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Mackie 4Bus User's Manual

1. Aux 1 Pre Aux 3 Post Aux 4 Aux 5 Pre Aux 5 Post Aux 6 Pre Aux 4 FECERO cadad ZA m Noort 1010 CO co X JEE 2 _ Mono Out XXX XX xx xxm E g 55555555559 suLiiriL CE ns ILIIIIIIISSIION L Tape Out of 1 Linsert LSum Break oy 5 k Ha Main Mix L m E Left R Sum g R Insert E to from 7 ompressor Main Out from CEA Main Mix R Assign switch Tape Es g In to Matrix A f E to Matrix B i to Matic A A to Monitor Right to Matrix B H Phones 2M Matrix A AFL T Matrix A Matrix B AFL l R Tape Out y A ESA Matrix A Matrix Mast Out Matrix B ae pod d csv Matrix B 2 g E l Out Group to Main Mix k 1 Group 1 AFL to Matrix A T 1 to Matrix B Group 2 AFL to Matrix A SF to Matrix B 1 g Insert T X Group 1 Level ao V Group 3 4 identical Group 1 LES P sb R gr E v Y Group 1 Insert to from Group Meters PG Out tv Compressor Group 2 Level 9
2. 6 This control gives you w mT up to 15 dB boost or cut at 5 f 12 kHz and is flat at the 0 center detent Use it to 5 add sizzle to cymbals and o an overall sense of trans 5 parency or edge to the 204 100 Ake 2 keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilance or to hide tape hiss High EQ 6 HIGH MID EQ ig Short for midrange id ES this knob provides 15 dB i pri N of boost or cut centered 9 at the frequency deter i i yf mined by its FREQ knob Sy see HIGH MID FREQ ene next Midrange EQ is High Mid EQ 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 range 400 Hz to 8 kHz includes the female vocal range as well as the fundamentals and harmonics for many instruments 7 HIGH MID FREQ 6 This knob ranges from o 400 Hz to 8 kHz and 5 determines the center 0 frequency for the HIGH 5 MID EQ filter This allows 0 youto zero in on the oon an precise narrow band of High Mid EQ Freq Sweep frequencies you want to have affected by the HIGH
3. 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 This apparatus shall not be exposed to dripping or splashing and no object filled with liquids such as vases or beer glasses shall be placed on the apparatus 16 Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR A 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 ALA 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
4. gt TO AUX SEND 1 BUS PRE FADER g Y TO AUX SENDS 2 6 17 GROUP and MAIN MIX ASSIGN Switches Alongside each channel fader are three buttons referred to as channel assignment switches Used in conjunction with the channel s PAN knob they are used to determine the destination of the channel s signal With the PAN knob 13 at the center detent the left and right sides receive equal signal levels GROUPS 1 2 3 4 and MAIN MIX L R To feed only one side or the other turn the PAN knob accordingly If you re doing a mixdown to a 2 track for example simply engage the MAIN MIX switch on each channel that you want to hear and they ll be sent to the MAIN MIX bus If you want to create a subgroup of certain channels engage either the 1 2 or 3 4 switches instead of the MAIN MIX and they ll be sent to the appropriate Group faders From there the groups can be sent back to the MAIN MIX using the MAIN MIX assign switches 70 next to the Group faders allowing you to use the Group faders as a master control for those channels If you re creating new tracks or bouncing existing ones you ll also use the GROUP ASSIGN switches but not the MAIN MIX switch Here you don t want the subgroups sent back into the MAIN MIX bus but sent out via the GROUP OUTS jacks 85 to your multitrack inputs How ever if you re printing tracks via the DIRECT OUTS 76 the channel assignment switches don t matter because the DIRE
5. p e post Ea e T jumper e gt pre Mute Z EQ Aux i Sends t g 4 H Loft a 1 g gr gt 4 i PFL R Stereo Return 1 L Vesp 4 Mono U T1 3 g Level tol Rai gt Gain pus i Off to 10dB to Auxt 2 ot H X AA Aux 3 4 i Tape In i H 7 PFL X LO zT th Level To Monitor and A Break switch RO Stereo Return 2 E Vesp os 4 Mono LA a g Level tol RIE A Gain om i Off to 1008 iB anta ot 14 Aux 3 4 i 14 PFL M eI HPF Level zin T z Talkback to Main R 4 alkback Mic 2 31 to Aux 1 2 f to Aux 3 4 f i4 4 to Aux 5 6 f t Talkback Assign m OU ER ERE BEEBE Es voc E 2 toiag EL Lio ONYX 4 BUS S 3 cakorsroro Sg guns BLOCK DIAGRAM 5 Bx 3x3 x 3333 3x 010406_DB DF NOTE Switches are shown in the default out position Ses gs tat gta ONYX 4eBus Post Mono Level
6. 33 MATRIX A and B MASTER Controls Use these controls to adjust the overall signal level at the MATRIX A and B outputs 34 AFL Solo Switch The AFL switch allows you to hear the Matrix signal through your headphones or monitor outputs This comes after the MATRIX MASTER so you can hear the relative signal level of each Matrix output When you engage the AFL switch on both MATRIX A and B the soloed signal appears in stereo in the head phones and monitor outputs This is useful when you want to use both Matrix outputs to create a stereo mix Remember PFL solo mode always overrides AFL solo mode If you engage a PFL solo switch on a mono or stereo channel the AFL solo is disconnected from the headphones and monitor outputs and replaced with the PFL signal The Rude Solo LEDS below the SOLO meters indicate which solo mode is active 35 COMPRESSOR LIMITER A compressor is used to reduce or limit transient peaks in a signal As the input level to the compressor increases the output level from the compressor increas es linearly until the threshold point is reached After that point the output level no longer increases linearly Instead it increases at a reduced rate determined by the ratio setting In other words the greater the ratio setting the less the output level changes as a function of the input level A compressor is often used on an individual signal voice or group of signals drums to smooth out tran sients an
7. e ON Y X 4 Bus PREMIUM LIVE ANALOG MIXERS w PERKINS EQ amp ONYX MIC PREAMPS OWNER S MANUAL Important Safety Instructions Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry cloth NS ua oC o Mo Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a cart stand tripod bracket or SORPABUECANT table specified by the manufacturer or sold with WARNING the apparatus When a cart is used use caution when moving the cart apparatus combination to N avoid injury from tip over JAM
8. i8 6 E me cececenoossoe of m g aa m s es eeeeeg 896666 ol 8 00 is eeoesoeaeeeeeee mm el 00 SU os aaa ao Gl ae TT AN 9 9 9 is g J 9 9 e 9g g QL WW Ggyu c7 una Gao 812 uu Ggyu CZ wu GGG U Eo 1 39 8 in 1O11 mm Onyx 4eBus Block Diagram RRRA o SELLA anna nan eo Phantom Power 3 o No 0 t x 010 Oc X X IIe e Insert E 3355555555533 beers w rare E Bitenova EEE EEES dd Line 20 to 40 dB A Bypass r3 E Mute Fader Mic Line Inputs Gain Low cut m Assign Mi ne Level Pan Tine PAD S IM LO MID MID Hi i UR i pHt S e nr ET Mic it 5 Pai 400 8K i rw HPF nas HRE LS pe 4 Band EQ ca Mite Mute BB jumper Jumper To fo Aux Z Jumper_ Pre EQ Sends t pos EQ gt gr 1 H jumper pre EQ g postEQ g re EQ 1 E rea 2 1 gr H Stereo ig 4 In uts OL S p EQ out o Pan PREY s va EP T i Mono AE 7 LO MD MID Hi ww 2x 3 41 of i Fader a ee a 1 ing 1 T eo 40 25k 12k Deae Mie aor eel gt T T t i Gain 4 Band EQ H mas 20 to 20dB 1 9 4
9. Main XLR and TRS outputs Maximum Input Levels Mic Input 21 dBu Gain unity pad out Mic Input 30 dBu Gain unity pad in Line Input 21 dBu Gain E 20 dB Tape Input 30 dBu Stereo Return 21 dBu Maximum Voltage Gain Mic Input to Main Out 90 dB Group Out 80 dB Aux Sends 86 dB Monitor Out 103 dB Matrix Out 105 dB Phones Out 103 dB Line Input to Main Out 70 dB Group Out 60 dB Aux Sends 66 dB Monitor Out 83 dB Matrix Out 85 dB Phones Out 83 dB Stereo Return to Main Out 53 dB Group Out 43 dB Aux Sends 49 dB Monitor Out 66 dB Matrix Out 68 dB Phones Out 66 dB Input Impedance Mic Input 3 KQ balanced Mono Channel Line Input 34 KQ balanced Stereo Returns 20 KQ balanced Talkback Mic 1 KQ balanced Output Impedance Main Out 100 Q balanced XLR outputs 300 Q TRS outputs Direct Out 300 Q Group Out 300 Q Monitor Out 300 Q Matrix Out 300 Q Aux Sends 300 Q Phones Out 25 Q 7 3 in 185 mm 31 2 in 792 mm 21 9 in 555 mm 39 5 1b 17 9 kg 7 3 in 185 mm 39 8 in 1011 mm 21 9 in 555 mm 48 0 1b 21 8 kg E Owner s Manual Onyx 3204 mentioned are trademarks or registered trademarks of their and manufacturing methods Therefore we reserve the right to trademarks of LOUD Technologies Inc All other brand names respective holders and are hereby acknowledged 2006 2009 LOUD Technologies Inc All Rights Reserved ucts by in
10. the EQ controls have no effect on the signal You can use this switch to make an A B comparison between the EQ d signal and the signal without EQ We have completely redesigned the EQ circuits in the Onyx Series of mixers based on the designs of Cal Perkins an industry leader in audio engineering for over three decades and long time Mackie collaborator This neo classic design provides the sweet musicality of the British EQ sound while still maintaining 15 dB of boost and cut with optimum Q and minimum phase shift in other words it gives you plenty of control and is pleasing to the ear The 4 band equalization has LOW shelving at 80 Hz LOW MID peaking sweepable from 100 Hz to 2 kHz on the mono channels HIGH MID peaking sweepable from 400 Hz to 8 KHz on the mono channels and HIGH shelv ing at 12 kHz Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example rotating the LOW EQ knob 15 dB to the right boosts bass frequencies below 80 Hz and continuing on Owner s Manual m 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 12 AUX Sends These tap a portion of each channel s signal pre or post fader out to either an effects processor post fader or for stage monitoring pre fader The AUX Send lev els are controlled by the channel s AUX 1 6 knobs
