PREMIUM EIGHT CHANNEL MICROPHONE PREAMP

w/192 kHz DIGITAL OUTPUT

O W N E R S

M A N U A L

ONYX 800R
Important Safety Instructions
1. Read these instuctions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliers) 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 t 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 specied by the manufacturer. 12. Use only with a cart, stand, tripod, bracket, or table specied 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.

PORTABLE CART WARNING

Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer. A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.
13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply 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 has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong). 16. This apparatus has been equipped with a single-pole, rocker-style AC mains power switch. This switch is located on the front panel and should remain readily accessible to the user. 17. 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 prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada. 18. 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 sufciently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specied the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day In Hours

2 1.0.5 0.25 or less

Sound Level dBA, Slow Response

Typical Example

Duo in small club Subway Train Very loud classical music Tami screaming at Adrian about deadlines Loudest parts at a rock concert

CAUTION

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 LUSAGER. CONFIER LENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES DINCENDIE OU DELECTROCUTION, NEXPOSEZ PAS CET ARTICLE A LA PLUIE OU A LHUMIDITE
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 products enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de fl che lint rieur dun triangle quilat ral est utilis pour alerter lutilisateur de la pr sence lint rieur du coffret de "voltage dangereux" non isol dampleur suffisante pour constituer un risque d l ctrocution. 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 dexclamation lint rieur dun triangle quilat ral est employ pour alerter les utilisateurs de la pr sence dinstructions importantes pour le fonctionnement et lentretien (service) dans le livret dinstruction accompagnant lappareil.
WARNING To reduce the risk of re or electric shock, do not expose this apparatus to rain or moisture.

Table of Contents

Introduction....4 Getting Started....5
Zero the Controls.....5 Connections.....5 Set the Levels.....5 Start Recording....5

Owners Manual

Hookup Diagrams....6 Onyx 800R Features....10
Front Panel.....10 Rear Panel.....12
Appendix A: Service Information..16
Warranty Service....16 Troubleshooting.....16 Repair......17
Appendix B: Connections...18 Appendix C: Technical Info....20
Onyx 800R Specications....20 Onyx 800R Block Diagram....22
Onyx 800R Limited Warranty....23
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.)

Purchased at:

Date of purchase:
Dont forget to visit our website at www.mackie.com for more information about this and other Mackie products.
Part No. 0008666 Rev. A 4/LOUD Technologies Inc. All Rights Reserved.

Introduction

Thank you for choosing a Mackie Onyx 800R eightchannel professional microphone preamplier. The Onyx Series of mixers and microphone preamps are designed for the digital era and offer the newest features and latest technologies for live sound reinforcement and analog or digital studio recording in a durable, road-worthy package. The Onyx 800R is equipped with eight of our new 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 pres are better than ever, with specications rivaling other stand-alone mic preampliers at twice the price. The Onyx 800R is designed to be a transparent audio interface for direct tracking to MDM, HDR, or DAW recording applications. Its selection of analog and digital output options provides the exibility to connect in almost any application. Channels 1 and 2 feature an impedance select switch, which lets you ne tune the mic pre for vintage tube and ribbon microphones. Channels 1 and 2 also provide the option of engaging a Mid/Side Decoder for M-S stereo micing. Adjusting the balance between channels 1 and 2 with their gain controls provides an effective way to vary the width of the stereo image. Channels 7 and 8 feature high-impedance instrument inputs so you can connect an acoustic, electric, or bass guitar directly to the mic preamp, eliminating the need for an external direct box. Each channel has a mic/line switch, a polarity reverse switch, individual phantom power switch, low-cut lter switch, and a gain control. A sample rate selector allows you to choose 32, 44.1, 48, 88.2, 96, 176.4, or 192 kHz sample rates, or to use an external clock connected to the external word clock input connector on the rear panel. You can also select between 24-bit or 16-bit dithered word lengths at the digital outputs. The rear panel provides individual XLR balanced mic input connectors for each channel, and balanced line inputs on a DB25 connector. Analog balanced line outputs are also provided on a DB25 connector. Digital outputs are provided on two optical Toslink connectors using the ADAT lightpipe digital audio format. AES/EBU or S/PDIF formats are available on a DB25 connector, with selection buttons for impedance, pro or consumer status bits, and single-wire (two-channel) or dual-wire (single-channel) operation.

Zero the Controls

1. 2. 3. Turn down the channel GAIN controls. Set all push button switches to their out positions. Turn the POWER switch off. 2.

