Mackie Onyx 820i User manual

QUICK START GUIDE
Premium 8-Channel Analog Mixer
with Perkins EQ and FireWire
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 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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

2Onyx 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. 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.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
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 NOTREMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICINGTO 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 PAS 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
692
4 95 Subway Train
397
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.

Quick Start Guide 3
Part No. SW0805 Rev. B
©2010 LOUD Technologies Inc. All Rights Reserved.
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 14 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.
CONTENTS
Introduction
Thank you for choosing a lovely Mackie Onyx 820i
professional compact mixer. It has built-in FireWire,
three of our premium precision-engineered studio-grade
Onyx mic preamps, along with the newest features and
latest technologies for live sound reinforcement and
analog or digital studio recording, all in a durable,
road-worthy package.
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 quick start guide. A
full manual is available on the supplied CD-ROM.
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
connector on the rear panel, and plug it into a
3-prong AC outlet. The mixer can accept
any
AC voltage ranging from 100 VAC to 240 VAC.
3. Plug a balanced microphone into one of the mic
XLR (3-pin) connectors. Or connect any line-
level signal (keyboard, or guitar preamp) to a
line input jack using a TS or 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 need for a DI box. Press the
channel hi-z switch if you connect a guitar.
6. The insert jacks of channels 1 and 2 can be
used to connect an external effects or dynamics
processor into the channel signal chain.
7. Connect the main outputs of the mixer (either
XLR or TRS 1/4") to the line-level inputs of your
amplifier (with speakers already attached) or
to the line-level inputs of powered speakers.
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
INTRODUCTION ...................................................... 3
FEATURES............................................................... 4
SETTING UP A SYSTEM............................................ 6
MICROPHONES....................................................... 7
LINE-LEVEL SOURCES AND GUITARS......................... 8
AUX 1 AND AUX 2.................................................. 9
CONTROL ROOM/PHONES/METERS...................... 10
MAIN MIX............................................................ 11
ALT 3-4 ............................................................... 12
TALKBACK ............................................................ 13
FIREWIRE ............................................................. 14
TECHNICAL INFORMATION .................................... 17
BLOCK DIAGRAM.................................................. 19
TRACK SHEET........................................................ 20
MACKIE LIMITED WARRANTY ................................ 23

4Onyx 820i
Features
REAR PANEL
1. AC POWER CONNECTION
2. POWER SWITCH
3. FIREWIRE CONNECTIONS
4. MAIN MIX XLR OUTPUTS
5. MAIN OUTPUT LEVEL
6. CONTROL-ROOM OUTPUTS
7. ALT 3–4 OUTPUTS
CONNECTION SECTION
8. MIC INPUTS
9. INSERT (CH. 1 AND 2)
10. MONO LINE INPUTS (CH. 1 AND 2)
11. STEREO LINE INPUTS
12. AUX SEND 1 AND 2
13. AUX RETURN 1 AND 2
14. MAIN MIX 1/4" OUTPUTS
15. TAPE INPUTS
16. TAPE OUTPUTS
17. HEADPHONE OUTPUT
CHANNEL CONTROLS
18. HI-Z SWITCH (CH. 1 AND 2 ONLY)
19. LOW CUT (CH.1–4 ONLY)
20. 48V PHANTOM POWER (MIC ONLY)
21. LINE +4 DB/-10 DB (CH. 3-4 ONLY)
22. INPUT (LINE OR FW 1-2)
23. GAIN CONTROL
24. SEND FIREWIRE PRE/POST
25. HIGH EQ LEVEL
26. MID EQ FREQUENCY (CH. 1 AND 2)
27. MID EQ LEVEL (CH. 1 AND 2)
28. HIGH MID EQ LEVEL (CH. 3-4)
29. LOW MID EQ LEVEL (CH. 3-4)
30. MID EQ LEVEL (CH. 5-6 AND 7-8)
31. LOW EQ LEVEL
32. AUX SEND 1 AND 2 LEVEL
33. PAN
34. MUTE/ALT 3–4 SWITCH
35. –20 AND OL LEDS
36. CHANNEL LEVEL
37. SOLO
MASTER SECTION
38. CONTROL ROOM SOURCE: MAIN MIX
39. CONTROL ROOM SOURCE: TAPE, FW 1-2, ALT 3-4
40. ASSIGN CONTROL ROOM SOURCE TO MAIN MIX
41. CONTROL ROOM LEVEL
42. PHONES LEVEL
43. LEFT/RIGHT LEVEL METERS
44. RUDE SOLO LIGHT
45. AUX MASTER SEND 1 AND 2 LEVELS
46. AUX PRE/POST
47. AUX MASTER RETURN 1 AND 2 LEVELS
48. AUX RETURN AUX 2 TO AUX1
49. AUX SEND 1-2 TO FW 5-6 SWITCH
50. POWER LED
51. TALKBACK MIC
52. TALKBACK LEVEL
53. TALKBACK DESTINATION: PHONES, AUX 1-2
54. TALKBACK ON SWITCH
55. MAIN MIX LEVEL
55. ASSIGN MAIN MIX TO FW 7–8
1. AC POWER CONNECTION
This is a standard 3-prong IEC power connector. Connect the
supplied detachable linecord to the power receptacle, and plug
the other end of the linecord into an AC outlet. The mixer can
accept
any AC voltage ranging from 100 VAC to 240 VAC.
2. POWER SWITCH
Press the top of this rocker switch inwards to turn on the
mixer. The front panel power LED will glow with happiness and
the mixer will be fully operational.
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
1
6
2
4
37
5
4

