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16-Channel Premium Analog Mixer
with FireWire
OWNER'S MANUAL
SUBGROUPS AUX MASTERS MAIN MIX
ALTERNATE FIREWIRE ASSIGNMENTS 123 4 123456 L R
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FW 1 FW 2 FW 3 FW 4 FW 5 FW 6 FW 7 FW 8 FW 9 FW 10 FW 11 FW 12 FW 13 FW 14 FW 15 FW 16
48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V
PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE
75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 7
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Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC 2. Keep these instructions. Rules. These limits are designed to provide reasonable protection 3. Heed all warnings. against harmful interference in a residential installation. This equip- 4. Follow all instructions. ment generates, uses, and can radiate radio frequency energy and, if 5. Do not use
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Set the levels Quick Start It’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones We realize that you must be really keen into the phones output jack, then turn up the phones to try out your new mixer. Please read the knob just a little. safety instructions on page 2, then have a look through some of the features and 1. Turn on the mixer by pressing the top edge of details in this manual. the power switch. 2. For one channel, press
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Deep FireWire Integration Introduction Thank you for choosing a Mackie Onyx 1640i The Onyx 1640i is the fl agship mixer of the series, professional compact mixer. The Onyx-i series of mixers boasting a full 16x16 FireWire interface, allowing for offer built-in FireWire, along with the newest features something that a DAW could never do alone: A true and latest technologies for live sound reinforcement tape-style mixdown. and analog or digital studio recording, all in a durable, If you are
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How To Use This Manual The fi rst pages after the table of contents are the hookup diagrams. These show typical setups for fun times with your mixer. Next is a detailed tour of the entire mixer. The descriptions are divided into sections, just as your mixer is organized into distinct zones: � Back panel / connections � Channel controls � Control room / phones source � Aux master � Talkback � Main and subs mix Throughout these sections you’ll fi nd illustrations with each feature numbere
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Contents IMPORTANT SAFETY INSTRUCTIONS ........................ 2 40. ASSIGN ................................................... 17 QUICK START .......................................................... 3 41. SOLO .....................................................18 INTRODUCTION ...................................................... 4 CONTROL ROOM/PHONES AND METERS ............ 19 YOU ARE HERE ....................................................... 6 42. HEADPHONE OUTPUT ..................
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E E E E E E E E E E E E E E E E R R R R R R R R R R R R R R R R P P P P P P P P P P P P P P P P C C C C C C C C C C C C C C C C I I I I I I I I I I I I I I I I M M M M M M M M M M M M M M M M Hookup Diagrams Return Dynamics Processor (Bass) Microphones Send Send Compressor (Vocals) Return Return Electric Bass Guitar Send Guitar Compressor (Vocals) iPodDocking Station Amplifier Modeler Keyboard 16 15 14 13 12 11 10
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E E E E E E E E E E E E E E E E R R R R R R R R R R R R R R R R P P P P P P P P P P P P P P P P C C C C C C C C C C C C C C C C I I I I I I I I I I I I I I I I M M M M M M M M M M M M M M M M Studio Acoustic Microphones Guitar mic’d up Return Send Compressor (Vocals) Send Dynamics Processor (Acoustic) Return Studio Return Bass Microphones Dynamics Processor (Bass) Send Guitar Send Compressor (Vocals) Return Return
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E E E E E E E E E E E E E E E E R R R R R R R R R R R R R R R R P P P P P P P P P P P P P P P P C C C C C C C C C C C C C C C C I I I I I I I I I I I I I I I I M M M M M M M M M M M M M M M M Compressor (Vocals) Return Send Studio Microphones Compressor (Vocals) Return Headphone Amp Headphone Amp (Aux Send 6) Send (Aux Send 5) Keyboard Digital Reverb (Aux Send 1) Send CD Player 16 15 14 13 12 11 10 9 8 7 6 5 4 3
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E E E E E E E E E E E E E E E E R R R R R R R R R R R R R R R R P P P P P P P P P P P P P P P P C C C C C C C C C C C C C C C C I I I I I I I I I I I I I I I I M M M M M M M M M M M M M M M M Onyx 1640i Features 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT 5 LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
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4. MIC INPUTS 5. LINE INPUTS This is a female XLR connector, that accepts a These 1/4" jacks share circuitry (but not phantom balanced microphone input from almost any type of power) with the mic preamps, and can be driven by microphone. The microphone preamps feature our Onyx balanced or unbalanced sources. design, with higher fi delity and headroom rivaling any To connect balanced lines to these inputs, use a 1⁄4" standalone mic preamp on the market today. Tip-Ring-Sleeve (TRS) plug, wired
