Onyx 80 Series Premium Live Analog Mixers Owner's Manual Mackie 3280 Onyx80series Om

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User Manual: Mackie Onyx 3280 Owner's Manual Mackie - Onyx 3280 - Owner's Manual

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OWNER’S MANUAL

PREMIUM LIVE ANALOG MIXERS

w/PERKINS EQ & ONYX MIC PREAMPS



ONYX 80 SERIES

1. Read these instructions.

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 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 table speciﬁed by the

manufacturer, or sold with the apparatus. When a cart is used, use

caution when moving the cart/apparatus combination to avoid injury

from tip-over.

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 Onyx mixer has been designed with Class-I construction and must

be 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 AC

mains power switch. This switch is located on the rear panel and

should remain readily accessible to the user.

17.

This apparatus does not exceed the Class A/Class B (whichever is

applicable)

limits for radio noise emissions from digital apparatus as

set out in the radio interference regulations of the Canadian Department

of Communications.

ATTENTION — Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils numériques de

class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage

radioélectrique édicté par les ministere des communications du Canada.

18.

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.

Important Safety Instructions

WARNING — To reduce the risk of ﬁre or

electric 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 - The

Component should be used

only with a cart or stand

that is recommended by

the manufacturer.

A Component and cart

combination should be

moved with care. Quick

stops, excessive force, and

uneven surfaces may cause

the Component and cart

combination to overturn.

CAUTION AVIS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

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

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

Le symbole éclair avec point de flèche à l'intérieur d'un triangle

équilatéral est utilisé pour alerter l'utilisateur de la présence à

l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur

suffisante pour constituer un risque d'éléctrocution.

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 à l'intérieur d'un triangle équilatéral est

employé pour alerter les utilisateurs de la présence d'instructions

importantes pour le fonctionnement et l'entretien (service) dans le

livret d'instruction accompagnant l'appareil.

Part No. SW0598 Rev. B 01/08



Owner’s Manual

Table of Contents

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

Getting Started ..........................................................................................................5

Zero the Controls .......................................................................................................................................5

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

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

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

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

Onyx 80 Series Features ........................................................................................10

Channel Strips ...........................................................................................................................................10

Auxiliary Section ......................................................................................................................................14

Group Section ...........................................................................................................................................16

Metering, Matrix, and Power LEDs ......................................................................................................17

TALKBACK Section, MUTE GROUPS, and MONO OUT ..................................................................19

MAIN MIX and PHONES/MONITOR Section .................................................................................0

Rear Panel ...................................................................................................................................................1

Appendix A: Service Information ........................................................................5

Troubleshooting .......................................................................................................................................5

Repair .........................................................................................................................................................6

Appendix B: Connections ......................................................................................7

Appendix C: Technical Info ..................................................................................0

Onyx 80 Series Specications .............................................................................................................0

Onyx 80 Series Dimensions ...................................................................................................................

Onyx 80 Series Block Diagram .............................................................................................................

Onyx 80 Series Gain Structure Diagram ........................................................................................... 4

Onyx 80 Series Limited Warranty ......................................................................5

Don’t forget to visit our website at www.mackie.com for more

information about this and other Mackie products.

ONYX 80 SERIES

Introduction

Thank you for choosing a Mackie Onyx 80 Series

professional live mixing console. The Onyx 80 Series of

mixers feature all-new analog circuitry and the latest

technologies for live sound reinforcement in a durable,

road-worthy package.

The Onyx 80 Series mixing consoles come in four

sizes: the 24-channel Onyx 2480, 32-channel Onyx 3280,

40-channel Onyx 4080, and the ﬂagship 48-channel Onyx

4880. The master section and channel strip conﬁgura-

tion are the same for all four models, the only difference

being number of channels.

The Onyx 80 Series 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 expen-

sive stand-alone mic preampliﬁers.

Each mono channel strip features an individual phan-

tom power switch, low-cut ﬁlter, polarity switch, pre-EQ

channel insert, and an all new four-band EQ design with

sweepable mids and EQ bypass switch.

All mono channels have eight Aux sends with a stereo-

link function (can provide up to four IEM mixes), Pan,

Mute and Mute Group assign, PFL Solo, 100 mm Fader,

Group and Main Mix assign, and four signal-level indica-

tors. In addition, balanced direct outputs are provided

on DB-25 connectors (eight channels per connector) for

multitrack recording.

The master section features eight stereo Aux inputs,

eight Master Aux sends, eight Group Masters, an Aux/

Group Flip function, a 10x2 Matrix, a Phones/Monitor

section, and a Talkback section with routing switches

that allow you to communicate through the Aux Sends,

Group outputs, or the L/R mix.

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 con-

nection point on the Onyx 80 Series, 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 the

Onyx 80 Series. 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 for

the 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.

It’s a goldmine for the neophyte, and even the seasoned

pro might learn a thing or two.

Please write your serial number here for future

reference (i.e., insurance claims, tech support,

return authorization, etc.)

Purchased at:

Date of purchase:

Owner’s Manual

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 80 Series.

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. In the 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

80 Series mixing console, 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 a microphone or other signal source into chan-

nel 1’s MIC or LINE input [67/68]. If it’s a line-level

input, push in the LINE [2] switch.

2. Plug in the detachable linecord, connect it to an

AC outlet, and turn on the Onyx 80 Series’ POWER

switch [85].

3. Connect cords from the Onyx 80 Series’ MAIN OUTS

[79] (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 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 [65] on the front panel,

then set the PHONES knob [64] about one-quarter of

the way up and the SOLO LEVEL [61] about halfway up.

The following steps must be performed one channel at

a time.

1. Push in the channel’s PFL [22] 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 [5] control so that the

LEDs on the Left Solo meter stay around “0” and

never go higher than “+7.”

4. If you’d like to apply some EQ, do so now and return

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

[12] button 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.

To get sound out of the speakers, push in the MAIN

MIX assign switch [21] next to the faders on channels

1 and 2, turn up channel 1 and 2 faders [33] to the

“U” mark and slowly turn up the left and right MAIN

MIX [60] faders 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

• For optimum sonic performance, the channel and

MAIN MIX faders should be set near the “U” (unity

gain) markings.

• Always turn the MAIN MIX faders, GROUP faders,

and MONITOR knob down before making connec-

tions to and from your Onyx 80 Series.

• 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 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 80 Series in real applica-

tions. After that, 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 it’s there if

you have any questions.

ONYX 80 SERIES

Stereo Power

Amplifier

In (record)

Stereo Compressor

Mono Compressor

Multi Effect

Processor

Mono Power

Amplifier

Stage Monitors

Left PA Speaker Right PA Speaker

Stereo EQ

Mono EQ

Headphones

Keyboard or other

line level input

Stereo Guitar Effects

Drum

Machine

Bass Guitar

Electric Guitar

DI Boxes

Electric Guitar

Vocal Mics

Digital Multitrack

Hard Disk Recorder

Stereo In-Ear Monitor

System (IEM)

Out

Stereo Compressor

Stereo Recorder

Out

SELECT

SELECTSELECTSELECT

16 16

12 12

24 24

20 20

CHANNEL INSERTS

CHANNEL INPUTS STEREO AUX INPUTS

MONO

OUT

PHONES

OUT

MAIN

OUT

MONTIOR

OUT

MATRIX

OUT

MAIN

OUT

DIRECT OUT

9-16

DIRECT OUT

1-8

MAIN

INSERTS

DIRECT OUT

17-24

AUX SEND

AUX SEND INSERTS

GROUP SEND

GROUP SEND INSERTS

Hookup Diagrams

Onyx 2480 Live Mix and Multitrack Recording

This hookup diagram demonstrates how

you can do a live multitrack recording

using the DIRECT OUTs. The DIRECT

OUTs provide an analog balanced direct

output for each channel, post-EQ.

Aux Send 1 is used for stage monitors,

and Aux Sends 3 and 4 are a stereo pair

driving an IEM system. Aux Sends 5/6

and 7/8 could provide two more stereo

sends for IEM systems.

Owner’s Manual

Onyx 2480 Multitrack Recording in a Studio (Tracking)

The DIRECT OUTs provide an analog balanced direct output for each chan-

nel, tapped after the GAIN control and EQ controls. The Main Outs are used for

monitors in the studio, and the Monitor Outs are used for monitors in the control

room. In addition, the Phones Out drives a headphone distribution ampliﬁer to

provide individual monitor level control for the talent.