Connections

If you already know how you want to connect the Onyx 800R, go ahead and connect the inputs and outputs the way you want them. If you just want to get sound through the preamp, follow these steps: 1. 2. Plug a microphone into channel 1s MIC input. Connect the analog line outputs to your MDM, HDR, or audio interface for your DAW. This requires either a DB25-to-DB25 audio cable or a DB25 breakout cable to either eight male XLR plugs or eight 1/4" TRS plugs. You can connect the Toslink OPTICAL OUT connectors to your recording equipment if they are equipped with Toslink ADAT optical connectors. All eight channels are always present at the LINE LEVEL OUTPUTS and the OPTICAL OUTs up to 96 kHz sampling (four channels at the OPTICAL OUTs at 176.4/192 kHz). You can connect the DB25 AES/EBU OR S/PDIF OUT connector to your recording equipment if they are so equipped, but we recommend that you rst read the section on pages 14-15 that describes this output and its associated buttons. Note: When using the OPTICAL OUTs or the AES/EBU OR S/PDIF OUT, make sure your MDM, HDR, or other audio interface is congured to clock off the incoming digital source. If you try to use their internal clocks, its simply not going to work right. 5. 6. Plug in the detachable linecord, connect it to an AC outlet, and turn on the Onyx 800Rs POWER switch. If the microphone is a dynamic microphone, set the impedance switch on channel 1 to the D position (2400 ). If its a condenser microphone, set the impedance switch to the D position (or to the manufacturers recommended impedance setting) and push in the 48V phantom power button to turn on the phantom power for channel 1.

Start Recording

1. You should now see the signals from the Onyx 800R appearing on the meters in your MDM, HDR, or DAW. Start recording and hear the Onyx 800R in stunning crystal clarity.

Other Nuggets of Wisdom

You can connect the analog outputs from any linelevel source to the LINE LEVEL INPUTS on the Onyx 800R and use its high-quality analog-to-digital converters to get your analog signals to your digital recorder(s). Always turn the Onyx 800R off before making or changing connections. When you shut down your equipment, turn off the ampliers rst. When powering up, turn on the ampliers last. Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection. Save the shipping box! You may need it someday, and you dont want to have to pay for another one.

1. GAIN Control

The GAIN control adjusts the input sensitivity of the mic and line inputs. This allows the signal from the outside world to be adjusted to optimal internal operating levels. If the signal is plugged into the XLR jack, there is 0 dB of gain (unity gain) with the knob turned all the way down, ramping up to 60 dB of gain fully up. When connected to the balanced line input (DB25 connector), there is 20 dB of attenuation all the way down, and 40 dB of gain fully up, with a U (unity gain) mark at about 10:00.

4. Phase Switch

Pushing in this switch simply reverses the polarity of the signal. This provides an easy way to correct a microphone whose polarity is opposite from the other microphones, either from a miswired cable or from not following the AES standard for Pin 2/Pin 3.

2. MIC/LINE Switch

This button selects the input source from either the XLR MIC inputs or the DB25 LINE inputs. When the button is out, the XLR MIC input is used and the line input is disconnected. When the button is pushed in, the DB25 LINE input is used and the XLR MIC input is disconnected. This way, you can leave signals connected to both inputs without having to disconnect one or the other, and the 800R acts as a patchbay for your input sources.

5. Low-Cut Switch

The Low-Cut switch, often referred to as a high-pass lter, cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.

+15 +10 +5

3. MIC IMPEDANCE Switch (Channels 1 and 2)
Many classic, vintage, and ribbon microphones are very sensitive to the input impedance of the mic preamp, and operate best at specic impedances. The MIC IMPEDChannel 1
20Hz 100Hz 1kHz 10kHz 20kHz

Low Cut

In live situations, this is useful for removing microphone handling noise or stage rumble. It can also be used to reduce the proximity effect with certain microphones that accentuates the bass frequencies when a vocalist gets too close to the microphone.

Channel 8

300 A 500 B 1300 C 2400 D

40 LINE 60

MIC/LINE HI-Z (INST)

MIC IMPEDANCE

6. 48V Phantom Power Switch
Most professional condenser microphones require phantom power, which is a low-current DC voltage delivered to the microphone on pins 2 and 3 of the XLR microphone connector. Push in the 48V button if your microphone needs phantom power. An LED lights next to the button to indicate that phantom power is active on that channel. Dynamic microphones, like Shures SM57 and SM58, do not require phantom power. However, phantom power will not harm most dynamic microphones should you accidentally plug one in while the phantom power is turned on. Be careful with older ribbon microphones. Check the manual for your microphone to nd out for sure whether or not phantom power can damage it.

