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1
2
8
9
INSERT
INSERT
10
1
2
LINE
LINE
BAL/UNBAL
BAL/UNBAL
21
18
LINE
LINE
HI - Z
HI - Z
19
48V
48V
20
30
30
U
U
20
40
20
40
23
GAIN
GAIN
U
60
U
60
-
-
20dB
40dB
20dB
40dB
+
+
24
SEND
SEND
PRE
PRE
POST
POST
EQ
EQ
U
U
25
HIGH
HIGH
12kHz
12kHz
-15
15
-15
15
+
+
1k
1k
26
28
FREQ
FREQ
100
8k
100
8k
U
U
27
29
MID
MID
-15
15
-15
15
+
+
U
U
31
LOW
LOW
80Hz
80Hz
-15
15
-15
15
+
+
AUX
AUX
32
1
1
MAX
MAX
O O
O O
33
2
2
MAX
MAX
O O
O O
PAN
PAN
34
L
R
L
R
36
35
MUTE
MUTE
OL
OL
ALT 3-4
ALT 3-4
- 20
20
-
U
U
37
+10dB
+10dB
O O
O O
LEVEL
LEVEL
38
SOLO
SOLO
1
2
18. HI-Z SWITCH (Ch. 1 and 2 only)
Engage this switch if you want to connect guitars
directly to the 1/4" line inputs of channels 1 or 2.
Without this switch, you need to use a DI box first,
before connecting guitars. If these switches are not
pressed in, guitars will not sound good, particularly the
high frequency response.
18
Onyx 820i
3-4
AUX SEND
BAL/UNBAL
1
2
L
(MONO)
LINE IN 5-6
LINE IN 7-8
BAL/UNBAL
R
L
(MONO)
BAL/UNBAL
4dB
LINE
+
-10dB
R
48V
30
U
MIC
20
40
GAIN
GAIN
U
60
-
-
20dB
20dB
20dB
+
SEND
SEND
SEND
PRE
PRE
POST
POST
EQ
EQ
U
U
HIGH
HIGH
12kHz
12kHz
-15
15
-15
15
-15
+
+
U
HIGH
MID
U
2.5KHz
30
-15
15
MID
+
U
2.5kHz
LOW
-15
15
-15
+
MID
400Hz
-15
15
+
U
U
LOW
LOW
80Hz
80Hz
-15
15
-15
15
-15
+
+
AUX
AUX
1
1
MAX
MAX
O O
O O
O O
2
2
MAX
MAX
O O
O O
O O
PAN
PAN
L
R
L
R
MUTE
MUTE
OL
OL
ALT 3-4
ALT 3-4
20
20
-
-
U
U
+10dB
+10dB
O O
O O
LEVEL
LEVEL
SOLO
SOLO
3-4
5-6
Plugging a guitar into a lower-impedance
AUX RETURN
MAIN OUT
line-level input can result in the loss of high
BAL/UNBAL
BAL/UNBAL
1
2
frequencies, causing an unnatural and dull
L
sound. Normally, you must use a direct box
(MONO)
between a guitar and a mixer's input, which serves to
R
convert the impedance of the guitar from high to low.
The hi-z inputs on channels 1 and 2 make the need for
a direct box unnecessary. However: The hi-z inputs are
unbalanced (when the switch is in), so if you're doing a
L
live show and running a long cord between the instru-
(MONO)
BAL/UNBAL
ment and the mixer (say over 25 or 30 feet), it is best to
use a direct box with a balanced output to avoid picking
R
PREMIUM ANALOG MIXER
up noise over the length of the cord.
CTRL ROOM/PHONES
U
SOURCE
GAIN
19. LOW CUT (Ch.1–4 only)
22
20dB
+
MAIN MIX
The mono and hybrid channels each have a low-cut
INPUT
switch (often referred to as a high-pass filter) that cuts
TAPE
LINE
bass frequencies below 75 Hz at a rate of 18 dB per
FW 1-2
U
octave.
HIGH
ALT 3 - 4
FW 1-2
12kHz
15
+
For channels 1 and 2, the low cut switch affects the
U
mic and line inputs. For channels 3 and 4, it affects the
ASSIGN TO
MAIN MIX
MID
mic input only.
2.5kHz
15
+
We recommend that you use low-cut on every micro-
O O
MAX
MAX
O O
CONTROL
PHONES
phone application except kick drum, bass guitar, or
U
ROOM
LOW
bassy synth patches. These aside, there isn't much down
80Hz
AUX MASTER
15
+
there that you want to hear, and filtering it out makes
SEND
AUX
the low stuff you do want much more crisp and tasty.
1
1
Not only that, but low-cut can help reduce the possibili-
PRE
MAX
15
O O
+
POST
ty of feedback in live situations, and it helps to conserve
2
2
amplifier power.
PRE
MAX
15
O O
+
POST
PAN
Another way to consider low-cut's function
AUX SEND 1-2
is that it actually adds flexibility during live
TO FW 5-6
L
R
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
MUTE
OL
Trouble is, adding low EQ also boosts stage rumble, mic
ALT 3-4
MAX
O O
20
-
MIC
LEVEL
U
handling clunks and breath pops from way-down low.
Applying low-cut removes all those problems, so you can
DESTINATION
add low EQ without blowing your subwoofers.
+10dB
O O
AUX 1-2
PHONES
LEVEL
20. 48V PHANTOM POWER (Ch. 1-4 only)
SOLO
7-8
TALKBACK
Most modern professional condenser mics require
48V phantom power, which lets the mixer send low-cur-
rent DC voltage to the mic's electronics through the
same wires that carry audio. (Semi-pro condenser mics
often have batteries to accomplish the same thing.)
"Phantom" owes its name to an ability to be "unseen"
by dynamic mics (Shure SM57/SM58, for instance),
which don't need external power and aren't affected by
it anyway.
Press this switch in if your microphone requires phan-
tom power. (Always check the position of this switch
before connecting microphones.)
TAPE
IN
OUT
L
L
R
R
w/ PERKINS EQ & FIREWIRE
0dB=0dBu
L
R
20
CLIP
15
10
6
3
0
2
LEVEL
SET
4
7
10
20
30
RUDE
SOLO
RETURN
1
10
O O
+
RTN TO
AUX1
2
10
O O
+
POWER
ASSIGN TO
FW 7-8
U
+10dB
O O
MAIN MIX
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