Stereo Compressor

Mono Compressor

Multi Effect

Processor

Keyboard or other

line level input

Drum

Machine

Vocal Mics

Digital Multitrack

Hard Disk Recorder

Out

SELECT

SELECTSELECTSELECT

Powered

Studio Monitors

for Studio

Powered

Studio Monitors

for Control Room Headphone Distribution

Amp

Headphones

for Studio

Stereo Guitar Effects

Bass Guitar

Electric Guitar

DI Boxes

Digital Delay

16 16

12 12

24 24

20 20

CHANNEL INSERTS

CHANNEL INPUTS STEREO AUX INPUTS

MONO

OUT

PHONES

OUT

MAIN

OUT

MONTIOR

OUT

MATRIX

OUT

MAIN

OUT

DIRECT OUT

9-16

DIRECT OUT

1-8

MAIN

INSERTS

DIRECT OUT

17-24

AUX SEND

AUX SEND INSERTS

GROUP SEND

GROUP SEND INSERTS

ONYX 80 SERIES

Onyx 2480 Computer Recording

In this hookup diagram, the tracking channels are routed to the Group 1-8 outputs.

These are connected to the analog audio interface to your DAW or laptop. A 2-track

return is provided by the DAW (or laptop) to Stereo Aux Input 4 on the Onyx 2480 for

playback of the master mix.

To Desktop

Laptop Computer

Stereo Compressor

Mono Compressor

Multi Effect

Processor

Keyboard or other

line level input

Drum

Machine

Vocal Mics

Out

Powered

Studio Monitors

for Studio

Powered

Studio Monitors

for Control Room

Headphones

Audio I/O for Workstation

Stereo Guitar Effects

Bass Guitar

Electric Guitar

DI Boxes

16 16

12 12

24 24

20 20

CHANNEL INSERTS

CHANNEL INPUTS STEREO AUX INPUTS

MONO

OUT

PHONES

OUT

MAIN

OUT

MONTIOR

OUT

MATRIX

OUT

MAIN

OUT

DIRECT OUT

9-16

DIRECT OUT

1-8

MAIN

INSERTS

DIRECT OUT

17-24

AUX SEND

AUX SEND INSERTS

GROUP SEND

GROUP SEND INSERTS

Owner’s Manual

Onyx 2480 House of Worship

Power Amp

Mono Mode

In (record)

Stereo Compressor

Mono Compressor

Mono Power

Amplifier

Stage Monitors

Left PA Speaker Right PA Speaker

Stereo EQ

Mono EQ

Headphones Mono EQ

Keyboard or other

line level input

Stereo Guitar Effects

Drum

Machine

Bass Guitar

Electric Guitar

DI Boxes

Electric Guitar

Vocal Mics

Digital Multitrack

Hard Disk Recorder

Mono Power

Amplifier

Stage Monitors

Mono EQ

Assistive Listening

System

Out

Stereo Compressor

Stereo Recorder

Out

SELECT

SELECTSELECTSELECT

Power Amp

Mono Mode

Center PA Speaker

Mono EQ

Power Amp

Mono Mode

Nursery Zone Speaker

Power Amp

Mono Mode Stereo Power

Amplifier

Left and Right Chapel Speaker

(Overflow)

Stereo EQ

Stereo In-Ear Monitor

System (IEM)

16 16

12 12

24 24

20 20

CHANNEL INSERTS

CHANNEL INPUTS STEREO AUX INPUTS

MONO

OUT

PHONES

OUT

MAIN

OUT

MONTIOR

OUT

MATRIX

OUT

MAIN

OUT

DIRECT OUT

9-16

DIRECT OUT

1-8

MAIN

INSERTS

DIRECT OUT

17-24

AUX SEND

AUX SEND INSERTS

GROUP SEND

GROUP SEND INSERTS

In a House of Worship application, the Onyx 80 Series provides plenty of Aux Sends

for stage monitors, stereo in-ear monitoring, and assistive listening systems. The

MONO output is used for the center PA speaker located between the Left and Right

speakers. The 1/4-inch Main Outputs provide a feed to the chapel for overﬂow needs.

The Matrix A output provides a custom mix for a mono recording and the Matrix B

output provides a custom mix for the nursery.

ONYX 80 SERIES

Onyx 80 Series Features

Channel Strips

Depending on the model that you purchased, there are

24, 32, 40, or 48 channel strips. Each channel has a mic

and line input connector and an insert jack for connect-

ing an external signal processor.

1. 48V Phantom Power Switch

Most professional condenser mi-

crophones require phantom power,

which is 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 phantom

power is active on that channel.

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

phantom power is turned on. Be

careful with older ribbon micro-

phones. 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

faders [60] are turned down when

connecting microphones to the

MIC Inputs, especially when phan-

tom power is turned on, to prevent

pops from getting through to the

speakers.

. MIC/LINE Switch

This button switches between the MIC and LINE in-

puts. When the button is out (MIC), the XLR MIC input

is used and the LINE input is disconnected. When the

button is pushed in, the 1/4" input is used and the XLR

MIC input is disconnected.

. Low-Cut Switch

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

ﬁlter, cuts bass frequencies below 100 Hz at a rate of 18

dB per octave.

We recommend that you use the Low-Cut ﬁlter on

every microphone application except kick drum, bass

guitar, bassy synth patches, or recordings of earth-

quakes. These aside, there isn’t 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 really ben-

eﬁt voices. Trouble is, adding LOW EQ

also boosts stage rumble, mic handling

clunks, and breath pops. Low Cut removes all those prob-

lems so you can add LOW EQ without losing a woofer.

Here’s what the

combination of LOW EQ

and Low Cut looks like

in terms of frequency

curves.

4. Polarity Switch

Pushing in this switch simply reverses the polarity of the

signal. This provides an easy way to correct a microphone

or line source whose polarity is opposite from the other

microphones, either from a miswired cable or from not

following the AES standard for Pin 2/Pin 3.

5. GAIN Control

If you haven’t already, please read “Set the Levels” on

page 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.

GROUP

ASSIGN

5-6

1-2

3-4

7-8

MAIN

MIX

+10

-20

MAX

MUTE GROUP

FREQ

+15-15

HIGH

12 kHz

HIGH

MID

LOW

80 Hz

FREQ

LOW

MID

100Hz

GAIN

+40dB

-20dB

AUX

SEND

PAN

PRE

STEREO

OUT

PRE

STEREO

PRE

STEREO

PRE

STEREO

8kHz400Hz

400

2k100

LINE

PFL

MUTE

48V48V

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Low Cut with Low EQ Boosted

Owner’s Manual

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.

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 to the keyboards,

vocals, guitar, 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 knob

(see HIGH MID FREQ

next). Midrange EQ is

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.

8. HIGH MID FREQ

This knob ranges from

400 Hz to 8 kHz and

determines the center

frequency for the HIGH

MID EQ ﬁlter. This allows

you to zero in on the

precise narrow band of

frequencies you want

to have affected by the

HIGH MID EQ.

9. LOW MID EQ

This is a second mid-

range EQ control that pro-

vides 15 dB of boost or cut

centered 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).

10. LOW MID FREQ

This knob ranges from

100 Hz to 2 kHz and

determines the center

frequency for the LOW

MID EQ ﬁlter. This allows

you to zero in on the

precise narrow band of

frequencies you want to

have affected by the LOW

MID EQ.

11. 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.

1. 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 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

100

10k

20k

–15

–10

–5

+10

+15

High EQ

100

10k

20k

–15

–10

–5

+10

+15

High Mid EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Low EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Mid EQ Freq Sweep

100

10k

20k

–15

–10

–5

+10

+15

Low Mid EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Mid EQ Freq Sweep

1

ONYX 80 SERIES

GROUP

ASSIGN

5-6

1-2

3-4

7-8

MAIN

MIX

+10

-20

MAX

MUTE GROUP

FREQ

+15-15

HIGH

12 kHz

HIGH

MID

LOW

80 Hz

FREQ

LOW

MID

100Hz

GAIN

+40dB

-20dB

AUX

SEND

PAN

PRE

STEREO

OUT

PRE

STEREO

PRE

STEREO

PRE

STEREO

8kHz400Hz

400

2k100

LINE

PFL

MUTE

48V48V

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

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.

1. AUX Sends

These tap a portion of each channel’s signal out to

either an effects processor or for stage monitoring. The

AUX Send levels are controlled by the channel’s AUX 1-8

knobs, and by the AUX MASTER 1-8 knobs [37].

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.

14. PRE Switch

This switch is used to select whether the Aux send

signal is pre-fader or post-fader. When the PRE switch

is up, 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.

When the PRE switch is pushed in, 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 mix.

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.

15. STEREO Switch

When this switch is pushed in,

the associated odd/even pair of

Aux sends become a stereo send

and pan control, respectively. For

example, if you press the STEREO

switch for Aux 1 and 2, the Aux 1

knob controls the signal level to

both Aux 1 and Aux 2, and the Aux

2 knob controls the panning of the

signal between Aux 1 and 2. This

is useful for providing a stereo mix

for IEM (in-ear monitor) systems.