HOWEVER: The HI-Z inputs are unbalanced, so if youre doing a live show and running a long cord between the instrument 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.

10. POWER Switch

This one is self-explanatory. When the POWER switch is turned ON (up), power is supplied to the Onyx 800R.

11. SAMPLE RATE Switch

Turn this switch to select the sample rate used by the analog-to-digital converters (ADCs) and the digital output. This eight-position switch offers the following selections: 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, and EXTERNAL. The LED next to the selected sample rate lights to indicate the sample rate currently being used. If EXTERNAL is selected, the 800R locks to the external clock connected to the EXTERNAL WORD CLOCK IN connector [19] on the rear panel. For any of the internal sample rate settings, the ADAT OPTICAL OUT and the AES/EBU OR S/PDIF OUT run at the selected sample rate, which is detected by the device to which the Onyx 800R is connected.

7. Signal Level LEDs

These LEDs indicate the channels signal level after the GAIN control. If youve followed the Set the Levels procedure on page 5, the 20 and 0 LEDs should light frequently, and the OL (Overload) LED should not light at all. If the OL LED is blinking frequently, the signal is probably distorted from overdriving the input. Either turn down the GAIN control or turn down the signal at its source.
8. UNBAL HI-Z Instrument Input (Channels 7-8)
This is a 1/4" connector, which accepts an unbalanced instrument-level input signal from a high-impedance instrument like a guitar.

12. LOCK

As described above, if EXTERNAL SAMPLE RATE is selected, the 800R locks to the the EXTERNAL WORD CLOCK IN on the rear panel. If there is not a valid clock connected to the EXTERNAL WORD CLOCK IN, the LOCK LED ashes, indicating the problem. If a valid external clock is detected, the LOCK LED lights continuously and the corresponding sample rate LED will light.

9. MIC/LINE/HI-Z (INST) Switch
Channels 7 and 8 have an extra button for switching between the MIC/LINE and HI-Z inputs. When the button is out (MIC/LINE), the XLR MIC input or the DB25 LINE input is used, depending on the setting of the MIC/LINE switch [2], and the HI-Z input is disconnected. When the button is pushed in (HI-Z), the 1/4" HI-Z input is used and the XLR MIC and DB25 LINE inputs are disconnected. The input stage of the HI-Z inputs is specially designed for the high-impedance pickups on electric guitars, basses, acoustic guitar pickups, etc. Plugging a guitar straight into a typical line 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 mixers or preampliers input, which serves to convert the impedance of the guitar from high to low. The HI-Z inputs on channels 7 and 8 make the need for a direct box unnecessary.

13. BIT DEPTH

This button determines the word length at the digital output, and toggles between 24-bit and 16-bit. The corresponding LED above the button lights to indicate the selection. You might use 24-bit when recording to a 24-track hard disk recorder or DAW, and 16-bit when recording direct to 2-track on a CD-recorder or DAT deck. When 16-bit is selected, a dithering algorithm is applied to the digital signal to improve the dynamic range and reduce low-level distortion, called quantization noise.
ANALOG MIC PREAMP WITH 192kHz DIGITAL OUTPUT
32 kHz 44.1kHz 48 kHz 88.2 kHz

96 kHz 176.4 kHz 192 kHz

EXTERNAL

(DITHER)

SAMPLE RATE

BIT DEPTH

Rear Panel
The rear panel is where you make all your analog and digital audio connections to the Onyx 800R (except for the high-impedance instrument jacks on the front).

15. MID/SIDE DECODE

The Onyx 800R has a built-in Mid/Side decoder for stereo micing. The Mid/Side (or M-S) stereo micing technique not only provides a stereo image of the source, but allows you to adjust the width of the image by varying the balance between the Mid (or mono) and Side signals. See A Closer Look at Mid/Side Recording below for more info. When using this technique, connect a cardioid (mid) microphone to channel 1 and a gure 8 (side) microphone to channel 2. Push in the MID/SIDE DECODE button, and the left signal from the decoder is sent to the channel 1 output, and the right signal from the decoder is sent to the channel 2 output.

