Beruflich Dokumente
Kultur Dokumente
O W N E R S
M A N U A L
ONYX 4Bus
17. This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
18. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
19. NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and the receiver.
Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
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.
20. 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.
21. 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. Governments
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
15. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
16. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
CAUTION
AVIS
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
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
110
115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Greg and Ben screaming at Troy about deadlines
Loudest parts at a rock concert
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2012/19/EU) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
ONYX 4Bus
Introduction.................................................................................................................4
Getting Started...........................................................................................................5
Zero the Controls........................................................................................................................................5
Connections..................................................................................................................................................5
Set the Levels...............................................................................................................................................5
Instant Mixing..............................................................................................................................................5
Owners Manual
Table of Contents
Hookup Diagrams...................................................................................................... 6
Onyx 4Bus Features................................................................................................10
Mono Channel Strips................................................................................................................................10
Stereo Channel Strips.............................................................................................................................. 13
Matrix, Compressor, and Metering Section.......................................................................................15
Phones/Monitor, Solo, Mono, and Talkback Section.....................................................................17
Auxiliary Section.......................................................................................................................................18
Group Section...........................................................................................................................................20
Rear Panel....................................................................................................................................................21
Appendix B: Connections.......................................................................................27
Appendix C: Technical Info................................................................................... 30
Onyx 4Bus Specifications.....................................................................................................................30
Onyx 4Bus Dimensions.......................................................................................................................... 31
Onyx 4Bus Block Diagram.....................................................................................................................32
Onyx 4Bus Gain Structure Diagram.................................................................................................. 34
Owners Manual
ONYX 4Bus
Introduction
Thank you for choosing a Mackie Onyx 4Bus professional live mixing console. The Onyx 4Bus mixers feature all-new analog circuitry and the latest technologies
for live sound reinforcement in a durable, road-worthy
package.
The Onyx 4Bus mixing consoles replace the legendary SR244 and SR324 VLZ PRO mixers. The new Onyx
versions of these mixers maintain the same physical
size, channel count and features of the originals, while
adding a variety of new and improved features.
The Onyx 4Bus 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 pres are
better than ever, with specifications rivaling expensive
stand-alone boutique mic preamplifiers.
Each mono channel strip features an individual phantom power switch, low-cut filter, mic input pad, pre-EQ
channel insert, and an all new four-band EQ design with
sweepable mids and EQ bypass switch.
All mono channels have six Aux sends, Pan, Mute, PFL
Solo, 100 mm Fader, Group and Main Mix assign, and
four signal-level indicators. In addition, balanced direct
outputs are provided on DB-25 connectors (eight channels per connector) for multitrack recording.
The master section features two Stereo Returns, six
Master Aux sends, four Group Masters, a 6x2 Matrix, a
Phones/Monitor section, and a Talkback section with
routing switches that allow you to communicate through
the Aux Sends and the L/R mix.
A new feature with the Onyx 4Bus mixers is an analog
stereo compressor/limiter that can be inserted at the output of the L/R main mix, or the Group 1/2 or 3/4 outputs.
ONYX 4Bus
Connections
If you already know how you want to connect the Onyx
4Bus 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 channel 1s MIC or LINE input [73/74].
2. Plug in the detachable linecord, connect it to an AC
outlet, and turn on the Onyx 4Bus POWER switch
[90].
3. Connect cables from the Onyx 4Bus MAIN OUTS
[82] (XLR connectors or 1/4" TRS connectors on
the rear panel) to your amplifier or active speakers.
4. Hook up speakers to the amp and turn it on. If the
amplifier has level controls, set them however the
manufacturer recommends (usually all the way up).
Owners Manual
Getting Started
Instant Mixing
1. Leave the microphone plugged into channel 1 and
connect a keyboard, guitar or other instrument to
channel 2. Be sure to Set the Levels for channel 2
as described above.
2. To get sound out of the speakers, push in the MAIN
MIX assign switch [17] next to the faders on channels 1 and 2, turn up channel 1 and 2 faders [15] to
the U mark and slowly turn up the MAIN MIX [72]
fader to a comfortable listening level.
3. Sing and play. Youre a star! Adjust the faders for
channels 1 and 2 to bring your voice and your
instrument up and down to create your own mix.
ONYX 4Bus
Hookup Diagrams
Bass Guitar
7
8
9 19
10 20
14 14
15
DI Box
16
15
16
17 17
18 18
19
20
19
20
21
22
23
24
L
2
R
OUT
PHONES
MP3 Player
IN-TAPE-OUT
STEREO RETURNS
L
1
R
MONTIOR
OUT
Headphones
In (record)
A
B
MATRIX
OUT
Stereo Recorder
DI Box
Keyboard or Synth
Guitar Amp
Stereo Guitar Effects
MAIN
INSERTS
12
MAIN
OUT
12
In
Out
Mono EQ
In
Out
In
Out
Stereo EQ
L
R
Stereo Crossover
Stereo Power
Amplifier
DIRECT OUT
1-8
SELECT
SELECT
SELECT
SELECT
Digital Multitrack
Hard Disk Recorder
Multi Effect
Processor
Subwoofers
11
13 13
Vocal Mics
7 17
10 10
11
DI Box
6 16
8 18
CHANNEL INPUTS
Line Out
In
Out Stereo Compressor
In
Out
5 15
Bass Amp
4 14
MAIN
OUT
DI Box
3 13
MONO
OUT
Line Out
DIRECT OUT
17-24
Electric Guitar
2 12
CHANNEL INSERTS
3
4
In Mono Compressor
Out
1 11
Stereo Power
Amplifier
DIRECT OUT
9-16
Electric Guitar
PA Speaker
Owners Manual
Bass Guitar
7
8
9 19
10 20
11
14 14
DI Box
15
DI Box
16
15
16
17 17
18 18
19
20
22
23
24
L
2
R
IN-TAPE-OUT
STEREO RETURNS
OUT
PHONES
Listen Wedge
20
21
L
1
R
Talkback Mic
19
L
R
MATRIX
OUT
TALKBACK
MIC
MONTIOR
OUT
Mono Power
Amplifier
Keyboard or Synth
Guitar Amp
Stereo Guitar Effects
In
Out
Mono EQ
Mono Power
Amplifier
Stage Monitor
Mono Power
Amplifier
Stage Monitor
MAIN
INSERTS
12
MAIN
OUT
12
13 13
Vocal Mics
7 17
10 10
11
DI Box
In
Out Stereo Compressor
In
Out
8 18
CHANNEL INPUTS
Line Out
6 16
Bass Amp
5 15
Mono Power
Amplifier
Stage Monitor
Mono Power
Amplifier
Stage Monitor
L
R
MAIN
OUT
DI Box
4 14
MONO
OUT
Line Out
3 13
DIRECT OUT
17-24
Electric Guitar
In Mono Compressor
Out
2 12
CHANNEL INSERTS
3
4
1 11
DIRECT OUT
1-8
DIRECT OUT
9-16
Electric Guitar
This drawing shows the flexibility of the Onyx 4Bus for creating different monitor
mixes. Auxes 1-4 provide separate monitor mixes for four floor wedges. Auxes 5-6
provide a stereo monitor mix for an in-ear monitor (IEM). The Aux Inserts can be
used for in-line graphic EQ for each monitor send. A listen wedge is connected to
the Monitor Out, allowing you to solo and listen to each monitor mix. The Talkback
Mic lets you talk to the talent through the monitors (Aux Sends).
