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O W N E R S M A N U A L


2/36

2 ONYX 1640

O

NYX1640

1. Read these instuctions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with themanufacturers 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-typeplug. 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 theprovided plug does not fit into your outlet, consult an electrician forreplacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly atplugs, convenience receptacles, and the point where they exit from theapparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with a cart, stand, tripod, bracket, or table specified by themanufacturer, or sold with the apparatus. When a cart is used, usecaution when moving the cart/apparatus combination to avoid injuryfrom tip-over.

13. Unplug this apparatus during lightning storms or when unused for longperiods of time.

14. Refer all servicing to qualified service personnel. Servicing is requiredwhen the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects havefallen into the apparatus, the apparatus has been exposed to rain ormoisture, does not operate normally, or has been dropped.

15. This Onyx mixer has been designed with Class-I construction and mustbe connected to a mains socket outlet with a protective earthing con-nection (the third grounding prong).

16. This Onyx mixer has been equipped with an all-pole, rocker-style ACmains power switch. This switch is located on the rear panel andshould remain readily accessible to the user.

17. This apparatus does not exceed the Class A/Class B (whichever isapplicable)limits for radio noise emissions from digital apparatus asset out in the radio interference regulations of the Canadian Departmentof Communications.

ATTENTION Le prsent appareil numrique nmet pas de bruitsradiolectriques dpassant las limites applicables aux appareils numriques declass A/de class B (selon le cas) prescrites dans le rglement sur le brouillageradiolectrique dict par les ministere des com munications du Canada.

18. Exposure to extremely high noise levels may cause permanent hearingloss. Individuals vary considerably in susceptibility to noise-inducedhearing loss, but nearly everyone will lose some hearing if exposed tosufficiently intense noise for a period of time. The U.S. GovernmentsOccupational Safety and Health Administration (OSHA) has specifiedthe permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limitscould result in some hearing loss. To ensure against potentially danger-ous exposure to high sound pressure levels, it is recommended that allpersons 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 wornwhen operating the equipment in order to prevent permanent hearingloss if exposure is in excess of the limits set forth here.

Important Safety Instructions

WARNING To reduce the risk of fire orelectric shock, do not expose this apparatus

to rain or moisture.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club

6 92

4 95 Subway Train

3 97

2 100 Very loud classical music

1.5 102

1 105 Tami screaming at Adrian about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

PORTABLE CART WARNING

Carts and stands - TheComponent should be usedonly with a cart or standthat is recommended bythe manufacturer.A Component and cart

combination should bemoved with care. Quickstops, excessive force, anduneven surfaces may causethe Component and cartcombination to overturn.

CAUTION AVISRISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOCELECTRIQUENE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR LUSAGER. CONFIER

LENTRETIEN AU PERSONNEL QUALIFIE.AVIS: POUR EVITER LES RISQUES DINCENDIE OUDELECTROCUTION, NEXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A LHUMIDITE

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 products enclosure, that may be

of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole clair avec point de fl che lint rieur dun triangle

quilat ral est utilis pour alerter lutilisateur de la pr sence

lint rieur du coffret de "voltage dangereux" non isol dampleur

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 dexclamation lint rieur dun triangle quilat ral est

employ pour alerter les utilisateurs de la pr sence dinstructions

importantes pour le fonctionnement et lentretien (service) dans le

livret dinstruction accompagnant lappareil.


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Part No. 0008669 Rev. A 5/04

2004 LOUD Technologies Inc. All Rights Reserved.

3Owners Manual

OwnersManual

Dont forget to visit our website at www.mackie.com for moreinformation about this and other Mackie products.

Table of Contents

Introduction................................................................................................................4

Getting Started..........................................................................................................5Zero the Controls.......................................................................................................................................5

Connections.................................................................................................................................................5

Set the Levels ..............................................................................................................................................5

Instant Mixing.............................................................................................................................................5

Hookup Diagrams......................................................................................................6

Onyx 1640 Features.................................................................................................10Channel Strips...........................................................................................................................................10

Control Room Matrix, Metering, and Phones.................................................................................. 13

TALKBACK Section...................................................................................................................................14

Auxiliary Section......................................................................................................................................17

Rear Panel..................................................................................................................................................20

Appendix A: Service Information....................................................................... 24Warranty Service..................................................................................................................................... 24

Troubleshooting......................................................................................................................................24

Repair ..........................................................................................................................................................25

Appendix B: Connections..................................................................................... 26Appendix C: Technical Info .................................................................................. 29

Onyx 1640 Specifications......................................................................................................................29

Onyx 1640 Block Diagram...................................................................................................................... 31

Appendix D: Rotopod Instructions.....................................................................32Rear Mounting the Pod Section...........................................................................................................32

Rack Mounting the Onyx 1640.............................................................................................................34

Onyx 1640 Limited Warranty...............................................................................35
http://www.mackie.com/http://www.mackie.com/


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4 ONYX 1640

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NYX1640 Introduction

Thank you for choosing a Mackie Onyx 1640 profes-

sional compact mixing console. The Onyx Series of mix-

ers are designed for the digital era and offer the newest

features and latest technologies for live sound reinforce-

ment and analog or digital studio recording in a durable,

road-worthy package.

The Onyx 1640 is equipped with sixteen of 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 pres are

better than ever, with specifications rivaling expensive

stand-alone mic preamplifiers.

Channels 1 and 2 feature high-impedance instrument/

line-level inputs so you can connect an acoustic, elec-

tric, or bass guitar directly into the mixer, eliminating

the need for an external direct box.

Each of the sixteen mono channels has individual

phantom power switches, low-cut filters, pre-EQ chan-nel inserts, and an all new four-band EQ design with

sweepable mids and EQ bypass switch.

All sixteen channels have six Aux sends, Pan, Mute, Sub

Assign, Solo, 60 mm faders, and four signal level indicators.

A built-in Talkback mic with routing switches allows

you to communicate through the Aux Sends 1-4, Aux

Sends 5-6, Sub 1-4, or the Phones output.

All sixteen channels have balanced recording outputs

on two DB-25 connectors for multitrack recording. An

optional FireWire card provides all sixteen direct outputs

and the L-R Main Mix on a FireWire interface for stream-ing digital audio to a laptop for multitrack recording in a

live situation, or connecting to a DAW in a home studio.

Like our popular 1604-VLZ PRO, the Onyx 1640 has a

rotopod connector section. This allows the connector

panel to rotate so it faces up (all the connectors are on

the same surface as the knobs and faders), to the rear

(default mixer configuration), or toward the back (for

rack mounting, using the included rack ears).

HOW TO USE THIS MANUAL

We know that many of you cant wait to get your new

mixer hooked up, and youre probably not going to read

the manual first (sigh!). So the first section after this

Introduction 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 1640, roughly following

the signal flow through the mixer from top to bottom

and left to right.

Throughout this section youll 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 the

Onyx 1640. For your own good, read

them and remember them. They will

be on the final test.

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 PLUG FOR THE CONNECTOR SECTION

Appendix B is a section on connectors: XLR connec-

tors, balanced connectors, unbalanced connectors, and

special hybrid connectors.

More resources on our website at www.mackie.com.

THE GLOSSARY: A Haven of Non-Techiness forthe Neophyte

The Glossary of Terms is a fairly comprehensive

dictionary of pro-audio terms. If terms like clipping,noise floor, or unbalanced leave you blank, refer to

this glossary for a quick explanation.

ARCANE MYSTERIES ILLUMINATED

Arcane Mysteries discusses some of the down n

dirty practical realities of microphones, fixed installa-

tions, grounding, and balanced versus unbalanced lines.

Its a goldmine for the neophyte, and even the seasoned

pro might learn a thing or two.

Please write your serial number here for futurereference (i.e., insurance claims, tech support,return authorization, etc.)

Purchased at:

Date of purchase:


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5Owners Manual

OwnersManual

Getting StartedREAD THIS PAGE!!

Even if youre one of those people

who never reads manuals, all we ask

is that you read this page now before

you begin using the Onyx 1640. Youll

be glad you did!

Zero the Controls1. 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 outpositions.

3. In the output section (right hand side), turn all the

rotary knobs down,the switches out,and the

SUB 1-4 and MAIN MIX faders down.