Word Clock to Other Slaves (The last device must be terminated)

BNC T-Adapter

Word Clock From Master

20. TERMINATION

When connecting devices to a word clock, it is important that the connection is properly terminated. If an Onyx 800R is the only device connected to a word clock output, push in the TERMINATION button to terminate the connection with 75 ohms impedance. If two or more Onyx 800Rs (or other devices) are connected to a word clock output in a daisy-chain fashion, as illustrated in the hookup diagram on page 8, leave the termination button out on all the Onyx 800Rs except for the last one in the chain. Remember, the last device in the chain is the one that should be terminated with 75 ohms.

YX MIC PR ON E

21. AES/EBU OR S/PDIF OUT
This DB25 connector produces a digital output for all eight channels in either AES/EBU format (PRO) or S/PDIF format (CONS). The audio data is the same for either format, but the electrical characteristics (voltage level, impedance) and non-audio data bits (subcode) are different. This can be connected directly to a recording device with AES/EBU or S/PDIF inputs using an appropriate digital recorder interface cable. By the way, the most wonderful thing about standards is that there are so many to choose from. A variety of alternate pin-out congurations are being used by various manufacturers for the AES/EBU DB25 interface. You will need to make a conversion cable when connecting between two devices that use different pin-outs for the AES/EBU or S/PDIF DB25 connectors. See Appendix B for a wiring diagram of this connector. For AES/EBU connections: 1. Most devices use a balanced 3-pin XLR connector for two-channel inputs, or a 25-pin DB25 connector for eight channels. Special AES/EBU cables are available from various manufacturers with DB25 connectors on both ends, or breakout cables are available for making digital audio connections from DB25 to XLR. These off-the-shelf cable harnesses have four male XLRs for the outputs, and four female XLRs for the inputs. Since the Onyx 800R only has digital outputs, you wont use the female connectors. 2. If you want a more streamlined cable harness, you can make your own (or have one made) with only the four connectors. For S/PDIF connections: 1. Most devices use an RCA connector for two-channel inputs, or a 25-pin DB25 connector for eight channels. Your best option for connecting to devices with RCA jacks is to use an AES/EBU breakout cable described above, and t it with XLR-to-RCA adapters (or build your own custom cable harness with four RCA connectors on it). Use a DB25-to-DB25 AES/EBU cable for devices with DB25 S/PDIF connections.

CH 1-2 CH 3-4 CH 5-6 CH 7-8 CH 1-2 CH 3-4 CH 5-6 CH 7-8 CH 1 CH 2 CH 3 CH 4
Check the owners manual for the device you are connecting to the Onyx 800R, to nd out which method it supports. Note: The analog and optical outputs are not affected by the AES/EBU OR S/PDIF OUT settings.

25. Power Receptacle

This is a standard 3-prong IEC power connector. Connect the detachable linecord (included in the box with your Onyx 800R) to the power receptacle, and plug the other end of the linecord into an AC outlet. The Onyx 800R 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. Thats why we call it a PlanetEarth power supply! This also means that it is less susceptible to voltage sags or spikes, providing greater electromagnetic isolation and better protection against AC line noise.
Single Wire (Two-Channel) @ 44.1/48 kHz (1x)
Single Wire (Two-Channel) (Double-Fast) @ 88.2/96 kHz (2x) @ 176.4/192 kHz (4x)
Dual Wire (Single-Channel) (Double-Wide) @ 88.2/96 kHz (1x) @ 176.4/192 kHz (2x)
Appendix A: Service Information

Warranty Service

Details concerning Warranty Service are spelled out in the Warranty section on page 23. If you think your Onyx preamp has a problem, please do everything you can to conrm it before calling for service. Doing so might save you from the deprivation of your Onyx preamp and the associated suffering. These may sound obvious to you, but here are some things you can check. Read on. Bad Output If its the BALANCED LINE LEVEL OUTPUT [17], make sure the DB25 connector is correctly wired (see Appendix B: Connections). If its the OPTICAL OUT [18], make sure the optical cable isnt kinked or damaged, and that the connectors are securely seated at both ends. If its the AES/EBU OR S/PDIF OUT [21], make sure the DB25 connector is correctly wired (see Appendix B: Connections). Determine if the device to which the Onyx 800R is connected is operating in SINGLE WIRE or DUAL WIRE mode. Make sure the buttons above the AES/EBU OR S/PDIF OUT connector are in the correct positions.