ONYX 4Bus
Bass Guitar
7
8
9 19
10 20
DI Box
15
DI Box
16
15
16
17 17
18 18
19
20
20
21
22
23
24
L
2
R
IN-TAPE-OUT
STEREO RETURNS
L
1
R
Powered
Studio Monitors
for Studio
19
OUT
PHONES
DIRECT OUT
1-8
MATRIX
OUT
MONTIOR
OUT
L
R
Keyboard or Synth
14 14
Guitar Amp
MAIN
INSERTS
12
MAIN
OUT
12
11
13 13
Vocal Mics
7 17
10 10
11
DI Box
ONYX 4Bus
In
Out Stereo Compressor
In
Out
8 18
CHANNEL INPUTS
Line Out
6 16
Bass Amp
5 15
In
Out
In
Out
Stereo EQ
Headphone Distribution
Amp
R
L
R
MAIN
OUT
DI Box
4 14
MONO
OUT
Line Out
3 13
DIRECT OUT
17-24
Electric Guitar
In Mono Compressor
Out
2 12
CHANNEL INSERTS
3
4
1 11
DIRECT OUT
9-16
Electric Guitar
To Desktop
or
Laptop Computer
Headphones
for Studio
Owners Manual
Bass Guitar
7
8
9 19
10 20
Keyboard or Synth
14 14
15
DI Box
16
15
16
17 17
18 18
19
20
20
21
22
23
24
L
2
R
IN-TAPE-OUT
STEREO RETURNS
L
1
R
Stereo Recorder
19
OUT
PHONES
MONTIOR
OUT
L
R
Headphones
B
Power Amp
Mono Mode
Power Amp
Mono Mode
DIRECT OUT
1-8
Mono EQ
MATRIX
OUT
Mono EQ
DI Box
Guitar Amp
MAIN
INSERTS
12
MAIN
OUT
12
11
13 13
Vocal Mics
7 17
10 10
11
DI Box
6 16
8 18
CHANNEL INPUTS
Line Out
In
Out Stereo Compressor
In
Out
5 15
Bass Amp
4 14
In
Out
Mono EQ
In
Out
In
Out
Assistive Listening
System
Stereo EQ
L
R
MAIN
OUT
DI Box
3 13
MONO
OUT
Line Out
Mono EQ
DIRECT OUT
17-24
Electric Guitar
2 12
CHANNEL INSERTS
3
4
In Mono Compressor
Out
1 11
Power Amp
Mono Mode
Power Amp
Mono Mode
SELECT
Power Amp
Mono Mode
Power Amp
Mono Mode
DIRECT OUT
9-16
Electric Guitar
SELECT
SELECT
Left PA Speaker
Right PA Speaker
Subwoofer
SELECT
In a House of Worship application, the Onyx 4Bus provides plenty of Aux Sends
for stage monitors, stereo in-ear monitoring, and assistive listening systems. The
MONO output is used to provide front-fill for the first few rows not covered by the
main PA speakers. A stereo graphic EQ is connected to the Main Inserts (the builtin compressor/limiter provides system limiting for the Main Mix). Aux 6 is used
as a subwoofer feed (a low-pass filter is built in to either the power amplifier or
subwoofer). The Matrix A and B outputs provide additional custom mixes for the
balcony and the nursery.
ONYX 4Bus
1. PAD Switch
In most cases, you will leave the PAD switch out. However, you may have a microphone that produces a higher
output signal than usual, which may require you to turn
the GAIN control way down. If that is the case, push in
the PAD switch to insert a 20 dB pad at the input to the
mic preamp, to prevent overloading the microphone preamp and provide better gain control.
2. 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 switch on
every microphone application except kick drum, bass
guitar, bassy synth patches, or recordings of earthquakes. These aside, there isnt much down there that
you want to hear, and filtering it out makes the low stuff
you do want much more crisp and tasty. Not only that,
but the Low-Cut switch can help reduce the possibility
of feedback in live situations and it helps to conserve
amplifier power.
Another way to use the Low-Cut switch
is in combination with the LOW EQ on
vocals during live performances. Many
times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ
also boosts stage rumble, mic handling
clunks, and breath pops. Low Cut removes all those problems so you can add LOW EQ without losing a woofer.
Heres what the combination of LOW EQ and Low Cut
looks like in terms of frequency curves.
+15
+10
+5
0
5
10
15
20Hz
100Hz
1kHz
10kHz 20kHz
4. GAIN Control
1
PAD
48V
20
30
40
-20dB
60
+40dB
GAIN
EQ
HIGH
12kHz
-15
+15
2k
FREQ
400
8k
HIGH
MID
-15
+15
400
FREQ
100
2k
LOW
MID
-15
+15
U
LOW
80Hz
-15
+15
EQ
OUT
IN
AUX
1
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
2
3
4
5
6
10
ONYX 4Bus
dB
10
6. HIGH MID EQ
10. LOW EQ
+15
+10
Hz
Hz
Hz
Hz
Hz
+15
+10
Hz
+15
+15
+10
+10
Hz
Hz
Hz
Hz
Hz
Hz
Hz
Hz
Hz
8. LOW MID EQ
This is a second midrange EQ control that
+5
provides 15 dB of boost
0
or cut centered at the
5
frequency determined by
10
its FREQ knob. It extends
15
down to 100 Hz, which
20
100
1k
10k 20k
includes the male vocal
Low Mid EQ
range and the fundamentals of some lower instruments (guitar, lower brass).
+15
+10
Hz
Hz
Hz
Hz
Hz
Hz
+5
0
5
10
15
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ
Hz
Hz
Owners Manual
5. HIGH EQ
Hz
Hz
This is a true hardware bypass of the Perkins EQ circuitry to insure that there is no coloration of the signal
if the EQ is not needed. When this button is out, the EQ
controls have no effect on the signal. You can use this
switch to make an A/B comparison between the EQd
signal and the signal without EQ.
We have completely redesigned the
EQ circuits in the Onyx Series of
mixers, based on the designs of Cal
Perkins, an industry-leader in audio
engineering for over three decades
and long-time Mackie collaborator.
