A PLUG FOR THE CONNECTOR SECTION
Appendix B is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, and special hybrid connectors.
More resources on our website at www.mackie.com. THE GLOSSARY: A Haven of Non-Techiness for the Neophyte
The Glossary of Terms is a fairly comprehensive dictionary of pro-audio terms. If terms like clipping, noise oor, or unbalanced leave you blank, refer to this glossary for a quick explanation.
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.)

Purchased at:

ARCANE MYSTERIES ILLUMINATED Date of purchase:
Arcane Mysteries discusses some of the down n dirty practical realities of microphones, xed installations, grounding, and balanced versus unbalanced lines. Its a goldmine for the neophyte, and even the seasoned pro might learn a thing or two.

Getting Started

READ THIS PAGE!!
Even if youre one of those people who never read manuals, all we ask is that you read this page now before you begin using the Onyx 1220. Youll be glad you did! 3.
a line input such as a CD player or tape recorder output. Be sure that the volume of the input source is the same as it would be during normal use. If it isnt, you might have to readjust these levels during the middle of the set. Adjust the channels GAIN control so that the LEDs on the RIGHT meter stay around 0 and never go higher than +7. If youd like to apply some EQ, do so now and return to step 3. Remember to push in the EQ IN/OUT button or the EQ controls wont do anything. Disengage that channels SOLO switch. Repeat for each channel.

Zero the Controls

1. 2. 3. Turn down the channel GAIN, AUX, and Fader controls, and center the channel EQ and PAN controls. Set all push button switches to their out positions. In the output section (right hand side), turn all the rotary knobs down, the switches out, and the MAIN MIX fader down. Turn the POWER switch off.

Instant Mixing

1. Leave the microphone plugged into channel 1 and connect a keyboard, guitar or other instrument to channel 2. Be sure to Set the Level for channel 2 as described above. To get sound out of the speakers, turn up channel 1 and 2 faders to the U mark and slowly turn up the MAIN MIX fader to a comfortable listening level. Sing and play. Youre a star! Adjust the faders for channels 1 and 2 to bring your voice and your instrument up and down to create your own mix.

Connections

If you already know how you want to connect the Onyx 1220, 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. 2. 3. Plug a microphone or other signal source into channel 1s MIC or LINE input. Plug in the detachable linecord, connect it to an AC outlet, and turn on the Onyx 1220s POWER switch. Connect cords from the Onyx 1220s MAIN OUTS (XLR connectors on the rear panel and 1/4 TRS connectors on the front panel) to your amplier. Hook up speakers to the amp and turn it on. If the amplier 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 fader and CONTROL ROOM knob down before making connections to and from your Onyx 1220. 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.

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 on the front panel, then set the PHONES knob about one-quarter of the way up. The following steps must be performed one channel at a time. 1. 2. Push in the channels SOLO switch. Play something into the selected input. This could be an instrument, a singing or speaking voice, or
Thats it for the Getting Started section. Next comes the Hookup section that shows you some typical ways that you might use the Onyx 1220 in real applications. After that, you can 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

Hookup Diagrams

Bass Guitar Electric Guitar Electric Guitar

This hookup diagram demonstrates how you can do a live multitrack recording using the RECORDING OUTs or the optional FireWire card. The RECORDING OUTs provide an analog balanced direct output for each channel, and the FireWire card provides a digital direct output for each channel.

Vocal Mics

CHANNEL INSERTS

L 1 R L R

In Mono Compressor Out In Out Stereo Compressor In Out

Stereo Guitar Effects

Drum Machine Keyboard or other line level input

AUX RETURNS

CHANNEL INPUTS IN-TAPE-OUT

L 11 MONO

AUX SEND

L R L R

Multi Effect Processor Mono Power Stage Monitors Amplifier

ALT 3/4 OUT

Mono EQ

MAIN OUT

Out (play) In (record)
Stereo EQ Stereo Power Amplifier

Headphones

FIREWIRE (OPTION)