Quick Start Guide 5
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 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 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 kH z
MID
2.5kHz
LOW
80Hz
HIGH
12 kH 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
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
1 2 3-4
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
POWER
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
11
12
11
13
11
14 15 16
17
8
9
10
18
19 20
23
24
25
26
27
31
32
33
34 35
36
37
28
29
30
21
22 38
39
40
41
43
42
45
44
47
48
46
49
50
51
52
53
54
55
56

6Onyx 820i
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TAP E
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT3-4
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
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 LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
1 2 3-4
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
ALT3-4
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
HD1531
Powered Speaker
Main Left
HD1531
Powered Speaker
Main Right
Mackie SRM450v2
Powered Speakers
(Stage Monitors)
iPod
Docking Station
Headphones
Microphone
press HI-Z
button
Acoustic
Guitar with
pickup
Keyboard
Drum
Machine
Stereo Effects Processor
Dynamics
Processor
Laptop Computer
with audio
production software
HD1801
Po w e re d
Subwoofers
HD1801
Po w e re d
Subwoofers
This diagram shows an acoustic-electric guitar connected to the channel 1 input (with the hi-z switch
pressed in), a microphone connected to the channel 2 mic input, a drum machine connected to channel
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.
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 (in post-fader mode), and its stereo outputs
connect to the stereo aux 1 return inputs.
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 connecting quad HD1801 powered subwoofers and a pair of HD1531 powered
speakers to the main left and right outputs.
A laptop computer connects to the FireWire port, allowing the 2-channel main mix, individual
channels, and the aux sends to be recorded, and two channels to be played back using audio
production software.
Setting up a system
The following diagram shows how you can use the Onyx 820i in a typical club system. This may not be exactly
what you want, but it shows most of the features of the mixer that you can apply to your own musical purposes.

Quick Start Guide 7
Microphones
Connect your microphones to the female XLR
connectors on channels 1, 2, and 3-4. The microphone
preamps feature our Onyx design, with super high
fidelity and headroom. Professional ribbon, dynamic,
and condenser mics all sound excellent through these
inputs.
Microphone-level signals are passed through 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.
48V PHANTOM POWER
Press the 48V phantom power switch if your microphones
need it.
Most modern professional condenser mics require 48V
phantom power, which lets the mixer send low-current
DC voltage to the mic’s electronics through the same
wires that carry audio.
Never plug single-ended (unbalanced) microphones,
or ribbon mics into the mic input jacks if phantom
power is on. Do not plug instrument outputs into the
mic XLR input jacks with phantom power on, unless you
are certain it is safe to do so.
LOW CUT
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. This will reduce the
thumps and bangs due to stage noise and rumble, and
mic handling.
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches.
Using the low cut switch also allows you to add some
bass EQ to your vocals without boosting the really-low
lows.
VOCAL EQUALIZATION
Mono channels 1 and 2 have a 3-band EQ, with
shelving-low, shelving-high and peaking-mid. The
frequency of the mid can be adjusted from 100 Hz to
8 kHz.
This extra detail in the mid EQ section is ideal for
vocal equalization, so you might consider using
channels 1 and 2 for your main vocal mics. Channel 3-4
has a 4 band EQ, with a high-mid and low-mid control.
INSERTS
Channels 1 and 2 have insert jacks that allow you to
send the mic and line signals out to an external device,
and back in again on the same connector. For example,
vocals benefit from having an external vocal compressor.
These compress the level of the signals when they reach
a certain threshold, and help prevent overloading.
SETTING THE MICROPHONE GAIN
1. Press the solo switch at the bottom of the
channel your microphone is connected to. The
rude solo light will flash to remind you that
what you are listening to in the control room
and headphones, and shown on the main right
meter is the soloed channel.
2. Sing/talk/shout/scream into the microphone at
typical loudness levels.
3. Adjust the channel gain control until the right
main meter level is hovering around the 0 dB
mark (labeled "level set").
4. Now that the gain is set correctly, disengage
solo.
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
XLR Mic Inputs
48V
Gain
Low Cut
EQ
Inserts
Level
Set
Solo

