Hi-Z Switch (Ch. 1 And 2 Only); Low Cut (Ch.1-4 Only) - Mackie ONYX 1220i Owner's Manual

1
9
10
1
LINE LINE
BAL/UNBAL BAL/UNBAL
18
LINE LINE
HI - Z
19
20
48V 48V
30 30
U U
21
20 40 20 40
GAIN GAIN
U 60 U 60
- -
20dB 40dB 20dB 40dB
+ +
SEND SEND
22
PRE PRE
POST POST
EQ U EQ
U
24
HIGH HIGH
12kHz 12kHz
- -
15 15 15 15
+ +
1k 1k
25
FREQ FREQ
100 8k 100 8k
U U
26
MID MID
- 15 15 - 15 15
+ +
U U
28
LOW LOW
80Hz 80Hz
- -
15 15 15 15
+ +
AUX AUX
1

18. HI-Z SWITCH (Ch. 1 and 2 only)

MAX MAX
O O O O
Engage this switch if you want to connect guitars
2
directly to the 1/4" line inputs of channels 1 or 2.
MAX MAX
O O O O
PAN PAN
Without this switch, you need to use a DI box first,
L R L R
before connecting guitars. If these switches are not
pressed in, guitars will not sound good, particularly the
high frequency response.
MUTE MUTE
Plugging a guitar into a lower-impedance
ALT 3/4 ALT 3/4
line-level input can result in the loss of high
frequencies, causing an unnatural and dull
dB dB
10 10
sound. Normally, you must use a direct box
5 5
between a guitar and a mixer's input, which serves to
U U
OL
convert the impedance of the guitar from high to low.
5 5
20
-
The hi-z inputs on channels 1 and 2 make the need for
10 10
a direct box unnecessary. However: The hi-z inputs are
20 20
unbalanced (when the switch is in), so if you're doing a 30 30
40 40
live show and running a long cord between the instru-
50 50
60 60
O O O O
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
up noise over the length of the cord.
SOLO SOLO
1
2 3 4
2 3 4
LINE LINE
11
BAL/UNBAL BAL/UNBAL
HI - Z
75Hz 75Hz
18dB/OCT 18dB/OCT
48V 48V
30 30
U U
20 40 20 40
GAIN GAIN
U 60 U 60
- - -
20dB 40dB 20dB 40dB
+ +
SEND SEND
PRE PRE
POST POST
U EQ U EQ
HIGH HIGH
12kHz 12kHz
- -
15 15 15 15
+ +
1k 1k
FREQ FREQ
100 8k 100 8k
U U
MID MID
- 15 15 - 15 15
+ +
U U
LOW LOW
80Hz 80Hz
- -
15 15 15 15
+ +
AUX AUX
1 1 1
MAX MAX
O O O O
2 2 2
MAX MAX
O O O O
PAN PAN
L R L R
MUTE MUTE
ALT 3/4 ALT 3/4
dB dB
10 10
5 5
U U
OL OL OL
5 5
20 20 20
- - -
10 10
20 20
30 30
40 40
50 50
60 60
O O O O
SOLO SOLO
2 3 4
CTRL - RM OUT MAIN OUT
BAL/UNBAL BAL/UNBAL
12
L R L
LINE IN 5-6 LINE IN 7-8 LINE IN 9-10
L L
(MONO) (MONO)
BAL/UNBAL BAL/UNBAL
R R
U U U
GAIN GAIN
- -
20dB 20dB 20dB 20dB 20dB 20dB
+ + +
SEND SEND SEND
PRE PRE
POST POST
EQ EQ
U U U
HIGH HIGH
12kHz 12kHz
-15 +15 -15 +15 -15 +15
27
U U U
MID MID
2.5kHz 2.5kHz
-15 +15 -15 +15 -15 +15
U U U
LOW LOW
80Hz 80Hz
-15 +15 -15 +15 -15 +15
AUX AUX
1 1
19. LOW CUT (Ch.1–4 only)
MAX MAX MAX
O O O O O O
The mono channels each have a low-cut switch (often
2 2
referred to as a high-pass filter) that cuts bass frequen-
MAX MAX MAX
O O O O O O
PAN PAN
cies below 75 Hz at a rate of 18 dB per octave.
L R L R L
The low cut switch affects both the mic and line
inputs.
We recommend that you use low-cut on every micro-
MUTE MUTE MUTE
phone application except kick drum, bass guitar, or
ALT 3/4 ALT 3/4 ALT 3/4
bassy synth patches. These aside, there isn't much down
there that you want to hear, and filtering it out makes
dB dB
10 10
the low stuff you do want much more crisp and tasty.
5 5
Not only that, but low-cut can help reduce the possibili-
U U
OL OL
ty of feedback in live situations, and it helps to conserve
5 5
20 20
- -
amplifier power.
10 10
20 20
Another way to consider low-cut's function
30 30
is that it actually adds flexibility during live
40 40
50 50
performances. With the addition of low-cut,
60 60
O O O O
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
SOLO SOLO SOLO
Trouble is, adding low EQ also boosts stage rumble, mic
5-6 7-8
handling clunks and breath pops from way-down low.
Applying low-cut removes all those problems, so you can
add low EQ without blowing your subwoofers.
Owner's Manual
ALT 3 - 4 OUT
BAL/UNBAL
R L/3 R/4
LINE IN 11-12
L
L
(MONO) (MONO)
BAL/UNBAL BAL/UNBAL
R R
PREMIUM ANALOG MIXER
CTRL ROOM/PHONES
U
SOURCE
GAIN GAIN
23
-
20dB 20dB
+
MAIN MIX
SEND INPUT
PRE
POST
TAPE
LINE
EQ
U
FW 1-2
HIGH HIGH
12kHz 12kHz FW 1-2
-15 +15
U
ASSIGN TO
MAIN MIX
MID MID
2.5kHz 2.5kHz
-15 +15
MAX
O O
CONTROL
U
ROOM
LOW LOW
80Hz 80Hz
-15 +15
AUX AUX SEND
1 1
PRE
MAX
O O O O
POST
2 2
PRE
MAX
O O O O
POST
PAN PAN
R L R
MUTE
ALT 3/4
MIC
dB dB
10 10
5 5
U U
OL OL
MAX
5 5 O O
20 20
- - LEVEL
10 10
DESTINATION
20 20
30 30
PHONES
40 40
50 50
60 60
O O O O
TALKBACK
SOLO
9-10 11-12
TALKBACK
TAPE
L
IN OUT
R
w/ PERKINS EQ & FIREWIRE
0dB=0dBu
L R
20
CLIP
15
10
6
3
0
ALT 3 - 4 2
LEVEL
SET
4
7
10
20
30
MAX
O O
RUDE
PHONES
SOLO
AUX MASTER
RETURN
1 1
15 10
+ O O +
RTN TO
AUX1
2 2
15 10
+ O O +
POWER
dB
10
5
U
5
10
20
30
AUX
40
1-2
50
60
O O
MAIN MIX
17