4. Turn the POWER switch off.

ConnectionsIf you already know how you want to connect the Onyx

1640, go ahead and connect the inputs and outputs

the way you want them. If you just want to get sound

through the mixer, follow these steps:

1. Plug in the detachable linecord, connect it to an AC

outlet, and turn on the Onyx 1640 s POWER switch.

2. Plug a microphone or other signal source into

channel 1s MIC or LINE input.

3. Connect cords from the Onyx 1640s MAIN OUTS

(XLR connectors or 1/4" TRS connectors on the

rear panel) to your amplifier.

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 LevelsTo set the channel GAIN controls, its not even neces-

sary to hear what youre doing at the outputs of themixer. If you want to listen while you work, plug head-

phones into the PHONES jack on the front panel, then

set the PHONES knob about one-quarter of the way up.

The following steps must be performed one channel at

a time.

1. Push in the channels SOLO [17] switch. Make sure

the SOLO MODE [34] switch is up (PFL).

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

isnt, you might have to readjust these levels during

the middle of the set.

3. Adjust the channels GAIN [4] control so that the

LEDs on the RIGHT meter [31] stay around 0and

never go higher than +7.4. If youd like to apply some EQ, do so now and return

to step 3. Remember to push in the EQ IN/OUT but-

ton or the EQ controls wont do anything.

5. Disengage that channels SOLO switch.

6. Repeat for each channel.

Instant Mixing1. Leave the microphone plugged into channel 1 and

connect a keyboard, guitar or other instrument to

channel 2. Be sure to Set the Levelsfor channel 2as described above.

2. To get sound out of the speakers, turn up channel 1

and 2 faders to the Umark, push in the MAIN MIX

ASSIGN buttons on channels 1 and 2, and slowly turn

up the MAIN MIX fader to a comfortable listening level.

3. Sing and play. Youre a star! Adjust the faders for

channels 1 and 2 to bring your voice and your

instrument up and down to create your own mix.

Other Nuggets of Wisdom

For optimum sonic performance, the channel andMAIN MIX faders should be set near the U(unity

gain) markings.

Always turn the MAIN MIX fader and CONTROL

ROOM knob down before making connections to

and from your Onyx 1640.

When you shut down your equipment, turn off the

amplifiers first. When powering up, turn on the

amplifiers last.

Never listen to loud music for prolonged periods.

Please see the Safety Instructions on page 2 for

information on hearing protection.

Save the shipping box! You may need it someday,

and you dont want to have to pay for another one.

Thats it for the Getting Startedsection. Next comes

the Hookupsection that shows you some typical ways

that you might use the Onyx 1640 in real applications.

After that, you can take the grand tour of the mixer,

with descriptions of every knob, button, input, and

output. We encourage you to take the time to read all of

the feature descriptions, but at least you know its there

if you have any questions.


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6 ONYX 1640

O

NYX1640Hookup Diagrams

Stereo PowerAmplifier

Out(play)

In(record)

Stereo Compressor

Mono Compressor

Multi EffectProcessor

Mono PowerAmplifier

Stage Monitors

Left PA Speaker Right PA Speaker

Stereo EQ

Mono EQ

Headphones

Keyboard or otherline level input

Stereo Guitar Effects

DrumMachine

Bass Guitar Electric Guitar

Electric Guitar

Vocal Mics

Digital MultitrackHard Disk Recorder

Laptop Computer

16 Channels + L/R Mix

2 Channels

Mono PowerAmplifier

Stage MonitorsMono EQ

OutIn

OutIn

OutIn

Stereo CompressorOutIn

OutIn

SELECTSELECTSELECTSELECT

7

8

6

8 8

7

6

7

5

6

5

3

4

2

1

15

16

14

13

11

12

10

9

5

4 4

3

2

3

1

2

1

16 16

15

14

15

13

14

13

12 12

11

10

11

9

10

91

2

L

R

L

R

3

4

L

R

L

R

CHANNELINSERTS

CHANNELINPUTS

AUXRETURNS

MONO

OUT

PH

ONES

O

UT

AUX

SEND

L

3

4

5

1

2

6

R

L R

IN-TAPE-OUT

MAIN

OUT

CNTRLROOM

OUTPUTS

MAIN

OUT

RECORDINGOUT

9-16

RECORDINGOUT

1-8

L

R

MAIN

INSERTS

L

R

SUB

OUT

3

4

1

2

FIREWIRE(OPTION)

Onyx 1640 Live Mix and Multitrack Recording

This hookup diagram demonstrates howyou can do a live multitrack recordingusing the RECORDING OUTs or the op-tional FireWire card.

The RECORDING OUTs provide ananalog balanced direct output for each

channel, and the FireWire card providesa digital direct output for each channel.


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7Owners Manual

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Onyx 1640 Multitrack Recording in a Studio (Tracking)

Stereo Compressor

Mono Compressor

Multi EffectProcessorKeyboard or other

line level input


DrumMachine


Electric Guitar

Vocal Mics

Digital Delay

PoweredStudio Monitors

for Control Room

Out(play)

In(record)

Headphone DistributionAmp

Headphonesfor Studio

OutIn

OutIn

OutIn

Digital MultitrackHard Disk Recorder

SELECTSELECTSELECTSELECT

7

8

6

8 8

7

6

7

5

6

5

3

4

2

1

15

16

14

13

11

12

10

9

5

4 4

3

2

3

1

2

1

16 16

15

14

15

13

14

13

12 12

11

10

11

9

10

91

2

L

R

L

R

3

4

L

R

L

R

CHANNELINSERTS

CHANNELINPUTS

AUXRETURNS

MONO

OUT

PHONES

OUT

AUX

SEND

L

3

4

5

1

2

6

R

L R

IN-TAPE-OUT

MAIN

OUT

CNTRLROOM

OUTPUTS M

AIN

OUT

RECORDINGOUT

9-16

RECORDINGOUT

1-8

L

R

MAIN

INSERTS

L

R

SUB

OUT

3

4

1

2

FIREWIRE(OPTION)


for Studio

The RECORDING OUTs provide an analog balanced directoutput for each channel, tapped after the GAIN control butbefore the EQ controls and channel INSERTS.


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8 ONYX 1640

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NYX1640

Onyx 1640 Computer Recording

Stereo Compressor

Mono Compressor

Multi EffectProcessor



DrumMachine


Electric Guitar

Vocal Mics

Digital Delay


for Control Room

Headphones


for Studio

OutIn

OutIn

OutIn

Audio I/O for Workstation

To Desktopor

Laptop Computer

7

8

6

8 8

7

6

7

5

6

5

3

4

2

1

15

16

14

13

11

12

10

9

5

4 4

3

2

3

1

2

1

16 16

15

14

15

13

14

13

12 12

11

10

11

9

10

91

2

L

R

L

R

3

4

L

R

L

R

CHANNELINSERTS

CHANNELINPUTS

AUXRETURNS

MONO

OUT

PHONES

OUT

AUX

SEND 3

4

5

1

2

6

L

R

L

R

IN-TAPE-OUT

MAIN

OUT

CNTRLROOM

OUTPUTS

MAIN

OUT

RECORD

INGOUT

9-16

RECORD

INGOUT

1-8

L

R

MAIN

INSERTS

L

R

SUB

OUT

3

4

1

2

FIREWIRE(OPTION)

In this hookup diagram, the tracking channels arerouted to the SUB 1-4 OUT. These are connectedtothe analog audio interface to your DAW or laptop.

A 2-track return is provided by the DAW (or laptop)to the TAPE IN on the Onyx 1640 for playback ofthe master mix.