16. PAN

PAN adjusts the amount of chan-

nel signal sent to the left versus the

right outputs

With the PAN knob hard left,

the signal feeds the MAIN LEFT

(and GROUP 1, 3, 5, and 7,

depending on the setting of the

GROUP ASSIGN switches). With

the knob

hard right, the signal

feeds the MAIN RIGHT (and

GROUP 2, 4, 6, and 8).

Constant Loudness

The Onyx

80 Series

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 3 dB to maintain the same ap-

parent loudness. Otherwise, it would make the sound

appear much louder when panned center.

GAIN POLARITY INSERTLOW CUT EQ

IN/OUT MUTE FADER PAN

ASSIGN

PRE/POST

AUX SEND 1

KNOB

"POST"

SIGNAL

"PRE" SIGNAL

TO AUX SENDS 3-8

INTERNAL JUMPER

INTERNAL

JUMPER

Aux "Pre vs. Post"

Signal Flow Diagram

POST-

MUTE

PRE-EQ

POST-EQ

INPUT

DIRECT

OUT

TO AUX SEND 1

BUS

AUX SEND 2

KNOB

TO AUX SEND 2

BUS

1

Owner’s Manual

17. MUTE GROUP Assign Switches

Use these switches to assign the channel to one or

more mute groups. The master mute groups [54] are lo-

cated in the Master section next to the Talkback section.

When a master mute group switch is pressed, all the

channels assigned to that mute group are muted. This

makes it easy to mute a number of channels all at once,

for example, all the drum mics or all the vocal mics.

18. 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-EQ

[14], the MUTE switch will not affect the PRE Aux Send.

19. Channel Fader

The fader controls the channel’s level…from off to unity

gain at the “U” marking, on up to 10 dB of additional gain.

“U” Like Unity Gain

Mackie mixers have a “U” symbol

on almost every level control. 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 every control

at “U” and your signals will travel through the mixer at

optimal levels. What’s more, all 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.

0. Signal Level LEDs

These LEDs indicate the channel’s signal level after

the GAIN and EQ controls, but just prior to the chan-

nel’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 turn

down the signal at its source.

1. GROUP and MAIN MIX ASSIGN Switches

Alongside each channel fader are ﬁve buttons referred

to as channel assignment switches. Used in conjunction

with the channel’s PAN knob, they are used to deter-

mine the destination of the channel’s signal.

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

and right sides receive equal signal levels (GROUPS 1-2,

3-4, 5-6, 7-8, 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, 3-4, 5-6, or 7-8 switches

instead of the MAIN MIX, and they’ll be sent to the ap-

propriate Group faders. From there, the groups can be

sent back to the MAIN MIX (using

the MAIN MIX assign switches

[41]

above 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 SEND jacks

[74], to your multitrack inputs.

However, if you’re printing tracks

via the DIRECT OUTS [70], the

channel assignment switches don’t

matter because the DIRECT OUTS

come before the ASSIGN switches.

. PFL SOLO Switch

This handy switch allows you to

hear signals through your head-

phones 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.

The Onyx 80 Series has two solo

modes. PFL (Pre-Fader Listen) is

the default solo mode, and the mode used for soloing

individual channels and the stereo Aux Inputs. AFL (Af-

ter-Fader Listen) is activated whenever an AFL switch

is pressed on an Aux Send, Matrix, or Group.

PFL solo mode always overides any AFL solo mode.

The Rude Solo LEDS below the SOLO meters indicate

which solo mode is active.

GROUP

ASSIGN

5-6

1-2

3-4

7-8

MAIN

MIX

+10

-20

MAX

MUTE GROUP

FREQ

+15-15

HIGH

12 kHz

HIGH

MID

LOW

80 Hz

FREQ

LOW

MID

100Hz

GAIN

+40dB

-20dB

AUX

SEND

PAN

PRE

STEREO

OUT

PRE

STEREO

PRE

STEREO

PRE

STEREO

8kHz400Hz

400

2k100

LINE

PFL

MUTE

48V48V

ONYX 80 SERIES

Soloed channels are sent to the PHONES output,

MONITOR outputs, and SOLO 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. AFL mode (After-Fader Listen), sends the

signal post-fader, making it ideal for mixdown soloing.

VERY IMPORTANT: Remember, PFL

mode taps the channel signal before

the fader. If you have a channel’s

fader set way below “U” (unity gain),

PFL solo won’t know that and will

send a unity gain signal to the MONITOR OUT, PHONES

output, and meter display. That may result in a startling

level boost at these outputs when switching from AFL to

PFL mode.

Auxiliary Section

This section includes the AUX MASTERS (Sends) and

the STEREO AUX INPUTS. These can be a bit confus-

ing to the uninitiated, so here’s the whole idea behind

aux sends and inputs: sends are outputs and inputs are

inputs. AUX SENDs tap signals off the channels, via the

AUX knobs [13], mix these signals together, then send

them out the AUX SEND jacks [72].

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 this external device are fed

back to the mixer’s STEREO AUX INPUT jacks [71].

These signals are sent through the AUX INPUT faders

[33], and ﬁnally delivered to a GROUP [43] and/or

the MAIN MIX [60], depending on the ASSIGN [35]

switches.

So, the original “dry” signals go from the channels to

the MAIN MIX and the affected “wet” signals go from

the AUX INPUTS 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 INPUTS aren’t used to return the signal. Instead,

they can be used as additional stereo inputs.

Stereo Aux Input Section

The stereo Aux Inputs can be used as mono or stereo

line-input channel strips, or to return the signal from

an external effects processor connected to an Aux Send.

These versatile channel strips are nearly as full-featured

as the mono channel strips.

. 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.

4. 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 transparency

or edge to the keyboards, vocals,

guitar, and bacon frying. Turn it

down a little to reduce sibilance,

or to hide tape hiss.

5. 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

deﬁne any particular sound are

almost always found in this range.

The HIGH MID EQ frequencies

include the female vocal range

as well as the fundamentals and

harmonics for many instruments.

6. 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).

7. 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.

STEREO 1

+10

-20

MAIN

MIX

GROUP

ASSIGN

7-8

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

3-4

MAX

+15-15

BAL

+20dB-20dB

GAIN

MUTE

PFL

Owner’s Manual

8. AUX SEND 1 and  (Aux Inputs 1-4)

AUX SEND 5 and 6 (Aux Inputs 5-8)

These tap a portion of each channel’s signal out to ei-

ther an effects processor or for stage monitoring. These

go to the same Aux Send buses as the mono channel Aux

Sends. The Aux Input Aux Sends are always pre-fader.

Aux Inputs 1-4 send their signals to Aux 1 and Aux 2.

Aux Inputs 5-8 send their signals to Aux 5 and 6.

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 Aux Inputs.

Since the

Aux Inputs on the Onyx 80 Series have Aux Sends of their

own, you could accidentally route the Aux Input to an

Aux Send that is being returned via that same Aux Input.

This will cause a feedback loop, characterized by a LOUD

howl or screech through the sound system, followed by

howls of discontent from the audience.

Be careful with

the Aux Sends on the Aux Inputs!

9. AUX -4 Switch (Aux Inputs 1-4)

AUX 7-8 Switch (Aux Inputs 5-8)

For Aux Inputs 1-4:

Press this switch to send the Aux Input signal to the

Aux 3 and 4 buses instead of the Aux 1 and 2 buses.

The Aux 1 and 2 knobs for that channel strip suddenly

become Aux 3 and 4 knobs!

For Aux Inputs 5-8:

Press this switch to send the Aux Input signal to the

Aux 7 and 8 buses instead of the Aux 5 and 6 buses.

The Aux 5 and 6 knobs for that channel strip suddenly

become Aux 7 and 8 knobs!

0. STEREO Switch

When this switch is up, both Aux Sends are fed a

mono sum of the stereo channel’s signal (L+R).

When this switch is pushed in, the two Aux sends

become a stereo send, with Aux 1 sending the right

signal and Aux 2 sending the left signal. The same thing

applies when Aux 3-4 is selected for Aux Inputs 1-4, and

for Aux 5 and 6 (and Aux 7-8) for Aux Inputs 5-8.

This is useful for providing a stereo mix for IEM (in-

ear monitor) systems.

1. BALANCE

BALANCE adjusts the amount of channel signal sent

to the left versus the right outputs. On the stereo Aux

Input channels, the BALANCE knob works like the bal-

ance control on your home stereo (panning left turns

down the right channel, and panning right turns down

the left channel).

. 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. You can still solo the channel

in PFL mode when the MUTE switch is pushed in.

. Stereo Aux Input 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.

4. Signal Level LEDs

These LEDs indicate the channel’s signal level after

the GAIN and EQ controls, but just prior to the chan-

nel’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 turn

down the signal at its source.

5. GROUP and MAIN MIX ASSIGN Switches

Alongside each channel fader are two buttons referred

to as channel assignment switches. Used in conjunction

with the channel’s BALANCE knob, they are used to

determine the destination of the channel’s signal.

