seepage35fordetailsofgettingstartedwith
FireWire.
• PCdriversareonthesuppliedCD-ROM.Mac
OS X contains built-in drivers, so no software
installation is required.
Other Notes
• Whenshuttingdown,turnoffanypowerampli-
fiers or powered speakers first. When powering
up, turn them on last. This will reduce the
chance of turn-on or turn-off thumps.
• Alwaysturndownthephoneslevelwhen
making connections, pressing solo, or doing
anything that may cause loudness in the head-
phones. This will help protect your hearing.
• Alwaysturndownthemainmixlevelandcon-
trol room level when making connections to the
mixer. Better yet, turn off the power.
• Savetheshippingbox!
Quick Start
We realize that you must be really keen
to try out your new mixer. Please read
the safety instructions on page 2 and this
page, and 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
1. Fully turn down all the knobs to minimum,
except for the channel EQ and pan controls,
which should be centered.
2. Makesureallbuttonsareintheoutposition.
Connections
1. MakesuretheACpowerswitchisoffbefore
making any connections.
2. Push the linecord securely into the IEC connec-
tor 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 a 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 needing a DI box, if you first
engage the hi-z switch on these channels.
6. The insert jacks of channels 1 and 2 can be
used to connect an external effects or dynamics
processor into the 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.

4 Onyx 820i
Introduction
ThankyouforchoosingaMackieOnyx820iprofes-
sional compact mixer. The Onyx i series of mixers offer
built-in FireWire, 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.
The Onyx 820i is equipped with three of our premium
precision-engineered studio-grade Onyx mic preamps.
Mackieisrenownedforthehigh-qualitymicpreamps
used in our mixers, and the Onyx mic pre’s are better
than ever, with specifications rivaling expensive stand-
alone mic preamplifiers.
Channels1and2featurehigh-impedanceinstru-
ment/line-level inputs so you can connect an acoustic,
electric, or bass guitar directly into the mixer, eliminat-
ing the need for an external direct box.
Extremely adaptable DAW integration
Recording and Mixing
Channels,auxsendsorthemasterL/Rcanbesent
straight to your computer via FireWire for recording.
Pre/post EQ taps on every channel allow you to integrate
our renowned Perkins EQ into the record path. Plus, a
stereo return from your DAW, or iTunes®is assignable to
the control room section or straight back into channels
7 and 8 for mix integration.
Powerful Effects Engine
With both aux sends routable to your DAW, the 820i
allows you to use your favorite plug-in as a realtime ef-
fect. Just route an aux send to your DAW, apply the plug-
in and assign your DAW outputs to the control room or
to a channel strip for instant integration into the mix.
Live Recording
Live sound recording could not be simpler with the
820i. The ability to record individual channels either
wet or dry allows for studio quality multi-track record-
ings for later editing and mixdown. Or simply record the
mainmix,allowingforimmediatecreationofCDsright
at the gig.
Features
• Premium8-channelsuper-compactanalog
mixer with integrated Fire wire I/O
• 2monochannels(monomicandmonoline
inputs)
• 1hybridchannel(monomicandstereoline
inputs)
• 2stereochannels(stereolineinputs)
• 3Onyxmicpreampswithsoundcomparableto
boutique preamps
• 3-bandPerkinsEQwithsweepablemidson
mono channels
• 4-bandPerkinsEQonhybridchannels
• 3-bandPerkinsEQonstereolinechannels
• FlexibleFireWireroutingwithupto8channels
pre/post EQ, aux sends and master L/R routable
to computer
• 2channelsofFireWiremonitoringroutableto
either the control room or channels 7 and 8
• 2independentauxsendswithseparatepre/post
switches
• Selectableinstrumentinputsonrsttwo
channels – no DI box is needed
• Individual48vphantompowerswitchesonall
mic inputs
• Talkbacksectionwithbuiltinmicandexible
routing
• "Planet-Earth"switchingpowersupplyfor
worldwide use
• Optionalrackkitavailable

Owner's Manual 5
How To Use This Manual
The first pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your mixer.
Next is a detailed tour of the entire mixer. The de-
scriptions are divided into sections, just as your mixer is
organized into distinct zones:
• Backpanel
• Connectionsection
• Channelcontrols
• Mastercontrols
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
This icon will lead you to some explanations of
features and practical tips. Go ahead and skip
these if you need to leave the room in a hurry.
Appendix A: Service information.
AppendixB:Connectors.
AppendixC:Technicalinformation.
Appendix D: Rack ear installation.
Appendix E: FireWire.
AppendixF:Modications.
Need help with your new mixer?
• Visit www.mackie.com and click Sup-
port to nd: FAQs, manuals, addendums,
and other useful information.
• Email us at: t[email protected].
• Telephone [phone] to speak with
one of our splendid technical support
chaps (Monday through Friday, normal
business hours, PST).