11. the Onyx 4eBus provides an independent monophonic output The Left and Right Main Mix signals are summed and sent to the MONO OUT 84 This controls the signal level at the MONO output 51 MAIN TO MON Switch This switch routes the stereo L R Main Mix signal post fader to both the Monitor and Phones outputs when there are no solo switches engaged The L R Main Mix signal is overridden in the Monitor and Phones outputs by any PFL or AFL solo Note If a PFL solo switch is engaged it overrides the AFL solo mode including MAIN TO MON PHONES PHONES MONITOR SOLOLEVEL MONO D TB ASSIGN 5 3 i MAIN MAIN Al co MAX X AUX e TOMON MX 12 34 546 TALKBACK 9 Owner s Manual enue 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 52 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 destin
12. 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 Mon day Friday during normal business hours 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 during normal business hours PST at 1 800 898 3711 After hours visit www mackie com and click Support or email us at techmail mackie com ONYX 4eBus Appendix B Connections Q XLR Connectors The mono channels use 3 pin female XLR connectors on the MIC inputs They are wired as follows according to standards specified by the AES Audio Engineering Society XLR Balanced Wiring Pin 1 Shield Pin 2 Hot Pin 3 Cold 1 4 TRS Phone Plugs and Jacks TRS stands for Tip Ring Sleeve the three connection points available on a stereo 1 4 or balanced phone jack or plug TRS jacks and plugs are used for balanced signals and stereo headphones Balanced Mono A m HN SLEEVE SLEEVE RING TIP e 1 4 TRS Balanced Mono Wiring Sleeve Shield Tip Hot Rin
13. 21 20 19 18 17 16 15 14 Several companies make DB25 to DB25 cables specifi cally 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 Correct disposal of this product This symbol indicates that this product should not be disposed of with your household waste according to the WEEE Directive 2002 96 EC and your national law This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service Owner s Manual ONYX 4eBus Appendix C Technical Info Onyx 4eBus Specifications Frequency Response Mixer Rated Output Mic Input to Main Output Gain Unity Main Outs 4 dBu 0 1 dB lt 10 Hz to 80 kHz Aux Send 4 dBu 0 3 dB 10 Hz to 120 kHz Group Send 4 dBu Monitor Out 4 dBu
14. a 10 dBV o9 MACKIE ONYX 32 4 a PREMIUM ANALOG MIXER w PERKINS EQ ABA PHONES MATRIX COMPRESSOR MAIN MIX A B zo INPUT G R LEFT RIGHT GY OdB 0dBu a fal ie SUN 20 cur 1 cup em 20 e Uu Oy 30410 O e 2 Se O THRESHOLD n m3 m 10 em 68g m4 faster on quick transient peaks and release the compression quickly between the peaks You can experiment with both settings to determine which one works best in your application 40 BYPASS COMP Switch When the BYPASS COMP switch is pushed in the signal bypasses the compressor but still allows you to see the input signal level to the compressor and the amount of gain reduction applied to the signal on the me ters This is useful when setting up the com pressor settings prior to actually engaging Sii the compressor in a live sound application and for making A B comparisons between the compressed and uncompressed sound Sa mu 9 STEREO i AFL q e 7 10 e 10 10 A 20 em umm 20 OFS e 15 gt gt 8 2 PFL AFL O le reall SOLO signal trickling out will read you guessed it 0 VU on its meters So when is 0 VU actually 0 dBu Right now Mackie mixers show things as they really are When 0 dBu 0 775 V is at the outputs it shows as 0 dB VU on the meters What could be easier By the way the most wonderful thing about standards is that there are so many to choose from Thanks to the Onyx 4eBus
15. and by the AUX SEND MASTERS knobs 55 These are more than just effects and monitor sends They can be used to create stereo in ear monitor mixes generate separate mixes for recording for another zone or mix minuses for broadcast 13 PAN PAN adjusts the amount of channel signal sent to the left versus the right outputs With the PAN knob hard left the signal feeds the MAIN LEFT and GROUP 1 and 3 depending on the setting of the GROUP ASSIGN switches With the knob hard right the signal feeds the MAIN RIGHT and GROUP 2 and 4 Constant Loudness The Onyx 4eBus PAN control em ploys a design called Constant Loud ness If you have a channel panned hard left or right and then pan to the center the signal is attenuated 3 dB to maintain the same apparent loudness Otherwise it would make the sound appear much louder when panned center N 14 MUTE Press this switch to mute the individual channel This disconnects the channel s signal from all the Groups the Main Mix and Aux Send buses pre and post fader You can still solo the channel PFL when the MUTE switch is pushed in If the pre fader Aux Send s internal jumper is wired for pre Mute 56 the MUTE switch will not affect the PRE Aux Send EQ IN OUT LOW CUT INSERT PRE EQ c 1 PRE EQ DIRECT OUT 1 POST EQ INTERNAL JUMPER Aux Pre vs Post Signal Flow Diagram n
16. as follows Tip Positive or hot Ring Negative or cold Sleeve Shield or ground When connecting an unbalanced signal wire them as follows Tip Positive or hot Sleeve Shield or ground ONYX MIC Pe EE MACKIE ONYX 32 4 gt Owner s Manual m 75 INSERT These 1 4 TRS jacks provide a send and return point for each channel Use the INSERT jacks to connect serial effects devices such as compressors equalizers de essers or filters 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 Special insert cables are available specially designed for this kind of insert jack They are wired as follows SEND to processor aes ring gt from tip We sania TRS plug CT lt this plug connects to one of the A E mixer s Channel Insert jacks RETURN from processor g 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 GAIN post LOW CUT and pre EQ This is an unbal anced direct out in contrast to the DIRECT OUTS on the rear panel which ar
17. designed to provide reasonable protection against harmful interference in a residential installation This equip ment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna e Increase the separation between the equipment and the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help CAUTION Changes or modifications to this device not expressly approved by LOUD Technologies Inc could void the user s authority to operate the equipment under FCC rules 21 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions trom digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils
18. num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 22 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure against potentially danger ous exposure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pres sure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here Duration Sound Level Typical Example pa day in dBA Slow DUIS Response Duo in small club Subway Train 3 2 Very loud classical music 0 25 or less 115 Loudest parts at a rock concert Greg and Ben screaming at Troy about deadlines Table of Contents Introduction ssssseooooosossecocoooooo
19. the Onyx 4eBus For your own good read them and remember them They will be on the final test z E 2 E gt This icon leads you to in depth explanations of features and practi cal tips While not mandatory they usually have some valuable nugget of information A CLOSER LOOK A PLUG FOR THE CONNECTOR SECTION Appendix Bis a section on connectors XLR connec tors balanced connectors unbalanced connectors and special hybrid connectors More resources on our website at www mackie com Click on Support to find answers to many of your ques tions The FAQ Frequently Asked Questions section is filled with answers to many of the questions our Techni cal Support staff has fielded over the years Check out the glossary for explanations of many of the pro audio terms used in our manuals Getting Started READ THIS PAGE Even if you re one of those people who never read manuals all we ask is that you read this page now before you begin using the Onyx 4eBus You ll be glad you did Zero the Controls 1 Turn down the channel GAIN AUX and Fader con trols and center the channel EQ and PAN controls 2 Set all push button switches to their out positions 3 Inthe Master section turn all the rotary knobs down the switches out and the faders down 4 Turn the POWER switch off Connections If you already know how you want to connect the Onyx 4eBus mixing console go ahead and conne
20. the unbalanced input If there are ground loop problems this connection may be left disconnected at the balanced end Owner s Manual e When connecting an unbalanced output to a bal anced input be sure that the signal high hot connections are wired to each other The unbal anced ground earth connection should be wired to the low cold and the ground earth connec tions of the balanced input If there are ground loop problems try disconnecting the unbalanced ground earth connection from the balanced input ground earth connection leaving the unbalanced ground connected to the balanced input low cold con nection only In some cases you may have to make up special adapters to interconnect your equipment For example you may need a balanced XLR female connected to an unbalanced 1 4 TS phone plug Many common adapters can be found at your local electronics supply store The balanced to unbalanced connection has been anticipated in the wiring of Mackie jacks A 1 4 TS plug inserted into a 1 4 TRS balanced input for example will automatically unbalance the input and make all the right connections Conversely a 1 4 TRS plug inserted into a 1 4 unbalanced input will not necessarily tie the ring low or cold to ground earth TRS Send Receive Insert Jacks Mackie s single jack inserts are three conductor 1 4 TRS phone jacks They are unbalanced but have both the mixer output send and mixer input return sig