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Onyx 1640 Recording with FireWire to a Laptop

Stereo Compressor

Mono Compressor




Electric GuitarVocal Mics


for Control Room


for Studio

DrumMics

Submixerfor Drums

1202-VLZPRO

Headphones

Laptop Computer

In(record)

OutIn

OutIn

OutIn

Headphone DistributionAmp

Headphonesfor Studio7

8

6

8 8

7

6

7

5

6

5

3

4

2

1

15

16

14

13

11

12

10

9

5

4 4

3

2

3

1

2

1

16 16

15

14

15

13

14

13

12 12

11

10

11

9

10

91

2

L

R

L

R

3

4

L

R

L

R

CHANNELINSERTS

CHANNELINPUTS

AUXRETURNS

MONO

OUT

PHONES

OUT

AUX

SEND

L

3

4

5

1

2

6

R

L R

IN-TAPE-OUT

MAIN

OUT

CNTRLROOM

OUTPUTS

MAIN

OUT

RECORDINGOUT

9-16

RECORDINGOUT

1-8

L

R

MAIN

INSERT

S

L

R

S

UB

OUT

3

4

1

2

FIREWIRE(OPTION)

16 Channels + L/R Mix

2 Channels

The optional FireWire card provides a digital direct output for each channel, as well as the L/R Mix.Two tracks can be returned to the Onyx from the computer for playback monitoring in the Control

Room Outputs, or mixdown to two tracks at the TAPE OUT. The six AUX SENDS provide six sepa-rate mono headphone mixes to the talent.


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10 ONYX 1640

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NYX1640Onyx 1640 Features

Channel StripsAll sixteen channels on the Onyx 1640

look alike and function identically with

the following exception: Channels 1

and 2 have high-impedance instrument

inputs in addition to the mic and line in-

puts so you can connect a guitar directly

to the mixer.

All the input and output connectors

(except for the headphone jack) are locat-

ed on the rear rotopod. Well take a look at

them after we explore the front panel.

1. 48V Phantom Power Switch

Most professional condenser micro-

phones require phantom power, whichis a low-current DC voltage delivered to

the microphone on pins 2 and 3 of the

XLR microphone connector. Push in the

48V button if your microphone needs

phantom power. An LED lights just

above the button to indicate that phan-

tom power is active on that channel.

Dynamic microphones, like Shures

SM57 and SM58, do not require phantom

power. However, phantom power will not

harm most dynamic microphones should

you accidentally plug one in while thephantom power is turned on. Be careful

with older ribbon microphones. Check

the manual for your microphone to find

out for sure whether or not phantom

power can damage it.

Note:Be sure the MAIN MIX fader

[46] is turned down when connecting

microphones to the MIC Inputs, espe-

cially when phantom power is turned on,

to prevent pops from getting through to

the speakers.

2. Low-Cut Switch

The Low-Cut switch, often referred to as a high-pass

filter, cuts bass frequencies below 75 Hz at a rate of 18 dB

per octave.

We recommend that you

use the Low-Cut filter on

every microphone appli-

cation except kick drum,

bass guitar, bassy synth

patches, or recordings of

earthquakes. These aside,

there isnt much down

there that you want to

hear, and filtering it out makes the low stuff you do want

much more crisp and tasty. Not only that, but the Low-

Cut filter can help reduce the possibility of feedback in

live situations and it helps to conserve amplifier power.

Another way to use the Low Cut filter

is in combination with the LOW EQ

on vocals during live performances.Many times, bass shelving EQ can re-

ally benefit voices. Trouble is, adding

LOW EQ also boosts stage rumble, mic

handling clunks, and breath pops. Low Cut removes all

those problems so you can add LOW EQ without losing a

woofer.

Heres what the

combination of LOW EQ

and Low Cut looks like

in terms of frequency

curves.

3. MIC/HI-Z Switch (Channels 1 and 2)

Channels 1 and 2 have an extra button for switching

between the MIC and HI-Z inputs. When the button is out

(MIC), the XLR MIC input is used and the HI-Z input is

disconnected. When the button is pushed in (HI-Z), the

1/4"HI-Z input is used and the XLR MIC input is discon-

nected. The input stage of the HI-Z inputs is specially

designed for the high-impedance pickups on guitars.

Plugging a guitar into a lower-impedance

line input (like those on channels 3-16)

can result in the loss of high frequen-

cies, causing an unnatural and dull

sound. Normally, you must use a direct

box between a guitar and a mixers in-

put, which serves to convert the impedance of the guitar

from high to low. The HI-Z inputs on channels 1 and 2

make the need for a direct box unnecessary.

20Hz 100Hz 1kHz 10kHz 20kHz

15

10

5

0

+5

+10

+15

Low Cut


15

10

5

0

+5

+10

+15

Low Cut with Low EQ Boosted

1

1

PAN

AUXSEND

4

3

2

1

5

6

GAIN

FREQ

HIGH12kHz

HIGHMID

FREQ

LOWMID

LOW80Hz

EQOUTIN

8k400

2k

2k100

400

U

+15-15

U

+15-15

U

+15-15

U

+15-15

OO

OO MAX

OO MAX

OO MAX

OO MAX

OO MAX

L R

HI-Z

MIC

75Hz

18dB/OCT

+40dB

U

-20dBU

20

30

40

60

MAX

48V


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11Owners Manual

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HOWEVER:The HI-Z inputs are unbalanced, so if youre

doing a live show and running a long cord between the

instrument and the mixer (say over 25 or 30 feet), it is

best to use a direct box with a balanced output to avoid

picking up noise over the length of the cord.

4. GAIN Control

If you havent already, please read Set the Levelsonpage 5.

The GAIN control adjusts the input sensitivity of the mic

and line inputs. This allows the signal from the outside

world to be adjusted to optimal internal operating levels.

If the signal is plugged into the XLR jack, there is 0 dB

of gain (unity gain) with the knob turned all the way

down, ramping up to 60 dB of gain fully up.

When connected to the 1/4" jack, there is 20 dB of

attenuation all the way down, and 40 dB of gain fully up,

with a U(unity gain) mark at about 10:00.

5. 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, the EQ

controls have no effect on the signal. You can use this

switch to make an A/B comparison between the EQd

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 decadesand long-time Mackie collaborator.

This neo-classicdesign provides the sweet musicality

of the British EQ sound, while still maintaining 15 dB of

boost and cut with optimum Qand 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,

HIGH MID peaking, sweepable from 400 Hz to 8 kHz,

and HIGH shelving at 12 kHz. Shelvingmeans that the

circuitry boosts or cuts all frequencies past the speci-

fied frequency. For example, rotating the LOW EQ knob15 dB to the right boosts bass frequencies starting at 80

Hzand continuing on down to the lowest note you ever

heard. Peakingmeans that the frequencies around the

center frequency are less affected by the EQ the further

away they are.

6. HIGH EQ

This control gives you

up to 15 dB boost or cut at

12 kHz, and it is also flat

at the center detent. Use

it to add sizzle to cymbals,

and an overall sense of

transparency or edge tothe keyboards, vocals, gui-

tar, and bacon frying. Turn

it down a little to reduce

sibilance, or to hide tape hiss.

7. HIGH MID EQ

Short for midrange,

this knob provides 15 dB

of boost or cut centered

at the frequency deter-

mined by its FREQ [9]

knob. Midrange EQ isoften 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.

8. LOW MID EQ

This is a second mid-

range EQ control that pro-

vides 15 dB of boost or cutcentered at the frequency

determined by its FREQ

knob. It extends down to

100 Hz, which includes

the male vocal range and

the fundamentals of some

lower instruments (guitar, lower brass).

9. FREQ

This knob ranges from

100 Hz to 2 kHz for the

LOW MID EQ, and 400

Hz to 8 kHz for the HIGH

MID EQ. This determines

the center frequency for

the EQ filter, and allows

you to zero in on the

precise narrow band of

frequencies you want to have affected by the LOW MID

and HIGH MID EQ.


15

10

5

0

+5

+10

+15

High EQ


15

10

5

0

+5

+10

+15

High Mid EQ


15

10

5

0

+5

+10

+15

Mid EQ Freq Sweep


15

10

5

0

+5

+10

+15

Low Mid EQ


12/36

12 ONYX 1640

O

NYX1640 10. LOW EQ

This control gives you

up to 15 dB of boost or cut

at 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.

Note:Used in conjunction with the Low Cut

switch, you can boost the LOW EQ without

injecting tons of infrasonic debris into the mix.

11. AUX Sends

These six knobs tap a portion of each chan-

nels signal out to either an effects processor or

for stage monitoring. The AUX Send levels arecontrolled by the channels AUX 1-6 knobs, and

by the AUX MASTER 1-6 knobs.

These are more than just effects and monitor

sends. They can be used to generate separate

mixes for recording, for another zone, or mix-

minusesfor broadcast or conference rooms.

12. PAN

PAN adjusts the amount of channel signal sent

to the left versus the right outputs.