6 Onyx 820i
Contents
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
QUICK START.......................................................... 3
INTRODUCTION ...................................................... 4
YOU ARE HERE ....................................................... 6
HOOKUP DIAGRAMS............................................... 7
FEATURES............................................................. 12
REAR PANEL...................................................... 12
1. POWER CONNECTION............................. 12
2. POWER SWITCH..................................... 12
3. FIREWIRE CONNECTIONS........................ 12
4. LEFT/RIGHT XLR MAIN OUTPUTS ........... 13
5. MAIN OUTPUT LEVEL.............................. 13
6. CTRL-RM OUT........................................ 13
7. ALT 3–4 OUT ......................................... 13
CONNECTION SECTION....................................... 14
8. MIC INPUTS........................................... 14
9. INSERT (CH. 1 AND 2) ............................ 14
10. MONO LINE INPUTS (CH. 1 AND 2)......... 15
11. STEREO LINE INPUTS (CH. 3-8) ............... 15
12. AUX SEND 1 AND 2................................ 15
13. AUX RETURN 1 AND 2 ........................... 15
14. LEFT/RIGHT 1/4" MAIN OUTPUTS ......... 15
15. TAPE INPUTS ......................................... 16
16. TAPE OUTPUTS ...................................... 16
17. HEADPHONE OUTPUT ............................ 16
CHANNEL CONTROLS ......................................... 17
18. HI-Z SWITCH (CH. 1 AND 2 ONLY) .......... 18
19. LOW CUT (CH.1–4 ONLY) ....................... 18
20. 48V PHANTOM POWER (CH. 1-4 ONLY).. 18
21. LINE +4 DB/-10 DB (CH. 3 AND 4 ONLY) 19
22. INPUT (LINE OR FW 1-2)........................ 19
23. GAIN CONTROL...................................... 19
24. SEND FIREWIRE PRE/POST..................... 19
25. HIGH EQ................................................ 20
26. MID EQ FREQUENCY (CH. 1 AND 2)......... 20
27. MID EQ LEVEL (CH. 1 AND 2).................. 20
28. HIGH MID EQ LEVEL (CH. 3 AND 4)......... 20
29. LOW MID EQ LEVEL (CH. 3 AND 4).......... 20
30. MID EQ LEVEL (CH. 5/6 AND 7/8) ......... 20
31. LOW EQ................................................. 20
32. AUX SEND 1 AND 2................................ 21
33. PAN....................................................... 21
34. MUTE SWITCH AND ALT 3–4................... 21
35. –20 AND OL LEDS .................................. 22
36. LEVEL .................................................... 22
37. SOLO..................................................... 22
CONTROL ROOM/PHONES AND METERS ............ 23
38. MAIN MIX .............................................. 23
39. TAPE, FW 1-2, ALT 3-4 ............................ 23
40. ASSIGN TO MAIN MIX............................. 23
41. CONTROL ROOM KNOB ........................... 23
42. PHONES KNOB........................................ 24
43. LEFT/RIGHT LEVEL METERS...................... 24
44. RUDE SOLO LIGHT ................................... 24
AUX MASTER..................................................... 25
45. MASTER AUX SEND 1 AND 2.................... 25
46. PRE/POST .............................................. 25
47. MASTER AUX RETURN 1 AND 2 ............... 25
48. RTN TO AUX 1 ........................................ 25
49. AUX SEND 1-2 TO FW 5-6 ....................... 25
50. POWER LED............................................. 26
TALKBACK ......................................................... 26
51. TALKBACK MIC ........................................ 26
52. TALKBACK LEVEL ..................................... 26
53. DESTINATION: PHONES, AUX 1-2............. 26
54. TALKBACK SWITCH.................................. 27
MAIN MIX......................................................... 27
55. MAIN MIX ............................................. 27
56. ASSIGN TO FW 7–8 ............................... 27
APPENDIX A: SERVICE INFORMATION.................... 28
APPENDIX B: CONNECTIONS.................................. 29
APPENDIX C: TECHNICAL INFORMATION................ 31
APPENDIX D: RACK EAR INSTALLATION ................. 34
APPENDIX E: FIREWIRE......................................... 35
APPENDIX F: MODIFICATIONS ............................... 39
LIMITED WARRANTY............................................. 41

Owner's Manual 7
Hookup Diagrams
1-2 Man Coffeehouse Gig
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PA N
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4ALT 3-4ALT 3-4ALT 3-4ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SENDMAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
HIGH
12k Hz
MID
2.5kHz
LOW
80Hz
HIGH
12k Hz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CNTL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVE L LEVEL
+10dB
U
+10dB
U
+10dB
U
+10dB
U
+10dB
U
+10dB
U
123-4
LINE IN 5-6LINE IN 7-8
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX
1-2
PHONES
DESTINATION
LEVEL
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TA LK BACK
BAL/UNBALBAL/UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB
-20dB
U
U
20
30
40
60
40dB
U
-20dB
U
20
30
40
60
GAIN
40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
1008k
1k
1008k
MAX
MAX
MAX
MAX
15
15
10
10
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
LR LR LR LR LR
MAIN OUTPUT
LEVELMIC
+4dB
Mackie
SRM450v2
Po wered
Speaker
Mackie
SRM450v2
Po wered
Speaker
Laptop with
audio production
software
Microphone
Stereo Effects Processor
Acoustic Guitar
and Mic
Guitar Processor
Send
Return
SRM150
Po wered
Monitor
Drum
Machine
Aux 1
set to
POST
Aux 2
set to
PRE
This diagram shows an acoustic guitar mic'd up directly to channel 1 and a microphone connected to
channel 2 for vocals. A guitar processor is connected to the insert jack of channel 1.
An effects processor receives a mono input from the aux 1 send, and its stereo outputs connect to the
stereo return inputs. Aux 1 is set post-fader, using the Aux 1 pre/post switch in the Aux Master section.
A Mackie SRM150 powered speaker is connected to aux send 2 as a monitor for the performer(s). Aux
2 is set to pre-fader, using the Aux 2 pre/post switch in the Aux Master section.
Mackie SRM450v2 powered speakers are connected to the left and right main outputs.
A laptop connects to the FireWire port, and allows the 2-channel main mix of the performance to be
recorded using your audio production software. Two channels of audio can also play from the computer
to the main mix. For example, you can play intermission music when the call for an egg-nog decaf latté
or green tea gets too strong and you have to take a break.

