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 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 clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. 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 l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence 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.

Table of Contents

Introduction.....4 Getting Started....5
Zero the Controls.....5 Connections.....5 Set the Levels.....5 Instant Mixing.....5

Owners Manual

Hookup Diagrams.... 6 Onyx 80 Series Features....10
Channel Strips.....10 Auxiliary Section.....14 Group Section.....16 Metering, Matrix, and Power LEDs...17 TALKBACK Section, MUTE GROUPS, and MONO OUT..19 MAIN MIX and PHONES/MONITOR Section....20 Rear Panel.....21
Appendix A: Service Information...25
Troubleshooting.....25 Repair......26
Appendix B: Connections....27 Appendix C: Technical Info... 30
Onyx 80 Series Specifications....30 Onyx 80 Series Dimensions....32 Onyx 80 Series Block Diagram....33 Onyx 80 Series Gain Structure Diagram.... 34

Connections

If you already know how you want to connect the Onyx 80 Series mixing console, go ahead and connect the inputs and outputs the way you want them. If you just want to get sound through the mixer, follow these steps: 1. Plug a microphone or other signal source into channel 1s MIC or LINE input [67/68]. If its a line-level input, push in the LINE [2] switch. 2. Plug in the detachable linecord, connect it to an AC outlet, and turn on the Onyx 80 Series POWER switch [85]. 3. Connect cords from the Onyx 80 Series MAIN OUTS [79] (XLR connectors or 1/4" TRS connectors on the rear panel) to your amplifier. 4. Hook up speakers to the amp and turn it on. If the amplifier has level controls, set them however the manufacturer recommends (usually all the way up).

Other Nuggets of Wisdom

For optimum sonic performance, the channel and MAIN MIX faders should be set near the U (unity gain) markings. Always turn the MAIN MIX faders, GROUP faders, and MONITOR knob down before making connections to and from your Onyx 80 Series. When you shut down your equipment, turn off the amplifiers first. When powering up, turn on the amplifiers 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. Thats it for the Getting Started section. Next comes the Hookup section that shows you some typical ways that you might use the Onyx 80 Series in real applications. After that, take the grand tour of the mixer, with descriptions of every knob, button, input, and output. We encourage you to take the time to read all of the feature descriptions, but at least you know its there if you have any questions. Owners Manual

Set the Levels

To set the channel GAIN controls, its not even necessary to hear what youre doing at the outputs of the mixer. If you want to listen while you work, plug headphones into the PHONES jack [65] on the front panel, then set the PHONES knob [64] about one-quarter of the way up and the SOLO LEVEL [61] about halfway up. The following steps must be performed one channel at a time. 1. Push in the channels PFL [22] solo switch. 2. Play something into the selected input. This could be an instrument, a singing or speaking voice, or

Hookup Diagrams

This hookup diagram demonstrates how you can do a live multitrack recording using the DIRECT OUTs. The DIRECT OUTs provide an analog balanced direct output for each channel, post-EQ. Aux Send 1 is used for stage monitors, and Aux Sends 3 and 4 are a stereo pair driving an IEM system. Aux Sends 5/6 and 7/8 could provide two more stereo sends for IEM systems.

Onyx 2480 Computer Recording
Stereo In-Ear Monitor System (IEM) Assistive Listening System

In (record)

Stereo EQ Stereo EQ

Power Amp Mono Mode

DIRECT OUT 9-16 DIRECT OUT 1-8

Center PA Speaker

Left PA Speaker

Right PA Speaker

Left and Right Chapel Speakers (Overflow)
Nursery Zone Speaker Digital Multitrack Hard Disk Recorder
In a House of Worship application, the Onyx 80 Series provides plenty of Aux Sends for stage monitors, stereo in-ear monitoring, and assistive listening systems. The MONO output is used for the center PA speaker located between the Left and Right speakers. The 1/4-inch Main Outputs provide a feed to the chapel for overflow needs. The Matrix A output provides a custom mix for a mono recording and the Matrix B output provides a custom mix for the nursery.
Onyx 2480 House of Worship

Onyx 80 Series Features

Channel Strips
Depending on the model that you purchased, there are 24, 32, 40, or 48 channel strips. Each channel has a mic and line input connector and an insert jack for connecting an external signal processor.

3. Low-Cut Switch

The Low-Cut switch, often referred to as a high-pass filter, cuts bass frequencies below 100 Hz at a rate of 18 dB per octave. We recommend that you use the Low-Cut filter on every microphone application except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isnt much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but the Low-Cut filter can help reduce the possibility of feedback in live situations and it helps to conserve amplifier power. Another way to use the Low Cut filter is in combination with the LOW EQ on vocals during live performances. Many times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks, and breath pops. Low Cut removes all those problems so you can add LOW EQ without losing a woofer.

+15 +10 +5

1. 48V Phantom Power Switch

48V LINE

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 just above 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 find out for sure whether or not phantom power can damage it. Note: Be sure the MAIN MIX faders [60] are turned down when connecting microphones to the MIC Inputs, especially when phantom power is turned on, to prevent pops from getting through to the speakers.

24. HIGH EQ

This control gives you up to 15 dB boost or cut above 12 kHz, and it is also flat at the center detent. Use it to add sizzle to cymbals, and an overall sense of transparency or edge to the keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.

-20dB +20dB

Auxiliary Section
This section includes the AUX MASTERS (Sends) and the STEREO AUX INPUTS. These can be a bit confusing to the uninitiated, so heres the whole idea behind aux sends and inputs: sends are outputs and inputs are inputs. AUX SENDs tap signals off the channels, via the AUX knobs [13], mix these signals together, then send them out the AUX SEND jacks [72]. These outputs are fed to the inputs of an external processor like a reverb or digital delay. From there, the mono or stereo outputs of this external device are fed back to the mixers STEREO AUX INPUT jacks [71]. These signals are sent through the AUX INPUT faders [33], and finally delivered to a GROUP [43] and/or the MAIN MIX [60], depending on the ASSIGN [35] switches. So, the original dry signals go from the channels to the MAIN MIX and the affected wet signals go from the AUX INPUTS to the MAIN MIX, and once mixed together, the dry and wet signals combine to create a glorious sound! The AUX SENDS can also be used to provide another mix for stage monitors, for example. In this case, the AUX INPUTS arent used to return the signal. Instead, they can be used as additional stereo inputs.