The Aux Inputs are assignable to GROUPS 7-8 and

the MAIN MIX. With the BALANCE knob [31] at the

center detent, the left and right stereo signal is equally

balanced. To feed only one side or the other, turn the

BALANCE knob accordingly.

6. PFL Solo Switch

Like the PFL switch on the mono channels, this

switch allows you to hear signals through your head-

phones 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 Aux Input even when

the Aux Input fader is turned down. Unlike the mono

channel PFL, the Aux Input PFL is a stereo signal (post-

balance control).

PFL solo mode always overides AFL solo mode. The

Rude Solo LEDS below the SOLO meters indicate which

solo mode is active.

ONYX 80 SERIES

+10

-20

+10

-20

AUX 1AUX 2

GROUP 1GROUP 2

+15

GAIN

+15

GAIN

GROUP/AUX

FLIP

GROUP/AUX

FLIP

PAN

MAIN

MIX

PAN

MAIN

MIX

STEREO

MUTE

AFL

MUTE

AFL

STEREO

Master Aux Send Section

7. AUX 1 -8 MASTERS

The AUX MASTERS provide overall control over the

AUX SEND levels, just before they are delivered to the

AUX SEND outputs [72]. 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, 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.)

8. 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

(see AFL Solo Switch

next).

9. AFL Solo

Switch

The AFL switch

allows you to hear

the Aux Send signal

through your head-

phones or monitor

outputs. This comes

after the Aux Send

GAIN control, so you

can hear the relative

signal level on each

Aux Send.

When you engage

the AFL switch on two

consecutive odd/even

Aux Sends (i.e., 1 and

2, 3 and 4, etc.), the

soloed signal appears

in stereo in the head-

phones and monitor

outputs. This is useful

when you are using

a pair of Aux Sends

in stereo to feed an

in-ear monitoring

system.

Remember, PFL solo mode always overides 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.

Group Section

There are eight group masters (or submasters, if you

prefer) that feed the eight group sends [74].

40. PAN

Note: The Group PAN control works only when the

MAIN MIX switch is engaged (see next).

PAN adjusts the amount of signal sent to the left

versus the right outputs.

With the PAN knob hard left, the signal feeds the

MAIN LEFT output, and with the knob

hard right, the

signal feeds the MAIN RIGHT output.

41. 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.

4. 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 [39] ahead).

4. 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.

44. Signal Level LEDs

These LEDs indicate the Group’s signal level after

the Fader and MUTE switch.

So if the MUTE switch is

pushed in or the Faders are down, the Signal Level LEDs

won’t light.

Owner’s Manual

MAIN TO

MON/PHONES

PHONES

LEVEL

SOLO

MAX

MONITOR

MAX

MAIN

MIX

PHONES/

MONITOR

0dB=0dBu

MATRIX

A B

LSOLO R

CLIP

RUDE

SOLO

PFL AFL

GROUP

MATRIX

MASTER

DESTINATION

TALKBACK

AUX

3-4

AUX

5-6 AUX

7-8

AUX

1-2

TALKBACK

GRPS

1-8 MAIN

L/R

MUTE GROUPS

MASTER

PRE

FADER

MONO

OUT

LEVEL

LEFT

RIGHT

GROUP

+15V -15V +48V +12V

+15

MAX

STEREO

MUTE

AFLAFL

POWER

45. 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 consecutive

odd/even Groups (i.e., 1 and 2, 3 and 4, etc.), the soloed

signal appears in stereo in the headphones and moni-

tor 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 overides 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.

46. GROUP/AUX FLIP Switch

This switch “ﬂips” the controls for the Aux Sends and

the Group Sends, so that the Group Faders control the

Aux Send levels, and the Aux Send GAIN controls adjust

the Group levels. The Group signals still appear at the

GROUP SEND outputs and the Aux Send signals still

appear at the AUX SEND outputs.

This allows you to use the long-throw (100 mm)

Group Fader to make more precise settings for the Aux

Sends, if required.

The following chart shows what happens to each

control in the Aux Send and Group sections when the

GROUP/AUX FLIP Switch is pushed in:

Metering, Matrix, and Power

LEDs

47. POWER Indicators

These four LEDs indicate the status of the internal

power supply voltages. The +15V and –15V supplies

power the audio circuits, the +48V is the phantom

power applied to the XLR MIC inputs (when the 48V

switch is pushed in on the channel strips), and the –12V

supply powers some internal relay circuits and the lamp

connectors.

When all four LEDs are lit, you know that the internal

power supply (or the external redundant power supply,

if connected) is operating correctly.

48. SOLO Meters

The Onyx SOLO

meters are made up of

two columns of twelve

LEDs, with three

colors to indicate dif-

ferent 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.

If there are no

channels in SOLO, the

meters won’t do any-

thing. When a channel is soloed, the meters reﬂect the

program level of the selected source prior to the SOLO,

MONITOR, and PHONES [61/63/64] level knobs.

When a mono channel (or channels) is soloed, only the

left meter indicates signal, conﬁrming the monophonic

status of the soloed signal. When a stereo Aux Input is

soloed, or stereo AFL solo mode is selected, both meters

indicate the corresponding left and right signals.

Aux Send MUTE Mutes Group Signal

Aux Send GAIN Adjusts Group Signal

Aux Send AFL Solos Group Signal

Aux Send Control

With GROUP/AUX FLIP Switch Down

Function Group Control Function

Group MUTE Mutes Aux Send Signal

Group Fader Adjusts Aux Send Signal

Group AFL Solos Aux Send Signal

Signal Level LEDs Indicates Aux Send Signal Level

Main Mix Switch Routes Group Signal to Main Mix

Group PAN Adjusts amount of Group Signal

to left and right Main Mix

ONYX 80 SERIES

49. 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.

50. LEFT/RIGHT Level Meters

Like the SOLO meters, the Onyx 80 Series 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 a –10 dBV

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 80 Series’ 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 “+7.”

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).

51. MATRIX A and B Input Controls

The Matrix A and B controls allow you to create

separate mixes, or a stereo mix, from Groups 1 through

8 and the Left and Right Mix outputs. Simply adjust

the 10 input controls to create the mix you want at the

MATRIX A or B outputs.

5. MATRIX A and B MASTER Controls

Use these controls to adjust the overall signal level at

the MATRIX A and B outputs.

5. AFL Solo

Switch

The AFL switch allows

you to hear the Matrix

signal through your

headphones or moni-

tor outputs. This comes

after the MATRIX MAS-

TER, so you can hear the

relative signal level of

each Matrix output.

When you engage the

AFL switch on both MA-

TRIX A and B, the soloed

signal appears in stereo

in the headphones and

monitor outputs. This is

useful when you want to

use both Matrix outputs

to create a stereo mix.

Remember, PFL solo

mode always overides

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 moni-

tor outputs and replaced

with the PFL signal. The

Rude Solo LEDS below

the SOLO meters indi-

cate which solo mode is

active.

MAIN TO

MON/PHONES

PHONES

LEVEL

SOLO

MAX

MONITOR

MAX

MAIN

MIX

PHONES/

MONITOR

0dB=0dBu

MATRIX

A B

LSOLO R

CLIP

RUDE

SOLO

PFL AFL

GROUP

MATRIX

MASTER

DESTINATION

TALKBACK

AUX

3-4

AUX

5-6 AUX

7-8

AUX

1-2

TALKBACK

GRPS

1-8 MAIN

L/R

MUTE GROUPS

MASTER

PRE

FADER

MONO

OUT

LEVEL

LEFT

RIGHT

GROUP

+15V -15V +48V +12V

+15

MAX

STEREO

MUTE

AFLAFL

POWER

Owner’s Manual

TALKBACK Section, MUTE GROUPS, and MONO OUT

By the way, it is okay to have more than one destina-

tion switch pushed in at the same time. The talkback

signal will be routed to all the destinations you have

selected. But if you don’t have any of the destination

switches pushed in, the talkback signal won’t go to any

internal destination (it appears at the TALKBACK OUT

jack [77] regardless of the destination switch settings).

57. 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 TALKBACK

OUT jack [77] and to the outputs determined by the

destination switches [56].

Push the switch again to

release it, and the talkback circuit is turned off.

MONO OUT Section

In addition to the Left and Right Main Mix outputs,

the Onyx 80 Series provides an independent mono-

phonic output. The Left and Right Main Mix signals are

summed and sent to the MONO OUT [78].

58. MONO OUT Level Control

This controls the output level at the MONO OUT.

59. PRE FADER

Switch

When this switch is

up, the Mono Out signal

contains the summed

Left and Right Main Mix

signal after the MAIN

MIX faders, so the Mono

Output is controlled by

both the MAIN MIX fad-

ers and the MONO OUT

level control.