8 Onyx 820i
Home Studio System: Straight to stereo
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PA N
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4ALT 3-4ALT 3-4ALT 3-4ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SENDMAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12kH z
MID
2.5kHz
LOW
80Hz
HIGH
12kH z
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CNTL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEV EL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6LINE IN 7-8
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX
1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 2 0
12 TA LKBACK
BAL/UNBALBAL/UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
1008k
1k
1008k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVELMIC
+4dB
Laptop with
audio production
software
Mackie MR8
Po wered
Reference
Monitors for
Control Room
Headphones
Headphone Amp
Amplifier
Modeler
Electric
Guitar
Bass
Guitar
Recorder
press HI-Z
button
Condenser
Microphone
Drum
Machine
Keyboard
Stereo Effects Processor
Digital Delay
This diagram shows an electric guitar connected to an amplifier modeler, whose balanced line-level
output is connected to the channel 1 line input, a bass guitar connected directly to the channel 2 input
(with the hi-z switch engaged), a condenser microphone on channel 3/4 with phantom power engaged,
a drum machine connected to channel 5/6, and a keyboard connected to channel 7/8. A headphone
amplifier allows for multiple headphone use.
An effects processor and a digital delay unit each receive a mono input from an aux send (in post
mode), and their stereo outputs connect to their respective stereo return inputs. As an alternative to
hardware units, you can send aux 1 and 2 to your computer by engaging the Aux Send 1-2 to FW 5-6
switch. Then use your DAW's effects plug-ins to add effects. Return them via FireWire to the main mix.
Mackie MR8 powered reference monitors are connected to the left and right control room outputs.
A nice 2 track recorder is connected to the main left and right outputs to record the main mix directly.
A laptop connects to the FireWire port, allowing the 2-channel main mix to be recorded and two chan-
nels to be played back. Individual channels, and aux 1 and aux 2 can also be recorded via FireWire (a
maximum of 8 FireWire outs).

Owner's Manual 9
Home Studio System: Recording each channel
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PA N
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4ALT 3-4ALT 3-4ALT 3-4ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SENDMAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
U
15-15
HIGH
12k Hz
MID
2.5kHz
LOW
80Hz
HIGH
12k Hz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CNTL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVE LLEVEL LEVEL LEVEL
+10dB
U
+10dB
U
+10dB
U
+10dB
U
+10dB
U
+10dB
U
123-4
LINE IN 5-6LINE IN 7-8
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX
1-2
PHONES
DESTINATION
LEVEL
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TA LKBACK
BAL/UNBALBAL/UNBAL BAL /UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
40dB
U
-20dB
U
20
30
40
60
GAIN
40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
1008k
1k
1008k
MAX
MAX
MAX
MAX
15
15
10
10
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
LR LR LR LR LR
MAIN OUTPUT
LEVELMIC
+4dB
Laptop Computer
with audio production
software
Mackie MR8
Po wered
Reference
Monitors for
Control Room
Headphones
Headphone Amp
Electric
Guitar
Bass
Guitar
press HI-Z
buttons
Condenser
Microphone
Drum
Machine
Keyboard
This diagram shows an electric guitar connected directly to channel 1 (with the hi-z switch engaged),
a bass guitar connected directly to channel 2 (also with the hi-z engaged), a condenser microphone on
channel 3/4 with the phantom power engaged, a drum machine connected to channel 5/6, and a key-
board connected to channel 7/8. A headphone amplifier allows for multiple headphone use during the
recording process.
A pair of Mackie MR8 powered reference monitors are connected to the left and right control room out-
puts, for careful and accurate monitoring of the performances in the control room.
A laptop computer connects to a FireWire port, allowing each channel to be recorded and two chan-
nels from the laptop to be played back. Note: You can record a maximum of 8 channels via FireWire if
you do not record the auxes or main mix.
The DAW gets the 8 individual channel tracks. You can then mix down the project within the DAW at a
later time. These individual tracks can be pre-EQ or post-EQ depending on the channel pre/post switch-
es. Post-EQ allows you to use the mixer's high-quality Perkins EQ in your recordings. Software plug-ins
can be used for the effects processing of different tracks, and software amplifier emulators can be used
on the guitars to give the sound of mic'd amps.
Your carefully mixed 2-channel mix can be sent back to the control room via FireWire, by engaging the
FW 1-2 switch in the control room/phones matrix, and sent to the band with the headphone amp fed by
the phones out.