12kHz -15 U +15

2.5kHz -15 +15 U

25. HIGH MID EQ

400Hz +15 U
Short for midrange, this knob provides 15 dB of boost or cut at 2.5 kHz. Midrange EQ is often thought of as the most dynamic because the frequencies that define any particular sound are almost always found in this range. The HIGH MID EQ frequencies include the female vocal range as well as the fundamentals and harmonics for many instruments.

80Hz -15 +15

26. LOW MID EQ
This is a second midrange EQ control that provides 15 dB of boost or cut centered at 400 Hz. This includes the male vocal range and the fundamentals of some lower instruments (guitar, lower brass).

dB U 5

OL +-20

Stereo Aux Input Section

The stereo Aux Inputs can be used as mono or stereo line-input channel strips, or to return the signal from an external effects processor connected to an Aux Send. These versatile channel strips are nearly as full-featured as the mono channel strips.

27. LOW EQ

This control gives you up to 15 dB of boost or cut below 80 Hz. The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers.
28. AUX SEND 1 and 2 (Aux Inputs 1-4) AUX SEND 5 and 6 (Aux Inputs 5-8)
These tap a portion of each channels signal out to either an effects processor or for stage monitoring. These go to the same Aux Send buses as the mono channel Aux Sends. The Aux Input Aux Sends are always pre-fader. Aux Inputs 1-4 send their signals to Aux 1 and Aux 2. Aux Inputs 5-8 send their signals to Aux 5 and 6. FEEDBACK LOOP WARNING: It is common to use an Aux Send to route signals to an external processor, and then return the signal from the processor via the Aux Inputs. Since the Aux Inputs on the Onyx 80 Series have Aux Sends of their own, you could accidentally route the Aux Input to an Aux Send that is being returned via that same Aux Input. This will cause a feedback loop, characterized by a LOUD howl or screech through the sound system, followed by howls of discontent from the audience. Be careful with the Aux Sends on the Aux Inputs!
ance control on your home stereo (panning left turns down the right channel, and panning right turns down the left channel).

32. MUTE

Press this switch to mute the channel. This disconnects the channels signal from all the Groups, the Main Mix, and Aux Send buses. You can still solo the channel in PFL mode when the MUTE switch is pushed in.
33. Stereo Aux Input Fader
The fader controls the stereo channels level, from off to unity gain at the U marking, on up to 10 dB of additional gain.

34. Signal Level LEDs

29. AUX 3-4 Switch (Aux Inputs 1-4) AUX 7-8 Switch (Aux Inputs 5-8)
For Aux Inputs 1-4: Press this switch to send the Aux Input signal to the Aux 3 and 4 buses instead of the Aux 1 and 2 buses. The Aux 1 and 2 knobs for that channel strip suddenly become Aux 3 and 4 knobs! For Aux Inputs 5-8: Press this switch to send the Aux Input signal to the Aux 7 and 8 buses instead of the Aux 5 and 6 buses. The Aux 5 and 6 knobs for that channel strip suddenly become Aux 7 and 8 knobs!
35. GROUP and MAIN MIX ASSIGN Switches
Alongside each channel fader are two buttons referred to as channel assignment switches. Used in conjunction with the channels BALANCE knob, they are used to determine the destination of the channels signal. The Aux Inputs are assignable to GROUPS 7-8 and the MAIN MIX. With the BALANCE knob [31] at the center detent, the left and right stereo signal is equally balanced. To feed only one side or the other, turn the BALANCE knob accordingly.

+15V -15V +48V CLIP +12V

RUDE SOLO PFL AFL

MATRIX

MUTE GROUPS MASTER

TALKBACK

MUTE MUTE
TALKBACK Section, MUTE GROUPS, and MONO OUT

54. MUTE GROUPS MASTER

Remember the four MUTE GROUP [17] switches in each channel strip, just above the channel fader and MUTE switch? Well, these are the master switches used to engage the four mute groups. When a MUTE GROUP MASTER switch is pushed in, all of the channels assigned to that mute group are muted and their corresponding mute LEDs light. You can engage more than one mute group at a time. If a channel is assigned to two or more mute groups, it remains muted as long as any one of the mute groups it is assigned to is activated. Mute groups are handy for quickly turning off a number of microphones all at once; for example, all the vocal mics during a break, or all the drum mics.just for fun.
By the way, it is okay to have more than one destination switch pushed in at the same time. The talkback 0dB=0dBu signal will be routed to all the destinations you have selected. But if you dont have any of the destination switches pushed in, the talkback signal wont go to any 10 internal destination (it appears at the10TALKBACK OUT jack [77] regardless of the destination switch settings). SOLO L

57. TALKBACK Switch

A MATRIX B This is a latching switch, meaning its always active GROUP when the switch is pushed in. As long as the switch is engaged, the talkback signal is routed to the 1 TALKBACK OUT jack [77] and to the outputs determined by the GROUP destination switches [56]. Push the switch again to 2 release it, and the talkback circuit is turnedGROUP off.

TALKBACK Section

The talkback feature allows the engineer to communicate with the talent either through the AUX 1-8 [72] outputs, GROUPS 1-8 [74] outputs, or the MAIN L/R [79] outputs. In addition, a TALKBACK LINE OUT [77] jack is provided on the rear panel for patching into an external intercom system. Connect an external microphone to the TALKBACK MIC IN XLR [76] connector on the rear panel.