8Onyx 820i
Line-level Sources and Guitars
Connect your line-level sources to the 1/4" TRS
connectors. Channels 1 and 2 have mono inputs, and
channels 3-4, 5-6, and 7-8 are stereo. Each input can
accept TRS balanced or TS unbalanced sources.
Line-level sources include keyboards, drum machines,
electronic drum kits, CD players, iPod®docks, guitar
preamp outputs and so on.
If you just have a mono source and the mono channels
are already in use, plug it into the left input (labeled
left/mono) of the stereo channels, and the signal will
appear equally on the left and right of the main mix.
If you have a stereo source and want to use channels 1
and 2, plug the left side into channel 1, and set the pan
control fully-left. Plug the right side into channel 2 and
set the pan control fully-right.
Channels 3-4 have a +4/–10 dB switch that allows
them to accept line-level inputs from +4 dBu or
–10 dBV devices.
LINE/HI-Z
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
For line-level sources, disengage this switch.
To connect guitars to other channels, you will need a
DI box, or they will not sound good, particularly the high
frequency response. This applies to most mixers and
channels in general, unless they have a hi-z switch
LOW CUT
Channels 1 and 2, and channels 3-4 have a low-cut
switch that cuts bass frequencies below 75 Hz.
The low cut of channels 1 and 2 affects the line and
the mic inputs. The low cut of channels 3-4 affects the
mic input only.
EQUALIZATION
Mono channels 1 and 2 have a 3-band EQ, with
shelving-low, peaking-mid, and shelving-high controls.
The mid frequency is adjustable from 100 Hz to 8 kHz.
Hybrid channels 3-4 have a stereo 4-band EQ, with
shelving-low, peaking low-mid, peaking high-mid, and
shelving-high controls.
Stereo channels 5-6 and 7-8 have a stereo 3-band EQ
with shelving-low, peaking-mid, and shelving-high.
These EQ options allow a lot of adjustment to your
line-level sources and guitars. Apply EQ wisely and
carefully, like makeup. (Too much and things can turn
ugly.)
TAPE IN and TAPE OUT
Use these RCA unbalanced stereo inputs to connect
the line-level outputs from sources such as tape decks,
CD/DVD players and iPod®docks. Engage the tape
switch to listen in your control room or phones. Engage
assign to main mix to add the sounds to the main mix,
for example you can play intermission music, or listen to
rare reference material of your band getting it right.
The tape output is a copy of the main mix (post
fader), suitable for analog recording, sending to the
inputs of an external amplifier, or sound card etc.
SETTING THE CHANNEL GAIN
1. Press the solo switch at the bottom of the
channel your source is connected to. The rude
solo light will flash to remind you that the
source playing in the control room,
headphones, and the right main meter is the
soloed channel.
2. Play your source at typical loudness levels.
3. Adjust the channel gain control until the right
main meter level is hovering around the 0 dB
mark (labeled "level set").
4. Now the gain is set correctly, disengage solo.
5. The channel 3-4 gain control only affects the
mic input. For channel 3 and 4 line-level inputs,
follow steps 1 and 2, then if the right meter
seems a bit low, engage the –10 dBV switch.
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
Stereo Line-Level Inputs
Gain
Low Cut
EQ
Inserts
Mono Line
Inputs
Line/Hi-Z
Tape Tape In/Out
Level
Set
Solo

Quick Start Guide 9
Aux 1 and Aux 2
AUX SEND 1 and 2
The 1/4" TRS aux sends in the connection section
allow you to send balanced or unbalanced line-level
outputs to external effects devices or stage monitors.
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 output signal is the sum of all the channels
whose aux 1 send control 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.
AUX SEND 1-2 to FW 5-6
This switch allows you to send a copy of the aux sends
to a computer via FireWire. For example, you can use
your computer with audio production software and
inexpensive effects plug-ins, as an effects host. This
substitutes wonderfully for an outboard hardware
effects processor.
See page 15 for an example of setting up a software
effects processor using the aux sends and FireWire.
Performance will vary based on system hardware.
PRE or POST
The aux sends can either be pre-fader or post-fader,
depending on the position of the pre/post switches. By
"fader" we mean the channel level control. Old habits
die hard. It may come in handy to know these terms if
you use a mixer with faders in future.
For stage monitor work, use PRE, so the stage
monitors do not increase in volume when the channel
level is adjusted. 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. Stage monitors
can either be passive speakers powered by an external
amplifier, or powered speakers with their own amplifier.
For external processors, use POST. In this way, the
feed to external processors will vary in level if the
channel level is adjusted. For example, 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).
Modification: Pre-EQ Aux Sends
The pre-fader aux sends are post-EQ, so they are
affected by the channel EQ controls. The circuit boards
can be modified so the pre-fader aux sends are pre-EQ
instead of post-EQ. For example, your stage monitors
will not be affected by any channel EQ adjustments.
This modification can be done by an authorized service
center. Authorized service centers may be found online
at: www.mackie.com/scripts/service_centers/search.asp
Contact our technical support chaps if you are having
trouble finding an authorized service center in your
area.
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. Adjust the
level of the incoming signals with the aux return master
controls.
Alternatively, you can use these inputs to add any
stereo line-level signals to your main mix, so it could be
another line-level source, not just an effects
processor. If you are connecting a mono source, use the
left (mono) aux return input, and the mono signals will
appear on both sides of the main mix.
RETURN to AUX 1
The signals going into aux return 2 can also be added
to aux send 1 by engaging the return to aux 1 switch.
For example, you could add the effects returned from
an external effects processor fed by aux send 2, to your
stage monitors fed by aux 1.
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
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
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
1 2 3-4
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
POWER
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
Aux 1
Pre/Post
Aux Send Masters
Return to Aux 1
Aux Return
Masters
Aux Sends Aux Returns
Aux 2
Aux Send 1-2 to FW 5-6