This neo-classic design provides the sweet musicality
of the British EQ sound, while still maintaining 15 dB of
boost and cut with optimum Q and minimum phase shift
(in other words, it gives you plenty of control and is
pleasing to the ear!).
The 4-band equalization has LOW shelving at 80 Hz,
LOW MID peaking, sweepable from 100 Hz to 2 kHz on
the mono channels, HIGH MID peaking, sweepable from
400 Hz to 8 kHz on the mono channels, and HIGH shelving 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
Owners Manual
11
80Hz
-15
+15
OUT
IN
ONYX 4Bus
EQ
AUX
13. PAN
PAN adjusts the amount of channel signal sent to the left
versus the right outputs.
With the PAN knob hard left, the signal feeds the
MAIN LEFT (and GROUP 1 and 3, depending on the
setting of the GROUP ASSIGN switches). With the knob
hard right, the signal feeds the MAIN RIGHT (and
GROUP 2 and 4).
The Onyx 4Bus 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 apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
If youve 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 frequently, the signal is probably
distorted from overdriving the input.
Either turn down the GAIN control
or turn down the signal at its source.
14. MUTE
Press this switch to mute the individual channel. This
disconnects the channels signal from all the Groups,
the Main Mix, and Aux Send buses (pre* and postfader). You can still solo the channel (PFL) when the
MUTE switch is pushed in.
* If the pre-fader Aux Sends internal jumper is wired for pre-Mute
[56], the MUTE switch will not affect the PRE Aux Send.
INPUT
GAIN
LOW CUT
INSERT
PRE-EQ
DIRECT
OUT
POST-EQ
EQ
MUTE
FADER
PRE-MUTE
POSTMUTE
INTERNAL JUMPER
"POST"
SIGNAL
INTERNAL
JUMPER
"PRE" SIGNAL
12
ONYX 4Bus
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
2
3
4
5
6
PAN
L R
MUTE
10
OL
+10
0
-20
10
ASSIGN
1-2
20
30
3-4
40
MAIN
MIX
50
60
OO
PFL
PAN
ASSIGN
POSTEQ
PRE-EQ
MAX
dB
Constant Loudness
EQ
IN/OUT
1
OO
AUX SEND 1
KNOB
TO AUX SEND 1
BUS (POST-FADER)
TO AUX SEND 1
BUS (PRE-FADER)
31
32
Owners Manual
STEREO
-20db
+20db
GAIN
EQ
HIGH
12kHz
-15
+15
HIGH
MID
2.5kHz
-15
+15
LOW
MID
400Hz
-15
+15
LOW
80Hz
-15
+15
EQ
OUT
IN
20. HIGH EQ
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
6
Short for midrange, this knob provides 15 dB of
boost or cut at 2.5 kHz. Midrange EQ is often thought of
PAN
as the most dynamic because the frequencies that define any particular sound are almost always found in this
L R
Owners Manual
OO
MAX
MUTE
13
2.5kHz
ONYX 4Bus
-15
+15
LOW
MID
400Hz
-15
+15
LOW
80Hz
-15
+15
OUT
IN
EQ
AUX
1
OO
MAX
2
OO
MAX
OO
MAX
OO
MAX
OO
MAX
5
6
MAX
PAN
L R
MUTE
10
31
32
OL
U
+10
0
5
10
20
30
-20
ASSIGN
1-2
3-4
40
50
dB
23. LOW EQ
OO
range. The HIGH MID EQ frequencies include the female vocal range
as well as the fundamentals and
harmonics for many instruments.
MAIN
MIX
60
26. PAN
OO
PAN adjusts the amount of channel signal sent to the left versus
PFL
the right outputs. On the stereo
channels, the PAN knob works like
the balance control on your home stereo (panning left
turns down the right channel, and panning right turns
down the left channel).
14
ONYX 4Bus
27. MUTE
Press this switch to mute the channel. This disconnects the channels signal from all the Groups, the Main
Mix, and Aux Send buses (pre* and post-fader). You
can still solo the channel in PFL mode when the MUTE
switch is pushed in.
* If the pre-fader Aux Sends internal jumper is wired for pre-Mute
[56], the MUTE switch will not affect the PRE Aux Send.
tantly, auto-gain compensation that provides the appropriate amount of makeup gain based on the amount
of compression taking place.
The following knobs and switches are used to control
the compressor.
36. THRESHOLD
Determines the level at which the compressor begins
to act on the incoming signal. It is calibrated in decibels, ranging from 30 to +10 dB.
37. RATIO
Determines the change in output level as a function of
the change in input level, once the threshold has been
exceeded. The Ratio control ranges from OFF (1:1) to
LIMIT (:1). Thus, if the ratio is 2:1, an increase in
input level of 10 dB (assuming the input is above the
threshold level) results in a 5 dB increase in output level.
When set to LIMIT, the compressor acts as a peak
limiter. After the initial attack time, the output changes
very little once the input crosses the threshold.
POWER
35. COMPRESSOR/LIMITER
A compressor is used to reduce or limit transient
peaks in a signal. As the input level to the compressor
increases, the output level from the compressor increases linearly until the threshold point is reached. After
that point, the output level no longer increases linearly.
Instead, it increases at a reduced rate determined by
the ratio setting. In other words, the greater the ratio
setting, the less the output level changes as a function
of the input level.
A compressor is often used on an individual signal
(voice) or group of signals (drums) to smooth out transients and allow signals to sit in the mix without harshly
cutting through. A limiter, on the other hand, is often
used between the mixer and the amplifier(s) to avoid
power amplifier clipping or overdriving the speakers,
known as system limiting.
The Onyx 4Bus design team decided the compressor/limiter functions could be carried out onboard using
a new integrated analog stereo compressor/limiter chip
designed by THAT Corporation. It provides threshold,
ratio, fast/slow attack control and, perhaps most impor-
Owners Manual
MATRIX
-10
20
OO
OO
MAX
GRP
MAX
MAX
15
10
2:1
10
10
10
20
12
20
30
15
30
1.5: 1
5:1
LIMIT
MAIN
MIX
GRP
1-2
OFF
OO
GRP
3-4
MAX
COMP
ASSIGN
OO
MAX
OO
LEFT
MAX
OO
+15
OO
RIGHT
OO
MASTER
3
LEVEL
SET
PFL
MAX
FAST
ATTACK
OO
20
CLIP
OO
CLIP
10
MAX
GRP
RIGHT
0dB=0dBu
THRESHOLD
RATIO
OO
LEFT
G.R.