21. where you plug in your stereo headphones It is a 1 4 TRS stereo jack and provides the same signal that is routed to the MONITOR outputs 78 The volume is controlled with the PHONES knob 47 WARNING The headphone amp is designed to drive any standard headphones to a very loud level We re not kidding It can cause permanent hearing damage Even intermediate levels may be painfully loud with some headphones BE CAREFUL Always start with the PHONES level turned all the way down before connect ing headphones to the PHONES jack Keep it down until you ve put on the headphones Then turn it up slowly Why Always remember Engineers who fry their ears find themselves with short careers Phones Monitor Solo Mono and Talkback Section 47 PHONES Level Control This controls the signal level at the stereo headphone output 46 48 MONITOR Level Control This controls the signal level at the MONITOR output 78 49 SOLO LEVEL Control The SOLO LEVEL control is used to adjust the volume of the solo ed signal as it is routed to the MONITOR 78 and PHONES 46 outputs This control is independent of and prior to the MONITOR and PHONES level controls This controls the solo signal level for both PFL and AFL solo modes You can use the SOLO LEVEL control to balance the solo levels with the main or tape levels at the MONITOR or PHONES out 50 MONO Level Control In addition to the Left and Right Main Mix outputs
22. wide dynamic range you can get a good mix with peaks flashing anywhere between 20 and 10 dB on the meters Most amplifiers clip at about 10 dBu and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 10 Remember audio meters are just tools to help assure you that your levels are in the ballpark You don t have to stare at them unless you want to Note The L R meters indicate solo levels whenever an AFL or PFL solo switch is pushed in 43 RUDE SOLO Lights These LEDs flash on and off when a channel s solo is active as an additional reminder beyond the indicating LEDs next to each PFL or AFL button The green LED indicates PFL solo mode and the amber LED indicates AFL solo mode If you work on a mixer that has a solo function with no indicator lights and you happen to forget you re in solo mode you can easily be tricked into thinking that something is wrong with your mixer Hence the RUDE SOLO lights It s especially handy at about 3 am when no sound is coming out of your moni tors but your multitrack is playing back like mad 44 POWER Indicator This LED indicates when power is applied to the Onyx mixer and the POWER switch is on 45 LAMP Connector This female BNC connector provides 12 volts DC for gooseneck lamps See your Mackie dealer for gooseneck lamp recommendations 12 V lamp with BNC connector 46 PHONES Jack This is
23. 09 2006 2009 LOUD Technologies Inc All Rights Reserved Owner s Manual D J U o E Introduction Thank you for choosing a Mackie Onyx 4eBus profes sional live mixing console The Onyx 4eBus mixers fea ture all new analog circuitry and the latest technologies for live sound reinforcement in a durable road worthy package The Onyx 4eBus mixing consoles replace the legend ary SR24e4 and SR32e4 VLZ PRO mixers The new Onyx versions of these mixers maintain the same physical size channel count and features of the originals while adding a variety of new and improved features The Onyx 4eBus consoles are equipped with our new premium precision engineered studio grade Onyx mic preamps Mackie is renowned for the high quality mic preamps used in our mixers and the Onyx mic pre s are better than ever with specifications rivaling expensive stand alone boutique mic preamplifiers Each mono channel strip features an individual phan tom power switch low cut filter mic input pad pre EQ channel insert and an all new four band EQ design with sweepable mids and EQ bypass switch All mono channels have six Aux sends Pan Mute PFL Solo 100 mm Fader Group and Main Mix assign and four signal level indicators In addition balanced direct outputs are provided on DB 25 connectors eight chan nels per connector for multitrack recording The master section features two Stereo Returns six Master Aux sends four Grou
24. 1 Mute Group2 VEGA Assign switch zh ox 5 A gr I 3v Group 2 Sa Insert i Out PRE L1 Aux 1 SV Mute ee gt CRA Aux 1 Level is CV fi Aux 1 Out Insert F MECE Aux 2 I T I ERN t Aux 2 Level Mute e 2 Aux 2 Out 2x AL Aux 1AFL a g Aux 3 6 identical Aux 2 AFL or TL Main to Mon A gt _ Te from Main Out i RA Main Meters LR 1 ss Monitor EB evel Ey 5 B BUDE EA Monitor ZE LEDS k LOut Amber AFL AFLL ov Green PFL 2 Monitor PFLL 1 gt R Out t x AFLR 1 2 Phones PFLR i y 1 Solo Level PFL AFL Solo Logic 1 from Tape In L gt i RAR of L1 ToMonPhones Bypass 9 ty LE Gain Input 2 Reduction Meter Meter a al Eris B B Stereo B Compressor From Grp 3 4 gt o To Grp 3 4 1 From Grp 1 2 gt o lt To Grp 1 2 i From Main Mix gt 1 9 To Main Mix Off e lt Off COMP ASSIGN T amm ag pup P TIA Owner s Manual Onyx 4eBus Gain Structure Diagram S3NOHA 3IOLINOW Mav 144 0108 nl s GOGOIO nano 13421 13431 NVa9vId 13431 SAS Ov XANO AINOVI SNANLIA x uen 01 3 707 Ww ao A 10 d NIYIN 5 uoud apo MWH 9 g woua SA Nene n gg oi maa MEPER NI SOVETVL aN36 xnv Ova VL l NOISSY al 12421 1naLno aee xny xinxny mas pues quasu 4195u ap 6 7 014 Sa p o 1 aro oy amp amp amp W I H A 9 y woad par dn ap el Ta
25. AIN MIX Fader This is the master fader that control the levels at the MAIN OUTS When MAIN TO MON 51 is selected in the PHONES MONITOR Section the MAIN MIX fader also controls the main mix level in the PHONES and MONITOR outputs 46 78 When the fader is fully down the MAIN MIX is off The U marking indicates unity gain and fully up pro vides 10 dB of additional gain Typically this fader is set near the U label and left alone but it can be used for song fade outs or quick system wide mutes BAL UNI MIC M BAL UNBAL BAL UNBAL Rear Panel This is where all the connections are made to the Onyx 4eBus except the headphones and lamps 73 MIC Input This is a female XLR connector which accepts a bal anced microphone input from almost any type of micro phone The microphone preamps feature our new Onyx design with higher fidelity and headroom rivaling any standalone mic preamp on the market today The XLR inputs are wired as follows Pin 1 Shield or ground Pin 2 Positive or hot Pin 3 Negative or cold The MIC inputs can accept a balanced line level input when the PAD 1 switch on the channel strip is pushed in the input impedance is lower than the LINE input 74 LINE Input This is a 1 4 TRS connector which accepts a balanced or unbalanced line level input signal from almost any source When connecting a balanced signal to the LINE inputs wire them
26. CT OUTS come before the ASSIGN switches 18 PFL SOLO Switch This handy switch allows you to hear signals through your headphones or monitor outputs without having to route them to the MAIN or GROUP 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 It won t affect what is coming out the MAIN OUT or GROUP OUT jacks The Onyx 4eBus has two solo modes PFL Pre Fader Listen is the default solo mode and the mode used for inputs including soloing individual channels and the Stereo Returns AFL After Fader Listen is activated whenever an AFL switch is pressed on an output includ ing an Aux Send Matrix or Group PFL solo mode always overrides any AFL solo mode The Rude Solo LEDS 43 below the SOLO meters indi cate which solo mode is active Soloed channels are sent to the PHONES output and MONITOR outputs and also to the MAIN MIX meters PFL mode Pre Fader Listen sends the channel s signal after the GAIN and EQ controls but before the channel fader to the PFL solo bus and appears on the LEFT meter AFL mode After Fader Listen sends the signal post fader and appears on the LEFT and RIGHT meters making it ideal for mixdown soloing VERY IMPORTANT Remember PFL mode taps the channel signal before the fader If you have a channel s fad er
27. Distortion THD amp IMD Matrix Out 4 dBu Mic Input to Main Output E 4 dBu Maximum Rated Output THD lt 0 007 20 Hz to 20 kHz 0 003 1kHz typical SMPTE IMD lt 0 005 7 kHz 60 Hz 4 1 Dynamic Range gt 115 dB Mic In to Main Out Noise Floor Signal to Noise Ratio 87 dBu ref 4 dBu Mic In to Main Out 32 channels and Main Mix levels at unity 89 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 1509 source impedance 129 5 dBu 60 dB gain Mic Output Noise Direct Output 100 dBu minimum gain Residual Output Noise Main Out 100 dBu Channel and Main Mix levels off Main Out 32 4 83 dBu 32 channels and Main Mix levels at unity 24e4 85 dBu 24 channels and Main Mix levels at unity Common Mode Rejection Ratio CMRR Mic In gt 70dB 1 kHz Gain maximum Crosstalk lt 95 dB 1 kHz lt 85 dB 1 kHz Adjacent Inputs Input to Output Input Gain Control Range Mic In 0dBto 60 dB Line In 20 dB to 40 dB mono channels Phantom Power 48 VDC 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 21 dBu