RECORDING OUT 5-12

PHONES

CNTRL ROOM OUTPUTS

RECORDING OUT 1-4
Left PA Speaker Right PA Speaker
Digital Multitrack Recorder Laptop Computer
Onyx 1220 Live Mix and Multitrack Recording
Bass Guitar Electric Guitar

Electric Guitar

CHANNEL INPUTS
Digital Delay Multi Effect Processor
AUX SEND ALT 3-4 OUT MAIN OUT RECORDING OUT 5-12 MAIN OUT

IN-TAPE-OUT

CONTROL RM OUTPUTS

Powered Studio Monitors

Powered Studio Monitors for Studio Digital Multitrack Recorder Headphones for Studio
Headphone Distribution Amp
The RECORDING OUTs provide an analog balanced direct output for each channel, tapped after the GAIN control but before the EQ controls.
Onyx 1220 Multitrack Recording in a Studio (Tracking)

Sound Card

ALT 3-4 OUT

R LINE IN L

LINE OUTS MIC IN
Powered Studio Monitors for Control Room
Powered Studio Monitors for Studio
In this hookup diagram, the tracking channels have the MUTE/ALT 3-4 button pushed in. This routes their signals to the ALT 3-4 OUT and on to the Sound Card or other analog audio interface to your DAW. IMPORTANT: The playback channels (channels 11-12 in this case) should have their MUTE/ALT 3-4 buttons out or you will get feedback. Ouch!

LINE IN 5-6

(MONO)

BAL/ UNBAL

15 20Hz 100Hz 1kHz 10kHz 20kHz
Heres what the combination of LOW EQ and Low Cut looks like in terms of frequency curves.
Low Cut with Low EQ Boosted

2.5kHz -15 +15

6. 48V Phantom Power Switch (Channels 1-4)
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 nd out for sure whether or not phantom power can damage it. Note: Be sure the MAIN MIX fader (36) is 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.

7. GAIN Control

If you havent already, please read Set the Levels on page 5. 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 1/4" jack, 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. (On the stereo channels, the GAIN range is 20 dB to +20 dB with unity in the center.)
The 3-band equalization has LOW shelving at 80 Hz, MID peaking MUTE (sweepable from 100 Hz to 8 kHz ALT 3/4 on the mono channels, xed at 2.5 Stereo Channel kHz on the stereo channels), and HIGH shelving at 12 kHz. Shelving means that the circuitry boosts or cuts all frequencies past the specied frequency. For example, rotating the LOW EQ knob 15 dB to the right boosts bass frequencies starting at 80 Hz and continuing on down to the lowest note you ever heard. Peaking means that the frequencies around the center frequency are less affected by the EQ the further away they are.

9. HIGH EQ

This control gives you up to 15 +15 dB boost or cut at 12 kHz, and it +10 is also at at the center detent. +Use it to add sizzle to cymbals, and an overall sense of transpar- 5 ency or edge to the keyboards, 10 vocals, guitar, and bacon frying. 100 Turn it down a little to reduce High EQ sibilance, or to hide tape hiss.

10kHz 20kHz

10. MID EQ
Short for midrange, this knob provides 15 dB +5 of boost or cut centered 0 at the frequency deter5 mined by the FREQ knob 10 (see FREQ next), or at 15 2.5 kHz for the stereo 1k 10k 20k channels. Midrange EQ Mid EQ is often thought of as the most dynamic because the frequencies that dene any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down as well as up.

+15 +10

to the AUX 1 and AUX 2 controls, sending the combined signal to the AUX SEND outputs. These are more than just effects and monitor sends. They can be used to generate separate mixes for recording, for another zone, or mix-minuses for broadcast.