10 Onyx 820i
Control Room/Phones/Meters
CONTROL ROOM OUTPUTS
The rear panel 1/4" TRS stereo control room outputs
can be used to run a separate sound system in a control
room or a different zone.
Connect these outputs to the
line-level inputs of an amplifier running passive studio
monitors, or to the inputs of powered studio monitors.
The headphones play the same program material as
the control room. The meters show the levels prior to
the control room and phones level controls.
CONTROL ROOM/PHONES SOURCE
The source that plays in the control room,
headphones, and meters is selected using the switches
in the control room/phones source matrix:
• Main mix
• Tape
• Alt 3-4
• A stereo FireWire feed from your computer
• A combination of all four above
If you do not select one of these, there will be no
sound in the control room or phones, and no indication
on the meters (unless a solo button is engaged).
Main Mix
Select main mix to listen to the main mix in the
control room or headphones. The meters show the level
after the main mix level control.
Tape
Select tape to listen to the RCA tape input in the
control room or headphones. The meters show the level
coming in from your tape or CD player. Press assign to
main mix to play intermission music in your main mix.
Alt 3-4
Select alt 3-4 to listen to the alt 3-4 mix in the control
room or headphones. This is a stereo mix of any
channels that have their mute/alt 3-4 switch engaged.
This can be used for cueing up sources prior to "going
live," and for other useful reasons. The meters show the
level of the alt 3-4 output.
FireWire.
Select FW 1-2 to listen to the FireWire 1 and 2 audio
streams coming from your computer in the control
room or headphones. The meters will show the levels of
signals coming in from your computer.
Assign to Main Mix
Except for the main mix, whatever is selected as a
source for your control room and phones can also be
routed to the main mix by pressing this switch. The
main mix does not play in the control room or phones if
this switch is engaged.
SOLO
Whenever solo is engaged, all source selections (main
mix, alt 3-4, tape, and FireWire) are defeated, and you
will only hear the soloed channel(s) in the headphones
and control room. This gives you the opportunity to
audition the channels before they are added to the main
mix or alt 3–4 mix. The main mix continues to play, so
the show can still go on during solo.
When a channel is soled, you can adjust the channel
gain until your input source reaches the 0 dB LED in the
right meter.
Solo signals reaching the headphones and control
room are not affected by the channel level or main level,
therefore turn down the phones level and control room
level first, as soloed channels may be loud.
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
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
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
1 2 3-4
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
POWER
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
Control
Room
Outputs
Control Room/
Phones Source
Assign to Main Mix
Control Room
Level
Phones Level
Headphones

Quick Start Guide 11
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
Main Mix
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
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
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
1 2 3-4
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
POWER
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
XLR Main Outputs
Assign to FW 7-8
XLR MAIN OUTPUTS
The male XLR connectors provide a balanced line-
level signal that represents the end of the mixer chain,
where your fully mixed stereo main mix signals enter
the real world. Connect these outputs to the inputs of
your main power amplifiers, powered speakers, or serial
effects processor (like a graphic equalizer or
compressor/limiter). The output provides a fully
balanced signal playing the same program material as
the 1/4" TRS main outs.
MAIN OUTPUT LEVEL
When this recessed switch is out (+4 dB), the XLR
main outputs provide a "+4 dBu" line-level signal. You
can then connect these outputs to the line-level inputs
of power amplifiers, powered loudspeakers, or serial
processors. In a studio setting, you could connect the
main mix to the inputs of a professional stereo recorder.
When the switch is pushed in (mic), the XLR main
outputs are attenuated to microphone level. You can
then connect these outputs safely to the microphone
inputs of another mixer, providing a submix for
keyboards or drums, for example, in a live sound
application. The main outputs can then be plugged
directly into a stage snake, and appear back at the front
of house console like any other microphone level source.
When mic is engaged, you can safely plug the XLR
main output into another mixer's microphone input,
even if it provides 48 V phantom power.
The switch is recessed, to reduce the chance of
accidently turning it on or off when plugging things in.
1/4" TRS MAIN OUTPUTS
These 1/4" TRS output connectors provide the
balanced or unbalanced line-level output of the main
mix. This is the same signal and level that appears at
the XLR main outputs, except it is not affected by the
main output level switch.
MAIN MIX LEVEL
This is the main level control that adjusts the level of
the XLR and 1/4" main outputs, and the tape output. It
does not affect the FireWire output of the main mix (if
assigned).
If the gain of each channel has been set up correctly
for all your microphones, line-level sources, guitars, and
so on, then these channels can be added to the main
mix by careful adjustment of the channel level controls.
The main mix level control is then used to turn the
complete main mix up and down in level.
ASSIGN TO FIREWIRE
The main mix can be sent to your computer using the
assign to FW 7-8 switch, located next to the main mix
level. The output is not affected by the main mix level
control, allowing you to record the main mix of live
performances. The left main mix will appear on
FireWire output channel 7, and the right on channel 8.
In addition to recording the main mix using FireWire,
you can record individual channels using FireWire, for
studio mixing at a later date. See page 15.
TAPE OUT
This RCA unbalanced output is a copy of the main mix
(post fader). You can use it to record the main mix on
an analog tape deck for example.
Main Output Level +4dB/Mic
1/4" TRS Main Outputs
Main Mix Level
Tape Out