28. MID EQ 8 LOW MID EQ 6 This is a second mid o MEN range EQ control that 5 f E provides 15 dB of boost or cut centered at the 5 S a frequency determined by 0 its FREQ knob It extends pp i down to 100 Hz which Low Mid EQ includes the male vocal range and the fundamen tals of some lower instruments guitar lower brass 9 LOW MID FREQ O yS 5 This knob ranges from lt so 100 Hz to 2 kHz and determines the center frequency for the LOW UY MID EQ filter This allows you to zero in on the T precise narrow band of D Low Mid EQ Freq Sweep requencies you want to D have affected by the LOW MID EQ QU 10 LOW EQ This control gives you Ms up to 15 dB of boost or cut i NO at 80 Hz The circuit is flat 0 no boost or cut at the lt gt center detent position o zai This frequency represents Bs the punch in bass drums ue T bass guitar fat synth Low EQ Pu patches and some really serious male singers Note Used in conjunction with the Low Cut switch you can boost the LOW EQ without injecting tons of infrasonic debris into the mix Tl EQ IN OUT Switch This is a true hardware bypass of the Perkins EQ cir cuitry to insure that there is no coloration of the signal if the EQ is not needed When this button is out
29. NNVHO 033215 qno xeu ngp z4 XIV NOISSV 33dvd alnW Nyd 03 SULBI CIAS NIAN nano 1958 XIIVA XI XIN dn Wri ued ap oz 3 avo apo ap aro i d IW HOIH al MO1 dn ap 9y sdnoip pue UE dn ap o apis auo gp g UMOP WAL ssol ap OZ 5 Wold dngpgit dngpgit dngpait dngpgt 2 2 2 2 2 2 eo 4no xeu n ul xew ngp Z ap Iz SNR I sjauueyo OUOW Ni 3NIT SindLno 13431 dn WAL ue ap Op ang 3 X qe O aro tw ae 5 10 y wold d lt p ue NI 34WL vo dn ap zi dn ap ol UMOP NI S30 ap Oz ul xeu nap oe ejguueuo ouow NI JIN SANOND PUE XIN NIYA JANNVHO ONOW dn ia ute ap 09 I amp 1nalno 330 XIN NOISSV Nv4 33av4 ain Ya uanga ua Reet T 1 110 4 494499 uangay puas MO 7 1 PUE AIX AP O dp 9 eare qgpc 3 96u 4 19SU umop WIS ueb ap o 3 lt D aro dn ap or ano 7 1 pue 3x mo xeu ngp Z GIN HOIH AIN MOT F ap o a 7 9 dn ap Ol dn ap i dngpgi dngpai dn gp a vo aro ul xeu ngP Z ONYX 4eBus Mackie Limited Warranty Please keep your sales receipt in a safe place This Limited Product Warranty Product Warranty is provided by LOUD Technologies Inc LOUD and is applicable to products purchased in the United States or Canada through a LOUD authorized reseller or dealer The Product Warranty will not extend to anyone other than the original purchaser of the product hereinafter Customer you or your For products purchased outside the U S or Canada please visit w
30. ONYX 4eBus PRE MUTE INTERNAL JUMPER PRE SIGNAL 15 Channel Fader The fader controls the channels level from off to unity gain at the U marking on up to 10 dB of ad ditional gain U Like Unity Gain Mackie mixers have a U symbol on many of the level controls 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 the controls at U and your signals will travel through the mixer at opti mal levels What s more many of the labels on our level controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control s settings N 16 Signal Level LEDs These LEDs indicate the channel s signal level after the GAIN and EQ controls but just prior to the channel s fader So even if the fader is turned down you can see if a signal is present If you ve followed the Set the Lev els procedure the 20 and 0 LEDs should light frequently the 10 LED should light occasionally and the OL Overload LED should not light at all If the OL LED is blink ing frequently the signal is probably distorted from overdriving the input Either turn down the GAIN control or turn down the signal at its source 20 w o 5 ASSIGN PAN MUTE gt AUX SEND 1 fo KNOB POST gr TO AUX SEND 1 SIGNAL BUS POST FADER
31. SSOR A B 9 INPUT G R GRP 7 OdB 0dBu DO W es CD MAX co Hee 30 10 510 2 THRESHOLD 4c 3 7e wm d UN UN El 10e ento A Saas e em 12 30 9 el Qe S O m m BYPASS CU v COMP ONYX 4eBus 38 COMP ASSIGN Use this switch to assign the compressor to either the MAIN MIX GROUP 1 2 GROUP 3 4 or OFF not assigned When the compressor is assigned to the MAIN MIX it is inserted in the signal flow after the MAIN MIX fader so it works as an external dynamics processor Once the signal crosses the THRESHOLD boosting the MAIN MIX fader results in little change in the output level de pending on the RATIO setting When the compressor is assigned to one of the GROUP pairs it is inserted in the signal flow before the GROUP faders In this way the compressor can act on a group of channels assigned to the subgroup for example drum microphones and the overall level of the compressed group can be mixed into the main mix 39 FAST ATTACK The ATTACK setting determines how fast the com pressor reacts once the threshold has been exceeded It also affects the release time which determines how fast the compressor turns off once the signal falls below the threshold With the switch up the attack and release times are calibrated to respond to the overall signal level without the audible pumping and breathing artifacts that are sometimes associated with compressors In most cases this is the setting y
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33. ard left the signal feeds the MAIN LEFT output and with the knob hard right the signal feeds the MAIN RIGHT output 67 MUTE Switch Press this switch to mute the Group output When the MUTE switch is pushed in on a Group you can still solo the Group signal see AFL Solo Switch 71 ahead but it is muted at the Group output 85 the Main output 82 when the MAIN Q cco 9 gt J 0 O o dB O o OL OL O O 0 10 10 U O 0 0 O D o STEREO MIX assign switch is pushed in and the ole oa Matrix output 77 ONYX 4eBus 71 AFL Solo Switch The AFL switch allows you to hear the Group signal through your headphones or monitor outputs This comes after the Group Fader and before the MUTE switch so you can hear the relative signal level on each Group even when they are muted When you engage the AFL switch on two consecu tive odd even Groups ie 1 and 2 3 and 4 the soloed signal appears in stereo in the headphones and monitor outputs This is useful when you are using a pair of Group Sends in stereo to feed an in ear monitoring system Remember PFL solo mode always overrides AFL solo mode If you engage a PFL solo switch on a mono or stereo channel the AFL solo is disconnected from the headphones and monitor outputs and replaced with the PFL signal The Rude Solo LEDS below the SOLO meters indicate which solo mode is active 72 M
34. ations 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 53 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 RUE MONITOR soLo LEVEL MONO TB A 531 E MAIN MAIN i AUX e TOMON MX 4299934 54 TALKBACK O TALKBACK MAIN MIX ONYX 4eBus 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 sig
35. by the AUX SEND MASTERS knobs 55 ASSIGN Y 2 oom 26 PAN PAN adjusts the amount of chan nel signal sent to the left versus x the right outputs On the stereo channels 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 ONYX 4eBus 27 MUTE Press this switch to mute the channel This discon nects the channel s signal from all the Groups the Main Mix and Aux Send buses pre and post fader You can still solo the channel in PFL mode when the MUTE switch is pushed in Tf the pre fader Aux Send s internal jumper is wired for pre Mute 56 the MUTE switch will not affect the PRE Aux Send 28 Stereo Fader The fader controls the stereo channel s level from off to unity gain at the U marking on up to 10 dB of additional gain 29 Signal Level LEDs These LEDs indicate the sum of the channel s left and right signal levels after the GAIN and EQ controls but just prior to the channel s fader So even if the fader is turned down you can see if a signal is present If you ve followed the Set the Levels procedure the 20 and 0 LEDs should light frequently the 10 LED should light occasionally and the OL Overload LED should not light at all If the OL LED is blinking fre quently the signal is probably distorted from overdriving the input Either turn down the GAIN control or tu
36. ch 60 to route the TAPE IN signal to the MONITOR and PHONES outputs 80 STEREO RETURNS These 1 4 TRS jacks accept balanced or unbalanced line level stereo signals from an external processor or other line level device The STEREO RETURNS 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 routed 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 81 TALKBACK MIC This is where you plug in your talkback microphone This female XLR connector does not have phantom power so use a dynamic microphone or a self powered condenser microphone 82 LEFT RIGHT MAIN OUTS There are two sets of outputs for the Left Right Main Outputs Male XLR connectors that provide balanced line level signals and 1 4 TRS connectors that provide balanced or unbalanced line level signals Each XLR connector is in parallel with its corresponding 1 4 TRS connector and carries exactly the same signal This represents 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 ampli fiers powered speakers or serial effects processor like a graphic equalizer or compressor limiter if you ar
37. cocccocooooccococcocecocococccosooocococsssssssseesssssssossssssssssssssssss Getting Started nessa Zero MO COE ONS carios ini 5 COMNECHIONS RR 5 SEL ODE Levels rc 5 Instant MD caciones 5 Hookup Dia lp mem Onyx 4eBus Features itat inicie Ra CUbebic cieli ici WO Mono Channel psi cl 10 Stereo Channel Strips iria LE Matrix Compressor and Metering Section e eeeeeeeee 15 Phones Monitor Solo Mono and Talkback Section 17 Auxiliary Section AAA RH SEIEEAEEEHECEAEEEEHE 18 Group Section isc n RE RR 20 AAA A MAA 21 Appendix A Service Information eee 2D TEOUD O ri HEEL te pPR MEO EU oHAM HU ERE RU AMOUR PM FEM FEED 25 Appendix B Connection eiit ttti Appendix C Technical Info eee 30 Onyx 4eBus Specifications anisini 30 Onyx4eBusDimensions sssrinin ias 31 Onyx 4eBus Block Diagram ssccsvsssscssssossnsnssnssesessoosnnssssseeesoossoosnnssssecessooonnnsnsseeecessosonnssnsseeeseoes 32 Onyx 4 Bus Gain Structure Diagram sssssssssssssssssssssssssssssssssssssssssssseessssoseeossseeesnnssssnsssseseeeee 34 Onyx 4eBus Limited Warranty csssssssssssssssssseessosssssessssssssssssssssssoossssssssseeee 3D Don t forget to visit our website at www mackie com for more information about this and other Mackie products Part No SW0600 Rev D 05