With the PAN knob hard left, the signal feedsthe MAIN LEFT, SUB 1, or SUB 3 buses, de-

pending on the setting of the ASSIGN switches.

With the knob hard right, the signal feeds the

MAIN RIGHT, SUB 2, or SUB 4 buses.

Constant Loudness:The

Onyx 1640s PAN control

employs a design called

Constant Loudness.If you

have a channel panned hard

left (or right) and then pan

to the center, the signal is attenuated about 3

dB to maintain the same apparent loudness.

Otherwise, it would make the sound appear

much louder when panned center.

13. MUTE

Engaging a channels MUTE switch provides (almost)

the same results as turning the fader all the way down

(a pre-aux send is not affected by the channel fader, but

it is by the MUTE switch). Any channel assignments to

MAIN MIX, SUB 1-2, or SUB 3-4 will be interrupted, all

the AUX sends will be silenced (both pre- and post-fad-

er), as will the AFL SOLO. The RECORDING OUT, chan-nel INSERT, and PFL SOLO will continue to provide a

signal when a channel is muted.

The LED next to the MUTE switch lights to let you

know when the MUTE function is active.

14. Channel Fader

The fader controls the channels levelfrom off to

unity gain at the Umarking, on up to 10 dB of addi-

tional gain.

U Like Unity Gain

Mackie mixers have a Usymbol

on almost every level control. This

Ustands for unity gain,meaning

no change in signal level. Once you

have adjusted the input signal to line-level, you can set

every control at Uand your signals will travel through

the mixer at optimal levels. Whats more, all the labels

on our level controls are measured in decibels (dB), so

youll know what youre doing level-wise if you choose to

change a controls settings.

15. Signal Level LEDs

These LEDs indicate the channels signal level after

the GAIN control, INSERT jack, and EQ controls, but

just prior to the channels fader. So even if the fader is

turned down, you can see if a signal is present.

If youve followed the Set the Levelsprocedure, 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 turn

down the signal at its source.

16. ASSIGN Switches

Alongside each channel fader are three buttons

referred to as channel assignment switches. Used in

conjunction with the channels PAN knob, they are used

to determine the destination of the channels signal.

With the PAN knob [12] at the center detent, the left

and right sides receive equal signal levels (MAIN MIX

L-R, SUB 1-2, and SUB 3-4). To feed only one side or the

other, turn the PAN knob accordingly.


15

10

5

0

+5

+10

+15

Low EQ

1

PAN

AUXSEND

4

3

2

1

5

6

FREQ

HIGH12kHz

HIGHMID

FREQ

LOWMID

LOW80Hz

EQOUTIN

1

8k400

2k

2k100

400

U

+15-15

U

+15-15

U

+15-

15

U

+15-15

OO

OO MAX

OO MAX

OO MAX

OO MAX

OO MAX

L R

MAX

OL

+10

0

-20

SUBASSIGN

MAINMIX

1-2

3-4

MUTE

SOLO


13/36

13Owners Manual

OwnersManual

If youre doing a mixdown to a 2-track, for example,

simply engage the MAIN MIX switch on each channel

that you want to hear, and theyll 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 theyll be sent to the appropriate

subgroup faders. From there, the subgroups can be sent

back to the MAIN MIX (using the SUB ASSIGN switches

[43] above the subgroup faders), allowing you to use thesubgroup faders as a master control for those channels.

If youre creating new tracks or bouncing existing

ones, youll also use the 1-2 and 3-4 switches, but not the

MAIN MIX switch. Here, you dont want the subgroups

sent back into the MAIN MIX bus, but sent out, via the

SUB OUT jacks [60], to your multitrack inputs. How-

ever, if youre printing tracks via the RECORDING OUTS

[63] (or via the optional FireWire card), the channel

assignment switches dont matter because the RECORD-

ING OUTS come before the ASSIGN switches.

The Onyx 1640 is what we call a true 4-bus mixer.

Each channel can be assigned or unassigned to any ofthe subgroups without affecting the other subgroups or

settings within the channel, and each subgroup has its

own master fader and dedicated output. In fact, since

there are four subgroupsandthe MAIN MIX, its actu-

ally a true 6-bus mixer. We should have named it the

Onyx 1660!

17. SOLO Switch

This handy switch allows you to hear signals through

your headphones or control room outputs without hav-

ing to route them to the MAIN or SUB mixes. Folks use

solo in live work to preview channels before they arelet 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.

Your Onyx 1640 has Dual-Mode Solo.A switch in the

master section, SOLO MODE [34] determines which

mode youll be hearing. With the switch up, youll get

PFL(Pre-Fader Listen), which is after the GAIN

and EQ controls, but before the channel fader. With

the switch down, youre in AFL(After-Fader Listen),

which is post-fader and post-PAN, making it ideal for

mixdown soloing.

Soloed channels are sent to the SOURCE mix [18],which ultimately feeds your CONTROL ROOM, PHONES,

and Meters. Whenever SOLO is engaged, all SOURCE

selections (MAIN MIX, TAPE, SUB 1-2, SUB 3-4, and

FIREWIRE) are defeated, to allow the soloed signal to

do just thatsolo!

Control Room Matrix,Metering, and Phones

Typically, the engineer sends the MAIN MIX to an audi-

ence (if live) or to a mixdown deck (if recording). But

what if the engineer needs to hear something other than

the MAIN MIX in the control room or headphones? With

the Onyx 1640, the engineer has several choices of what

to listen to. This is one of those tricky parts, so buckle up.

18. CONTROL ROOM/PHONES SOURCE

Using the SOURCE switches, you can choose to listen

to any combination of MAIN MIX, TAPE, SUB 1-2, SUB

3-4, and FIREWIRE (optional). By now, you probably

know what the MAIN MIX is. TAPE is the stereo signal

coming in from the TAPE IN RCA jacks. The four SUB-

GROUPs can be used for additional mono or stereo mix

outputs. FIREWIRE is a 2-track feed coming in through

the optional FireWire card from your computer.

Selections made in the SOURCE ma-trix deliver stereo signals to the C-R OUT,

PHONES, and Meters. These signals are

tapped after their respective level con-

trolspost-MAIN MIX fader, post-SUB 1-4

faders, and post-TAPE IN knob. With no

switches engaged, there will be no signal at

these outputs and no meter indication.

The exception to that is the SOLO func-

tion. Regardless of the SOURCE matrix

selection, engaging a channels SOLO switch

will replace that selection with the SOLO

signal, also sent to the CONTROL ROOM,PHONES, and Meters.

There is an alternate way

to get the TAPE, SUB 1-4

and FIREWIRE signals

into the Control Room

outputs. Each of these

signals can be routed

directly to the main mix bus, and then

assigned to the C-R OUT and PHONES by

selecting MAIN MIX in the SOURCE matrix,

the difference being that the signals pass

through the MAIN MIX INSERT and MAIN

MIX fader first.

Just under the TAPE IN knob, there is

a button called TAPE TO MAIN MIX [23].

This routes the stereo tape mix to the main

mix bus.

The SUB ASSIGN switches [43] are used

to route the subgroups to the left and right

main mix bus.

CONTROLROOM

PHONES

SUB 3-4

SUB 1-2

TAPE

CONTROL

ROOM/

PHONES

SOURCE

FIREWIRE(OPTION)

ASSIGN TOMAIN MIX

MAIN MIX

OOMAX

OOMAX


14/36

14 ONYX 1640

O

NYX1640 TALKBACK Section

The talkback feature allows the engineer to communi-

cate with the talent either through the PHONES output

[30], the AUX 1-4 outputs [62], the AUX 5-6 outputs,

or the SUB 1-4 outputs [60]. A talkback microphone is

built into the Onyx 1640, or you have the option of con-

necting an external microphone at the TALKBACK MIC

XLR [51] connector on the rear panel, which may bepreferable in live or noisy situations.

24. Internal TALKBACK MIC

This is where the built-in talkback microphone is located.

This is an omni-directional dynamic microphone, so it will

pick up your voice from anywhere in front of the mixer.

The ASSIGN TO MAIN MIX button [19] routes the

stereo mix from the optional FIREWIRE card to the

main mix bus.

This gives you the flexibility of monitoring the TAPE,

SUB 1-4, or FIREWIRE signals as they appear at the

MAIN OUT rather than at a point just after their respec-

tive level controls.