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7. TALKBACK MIC 11. MONO OUT This is where you plug in your external talkback This 1/4" TRS output connector provides a balanced microphone if you need to have one. This female XLR or unbalanced line-level signal that is a combination of connector has +48 VDC phantom power always applied, the left and right main out [10] signals (L+R). You may so you may use dynamic or condenser microphones. use this for a separate mix that does not require a stereo feed, or to simply test the monaural compa
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could either be passive stage monitors powered by an 16. CTRL-RM OUT external amplifi er, or powered stage monitors with These 1/4" TRS jacks provide balanced left and right- built-in power amplifi ers. All six auxes are independent line-level outputs to run studio monitors in the control of each other, so you can set up to six separate aux room. Connect these outputs to the inputs of an mixes. amplifi er, powered speakers, or recording device. The aux sends can either be pre or post fader
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LINE LINE LINE LINE LINE FW 1 FW 2 FW 3 FW 4 FW 5 48V 48V 48V 48V 48V Channel Controls 22 24 75Hz 75Hz 75Hz 18dB/OCT 18dB/OCT 18dB/OCT The vertical channel strips look very similar, and have 23 25 GAIN GAIN GAIN GAIN GAIN 30 30 30 30 30 only a few differences between them. Each U U U U U 20 40 20 40 20 40 20 40 20 40 2 26 channel works independently, and just controls the U 60 U 60 U 60 U 60 U 60 -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB signals plugged into the inputs dire
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Another way to consider low-cut’s function If the signal originates through the mic XLR jack, is that it actually adds fl exibility during live there will be 0 dB of gain with the knob fully down, performances. With the addition of low-cut, ramping to 60 dB of gain fully up. you can safely use low equalization on vocals. Through the 1⁄4" line input of all 16 channels, there is Many times, bass shelving EQ can really benefi t voices. 20 dB of attenuation fully down and 40 dB of gain fully T
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28. EQ IN/OUT 31. HIGH MID EQ LEVEL +15 This is a true hardware bypass of the Perkins EQ The high mid EQ provides +10 circuitry to insure that there is no coloration of the up to 15 dB of boost or cut +5 signal if the EQ is not needed. When this button is out, at 2.5 kHz, and it is fl at at 0 the EQ controls have no effect on the signal. You may the detent. Midrange EQ is –5 use this switch to make an A/B comparison between the often thought of as the most –10 –15 EQ'd signal and the signal
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Aux Sends 1-6 [19] are line-level outputs, and are 38. CHANNEL FADER used if you want to connect external processors, This is the last control in a channel’s signal path, and powered stage monitors, or external power amps with it adjusts the level of each channel onto the main mix. passive stage monitors. Aux Returns 1-4 [18] are The “U” mark indicates unity gain, meaning no increase line-level inputs, typically used to return the output or decrease of signal level. All the way up pr
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However, if you are printing tracks via the recording Solo signals reaching the headphones and outs [20] or via FireWire [3], the channel assignment control room are not affected by the channel switches no longer matter since the recording outs come level or main level; therefore, turn down the before the assign switches. phones level [48] and control room level [47] fi rst, as soloed channels may be loud. The Onyx 1640i is what we call a "true 4-bus mixer." Each channel may be assigned or u
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42. HEADPHONE OUTPUT This 1/4" TRS connector supplies the output to your stereo headphones. It is the same signal that is routed to the control room outputs [16], as determined by the control room/phones source matrix [44, 45]. The PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE volume is controlled with the phones knob [48], right next to the control room knob [47]. 42 43 LAMP Whenever a solo switch [41] is engaged, you will 12V 0.5A only hear the soloed channel(s) in the headphones. Th
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3. If you have tape as your source matrix 45. TAPE, SUB 1-4, FW 1-2 selection, and then engage this switch, it can Using these source switches, you may choose to create a feedback path between tape in and listen to any combination of tape, sub 1-2, sub 3-4, and tape out. Make sure your tape deck is not in FireWire in the control room and headphones, in record, record-pause, or input monitor mode addition to the main mix if its switch [44] is engaged. when you engage these switches, o