38. corporating new and improved materials components change these specifications at any time without notice LOUD Technologies Inc is always striving to improve our prod Mackie Onyx and the Running Man are registered Physical Dimensions and Weight Onyx 24 4 Height Width Depth Weight Onyx 3294 Height Width Depth Weight AMAMMA N f n 3 0 2 4 7 10 20 30 10 12 15 dB 100 watts 120 watts Imensions n n AA A A N 0 dBu normal operating level 0 dBu f fl 100 VAC 240 VAC 50 60 Hz Clip 20 15 10 6 0 LED 0 LED 1 2 3 4 5 6 7 8 9 Onyx 24e4 Onyx 3204 NAN M Channel Level LED Sensitivity Main Left and Right Compressor Input 12 segments Compressor Gain Reduction 12 segments AC Power Requirements Power Consumption Universal AC Power Supply Onyx 4eBus D VU Meters a d a a x lt oo 3 oo 3 g se i d eo E me oo cosooosa Danann o inn F ei oo qj eessees F ce s Tn 8 ee 3 1 a q eee g a oo O 9 99 o o 0 ot za dum E PERE 2 B a q oe b E ear oo O a ERES oo na o E E ee s pee Sp toeten ep tme joo O e ETET oo j B aago o BB ee 3
39. ct the inputs and outputs the way you want them If you just want to get sound through the mixer follow these steps 1 Pluga microphone or other signal source into chan nel 1 s MIC or LINE input 73 74 2 Pluginthe detachable linecord connect it to an AC outlet and turn on the Onyx 4eBus POWER switch 90 3 Connect cables from the Onyx 4eBus MAIN OUTS 82 XLR connectors or 1 4 TRS connectors on the rear panel to your amplifier or active speakers 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 Set the Levels To set the channel GAIN controls it s not even neces sary to hear what you re doing at the outputs of the mixer If you want to listen while you work plug head phones into the PHONES jack 46 on the front panel then set the PHONES knob 47 about one quarter of the way up and the SOLO LEVEL 49 about halfway up The following steps must be performed one channel at a time 1 Pushin the channel s PFL 18 solo switch 2 Play something into the selected input This could be an instrument a singing or speaking voice or 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 isn t you might have to readjust these levels during the middle of the set 3 Adjust the channel s GAIN 4 control so
40. d allow signals to sit in the mix without harshly cutting through A limiter on the other hand is often used between the mixer and the amplifier s to avoid power amplifier clipping or overdriving the speakers known as system limiting The Onyx 4eBus design team decided the compres sor limiter functions could be carried out onboard using a new integrated analog stereo compressor limiter chip designed by THAT Corporation It provides threshold ratio fast slow attack control and perhaps most impor tantly auto gain compensation that provides the ap propriate amount of makeup gain based on the amount of compression taking place The following knobs and switches are used to control the compressor 36 THRESHOLD Determines the level at which the compressor begins to act on the incoming signal It is calibrated in deci bels ranging from 80 to 10 dB 37 RATIO Determines the change in output level as a function of the change in input level once the threshold has been exceeded The Ratio control ranges from OFF 1 1 to LIMIT 9o 1 Thus if the ratio is 2 1 an increase in input level of 10 dB assuming the input is above the threshold level results in a 5 dB increase in output level When set to LIMIT the compressor acts as a peak limiter After the initial attack time the output changes very little once the input crosses the threshold MACKIE ONYX 32 4 9 PREMIUM ANALOG MIXER w PERKINS EQ MATRIX COMPRE
41. e balanced direct outputs post GAIN post INSERT and pre EQ Here are three ways you use the INSERT jacks MONO PLUG Direct out with no signal interruption to master Insert only to first click MONO PLUG Direct out with signal interruption to master Insert all the way in to the second click STEREO UT PLUG Channel Insert jack For use as an effects loop TIP SEND to effect RING RETURN from effect O Channel Insert jack OT Channel Insert jack 76 DIRECT OUTS Each of these DB 25 connectors provides balanced direct outputs for eight channels They are designed to be connected directly to a recorder s analog inputs and use the TASCAM standard pinout for analog signal con nections the same standard used on the analog cards for the Mackie D8B DXB and Hard Disk Recorder The signal at the DIRECT OUTS comes after the input GAIN control Low Cut switch and INSERT jack but before the EQ This way you can EQ a channel and ad just 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 unein 31 unem 29 A E SA sono MON BALUNBAL BAL UNBAL BAL UNBAL LZ SN 0 0 SZ MAIN BALANCED OUTS RIGHT E RIGHT RIGHT LEFT TALK PACK INSERT 23 INSERT 22 INSERT 21 INSI BAUUNBAL fz A ere ere y S n ONYX 4eBus Internal
42. e not using the built in stereo compressor on the main outs insert 15 insert 14 mserr 13 d LINE 2 e O e e e e e e e 2 e ZA 2 ONAL SALUNSAL SALAUNSAL BAUUNBAL BAL UNBAL BAL UNBAL BALUNSAL BALUNSAL BAL UNBAL BALUNSAL BAUUNBAL BALUNBAL BALIN BAL UNBAL MI MC MC MIC MIC MIC MIC MIC MIC MIC MIC MIC ps piss ES NLM 3 ont NMC mp y MICH m C Phe NAME Prg 2 ec cw porte e deseen IC pi POST GAIN INSERT Jo e a SEE EA o DIRECT OUTS MACKIE onyx 32 4 L Owner s Manual z 83 MAIN INSERTS 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 and BREAK 61 switch but before the MAIN MIX faders and the built in compressor Refer to the description of the channel insert on the previous page to see how to make this connection 84 MONO OUT This male XLR output connector provides a balanced line level signal that is a combination of the left and right MAIN OUT signals L R You can use this for a separate mix that doesn t require a stereo feed or to simply test the monaural compatibility of your stereo mix 85 GROUP OUTS 1 4 These 1 4 TRS output connectors provide balanced or unbalanced line level signals for connecting to the inputs of any line level device 86 GROUP SEND INSERTS These 1 4 TRS jacks are for connecting serial effects
43. e party to be bound thereby Owner s Manual 35 e 16220 Wood Red Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
44. ed on to prevent pops from get but the Low Cut switch can help reduce the possibility ting through to the speakers of feedback in live situations and it helps to conserve amplifier power 4 GAIN Control Another way to use the Low Cut switch is in combination with the LOW EQ on Ifyou havent already please read vocals during live performances Many Set the Levels on page 5 times bass shelving EQ ean really ben mo GAIN control adjusts the input oe uve nit Mo EQ sensitivity of the mic and line inputs also boosts stage rumble mic handling This allows the signal from the out clunks and breath pops Low Cut removes all those prob side world to be adjusted to optimal lems so you can add LOW EQ without losing a woofer internal operating levels Here s what the combination of LOW EQ and Low Cut If the signal is pl d into th looks like in terms of frequency curves PISA DURS SITUE Ma XLR jack there is 0 dB of gain 6 unity gain with the knob turned all the way down ramping up to 60 dB of gain fully up 20 dB to 40 9 dB with the PAD switch pushed in 2 When connected to the 1 4 jack there is 20 dB of 46 attenuation all the way down and 40 dB of gain fully up ae E uic with a U unity gain mark at about 10 00 Low Cut with Low EQ Boosted ONYX 4eBus 5 HIGH EQ
45. f the problem goes away it s not the mixer e If it s a stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the problem stays on the left side it s not the mixer Bad Sound e Is the input connector plugged completely into the jack e 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 e If possible listen to the signal with headphones plugged into the input source device If it sounds bad there it s not the Onyx 4eBus causing the prob lem Noise Hum e Turn down the STEREO RETURN LEVEL controls 64 If the noise disappears it s coming from what ever is plugged into the STEREO RETURNS 80 e Turn down each channel one by one If the noise disappears it s coming from whatever is plugged into that channel e Check the signal cables between the input sources and the Onyx Disconnect them one by one When the noise goes away you ll know which input source is causing the problem e Sometimes it helps to plug all the audio equipment into the same AC circuit so they share a common ground Owner s Manual 125 Repair For warranty service refer to the warranty informa tion on page 35 Non warranty service for Mackie products is avail able at a factory authorized service center To locate your nearest service center