12 Onyx 820i
Alt 3-4
MUTE/ALT 3-4 SWITCHES
Every time a bell rings, an Angel gets its wings. In a
similar way, every time a mute switch is pressed, that
channel is muted in the main mix and appears in the
alt 3-4 outputs instead.
If you just want to mute the channels, then don't
connect the alt 3-4 outputs to anything.
Muted channels can still be soloed to audition them
in the headphones and control room, and to adjust and
check the channel gain levels.
ALT 3-4 OUTPUTS
These 1/4" TRS jacks provide a balanced line-level
signal that can provide an alternate stereo mix for
recording or subgrouping.
Connect these outputs to the inputs of an amplifier,
powered speaker, or recording device. If you want to
think up some good use for the alt 3-4 outputs then go
ahead.
For example, these outputs could be used to send
particular channels to another zone, or you could create
a sub-mix of several drum microphones. The alt 3-4
submix can then be routed to the control room and
phones, by pressing the control room alt 3-4 switch, and
added to the main mix with the control room assign to
main mix switch.
The alt 3-4 output doesn’t
have a master level control.
All the channels assigned to
the alt 3-4 bus are summed
together (post-fader and pan)
and sent directly to the alt 3-4 out.
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
Alt 3-4 outputs
Mute/Alt 3-4 switches
Control Room/
Phones Source
Alt 3-4
Assign to
Main Mix

Quick Start Guide 13
Talkback
The mixer's built-in microphone allows you to talk to
the band through the phones outputs or stage monitors.
This can often be charming, pleasant, informative, and
enlightening.
TALKBACK MIC
The omni-directional dynamic microphone will pick
up your voice from anywhere in front of the mixer. Any
hint of exasperation and despair in your voice will be
faithfully picked up.
TALKBACK Switch
Press this switch in to talk. This is a momentary
switch, and as long as you hold it in, talkback is
activated.
When it is pressed in, the control room outputs are
attenuated (ducked) to allow your voice to come
through clearly.
TALKBACK LEVEL
Use the talkback level knob to control the level of the
signal from the internal microphone.
1. Start with this level turned down.
2. Select the destination, either headphones
and/or aux 1-2, and make sure the phones level
or aux send master levels are set up nicely.
3. Press the talkback switch as you talk.
4. Slowly turn the talkback level knob up until
they can hear you in phones or monitors.
5. Release the talkback switch when you are
finished talking.
Once you have set the level, you can leave it there for
the duration of the session or gig.
DESTINATION: PHONES, AUX 1-2
Push in the phones talkback destination switch to
communicate with the talent in the studio through the
headphones during a recording session.
The aux 1-2 talkback destination switch routes the
talkback signal to the aux send 1 and 2 outputs. Use this
to communicate with the musicians through their stage
monitors when you are setting up a live performance.
In a studio, the aux out could be fed to the input of a
headphone amplifier feeding several sets of headphones.
It is fine to have both talkback destination switches
pushed in at the same time. If you don’t have either
switch pushed in, the talkback signal won’t go
anywhere.
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
Built-in Microphone
Destination
Talkback Switch
Talkback Level
Aux Sends Headphones

14 Onyx 820i
FireWire
The mixer comes with a CD containing the PC driver
software needed to use your mixer's internal FireWire
interface. Macintosh OS X contains built-in drivers, and
no software installation is required.
Please check our website (www.mackie.com) for
any updated PC drivers that may exist. If one does,
download this installer and follow the instructions that
accompany the download. Otherwise, continue on with
the CD installation instructions listed below.
INSTALLATION ON A PC:
1. Connect a FireWire cable from your mixer to a
FireWire port on your computer.
2. Turn on your mixer.
3. The Windows application (XP or Vista) will
start its "Found New Hardware" wizard.
4. In the details that follow, ignore any attempt
to connect to Windows Update to find the
software. Also ignore any warnings about the
software not having passed Windows testing.
Trust software from LOUD Technologies Inc.
5. Select "Locate and install driver software that
came with your device."
6. You will be prompted to insert the CD that
came with your mixer.
7. Select "Install," and the driver software should
be installed.
8. For Windows XP users, depending upon your
configuration, repeat steps 1-7 if prompted to
install a second driver.
9. In your audio software application, select and
activate all the inputs from the mixer and the
outputs to the mixer.
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
FireWire Connections
FW Pre
or Post
Line/FW 1-2
Assign to
FW 7-8
Assign to
main mix
FW 1-2
Aux send 1-2
to FW 5-6
INSTALLATION ON A MAC:
1. Connect a FireWire cable from your mixer to a
FireWire port on your Mac.
2. Turn on your mixer.
3. Go to the applications folder, open the utilities
folder, and double-click “Audio MIDI Setup.”
4. Click the Audio Devices tab, and select
Onyx i in the “Properties For” drop-down box.
5. Here you can see the settings for the mixer.
You can also choose it as your default input or
output, as well as designate it to be used for
system sound output.
6. You’re ready to go with any Mac OS X Core
Audio host application (i.e., Tracktion, Logic,
Cubase, Nuendo, Live, Digital Performer, etc.).
7. In your audio software applications, select and
activate the inputs from the mixer and outputs
to the mixer.