+10
OFF
OO
MAIN MIX
15
-30
MAX
MAX
0dB=0dBu
GRP
OO
INPUT
-20
MAX
PHONES
12V, 0.5A
COMPRESSOR
GRP
OO
LAMP
w/ PERKINS EQ
AFL
RUDE
SOLO
BYPASS
COMP
MAX
+15
OO
MAX
PHONES
OO
MAX
MONITOR
OO
MAX
SOLO LEVEL
OO
MAX
MONO
TB ASSIGN
STEREO
AFL
AFL
MAIN
TO MON
MAIN
MIX
AUX
1-2
AUX
3-4
Owners Manual
AUX
5-6
OO
MAX
TALKBACK
15
ONYX 4Bus
The ATTACK setting determines how fast the compressor reacts once the threshold has been exceeded. It
also affects the release time, which determines how fast
the compressor turns off once the signal falls below the
threshold.
With the switch up, the attack and release times are
calibrated to respond to the overall signal level without
the audible pumping and breathing artifacts that are
sometimes associated with compressors. In
most cases, this is the setting you would use
for live sound and recording applications.
There may be some situtations that
require a faster acting attack and release.
For example, micing a snare drum produces
some fast transient peaks that may get
through the compressor before it can act
on the signal. Pushing in the FAST ATTACK
switch allows the compressor to react much
faster on quick transient peaks and release
the compression quickly between the peaks.
You can experiment with both settings to
determine which one works best in your
application.
POWER
MATRIX
-10
20
OO
OO
MAX
GRP
OO
MAX
16
ONYX 4Bus
MAX
15
10
2:1
10
10
10
20
12
20
30
15
30
1.5: 1
5:1
LIMIT
MAIN
MIX
GRP
1-2
OFF
OO
GRP
3-4
MAX
COMP
ASSIGN
OO
MAX
OO
LEFT
MAX
OO
+15
OO
RIGHT
OO
MASTER
3
LEVEL
SET
PFL
MAX
FAST
ATTACK
OO
20
CLIP
OO
10
MAX
GRP
RIGHT
0dB=0dBu
THRESHOLD
RATIO
OO
LEFT
G.R.
CLIP
+10
OFF
MAIN MIX
15
-30
MAX
MAX
0dB=0dBu
GRP
OO
INPUT
-20
MAX
PHONES
12V, 0.5A
COMPRESSOR
GRP
OO
LAMP
w/ PERKINS EQ
AFL
RUDE
SOLO
BYPASS
COMP
MAX
+15
OO
MAX
PHONES
OO
MAX
MONITOR
OO
MAX
SOLO LEVEL
OO
MAX
MONO
TB ASSIGN
STEREO
AFL
AFL
MAIN
TO MON
MAIN
MIX
AUX
1-2
AUX
3-4
AUX
5-6
OO
MAX
TALKBACK
PHONES level turned all the way down before connecting headphones to the PHONES jack. Keep it down until
youve put on the headphones. Then turn it up slowly.
Why? Always remember: Engineers who fry their
ears, find themselves with short careers.
Owners Manual
MATRIX
GRP
1
MAX
This LED indicates when power is applied to the Onyx
mixer and the POWER switch is on.
GRP
2
OO
OO
MAX
OO
GRP
3
This female BNC connector provides +12 volts DCMAX
for
gooseneck lamps. See your Mackie dealer for gooseneck
GRP
lamp recommendations (12 V lamp with BNC connector).
4
OO
OO
MAX
OO
OO
MAX
OO
MAIN MIX
CLIP
OO
OO
COMPRESSOR
OO
MAX
1.5:1
5:1
LIMIT
RATIO
MAX
LEVEL
SET
10
MAIN GRP
1-2 routes the stereo L/R Main Mix
MIX
This switch
7 signal
7
15
GRP
OFF
(post-fader)
to 3-4
both the
10 outputs
10 Monitor
20 and Phones
20 L/R Main
25 engaged. The
when
there are no solo20 switches
MAX
30 in the 30
Mix signalCOMP
is overridden
Monitor and 30Phones
ASSIGN
outputs by
any PFL or AFL solo.
PFL
MAX
AFL
RUDE
Note: If a PFL solo switch is engaged, it overrides
the
SOLO
FAST
BYPASS
AFL solo ATTACK
mode, includingCOMP
MAIN TO MON/PHONES.
MAX
+15
+15
WARNING: The headphone amp is designed to drive
MONITOR
PHONES
SOLO LEVEL
MONO
MASTER
any standard headphones to a very loud level. Were
TB ASSIGN
not kidding! It can cause permanent hearing damage.
STEREO
MAX
Even intermediate levels may be painfully loud with
MAIN
MAIN
AUX
AUX
AUX
TALKBACK
AFL
AFL
TO MON
MIX
1-2
3-4
5-6
some headphones. BE CAREFUL! Always start with the
AUX SEND MASTERS
STEREO
RETURNS
Owners
Manual
OO
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
OO
17
ONYX 4Bus
ER
w/ PERKINS EQ
-10
-20
TALKBACK Section
Auxiliary Section
The talkback feature allows the engineer to comPOWER with the talent either through the AUX 1-6
municate
LAMP
[87] Sends, or12V,
the
MAINPHONES
L/R [82] outputs. Connect an
0.5A
external
microphone MAIN
to theMIX
TALKBACK MIC XLR [81]
COMPRESSOR
connector
on
the
rear
panel
to use the talkback feature.
LEFT
RIGHT
INPUT
G.R.
0dB=0dBu
-30
20
0dB=0dBu
CLIP
20
CLIP
+10
THRESHOLD
10
10
2:1
20
MATRIX
MAX
OO
OO
GRP
MAIN
TO MON
2
MAX
D MASTERS
OO
-10
MAX
20
LEFT
G.R.
MONO
0
SOLO LEVEL
CLIP
RIGHT
0dB=0dBu
20
CLIP
TB
ASSIGN
Use
this
knob
to control
the level
of the talkback
10
10
2
-30
+10
MAX
THRESHOLD
signal being
routed to the
AUX or
7
7
3 MAIN L/R outputs.
MAIN
MIX
OO
INPUT
OO
MAX
0dB=0dBu
MAX
OO
-20
MONITOR
MAX
MAIN MIX
GRP
PHONES
OO
COMPRESSOR
AUX
1-2
AUX
2:1
3-4
AUX
5-6
MAX
OO
4
4
TALKBACK
54. TALKBACK
STEREOSwitch
RETURNS
1.5:1
MAX
GRP
5:1
OFF
LIMIT
LEVEL
SET
0
2
This
is aRATIO
latching switch,
meaning
its always
active
4
4
10
MAX
GRP
1-2
MIX
when theMAIN
switch
is
pushed
in.
As
long
as
the
switch
is
TO
MON/7
BREAK
+10
7
MUTE
AFL
15
GRP
(TAPE TO MAIN)
OFFCD/TAPE 3-4 PHONES
GRP
engaged,
the talkback 10
signal is routed
to the 10outputs
20
4
20
20
Push
determined
by the1talkback
assign
225 switches [52].