10 Onyx 820i
Club System
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PA N
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3 -4ALT 3-4AL T 3-4ALT 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SENDMAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12k Hz
MID
2.5kHz
LOW
80Hz
HIGH
12k Hz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CNTL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6LINE IN 7-8
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX
1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TA LKBACK
BAL/UNBAL BAL/UNBALBAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
1008k
1k
1008k
MAX
MAX
MAX
MAX
+15
+15
+10
+10
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
LR LR LR LR LR
MAIN OUTPUT
LEVELMIC
+4dB
HD1531
Po wered Speaker
Main Left
Po wered
Subwoofers
SRM350v2
Po wered
Speakers
HD1531
Po wered Speaker
Main Right
Po wered
Subwoofers
Mackie SRM450v2
Po wered Speakers
(Stage Monitors)
iPod
Docking Station
Headphones
Microphone
press HI-Z
button
Acoustic
Guitar with
pickup
Keyboard
Drum
Machine
Stereo Effects Processor
Aux 1
set to
POST
Aux 2
set to
PRE
Dynamics
Processor
Laptop Computer
with audio
production software
This diagram shows an acoustic-electric guitar connected to the channel 1 input (with the hi-z switch
pressed down), a microphone connected to the channel 2 mic input, a drum machine connected to chan-
nel 3-4, and a keyboard connected to channel 7-8. Engage the +4dBu/–10dBV switch on channels 3-4
if your drum machine runs at –10 dBV. An iPod®can be used for intermission music.
A dynamics processor is connected to the insert jack of channel 1 to work its magic on your guitar.
An effects processor receives a mono input from aux 1 send, and its stereo outputs connect to the stereo
aux 1 return inputs. Set Aux 1 to post-fader, using the pre/post switch in the Aux Master section.
A plethora of SRM450v2 powered speakers are strewn across the stage as monitors for the band; they
are connected to the aux 2 send jack (in pre-fader mode). Headphones are used to monitor all levels.
The club is driven by four powered subwoofers and a pair of HD1531 powered speakers connected to
the main mix outputs. SRM350v2 powered speakers monitor the control room output.
Individual channels 1 to 8 can be sent via the FireWire port to a laptop computer. Aux 1 and 2 can be
sent instead of ch. 5 and 6, or the main L/R mix sent instead of ch. 7 and 8. Two channels can be played
back from the laptop using the same FireWire port. For example, you can play iTunes®as intermission
music in the main system, or send two channels from a virtual instrument into mixer channels 7 and 8.

Owner's Manual 11
Post-Production System
This diagram shows a voice-over microphone connected to channel 1 mic input, a video deck's audio
output connected to channels 3/4, with its audio inputs receiving the main mix from the 1/4" outputs. A
synthesizer is connected to channel 5/6, and an electronic drum kit connected to channel 7/8.
An effects processor and a sampler each receive a mono input from an aux send (post-fader), and
their stereo outputs connect to the respective stereo return inputs. A keyboard controller is attached to the
sampler. Headphones are used to monitor all levels, using a headphone amp with multiple headphones,
including one in the voice-over booth.
A pair of Mackie HR824mkII powered reference monitors is connected to the left and right control room
outputs for careful and accurate monitoring in the control room.
A desktop Mac or PC is connected to a FireWire port, allowing the 2-channel main mix to be recorded
and two channels to be played back. Two cinema screens are connected to the desktop, one displaying
audio and the second for video. A RAID rack is attached to the computer for mass storage. A recorder is
connected to the main outs, and utilized as the master recorder.
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PA N
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3 -4ALT 3-4ALT 3-4AL T 3-4ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SENDMAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12k Hz
MID
2.5kHz
LOW
80Hz
HIGH
12k Hz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CNTL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVE LLEVEL LEVEL L EVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6LINE IN 7-8
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
PA N
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX
1-2
PHONES
DESTINAT ION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 T A LKBACK
BAL/UNBALBAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPU T
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
1008k
MAX
MAX
MAX
MAX
+15
+15
+10
+10
MAX
MAX
MAX
MAX
MAX
MAX
MAX
MAX
LR LR LR LR LR
MAIN OUTPUT
LEVELMIC
+4dB
Voice-over
Microphone
Voice-over booth
Synthesizer
Electronic
Drum Kit
Effects Processor
Effects/ Sampler
Mackie
HR824mkII
Po wered
Reference
Monitor for
Control Room
Mackie
HR824mkII
Po wered
Reference
Monitor for
Control Room
Desktop
Mac or PC
Keyboard Controller
Cinema Dis
p
lay for Audio Cinema Dis
p
lay for Video
RAID rack
Headphones
Headphone Amp
Recorder
Video Deck
record
play