Quick Start Guide 15
FIREWIRE CONNECTIONS
Two FireWire connectors allow the transfer of
digital audio to and from your computer or digital audio
workstation (DAW). There are two identical connectors,
but you only need one. The other is used for
connecting additional devices if your mixer is using up
your computer's only FireWire connector. For example,
you could daisy-chain multiple Onyx 820i mixers or add
an external hard drive since the FireWire connectors
are run in serial. Performance will vary based on system
hardware.
The FireWire interface provides the following outputs
to your computer:
• Individual channels, tapped pre-fader, and
either pre-EQ, or post-EQ (your choice).
• Aux send 1 and 2 (a copy of the final 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 mixdown to a stereo mix later. Or
you can use it to turn your Onyx mixer into a
high-quality
computer audio interface for your DAW.
FireWire also provides a return for two channels from
your computer to your mixer:
• These can be routed through the control
room/phones via
the FW 1-2 button, to monitor
the computer audio
through your control room
speakers or headphones (or through the main
speakers if assign to main mix is selected).
• These same two channels can also be routed
through channels 7 and 8, and treated just
like any other channel, with adjustment for
gain, EQ, level, and pan, as well as to solo, and
add to the main mix and aux send 1 and 2.
This routing is done using the FW/line input
selector switch on channels 7 and 8.
FIREWIRE PRE/POST
The FireWire output from each channel can be tapped
before (pre) or after (post) the channel EQ. The output
is 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 live, where the recording
includes your careful channel EQ settings. If you want
to record the straight signals now and EQ them later in
your DAW, then set this to switch to pre.
The following FireWire modifications can be done by
an authorized service center. Authorized service centers
may be found online at:
www.mackie.com/scripts/service_centers/search.asp
Please contact our technical support department if you
are having trouble finding an authorized service center
in your area.
Modifications: Post-Insert FireWire Sends
The pre-EQ channel FireWire sends are pre-insert,
but the circuit boards can be modified so that they are
post-insert instead. This allows for the use of an
external processor on the mic signal, sending the result
to the FireWire, while still pre-EQ.
Modifications: Post-Fader FireWire Sends
The post-EQ channel FireWire sends are pre-fader,
but the circuit boards can be modified so that they are
post-fader instead. This allows the channel level to
control the level of the FireWire sends.
R/4 L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
RL
CTRL - RM OUT
POWER
ON
MAIN OUT
LR
BALANCED
FIREWIRE
MAIN OUTPUT
LEVEL MIC
+4dB
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 3-4 A LT 3-4 ALT 3-4 A LT 3-4 A LT 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
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
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
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
1 2 3-4
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
POWER
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
FireWire Connections
FW Pre
or Post
Line/FW 1-2
Assign to
FW 7-8
Assign to
main mix
FW 1-2
Aux send 1-2
to FW 5-6

16 Onyx 820i
INPUT (LINE or FW 1-2)
Channel 7 and 8 can either be fed from the 1/4" stereo
line-level inputs, or by FireWire outputs 1 and 2 from
your computer. This switch lets you choose which to use.
Either way, channels 7 and 8 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.
CONTROL ROOM FW 1-2
If this is engaged, you can listen to FireWire 1 and 2
playback from your computer in the control room and
headphones. This can also be added to the main mix if
control room assign to main mix is engaged. See below.
ASSIGN TO MAIN MIX
Engage the control room FW 1-2 switch and the
assign to main mix switch to play two tracks directly
from your computer through the control room/phones
source matrix and into the main mix. This is great for
listening to iTunes®or other pre-recorded material from
your computer.
AUX SEND 1-2 to FW 5-6
This switch allows you to send a direct copy of the
aux send 1 and 2 outputs via FireWire to your computer.
This makes it possible to use a software effects
processor instead of an expensive external processor.
To setup a software effects processor:
• Set up an aux send in post mode
• Engage this switch, and aux send FireWire
outputs 5 and 6 will be available for your
computer.
• Pass this through your audio production
software running effects plug-ins.
• Return the processed output to mixer channels
7 and 8 (input switch set to FW 1-2).
• Alternatively bring the processed sounds into
the control room (engage FW 1-2) and add it to
the main mix (engage assign to main mix).
• You can even use the computer as two separate
independent mono in, stereo out processors.
Have aux 1 go into one plug-in, and aux 2 go
into a different one. The stereo outputs of both
plug-ins are combined back into the stereo
stream coming back to the mixer. Again,
performance will vary based on system
hardware.
Note: If this switch is selected, then there is no FireWire
output to your computer directly from mixer channels 5
and 6. Aux sends 1 and 2 go to your computer instead.
ASSIGN TO FW 7–8
This switch allows you to assign the left and right
main mix to FireWire outputs 7 and 8. For example, you
can record the live performance main mix onto your
computer. The output level to your computer is not
affected by the main mix level control.
Note: If this switch is engaged, then there is no FireWire
output to your computer directly from mixer channels 7
and 8. The main mix goes to your computer instead.