Troubleshooting

No Power Our favorite question: Is it plugged in? Make sure the power cord is securely seated in the IEC socket [25] and plugged all the way into the AC outlet. Make sure the AC outlet is live (check with a tester or lamp). Is the POWER [10] switch on? Make sure the POWER switch on the front panel is in the ON position (up). Are any LEDs on the front panel illuminated? If not, make sure the AC outlet is live. Are all the lights out in your building? If so, contact your local power company to get power restored. If there are no LEDs illuminated on the front panel, and you are certain that the AC outlet is live, it will be necessary to have your Onyx 800R serviced. There are no user serviceable parts inside. Refer to Repair at the end of this section to nd out how to proceed.

Need Help? You can reach a technical support representative Monday through Friday from 7 AM to 5 PM PST at: 1-800-898-3211 After hours, visit www.mackie.com and click Support, or email us at: techmail@mackie.com

Appendix B: Connections

XLR Connectors
Channels 1-8 use 3-pin female XLR connectors on the MIC inputs. They are wired as follows, according to standards specied by the AES (Audio Engineering Society).
SHIELD HOT SLEEVE COLD SHIELD SLEEVE TIP
1/4" TS Phone Plugs and Jacks
TS stands for Tip-Sleeve, the two connection points available on a mono 1/4" phone jack or plug. They are used for unbalanced signals like the high-impedance instrument inputs on the Onyx 800R.

TIP TIP

SLEEVE COLD 3 HOT 2

SHIELD COLD HOT

1/4" TS Unbalanced Wiring: Sleeve = Shield Tip = Hot (+)
XLR Balanced Wiring: Pin 1 = Shield Pin 2 = Hot (+) Pin 3 = Cold ()

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment, and to make S/PDIF connections on consumer digital audio devices. They are unbalanced and electrically equivalent to a 1/4" TS phone plug.

SLEEVE TIP SLEEVE TIP

1/4" TRS Phone Plugs and Jacks
TRS stands for Tip-Ring-Sleeve, the three connection points available on a stereo 1/4" or balanced phone jack or plug. TRS jacks and plugs are used for balanced signals and stereo headphones. Neither of these are used on the Onyx 800R, but were including them anyway, for your reference.

Balanced Mono

RING SLEEVE SLEEVE RING TIP TIP RING TIP SLEEVE
RCA Unbalanced Wiring: Sleeve = Shield Tip = Hot (+)

Unbalancing a Line

In most studio, stage, and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment. This usually will not be a problem in making connections. When connecting a balanced output to an unbalanced input, be sure the signal high (hot) connections are wired to each other, and that the balanced signal low (cold) goes to the ground (earth) connection at the unbalanced input. In most cases, the balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end.

1/4" TRS Balanced Mono Wiring: Sleeve = Shield Tip = Hot (+) Ring = Cold ()

Stereo Headphones

1/4" TRS Stereo Unbalanced Wiring: Sleeve = Shield Tip = Left Ring = Right
When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections of the balanced input. If there are ground-loop problems, try disconnecting the unbalanced ground (earth) connection from the balanced input ground (earth) connection, leaving the unbalanced ground connected to the balanced input low (cold) connection only.

Digital

The AES/EBU OR S/PDIF OUT connector provides a digital output for all eight channels. If you have this output congured for AES/EBU, which is a balanced output, the connector is wired as follows:
INPUTS NOT USED ON ONYX 800R
(110 TERMINATION) CH 7/8 OUT+ CH 5/6 OUT CH 5/6 OUT+ CH 3/4 OUT CH 3/4 OUT+ CH 1/2 OUT CH 1/2 OUT+ CH 7/8 IN CH 7/8 IN+ CH 5/6 IN CH 5/6 IN+ CH 3/4 IN NC SHIELD SHIELD SHIELD SHIELD CH7/8 OUT
In some cases, you may have to make up special adapters to interconnect your equipment. For example, you may need a balanced XLR female connected to an unbalanced 1/4" TS phone plug. Many common adapters can be found at your local electronics supply store.

DB25 Connectors

Analog
The BALANCED LINE LEVEL INPUTs and BALANCED LINE LEVEL OUTPUTs on the back of the Onyx 800R provide balanced inputs and outputs for channels 1-8 on two female DB25 connectors. These connectors are pin-for-pin compatible with the analog (not TDIF) DB25 connectors found on TASCAM DTRS recorders, which has become an industry standard for many professional audio manufacturers. They are also the same pinout as the analog cards for the Mackie D8B and hard disk recorders. Each DB25 connector provides eight balanced linelevel inputs or outputs.