MONO OUT Section

In addition to the Left and Right Main Mix outputs, GROUP the Onyx 80 Series provides an independent mono5 phonic output. The Left and Right Main Mix signals are summed and sent to the MONO OUT [78]. GROUP

SERIAL NUMBER

MANUFACTURING DATE
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

INSERT

YX MIC PRE ON

DIRECT OUTS

(BALANCED)

CHAN 1-8

Here are three ways you use the INSERT jacks:
71. STEREO AUX INPUTS 1-8
These 1/4" TRS input connectors accept balanced or unbalanced line-level stereo signals from an external processor or other line-level device. The stereo AUX INPUTS use a technique called jack normalling. If a signal is plugged into the LEFT (MONO) side and nothing is plugged into the RIGHT side, the signal is automatically connected to both LEFT and RIGHT sides. As soon as something is plugged into the RIGHT side, the normalled connection is broken and the LEFT and RIGHT inputs become stereo inputs (LEFT goes to the LEFT MAIN OUT and RIGHT goes to the RIGHT MAIN OUT).

MONO PLUG

Channel Insert jack
Direct out with no signal interruption to master. Insert only to first click.
Direct out with signal interruption to master. Insert all the way in to the second click.

72. AUX SENDS 1-8

STEREO PLUG
For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect)
These 1/4" TRS output connectors provide balanced or unbalanced line-level signals for connecting to the inputs of effects devices or stage monitor amplifiers.
73. AUX SEND INSERTS 70. DIRECT OUTS
Each of these DB-25 connectors provides balanced direct outputs for eight channels. They are designed to be connected directly to a recorders analog inputs, and use the TASCAM standard pinout for analog signal connections (the same standard used on the analog cards for the Mackie D8B and Hard Disk Recorder). The signal at the DIRECT OUTS comes after the input GAIN control, Polarity switch, Low-Cut switch, and INSERT jack, but before the EQ. This way you can EQ a channel and adjust the channel fader to suit your live mix, but it has no effect on the signal going to the recorder. This provides maximum flexibility for the mixdown stage.
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, deessers, or filters. The insert point is after the mix amps, but before the Aux Send Masters (and before the GROUP/AUX FLIP switch, so the insert point only affects the Aux Send signal). Refer to the description of the channel insert on page 21 to see how to make this connection.

74. GROUP SENDS 1-8

These 1/4" TRS output connectors provide balanced or unbalanced line-level signals for connecting to the inputs of any line-level device.

75. GROUP SEND INSERTS

These 1/4" TRS jacks are for connecting serial effects Internal jumpers are provided to change the DIRECT such as compressors, equalizers, deessers, or filters. The CAUTION WARNING: OUTS to post-EQ on a channel-by-channel basis, if insert point is after the mix amps, but before the Group AVIS: desired. This requires some soldering skills, so contact Send Masters (and before the GROUP/AUX FLIP switch, Tech Support for information on how to access the so the insert point only affects the Group Send signal). 1 pre/post-EQ jumpers for the DIRECT OUTS. 4 Refer toINSERT description of the channel insert on page 21 the INSERT INSERT INSERT INSERT INSERT INSERT INSERT See Appendix B for a wiring diagram of the DIRECT OUT to see how to make this connection.
RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

connectors.

LINE LINE LINE LINE LINE LINE LINE LINE

76. TALKBACK MIC IN

This is where you plug in your external talkback microphone. This female XLR connector does not have phantom power, so use a dynamic microphone or a selfpowered condenser microphone.

80. MAIN INSERT

These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, deessers, or filters. The insert point is after the mix amps, but before the MAIN MIX faders. Refer to the description of the channel insert on page 21 to see how to make this connection.

77. TALKBACK LINE OUT

This 1/4" TRS output connector provides a balanced or unbalanced line-level signal for connecting to the input of an external intercom system or other line-level device.

Bad Sound Is the input connector plugged completely into the jack? Is it loud and distorted? Make sure the input GAIN control for the input is set correctly. Reduce the signal level on the input source if possible. If possible, listen to the signal with headphones plugged into the input source device. If it sounds bad there, its not the Onyx 80 Series causing the problem.
Noise/Hum Turn down the AUX INPUT faders [33]. If the noise disappears, its coming from whatever is plugged into the AUX INPUTS [71]. Turn down each channel, one by one. If the noise disappears, its coming from whatever is plugged into that channel. Check the signal cables between the input sources and the Onyx. Disconnect them one by one. When the noise goes away, youll know which input source is causing the problem. Sometimes it helps to plug all the audio equipment into the same AC circuit so they share a common ground.
Bad Channel Is the MUTE button [18] pushed in? Is the input GAIN control [5] for the channel turned up? Is the fader [19] turned up? Is the signal source turned up? Make sure the signal level from the selected input source is high enough to light up some of the INPUT meter [20] LEDs next to the channels fader.

Repair

For warranty repair or replacement, refer to the warranty information on page 35. Non-warranty repair for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click Support and select Locate a Service Center. Service for Mackie products living outside the United States can be obtained through local dealers or distributors. If you do not have access to our website, you can call our Tech Support department at 1-800-898-3211, Monday-Friday, 7 am to 5 pm Pacific Time, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area.
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

Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth, 150 source impedance 129.5 dBu @ +60 dB gain Mic Output Noise: Direct Output: 98 dBu (minimum gain) Residual Output Noise: Main Out: 100 dBu (Channel and Main Mix levels off) Main Out: 83 dBu (48 channels and Main Mix levels at unity) 86 dBu (24 channels and Main Mix levels at unity)
Common Mode Rejection Ratio (CMRR)
Mic In: >70 dB @ 1 kHz, Gain @ maximum