Quick Start Guide 17
Specifications
Noise Characteristics:
Equivalent Input Noise (EIN), mic input at insert, 150 Ωsource
impedance, 20 to 20 kHz:
60 dB (max) gain: -127 dBu
40 dB gain: -126.5 dBu
Equivalent Input Noise (EIN), mic input at insert, 50 Ωsource
impedance, A-weighted:
60 dB (max) gain: -130.5 dBu
40 dB gain: -130 dBu
Output Noise Figure (1/4" Main out, all channels assigned to
main, Gain knobs at unity, 20 Hz to 30 kHz):
Main Mix knob down, channel Level knobs down:
-107 dBu (-111 dB SNR,
ref +4 dBu)
Main Mix knob unity, channel Level knobs down:
-95.5 dBu (-99.5 dB
SNR, ref +4 dBu)
Main Mix knob unity, channel Level knobs unity:
-91.5 dBu (-95.5 dB
SNR, ref +4 dBu)
FireWire Through (Record + Playback) Dynamic Range:
0 dBu mic input, to DAW, routed back to mixer direct to Control
Room, all gain stages unity, 20 Hz to 20 kHz:
44.1 kHz sample rate: -104 dB
96 kHz sample rate: -106.5 dB
Frequency Response:
Mic input to any output (all gain stages at unity):
+0/-0.5 dB,
20 Hz to 20 kHz
Stereo channel line input to any output (all gain stages unity):
+0/-0.5 dB,
20 Hz to 20 kHz
FireWire in and out (mic input to FireWire send, returned to
Control Room, all gain stages at unity):
44.1 kHz sample rate: +/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 21 kHz
96 kHz sample rate: +/-0.5 dB,
20 Hz to 20 kHz
-3 dB at 45 kHz
Distortion (THD+N):
20 Hz to 20 kHz, 20 Hz to 80 kHz bandwidth
Mic input at insert
(+4 dBu in, 0 dB gain, +4 dBu out): 0.001%
Mic input at insert
(-36 dBu in, +40 dB gain, +4 dBu out):0.007%
Stereo channel line input to any output
(+4 dBu in, all gain stages at unity +4 dBu out): 0.005%
FireWire in and out (+4 dBu in, mic input to FireWire send,
returned to Control Room, all gain stages at unity):
44.1 kHz sample rate: 0.01%, 20 Hz to 2 kHz
0.02%, 2 kHz to 20 kHz
96 kHz sample rate: 0.01%, 10 Hz to 1 kHz
0.03%, 1 kHz to 47 kHz
Attenuation and Crosstalk:
1 kHz relative to 0 dBu, 20 Hz to 20 kHz
Main Mix knob down: -80 dBu
Channel Alt/Mute switch engaged: -90 dBu
Channel Level knob down: -80 dBu
Common Mode Rejection Ratio (CMRR):
Mic input to insert, max gain, 1 kHz, 150 ohm termination:
-70 dB
Maximum Input Levels:
Mic input, gain at min (0 dB): +22 dBu
Mic input, gain at max (60 dB): –38 dBu
Line input, gain at -20 dB: +22 dBu
Instrument input, gain at -20 dB: +22 dBu
Tape input: +12 dBu
Aux return: +22 dBu
Maximum Output Levels:
All outputs: +22 dBu
Equalization
Mono Channels
Low: ±15 dB at 80 Hz
Mid frequency: 100 Hz to 8 kHz
Mid gain: ±15 dB
High: ±15 dB at 12 kHz
Hybrid Channel:
Low: ±15 dB at 80 Hz
Low Mid: ±15 dB at 400 Hz
High Mid: ±15 dB at 2.5 kHz
High: ±15 dB at 12 kHz
Stereo Channels:
Low: ±15 dB at 80 Hz
Mid: ±15 dB at 2.5 kHz
High: ±15 dB at 12 kHz
FireWire
Sample Rates Available: 44.1 kHz, 48 kHz,
88.2 kHz, 96 kHz
Buffer Size: 32 (44.1 kHz and 48 kHz
only), 64, 128, 256, 512,
1024, 2048 samples
Resolution: 24-bit
VU Meters
2-segment pre-fader channel meters:
OL (+18 dBu), -20 dBu
12-segment pre-fader Control Room meters:
OL (+20 dBu), +15, +10,
+6, +3, 0, -2, -4, -7, -10,
-20, -30 (0 VU = 0 dBu)
Technical Information