MAX
MAX
30
30
30
the switchCOMP
again1to 3release it, and
MUTE
1 3 the talkback circuit is
AFL
MAX
MAX switch indicates when the
turned off.ASSIGN
An
LED
above
the
AUX
AUX
PFL
AFL
MAX
MAX
TALKBACK
switch is active.
LEFT
RUDE
MAX
OO
OO
OO
OO
OO
MUTE
AFL
MAX
OO
RIGHT
MUTE
AFL
+15
OO
OO
MAX
AFL
AFL
PAN
OO
MAX
OO
+10
MAIN
MIX
PFL
MAX
MAX
OO
MONO
LEVEL
TB ASSIGN
MAIN
TO MON
AFL
OO
SOLO LEVEL
AUX
1-2
PFL
PAN
PRE
POST
L R
+15
UTE
2 MUTE
PRE
POST
GRP
GRP
dB
10
+15
OO
10+15
OO +
4
18
U
AFL
MUTE
MUTE
GRP
dB
10
PRE
POST
OL
L R
AFL
MUTE
+15
OO
AFL
AUX
5-6
TALKBACK
CD/TAPE
MAIN
MIX
OO
dB
BREAK
(TAPE TO MAIN)
1
1
MAX
OO
AUX
MAX
AUX
10
2
5
TO MON/
PHONES
OO
+10
TALKBACK
OL
ONYX
4Bus
MUTE
AFL
+10
PRE
+POST
10
When using the Aux Send for monitors, 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, youd turn the knob down, but that never
happens.)
MAX
OO
STEREO RETURNS
MUTE
OL
AUX
3-4
1
OO
+10
OO
LEVEL
MUTE
MAX
MONITOR
PHONES
OO
SHIFT
MAX
OO
BYPASS2
COMP
SHIFT
+15
RUDE
SOLO
AUX
AUX
MAX
MASTER
MUTE
AFL
STEREO
FAST
ATTACK
OO
OO
The AUX SENDS can also be used to provide another mix for stage monitors. In this case, the STEREO
RETURNS arent used to return the signal. Instead, they
can be used as additional stereo inputs.
OO
OO
OO
OO
OO
MAX
OO
SHIFT
MAX
AUX
AUX
SHIFT
The pre-fader Aux Sends are post-EQ by default. However, 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 Support for information on how to access the pre/post-EQ
jumpers for the Aux Sends.
w/ PERKINS EQ
OO
THRESHOLD
Owners Manual
0dB=0dBu
CLIP
OO
OO
OO
OO
OO
MAX
OO
OO
MAX
RUDE
FEEDBACK
LOOP WARNING: It is
SOLO
common to use an Aux Send to route
MAX
MAX
signals to an external processor, and
RIGHT
then return the signal from the pro59. CD/TAPE Level Control
cessor MAX
via the Stereo Returns. Since
MAX
MAX
MAX
+15
+15
MONITOR
MONO
PHONES
LEVEL
the StereoSOLO
Returns
on the
Onyx 4Bus have Aux Sends
This knob controls the level ofMASTER
the signals connected
TB ASSIGN
of
their
own,
you
could
accidentally
route the Stereo
to the left and right TAPE IN jacks. The signal is then
STEREO
Return signal to an Aux Send that is being returned via
sent to the MONITOR/PHONES output (when the TO
MAX
MAIN
MAIN
thatAUX
sameAUX
StereoAUX
Return.
This will cause a feedback loop,
TALKBACK
AFL and theTO
MON
MIX
1-2
3-4
5-6
MON/PHONES switch [60] isAFLpushed in)
MAIN
characterized by
OUT (when the
AUX SEND MASTERS
STEREO RETURNS
a LOUD howl or
BREAK switch
screech through
[61] is pushed
1
the sound system,
in). The CD/TAPE
PRE
TO MON/
BREAK
+15
+10
MUTE
AFL
POST
PHONES
(TAPE TO MAIN)
CD/TAPE
followed by howls
level control proof discontent from
vides 10 dB of ad1
2
2
the audience. Be
PRE
ditional gain when
MUTE
1 3
1 3
AFL
+15
POST
careful with the
turned fully up.
MAX
MAX
AUX
AUX
Aux Sends on the
3
PRE
Stereo Returns!
MUTE
+15
AFL
POST
2 4
2 4
OO
OO
OO
OO
BYPASS
COMP
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
MAX
OO
4
OO
+15
OO
+15
OO
+15
MAX
OO
AUX
AUX
SHIFT
SHIFT
PRE
POST
AFL
MUTE
PRE
POST
AFL
MUTE
LEVEL
LEVEL
PRE
POST
AFL
MUTE
PFL
PFL
OO
+10
OO
+10
6
PAN
PAN
PAN
PAN
Owners Manual
L R
L R
L R
L R
TALKBACK
19
4
MAX
OO
MAX
OO
ONYX 4Bus
COMP
ASSIGN
20
30
30
PFL
MAX
OO
LEFT
FAST
ATTACK
AFL
RUDE
SOLO
BYPASS
COMP
OO
OO
+15
OO
OO
+15
OO
MAX
OO
MAX
MAX
OO
MONITOR
PHONES
MASTER
MAX
OO
MONO
SOLO LEVEL
TB ASSIGN
STEREO
MAX
MAIN
AUX
AUX
AUXlevel after
These
LEDsTOMAIN
indicate
the Groups
signal
TALKBACK
AFL
MON
MIX
1-2
3-4
5-6
the Fader, but before the MUTE switch. So if the Group
AUX
SEND
MASTERS
STEREO
Fader
is down,
the Signal Level LEDs
wontRETURNS
light.
OO
AFL
OO
+15
PRE
MUTE
AFL
POST
Insert, Fader,
and MUTE switch.
2
MAX
OO
2
AUX
SHIFT
SHIFT
PRE
POST
AFL
MUTE
PRE
POST
AFL
MUTE
LEVEL
LEVEL
PRE
POST
AFL
MUTE
PFL
PFL
OO
+10
OO
+10
+15
PAN
L R
PAN
L R
MUTE
MUTE
GRP
10
dB
+10
-20
dB
+10
-20
dB
MAIN
MIX
GRP
10
+10
OL
+10
0
-20
dB
10
OL
0
5
TALKBACK
MUTE
GRP
10
OL
0
5
L R
MUTE
GRP
10
OL
U
PAN
L R
0
-20
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
40
40
40
50
MAIN 50
MIX
MAIN 50
MIX
MAIN 50
MIX
60
60
60
60
60
OO
OO
OO
OO
OO
STEREO
AFL
40
MAIN
MIX
STEREO
AFL
AFL
MAX
OO
AUX
PAN
dB
AUX
OO
66. PAN
BREAK
(TAPE TO MAIN)
OO
AUX
OO
There are four group masters (or submasters, if you prefer) that feed the four
group outs [85].