GROUND

Digital DB25 AES/EBU Output
If you have this output congured for S/PDIF, which is an unbalanced output, the connector is wired as follows:

(110 TERMINATION) NC SHIELD SHIELD SHIELD SHIELD CH 7/8 GND CH 7/8 OUT CH 5/6 GND CH 5/6 OUT CH 3/4 GND CH 3/4 OUT CH 1/2 GND CH 1/2 OUT NC NC NC NC NC

SHIELD SHIELD

GROUND COLD HOT
GROUND COLD HOT GROUND COLD HOT
GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT

COLD HOT

Digital DB25 S/PDIF Output
If you are using the DUAL WIRE position with the higher sample rates (88.2 kHz and up), the same cabling that you use for the SINGLE WIRE position will work as long as you have it connected to another device using the same method. Note: A variety of alternate pin-out congurations have been developed by various manufacturers for the AES/EBU DB25 interface. Make sure the device you are connecting to has the same pin-out conguration as the Onyx 800R. If not, you will need to make a conversion cable so the signals arrive at the correct pins on the receiving end of the cable.
Analog DB25 Line-Level Input and Output
Several companies make DB25-to-DB25 cables specically for audio, with proper shielding to reduce crosstalk and noise. DB25 cables that break out to XLR, 1/4" TRS, or TT connectors for connecting to other mixers or audio gear are also readily available. See your Mackie dealer for details.

NC NC NC

CH 3/4 IN+ CH 1/2 IN CH 1/2 IN+
Appendix C: Technical Info

Onyx 800R Specications

Frequency Response
Mic Input to Line Output (Gain @ unity): +0, 0.1 dB, 20 Hz to 30 kHz +0, 3 dB, 10 Hz to 170 kHz Mic Input to Digital Output (AES, 192 kHz sample rate): +0, 0.2 dB, 20 Hz to 85 kHz +0, 1 dB, 10 Hz to 90 kHz

Maximum Input Levels

Mic Input: Inst Input: Line Input: +22 dBu, Gain @ unity +21 dBu, Gain @ 20 dB > +22 dBu, Gain @ 20 dB

Input Impedance

Ch 1 and 2 Mic Input: 300, 500, 1.3 k, or 2.4 k balanced Ch 3 through 8 Mic Input: 2.4 k balanced Inst Input: 1 M Line: 20 k balanced, 10 k unbalanced
Distortion (THD & IMD)
Mic Input to Line Output (@ +4 dBu output): THD+N: < 0.0007%, 20 Hz to 20 kHz BW, 1 kHz input @ +4 dBu, preamp at unity gain THD+N: < 0.002%, 10 Hz to 30 kHz BW, 1kHz input @ 10mV rms (37.8 dBu) SMPTE IMD: < 0.005% (4:1 IMD) Mic Input to Digital Output (AES, 48 kHz sample rate): THD+N: < 0.004%, 10mV rms input, gain at 1 dB FS output

Output Impedance

Line: 100 balanced

Signal Level LEDs

20 dBu, 0 dBu (normal operating level), OL = 22 dBu

Dynamic Range

>123 dB (Mic In to Line Out) >113 dB (through A-to-D converters)
Sample Frequency Selections
32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, External
Signal-to-Noise (A-weighted): >103 dB (ref. +4 dBu, Mic In to Line Out, Gain @ unity) Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth, 150 source impedance: 129 dBu @ +60 dB gain Residual Output Noise: Line Out: < 102 dBu (Channel Gain at unity) Digital Out (AES, 48 kHz): < 113 dB FS

Bit Depth Selections

24-bit (full range from converters), 16-bit (dithered)

Analog Input Connectors

Eight balanced XLR mic inputs Two 1/4" TS high-impedance instrument inputs One DB25 connector with eight balanced line-level inputs

Analog Output Connectors

One DB25 connector with eight balanced line-level outputs
Common Mode Rejection Ratio (CMRR)
Mic In: >60 dB @ 1 kHz, Gain @ maximum

Digital Input Connectors

One BNC connector for external word clock input

Crosstalk

Mic Input to Line Output: < 100 dB @ 1 kHz, +10 dBu signal on adjacent input, 150 source impedance
Digital Output Connectors
Two Toslink Optical Connectors Both transmit channels 1-8 at 44.1/48 kHz operation One transmits channels 1-4 and one transmits channels 5-8 at 88.2/96 kHz operation using S/MUX standard One transmits channels 1-2 and one transmits channel 3-4 at 176.4/192 kHz operation using S/MUX standard One DB25 Connector Transmits AES/EBU or S/PDIF formatted digital audio with single-wire/dual-wire options available at all sample rates