12 Onyx 820i
Onyx 820i Features
Rear Panel
1. POWER CONNECTION
Thisisastandard3-prongIECpowerconnector.
Connectthedetachablelinecord(includedinthebox
with your mixer) to the power receptacle, and plug the
otherendofthelinecordintoanACoutlet.TheOnyx
820i has a universal power supply that can accept any
ACvoltagerangingfrom100VACto240VAC.Noneedfor
voltage select switches. It will work virtually anywhere
in the world. That’s why we call it a “Planet-Earth” power
supply! 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 danger-
ous. 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 [50] 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 put the mixer into
standby mode. It will not function, but the circuits are
stilllive.ToremoveACpower,eitherturnofftheAC
mains supply, or unplug the power cord from the mixer
andtheACmainssupply.
As a general guide, you should turn on your
mixer first, before any external power ampli-
fiers or powered speakers, and turn it off last.
This will reduce the possibilities of any turn-
on, or turn-off thumps in your speakers.
3. FIREWIRE CONNECTIONS
FireWire is a high-speed two-way interface for con-
necting digital devices. Two FireWire connectors allow
the transfer of digital audio to and from your computer
or digital audio workstation (DAW) with ultra-low
latency. Usually, only one connector is used.
The FireWire interface provides the following outputs
to your computer:
• Channels1–8,tappedpre-fader,andeitherpre-
EQ, or post EQ (your choice).
• Auxsend1and2(acopyofthenalaux
outputs to your stage monitors or processors).
FireWire outputs 5 and 6 can either be from
channels 5 and 6, or aux send 1 and 2.
• Left/rightmainmix.Theleft/rightmainmix
at the FireWire output is not affected by the
main mix level control (important for recording
live). FireWire outputs 7 and 8 can either be
from channels 7 and 8, or main mix L and R.
Use FireWire to record a live performance directly to
your computer, then you can mixdown to a stereo mix
later. Or you can use FireWire to turn your Onyx mixer
into a high-quality computer audio interface for your
DAW.
FireWire also provides a return for two channels from
a DAW or computer. This can be routed through the
control room/phones via the FireWire button [39], to
monitor the computer audio through your control room
speakers or headphones (or through the main speak-
ers if assign to main mix [40] is selected). In this way,
you can listen to pre-recorded songs and iTunes
®
as
intermission music, or examples of how the practice
sessions should really sound.
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
T A PE
PAN
2
1
MID
FR EQ
MID
FR EQ
BAL/UNBAL B AL/ UNB AL
ALT 3-4AL T 3-4AL T 3 -4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
LOW
80Hz
EQ
IN SERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIG H
12 kHz
HIG H
MID
2. 5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEN D RET U RN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/U NBAL
L
(MONO)
R
BAL/U NBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHON ES
CONTR O L
ROOM
MID
2. 5 k Hz
LOW
80Hz
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
U
+15-1 5
HIG H
1 2 kHz
MID
2. 5 k Hz
LOW
80Hz
HIG H
1 2 kHz
RU DE
SO LO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
PO WER
ON
FW 1-2
LINE
HI -Z
LINE
-10dB
+ 4dB
HI -Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RT N TO
AU X1
AU X SE ND 1 -2
TO F W 5- 6
ASSIGN TO
FW 7-8
MA IN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MA X
OL
- 2 0
OL
- 2 0 - 2 0
OLOL
- 2 0
OL
- 2 0
12 TALKBACK
BAL /U NBA L BAL /U NBA L BAL /UNBAL
SE ND SE ND SEND SEND SE ND IN PUT
MAIN OUT
LR
BALANC ED
PO WER
FIREWIRE
ALT 3-4
FW 1 -2
AS SIGN TO
MA IN MIX
3-4 5-6 7-8
GA IN
+20d B-20d B
U
GA IN
MI C
GA IN
GA IN
+20d B-20d B
U
U
20
30
40
60
+40d B
U
-20d B
U
20
30
40
60
GA IN
+40d B
U
-20d B
U
20
30
40
60
1
LINE
2
LINE
1k
10 0 8k
1k
10 0 8k
MA X
OO
MA X
OO
MA X
OO
MA X
OO
+15
OO
+15
OO
+10
OO
+10
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
MA X
OO
LR LR LR LR LR
MAIN O UTPUT
L EVEL MIC
+4d B
1
6
2
4
37
5

Owner's Manual 13
These same two channels from the computer can
also be chosen as inputs to channels 7 and 8, allow-
ing you to adjust the gain, EQ, level, and pan, as well
as to solo, and add to aux send 1 and 2. This is routed
using the FW/line input selector [22] on channels
7 and 8. This is useful for live performances, where
those 2 channels might have, for example, a software
synthesizeryouaretriggeringfromaMIDIkeyboard,
and you want to treat the softsynth as "just another
instrument," with equal processing and routing op-
tions as the hardware keyboards coming into the other
channels.
TheFireWireinterfaceworkswithbothPC(using
ASIOforWindowsXPandVista)andMac(CoreAudio
forMacOS10.4.11orhigher).
4. LEFT/RIGHT XLR MAIN OUTPUTS
These male XLR connectors provide a balanced line-
level signal that represents the end of the mixer chain,
where your fully mixed stereo signal enters the real
world.Connectthesetotheinputsofyourmainpower
amplifiers, powered speakers, or serial effects proces-
sor (like a graphic equalizer or compressor/limiter). It
provides a fully balanced signal that is the same level as
the 1/4" TRS main out jacks [14] on the top panel.
5. MAIN OUTPUT LEVEL
When this switch is out (+4 dB), the XLR main
outputs [4] 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.
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 in-
puts 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 a mixer's microphone
input, even if it provides 48 V phantom power.
The switch is recessed, to reduce the chance of ac-
cidently turning it on or off when plugging things in.
6. CTRL-RM OUT
These 1/4" TRS jacks provide balanced left and right-
line-level outputs to run a studio monitors in the control
room. Connecttheseoutputstotheinputsofanampli-
fier, powered speakers, or recording device.
The source that plays in the control room, head-
phones, and meters can be selected using the switches
[38, 39] in the control room/phones source matrix:
• Themainmix,ifmainmixisselectedasthe
control room/ phones source
• Tapeoutputs,iftapeisselected
• Alt3-4outputsifalt3-4isselected
• A2-trackFireWirefeedfromyourcomputerif
FW 1-2 is selected
• Acombinationofallfourabove
Except for main mix, whatever is playing in these out-
puts can also be routed to the main mix if assign to main
mix [40] is engaged. The main mix input to the control
room is disconnected if assign to main mix is engaged.
The headphones and meters play the same program
as the control room. The meters show the levels prior to
the control room and phones level controls.
Control-roomoutislongforctrl-rmout,which
translated from the ancient language of the
Pacific NorthWestern I-405 corridor people
means "I'll have a double latté with chocolate
sprinkles, and a bagel with cream cheese, and I agree,
it does look like it will start raining again, but it might
stopintimefortheMarinersgame."
7. ALT 3–4 OUT
These 1/4" TRS jacks provide a balanced line-level sig-
nal that can provide an alternate stereo mix for record-
ingorsubgrouping.Connecttheseoutputstotheinputs
of an amplifier, powered speaker, or recording device.
Any channel whose mute switch [34] is engaged, is
added to the alt 3-4 outputs.
The alt 3-4 output doesn’t have a master level
control. All channels assigned to the alt 3-4
bus are summed together (post-fader and
pan) and sent directly to the alt 3-4 out.
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TAPE
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4ALT 3-4ALT 3-4ALT 3-4ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
MID
2.5kHz
LOW
80Hz
HIGH
12 kHz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TALKBACK
BAL/UNBAL BAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVEL MIC
+4dB
38
39
40