TO MON/
PHONES
+10
OO
OO
Group Section
OO
CD/TAPE
OO
OO
MUTE
AFL
20
25
30
MAX
OO
20
AFL
50
Rear Panel
When you engage the AFL switch on two consecutive odd/even Groups (i.e., 1 and 2, 3 and 4), the soloed
signal appears in stereo in the headphones and monitor
outputs. This is useful when you are using a pair of Group
Sends in stereo to feed an in-ear monitoring system.
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. The microphone preamps feature our new Onyx
design, with higher fidelity and headroom rivaling any
standalone mic preamp on the market today.
14
INSERT
13
INSERT
12
INSERT
11
INSERT
10
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC
O
1-8
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC
MIC PR
NYX
E
MIC PR
NYX
E
Owners Manual
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
O
MIC PR
NYX
E
MIC
ON
YX MIC PRE
CAUTION
ALANCED)
Owners Manual
21
ONYX 4Bus
75. INSERT
MONO PLUG
Channel Insert jack
The INSERT points are after the GAIN and Low Cut
controls, but before the EQ and Fader controls. The
send (tip) is low-impedance, capable of driving any
device. The return (ring) is high-impedance and can be
driven by almost any device.
MONO PLUG
Channel Insert jack
tip
ring
SEND to processor
sleeve
from tip
(TRS plug)
STEREO
PLUG
Channel Insert jack
to ring
RETURN from processor
STEREO RETURNS
MON OUT
TAPE
IN
LEFT
(MONO)
RIGHT
31
32
LINE IN
BAL/UNBAL
IN
TALK BACK
MIC
BAL/UNBAL
29
30
LINE IN
L
BAL/UNBAL
28
INSERT
27
INSERT
26
INSERT
25
INSERT
24
INSERT
23
INSERT
22
INSERT
21
INSERT
20
RIGHT
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
R
BAL/UNBAL
LEFT
RIGHT
LEFT
BAL/UNBAL
MIC
MONO
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
YX MIC PRE
MAIN
OUTS
POWER
ON
GROUP
INSERTS
AUX
INSERTS
GROUP
OUTS
AUX
SENDS
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC
ON
BAL/UNBAL
ONYX 4Bus
19
OUT
MAIN
INSERTS
22
INSERT
MONO
BAL/UNBAL
INSERT
MONO
MTRX OUT
OUT
1
25 -32
(BALANCED)
MIC
ON
YX MIC PRE
18
SERT
NE
INSERT
17
LINE
/UNBAL
LINE
BAL/UNBAL
MIC
E
ON
YX MIC PRE
INSERT
BAL/UNBAL
MIC
ON
15
LINE
BAL/UNBAL
MIC
X MIC PR
16
INSERT
INSERT
ON
YX MIC PRE
INSERT
LINE
BAL/UNBAL
MIC
ON
13
LINE
BAL/UNBAL
MIC
YX MIC PRE
14
INSERT
LINE
BAL/UNBAL
MIC
YX MIC PRE
ON
YX MIC PRE
12
INSERT
LINE
BAL/UNBAL
MIC
ON
YX MIC PRE
11
INSERT
LINE
BAL/UNBAL
MIC
ON
YX MIC PRE
10
INSERT
LINE
BAL/UNBAL
MIC
ON
YX MIC PRE
YX MIC PRE
INSERT
LINE
INSERT
LINE
BAL/UNBAL
MIC
ON
Owners Manual
BAL/UNBAL
MIC
ON
INSERT
LINE
BAL/UNBAL
MIC
YX MIC PRE
ON
YX MIC PRE
INSERT
LINE
BAL/UNBAL
MIC
ON
YX MIC PRE
LINE
YX MIC PRE
INSERT
LINE
BAL/UNBAL
MIC
ON
INSERT
BAL/UNBAL
MIC
ON
INSERT
LINE
BAL/UNBAL
MIC
YX MIC PRE
ON
YX MIC PRE
INSERT
LINE
BAL/UNBAL
MIC
ON
YX MIC PRE
MIC
ON
YX MIC PRE
DIRECT OUTS
17-24
(BALANCED)
9-16
(BALANCED)
1-8
CAUTION
(BALANCED)
Owners Manual
23
ONYX 4Bus
This is a standard 3-prong IEC power connector. Connect the detachable linecord (included in the box with
your Onyx 4Bus) to the power receptacle, and plug the
other end of the linecord into an AC outlet. The Onyx
4Bus has a universal power supply that can accept
any AC voltage ranging from 100 VAC to 240 VAC. No
need for voltage select switches. It will work virtually
anywhere in the world. Thats why we call it a PlanetEarth 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.
STEREO RETURNS
MON OUT
TAPE
IN
LEFT
(MONO)
RIGHT
31
32
LINE IN
BAL/UNBAL
IN
TALK BACK
MIC
BAL/UNBAL
29
30
LINE IN
L
BAL/UNBAL
28
INSERT
27
INSERT
26
INSERT
25
INSERT
24
INSERT
23
INSERT
22
INSERT
21
INSERT
20
RIGHT
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
R
BAL/UNBAL
LEFT
RIGHT
LEFT
BAL/UNBAL
MIC
MONO
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
BAL/UNBAL
MIC
YX MIC PRE
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
BAL/UNBAL
MIC
ON
YX MIC PRE
YX MIC PRE
MAIN
OUTS
POWER
ON
GROUP
INSERTS
AUX
INSERTS
GROUP
OUTS
AUX
SENDS
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC
ON
BAL/UNBAL
ONYX 4Bus
19
OUT
MAIN
INSERTS
24
INSERT
MONO
BAL/UNBAL
INSERT
MONO
MTRX OUT
OUT
1
25 -32
(BALANCED)
MIC
ON
YX MIC PRE
Troubleshooting
Bad Output
No Power
Is the POWER LED [44] on the front panel illuminated? If not, make sure the AC outlet is live.
Bad Channel
Owners Manual
Bad Sound
Noise/Hum
Owners Manual
25
ONYX 4Bus
Repair
For warranty service, refer to the warranty information on page 35.
Non-warranty service 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, during normal business hours, Pacific Time,
to explain the problem. Tech Support will tell you where
the nearest factory-authorized service center is located
in your area.
Need Help?
You can reach a technical support representative .