When this switch is

pushed in, the Mono Out

signal sums the Left and

Right Main Mix signal

before the MAIN MIX

faders, so even if the

MAIN MIX faders are

turned all the way down,

you still get a signal at

the MONO OUT.

MAIN TO

MON/PHONES

PHONES

LEVEL

SOLO

MAX

MONITOR

MAX

MAIN

MIX

PHONES/

MONITOR

0dB=0dBu

MATRIX

A B

LSOLO R

CLIP

RUDE

SOLO

PFL AFL

GROUP

MATRIX

MASTER

DESTINATION

TALKBACK

AUX

3-4

AUX

5-6 AUX

7-8

AUX

1-2

TALKBACK

GRPS

1-8 MAIN

L/R

MUTE GROUPS

MASTER

PRE

FADER

MONO

OUT

LEVEL

LEFT

RIGHT

GROUP

+15V -15V +48V +12V

+15

MAX

STEREO

MUTE

AFLAFL

POWER

54. MUTE GROUPS MASTER

Remember the four MUTE GROUP [17] switches in

each channel strip, just above the channel fader and

MUTE switch? Well, these are the master switches used

to engage the four mute groups.

When a MUTE GROUP MASTER switch is pushed

in, all of the channels assigned to that mute group are

muted and their corresponding mute LEDs light. You

can engage more than one mute group at a time. If

a channel is assigned to two or more mute groups, it

remains muted as long as any one of the mute groups it

is assigned to is activated.

Mute groups are handy for quickly turning off a num-

ber of microphones all at once; for example, all the vocal

mics during a break, or all the drum mics...just for fun.

TALKBACK Section

The talkback feature allows the engineer to commu-

nicate with the talent either through the AUX 1-8 [72]

outputs, GROUPS 1-8 [74] outputs, or the MAIN L/R

[79] outputs. In addition, a TALKBACK LINE OUT [77]

jack is provided on the rear panel for patching into an

external intercom system. Connect an external micro-

phone to the TALKBACK MIC IN XLR [76] connector on

the rear panel.

55. TALKBACK LEVEL

Use this knob to control the level of the talkback

signal being routed to the AUX, GROUP, or MAIN L/R

outputs. This also controls the talkback level for the

TALKBACK LINE OUT.

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).

56. TALKBACK DESTINATION Switches

These switches route the talkback signal to various

outputs, including AUX 1-2, AUX 3-4, AUX 5-6, AUX 7-8,

GROUPS 1-8, and MAIN L/R OUTS. 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.

0

ONYX 80 SERIES

MAIN MIX and PHONES/

MONITOR Section

60. MAIN MIX Faders

These are the master faders that control the levels at

the MAIN OUTS.

When MAIN MIX TO MON/PHONES [62] is selected in

the PHONES/MONITOR Section, the MAIN MIX fader also

controls the main mix level in the PHONES and MONI-

TOR outputs [65/81].

When the faders are fully down, the MAIN MIX is off. The

“U” marking indicates unity gain, and fully up provides 10

dB of additional gain. Typically, these faders are set near

the “U” label and left alone, but they can be used for song

fade-outs or quick system-wide mutes.

61. SOLO LEVEL

The SOLO LEVEL control is used to adjust the volume

of the solo’ed signal as it is routed to the MONITOR and

PHONES 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.

6. MAIN TO MON/PHONES Switch

This switch routes the

stereo L/R Main Mix sig-

nal (post-fader) to both

the Monitor and Phones

outputs when there are

no solo switches en-

gaged. 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.

6. MONITOR Level Control

This controls the signal level at both the Left and

Right MONITOR OUTS [81].

64. PHONES Level Control

This controls the signal level at the stereo headphone

output [65].

65. Headphone Jack

This is where you plug in your stereo headphones. It is

1/4" TRS stereo jack and provides the same signal that

routed to the MONITOR outputs [81]

. The volume is

controlled with the PHONES knob [64].

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 connecting 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 them-

selves with short careers.”

66. Lamp Connectors

These 4-pin connectors provide +12 volts DC for

gooseneck lamps. The Onyx 2480 has two lamp connec-

tors, while the Onyx 3280, 4080, and 4880 all have three

lamp connectors. See your Mackie dealer for gooseneck

lamp recommendations (12 V lamps with 4-pin XLR-type

connectors).

MAIN TO

MON/PHONES

PHONES

LEVEL

SOLO

MAX

MONITOR

MAX

MAIN

MIX

PHONES/

MONITOR

0dB=0dBu

MATRIX

A B

LSOLO R

CLIP

RUDE

SOLO

PFL AFL

GROUP

MATRIX

MASTER

DESTINATION

TALKBACK

AUX

3-4

AUX

5-6 AUX

7-8

AUX

1-2

TALKBACK

GRPS

1-8 MAIN

L/R

MUTE GROUPS

MASTER

PRE

FADER

MONO

OUT

LEVEL

LEFT

RIGHT

GROUP

+15V -15V +48V +12V

+15

MAX

STEREO

MUTE

AFLAFL

POWER

0dB=0dBu

MATRIX

A B

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

LSOLO R

CLIP

RUDE

SOLO

PFL AFL

GROUP

+15V -15V +48V +12V

POWER

7-8

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

+20dB-20dB

3-4

MAX

+15-15

BAL

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

3-4

MAX

+15-15

BAL

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

3-4

MAX

+15-15

BAL

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

3-4

MAX

+15-15

BAL

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

MAX

+15-15

BAL

7-8

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

MAX

+15-15

BAL

7-8

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

MAX

+15-15

BAL

7-8

LOW

80Hz

AUX

SEND

LOW

MID

400Hz

HIGH

12kHz

HIGH

MID

2.5kHz

STEREO

MAX

+15-15

BAL

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

+20dB-20dB

GAIN

MAX

1

Owner’s Manual

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.

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

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

SERIAL NUMBER MANUFACTURING DATE

LINE

MIC

INSERT

(BALANCED)

DIRECT OUTS CHAN 1-8

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

Rear Panel

This is where all the connections are made to the

Onyx 80 Series (except the headphones and lamps).

67. 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)

68. 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 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

69. 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, Polarity, 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:

“from tip”

this plug connects to one of the

mixer’s Channel Insert jacks. “to ring”

tip ring

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 DIRECT OUTS on

the rear panel, which are balanced direct outputs, post-

GAIN, post-INSERT, and pre-EQ.



ONYX 80 SERIES

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.

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

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

SERIAL NUMBER MANUFACTURING DATE

LINE

MIC

INSERT

(BALANCED)

DIRECT OUTS CHAN 1-8

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

LINE

MIC

INSERT

Here are three ways you use the INSERT jacks:

Direct out with no signal interruption to master.

Insert only to first “click.”

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

STEREO

PLUG

70. 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 and Hard Disk Recorder).

The signal at the DIRECT OUTS comes after the

input GAIN control, Polarity switch, Low-Cut switch,

and INSERT jack, but before the EQ. This way you can

EQ a channel 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.

Internal 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.

71. STEREO AUX INPUTS 1-8

These 1/4" TRS input connectors accept balanced or

unbalanced line-level stereo signals from an external

processor or other line-level device. The stereo AUX IN-

PUTS 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).

7. AUX SENDS 1-8

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.

7. 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 before the GROUP/AUX FLIP switch,

so the insert point only affects the Aux Send signal).

Refer to the description of the channel insert

on page 21

to see how to make this connection.

74. GROUP SENDS 1-8

These 1/4

TRS output connectors provide balanced

or unbalanced line-level signals for connecting to the

inputs of any line-level device.

75. GROUP 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 Group

Send Masters (and before the GROUP/AUX FLIP switch,

so the insert point only affects the Group Send signal).

Refer to the description of the channel insert

on page 21

to see how to make this connection.



Owner’s Manual

76. TALKBACK MIC IN

This is where you plug in your external talkback

microphone. This female XLR connector does not have

phantom power, so use a dynamic microphone or a self-

powered condenser microphone.

77. TALKBACK LINE OUT

This 1/4" TRS output connector provides a balanced or

unbalanced line-level signal for connecting to the input

of an external intercom system or other line-level device.

78. 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.

. 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).

INSERT

MAIN OUTS

LEFT

RIGHT 1

(MONO)

LEFT

RIGHT 2

(MONO)

LEFT

RIGHT 3

(MONO)

LEFT

RIGHT 4

(MONO)

LEFT

RIGHT 5

(MONO)

LEFT

RIGHT 6

(MONO)

LEFT

RIGHT 7

(MONO)

LEFT

RIGHT 8

(MONO)

MAIN

INSERT

(TIP=SEND

RING=RETURN)

MONITOR

OUT

MONO

MIC

LINE

OUT

TALKBACK

RIGHT LEFT

BAL/UNBAL

MATRIX

OUT

BAL/UNBAL

BALANCED BALANCED BALANCED BALANCED

AUX SEND GROUP SEND

INSERT

BAL/UNBALBAL/UNBAL

STEREO AUX INPUT

BAL/UNBAL

POWER

~100-240VAC

50-60Hz 240W

FUSE: 5A SLO-BLO

REDUNDANT

POWER SUPPLY

80. MAIN INSERT

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 faders. Refer to the description of the channel

insert

on page 21 to see how to make this connection.