15. PAN

PAN adjusts the amount of channel signal sent to the left versus the right outputs. On the stereo channels (channels 5-12), the PAN knob works like the balance control on your home stereo (panning left turns down the right channel, and panning right turns down the left channel). With the PAN knob hard left, the signal feeds either the MAIN LEFT (bus 1) or ALT LEFT (bus 3), depending on the setting of the ALT 3/4 switch. With the knob hard right, the signal feeds either the MAIN RIGHT (bus 2) or ALT RIGHT (bus 4). Constant Loudness: The Onyx 1220s PAN control employs a design called Constant Loudness. If you have a channel panned hard left (or right) and then pan to the center, the signal is attenuated about 3 dB to maintain the same apparent loudness. Otherwise, it would make the sound appear much louder when panned center.

11. FREQ

Mid EQ Freq Sweep
This knob ranges from 100 Hz to 8 kHz and determines the center frequency for the MID EQ. This allows you to zero in on the precise narrow band of frequencies you want to have affected by the MID EQ.

12. LOW EQ

16. MUTE/ALT 3-4
This control gives you up to 15 dB of boost or cut at 80 Hz. The circuit is at (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. The dual-purpose MUTE/ALT 3-4 switch is a Mackie signature. When Greg was designing our rst product, he had to include a mute switch for each channel. Mute switches do just what they sound like they do. They turn off the signal by routing it into oblivion. Gee, what a waste, Greg reasoned. Why not have the mute button route the signal somewhere else useful, like a separate stereo bus? So MUTE/ALT 3-4 really serves two functionsmuting (often used during mixdown or live shows), and signal routing (for multitrack and live work) where it acts as an extra stereo bus. To use this as a MUTE switch, all you have to do is not use the ALT 3-4 outputs (49). Then, whenever you assign a channel to these unused outputs, youll also be disconnecting it from the MAIN MIX, effectively muting the channel. The MUTE switch also disconnects the channel from the POST AUX SEND bus. The channels signal is still present on the PRE AUX SEND bus. To use this as an ALT 3-4 switch, all you have to do is connect the ALT 3-4 outputs (49) to whatever destination you desire. Two popular examples: When doing multitrack recording, you can use the ALT 3-4 outputs as a stereo or dual-mono feed to your multitrack.

19. SOLO Switch

17. Channel Fader
The fader controls the channels levelfrom off to unity gain at the U marking, on up to 10 dB of additional gain. U Like Unity Gain Mackie mixers have a U symbol on almost every level control. This U stands for unity gain, meaning no change in signal level. Once you have adjusted the input signal to line-level, you can set every control at U and your signals will travel through the mixer at optimal levels. Whats more, all the labels on our level controls are measured in decibels (dB), so youll know what youre doing level-wise if you choose to change a controls settings.
This handy switch allows you to hear signals through your headphones or control room outputs without having to route them to the MAIN or ALT 3-4 mixes. Folks use solo in live work to preview channels before they are let into the mix, or just to check out what a particular channel is up to anytime during a session. You can solo as many channels at a time as you like. Soloed channels are sent to the SOURCE mix, which ultimately feeds your CONTROL ROOM, PHONES, and Meters. Whenever SOLO is engaged, all SOURCE (20) selections (MAIN MIX, ALT 3-4, TAPE, and FIREWIRE) are defeated, to allow the soloed signal to do just thatsolo! Note: The solo signal is prefader, so you can hear it even when the channels fader is turned down.

dB U 60

Stereo Channel
Control Room Matrix, Metering, and Phones
Typically, the engineer sends the MAIN MIX to an audience (if live) or to a mixdown deck (if recording). But what if the engineer needs to hear something other than the MAIN MIX in the control room or headphones? With the Onyx 1220, the engineer has several choices of what to listen to. This is one of those tricky parts, so buckle up. MAIN MIX, the MAIN MIX lines to the SOURCE matrix will be disconnected from the CONTROL ROOM and PHONES outputs, to prevent feedback. Then again, why on earth would anyone want to assign the MAIN MIX to the MAIN MIX? WARNING: Pushing in both the TAPE button (in the SOURCE matrix) and ASSIGN TO MAIN MIX (21) can create a feedback path between TAPE IN and TAPE OUT. Make sure your tape deck is not in record, record-pause, or input monitor mode when you engage these switches, or make sure the CONTROL ROOM knob (22) is turned all the way down (off).
20. CONTROL ROOM/PHONES SOURCE
Using the SOURCE switches, you can choose to listen to any combination of MAIN MIX, ALT 3-4, TAPE, and FIREWIRE (optional). By now, you probably know what the MAIN MIX is. ALT 3-4 is that additional stereo mix bus. TAPE is the stereo signal coming in from the TAPE IN RCA jacks. FIREWIRE is a 2-track feed coming in through the optional FireWire card from your computer. Selections made in the SOURCE matrix deliver stereo signals to the CONTROL ROOM, PHONES, and Meters. With no switches engaged, there will be no signal at these outputs and no meter indication. The exception to that is the SOLO function. Regardless of the SOURCE matrix selection, engaging a channels SOLO switch will replace that selection with the SOLO signal, also sent to the CONTROL ROOM, PHONES, and Meters.