Monday through Friday .
during normal business hours, Pacific Time at:
1-800-898-3211
After hours, visit www.mackie.com and click Support, .
or email us at: techmail@mackie.com
26
ONYX 4Bus
XLR Connectors
SHIELD
SLEEVE
TIP
HOT
TIP
Owners Manual
Appendix B: Connections
TIP
COLD
SHIELD
COLD 3
HOT
1
3
SLEEVE
2
SHIELD
COLD
2
HOT
Balanced Mono
RING SLEEVE
TIP
RING
TIP
SLEEVE
SLEEVE
TIP
RING
TIP
SLEEVE
TIP SLEEVE
TIP
Unbalancing a Line
In most studio, stage, and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
Stereo Headphones
RING SLEEVE
When connecting a balanced output to an unbalanced input, be sure the signal high (hot) connections 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.
27
ONYX 4Bus
When connecting an unbalanced output to a balanced input, be sure that the signal high (hot)
connections are wired to each other. The unbalanced ground (earth) connection should be wired
to the low (cold) and the ground (earth) connections 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) connection only.
tip
ring
SEND to processor
sleeve
(TRS plug)
from tip
to ring
RETURN from processor
Y-Cord Splitter
28
ONYX 4Bus
MONO PLUG
Channel Insert jack
MONO PLUG
Channel Insert jack
STEREO
PLUG
Channel Insert jack
Mults and Ys
A mult or Y connector allows you to route one output
to two or more inputs by simply providing parallel wiring connections. You can make Ys 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.
Owners Manual
DB25 Connectors
CH 1
CH 9
CH 17
CH 25
CH 2
CH 10
CH 18
CH 26
CH 3
CH 11
CH 19
CH 27
DIRECT
OUTS 1-8
Pin 14
Pin 15
Pin 16
Pin 17
Pin 18
Pin 19
Pin 20
Pin 21
Pin 22
Pin 23
Pin 24
Pin 25
+
shield
+
shield
+
shield
+
shield
Ch 8
Ch 7
Ch 7
Ch 6
Ch 5
Ch 5
Ch 4
Ch 3
Ch 3
Ch 2
Ch 1
Ch 1
CH 5
CH 13
CH 21
CH 29
CH 6
CH 14
CH 22
CH 30
CH 7
CH 15
CH 23
CH 31
CH 8
CH 16
CH 24
CH 32
GROUND
COLD
HOT
CH 4
CH 12
CH 20
CH 28
GROUND
COLD
HOT
GROUND
COLD
HOT
GROUND
COLD
HOT
GROUND
COLD
HOT
COLD
HOT
Signal
Description
Ch 8
Ch 8
Ch 7
Ch 6
Ch 6
Ch 5
Ch 4
Ch 4
Ch 3
Ch 2
Ch 2
Ch 1
GROUND
COLD
HOT
GROUND
COLD
HOT
+
shield
+
shield
+
shield
+
shield
N/C
GROUND
Pin 1
Pin 2
Pin 3
Pin 4
Pin 5
Pin 6
Pin 7
Pin 8
Pin 9
Pin 10
Pin 11
Pin 12
Pin 13
DIRECT
OUTS 1-8
Signal
Description
N/C
13 12 11 10 9
7 6
25 24 23 22 21 20 19 18 17 16 15 14
Several companies make DB25-to-DB25 cables specifically 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.
Owners Manual
29
ONYX 4Bus
Main Outs:
+4 dBu
+4 dBu
Aux Send:
Group Send:
+4 dBu
+4 dBu
Monitor Out:
Matrix Out:
+4 dBu
Maximum Rated Output:
+21 dBu @ Main XLR and TRS outputs
Dynamic Range
Noise Floor
Signal-to-Noise Ratio:
87 dBu (ref. +4 dBu, Mic In to Main Out,
32 channels and Main Mix levels at unity)
Mic Input:
Mic Input:
Line Input:
Tape Input:
Stereo Return:
90 dB
80 dB
86 dB
103 dB
105 dB
103 dB
70 dB
60 dB
66 dB
83 dB
85 dB
83 dB
Crosstalk
53 dB
43 dB
49 dB
66 dB
68 dB
66 dB
Input Impedance
Mic Input:
Mono Channel Line Input:
Stereo Returns:
Talkback Mic:
Phantom Power
Output Impedance
Main Out:
100 balanced, XLR outputs;
300 TRS outputs
Direct Out:
300
Group Out:
300
Monitor Out:
300
Matrix Out:
300
Aux Sends:
300
Phones Out:
25
+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
30
ONYX 4Bus
3 k, balanced
34 k balanced
20 k balanced
1 k balanced
Onyx 244
Height:
Width:
Depth:
Weight:
7.3 in/185 mm
31.2 in/792 mm
21.9 in/555 mm
39.5 lb/17.9 kg
Onyx 324
Height:
Width:
Depth:
Weight:
7.3 in/185 mm
39.8 in/1011 mm
21.9 in/555 mm
48.0 lb/21.8 kg
VU Meters
Main Left and Right, Compressor Input, 12 segments:
Clip (+20), +15, +10, +6, +3, 0, 2, 4, 7, 10, 20, 30
0 LED = 0 dBu
Compressor Gain Reduction, 12 segments:
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15 dB
AC Power Requirements
Power Consumption:
Onyx 244
Onyx 324
100 watts
120 watts
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
7.3 in/185 mm
Owners Manual
Onyx 244
21.9 in/555 mm
WEIGHT
39.5 lb/
17.9 kg
7.3 in/185 mm
31.2 in/792 mm
Onyx 324
21.9 in/555 mm
WEIGHT
48.0 lb/
21.8 kg
Owners Manual
39.8 in/1011 mm
31
L
R Main
1
2
Group
3
4
Aux 1 (Pre)
Aux 1 (Post)
Aux 2 (Pre)
Aux 2 (Post)
Aux 3 (Pre)
Aux 3 (Post)
Aux 4 (Pre)
Aux 4 (Post)
Aux 5 (Pre)
Aux 5 (Post)
Aux 6 (Pre)
Aux 6 (Post)
Matrix A
Matrix B
AFL L
AFL R
PFL L
PFL R
ONYX 4Bus
Insert
48V
Mic: 0 to +60 dB
Line: 20 to +40 dB
Mic/Line Inputs
Mic
Gain
Mic
Line (PAD)
OL
+10
0
-20
Bypass
Low Cut
Mute
EQ out
in
LO
MID
MID
Fader
Level Pan Assign
L Sum
R Sum
1/2
HPF
100 Hz
4-Band EQ
Line
Direct Out
jumper
(1-8)
(9-16)
(17-24)
(25-32)
L In
Off
BREAK
L/R
HI
postEQ
jumper
jumper
preEQ
pre-EQ
R In
3/4
from
Tape L
In R
to Matrix A
to Matrix B
to Matrix A
Aux
Sends
to Matrix B
post-EQ
Matrix A
jumper
jumper
pre-EQ
Matri
Matrix B
post-EQ
pre-EQ
post-EQ
to Matrix A
Stereo
Inputs
L
(Mono)
OL
+10
0
-20
EQ out
in
LO
MID
MID
HI
80
400
2.5K
12K
to Matrix B
to Matrix A
PFL
Pan
to Matrix B
Insert
Group 1
Fader
L-R
Mute
Insert
1/2
4-Band EQ
Gain
Group 2
20 to +20dB
3/4
.