19. ASSIGN TO MAIN MIX (FIREWIRE)

Lets say youre doing a live show. Intermission is

nearing and you have a playlist of MP3 files on your lap-

top you want to play during the break. Get the optional

FireWire card and engage the ASSIGN TO MAIN MIX

button to play your MP3s directly from your computer,

into the MAIN MIX.

20. CONTROL ROOM Knob

This controls the volume at the C-R OUTs [59], from

off (

) to maximum gain (MAX).

21. PHONES Knob

This controls the volume at the PHONES output [30],

from off () to maximum gain (MAX).

22. TAPE IN Knob

This controls the volume at the TAPE input [58], from

off () to maximum gain (MAX).

23. TAPE TO MAIN MIXPush this button in to route the TAPE IN signal to the

main mix bus.

WARNING:Pushing in the TAPE

TO MAIN MIX button can create a

feedback path between TAPE IN and

TAPE OUT. Make sure your tape deck

is not in record, record-pause, or input

monitor mode when you engage this switch, or make sure

the TAPE IN knob [22] is turned all the way down (off)

when recording.

LEVEL

DESTINATION

TALKBACK

SOLOLEVEL

SOLO MODE

PHONES

CONTROLROOM

PHONES

12V0.5A

AUX5-6

SUB1-4

C/RPHONES

AUX1-4

LAMP

MIC

TALKBACK

PFL

AFL

RUDESOLO

28

10

7

4

2

0

2

4

7

10

20

30

SUB 3-4

SUB 1-2

TAPE

CONTROL

ROOM/

PHONES

SOURCE

FIREWIRE(OPTION)

ASSIGN TOMAIN MIX

MAIN MIX

TAPE IN

TAPE TOMAIN MIX

LEVELSET

LEFT RIGHT

0dB=0dBu

CLIP

EXTERNAL

MIC

OOMAX

OOMAX

OOMAX

OOMAX

OOMAX

PREMIUM ANALOG MIXERw/ PERKINS EQ & F IREWIRE OPTION


15/36

15Owners Manual

OwnersManual

25. TALKBACK LEVEL

Use this knob to control the level of the talkback

signal being routed to the various outputs. This controls

the talkback level for either the internal or external

TALKBACK MICs.

You should start with the TALKBACK LEVEL control

turned down, and then slowly turn it up until you get

confirmation from whoever is listening to headphones

or monitors that they can hear you. Once you have set

the level, you can leave it there for the duration of the

session (or the gig).

26. EXTERNAL MIC Switch

If you are in a noisy environment, the built-in talkback

mic may not work as well because it picks up the ambi-

ent noise as well as your voice. You will probably have

better results if you use an external microphone that

you can talk directly into.

If you are using an external mic, you must push inthe EXTERNAL MIC switch. The indicating LED lets

you know when the switch is pushed. When the switch

is out, the built-in TALKBACK MIC is used, regardless

of whether or not you have an external mic plugged in.

When the switch is pushed in, the built-in mic is discon-

nected and only the external mic is used.

27. DESTINATION

Push in the CR/PHONES switch to route the talkback

signal to the PHONES [30] output. Use this to commu-

nicate with the talent in the studio through the head-

phones during a recording session. When the talkback

circuit is activated (by pushing the TALKBACK [28]

switch) and the CR/PHONES switch is in, the CONTROL

ROOM outputs are attenuated by 20 dB to allow the

engineers voice to come through loud and clear.

Push in the AUX 1-4 switch to route the talkback

signal to the AUX 1 through 4 outputs [62]. Use this to

communicate with the musicians on-stage through their

monitors during a live performance, or to studio musi-

cians through a headphone distribution system.

Push in the AUX 5-6 switch to route the talkback

signal to the AUX 5 and 6 outputs. This splits up the

talkback signal in the AUX SENDS so you can talk to

one group without the other group hearing (e.g., Yeah, I

know the drummer sucks. Were firing him on Monday!)

Push in the SUB 1-4 switch to route the talkback

signal to the SUB 1-4 OUTs [60].

By the way, it is okay to have any combination, or

all, of the destination switches pushed in at the same

time. The talkback signal will be routed to all the

destinations. But if you dont have any of the destina-

tion switches pushed in, the talkback signal wont go

anywhere. You might as well be talking to a brick wall.

28. TALKBACK Switch

This is a momentary switch, meaning its only active

when you hold the switch down. As long as you hold

this switch down, the talkback signal is routed to the

outputs determined by the destination switches [27].Release the switch, and the talkback circuit is turned off.

29. LAMP

This female BNC connector provides 12 volts DC on its

center pin. Connect any quality gooseneck lamp here.

30. PHONES

This is 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 CONTROL ROOM outputs [59], as determined

by the CONTROL ROOM/PHONES SOURCE matrix [18].

The volume is controlled with the PHONES knob [21].

WARNING:The headphone amp is

designed to drive any standard head-

phones to a very loud level. Were

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 connecting headphones

to the PHONES jack. Keep it down until youve put on

the headphones. Then turn it up slowly. Why? Always

remember: Engineers who fry their ears, find them-selves with short careers.

31. LEFT/RIGHT Level Meters

The Onyx 1640s peak 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 LEVEL SET

to show where the level should be when adjusting a

channels gain in the solo mode, as described in Set theLevelson page 5.

If nothing is selected in the CONTROL ROOM/

PHONES SOURCE matrix [18] and no channels are

in SOLO, the meters wont do anything. To display a

signal level, a source must be selected in the CONTROL

ROOM/PHONES SOURCE matrix, which feeds the CON-

TROL ROOM [59] and PHONES [30] outputs. The meters

reflect the program level of the selected source prior to

the CONTROL ROOM and PHONES [20/21] level knobs.


16/36

16 ONYX 1640

O

NYX1640 The reason for this is because you want the meters to

reflect what the engineer is listening to, and as weve

covered, the engineer is listening either to the CON-

TROL ROOM outputs or the PHONES outputs. The only

difference is that while the listening levels are con-

trolled by the CONTROL ROOM and PHONES knobs, the

meters indicate the SOURCE mix before those knobs,

giving you the real facts at all times, even if youre not

listening at all.When a channel is soloed, the meters change to

reflect the level of that channels signal level, pre- or

post-fader, depending on the SOLO MODE [25] setting.

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 10mixer, with a 10 dBV

signal trickling out will read, you guessed it, 0 VU on itsmeters. 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 1640s wide

dynamic range, you can get a good mix

with peaks flashing anywhere between

20 and +10 dB on the meters. Most am-plifiers clip at about +10 dBu, and some

recorders arent so forgiving either. For

best real-world results, try to keep your

peaks between 0and +7.

Remember, audio meters are just tools

to help assure you that your levels are

in the ballpark.You dont have to stare

at them (unless you want to).

32. RUDE SOLO Light

This large green LED flashes on and

off when a channels solo is active, as an

additional reminder beyond the indicat-

ing LEDs next to each SOLO button.

If you work on a mixer that has a solo

function with no indicator lights and you

happen to forget youre in solo mode,

you can easily be tricked into think-

ing that something is wrong with your

mixer. Hence, the RUDE SOLO light. It s

especially handy at about 3 am when no sound is coming

out of your monitors but your multitrack is playing back

like mad.

33. SOLO LEVEL

The SOLO LEVEL control is used to adjust the volume

of the soloed signal as it is routed to the CONTROL

ROOM and PHONES outputs. This control is indepen-dent of, and prior to, the CONTROL ROOM and PHONES

level controls.

This controls the solo signal level for both PFL and

AFL solo modes (see next paragraph).

34. SOLO MODE

Engaging a channels SOLO switch will cause this

dramatic turn of events: Any existing SOURCE matrix

selections are replaced by the SOLO signal, appearing

at the CONTROL ROOM OUTPUTS, PHONES and at the

RIGHT METER (LEFT and RIGHT METERS when inAFL SOLO MODE). The audible SOLO levels are then

controlled by the CONTROL ROOM knob [20]. The

SOLO levels appearing on the meters are not controlled

by the CONTROL ROOM knobyou wouldnt want that.

You want to see the actual channel level on the meters

regardless of how loud youre listening.