TALKBACK Section

The talkback feature allows the engineer to communicate with the talent either through the PHONES outputs (42) or the AUX 1-2 outputs (38). A talkback microphone is built into the Onyx 1220, or you have the option of connecting an external microphone at the TALKBACK MIC XLR connector (45) on the rear panel, which may be preferable in live or noisy situations.
30. Internal TALKBACK MIC
This is where the built-in talkback microphone is located. This is an omni-directional dynamic microphone, so it will pick up your voice from anywhere in front of the mixer.

27. AUX 1 and 2 PRE/POST

The PRE/POST switches determine whether the AUX SEND signal is tapped from the channel before the fader (pre-fader) or after the fader and MUTE button (postfader). Typically, you use a pre-fader send for monitors so you can control the monitor levels independently from the MAIN MIX. Use a post-fader send for effects, so that the wet signal level follows the dry signal level. Both pre- and post-fader sends are affected by the EQ controls (unless the EQ is bypassed, of course).

FADER PAN MUTE / ALT

31. TALKBACK LEVEL
Use this knob to control the level of the talkback signal being routed to the PHONES or AUX 1-2 outputs. This controls the talkback level for either the internal or external TALKBACK MICs. You should start with the TALKBACK LEVEL control turned down, and then slowly turn it up until you get conrmation from whoever is listening to headphones or monitors that they can hear you. Once you have set the level, you can leave it there for the duration of the session (or the gig).

LOW CUT

INSERT

EQ EQ IN/OUT

"POST" SIGNAL OBEYS MUTE STATUS
AUX SEND 1 KNOB TO AUX SEND 1 OUTPUT AUX SEND 1 PRE/POST SWITCH (IN MASTER SECTION) AUX SEND 2 KNOB TO AUX SEND 2 OUTPUT AUX SEND 2 PRE/POST SWITCH (IN MASTER SECTION)
"POST" SIGNAL "PRE" SIGNAL
Aux Pre vs. Post Signal Flow Diagram

28. AUX 1 and 2 RETURN

These two controls set the overall level of effects received from the stereo AUX RETURN 1 and 2 inputs. These controls range from off () to +10 dB of gain when fully clockwise, to compensate for low-level effects. Signals passing through the AUX RETURN level controls proceed directly to the MAIN MIX bus where they are combined with the other channels just before the MAIN MIX fader (36).

32. EXTERNAL MIC Switch

If you are in a noisy environment, the built-in talkback mic may not work as well because it picks up the ambient noise as well as your voice. You will probably have better results if you use an external microphone that you can talk directly into. If you are using an external mic, you must push in the EXTERNAL MIC switch. The indicating LED lets you know when the switch is pushed. When the switch is out, the built-in TALKBACK MIC is used, regardless of whether or not you have an external mic plugged in. When the switch is pushed in, the built-in mic is disconnected and only the external mic is used.

