Mackie Onyx 1220i Owner's Manual - Page 17

1 ONYX MIC PRE 9 2 ONYX MIC PRE 3 ONYX MIC PRE 4 ONYX MIC PRE CTRL - RM OUT BAL/UNBAL MAIN OUT BAL/UNBAL ALT 3-4 OUT BAL/UNBAL 12 L R L R L/3 R/4 LINE IN 5-6 LINE IN 7-8 LINE IN 9-10 LINE IN 11-12 TAPE L IN OUT R 10 1 LINE 18 BAL/UNBAL LINE HI-Z 2 LINE BAL/UNBAL LINE HI-Z 3 LINE BAL/UNBAL 75Hz 18dB/OCT 4 LINE 11 BAL/UNBAL 75Hz 18dB/OCT L (MONO) BAL/UNBAL R 19 20 48V 48V 48V 48V 30 U 20 21 40 GAIN U 60 -20dB +40dB 30 U 20 40 GAIN U 60 -20dB +40dB 30 U 20 40 GAIN U 60 -20dB +40dB 30 U 20 40 GAIN U 60 -20dB +40dB U GAIN -20dB +20dB SEND 22 PRE POST SEND PRE POST SEND PRE POST SEND PRE POST SEND PRE POST U 24 -15 +15 1k EQ HIGH 12kHz 25 FREQ 100 8k U 26 MID -15 +15 U 28 LOW 80Hz -15 +15 U EQ -15 +15 1k HIGH 12kHz FREQ 100 8k U MID -15 +15 U LOW 80Hz -15 +15 U EQ -15 +15 1k HIGH 12kHz FREQ 100 8k U MID -15 +15 U LOW 80Hz -15 +15 U EQ -15 +15 1k HIGH 12kHz FREQ 100 8k U MID -15 +15 U LOW 80Hz -15 +15 U EQ HIGH 12kHz -15 +15 U 27 MID 2.5kHz -15 +15 U LOW 80Hz -15 +15 L (MONO) BAL/UNBAL R U GAIN -20dB +20dB SEND PRE POST U EQ HIGH 12kHz -15 +15 U MID 2.5kHz -15 +15 U LOW 80Hz -15 +15 L (MONO) BAL/UNBAL R U GAIN -20dB +20dB SEND PRE POST U EQ HIGH 12kHz -15 +15 U MID 2.5kHz -15 +15 U LOW 80Hz -15 +15 L (MONO) BAL/UNBAL R PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE CTRL ROOM/PHONES U SOURCE GAIN 23 -20dB +20dB SEND INPUT MAIN MIX LINE U FW 1-2 HIGH 12kHz -15 +15 TAPE FW 1-2 ALT 3-4 U MID 2.5kHz -15 +15 ASSIGN TO MAIN MIX 0dB=0dBu LR 20 CLIP 15 10 6 3 0 2 LEVEL 4 SET 7 10 20 30 U LOW 80Hz -15 +15 OO MAX CONTROL ROOM OO MAX PHONES RUDE SOLO AUX MASTER AUX AUX AUX AUX AUX AUX AUX AUX SEND RETURN 18. HI-Z SWITCH (Ch. 1 and 2 only) Engage this switch if you want to connect guitars directly to the 1/4" line inputs of channels 1 or 2. Without this switch, you need to use a DI box first, before connecting guitars. If these switches are not pressed in, guitars will not sound good, particularly the high frequency response. Plugging a guitar into a lower-impedance line-level input can result in the loss of high frequencies, causing an unnatural and dull sound. Normally, you must use a direct box between a guitar and a mixer's input, which serves to convert the impedance of the guitar from high to low. The hi-z inputs on channels 1 and 2 make the need for a direct box unnecessary. However: The hi-z inputs are unbalanced (when the switch is in), so if you're doing a live show and running a long cord between the 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. 19. LOW CUT (Ch.1-4 only) The mono channels each have a low-cut switch (often referred to as a high-pass filter) that cuts bass frequencies below 75 Hz at a rate of 18 dB per octave. The low cut switch affects both the mic and line inputs. We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn't much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power. Another way to consider low-cut's function is that it actually adds flexibility during live performances. With the addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really benefit voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops from way-down low. Applying low-cut removes all those problems, so you can add low EQ without blowing your subwoofers. Owner's Manual 17