With the SOLO MODE switch in the up position, youre

in PFL mode, meaning Pre-Fader Listen (post-EQ). This

mode is required for the Set the Levelsprocedure and

is handy for quick spot-checks of channels, especially

ones that have their faders turned down.

With the switch down, youre in AFL mode, meaningAfter-Fader Listen. Youll hear the stereo output of the

soloed channelit will follow the channels GAIN, EQ,

FADER and PAN settings. Its similar to muting all the

other channels, but without the hassle. Use AFL mode

during mixdown.

In PFL mode, SOLO will not be affected by a channels

MUTE switch position.

Remember, PFL mode taps the chan-

nel signal before the fader. If you

have a channels fader set way below

U(unity gain), SOLO wont know

that and will send a unity gain signalto the to the C-R OUTS, PHONES output, and meter dis-

play. That may result in a startling level boost at these

outputs when switching from AFL to PFL mode, depend-

ing on the position of the SOLO LEVEL knob [33].

SOLOLEVEL

SOLO MODE

PHONES

PFL

AFL

RUDESOLO

28

10

7

4

2

0

2

4

7

10

20

30

LEVELSET

LEFT RIGHT

0dB=0dBu

CLIP

OOMAX


17/36

17Owners Manual

OwnersManual

GAIN INSERTLOW CUT EQ

EQ

IN/OUTMUTE

FADERPAN

ASSIGN

MAIN MIX

SUB 1-2

SUB 3-4

AUX SEND 1 MASTER

MASTER SECTION

AUX SEND 1

AUX SEND 2

"POST" SIGNAL

"PRE" SIGNAL

AUX SEND 2 MASTER

INPUT

AUX SEND 2 PRE/POST SWITCH

AUX SEND 1 PRE/POST SWITCH

TO AUX SEND 1

OUTPUT

TO AUX SEND 2

OUTPUT

Auxiliary SectionThis section includes the AUX MASTERS (Sends) and

the AUX RETURNS. These can be a bit confusing to the

uninitiated, so heres 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 [11], mix these signals together, then send them

out the AUX SEND jacks [62].

These outputs are fed to the inputs of an external

processor like a reverb or digital delay. From there,

the outputs of this external device are fed back to the

mixers AUX RETURN jacks [61]. Then these signals are

sent through the AUX RETURN level controls [38], and

finally delivered to the MAIN MIX [46].

So, the original drysignals go from the channels to

the MAIN MIX and the affected wetsignals go from

the AUX 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 another

mix for stage monitors, for example. In this case, the

AUX RETURNS arent used to return the signal. Instead,

they can be used as additional stereo inputs.

35. AUX 1 -6 MASTERS

The AUX MASTERS provide overall control over the

AUX SEND levels, just before they are delivered to the

AUX SEND outputs [62]. These knobs go from off ()

to +15 dB when turned all the way up.

This is usually the knob you turn up when the lead

singer glares at you, points at his stage monitor, andsticks his thumb up in the air. (It would follow that if

the singer stuck his thumb down, youd turn the knob

down, but that never happens.)

36. AUX PRE/POST

The PRE/POST switches determine whether the AUX

SEND signal is tapped from the channel before the fader

(pre-fader) or after the fader (post-fader). Typically,

you use a pre-fader send for monitors so you can control

the monitor levels independently from the MAIN MIX.

Use a post-fader send for effects, so that the wetsignal

level follows the drysignal level.

Most other mixing consoles require you to assign the

pre/post function in pairs (Aux 1/2, Aux 3/4), which can

be very limiting if you want to provide three monitor

sends and one effects send, for example. The Onyx 1640allows you to assign the pre/post function for each AUX

SEND individually!

Both pre- and post-fader sends are affected by the

MUTE button and the EQ controls (unless the EQ is

bypassed, of course).

Aux Pre vs. PostSignal Flow Diagram

5MON

MAIN

SUBS

CR/PHONES

ONLY

SUBS1-23-4

SENDTO

4

1

TO AUX 5

2

TO AUX 6

AUXSENDS

AUX MASTERS

AUXRETURNS

4

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

EFXTO

MON

4MON

3MON

3

2MON

1MON

6MON

OO +15

OO +15

OO +10

OO +10

OO +10

OO +10

OO +10

OO +10

OO +15

OO +15

OO +15

OO +15


18/36

18 ONYX 1640

O

NYX1640 37. AUX SENDS SOLO

This button allows you to solo an individual AUX

SEND. If you are using the aux sends to feed your stage

monitors, you can use these buttons to check your moni-

tor mix. Beside each switch is an indicating LED to let

you easily spot a soloed aux send.

The aux send solo is not affected by the SOLO MODE

switch (PFL/AFL), except that in PFL mode only the

right meter indicates the signal. The aux sends PFL/

AFL status is determined by the PRE/POST switches

next to the AUX SEND MASTERS.

38. AUX 1-4 RETURNS

These four controls set the overall level of effects

received from the stereo AUX RETURN 1-4 inputs [61].

These controls range from off () to +10 dB of gain

when fully clockwise, to compensate for low-level effects.

Signals passing through the AUX RETURN level con-

trols proceed directly to the MAIN MIX bus where theyare combined with the other channels just before the

MAIN MIX fader [38].

39. AUX RETURN 4 to CR/PHONES ONLY

When this button is up, AUX RETURN 4 is routed to

the MAIN MIX bus, just as the AUX RETURNS 1-3 are.

When the button is down, the AUX RETURN 4 stereo

signal is routed to the CR/PHONES matrix instead. It

doesnt matter if any of the SOURCE buttons are as-

signed, but it will be interrupted, as usual, if a SOLO

button is engaged.

Lets pretend youre doing a live mix to a 2-track deck,

a house PA, or both, and you want to play along to a

click track. You could run the click track directly into

the MAIN MIX, but you dont want the mixdown deck

or the audience to hear it. Oh yeah, you can route it to

the control room and phones output instead! Similarly,

it can be used for voice-over tracks, narration, anything

you want heard by the engineer and players but not by

the audience and mixdown deck.

40. EFX TO MON Level Controls

These controls route the signal from AUX RETURNS1 and 2 to the AUX 5 and 6 SENDS. This allows you to

use an external effects device, like a reverb or delay,

exclusively for the monitors. When these controls are

turned up, the stereo effects return signal is summed

to mono and combined with the signals coming from all

the channel AUX 5 and AUX 6 send controls.

If you want to add reverb or delay to the stage monitor

mixes, these are the knobs for you. Operating indepen-

dently of their respectively numbered AUX RETURNS

level controls, these knobs are exactly the same as the

AUX 5 and AUX 6 knobs found in the channel strip.

5MON

MAINSUBS

CR/PHONES

ONLY

SUBS1-23-4

SENDTO

4

1

MAIN MIX

L

R

SUB ASSIGN

MAIN MIX

L

R

MAIN MIX

L

R

MAIN MIX

L

R

TO AUX 5

2

TO AUX 6

AUXSENDS

AUX MASTERS

AUXRETURNS

4

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

SOLO

PREPOST

EFXTO

MON

POWER

MAINMIX

SUB1

SUB2

SUB3

SUB4

4MON

3MON

3

2MON

1MON

6MON

OO +15

OO +15

OO +10

OO +10

OO +10

OO +10

OO +10

OO +10

OO +15

OO +15

OO +15

OO +15

dB

30

20

10

40

50

5

5

U

60

10

OO


19/36

19Owners Manual

OwnersManual

45. SUB 1-4 Faders

As you might expect, these faders control the levels of

the signals sent to the SUB OUTS. All channels that are

assigned to subgroups, not muted, and not turned fully

down will appear at the SUB OUTS. Unlike the MAIN

OUT, the subgroup signals do not pass through an insert

jack on their way to the subgroup faders. Thats no prob-

lemshould you want to send these signals through a se-rial effects processor, simply patch from the SUB OUTS to

the effects input, and from the effects ouput to whatever

the final destination is, usually a multitrack recorder.

The subgroup signal is off when its fader is fully down,

the Umarking is unity gain, and fully up provides 10 dB

additional gain. Remember that if youre treating two

subgroups as a stereo pair, subgroup 1 and 2 for exam-

ple, make sure that both subgroup faders ridetogether

to maintain the left/right balance.