41. TAPE IN/OUT

These RCA jacks are used to connect to the inputs and outputs of a tape recorder or other recording device. The TAPE IN jacks accept an unbalanced signal from a tape recorder or other signal source (could be a CD player, if you want) using standard hi- hookup cables. The signal is routed to the CONTROL ROOM/PHONES SOURCE matrix (20). Push in the TAPE button to route the tape input to the CONTROL ROOM and PHONES outputs (48/42). This allows you to playback recordings of your mixes.
BAL/UNBAL BAL/UNBAL BAL/UNBAL

BAL/UNBAL

AUX RETURN

Rear Panel

There are just a few more connectors and switches to talk about and youll have completed your tour of the Onyx 1220. Hang in there!

47. MAIN OUTPUT LEVEL

When this switch is out (+4 dB), the XLR MAIN OUTPUTS provide a +4 dBu line-level signal. When the switch is pushed in (MIC), the signal is attenuated by 40 dB to a microphone level. You can connect the XLR MAIN OUTPUTS to the microphone inputs of another mixer, providing a submix for keyboards or drums, for example, in a live sound application. Note: You can safely plug this output into a microphone input that provides 48 V phantom power.

43. POWER Switch

This one is self-explanatory. When the POWER switch is turned ON, power is supplied to the Onyx 1220 and the POWER LED on the front panel lights up.

44. Power Receptacle

This is a standard 3-prong IEC power connector. Connect the detachable linecord (included in the box with your Onyx 1220) to the power receptacle, and plug the other end of the linecord into an AC outlet. The Onyx 1220 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 Planet-Earth 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.

48. CONTROL RM Outputs

These 1/4" TRS jacks provide a balanced line-level signal that can be used to provide another main mix output (with MAIN MIX selected in the CONTROL ROOM/PHONES SOURCE) (20), or to monitor the ALT 3-4 outputs, TAPE inputs, or a 2-track feed from your computer (with the optional FireWire card installed). Connect these outputs to the inputs of an amplier, powered speaker, or recording device.

45. TALKBACK MIC

This is where you plug in your external talkback microphone if you need to have one. This female XLR connector has +48 VDC phantom power always applied, so you can use dynamic or condenser microphones. Note: Almost all dynamic microphones can be used with phantom power, but you might want to check the documentation that came with your microphone to be sure.

49. ALT 3-4 OUT

These 1/4" TRS jacks provide a balanced line-level signal that can provide an alternate stereo mix for recording or subgrouping. Connect these outputs to the inputs of an amplier, powered speaker, or recording device. Note: The ALT 3-4 OUT doesnt have a master level control. All the channels assigned to the ALT 3-4 bus are summed together (post-fader and pan) and sent directly to the ALT 3-4 OUT.
46. RIGHT/LEFT MAIN OUTPUTS
These male XLR connectors provide a balanced linelevel signal that represent the end of the mixer chain, where your fully mixed stereo signal enters the real world. Connect these to the inputs of your main power ampliers, powered speakers, or serial effects processor (like a graphic equalizer or compressor/limiter). It provides a fully balanced signal that is 6 dB higher than the 1/4" TRS MAIN OUT jacks on the front panel.

50. CHANNEL INSERT

These 1/4" TRS jacks provide a send and return point for channels 1-4. Use the CHANNEL INSERT jacks to connect serial effects devices such as compressors, equalizers, de-essers, or lters to each individual channel. The INSERT points are after the GAIN and Low Cut controls, but before the EQ and Fader controls. The send (tip) is low-impedance, capable of driving any device. The return (ring) is high-impedance and can be driven by almost any device.

~100-240VAC 50-60Hz 40W

BALANCED

CONTROL RM

+4 MIC

CHANNEL INSERT

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

MAIN OUTPUT LEVEL

Special insert cables are available, specially designed for this kind of insert jack. They are wired as follows:
ring sleeve SEND to processor (TRS plug) tip
this plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor
The signal at the RECORDING OUTS comes just after the input GAIN control, and before the Low-Cut switch, INSERT jacks, and EQ. This way you can EQ a channel, connect a compressor or other dynamics processor to the INSERT jack, 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 exibility for the mixdown stage. See Appendix B for a wiring diagram of these connectors.