81. MONITOR OUT

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

that can be used to provide another main mix output (with

MAIN MIX TO MON/PHONES 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.

8. 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.

8.

REDUNDANT POWER SUPPLY Connector

This is where you connect the optional Onyx PS

External Redundant Power Supply. Normally, the Onyx

80 Series operates on its built-in universal power sup-

ply. With the Onyx PS connected, in the unlikely event

that the internal power supply should fail, the external

supply will seamlessly take over powering the Onyx 80

Series mixing console.

This provides an extra measure of insurance that the

show will go on.

4

ONYX 80 SERIES

INSERT

MAIN OUTS

LEFT

RIGHT 1

(MONO)

LEFT

RIGHT 2

(MONO)

LEFT

RIGHT 3

(MONO)

LEFT

RIGHT 4

(MONO)

LEFT

RIGHT 5

(MONO)

LEFT

RIGHT 6

(MONO)

LEFT

RIGHT 7

(MONO)

LEFT

RIGHT 8

(MONO)

MAIN

INSERT

(TIP=SEND

RING=RETURN)

MONITOR

OUT

MONO

MIC

LINE

OUT

TALKBACK

RIGHT LEFT

BAL/UNBAL

MATRIX

OUT

BAL/UNBAL

BALANCED BALANCED BALANCED BALANCED

AUX SEND GROUP SEND

INSERT

BAL/UNBALBAL/UNBAL

STEREO AUX INPUT

BAL/UNBAL

POWER

~100-240VAC

50-60Hz 240W

FUSE: 5A SLO-BLO

REDUNDANT

POWER SUPPLY

84. Power Receptacle

This is a standard 3-prong IEC power connector.

Connect the detachable linecord (included in the box

with your Onyx 80 Series) to the power receptacle, and

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

The Onyx 80 Series 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 protection

against AC line noise.

85. POWER Switch

This one is self-explanatory. When the POWER switch

is turned ON, power is supplied to the Onyx 80 Series

and the four POWER LEDs on the front panel light up.

Note: If the external Redundant Power Supply is con-

nected and turned on, the unit will power up regardless

of the setting of this switch.

5

Owner’s Manual

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

section of our website (www.mackie.com/support)

where you will ﬁnd lots of useful information such as

FAQs, documentation, and user forums. You may ﬁnd

the answer to the problem without having to send your

Mackie product away.

Troubleshooting

No Power

• Our favorite question: Is it plugged in?

• Make sure the power cord is securely seated in the

IEC socket [84] and plugged all the way into the

AC outlet.

• Make sure the AC outlet is live (check with a tester

or lamp).

• Is the POWER [85] switch on? Make sure the

POWER switch on the rear panel is in the ON posi-

tion (up).

• Are the POWER LEDs [47] on the front panel il-

luminated? If not, make sure the AC outlet is live.

• Are all the lights out in your building? If so, contact

your local power company to get power restored.

• If the POWER LEDs are not illuminated, and you

are certain that the AC outlet is live, it will be

nec-

essary to have your Onyx 80 Series serviced. There

are no user serviceable parts inside. Refer to “Repair”

at the end of this section to ﬁnd out how to proceed.

• If you have an external Redundant Power Supply, try

using it to power the Onyx 80 Series. It is possible to

operate the Onyx 80 Series in this way, even if the

internal supply has failed.

Bad Channel

• Is the MUTE button [18] pushed in?

• Is the input GAIN control [5] for the channel

turned up?

• Is the fader [19] turned up?

• 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 [20]

LEDs next to the channel’s fader.

• Is the channel assigned to a bus (GROUP ASSIGN

or MAIN MIX button pushed in)?

• Is there something plugged into the CHANNEL

INSERT jack [63]? Try unplugging any INSERT

devices.

• Try the same source signal in another channel, set

up exactly like the suspect channel.

Bad Output

• Is the associated level control (if any) turned up?

• 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. If the problem

goes away, it’s not the mixer.

• 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

• Is the input connector plugged completely into the

jack?

• 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.

• If possible, listen to the signal with headphones

plugged into the input source device. If it sounds

bad there, it’s not the Onyx 80 Series causing the

problem.

Noise/Hum

• Turn down the AUX INPUT faders [33]. If the noise

disappears, it’s coming from whatever is plugged

into the AUX INPUTS [71].

• Turn down each channel, one by one. If the noise

disappears, it’s coming from whatever is plugged

into that channel.

• 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.

• Sometimes it helps to plug all the audio equipment

into the same AC circuit so they share a common

ground.

6

ONYX 80 SERIES

Repair

For warranty repair or replacement, refer to the war-

ranty information on page 35.

Non-warranty repair for Mackie products is available

at a factory-authorized service center. To locate your

nearest service center, 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,

Monday-Friday, 7 am to 5 pm 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

from 7 AM to 5 PM PST at:

1-800-898-11

After hours, visit www.mackie.com and click Support,

or email us at: techmail@mackie.com

7

Owner’s Manual

Appendix B: Connections

1/4"

TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connection points

available on a mono 1/4

phone jack or plug. They are

used for unbalanced signals.

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

1/4

TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

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

TIPSLEEVE

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.

• 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 the unbalanced input. If

there are ground-loop problems, this connection

may be left disconnected at the balanced end.

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).

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SHIELD

COLD

HOT

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

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

1/4

TRS Balanced Mono Wiring:

Sleeve = Shield

Tip = Hot (+)

Ring = Cold (–)

Stereo Headphones

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

1/4

TRS Stereo Unbalanced Wiring:

Sleeve = Shield

Tip = Left

Ring = Right

8

ONYX 80 SERIES

• 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)

signals 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.

“from tip”

this plug connects to one of the

mixer’s Channel Insert jacks. “to ring”

tip ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

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).

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.

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.

Direct out with no signal interruption to master.

Insert only to first “click.”

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

STEREO

PLUG

Mults and “Y”s

A 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

output into several inputs. If you need

to combine several outputs into one

input, you must use a mixer, not a

mult or a “Y.”

Y-Cord Splitter

9

Owner’s Manual

DB25 Connectors

The DIRECT OUTS on the back of the Onyx 80 Series

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.

Pin 1 + Ch 8

Pin 2 shield Ch 8

Pin 3 – Ch 7

Pin 4 + Ch 6

Pin 5 shield Ch 6

Pin 6 – Ch 5

Pin 7 + Ch 4

Pin 8 shield Ch 4

Pin 9 – Ch 3

Pin 10 + Ch 2

Pin 11 shield Ch 2

Pin 12 – Ch 1

Pin 13 N/C

Signal

Description

DIRECT

OUTS 1-8

DIRECT

OUTS 1-8

Pin 14 – Ch 8

Pin 15 + Ch 7

Pin 16 shield Ch 7

Pin 17 – Ch 6

Pin 18 + Ch 5

Pin 19 shield Ch 5

Pin 20 – Ch 4

Pin 21 + Ch 3

Pin 22 shield Ch 3

Pin 23 – Ch 2

Pin 24 + Ch 1

Pin 25 shield Ch 1

Signal

Description

12345678910111213

141516171819202122232425

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

HOT

COLD

GROUND

CH 1

CH 9

CH 17

CH 25

CH 33

CH 41

N/C

CH 2

CH 10

CH 18

CH 26

CH 34

CH 42

CH 3

CH 11

CH 19

CH 27

CH 35

CH 43

CH 4

CH 12

CH 20

CH 28

CH 36

CH 44

CH 5

CH 13

CH 21

CH 29

CH 37

CH 45

CH 6

CH 14

CH 22

CH 30

CH 38

CH 46

CH 7

CH 15

CH 23

CH 31

CH 39

CH 47

CH 8

CH 16

CH 24

CH 32

CH 40

CH 48

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.