postEQ
Aux 1
PRE
POST
jumper
jumper
preMute
preEQ
PRE
POST
Aux
Sends
Aux 2
Main
PFL
Stereo Return 1
L
(Mono)
AFL L
Level
PFL L
AFL R
Shift
Gain
Off to +10dB
PFL R
Aux 1-2
Aux 3-4
Tape In
PFL
L
Level
To Monitor and
Break switch
from Tape In L
R
To
Stereo Return 2
L
(Mono)
Level
+
Shift
Gain
Off to +10dB
Aux 1-2
Aux 3-4
PFL
HPF
Talkback Mic
Level
Talkback
F
F
Fro
to Main L-R
to Aux 1-2
to Aux 3-4
to Aux 5-6
MACKIE
ONYX 4BUS
BLOCK DIAGRAM
(#010406_DB/DF)
32
ONYX 4Bus
L
Main R
1
2
Group
3
4
Aux 1 (Pre)
Aux 1 (Post)
Aux 2 (Pre)
Aux 2 (Post)
Aux 3 (Pre)
Aux 3 (Post)
Aux 4 (Pre)
Aux 4 (Post)
Aux 5 (Pre)
Aux 5 (Post)
Aux 6 (Pre)
Aux 6 (Post)
Matrix A
Matrix B
AFL L
AFL R
PFL L
PFL R
Talkback Assign
L
R Main
1
2
Group
3
4
Aux 1 (Pre)
Aux 1 (Post)
Aux 2 (Pre)
Aux 2 (Post)
Aux 3 (Pre)
Aux 3 (Post)
Aux 4 (Pre)
Aux 4 (Post)
Aux 5 (Pre)
Aux 5 (Post)
Aux 6 (Pre)
Aux 6 (Post)
Matrix A
Matrix B
AFL L
AFL R
PFL L
PFL R
Fader
Level Pan Assign
L Sum
Main Mix L
2
R Sum
to/from
Compressor
Assign switch
R Insert
from
Tape L
In R
jumper
Main Mix R
to Matrix A
Right
to Monitor/
Phones
to Matrix B
Matrix A
Matrix A AFL
R Tape Out
Matrix A
Out
Matrix B AFL
A
Matrix Master
Matrix B
Matrix B
Out
Group 1 AFL
Insert
L-R
to/from
Compressor Group 2 Level
Assign switch
Insert
1/2
OL
+10
0
-20
Group 1 Level
Group 1
Group 2
3/4
0
-20
Group 2
Out
Mute
Aux 1
PRE
POST
Mute
Group Meters
OL
Mute
+10
Insert
.
Pan
Group 2 AFL
to Matrix B
Fader
to Matrix A
to Matrix B
to Matrix A
to Matrix B
to Matrix A
PFL
Left
Main Out
2
Aux
Sends
1/2
3/4
Mono Out
L Tape Out
L Insert
Off
BREAK
L/R
Owners Manual
Mute
Mono Level
Aux 1 Level
Aux 1 Out
per
Insert
PRE
POST
Aux
Sends
Aux 2
Aux 2 Level
Mute
Aux 2 Out
Aux 1 AFL
Aux 2 AFL
Off
Main to Mon
PFL
Main Meters
L R
Monitor
Level
RUDE
SOLO
LEDS
AFL L
PFL L
AFL R
Amber-AFL
Green-PFL
Meter
R Select
Phones
Level
PFL
Shift
Monitor
L Out
Monitor
R Out
Phones
PFL R
Aux 1-2
Aux 3-4
Solo Level
PFL
AFL
PFL
Solo Logic
from Tape In L
R
Off
To Mon/Phones
Shift
Ratio
Input
Meter
Threshold
Bypass
Gain
Reduction
Meter
Stereo
Compressor
Aux 1-2
Aux 3-4
PFL
-R
To Grp 3-4
To Grp 1-2
To Main Mix
Off
COMP ASSIGN
-4
-6
L
Main R
1
2
Group
3
4
Aux 1 (Pre)
Aux 1 (Post)
Aux 2 (Pre)
Aux 2 (Post)
Aux 3 (Pre)
Aux 3 (Post)
Aux 4 (Pre)
Aux 4 (Post)
Aux 5 (Pre)
Aux 5 (Post)
Aux 6 (Pre)
Aux 6 (Post)
Matrix A
Matrix B
AFL L
AFL R
PFL L
PFL R
Assign
Owners Manual
33
34
ONYX 4Bus
0dB
0 dB
0dB
to A
to A
(Insert
Send)
0dB
TALKBACK IN
40 dB
0 dB
20 dB gain, TRIM up
40 dB gain, TRIM up
60 dB gain, TRIM up
EQ
0 dB
+13 dB up
STEREO
RETURNS
TALKBACK
15 dB
down
15 dB
down
0 dB
+10 dB up
TB ASSIGN
EQ
HIGH MID
LOW MID
LOW
MUTE
PAN
+3 dB one side
H
STEREO CHANNEL
15 dB
down
HIGH
+15 dB up
MONO CHANNEL
15 dB
down
HIGH
+15 dB up
E (to Main)
15 dB
down
+15 dB up
0 dB
P
15 dB
down
+15 dB up +15 dB up
TAPE IN
15 dB
down
15 dB
down
HIGH MID
+15 dB up
+10 dB up
LOW MID
LOW
LEVEL
A
(Insert
Return)
+15 dB up +15 dB up
I
0 dB
+10 dB up
PAN
SOLO (PFL/AFL)
LEVEL
0dB
+13 dB up
0 dB
From L 9 dB
LEVEL
OUTPUTS
0dB
OUTPUT
0dB
OUTPUT
MONITOR/PHONES
LEVEL
+13 dB up
OUTPUT
0dB
AUX Master
AUX SEND
(Insert
Return) AUX MIX
MATRIX
MATRIX Master
0 dB
OUTPUTS
0 dB XLR Out
+16 dB up
MONO
0 dB
+12 dB up
From G (MAIN) P or K
(Insert
Send)
FADER
0 dB
MATRIX MIX
From G
(Main and Groups)
+4 dB
From A, C, D, H, I, M
MIX
INSERT INSERT
Send
Return
From F or G
(MAIN)
6 dB
6 dB
ASSIGN
9 dB
from L
0 dB
3 dB
center
FADER ASSIGN
FADER
From B, G, H, M
MUTE
+10 dB up
ONYX 4Bus
Owners Manual
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owners Manual
35