14 Onyx 820i
PHANTOM POWER
Mostmodernprofessionalcondensermicsrequire
48V phantom power, which lets the mixer send low-cur-
rentDCvoltagetothemic’selectronicsthroughthe
same wires that carry audio. (Semi-pro condenser mics
often 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 affected by
it anyway.
Phantom power for each channel can be selected us-
ing that channel's phantom [20] switch.
Never plug single-ended (unbalanced) micro-
phones, 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.
9. INSERT (Ch. 1 and 2)
These unbalanced 1/4" jacks on channels 1 and 2,
are for connecting serial effects processors such as
compressors, equalizers, de-essers, or filters. The insert
point is after the gain control [23] and low cut filter
[19], but before the channel’s EQ and level [36]. The
channel signal can go out of the insert jack to an exter-
nal 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 effects device)
Ring = return (input from effects device)
Sleeve = common ground
Connection Section
This is where you plug in things such as: microphones,
line-level instruments, guitars, effects, a recorder, PA
system, powered monitors, powered subwoofer, etc.
Checkoutthehookupdiagramsforsomeconnection
ideas. See Appendix B (page 29) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
8. MIC INPUTS
This is a female XLR connector, that accepts a
balanced microphone input from almost any type of
microphone. The microphone preamps feature our Onyx
design, with higher fidelity and headroom rivaling any
standalone mic preamp on the market today.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at
rejecting hum and noise. You can plug in almost any
kind of mic that has a standard XLR-type male mic con-
nector.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic inputs
will handle any kind of mic level you can toss at them,
without overloading.
Microphone-levelsignalsarepassedthroughthe
mixer's splendid microphone preamplifiers to become
line-level signals. The mic input of hybrid channels 3-4
is fed equally to channels 3 and 4.
“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)
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4AL T 3-4AL T 3-4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
MID
2.5kHz
LOW
80Hz
HIGH
12 kHz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TALKBACK
BAL /UNBAL BAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVEL MIC
+4dB
8
9
10
11
12
11
13
11
14 15 16
17
18
19 20

Owner's Manual 15
Insert jacks can be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 30 (figure G) showing three ways to use insert
cables.
10. MONO LINE INPUTS (Ch. 1 and 2)
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by bal-
anced or unbalanced sources.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
These line-level inputs can also accept instrument-
level signals if the hi-z switches [18] are pressed in.
This allows you to connect guitars directly to channels 1
and 2, without the need for a DI box. The input imped-
ance is optimized for direct connection, and high-fre-
quency fidelity is assured.
11. STEREO LINE INPUTS (Ch. 3-8)
These 1/4" jacks can be driven by balanced or unbal-
anced sources.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
If you just have a mono source, plug it into the left
input (labeled left/mono), and the signal will appear
(as if by magic) equally on the left and right of the main
mix.
12. AUX SEND 1 and 2
These 1/4" TRS connectors allow you to send balanced
or unbalanced line-level outputs to external effects
devices, headphone amplifiers, or stage monitors. These
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with built-
in power amplifiers.
Aux send 1 and aux send 2 are independent of each
other, so you can set up two separate aux mixes.
The aux 1 send signal is the sum (mix) of all the
channels whose aux 1 send control [32] is set to more
than minimum. The aux 2 send is the sum of all the
channels whose aux 2 send control is set to more than
minimum. The overall aux output level can be adjusted
with the aux send master controls [45].
The aux sends can either be pre or post fader, de-
pending on the position of the pre/post switches [46].
For stage monitor work, use pre, so the stage monitors
do not increase in volume when the channel level is
adjusted. Imagine how upsetting that can be to big hairy
drummers. This allows you to set up the monitor mix
and levels just right, and not have it change every time a
channel level is adjusted.
For external processors, use post. In this way, the
feed to external processors will vary with the channel
level, so the level of any returned effect (like an echo)
will also change if the channel level is changed, keeping
them in the same ratio (wet/dry).
13. AUX RETURN 1 and 2
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.
Level adjustment of the incoming signals is made with
the aux return controls [47].
The signals going into aux return 2 can also be added
to aux send 1 by engaging the return to aux 1 switch
[48]. For example, you could add effects from an exter-
nal effects processor to your stage monitors.
You can also 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 ap-
pear on both sides of the main mix.
14. LEFT/RIGHT 1/4" MAIN OUTPUTS
These 1/4" TRS output connectors provide the bal-
anced or unbalanced line-level output of the main mix
to an anxiously-waiting world. This is the same signal
that appears at the XLR main outputs [4] on the rear
panel, except it is not affected by the main output level
switch [5].
Connecttheseoutputstothenextdeviceinthesignal
chain, such as an external processor (graphic equalizer
or compressor/limiter), external power amplifiers run-
ning passive loudspeakers, or to the inputs of powered
loudspeakers. They could also be connected to the
inputs of a balanced 2-track recorder, when doing a "live
to 2-track" type recording.