Tip = Send (output to effects device) Ring = Return ( input from effects device) Sleeve = Common ground (connect shield to all three sleeves) Besides being used for inserting external devices, these jacks can also be used as channel direct outputs; post-TRIM, post-LOW CUT, and pre-EQ. This is an unbalanced direct out, in contrast to the RECORDING OUTS on the rear panel, which are balanced direct outputs, post-TRIM, pre-LOW CUT. Here are three ways you use the INSERT jacks:

MONO PLUG

Channel Insert jack

52. FIREWIRE I/O OPTION

Okay, we saved the best for last. FireWire (a.k.a. IEEE 1394) is a high-speed serial I/O interface for connecting digital devices, with more than 30 times the bandwidth of USB 1.1. You can install the optional Onyx FireWire interface card in this slot, which provides three FireWire connectors for transferring digital audio to and from your laptop computer or digital audio workstation (DAW) with absolute zero latency. The FireWire interface provides the direct outputs for all twelve channels and the Left/Right Mix. The Left/Right Mix is pre-fader at the FireWire output, so its level is independent of the MAIN MIX fader (important for live gigs). Instead, it has a rotary level control that provides a 10 dB boost or cut for the Left/Right mix, to optimize the level for the recorder or DAW. Use the FireWire interface to record a live performance directly to your laptop, which you can mixdown to a stereo mix later. Or you can use it to turn your Onyx mixer into a high-quality computer audio interface for your DAW. The card also provides a return for two channels from a DAW or laptop, which can be routed through the CONTROL ROOM/PHONES SOURCE matrix (20) via the FIREWIRE button, to monitor the computer audio through your control room speakers or headphones (or through the main speakers if ASSIGN TO MAIN MIX (21) is selected). The FireWire interface works with both PC (ASIO for Windows XP) and Mac (Core Audio for Mac OS 10.3 or higher). As an added bonus, we include a free copy of Tracktion, our multitrack recording and sequencing software application for PC or Mac.
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.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect)

51. RECORDING OUTS

These two DB-25 connectors provide balanced direct outputs for channels 1-4 and 5-12, respectively. 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).
RISK OF ELECTRIC SHOCK DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

+ shield + shield + shield + shield
N/C N/C N/C N/C N/C N/C Ch 4 Ch 3 Ch 3 Ch 2 Ch 1 Ch 1
Ch12 Ch11 Ch11 Ch10 Ch 9 Ch 9 Ch 8 Ch 7 Ch 7 Ch 6 Ch 5 Ch 5

CH 1 CH 5

GROUND

CH 2 CH 6

CH 3 CH 7

CH 4 CH 8

CH 9 CH 10 CH 11 CH 12

GROUND COLD HOT

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

COLD HOT

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.
Appendix C: Technical Info

Onyx 1220 Specications

Frequency Response
Mic Input to Main Output (Gain @ Unity) +0, 1 dB, 10 Hz to 50 kHz +0, 3 dB, <10 Hz to >100 kHz

Maximum Input Levels

Mic Input: +21 dBu, Gain @ Unity Inst Input: +21 dBu, Gain @ 20 dB Mono Channel Line Input: +30 dBu, Gain @ Unity Stereo Channel Line Input: +21 dBu, Gain @ 20 dB Tape Input: +15 dBu Aux Return: +21 dBu
Distortion (THD & IMD)
Mic Input to Main Output (@ +4 dBu output) THD: < 0.01%, 20 Hz to 20 kHz SMPTE IMD: < 0.005%

Dynamic Range

>113 dB (Mic In to Main Out)