Crosstalk

Adjacent Inputs: < 95 dB @ 1 kHz Input to Output: < 85 dB @ 1 kHz

Input Impedance

Mic Input: Mono Channel Line Input: Stereo Aux Inputs: 2.4 k, balanced 30 k balanced; 15 k unbalanced 20 k balanced; 20 k unbalanced

Input Gain Control Range

Mic In: 0 dB to +60 dB Line In: 20 dB to + 40 dB, mono channels

Phantom Power

+48 VDC

Output Impedance

Main Out: Direct Out: Group Sends: Monitor Out: Matrix Out: Aux Sends: Phones Out: 150 balanced, XLR outputs; 150 TRS outputs

Equalization

Mono Channel EQ: High: 15 dB @ 12 kHz High Mid: 15 dB, sweepable from 400 Hz to 8 kHz Low Mid: 15 dB, sweepable from 100 Hz to 2 kHz Low: 15 dB @ 80 Hz Stereo Channel (Aux Input) EQ: High: 15 dB @ 12 kHz High Mid: 15 dB @ 2.5 kHz Low Mid: 15 dB @ 400 Hz Low: 15 dB @ 80 Hz
Channel Level LED (Sensitivity)
0 LED = 0 dBu (normal operating level)

VU Meters

Main and Solo Left and Right, 12 segments: Clip (+20), +10, +7, +4, +2, 0, 2, 4, 7, 10, 20, LED = 0 dBu

AC Power Requirements

Power Consumption: Onyx 2480 Onyx 3280 Onyx 4080 Onyx watts 200 watts 220 watts 240 watts
Universal AC Power Supply: 100 VAC 240 VAC, 50-60 Hz
Physical Dimensions and Weight
Onyx 2480 Height: Width: Depth: Weight: Onyx 3280 Height: Width: Depth: Weight: Onyx 4080 Height: Width: Depth: Weight: Onyx 4880 Height: Width: Depth: Weight: 9.4 in/239 mm 48.8 in/1240 mm 29.6 in/751 mm 95 lb/43 kg 9.4 in/239 mm 60.0 in/1523 mm 29.6 in/751 mm 113 lb/51 kg 9.4 in/239 mm 70.4 in/1788 mm 29.6 in/751 mm 131 lb/59 kg 9.4 in/239 mm 81.3 in/2065 mm 29.6 in/751 mm 149 lb/68 kg

Options

Onyx PS External Redundant Power Supply
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., 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. 2005-2008 LOUD Technologies Inc. All Rights Reserved.

(Group 3-8 identical) Group 1 Out
Flip 2 Group 2 Level Group Meters OL Mute +10

Mono Stereo

20 to +20dB

(Channel 1-4)

Aux 5&6 Aux 7&8

Mute Aux 1 Level

Group 2 Out Aux 1 Out

Aux Sends

(Channel 5-8)

Aux Mute Groups 4

Aux 2 Level
Aux 2 Out (Aux 3-8 identical)

Aux 1 AFL

to Talkback Out

Talkback

Aux 2 AFL

Talkback Out

from Main Level L R Monitor Level

Off Main Mix to Phones

to Group 1-8 to Main L-R to Aux 1-2 to Aux 3-4 to Aux 5-6 to Aux 7-8

Talkback Mic

Solo Meters AFL L PFL L AFL R PFL R PFL

RUDE SOLO LEDS

Monitor L Out
Amber-AFL Green-PFL Solo Level

PFL Phones Level

Monitor R Out

Phones

Talkback Assign
L Main R 3 Group 8 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Matrix A Matrix B AFL L AFL R PFL L PFL R
MACKIE ONYX 80 SERIES BLOCK DIAGRAM (#011205_DB/DF)

Solo Logic

NOTE: Switches are shown in the default (out) position.
+15 dB up HIGH MID D F 6 dB INSERT INSERT Send Return MIX MAIN MIX and GROUPS FADER OUTPUTS E 3 dB center PAN ASSIGN G 0 dB XLR and 1/4" Out 15 dB down EQ MONO CHANNEL MUTE FADER 15 dB down HIGH B 0 dB 0 dB C +10 dB up +15 dB up +21 dBu max out (XLR and 1/4" Out) +10 dB up
LOW MID 15 dB down +10 dB up F 0 dB G 0 dB XLR Out LEVEL MONO +15 dB up HIGH MID E 15 dB down 3 dB center BALANCE STEREO CHANNEL From A, C, D, H, I 0 dB 6 dB TB ASSIGN (Insert Send) (Insert Return) AUX MIX AUX Master AUX SEND MUTE FADER ASSIGN EQ 15 dB down HIGH H 0 dB I +10 dB up +15 dB up From G (Main and Groups) 3 dB MATRIX MIX MATRIX Master MATRIX OUTPUT +21 dBu max out +15 dB up G 0dB OUTPUT +15 dB up 0 dB G 0dB OUTPUTS +21 dBu max out From F or G (MAIN) 6 dB LOW MID 15 dB down +10 dB up From B, G, H 0dB K From G (MAIN) or K +12 dB up 0dB LEVEL SOLO (PFL/AFL) LEVEL OUTPUT MONITOR/PHONES

+21 dBu max in

+15 dB up +15 dB up
Onyx 80 Series Gain Structure Diagram

0 dB gain, TRIM down

to A (Insert Send)

A (Insert Return)