0

ONYX 80 SERIES

Appendix C: Technical Info

Onyx 80 Series Speciﬁcations

Frequency Response

Mic Input to Main Output (Gain @ Unity)

+0, –1 dB, <10 Hz to 80 kHz

+0, –3 dB, <10 Hz to 130 kHz

Distortion (THD & IMD)

Mic Input to Main Output (@ +4 dBu)

THD: < 0.007% max, 0.005% typical, 20 Hz to 20 kHz

SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)

Dynamic Range

>105 dB, 24 channels assigned

>115 dB, one-channel assigned

Noise Floor

Signal-to-Noise Ratio:

–87 dBu (ref. +4 dBu, Mic In to Main Out,

48 channels and Main Mix levels at unity)

–90 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,

150Ω source impedance

–129.5 dBu @ +60 dB gain

Mic Output Noise:

Direct Output: –98 dBu (minimum gain)

Residual Output Noise:

Main Out: –100 dBu (Channel and Main Mix levels off)

Main Out: –83 dBu (48 channels and Main Mix levels

at unity)

–86 dBu (24 channels and Main Mix levels

at unity)

Common Mode Rejection Ratio (CMRR)

Mic In: >70 dB @ 1 kHz, Gain @ maximum

Crosstalk

Adjacent Inputs: < –95 dB @ 1 kHz

Input to Output: < –85 dB @ 1 kHz

Input Gain Control Range

Mic In: 0 dB to +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

Mixer Rated Output

Main Outs: +4 dBu

Aux Send: +4 dBu

Group Send: +4 dBu

Monitor Out: +4 dBu

Matrix Out: +4 dBu

Maximum Rated Output:

+21 dBu @ Main XLR and TRS outputs

Maximum Input Levels

Mic Input: +21 dBu, Gain @ unity

Line Input: +30 dBu, Gain @ –20 dB

Aux Input: +21 dBu

Maximum Voltage Gain

Mic Input to:

Main Out: 90 dB

Group Send: 80 dB

Aux Sends: 86 dB

Monitor Out: 102 dB

Matrix Out: 105 dB

Phones Out: 102 dB

Line Input to:

Main Out: 70 dB

Group Send: 60 dB

Aux Sends: 66 dB

Monitor Out: 82 dB

Matrix Out: 85 dB

Phones Out: 82 dB

Stereo Aux Input to:

Main Out: 50 dB

Group Send: 40 dB

Aux Sends: 39 dB

Monitor Out: 62 dB

Matrix Out: 65 dB

Phones Out: 62 dB

Input Impedance

Mic Input: 2.4 kΩ, balanced

Mono Channel Line Input: 30 kΩ balanced;

15 kΩ unbalanced

Stereo Aux Inputs: 20 kΩ balanced;

20 kΩ unbalanced

Output Impedance

Main Out: 150 Ω balanced, XLR outputs;

150 Ω TRS outputs

Direct Out: 300 Ω

Group Sends: 100 Ω

Monitor Out: 100 Ω

Matrix Out: 100 Ω

Aux Sends: 100 Ω

Phones Out: 25 Ω

1

Owner’s Manual

Channel Level LED (Sensitivity)

0 LED = 0 dBu (normal operating level)

VU Meters

Main and Solo Left and Right, 12 segments:

Clip (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30

0 LED = 0 dBu

AC Power Requirements

Power Consumption:

Onyx 2480 180 watts

Onyx 3280 200 watts

Onyx 4080 220 watts

Onyx 4880 240 watts

Universal AC Power Supply:

100 VAC – 240 VAC, 50-60 Hz

Physical Dimensions and Weight

Onyx 2480

Height: 9.4 in/239 mm

Width: 48.8 in/1240 mm

Depth: 29.6 in/751 mm

Weight: 95 lb/43 kg

Onyx 3280

Height: 9.4 in/239 mm

Width: 60.0 in/1523 mm

Depth: 29.6 in/751 mm

Weight: 113 lb/51 kg

Onyx 4080

Height: 9.4 in/239 mm

Width: 70.4 in/1788 mm

Depth: 29.6 in/751 mm

Weight: 131 lb/59 kg

Onyx 4880

Height: 9.4 in/239 mm

Width: 81.3 in/2065 mm

Depth: 29.6 in/751 mm

Weight: 149 lb/68 kg

Options

Onyx PS External Redundant Power Supply

LOUD Technologies Inc. is always striving to improve our prod-

ucts by incorporating new and improved materials, components,

and manufacturing methods. Therefore, we reserve the right to

change these speciﬁcations at any time without notice.

“Mackie.”, “Onyx,” and the “Running Man” are registered

trademarks of LOUD Technologies Inc. All other brand names

mentioned are trademarks or registered trademarks of their

respective holders, and are hereby acknowledged.



ONYX 80 SERIES

Onyx 80 Series Dimensions

MATRIX

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

GROUP

MATRIX

MASTER

TALKBACK

LEFT

RIGHT

GROUP

POWER

1 2 3 4

137

4 6 8

5 6 7 8

121110 16151413

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

201918 24232221

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

1 27 8

5 6 3 4

PAN PAN

PAN PAN PAN PAN

PAN PAN

432 8765

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

PAN PAN

PAN PAN PAN PAN

PAN PAN

29.6 in/751 mm 9.4 in/239 mm

48.8 in/1240 mm

WEIGHT

95 lb/

43 kg

Onyx 2480

MATRIX

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

GROUP

MATRIX

MASTER

TALKBACK

LEFT

RIGHT

GROUP

POWER

1 2 3 4

137

4 6 8

5 6 7 8

432 8765

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

121110 16151413

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

201918 24232221

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

282726 32313029

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

1 27 8

5 6 3 4

PAN PAN

PAN PAN PAN PAN

PAN PAN

29.6 in/751 mm

60.0 in/1523 mm

WEIGHT

113 lb/

51 kg

Onyx 3280

MATRIX

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

GROUP

MATRIX

MASTER

TALKBACK

LEFT

RIGHT

GROUP

POWER

1 2 3 4

137

4 6 8

5 6 7 8

121110 16151413

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

201918 24232221

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

282726 32313029

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

363534 40393837

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

1 27 8

5 6 3 4

PAN PAN

PAN PAN PAN PAN

PAN PAN

432 8765

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

PAN PAN

PAN PAN PAN PAN

PAN PAN

29.6 in/751 mm

70.4 in/1788 mm

WEIGHT

131 lb/

59 kg

Onyx 4080

MATRIX

PREMIUM LIVE ANALOG MIXER WITH PERKINS EQ AND ONYX MIC PREAMPS

GROUP

MATRIX

MASTER

TALKBACK

LEFT

RIGHT

GROUP

POWER

1 2 3 4

137

4 6 8

5 6 7 8

121110 16151413

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

201910 24232221

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

282726 32313029

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

363534 40393837

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

1 27 8

5 6 3 4

PAN PAN

PAN PAN PAN PAN

PAN PAN

432 8765

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

PAN PAN

PAN PAN PAN PAN

PAN PAN

444342 48474645

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

AUX

SEND

MUTE

MUTE GROUP

PFL

PAN PAN

PAN PAN PAN PAN

PAN PAN

29.6 in/751 mm

81.3 in/2065 mm

WEIGHT

149 lb/

68 kg

Onyx 4880



Owner’s Manual

Onyx 80 Series Block Diagram

PFL L

Main

Main Mix L

Main Mix R

Pan

PFL

Aux

Sends

Left

Right

Group 1

Out

Group 2

Out

Aux 1 Out

Aux 1 Level

L Sum

R Sum

Group 1

Group 2

Group

Aux 1

Group Meters

Assign

Talkback Assign

Talkback Mic

Aux 2

to Aux 1-2

Aux 3

Aux 4

AFL L

AFL R

Mono Out

Mono Level

Aux 2 Out

Aux 2 Level

Aux 2

Aux 1 AFL

Aux 2 AFL

(Aux 3-8 identical)

Aux 5

Aux 6

(Group 3-8 identical)

Group 1 Level

Group to Main Mix

L/R

1/2

3/4

to Aux 5-6

L Insert

R Insert

EQ out Mute

Talkback

Level

Main Out

48V

Mic/Line Inputs

Mic

Line

Insert

HPF

Gain

Direct Out

LO MID MID

80 100~2K 400~8K 12K

100 Hz

Low Cut

Bypass

Phantom Power

Phase

(1-8)

(9-16)

(17-24)

Aux 7

Aux 8

5/6

7/8

L-R

7/8

PFL L

Main

Group

Aux 1

Aux 2

Aux 3

Aux 4

AFL L

AFL R

Aux 5

Aux 6

Aux 7

Aux 8

to Aux 3-4

to Aux 7-8

Mute

Insert

LO MID MID

80 400 2.5K 12K

(Mono)

Stereo Aux

Inputs 1-8

Group 1 AFL

Group 2 AFL

Group 2 Level

post

pre

Solo Logic

Phones

RUDE

SOLO

LEDS

Phones

Level

PFL L

AFL R

PFL R

Solo Level

Solo Meters Monitor

L Out

Line

Mic 180

Post-Fader

Pre-Fader

Aux 3&4

Aux 1&2

Matrix A

Matrix B

Matrix A

Matrix B

Mute

stereo

Main

Meters

Monitor

R Out

Matrix A

Matrix B

to Matrix A

to Matrix B

to Matrix A

to Matrix B

Matrix A

Out

Matrix B

Out

Matrix Master

from Main Level L

to Monitor/Phones

Monitor

Level

Fader

Balance

Main Mix to Phones

Off

PFL AFL

Matrix A AFL

Amber-AFL

Green-PFL

Matrix B AFL

AFL L

PFL R

HPF

PFL R

Gain

–20 to +20dB

to Main L-R

PFL

Mute Groups

to Group 1-8

jumper

Mute Groups

Aux 7&8

Aux 5&6

(Channel 1-4)

(Channel 5-8)

Flip 1

Flip 2

Flip button - allows fader,

solo, mute, and metering

to be exchanged

between grp & aux

sends without swapping

outputs

jumper

post-

Mute

pre-

pre-EQ

post-EQ

Talkback

Out

Talkback

to Talkback Out

Aux Sends

Stereo

Mono

Mic: 0 to +60 dB

Line: –20 to +40 dB

4-Band EQ

-20

+10

PFL

Fader

Level 2

Mute

-20

+10

-20

+10

4-Band EQ

-20

+10

NOTE: Switches are shown in the default (out) position.