18 Onyx 820i
Input Impedance:
Mic input: 2.8 kΩbalanced
Hi-Z input: 1 MΩunbalanced
Mono channel line input: 30 kΩbalanced
15kΩunbalanced
Stereo Channel line input: 20 kΩbalanced
10kΩunbalanced
Output Impedance:
Main XLR output: 100 Ωbalanced
Phones output: 75 Ω
All other outputs: 300 Ω
AC Power Requirements:
Power Consumption: 25 watts
Universal AC Power Supply: 100 VAC – 240 VAC,
50-60 Hz
Physical Dimensions and Weight
Height: 14.2 in/361 mm
Width 9.0 in/229 mm
Depth: 3.8 in/96 mm
Weight: 10.0 lb/4.4 kg
Options:
Rack Mount Kit
LOUD Technologies Inc. is always striving to improve our products
by incorporating new and improved materials, components, and
manufacturing methods. Therefore, we reserve the right to change
these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of LOUD
Technologies Inc. All other brand names mentioned are trademarks
or registered trademarks of their respective holders, and are hereby
acknowledged.
The technical writer responsible for this manual tends to fade in and
out of various different realities, depending on how many cups of tea
he has had. Please check our website for any updates to this manual,
or updates to the PC drivers: www.mackie.com.
©2010 LOUD Technologies Inc. All Rights Reserved.
Dimensions
14.2 in / 361 mm
9.0 in/ 229 mm
3.7 in/
94 mm
WEIGHT
10.0 lb
4.5 kg
3.8 in / 96 mm
1.6 in / 40.6 mm
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
19.0 in/ 482.6 mm
(with optional rack ears)
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
13.68 in / 347.5 mm
14.2 in / 361 mm
9 rack spaces
Need help with your new mixer?
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums, and other useful
information.
• Email us at: t[email protected].
• Telephone [phone] to speak with one of our splendid technical support chaps (Monday
through Friday, normal business hours, PST).

Quick Start Guide 19
Block Diagram
solo logic
Control Room
level
Main level
Aux Return 2
L
R
Insert
HPF Level
Pan
Solo
Aux
Sends
Level
Tape
L
R
L/3
R/4
Aux 1 out
Aux 2 out
Aux 1 level
Phones
Control room
outputs
L
R
L sum
R sum
Alt L/3 sum
Alt R/4 sum
Aux 1 sum
Aux 2 sum
Solo sum
Level
Aux Return 1
L
R
LO MID
80 100~8K 12K
HI
Aux 1
Meter
Tape in
L
R
RUDE
SOLO
LED
Line
Bal
Talkback Assign
Alt3/4
CD/Tape
+10 dB
Main
C/R Source
3-Band EQ
Phones
level
L
R
A
ux 1 (post)
Aux 2 (post)
Solo(PFL)
SoloLogic
Main
L/3
R/4
Alt
Aux 1 (pre)
Aux 2 (pre)
L
R
Aux 1 (post)
Aux 2 (post)
Solo(PFL)
SoloLogic
Main
L/3
R/4 Alt
Aux 1 (pre)
Aux 2 (pre)
Aux 2 level
Aux 2
Talkback to Phones
Aux1-2
Alt 3/4
Main L/R
to Aux1
to Main L/R
post
pre
post pre
CR to Main
OFF
Talkback
NOTE: Modifications (marked MOD above) must be undertaken by authorized LOUD service centers only NOTE: Switches are shown in the default (out) position
C/R
L
C/R
R
Alt 3-4 out
Main
output
48V
Mono
Channels
1 (2)
Mic
Line
Gain
Mic: 0 ~ +60dB
Line: -20 ~ +40dB
3-Band EQ
Internal
Talkback mic
Level
Stereo
Channels
5-6 (7-8)
L
R
FW
Line (CH 7-8 only)
FW
OUT 1, 2
Hybrid
Ch.3-4
L
R
Mic
-20 ~ +20dB
Gain
0 ~ +60dB
Gain
4-band EQ
HI-Z
Normal
LO
80 400 2.5k
HIMID
12k
LO
80 400 2.5k
HI
MID
12k
FW
Level
+4dB
-10dB
HPF
Low Cut
Bypass
Low Cut
Bypass
Post
FW Tap
Pre
HPF
LO
80 2.5K 12K
HI
MID
LO
80 2.5K 12K
HIMID
Mute
1
2
48V
Level
Pan
Solo
Aux
Sends
Alt 3/4
Main L/R
OL
-20dBu
Mute
1
2
FW Tap FW OUT 3
FW
FW OUT 4
FW
Pre
Direct
FW IN 1 FW
FW IN 2 FW
Level
Pan
Solo
Aux
Sends
Alt 3/4
Main L/R
Mute
1
2
OL
-20dBu
FW Tap
Pre
Direct
L
R
L
R
Bal
Mic level
+4dBu
C/R
duck
FW OUT 5
FW
FW OUT 6
FW
FW IN 1, 2
FW
FW
CH 5 (7) FW
CH 6 (8) FW
CH 5 FW
CH 6 FW
Min to +10 dB
Min to +10 dB
Min to +10 dB
Min to 0 dB
Min to +15 dB
Min to +15 dB
Min to +10 dB
Min to +10 dB
AUX SENDS 1-2
TO FW 5-6
FW OUT 7
FW
FW OUT 8
FW
CH 7 FW
CH 8 FW
ASSIGN TO
FW 7-8
OL
-20dBu
- 20 dB
Pad
-20dB
Pad
MOD1
(MOD3)
MOD2
(MOD4)
option
option
MOD6
(MOD8)
MOD5
(MOD7)
MOD9
MOD10
MOD11
MOD12
option option
MOD13
(MOD17)
MOD14
(MOD18)
MOD15
(MOD19)
MOD16
(MOD20)
option
option

20 Onyx 820i
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 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 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
12kHz
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
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
1 2 3-4
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
POWER
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
LRLRLRLRLR
Track Sheet