18
ONYX 4•Bus
ONYX 4•Bus
TALKBACK Section
The talkback feature allows the engineer to com-
municate with the talent either through the AUX 1-6
[87] Sends, or the MAIN L/R [82] outputs. Connect an
external microphone to the TALKBACK MIC XLR [81]
connector on the rear panel to use the talkback feature.
5±. TALKBACK ASSIGN Switches
These switches route the talkback signal to vari-
ous outputs, including AUX 1-2, AUX 3-4, AUX 5-6, and
MAIN MIX outputs. You might use a pair of Aux Sends
to communicate with musicians on-stage through their
monitors during a live performance. These could be
floor wedges or in-ear monitors.
By the way, it is okay to have more than one TB ASSIGN
switch pushed in at the same time. The talkback signal
will be routed to all the destinations you have selected.
But if you don’t have any of the assign switches pushed
in, the talkback signal won’t go anywhere, and you will
wonder why everyone seems to be ignoring you.
5². TALKBACK Level Control
Use this knob to control the level of the talkback
signal being routed to the AUX or MAIN L/R outputs.
54. TALKBACK Switch
This is a latching switch, meaning it’s always active
when the switch is pushed in. As long as the switch is
engaged, the talkback signal is routed to the outputs
determined by the talkback assign switches [52].
Push
the switch again to release it, and the talkback circuit is
turned off. An LED above the switch indicates when the
TALKBACK switch is active.
Auxiliary Section
This section includes the AUX SEND MASTERS and
the STEREO RETURNS. These can be a bit confusing
to the uninitiated, so here’s the whole idea behind aux
sends and returns: sends are outputs and returns are
inputs. AUX SENDs tap signals off the channels, via the
AUX knobs [12/25], mix these signals together, then
send them out the AUX SEND jacks [87].
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 the external device are fed
back to the mixer’s STEREO RETURN jacks [80]. These
signals are sent through the STEREO RETURN LEVEL
controls [64], and finally delivered to the MAIN MIX
bus.
So, the original “dry” signals go from the channels to
the MAIN MIX and the affected “wet” signals go from the
STEREO RETURNS 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 an-
other mix for stage monitors. In this case, the STEREO
RETURNS aren’t used to return the signal. Instead, they
can be used as additional stereo inputs.
Aux Send Masters Section
55. AUX SEND MASTERS
The AUX SEND MASTERS provide overall control
over the AUX SEND levels, just before they are delivered
to the AUX SEND outputs [87]. These knobs go from off
(
∞
) to +15 dB when turned all the way up.
When using the Aux Send for monitors, this is usu-
ally the knob you turn up when the lead singer glares at
you, points at his stage monitor, and sticks his thumb up
in the air. (It would follow that if the singer stuck his
thumb down, you’d turn the knob down, but that never
happens.)
56. PRE/POST Switch
This switch is used to select whether the Aux send
signal is pre-fader or post-fader.
When the PRE/POST switch is up, the Aux send
signal is pre-fader, which is usually used for sending to
monitors (stage monitor wedges or IEM, in-ear monitor
systems). This way, when changes are made to fader
levels in the front-of-house mix, it doesn’t affect the
monitor mix.
When the PRE/POST switch is pushed in, the Aux
send signal is post-fader, which is usually used when
1
13
14
15
16
17
18
19
20
21
22
23