16 Onyx 820i
15. TAPE INPUTS
ThesestereounbalancedRCAinputsallowyoutoplay
atape,CDplayer,iPod®dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
Push in the tape button [39] to route the tape input
to the control room and phones outputs [6, 17]. This
allows you to play back recordings of your mixes.
Push in the assign to main mix button [40] to route the
tape input to the main outs [4, 14]. This allows you to play
back music between sets over the main PA speakers.
Pushing tape in the source matrix and push-
ing assign to main mix can create a feedback
pathbetweentapeinandtapeout.Makesure
your tape deck is not in record, record pause, or input
monitor mode when you engage these switches, or make
sure the control room level control is turned all the way
down first.
16. TAPE OUTPUTS
ThesestereounbalancedRCAoutputsallowyouto
record the main stereo mix onto a tape deck, hard disk
recorder,orautomaticCDburner,forexample.Thislets
you make a recording for posterity/archive/legal pur-
poses whenever the band gets back together again.
The tape output is the stereo main mix, and it is af-
fected by the main mix level control [55]. The output
could also be used as an extra set of main outputs for
feeding another zone.
17. HEADPHONE OUTPUT
This 1/4" TRS connector supplies the output to your
stereo headphones. It is the same signal that is routed
to the control room outputs [6], as determined by the
control room/phones source matrix [38, 39]. The vol-
ume is controlled with the phones knob [42], right next
to the control room knob [41].
Whenever a solo switch [37] 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. (Solo signals
reaching the headphones are not affected by the chan-
nel level or main level, therefore turn down the phones
level first, as soloed channels may be loud.)
The phones output follows standard conventions:
Tip = Left 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 [42] all the way down before con-
necting headphones or pressing a solo switch, or doing
anything new that may affect the headphone volume.
Then turn it up slowly as you listen carefully.

Owner's Manual 17
Channel Controls
The vertical channel strips look very similar, and
have only a few differences between them. Each chan-
nel works independently, and just controls the signals
plugged into the inputs directly above it.
Here are a few features and differences:
Mono Channels 1 and 2
• Thesearemonochannels,andtheircontrols
affect either the mono mic input or the mono
line-level input.
• Eachchannelhasahi-zswitch,soyoucancon-
nect guitars directly without the need for a DI
box.
• Highpasslteraffectsboththemicandline
inputs.
• Gaincontroladjuststhemiclevelandline
level.
• The3-bandEQhasshelvinghigh,shelving
low, and peaking mid EQ with adjustable mid
frequency.
Hybrid Channels 3/4
• Thesehybridchannelshaveamonomicinput
and stereo line-level inputs. The mono mic
signal is sent in equal amounts to the left and
right sides of the stereo channel.
• Highpasslteraffectsthemicinputonly.
• Lineinputsareswitchable+4dB/–10dB.
• Gaincontroladjuststhemiclevelonly.
• The4-bandEQhasshelvinghigh,shelvinglow,
with peaking lo-mid and peaking hi-mid.
Stereo Channels 5-8
• Thesestereochannelshavetwoline-level
inputs.
• Gaincontroladjuststhelinelevelonly.
• The3-bandEQhasshelvinghigh,shelvinglow,
and peaking mid EQ.
• Channel7and8haveaswitchtoselect
FireWire inputs instead of the analog line
inputs.
“U” like Unity gain
Mackiemixershavea“U”symbolonalmosteverylevel
control. 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.
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4AL T 3-4AL T 3-4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
MID
2.5kHz
LOW
80Hz
HIGH
12 kHz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TALKBACK
BAL /UNBAL BAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVEL MIC
+4dB

18 Onyx 820i
Plugging a guitar into a lower-impedance
line-level input can result in the loss of high
frequencies, causing an unnatural and dull
sound. Normally, you must use a direct box
between a guitar and a mixer’s input, which serves to
convert the impedance of the guitar from high to low.
The hi-z inputs on channels 1 and 2 make the need for
a direct box unnecessary. However: The hi-z inputs are
unbalanced (when the switch is in), so if you’re doing a
live show and running a long cord between the instru-
ment and the mixer (say over 25 or 30 feet), it is best to
use a direct box with a balanced output to avoid picking
up noise over the length of the cord.
19. LOW CUT (Ch.1–4 only)
The mono and hybrid channels each have a low-cut
switch (often referred to as a high-pass filter) that cuts
bass frequencies below 75 Hz at a rate of 18 dB per
octave.
For channels 1 and 2, the low cut switch affects the
mic and line inputs. For channels 3 and 4, it affects the
mic input only.
We recommend that you use low-cut on every micro-
phone 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 stuff you do want much more crisp and tasty.
Not only that, but low-cut can help reduce the possibili-
ty 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exibilityduringlive
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Manytimes,bassshelvingEQcanreallybenet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 your subwoofers.
20. 48V PHANTOM POWER (Ch. 1-4 only)
Mostmodernprofessionalcondensermicsrequire
48V phantom power, which lets the mixer send low-cur-
rentDCvoltagetothemic’selectronicsthroughthe
same wires that carry audio. (Semi-pro condenser mics
often 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 affected by
it anyway.
Press this switch in if your microphone requires phan-
tom power. (Always check the position of this switch
before connecting microphones.)
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4AL T 3-4AL T 3-4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
MID
2.5kHz
LOW
80Hz
HIGH
12 kHz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TALKBACK
BAL /UNBAL BAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVEL MIC
+4dB
18. HI-Z SWITCH (Ch. 1 and 2 only)
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
Without this switch, you need to use a DI box first,
before connecting guitars. If these switches are not
pressed in, guitars will not sound good, particularly the
high frequency response.
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22