43. SUB ASSIGN

One popular use of the subgroups is to use them as master

faders for a group of channels on their way to the MAIN MIX.

Lets say youve got a drum kit hogging up seven channels

and youre going to want to fade them out at a different rate

than the other channels. You dont want to try that with sev-

en hands or seven fingers, so just un-assign these channels

from the MAIN MIX, reassign them to subgroups 1-2, engage

the ASSIGN TO MAIN MIX LEFT on subgroup 1 and ASSIGN

TO MAIN MIX RIGHT on subgroup 2. Now you can ride the

entire drum mix with two faderssubgroups 1 and 2.

If you engage just one ASSIGN TO MAIN MIX button

per subgroup (LEFT or RIGHT), the signal sent to the

MAIN MIX will be the same level as the SUB OUTS. Ifyou want the subgroup to appear in the center of the

main mix, engage both the ASSIGN TO MAIN MIX LEFT

and RIGHT buttons. The signal will be sent to both sides.

44. POWER LED

This LED performs one functionit lets you know

when the Onyx 1640 is turned on and ready to go!

46. MAIN MIX Fader

The MAIN MIX fader controls the output level justbefore the MAIN OUTPUTS (1/4"and XLR) [52/54] and

the TAPE OUTPUTS [58]. When MAIN MIX is selected for

the CONTROL ROOM/PHONES SOURCE [18], the MAIN

MIX fader [46] also controls the main mix level in the

CONTROL ROOM and PHONES outputs [59/30].

When the fader is fully down, the MAIN MIX is off.

The Umarking indicates unity gain, and fully up pro-

vides 10 dB of additional gain. Typically, this fader is set

near the Ulabel and left alone, but it can be used for

song fade-outs or quick system-wide mutes.

These two knobs feed their respective stereo AUX

RETURN signals to a mono summing amp and then: TO

AUX 5 feeds AUX RETURN 1 to AUX SEND 5 master, and

TO AUX 6 feeds AUX RETURN 2 to AUX SEND 6 master.

They are off when turned fully down, and provide up to

10 dB gain turned fully up.

41. AUX RETURN 3 SEND TO MAIN/SUBS

With this button up, AUX RETURN 3 behaves like the

other AUX RETURNSit delivers a stereo signal, regu-

lated by its level knob, to the MAIN MIX. When you push

this button in, the AUX RETURN 3 signals are removed

from the MAIN MIX buses and sent to the SUBS 1-2/3-4

switch, which diverts the signal once more. Were not

finished. Please read on.

42. SUBS 1-2/3-4

If the AUX RETURN 3 SEND TO MAIN/SUBS button

is up, the SUBS 1-2/3-4 button does absolutely nothing.

Lets now assume it is pushed in. AUX RETURN 3 s ste-reo signal will not be sent to the MAIN MIX, but to the

subgroup faders 1 and 2 (SUBS 1-2/3-4 button up) or to

subgroup faders 3 and 4 (SUBS 1-2/3-4 button down).

Lets say youve made a stereo drum submix on sub-

group faders 1 and 2, so you can ride those two faders

instead of the seven channels that the drums came

from. Subgroup fader 1 has its ASSIGN TO MAIN MIX

LEFT button engaged and subgroup fader 2 has its AS-

SIGN TO MAIN MIX RIGHT button engaged, blending

the drum submix back into the MAIN MIX. The drum

channels are also sending signals to your reverb via the

AUX sends and the reverb outputs are patched into theAUX RETURN 3. So far, so good.

Even though you could send AUX RETURN 3 directly

to the MAIN MIX (AUX RETURN 3 SEND TO MAIN/

SUBS button up), you dont want to. Instead, engage the

AUX RETURN 3 SEND TO MAIN/SUBS switch and make

sure the SUBS 1-2/3-4 switch is up. Now the reverb

return is blended into the drum submix, and as you ride

the two subgroup faders, the reverb level will follow.

Why do we want that? Because if you had just sent the

reverb directly to the MAIN MIX (AUX RETURN 3 SEND

TO MAIN/SUBS button up) and you did a drum fade-

out using the subgroup faders 1 and 2, the drysignalswould fade out, but the wetsignals would keep on sing-

ing. All you would hear is the drum reverb (the wet),

and none of the original drum signals (the dry). Thats

because the reverb is being fed by the channel s AUX

SEND, and they have no idea that you ve pulled down the

subgroup faders. Thats why we threw in these switches.


20/36

20 ONYX 1640

O

NYX1640 Rear Panel

This is where all the connections are made to the

Onyx 1640 (except the headphones and the lamp).

One of the things that revolutionized the compact

mixer industry was the convertible podfound on the

original, classic CR-1604. Using an ordinary phillips

screwdriver, the mixer could be converted from desk-

top mode (as it comes from the factory) to rackmount

mode. Fear not. This feature is so popular that we have

kept it in the Onyx 1640. Refer to Appendix D for in-

structions on converting the I/O pod for rack mounting.

A third option allows you to rotate the pod so that the

jacks are on the same plane as all the knobs, buttons, and

faders. This is a lifesaver when you have to do frequent

repatching of the connectors. This, however, requires

the optional rotopod bracket, not supplied with the Onyx

1640. Contact your Mackie dealer for details.

47. 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)

48. LINE Input (Channels 3-16)

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 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

49. HI-Z Instrument Input(Channels 1-2)

This is a 1/4"connector, which accepts an unbalancedinstrument-level input signal from a high-impedance

instrument like a guitar.

50. CHANNEL INSERT

These 1/4"TRS jacks provide a send and return point

for channels 1-16. Use the CHANNEL 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 anydevice. 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:

tip

this plug connects to one of themixers Channel Insert jacks.

ring

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

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 RECORDING OUTS

on the rear panel, which are balanced direct outputs,

post-GAIN, pre-LOW CUT.

TALKBACKMIC

OO +6

SUB OUTC-R OUTMAININSERT

(TIP=SENDRING=RETURN)

TAPEINPUT

TAPEOUTPUT

MAIN OUT AUX SENDAUX RETURN

3

R

L

MONO

R R RR

L

R

L

R

L

R

L

L L L

1

4 2

51234 3 1

6 4 2(MONO)(MONO)(MONO)

DESIGNEDBYMACKOIDSINWOODINVILLE,WA, USAMANUFACTUREDINCHINA FABRIQUEENCHINE COPYRIGHT2004 THEFOLLOWINGARETRADEMARKSOR REGISTEREDTRADEMARKSOF LOUDTECHNOLOGIESINC.:"MACKIE","ONYX",ANDTHE "RUNNINGMAN"FIGURE USPATENTNUMBER29/049,129

MAINOUTPUTLEVEL

RIGHT LEFT

MAIN OUTSMIC

+4dB

16INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT INSERT INSERT INSERT INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

LINE

BALUN-BAL

ONYXMICPRE

MIC

LINE

BALUN-BAL

ONYXMICPRE

MIC

LINE

BALUN-BAL

ONYXMICPRE

MIC

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

HI-Z

BALUN-BAL

ONYXMICPRE

MIC

INSERT

HI-Z

BALUN-BAL

ONYXMICPRE

MIC

15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

BAL/UNBAL BAL/UNBALBAL/UNBALBAL/UNBALBAL/UNBALBALANCED

S ER IA L NU MB ER M AN UF AC TU RI NG D AT E

RISKOFELECTRICSHOCK

DONOTOPEN

WARNING:TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOTEXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.

NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

CAUTION

AVIS:RISQUEDECHOCELECTRIQUENEPASOUVRIR

+48V


21/36

21Owners Manual

OwnersManual

Here are three ways you use the INSERT jacks: Note:You can safely plug this output into a micro-

phone input that provides 48 V phantom power.

54. MAIN OUT

These 1/4" TRS output connectors provide balanced

or unbalanced line-level signals. This is the same signal

that appears at the XLR MAIN OUTPUTS [52] (except

the 1/4" jacks are not affected by the MAIN OUTPUTLEVEL switch). Connect these to the next device in the

signal chain like an external processor (graphic equal-

izer or compressor/limiter), or directly to the inputs of

the main amplifier.

55. MONO OUT

This 1/4"TRS output connector provides a balanced

or unbalanced 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 doesnt require a stereo

feed, or to simply test the monaural compatibility of

your stereo mix.