15 dB down

60 dB gain, TRIM up

MIC IN, mono channels

+30 dBu max in

20 dB loss, TRIM down

40 dB gain, TRIM up

LINE IN, mono channels

20 dB gain, TRIM up

LINE IN, stereo channels

+10 dB up

TALKBACK IN
MACKIE ONYX 80 SERIES LEVEL DIAGRAM 012605

Onyx 80 Series Limited Warranty
Please keep your sales receipt in a safe place.
A. LOUD Technologies Inc. warrants all materials, workmanship and proper operation of this product for a period of one year from the original date of purchase. You may purchase an additional 24-month Extended Warranty (for a total of 36 months of coverage). Visit our website and follow the Product Registration links for details (www.mackie.com). If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, LOUD Technologies, at its option, will repair or replace the product. This warranty applies only to equipment sold and delivered within the U.S. and Canada by LOUD Technologies Inc. or its authorized dealers. B. For faster processing (not to mention a free gift), register online or mail in the product registration card. C. Unauthorized service, repairs, or modification of Mackie products will void this warranty. To obtain repairs or replacement under warranty, you must have a copy of your sales receipt from the authorized Mackie dealer where you purchased the product. It is necessary to establish purchase date and determine whether your Mackie product is within the warranty period. D. To obtain warranty repair or replacement: 1. Call Mackie Technical Support at 800/898-3211, 7 AM to 5 PM Monday through Friday (Pacific Time) to get authorization for repair or replacement. Alternately, go to the Mackie website, click Support (www.mackie.com/ support), and follow the instructions for reporting a warranty issue and submitting a request for an advance replacement. 2. Advance Replacement: Mackie will ship a replacement unit to you along with an invoice for the suggested retail price of the replacement unit. You must return the defective unit immediately to cancel the invoice. If you do not return the defective unit within 30 days, you must pay the full amount stated in the invoice to satisfy your debt. 3. Repair: When you call Mackie Technical Support, explain the problem and obtain a Service Request Number. Have your Mackie products serial number ready. You must have a Service Request Number before you can obtain factory-authorized service. Pack the product in its original shipping carton. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, your daytime phone number and return street address (no P.O. boxes or route numbers, please!), and the Service Request Number. If we cannot duplicate the problem or establish the starting date of your Limited Warranty, we may, at our option, charge for service time and parts. Ship the product in its original shipping carton, freight prepaid to the authorized service center. Write the Service Request Number in BIG PRINT on top of the box. The address of your closest authorized service center will be given to you by Technical Support, or it may be obtained from our website. Once its repaired, the authorized service center will ship it back by ground shipping, pre-paid (if it qualified as a warranty repair). Note: Under the terms of the warranty, you must ship or drop-off the unit to an authorized service center. The return ground shipment is covered for those units deemed by us to be under warranty. Note: You must have a sales receipt from an authorized Mackie dealer for your unit to be considered for warranty repair. IMPORTANT: Make sure that the Service Request Number is plainly written on the shipping carton. No receipt, no warranty service. E. LOUD Technologies reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies may, at our 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. F. Any products returned to one of the LOUD Technologies factory-authorized service centers, and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. LOUD Technologies and its authorized service centers 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 unless payment is received for labor, materials, return freight, and insurance. Products repaired under warranty will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA or Canada. G. 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. H. LOUD Technologies assumes no responsibility for the timeliness of repairs performed by an authorized service center. I. This warranty is extended to the original purchaser. This warranty may be transferred to anyone who may subsequently purchase this product within the applicable warranty period for a nominal fee. A copy of the original sales receipt is required to obtain warranty repairs or replacement. J. 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. K. 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 ONE YEAR 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 specific legal rights and you may have other rights which vary from state to state.

Mackie oers four models of Onyx 80. From the small-footprint 2480 to the massive 48-input 4880, each 80 Series console has the same great feature setsized to your need.
800.898.3211 (Toll free within U.S.)
425.487.4333 (Outside U.S.)

info@mackie.com

2005 LOUD Technologies Inc. All Rights Reserved. Mackie and the Running Man gure are registered trademarks of LOUD Technologies Inc. All other trademarks are property of their respective owners. All specications are subject to change. So this guy walks into a bar.

P/N 0015119

Premium big-console performance and quality brought to you by Mackie.
When it comes to live sound, the margin for error is tight. Nobody knows this better than regional sound professionals, medium-sized venues, and houses of worship. Unlike the major touring and live sound companies, these hardy folks must make a dicult choice when buying a live sound console; its the age-old tradeo between channel count and sound quality. Pay for quality, and you have to nd some way to cram all your mics and instruments into 16 or fewer inputs. Go cheapo, and you know its only a matter of whennot ifthe console fails at some crucial moment. As of today, that age-old tradeo has gone the way of grunge and dial-up modems. Introducing the new Onyx 80 Series 2480, 3280, 4080 and 4880 Premium Live Sound Consolesthe best value in the history of live soundfrom Mackie, of course.
Priority one for the Onyx 80 Series design team was to create a live sound console that made absolutely no sacrice in sonic integrity at any stage of the design. To pull this o, the Onyx 80 Series engineers

Superior sound.

started with the highest quality analog components available from premium op-amps to IC chips costing exponentially more than previous designs. By utilizing semi-discrete eight channel modular circuit boards, the Onyx series combine the exibility of single PCBs for each channel, with the cost advantages and

Premium preamps.

minimal cabling of large-scale integrated circuit boards.
No corners were cut. Every Subgroup, Left, Right and Center main bus is electronically balanced for an uncompromised signal from input to output. All-new summing bus circuitry was designed

Smoother EQ.

from the ground up to maximize master section headroom, while minimizing noise and crosstalk. And most notably, we developed premium Onyx mic preamps and Perkins EQ circuitry specically for optimum performance within the total Onyx system.

More inputs.

Sure its electronics are impressive, but what good would it be if the console chassis had the resilience of an eggshell? Thats why we went overboard on the toughness factor, even by Mackie standards, building the Onyx 80 chassis for over-the-top physical protection of the technology inside.

Onyx mic preamps.