Input Gain Control Range

Mic In: 0 dB to +60 dB Line In: 20 dB to + 40 dB

Phantom Power

+48 VDC

Equalization

High-Pass Filter: 75 Hz @ 18 dB/octave

Rated Output

Line: +4 dBu Maximum Rated Output: +24 dBu @ Balanced Line-Level Outputs

AC Power Requirements

Power Consumption: 45 watts Universal AC Power Supply: 100 VAC 240 VAC, 50-60 Hz
Physical Dimensions and Weight
Height: Width: Depth: Weight: 1.75 in/44 mm 17.75 in/451 mm (main body of unit) 19.00 in/483 mm (with rack ears) 14.38 in/365 mm (including front knobs and rear BNC jack) 10.6 lb/4.8 kg
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 specications at any time without notice. Mackie., Onyx, 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. 2004 LOUD Technologies Inc. All Rights Reserved.

17.75 in/451 mm

14.4 in/365 mm

WEIGHT 10.6 lb/ 4.8 kg

19.0 in/483 mm 1.75 in/ 44 mm (1 rack space)

Onyx 800R Block Diagram

1300 2400

Channel 1

Mic Impedance

Mic Line

OL 0 -20
to A/D + Line Out Low Cut
Mic: 0 to +60 dB Line: 20 to +40 dB +

Ch 1/Left

M/S Matrix

Channel 2

Ch 2/Right

48V OL 0 -20

Channels 3-6

Line Inputs

Line Outputs
48V Mic: 0 to +60 dB Line: 20 to +40 dB Hi-Z: 20 to +40 dB OL 0 -20

4. If the Authorized Mackie Service Center is located in another city, pack the mixer in its original shipping carton. More information on packing can be found in the Service section of this manual. 5. Contact the Authorized Mackie Service Center to arrange service or bring the Mackie product to them. F. LOUD Technologies and Authorized Mackie Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies and Authorized Mackie Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealers invoice or sales receipt. Final determination of warranty coverage lies solely with LOUD Technologies or its Authorized Service Centers. G. Mackie products returned to LOUD Technologies and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by LOUD Technologies. LOUD Technologies may use refurbished parts for repair or replacement of any product. Products returned to LOUD Technologies that do not meet the terms of this Warranty will not be repaired and returned until payment is received for labor, materials, return freight, and insurance. Products repaired under warranty at the factory will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA. H. LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the warranty period. This warranty does not extend to damage resulting from improper installation, misuse, neglect or abuse, or to exterior appearance. This warranty is recognized only if the inspection seals and serial number on the unit have not been defaced or removed. I. LOUD Technologies assumes no responsibility for the quality or timeliness of repairs performed by Authorized Mackie Service Centers. J. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. A copy of the original sales receipt is required to obtain warranty repairs. K. This is your sole warranty. LOUD Technologies does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc. L. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO THREE YEARS FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specic legal rights and you may have other rights which vary from state to state.