MACKIE

ONYX 80 SERIES

BLOCK DIAGRAM

(#011205_DB/DF)

4

ONYX 80 SERIES

+30 dBu max in

20 dB loss, TRIM down

40 dB gain, TRIM up

LINE IN, mono channels

MIC IN, mono channels

60 dB gain, TRIM up

0 dB gain, TRIM down

+21 dBu max in +15 dB up

–15 dB

down –15 dB

down

LOW

+15 dB up

–15 dB

down

LOW MID

+15 dB up

HIGH MID

+15 dB up

HIGH

+10 dB up

FADER PAN ASSIGN

–3 dB center

EQ MUTE MIX

0 dB XLR and 1/4" Out

OUTPUTS

MONO CHANNEL MAIN MIX and GROUPS

to A

From F or G

(MAIN)

B C

0dB

+12 dB up

OUTPUT

0dB

LEVELLEVEL

MONITOR/PHONES

0 dB

AUX MIX AUX Master

0dB

OUTPUT

AUX SEND

+21 dBu max out (XLR and 1/4" Out)

+21 dBu max out

FADER

OUTPUTS

MONO

LEVEL

+10 dB up

+21 dBu max in

20 dB loss, TRIM down

20 dB gain, TRIM up

LINE IN, stereo channels

0 dB

(Insert

Send)

(Insert

Return)

(Insert

Send)

(Insert

Return)

INSERT

Send INSERT

Return

–6 dB

–0 dB

0 dB

+15 dB up

+10 dB up

SOLO (PFL/AFL)

0dB

MACKIE ONYX 80 SERIES

LEVEL DIAGRAM

012605

+15 dB up

–15 dB

down –15 dB

down

LOW

+15 dB up

–15 dB

down

LOW MID

+15 dB up

HIGH MID

+15 dB up

HIGH

+10 dB up

FADER

BALANCE ASSIGN

–3 dB center

EQ MUTE

STEREO CHANNEL

‘E’

‘I’‘H’

From A, C, D, H, I

0 dB

+10 dB up

0 dB

0 dB XLR Out

‘F’ ‘G’

+10 dB up

0 dB

MATRIX MIX MATRIX Master

0dB

OUTPUT

MATRIX

+21 dBu max out

–3 dB

From G

(Main and Groups)

From B, G, H From G (MAIN) or K

+15 dB up

0 dB

TALKBACK IN

–50 dB

0 dB

0dB

TB ASSIGN

TALKBACK

LEVEL

Onyx 80 Series Gain Structure Diagram

5

Owner’s Manual

Onyx 80 Series Limited Warranty

A. LOUD Technologies Inc. warrants all materials,

workmanship and proper operation of this product for a period

of one year from the original date of purchase. You may

purchase an additional 24-month Extended Warranty (for a

total of 36 months of coverage). Visit our website and follow

the “Product Registration” links for details (www.mackie.com).

If any defects are found in the materials or workmanship or

if the product fails to function properly during the applicable

warranty period, LOUD Technologies, at its option, will repair

or replace the product.

This warranty applies only to equipment

sold and delivered within the U.S. and Canada by LOUD

Technologies Inc. or its authorized dealers.

B. For faster processing (not to mention a free gift), register

online or mail in the product registration card.

C. Unauthorized service, repairs, or modiﬁcation of Mackie

products will void this warranty. To obtain repairs or

replacement under warranty, you must have a copy of your

sales receipt from the authorized Mackie dealer where you

purchased the product. It is necessary to establish purchase

date and determine whether your Mackie product is within

the warranty period.

D. To obtain warranty repair or replacement:

Call Mackie Technical Support at 800/898-3211, 7 AM

to 5 PM Monday through Friday (Paciﬁc Time) to get

authorization for repair or replacement. Alternately, go to

the Mackie website, click “Support” (www.mackie.com/

support), and follow the instructions for reporting a warranty

issue and submitting a request for an advance replacement.

Advance Replacement: Mackie will ship a replacement

unit to you along with an invoice for the suggested

retail price of the replacement unit. You must return the

defective unit immediately to cancel the invoice. If you do

not return the defective unit within 30 days, you must pay

the full amount stated in the invoice to satisfy your debt.

3. Repair: When you call Mackie Technical Support,

explain the problem and obtain a Service Request

Number. Have your Mackie product’s serial number

ready. You must have a Service Request Number before

you can obtain factory-authorized service.

• Pack the product in its original shipping carton. Also

include a note explaining exactly how to duplicate the

problem, a copy of the sales receipt with price and date

showing, your daytime phone number and return street

address (no P.O. boxes or route numbers, please!), and

the Service Request Number. If we cannot duplicate the

problem or establish the starting date of your Limited

Warranty, we may, at our option, charge for service time

and parts.

• Ship the product in its original shipping carton,

freight prepaid to the authorized service center. Write

the Service Request Number in BIG PRINT on top of

the box. The address of your closest authorized service

center will be given to you by Technical Support, or it

may be obtained from our website. Once it’s repaired,

the authorized service center will ship it back by ground

shipping, pre-paid (if it qualiﬁed as a warranty repair).

Note: Under the terms of the warranty, you must ship

or drop-off the unit to an authorized service center.

The return ground shipment is covered for those units

deemed by us to be under warranty.

Note: You must have a sales receipt from an authorized

Mackie dealer for your unit to be considered for

warranty repair.

IMPORTANT: Make sure that the Service Request Number

is plainly written on the shipping carton. No receipt, no

warranty service.

E. LOUD Technologies reserves the right to inspect any

products that may be the subject of any warranty claims before

repair or replacement is carried out. LOUD Technologies may,

at our option, require proof of the original date of purchase in

the form of a dated copy of the original dealer’s invoice or sales

receipt. Final determination of warranty coverage lies solely

with LOUD Technologies.

F. Any products returned to one of the LOUD Technologies

factory-authorized service centers, and deemed eligible

for repair or replacement under the terms of this warranty

will be repaired or replaced. LOUD Technologies and its

authorized service centers may use refurbished parts for repair

or replacement of any product. Products returned to LOUD

Technologies that do not meet the terms of this Warranty

will not be repaired unless payment is received for labor,

materials, return freight, and insurance. Products repaired

under warranty will be returned freight prepaid by LOUD

Technologies to any location within the boundaries of the USA

or Canada.

G. LOUD Technologies warrants all repairs performed

for 90 days or for the remainder of the warranty period.

This warranty does not extend to damage resulting from

improper installation, misuse, neglect or abuse, or to exterior

appearance. This warranty is recognized only if the inspection

seals and serial number on the unit have not been defaced or

removed.

H. LOUD Technologies assumes no responsibility for the

timeliness of repairs performed by an authorized service

center.

I. This warranty is extended to the original purchaser. This

warranty may be transferred to anyone who may subsequently

purchase this product within the applicable warranty period

for a nominal fee. A copy of the original sales receipt is

required to obtain warranty repairs or replacement.

J. This is your sole warranty. LOUD Technologies does not

authorize any third party, including any dealer or sales

representative, to assume any liability on behalf of LOUD

Technologies or to make any warranty for LOUD Technologies

Inc.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE

WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.

AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS

AND IMPLIED, INCLUDING THE WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A PARTICULAR

PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE

STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE

DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED

MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE

WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL

HAVE NO FURTHER WARRANTY OBLIGATION OF ANY

KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE

FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL

DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE

MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states

do not allow exclusion or limitation of incidental, special, or

consequential damages or a limitation on how long warranties

last, so some of the above limitations and exclusions may not

apply to you. This warranty provides speciﬁc legal rights and

you may have other rights which vary from state to state.

Please keep your sales receipt in a safe place.

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

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