Creating our agship Onyx mic preamps presented a unique challenge. On one hand, we wanted to deliver traits more commonly associated with boutique studio mic preamps: a tight, focused high end, superior ambience retrieval, detailed lower bass octaves, and highly textural midrangeno matter what you plug in. On the other hand, we knew Onyx mic preamps would have to function in the real world of live performance, which often includes high levels of radio frequency and microwave energy, long cable runs and the occasional hot-patched cable.
radio frequency interference. And because Onyx mic preamps are designed for use at real world gain settings, theyll easily handle anything from +22 dB line level down to microvolt-level signals from a ribbon mic, without adding noise.
Onyx 80 Series consoles oer individually switchable, true 48v phantom power on every preamp. Thats because, despite the widely-held notion that dynamic microphones dont see phantom power, the presence of phantom power where its not needed can adversely aect overall sound or even damage sensitive ribbon mics. We provide individual phantom power on every channel.
The analog engineering sta here at Mackie is always ready to sink its teeth into a juicy design problem, so the Onyx mic preamp builds upon our already-impressive XDR mic preamp design, and adds custom high-performance IC chips developed specically for low-noise, high-headroom audio. Onyx preamps provide a level of accuracy and transparency unsurpassed even by some expensive esoteric designs.

Problem solved.

But published specications and technical talk tell only part of the Onyx preamp story. The real test comes when you plug in a multitude of the various mics that pop up in live performance situationseverything from a high-end condenser to the cheesiest harmonica mic. Listen to the depth, headroom and immense detail. Then plug those same mics into any of the competetion. We think
Onyx mic preamps deliver oustanding, veriable specs like 130dB total dynamic range, 129 dBm Equivalent Input Noise, and 0.0007% Total Harmonic Distortionfor real. Their superior design also addresses problematic issues like input impedance and linearity, maximum input level handling at low gain settings,
youll agree the Onyx preamp gives you transparency and delity on par with any console preamp on the market. But hey, dont take our word for it. just listen to what Monty Lee Wilkes, FOH Engineer for Britney Spears, had to say: Holy crap!. I have to admit that the Onyx preamps sounded phenomenal.
shielding and grounding eectiveness, overload recovery, and
Powerful Aux/Group Functionality.
Who wants run-of-the-mill Aux and Group sends? Not our customerstheyve come to expect more value when it comes from Mackie. Thats why each of the eight Aux Sends become stereo pairs when the stereo switch is engaged, reducing the amount of head-scratching when asked to provide four stereo mixes for IEM (in-ear monitor) systems. AUX/GROUP FLIP switches ip the controls for the Aux Sends and the Group Sends, so that the Group Faders control the Aux Send levels, and the Aux Send GAIN controls adjust the Group levels. The Group signals still appear at the GROUP SEND outputs and the Aux Send signals still appear at the AUX SEND outputs. This allows you to use the long-throw (100 mm) Group Fader to make more precise settings for the Aux Sends. 7 8
More connections than a crooked promoter
Channel Inputs Aux Sends Stereo Aux Inputs Group Sends
Balanced 8-channel DB25 Direct Outs Talkback Main Outputs Left and Right TRS Main Inserts
Power Connector & Switch Redundant Power Supply Connector Balanced TRS Matrix Outputs Balanced TRS Monitor Outputs

C H A N N E L S T R I P.

Mackie has combined the premium sound quality of the Onyx mic preamp and Perkins EQ with an extensive professional feature set. This intuitive, ergonomic layout creates the most exible channel strip in this class of mixer.

MASTER SECTION.

Mackies Onyx 80 Series Master section provides everything youd expect from a professional full-size mixing console, and more. Designed with a practical and easy-to-understand layout, everyone from the Sunday School teacher, to the highly experienced mix engineer can quickly learn the console and fully exploit its outstanding exibility.

Onyx Mic Preampliers

Mackies agship mic preampliers feature individual 48V phantom power (with indicator), mic/line switch, 100Hz High Pass lter, and polarity inversion providing exceptional delity and professional functionality.
Stereo Auxiliary Input Channels
These eight hybrid channels provide ample stereo inputs for all your outboard eects returns and stereo playback devices, and ensure that you will never be forced to chew up valuable microphone input channels. And every Stereo Aux input includes a 4band xed Perkins EQ, 4-segment input meter, 60mm fader, Mute, PFL Solo, and exceptionally exible routing to the Aux sends, Groups 7-8 and Main Outputs.

Main/Solo Meters

Two large, 12-segment LED meters for Left and Right Main Outputs plus two additional 12-segment meters dedicated to PFL/AFL solo levels provide clear indication of primary signal levels. Two Green and Amber Rude Solo LEDs flash to indicate currently AFL and/ or PFL soloed channels.
The Most Flexible Feature Set For Your Money. Period.
The Onyx 80 Series mixers break the you get what you pay for adage by oering more channels and features than any other mixer even remotely close in price. These features include eight pre/post-switchable, stereo-linkable Aux sends for in-ear monitoring and eects routingplus eight Stereo Aux Inputs (yes, thats 16 line inputs), each with 4-band Perkins EQ. This means youll no longer sacrice mic inputs to accommodate eects returns and playback devices. Weve also added new features that any hardcore live engineer can appreciate, like a Monitor Flip function; a 10x2 Matrix Mixer; four Mute Groups; and an optional redundant power supply.

Perkins EQ

When it was time for the Onyx EQ section, we turned to veteran audio engineer Cal Perkins to develop our new Perkins EQ circuitrya neo classic 4-band design based on classic British EQ circuitry from mixing desks of the 60s and 70s. Cal devised a way to give Perkins EQ that sweet British console sound, but with greater lter control and minimum phase shift.

Aux Masters

Eight Aux Masters provide level control, Mute and AFL Solo for each output. Master control knobs are color coded to match the channel Aux send controls and make locating them fast and simple.

10x2 Matrix

Two extra independent mixes built from the Subgroups and Main Outputs for recording, zone outputs, hearing assistance systems, additional aux sends, etc.
Stereo Linkable Auxiliary Sends
Mackies latest groundbreaking design incorporates 8 auxiliary sends logically divided into pairs. Each pair of sends can be designated as pre- or post-fader. Plus every pair has a Stereo button that recongures two potentiometers to perform level and pan functions for simple and intuitive control of up to four stereo In Ear Monitoring (IEM) mixes.