56. MONO OUT LEVEL Control

This is a separate level control for the MONO OUT. It

comes after the MAIN MIX fader but before the MAIN

OUTPUT LEVEL switch, so turning the MAIN MIX fader

up and down does affect the MONO OUT signal. With

this control turned all the way up, you ll have 6 dB of

extra gain at the MONO OUT.

57. 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, but before the MAIN

MIX fader. Refer to the description of the channel insert

on the previous page to see how to make this connection.

58. TAPE IN/OUT

These RCA jacks are used to connect to the inputs and

outputs of a tape recorder or other recording device.

The TAPE IN jacks accept an unbalanced signal from

a tape recorder or other signal source (could be a CD

player, if you want) using standard hi-fihookup cables.

The signal is routed to the CONTROL ROOM/PHONES

SOURCE matrix [18]. Push in the TAPE button to route

the tape input to the CONTROL ROOM and PHONES

outputs [59/30]. This allows you to playback recordings

of your mixes.

Push in the TAPE TO MAIN MIX button [23] to route the

tape input to the MAIN OUTs [52/54]. This allows you to

playback music between sets over the main PA speakers.

Direct out with no signal interruption to master.Insert only to first click.

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption to master.Insert all the way in to the second click.

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

MONO PLUG

MONO PLUG

STEREO

PLUG

51. TALKBACK MIC

This is where you plug in your external talkback

microphone if you need to have one. This female XLR

connector has +48 VDC phantom power always applied,

so you can use dynamic or condenser microphones.

Note:Almost all dynamic microphones can be used with

phantom power, but you might want to check the docu-

mentation that came with your microphone to be sure.

52. RIGHT/LEFT MAIN OUTPUTS

These male XLR connectors provide a balanced line-

level signal that represent the end of the mixer chain,

where your fully mixed stereo signal enters the real

world. Connect these to the inputs of your main power

amplifiers, powered speakers, or serial effects processor

(like a graphic equalizer or compressor/limiter). It pro-

vides a fully balanced signal that is the same as the 1/4"

TRS MAIN OUT jacks next door (except the 1/4" jacks

are not affected by the MAIN OUTPUT LEVEL switch).

53. MAIN OUTPUT LEVEL

When this switch is out (+4 dB), the XLR MAIN

OUTPUTS provide a +4 dBu line-level signal. When the

switch is pushed in (MIC), the signal is attenuated by

40 dB to a microphone level. You can connect the XLR

MAIN OUTPUTS to the microphone inputs of another

mixer, providing a submix for keyboards or drums, for

example, in a live sound application.


22/36

22 ONYX 1640

O

NYX1640 WARNING!Pushing the TAPE TO

MAIN MIX button can create a

feedback path between TAPE IN

and TAPE OUT. Make sure your tape

deck is not in record, record pause,

or input monitor mode when you engage these switches,

or make sure the TAPE IN level control is turned all the

way down.

The TAPE OUT jacks produce an unbalanced signalthat is tapped off the MAIN OUTs. Normally, you would

connect these to the inputs of a recorder, but you can

use them as an extra set of main outputs for feeding

another zone, for example.

59. CONTROL RM Outputs

These 1/4"TRS jacks provide a balanced line-level

signal that can be used to provide another main mix

output (with MAIN MIX selected in the CONTROL

ROOM/PHONES SOURCE), or to monitor the SUB 1-2

outputs, SUB 3-4 outputs, TAPE inputs, or a 2-track feed

from your computer (with the optional FireWire card

installed).

Connect these outputs to the inputs of an amplifier,

powered speaker, headphone distribution amplifier, or

recording device.

60. SUB Outputs

These 1/4"TRS jacks are usually patched to the in-

puts of a multitrack deck, or to secondary amplifiers in a

complex installation.

61. AUX RETURN 1-4

These 1/4" TRS input connectors accept balanced or

unbalanced line-level stereo signals from an external

processor or other device. The stereo AUX 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

connected 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).

62. AUX SEND 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.

63. RECORDING OUTS

These two DB-25 connectors provide balanced direct

outputs for channels 1-8 and 9-16, respectively. They are

designed to be connected directly to a recorders analog

inputs, and use the TASCAM standard pinout for analog

signal connections (the same standard used on the ana-

log cards for the Mackie D8B and Hard Disk Recorder).

The signal at the RECORDING OUTS comes just after

the input GAIN control, and before the Low-Cut switch,

INSERT jacks, and EQ. This way you can EQ a channel,

connect a compressor or other dynamics processor to

the INSERT jack, and adjust the channel fader to suit

your live mix, but it has no effect on the signal going to

the recorder. This provides maximum flexibility for the

mixdown stage.

See Appendix B for a wiring diagram of these connectors.

64. FIREWIRE I/O OPTION

Okay, we saved the best for last (well, almost last).FireWire (a.k.a. IEEE 1394) is a high-speed serial I/O

interface for connecting digital devices, with more than

30 times the bandwidth of USB 1.1. You can install the

optional Onyx FireWire card in this slot, which provides

an interface for transferring digital audio to and from

your laptop computer or digital audio workstation

(DAW) with absolute zero latency.

The FireWire interface provides the direct outputs

for all sixteen channels and the Left/Right Mix. The

Left/Right Mix is pre-fader at the FireWire output, so its

level is independent of the MAIN MIX fader (important

for live gigs). Instead, it has a rotary level control thatprovides 10 dB of boost or cut for the Left/Right mix,

to optimize the level for the recorder or DAW. Use the

FireWire interface to record a live performance directly

to your laptop, which you can mixdown to a stereo mix

later. Or you can use it to turn your Onyx mixer into a

high-quality computer audio interface for your DAW.

The card also provides a return for two channels from

the DAW, which can be routed through the CONTROL

ROOM/PHONES SOURCE matrix [18] via the FIREWIRE

button, to monitor the computer audio through your con-

trol room speakers or headphones (or through the main

speakers if ASSIGN TO MAIN MIX is selected).

The FireWire interface works with both PC and Mac.

As an added bonus, we include a free copy of Tracktion

with the FireWire card, our multitrack recording and

sequencing software application for PC and Mac.

Visit our website at www.mackie.com formore infor-

mation about the Onyx FireWire card.


23/36

23Owners Manual

OwnersManual

65. POWER Switch

This one is self-explanatory. When the POWER switch

is turned ON, power is supplied to the Onyx 1640 and

the POWER LED on the front panel lights up.

66. Power Receptacle

This is a standard 3-prong IEC power connector.Connect the detachable linecord (included in the box

with your Onyx 1640) to the power receptacle, and plug

the other end of the linecord into an AC outlet. The

Onyx 1640 has a universal power supply that can accept

any AC voltage ranging from 100 VAC to 240 VAC. No

need for voltage select switches. It will work virtually

anywhere in the world. Thats why we call it a Planet-

Earthpower supply! This also means that it is less

susceptible to voltage sags or spikes, providing greater

electromagnetic isolation and better protection against

AC line noise.

TALKBACKMIC

RECORDING OUTSPOST GAIN PRE INSERT

(BALANCED) (BALANCED)

9-161-8

~100-240VAC50/60Hz80W

OO +6

SUB OUTC-R OUTMAININSERT

(TIP=SENDRING=RETURN)

TAPEINPUT

TAPEOUTPUT

MAIN OUT AUX SENDAUX RETURN

3

R

L

MONO

R R RR

L

R

L

R

L

R

L

L L L

1

4 2

51234 3 1

6 4 2(MONO)(MONO)(MONO)

DESIGNEDBYMACKOIDSIN WOODINVILLE,WA ,USA MANUFACTUREDIN CHINA FABRIQUEENCHINE COPYRIGHT2004 THEFOLLOWINGARETRADEMARKSOR REGISTEREDTRADEMARKSOFLOUD TECHNOLOGIESINC.:"MACKIE","ONYX",AND THE"RUNNINGMAN"FIGURE USPATENTNUMBER29/049,129

MAINOUTPUTLEVEL

RIGHT LEFT

MAIN OUTSMIC

+4dB

16INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

INSERT INSERT INSERT INSERT INSERT

LINE

BALUN-BAL

ONYXMICPRE

MIC

LINE

BALUN-BAL

ONYXMICPRE

MIC

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