46. g Cold Stereo Headphones irme RING SLEEVE 1 4 TRS Stereo Unbalanced Wiring Sleeve Shield Tip Left Ring Right ap SLEEVE SLEEVE RING TIP b 1 4 TS Phone Plugs and Jacks 2 TS stands for Tip Sleeve the two connection points i available on a mono 1 4 phone jack or plug They are used for unbalanced signals V N We SLEEVE SLEEVE TIP a S TIP SLEEVE 1 4 TS Unbalanced Wiring Sleeve Shield Tip Hot gt i RCA Plugs and Jacks RCA type plugs also known as phono plugs and jacks are often used in home stereo and video equipment and in many other applications They are unbalanced and electrically equivalent to a 1 4 TS phone plug SLEEVE TIP SLEEVE TIP EEC E pi 4 RCA Unbalanced Wiring Sleeve Shield Tip Hot Unbalancing a Line In most studio stage and sound reinforcement situ ations there is a combination of balanced and unbal anced inputs and outputs on the various pieces of equipment This usually will not be a problem in making connections e When connecting a balanced output to an unbal anced input be sure the signal high hot connec tions are wired to each other and that the balanced signal low cold goes to the ground earth connection at the unbalanced input In most cases the balanced ground earth will also be connected to the ground earth at
47. he shipping box You may need it someday and you don t want to have to pay for another one That s it for the Getting Started section Next comes the Hookup section that shows you some typical ways that you might use the Onyx 4eBus in real applications After that take the grand tour of the mixer with de scriptions 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 it s there if you have any questions Owner s Manual 5 Hookup Diagrams This hookup diagram demonstrates how you can make a live multitrack recording using the DIRECT OUTs The DIRECT OUTs provide an analog balanced direct output for each channel pre EQ The Matrix outputs are used to create a stereo recording for backup Aux Send 4 is used for stage monitors and a graphic EQ is connected to the Aux 4 Insert jack serving as a dedicated in line EQ for the monitors Aux Sends 5 and 6 are used to drive a stereo IEM system Aux Send 3 drives a stereo effects processor whose stereo signal is returned via the Stereo Returns jacks O Stereo In Ear Moni System IEM Onyx 24 4 Live Club Mix and Multitrack Recording L6 ONYX 4eBus Electric Guitar Mono Power Stage Monitor Amplifier Mono Power Stage Monitor Amplifier um System IEM Mono Power Stage Monitor Amplifier dl Mono Power Stage Monitor Am
48. icrophone needs phantom power An LED lights just above the In most cases you will leave the PAD switch out How switch to indicate that phantom ever you may have a microphone that produces a higher Power is active on that channel output signal than usual which may require you to turn the GAIN control way down If that is the case push in the PAD switch to insert a 20 dB pad at the input to the mic preamp to prevent overloading the microphone pre amp and provide better gain control Dynamic microphones like Shure s 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 2 Low Cut Switch phantom power is turned on Be careful with older ribbon micro The Low Cut switch often referred to as a high pass phones Check the manual for your filter cuts bass frequencies below 100 Hz at a rate of18dB microphone to find out for sure per octave whether or not phantom power can Wi damage it e recommend that you use the Low Cut switch on every microphone application except kick drum bass Note Be sure the MAIN MIX fader guitar bassy synth patches or recordings of earth 72 is turned down when connect quakes These aside there isn t much down there that ing microphones to the MIC Inputs you want to hear and filtering it out makes the low stuff especially when phantom power is you do want much more crisp and tasty Not only that turn
49. ion against AC line noise 90 POWER Switch This one is self explanatory When the POWER switch is turned ON power is supplied to the Onyx 4eBus and the POWER LED on the front panel lights up Press the bottom of this switch to put the mixer into standby mode It will not function but the circuits are still live To remove AC power either turn off the AC mains sup ply or unplug the power cord from the mixer and the AC mains supply LINE IN EN LINE IN e e A e d RETURNS L UNBAL os e e e De AA AN e RIGHT 9 9 e VE PACK RIGHT INSERT 28 INSERT 24 INSERT 23 INSERT 22 LINE LII LINE INE ur Mes ae Me MC Mic ZN Z x RIGHT MONO N INSERTS xe je e e ee RA je wan DM 8 OUTS SAUUNBAL S Jesse E s el O ONYX 4eBus Appendix A Service Information If you think your Mackie product has a problem please check out the following troubleshooting tips and do your best to confirm the problem Visit the Support sec tion of our website www mackie com support where you will find lots of useful information such as FAQs and other documentation You may find the answer to the problem without having to send your Mackie product away Troubleshooting No Power e Our favorite question Is it plugged in e Make sure the power cord is securely seated in the IEC socket 89 and plugged all the way into the AC outlet e Make s
50. ittle to reduce sibilance or to hide tape hiss 21 HIGH MID EQ 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 de fine any particular sound are almost always found in this Owner s Manual n range The HIGH MID EQ frequen cies include the female vocal range as well as the fundamentals and harmonics for many instruments 22 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 23 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 24 EQ IN OUT Switch This is a true hardware bypass of the Perkins EQ circuitry to insure that there is no coloration of the signal if the EQ is not needed When this button is out the EQ controls have no effect on the signal You can use this switch to make an A B comparison between the EQ d signal and the signal without EQ 25 AUX Sends These tap a portion of each channel s signal out to an effects processor or for stage monitoring The AUX Send levels are controlled by the channel s AUX 1 6 knobs and
51. jumpers are provided to change the DIRECT OUTS to post EQ on a channel by channel basis if desired This requires some soldering skills so contact Tech Support for information on how to access the pre post EQ jumpers for the DIRECT OUTS See Appendix B for a wiring diagram of the DIRECT OUT connectors 77 MATRIX OUT These 1 4 TRS jacks provide balanced line level sig nals for the MATRIX A and B mixes These can be con nected to the inputs of an amplifier powered speaker headphone distribution amplifier or recording device 78 MON ITOR OUT These 1 4 TRS jacks provide a balanced line level signal that can be used to provide another main mix output with MAIN TO MON 51 selected in the PHONES MONITOR Section or to monitor soloed channels Connect these outputs to the inputs of an amplifier powered speaker headphone distribution amplifier or recording device 79 TAPE IN OUT Use the TAPE OUT jacks to capture the entire perfor mance to tape The signal at these jacks is the main mix after the MAIN INSERTS 83 the MAIN MIX FADER 72 and the COMPRESSOR 41 Use the TAPE IN jacks to connect the outputs from any stereo line level signal source such as a tape player CD player MP3 player television audio etc to provide inter mission entertainment Push in the BREAK switch 61 to route the TAPE IN signal to the mains and disconnect the main mix signal from the MAIN OUT and push in the TO MON PHONES swit
52. mix When the PRE POST switch is pushed in the Aux send signal is post fader which is usually used when you are using the Aux send to go to an effects processor This way when fader changes are made the wet signal going to the effects processor moves up and down along with the dry signal maintaining a balance between them The pre fader Aux Sends are post EQ by default How ever an internal jumper is provided on each channel to change the pre fader Aux Sends to pre EQ if desired This requires some soldering skills so contact Tech Sup port for information on how to access the pre post EQ jumpers for the Aux Sends 57 AFL Solo Switch The AFL switch allows you to hear the Aux Send sig nal through your headphones or monitor outputs This comes after the Aux Send GAIN control so you can hear the relative signal level on each Aux Send Remember PFL solo mode always overrides AFL solo mode If you engage a PFL solo switch on a mono or stereo channel the AFL solo is disconnected from the headphones and monitor outputs and replaced with the PFL signal The Rude Solo LEDS below the SOLO meters indicate which solo mode is active 58 MUTE Press this switch to mute the Aux Send output When the MUTE switch is pushed in on an Aux Send you can still solo the Aux Send 59 CD TAPE Level Control This knob controls the level of the signals connected to the left and right TAPE IN jacks The signal is then se
53. nals 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
54. nals in one connector The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring A SEND to processor ring from tip n sleeve TRS plug um PA this plug connects to one of the gt C mixer s Channel Insert jacks RETURN from processor Using the Send Only on an Insert Jack If you insert a 1 4 TS mono plug only partially to the first click into a Mackie insert jack the plug will not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer Y Cord Splitter ONYX 4eBus This allows you to tap out the channel s signal at that point in the circuit without interrupting normal operation Note Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal signal VERY IMPORTANT If you push the 1 4 TS plug in to the second click you will open the jack switch and create a direct out which does interrupt the signal in that channel NV ZR Ee PLUG Channel Insert jack Direct out with no signal interruption to master Insert only to first click MONO PLUG Direct out with eignal interruption to master Insert all the way in to the second click STEREO Vt PLUG es Channel Insert jack VYA Channel In