Aux/Group Flip

Functions associated with each set of Aux Master and Group controls can individually be ipped via these convenient buttons with LED indicators. Perfect for simultaneous FOH/Monitor applications, these switches allow the Aux masters to be controlled via the 100mm faders and associated 4 segment meters.

Mute Groups

Four mute group switches on every channel allow for fast and simple assignment of channels to any and all of the mute groups. Mute Group master controls are accessed in the Master Section for lightning fast activation/deactivation of the groups.

Masters and Utilities

Master switches for the four Mute Groups, Talkback system with extensive routing, Mono Main Output control with Solo, Headphone and Monitor Output control, and separate 100mm Panasonic faders for the Left and Right Main Outputs provide convenient access to all necessary functions.

Channel Master Section

Each channel comes equipped with a 100mm Panasonic fader for smooth, high-resolution control of your mix. A four-segment input meter right next to the fader instantly provides an expanded view of signal levelfar superior to the typical signal/peak LEDs found on most consoles. Mute and Solo buttons with indicators are positioned above and below the fader to ensure functional separation.

Group Control

Eight 100mm Panasonic faders provide smooth and accurate control of Group levels. A 4-segment input meter located next to each fader instantly provides detailed signal level information. Mute and AFL Solo buttons with LEDs, plus Main Mix assignment and Group Pan controls round out the section to give you quick access to all the control you need.
The Onyx 80 Series chassis design uses natural convection to shed heat, taking advantage of its sloped design to channel heat away from internal components, and evacuate it from the thermal relief cowl on the top edge of the chassis. In fact, the whole process works so well, the top panel is cool to the touch even after hours of operation.

Superior construction.

When youre live, there are no second takes.
Extreme chassis rigidity is achieved from the tough-as-nails modular monocoque design, then
For precision and consistency, the chassis is punched from cold-rolled, electro-galvanized steel that is impervious to rusting. To ensure superior t and nish, each Onyx 80 Series mixer is hand inspected three times during construction, and units are routinely pulled from the nal product line just to ensure absolute quality. Mechanically and electronically, the Onyx 80 Series is the most robust console Mackie has ever manufactured. Even the rivets and fasteners are aircraft qualityensuring what started out tight, stays that way.
reinforced with beefy aluminum extrusions, plus strategically placed steel bulkheads. Then, the console was torture-tested for impact, shock, heat, vibration, humidity, and even dropped repeatedly from a height of three-feet! Take it from us, a block of onyx stone is gonna ex before an Onyx 80 Series chassis does.

Extraordinary EQ, from

Before we tell you about the Perkins EQ section, we should probably introduce you to its designerthe legendary Cal Perkins. Along with Greg Mackie, Cal was the driving force behind Mackie innovations like XDR mic preamps, HR Series monitors and more. not to mention his 30-plus years of experience designing classic audio gear for other big names in the business. To get past the tradeos of the Wien Bridge, he wrote a mind-numbing 20 pages of equations describing this seemingly simple circuit in complete detail. After solving the equations with overclocked brain power, Cal was able to specify capacitor and resistor values that would give Onyx To create his all-new Perkins EQ, Cal started with the Wien Bridge circuit topology a very musical design inspired by the Next, Cal employed combining filters for minimum phase shift, mixers an extra 6dB of control (15 dB) without excessively narrowing the Q or bandwidth of the lters. hallowed British desks of the 60s and 70s. This design essentially trades boost/cut capability for a wider, highly musical Q lter. But Cal, being the cool dude he is, decided that you deserve a better bargain.

extraordinary engineers.

an individual hardware bypass on every channel that completely removes the EQ circuitry from the signal path. On the seventh day, he rested. The end result is a sweet, very musical analog EQ section that sounds great when its in and is completely invisible when its out. For those of us who dont speak electrical engineer, negative-gain architecture means that by running at internal levels of -6dB, Onyx mixers can handle up to four times the number of hot signals of regular mixers before clipping. Minimized signal path, on the other hand, is the reason the Onyx mixers EQ section is above the Aux assignmentscreating a linear As important as great mic preamps and musical EQ sections are, they are only part of the reason we can condently call the Onyx 80 Series a premium analog mixer. Equally as important, though admittedly less sexy, are the Onyx mixers proprietary negative-gain architecture and minimized signal path. signal path from the mic preamp to the EQ, through the Aux sends and on to the channel fadersresulting in a 50% shorter path (and less noise) than many of our competitors mixers.

STEREO EQ

CHANNEL EQ
making the entire EQ section as musical as possible. Finally, he added
Cal and Greg cancelled their hip-hop album to design Onyx.

LOW SHELF

LOW MID PEAK

MID PEAK

HIGH SHELF

Onyx 2480 Block Diagram

post-fader pre-fader

Mono le ve l

L R Main 5 Group 8 aux 1 aux 2 aux 3 aux 4 aux 5 aux 6 aux 7 aux 8 matrix A matrix B afl L afl R pfl L pfl R

Mono out

Channels 1-24

Main meters

L Insert

Main level

Insert

bypass Lo w Cu t

LO MID MID

EQ out in

Phantom power

OL +0 -20

Mu t e

Leve l Pan

Mi c Lin e

Assign

~ 2 K ~ 8 K K

R Insert

Gain Line
Mic: 0 ~ +60dB Line: -20 ~ +40dB

100 Hz

1/2 3/4

pre-EQ post-mute

ju m p e r
to matrix A to matrix B to matrix A to matrix B

4-Band EQ

Main out

to Monitor/Phones

Matrix A afl

Matrix B afl

Direc t o u t

po s t pre

ster eo

pre-EQ post-EQ

(1-8) (9-16) (17-24)