review

Mackie Onyx 800R
The reduction in the number of preamp channels on affordable digital desks has happily coincided with an increase in the number of channels of preamp now regularly offered on outboard. Flukey or what? JON THORNTON tests an 8-channel pre that would challenge the boutique set.
HERES NO DOUBT that ever since the introduction of the LM-1602 mixer, Mackies analogue products have been very capable technically. And, for a company whose marketing seems to very much address a mass market, many a Mackie desk has been incorporated into very highend pro audio applications. A winning combination of build quality, sonic performance and price has been the key to establishing the brand as one that crosses boundaries very effectively. So theres something of a gauntlet being thrown down by Mackie when it refers to the 800R as a premium 8-channel mic preamp, with claims that it offers comparable performance to what it describes as boutique stereo units. Underpinning this claim is the development of the Onyx preamplier design. Used in a range of other Mackie products, this is a further development of the XDR (Extended Dynamic Range) design used in Mackie VLZ Pro mixers. With impressive technical specs a dynamic range of 123dB, Equivalent Input Noise of -129dBu and a frequency response thats almost at from 20Hz to 20kHz, with only a 3dB drop from 10Hz to 170kHz there seems to be some substance to this on paper at least. Not only this, but the claim is that the Onyx preamplier circuit design is equally good at handling real-world issues such as RFI rejection and linearity of response. But as we know, there are lies, damned lies and audio specications so into the studio arena we go. In the blue corner is the Crookwood Paintpot reviewed elsewhere in this issue. In the red corner the Onyx 800R, and in the yellow corner a Focusrite ISA220. Before battle commences, a quick review of the 800Rs features (UK935 + VAT). Packaged in a 1u rackmount that is surprisingly deep, each of the 8 channels has a gain control that offers 0 60dB of gain for a mic level input, and -20 to +40dB for a line level input. Each channel also has a line/mic switch, a switchable high pass lter (75Hz at 18dB/octave), a phase reverse switch and one for phantom power. Metering is rudimentary but sensible on each channel, with three LEDs indicating signal present at -20dBu, 0dBu and overload at +22dBu. Channels 7 and 8 also have a front panel, high impedance instrument level input with an associated switch, while channels 1 and 2 have the ability to switch their input impedances to one of four settings (2.4kOhms, 1.3kOhms, 500 Ohms and 300 Ohms). Another trick feature of these rst two input channels is their ability to decode two microphones arranged in an MS arrangement such that AB stereo is output from
their associated line outputs. A neat function, but let down slightly by the fact that the button to select it is located on the rear panel not especially convenient if the unit is permanently racked. Analogue interfacing is also on the rear panel courtesy of XLRs for the 8 mic level inputs, and the ever more ubiquitous 25-pin D-Sub connectors for line inputs and outputs. Unlike most of its direct competitors, the 800R features digital connectivity as standard t, and perhaps as a result of this it seems very well thought out. A single front panel control selects sample rate (all usual rates from 32kHz to 192kHz) or external Word clock, and a single button allows the digital sections output to be 24-bit or dithered down to 16 bits. Turning to the rear panel again reveals another D-Sub connector that can carry up to four pairs of AES-EBU or SPDIF format digital signals. In addition, two lightpipe (ADAT) optical outputs are provided. Switches on the rear panel allow selection of SPDIF or AES-EBU formats together with termination options for both and for the external Word clock input. Additional switches are also provided to congure the D-Sub and optical outputs for either dual-wire or dualspeed mode at higher sampling rates, which makes interfacing to other equipment very exible with the proviso that at sampling rates of 176.4 or 192kHz, only the rst four audio channels are output. Weighing in at 4.8kg, the 800R appears to be substantially and well built although on the review unit a couple of the gain pots were very stiff and scratchy at various points in their travel but this didnt
appear to have any effect on the audio. Nevertheless, back to the arena. First impressions are that on the noise front, the 800R at least matches the competition. With no source and 60dB of gain racked on each unit the Mackie was, if anything, a little quieter than the ISA220. All three contenders were signicantly quieter than the (Audient) desk mic pres. The rst round of tests were done with an AT4050/ CM5 capacitor microphone. Now, this is a fairly sharp sounding mic and can prove troublesome with some preamps. The Mackie was good at capturing transient detail, and was very revealing of some of the midrange harmonics in a voice. Surprisingly, adjusting the input impedance here had quite signicant effects softening the treble response progressively as it was lowered. In comparison with the other two units though, the 800R sounded slightly gritty against the Focusrite and wasnt as good at recovering low frequency information as the PaintPot. It was a similar story with an SM57. In summary, the 800R is a well thought out, nice sounding unit. Its certainly very quiet and it does seem to impart its own character to a microphone particularly in the high-mid range. Its impressive and it put up a good ght.

Contact

MACKIE, US: Website: www.mackie.com

PROS CONS EXTRAS

Extremely quiet; well thought out and implemented digital I-O as standard; useful additional features; resolves mid range detail very well. Some tiny niggles in build quality; a little hard sounding in comparison with more expensive competition; daft positioning of MS decode switch. Mackies Onyx 400F is a 10-channel, 192kHz-capable FireWire audio interface that features Onyx mic preamps as well as on-board DSP matrix mixing for latency free headphone mixing and routing independent of the DAW software.
Front panel controls include control room output level, dual independent headphone outputs with dedicated level control, dual instrument inputs, and four-segment metering for the mic inputs. The rear panel includes four combo mic/line inputs, balanced TRS sends and returns for the rst two mic inputs, four line inputs, 8 line outputs, control room outputs, Word clock I-O, MIDI I-O, SPDIF I-O and two FireWire ports.

resolution

January/February 2005