55. ns Since the Stereo Returns on the Onyx 4eBus have Aux Sends of their own you could accidentally route the Stereo Return signal to an Aux Send that is being returned via that same Stereo Return This will cause a feedback loop STEREO RETURNS characterized by DO O a E gt a LOUD howl or screech through in The CD TAPE STA AmE AFL MUTE SOK roo a the sound system level control pro O CD TAPE E ARA followed by howls vides 10 dB of ad of discontent from ditional gain when a AFL MUTE ii the audience Be turned fully up O xn d careful with the Aux Sends on the AU AFL MUTE aui ala au ala Stereo Returns O co MAX oo MAX AUX AUX RO AFL MUTE x 2 D IO 1 PRE AFL MUTE EVEL eve POST BE O o Lj o Y Per AFL MUTE PFL PFL Owner s Manual 63 SHIFT Switch The Stereo Returns have two Aux Send controls When the SHIFT switch is up they route the signal to Aux 1 and Aux 2 and when the switch is down they route the signal to Aux 3 and Aux 4 64 STEREO RETURNS LEVEL Control This controls the level of the Stereo Return signal being sent to the Main Mix bus It ranges from off to 10 dB of additional gain when turn fully clockwise 65 PFL Solo Switch Like the PFL switch on the stereo channels this switch allows you to hear signals through your head phones or monitor outputs without having to route them to the Main Mix Since this is Pre Fader Listen you can listen to the Ste
56. nt to the MONITOR PHONES output when the TO MON PHONES switch 60 is pushed in and the MAIN OUT when the AUX D MASTER BREAK switch 61 is pushed 556 57 58 60 TO MON PHONES Switch Press this switch to route the CD TAPE signal to the Monitor and Phones outputs when there are no solo switches engaged The Main Mix and CD TAPE signal is overridden in the Monitor and Phones outputs by any PFL or AFL solo 61 BREAK TAPE TO MAIN Press this switch to route the CD TAPE signal to the Main outputs This actually disconnects the Main Mix signal from the Main outputs and replaces it with the CD TAPE signal This allows you to easily start up recorded music during a break without having to mute or turn down the faders on all the channels The patch point for the BREAK switch is prior to the MAIN INSERTS the COMPRESSOR if selected and the MAIN MIX fader 62 STEREO RETURNS AUX Sends These tap a portion of the STEREO RETURNS signal out to AUX 1 4 This allows you to send a processed signal out to another processor if you want or to add a processed signal to a monitor mix or to use the Stereo Return as a stereo input and still be able to send the signal to an external processor or stage monitor 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 pro cessor via the Stereo Retur
57. ou would use for live sound and recording applications There may be some situtations that require a faster acting attack and release For example mic ing a snare drum produces some fast transient peaks that may get through the compressor before it can act on the signal Pushing in the FAST ATTACK switch allows the compressor to react much 41 COMPRESSOR Meters The INPUT meter indicates the signal level at the input of the compressor Use this to help determine the setting of the THRESHOLD control Once the input level crosses the threshold setting the G R Gain Reduction meters begin to light top to bottom as they indicate how much gain reduction is being applied to the signal Note If the COMP ASSIGN switch 38 is OFF the COMPRESSOR meters will not indicate any signal 42 LEFT RIGHT Level Meters The Onyx 4eBus Left and Right Level meters are made up of two columns of twelve LEDs with three colors to indicate different ranges of signal level traffic light style They range from 30 at the bottom to 0 in the middle to 20 CLIP at the top The 0 LED in the middle is labeled 0 dB 0 dBu You may already be an expert at the world of 4 4 dBu 1 23 V and 10 10 dBV 0 32 V operating levels What makes a mixer one or the other is the relative 0 dB VU or 0 VU chosen for the meters A 4 mixer with 4 dBu pouring out the back will actually read 0 VU on its meters A 10 mixer with
58. p Masters a 6x2 Matrix a Phones Monitor section and a Talkback section with routing switches that allow you to communicate through the Aux Sends and the L R mix A new feature with the Onyx 4eBus mixers is an analog stereo compressor limiter that can be inserted at the out put of the L R main mix or the Group 1 2 or 8 4 outputs Please write your serial number here for future reference i e insurance claims tech support return authorization etc Purchased at Date of purchase po 4 ONYX 4eBus HOW TO USE THIS MANUAL We know that many of you can t wait to get your new mixing console hooked up and you re probably not going to read the manual first sigh So the next section is a Quick Start Guide to help you get the mixer set up fast so you can start using it right away Right after that are the ever popular hook up diagrams that show typical mixer setups for live sound recording and mixdown Then when you have time read the Features Descrip tion section This describes every knob button and connection point on the Onyx 4eBus roughly following the signal flow through the mixer Throughout this section you ll find illustrations with each feature numbered If you want to know more about a feature simply locate it on the appropriate illustra tion notice the number attached to it and find that number in the nearby paragraphs This icon marks information that is critically important or unique to
59. plifier Oo 655 csi e Talkback Mic Listen Wedge Mono Power os BO Am s AO L L_ Al This drawing shows the flexibility of the Onyx 4 Bus for creating different monitor mixes Auxes 1 4 provide separate monitor mixes for four floor wedges Auxes 5 6 provide a stereo monitor mix for an in ear monitor IEM The Aux Inserts can be used for in line graphic EQ for each monitor send A listen wedge is connected to the Monitor Out allowing you to solo and listen to each monitor mix The Talkback Mic lets you talk to the talent through the monitors Aux Sends Onyx 24 4 Stage Monitor Mix Owner s Manual Electric Guitar Headphones Stereo EQ for Studio In this hookup diagram the Direct Outs for channels 9 24 are connected to the analog audio interface for your DAW or laptop for tracking The drum microphones are subgrouped E to Groups 1 4 and routed to the analog audio interface for PA recording Audio VO for Workstation A 2 track return is provided by the DAW or laptop to the eee Stereo Returns on the Onyx 24 4 for playback of the master mix Laptop Computer Auxes 5 6 provide a stereo monitor mix for a headphone distribution amplifier Aux 5 6 Inserts are connected to a stereo graphic EQ to provide equalization for the headphone mixes Onyx 24 4 Computer Recording ONYX 4eBus sin Mono Compressor Out AEEA aA Stereo compre pe ln Mono Power Stage Moni
60. reo Return signal even when the Stereo Returns Level control is turned down The Stereo Returns PFL is a stereo signal and therefore retains its left and right stereo image in the headphones and monitors and appears on both LEFT and RIGHT meters Group Section There are four group masters or sub masters if you prefer that feed the four oo gx m x 4 AUX AUX SHIFT o APRE AFL MUTE D 9 A E O 68 GROUP Fader This fader controls the Group s signal level from off to unity gain at the U marking on up to 10 dB of addi tional gain 69 Signal Level LEDs These LEDs indicate the Group s signal level after the Fader but before the MUTE switch So if the Group Fader is down the Signal Level LEDs won t light 70 MAIN MIX Assign Switch Push in this switch to send the Group signal to the left and right MAIN OUTS When the PAN control is centered the signal is sent equally to the left and right outputs The signal sent to the MAIN OUTS is after the Group Insert Fader and MUTE switch O 9 is is Yj CD 10 CD 10 a DER AFL MUTE LEVEL LEVEL POST PFL PFL TALKBACK group outs 85 67 ES MAIN MIX ES m 66 PAN Note The Group PAN control works only when the MAIN MIX switch is en gaged 70 PAN adjusts the amount of signal sent to the left versus the right outputs With the PAN knob h
61. rn down the signal at its source 30 GROUP and MAIN MIX ASSIGN Switches Alongside each channel fader are three buttons referred to as channel assignment switches Used in conjunction with the channel s PAN knob they are used to determine the destination of the channel s signal The stereo channels are assignable to GROUPS 1 2 3 4 and the MAIN MIX With the PAN knob 26 at the center detent the left and right stereo signal is equally balanced To feed only one side or the other turn the PAN knob accordingly 31 PFL Solo Switch Like the PFL switch on the mono channels this switch allows you to hear signals through your headphones or monitor outputs without having to route them to the MAIN or GROUP mixes Since this is Pre Fader Listen you can listen to the stereo signal even when the chan nel fader is turned down Unlike the mono channel PFL the stereo channel PFL is a stereo signal post pan control and therefore retains its left and right stereo image in the headphones and monitors and appears on both LEFT and RIGHT meters The Rude Solo LEDS 48 below the meters indicate which solo mode is active Matrix Compressor and Metering Section 32 MATRIX A and B Input Controls The Matrix A and B controls allow you to create sepa rate mixes or a stereo mix from Groups 1 through 4 and the Left and Right Mix outputs Simply adjust the six matrix input controls to create the mix you want at the MATRIX A or B outputs