Au x sends

Matrix A Matrix B

Matrix master

Matrix A out
G r oup t o M a i n m i x

Matrix B o ut

Flip button - allows fader, solo, mute, and metering to be exchanged between grp & aux sends without swapping outputs

Group 1 afl

Stereo Aux inputs1-8 L (mon o ) R

Group 2 afl

Balance

LO 80 MID 400 MID 2.5K

Flip 1

Group 1 level

M ut e

Leve l

L-R 7/8

Group 1

(Group 3-8 identic al)

Group 1 out Group 2 out

group meters

Group 2

-20 ~ +20dB

Flip 2 Group 2 level

mon o s te re o

aux 1&2 aux 3&4

(Channel 1-4)

aux 5&6 aux 7&8

Aux sends

Aux 1 level

(Channel 5-8)

Aux 1 out

Aux 2 Aux 2 level

Aux 2 out

1 Mute Groups 4

Aux 2 afl Aux 1 afl

(Aux 3-8 identic al)

Talkback

to Talkback out

Talkba c k out

Moni t o r L out

Talkback mic

from Main level L R

Monitor level

solo meters

Tal kba c k

(momentary)

to Group 1-8

to Main L-R

to Aux 1-2

of f Main mix to Phones

pfl L afl R pfl R

amber-afl green-pfl

solo level

Phones level

Moni t o r R ou t

to Aux 3-4

to Aux 5-6

Phones

to Aux 7-8

L R Group aux 1 aux 2 aux 3 aux 4 aux 5 aux 6 aux 7 aux 8 matrix A matrix B afl L afl R pfl L pfl R

Talkback Assign

solo logic
Onyx 80 Series Technical Specications
Onyx 80 Series: Premium sound and features, without the premium price.
Frequency Response Mic Input to Main Output (Gain @ Unity): +0, 1 dB, <10 Hz to 80 kHz +0, 3 dB, <10 Hz to 130 kHz
Crosstalk Adjacent Inputs: < 95 dB @ 1 kHz Input to Output: < 85 dB @ 1 kHz
Maximum Input Levels Mic Input: +21 dBu, Gain @ unity Line Input: +30 dBu, Gain @ 20 dB Aux Input: +21 dBu

Distortion (THD & IMD) Mic Input to Main Output (@ +4 dBu): THD: < 0.007% max, 0.005% typical, 20 Hz to 20 kHz SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)
Input Gain Control Range Mic In: 0 dB to +60 dB Line In: 20 dB to + 40 dB, mono channels

Phantom Power +48 VDC

Dynamic Range >105 dB, 24 channels assigned >115 dB, one-channel assigned
Noise Floor Signal-to-Noise Ratio: 87 dBu (ref. +4 dBu, Mic In to Main Out, 48 channels and Main Mix levels at unity) 90 dBu, (ref. +4 dBu, Mic In to Main Out, 24 channels and Main Mix levels at unity) Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth, 150 source impedance 129.5 dBu @ +60 dB gain Mic Output Noise: Direct Output: 98 dBu (minimum gain) Residual Output Noise: Main Out: 100 dBu (Channel and Main Mix levels o ) Main Out: 83 dBu (48 channels and Main Mix levels at unity) 86 dBu (24 channels and Main Mix levels at unity)
Equalization Mono Channel EQ: High: 15 dB @ 12 kHz High Mid: 15 dB, sweepable from 400 Hz to 8 kHz Low Mid: 15 dB, sweepable from 100 Hz to 2 kHz Low: 15 dB @ 80 Hz Stereo Channel (Aux Input) EQ: High: 15 dB @ 12 kHz High Mid: 15 dB @ 2.5 kHz Low Mid: 15 dB @ 400 Hz Low: 15 dB @ 80 Hz
Maximum Voltage Gain Mic Input to: Main Out: 90 dB Group Send: 80 dB Aux Sends: 86 dB Monitor Out: 102 dB Matrix Out: 105 dB Phones Out: 102 dB Line Input to: Main Out: 70 dB Group Send: 60 dB Aux Sends: 66 dB Monitor Out: 82 dB Matrix Out: 85 dB Phones Out: 82 dB Stereo Aux Input to: Main Out: 50 dB Group Send: 40 dB Aux Sends: 39 dB Monitor Out: 62 dB Matrix Out: 65 dB Phones Out: 62 dB
Output Impedance Main Out: 150 balanced, XLR outputs; 150 TRS outputs Direct Out: 300 Group Sends: 100 Monitor Out: 100 Matrix Out: 100 Aux Sends: 100 Phones Out: 25
Common Mode Rejection Ratio (CMRR) Mic In: >70 dB @ 1 kHz, Gain @ maximum
Mixer Rated Output Main Outs: +4 dBu Aux Send: +4 dBu Group Send: +4 dBu Monitor Out: +4 dBu Matrix Out: +4 dBu Maximum Rated Output: +21 dBu @ Main XLR and TRS outputs
Input Impedance Mic Input: 2.4 k, balanced Mono Channel Line Input: 30 k balanced; 15 k unbalanced Stereo Aux Inputs: 20 k balanced; 20 k unbalanced
Physical Dimensions and Weight Onyx 2480: Height: 9.4 in/239 mm Width: 48.8 in/1240 mm Depth: 29.6 in/751 mm Weight: 95-lb/43 kg Onyx 3280: Height: 9.4 in/239 mm Width: 60.0 in/1523 mm Depth: 29.6 in/751 mm Weight: 113-lb/51 kg Onyx 4080: Height: 9.4 in/239 mm Width: 70.4 in/1788 mm Depth: 29.6 in/751 mm Weight: 131-lb/59 kg Onyx 4880: Height: 9.4 in/239 mm Width: 81.3 in/2065 mm Depth: 29.6 in/751 mm Weight: 149-lb/68 kg