Maximum Voltage Gain

Mic Input to: Main Output (XLR): Main Output (TRS): Tape Output: Aux Sends: Control Rm Output: Alt 3/4 Output: Phones Output: Inst Input to: Main Output (XLR): Main Output (TRS): Tape Output: Aux Sends: Control Rm Output: Alt 3/4 Output: Phones Output: Stereo Line Input to: Main Output (XLR): Main Output (TRS): Tape Output: Aux Sends: Control Rm Output: Alt 3/4 Output: Phones Output: Tape Input to: Main Output (XLR): Main Output (TRS): Tape Output: Control Rm Output: Phones Output: Aux Return to: Main Output (XLR): Main Output (TRS): Tape Output: Aux Send: Control Rm Output: Phones Output: 85 dB 79 dB 79 dB 85 dB 89 dB 64 dB 87 dB 66 dB 60 dB 60 dB 66 dB 70 dB 45 dB 68 dB 46 dB 40 dB 40 dB 45 dB 49 dB 24 dB 47 dB 31 dB 25 dB 25 dB 16 dB 14 dB 26 dB 20 dB 20 dB 26 dB 29 dB 27 dB

Noise Floor

(20 Hz to 20 kHz Bandwidth, 150 source impedance) Equivalent Input Noise (E.I.N.) 129 dBu @ +60 dB gain Mic Output Noise: Recording Output: 100 dBu (minimum gain) Residual Output Noise: Main Out: 97 dBu (Channel and Main Mix levels off) Main Out: 87 dBu (Channel and Main Mix levels at unity)

AC Power Requirements

Power Consumption: 40 watts Universal AC Power Supply: 100 VAC 240 VAC, 50-60 Hz

5.9 in/ 15.0 cm

13.9 in/35.3 cm
17.3 in/43.9 cm 10 rack spaces

WEIGHT 16.0 lb/ 7.3 kg

Insert
PK +-20 EQ Out In Bypass Low Cut Main L/R Alt 3/4
L R Main L/3 Alt R/4 Aux 1 (pre) Aux 1 (post) Aux 2 (pre) Aux 2 (post) Solo(pfl) Solo Logic
Main L R Alt L/3 R/4 Aux 1 (pre) Aux 1 (post) Aux 2 (pre) Aux 2 (post) Solo (pfl) Solo Logic

Tape Line

Mono Channels

LO HI 12K 80 100-8K MID

Gain Pan
Mic: 0 to +60 dB Line: 20 to +40 dB

Onyx 1220 Block Diagram

HPF 3-Band EQ Aux Sends R Sum Solo
Mic L Sum Main Mix Fader Fader Level

+4 dBu Mic Level

Main Out
Mic To Firewire Out (optional) 3-Band EQ
LO MID 2.5K 12K HI 80 EQ Out In PK +-20
Ch 1-2 Alt L/3 Sum Alt R/4 Sum

C/R Source

Alt3/4

Mic Hi-Z

Ch 1-4 Fader Level Pan CD/Tape In L R
Main Main L/R Alt 3/4 CD/Tape

Recording Outs

Left/3 Alt Out Right/4
Meter RUDE SOLO LED Phones Level

LO MID 2.5K 12K HI 80

Stereo Channels

20 to +20 dB

R Aux Sends

Solo Sum

Phones

(Switch Normally Closed)

Recording Outs Solo

Ch 5-12

To Firewire Out (optional)

Control Room Level

C/R DIM

L Level

(Switch Normally Open)

Control Room Out Right

Off C/R to Main

Aux Return 1

Solo Logic

to Main L/R to Aux1

Off Firewire to C/R

Aux Return 2

R Firewire Outputs
From Channel Recording Outs

Firewire I/O

Ext TB

(option)

Talkback Assign
Aux 1 Aux 1 Sum Aux 1 Level

Int TB Mic Ext TB Mic

Internal Talkback Mic External Level Talkback

to CR/Phones

Pre Post

Aux 1 Out

Aux 2 Sum

Aux 2 Level

Aux 2 Out to Aux 1-2
MACKIE ONYX 1220 BLOCK DIAGRAM (#021204_DB/DF)
NOTE: Switches are shown in the default (out) position.

Onyx 1220 Track Sheet

YX MIC PR ON E YX MIC PR ON E

YX MIC PR ON E

Session: Date:

LINE IN 5-6 HI-Z 1

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

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 be repaired and returned C.O.D. with billing 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.