62. sert jack For use as an effects loop TIP SEND to effect RING RETURN from effect Mults and Y s mult or Y connector allows you to route one output to two or more inputs by simply providing parallel wir ing connections You can make Y s and mults for the outputs of both unbalanced and balanced circuits Remember Only mult or Y an out put into several inputs If you need to combine several outputs into one input you must use a mixer not a mult or a Y F4 amp gt DB25 Connectors The DIRECT OUTS on the back of the Onyx 4eBus provide balanced direct outputs for all the mono chan nels on female DB25 connectors These connectors are pin for pin compatible with the analog not TDIF DB25 connectors found on TASCAM DTRS recorders which has become an industry standard for many professional audio manufacturers They are also the same pinout as the ana log cards for the Mackie D8B and hard disk recorders Description Description Signal Signal shield shield shield shield N C CH1 CH2 CH3 CH4 CH5 CH6 CH7 CH8 CH9 CH10 CH11 CH12 CH13 CH 14 CH 15 CH 16 CH17 CH 18 CH 19 CH 20 CH21 CH 22 CH 23 CH 24 CH 25 CH 26 CH 27 CH 28 CH 29 CH 30 CH 31 CH 32 l i GROUND COLD HOT HOT GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT GROUND COLD HOT o o0 0 O O O O O O O O O 25 24 23 22
63. set way below U unity gain PFL solo won t know that and will send a unity gain signal to the MONITOR OUT and PHONES output That may result in a startling level boost at these outputs when switching to PFL solo mode z E 2 E gt Stereo Channel Strips The Onyx 4eBus mixers each have 31 two stereo channels The stereo 32 channels have a pair of 1 4 TRS line input connectors ide The stereo channels can be used as mono or stereo line input chan nel strips or to return the signal from an external effects processor connected to an Aux Send if you want to apply EQ or more flex ible auxiliary routing to the signal than is available with the Stereo Returns These versatile channel strips are nearly as full featured as the mono channel strips 19 GAIN Control If you haven t already please read Set the Levels on page 5 The GAIN control adjusts the input sensitivity of the stereo line inputs This allows the signal from the outside world to be adjusted to optimal internal operating levels There is 20 dB of attenuation with the knob turned all the way down ramping up to 20 dB of gain fully up with a U unity gain mark at 12 00 20 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 transpar ency or edge to the keyboards vocals guitar and bacon frying Turn it down a l
64. such as compressors equalizers deessers or filters The insert point is after the mix amps but before the Group Send Masters and before the built in stereo compres sor Refer to the description of the channel insert on the previous page to see how to make this connection 87 AUX SENDS 1 6 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 88 AUX SEND INSERTS 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 the AFL Solo switch so you can hear the external processor when soloing the aux send Refer to the description of the channel insert on page 22 to see how to make this connection 89 Power Receptacle This is a standard 3 prong IEC power connector Con nect the detachable linecord included in the box with your Onyx 4eBus to the power receptacle and plug the other end of the linecord into an AC outlet The Onyx 4eBus 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 That s 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 protect
65. sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de fl che a l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution 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 int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil 2 ONYX 4eBus 17 This apparatus has been designed with Class construction and must be connected to a mains socket outlet with a protective earthing con nection the third grounding prong 18 This apparatus has been equipped with a rocker style AC mains power switch This switch is located on the rear panel and should remain readily accessible to the user 19 The MAINS plug or an appliance coupler is used as the disconnect device so the disconnect device shall remain readily operable 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 Rules These limits are
66. that the LEDs on the Left MAIN MIX meter stay around 0 and never go higher than 10 4 Ifyou d like to apply some EQ do so now and return to step 3 Remember to push in the EQ IN OUT 11 switch or the EQ controls won t do anything 5 Disengage that channel s PFL solo switch 6 Repeat for each channel 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 Levels for channel 2 as described above 2 To get sound out of the speakers push in the MAIN MIX assign switch 17 next to the faders on chan nels 1 and 2 turn up channel 1 and 2 faders 15 to the U mark and slowly turn up the MAIN MIX 72 fader to a comfortable listening level 3 Sing and play You re 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 Other Nuggets of Wisdom e For optimum sonic performance the channel and MAIN MIX faders should be set near the U unity gain markings e Always turn the MAIN MIX faders GROUP faders and MONITOR knob down before making connec tions to and from your Onyx 4eBus e When you shut down your equipment turn off the amplifiers first When powering up turn on the amplifiers last e Never listen to loud music for prolonged periods Please see the Safety Instructions on page 2 for information on hearing protection e Save t
67. tors EEE Stereo In Ea Monitor Eo System IEM Mono EQ d ea ga gr o Gm Front Fill PA Speaker Right PA Speaker Subwoofer Balcony Seating Speaker Nursery Zone Speaker ital Multitrack ra Diek Recorder In a House of Worship application the Onyx 4 Bus provides plenty of Aux Sends for stage monitors stereo in ear monitoring and assistive listening systems The MONO output is used to provide front fill for the first few rows not covered by the main PA speakers A stereo graphic EQ is connected to the Main Inserts the built in compressor limiter provides system limiting for the Main Mix Aux 6 is used as a subwoofer feed a low pass filter is built in to either the power amplifier or subwoofer The Matrix A and B outputs provide additional custom mixes for the balcony and the nursery Onyx 24 4 House of Worship Owner s Manual 9 Onyx 4 Bus Features Mono Channel Strips 3 48V Phantom Power Switch The Onyx 24e4 has 20 mono channel strips and two Most professional condenser mi stereo channels and the Onyx 32e4 has 28 mono channel crophones require phantom power strips and two stereo channels Each mono channel has a which is a low current DC voltage mic and line input connector and an insert jack for con delivered to the microphone on necting an external signal processor pins 2 and 3 of the XLR microphone connector Push in the 48V switch 1 PAD Switch if your m
68. ure the AC outlet is live check with a tester or lamp e sthe POWER 90 switch on Make sure the POWER switch on the rear panel is in the ON posi tion up e Is the POWER LED 44 on the front panel illumi nated If not make sure the AC outlet is live e Are all the lights out in your building If so contact your local power company to get power restored e Ifthe POWER LED is not illuminated and you are certain that the AC outlet is live it will be necessary to have your Onyx 4eBus serviced There are no user serviceable parts inside Refer to Repair at the end of this section to find out how to proceed Bad Channel e Is the MUTE button 14 27 pushed in e Is the input GAIN control 4 19 for the channel turned up e sthe fader 15 28 turned up e 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 16 29 LEDs next to the channel s fader e sthe channel assigned to a bus GROUP ASSIGN or MAIN MIX button pushed in e JIs there something plugged into the CHANNEL INSERT jack 75 Try unplugging any INSERT devices e Try the same source signal in another channel set up exactly like the suspect channel Bad Output e Is the associated level control if any turned up e If it s one of the MAIN OUTPUTS try unplugging all the others For example if it s the 1 4 LEFT MAIN OUT unplug the XLR LEFT OUTPUT I
69. ww mackie com warranty to find contact information for your local distributor and information on any warranty coverage provided by the distributor in your local market LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option either repair or replace any such nonconforming product provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www mackie com support or by calling LOUD technical support at 1 800 898 3211 toll free in the U S and Canada during normal business hours Pacific Time excluding weekends or LOUD holidays Please retain the original dated sales receipt as evidence of the date of purchase You will need it to obtain any warranty service For full terms and conditions as well as the specific duration of the Warranty for this product please visit www mackie com warranty The Product Warranty together with your invoice or receipt and the terms and conditions located at www mackie com warranty constitutes the entire agreement and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof No amendment modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by th

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