Owner's Manual 19
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.
24. SEND 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 always pre-fader.)
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).
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.
CHANNEL EQUALIZATION (EQ)
TherearethreedifferentavorsofEQ:
MonoChannels1and2
3-band EQ with shelving high, shelving low, and
peaking mid EQ with adjustable mid frequency.
HybridChannels3/4
4-band EQ with shelving high, shelving low,
with peaking lo-mid and peaking hi-mid.
StereoChannels5/6and7/8
3-band EQ with shelving high, shelving low, and
peaking mid EQ.
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 left 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 differently, trying a different kind
of mic, a different vocalist, changing the strings, or
gargling.
Never plug single-ended (unbalanced) micro-
phones, 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 know for certain it is safe
to do so. Be sure the main level [55] is turned down
when connecting microphones to the mic inputs when
phantom power is turned on, to prevent pops from get-
ting through to the speakers.
21. LINE +4 dB/-10 dB (Ch. 3 and 4 only)
This switch affects channel 3 and 4 line inputs only
(not the mic input), and allows them to be connected
to professional sources (+4 dBu) or consumer sources
(–10 dBV). This helps adjust the channels for the right
operating range, so the input is not too hot, or too cold.
For example, leave this switch out if you connect a
+4 dBu recorder source to channels 3 and 4. Press this
switch in if you connect a –10 dBV source.
If your line-level source seems a bit high, make sure
this switch is out (+4dBu).
22. INPUT (LINE or FW 1-2)
Channel7and8caneitherbefedfromthe1/4"line
level inputs, or by two outputs from a computer via
FireWire. This switch lets you choose which to use.
Either way, the channels 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. This is useful for virtual instruments
that want to be "just another channel" among hardware
instruments.
23. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
The gain knobs 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.
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.(Ch3/4gainaffects
theMicinputonly.)
Through the 1⁄4" line input of channels 1 and 2, there
is 20 dB of attenuation fully down and 40 dB of gain fully
up, with unity gain "U" at 11:00.
Through the 1⁄4" line input of channels 5/6 and 7/8,
there is 20 dB of attenuation fully down and 20 dB of
gain fully up, with unity gain "U" at 11:00.

20 Onyx 820i
26. MID EQ FREQUENCY (Ch. 1 and 2)
This knob sets the center frequency of the mid EQ lev-
el control [27]. This is sweepable from 100 Hz to 8 kHz.
Once this is set, the mid EQ level can be adjusted with
the mid EQ level control.
Mostoftherootandlowerharmonicsthatdene
a sound are located in the 100 Hz–8 kHz frequency
range, and you can create drastic changes with these
twoknobs.ManyengineersusemidEQtocutmidrange
frequencies, not boost them. One popular trick is to set
the mid fully up, turn the frequency knob until you find
a point where it sounds just terrible, then back the mid
down into the cut range, causing those terrible frequen-
cies to disappear. Sounds silly, but it works. Sometimes.
27. MID EQ LEVEL (Ch. 1 and 2)
The mid EQ provides up to 15
dB of boost or cut, and it is also
at(noboostorcut)atthede-
tent. The frequency at which the
cut or boost occurs is set by the
mid EQ frequency control [26].
28. HIGH MID EQ LEVEL (Ch. 3 and 4)
The high mid EQ provides up to 15 dB of boost or cut
at2.5kHz,anditisatatthedetent.
29. LOW MID EQ LEVEL (Ch. 3 and 4)
The low mid EQ provides up to 15 dB of boost or cut at
400Hz,andisatatthedetent.
30. MID EQ LEVEL (Ch. 5/6 and 7/8)
The mid EQ provides up to 15 dB of boost or cut at 2.5
kHz,andisatatthedetent.
31. LOW EQ
The low EQ provides up to 15
dB of boost or cut below 80 Hz.
Thecircuitisat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.
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TA PE
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4AL T 3-4AL T 3-4AL T 3-4AL T 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN OUT
L
R
AUX RETURN
1
21
2
AUX SEND MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12 kHz
MID
2.5kHz
LOW
80Hz
HIGH
12 kHz
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
LR
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+ 4dB
HI-Z
LINE
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
123-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
OO
MAX
OL
- 20
OL
- 20 - 20
OLOL
- 20
OL
- 20
12 TALKBACK
BAL /UNBAL BAL /UNBAL BAL/UNBAL
SEND SEND SEND SEND SEND INPUT
MAIN OUT
LR
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©2008
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
+15
OO
+15
OO
+10
OO
+10
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
MAIN OUTPUT
LEVEL MIC
+4dB
25. HIGH EQ
The high EQ provides up to
15 dB of boost or cut above 12
kHz,anditisalsoat(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.
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