Mackie ONYX 1640I Owner's Manual download pdf (Page 11)

Owner's Manual 11

5. LINE INPUTS

These 1/4" jacks share circuitry (but not phantom

power) with the mic preamps, and can be driven by

balanced or unbalanced sources.

To connect balanced lines to these inputs, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug, wired as follows:

Tip = Positive (+ or hot)

Ring = Negative (– or cold)

Sleeve = Shield or ground

To connect unbalanced lines to these inputs, use a

1⁄4" mono (TS) phone plug, wired as follows:

Tip = Positive (+ or hot)

Sleeve = Shield or ground

These line-level inputs can also accept instrument-

level signals if the hi-z switches [25] are pressed in.

This allows you to connect guitars directly to channels 1

and 2, without the need for a DI box. The input

impedance is optimized for direct connection, and

high-frequency ﬁdelity is assured.

6. INSERT

These unbalanced 1/4" jacks are for connecting serial

effects processors such as compressors, equalizers,

de-essers, or ﬁlters. The insert point is after the gain

control [26] and low cut ﬁlter [23], but before the

channel’s EQ [29-34] and level [38]. The channel signal

can go out of the insert jack to an external device, be

processed and come back in on the same insert jack.

To do this requires a standard insert cable that must be

wired thusly:

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Insert jacks can be used as channel direct outputs;

post-gain, and pre-EQ. See the connector section on

page 30 (ﬁgure G) showing three ways to use insert

cables.

4. MIC INPUTS

This is a female XLR connector, that accepts a

balanced microphone input from almost any type of

microphone. The microphone preamps feature our 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)

We use phantom-powered, balanced microphone

inputs just like the big studio mega-consoles, for exactly

the same reason: This kind of circuit is excellent at

rejecting hum and noise. You can plug in almost any

kind of mic that has a standard XLR-type male mic

connector.

Professional ribbon, dynamic, and condenser mics all

sound excellent through these inputs. The mic inputs

will handle any kind of mic level you can toss at them,

without overloading.

Microphone-levelsignalsarepassedthroughthe

mixer's splendid microphone preampliﬁers to become

line-level signals.

See Appendix B (page 29) for further details and

some rather lovely drawings of the connectors you can

use with your mixer.

PHANTOM POWER

Mostmodernprofessionalcondensermicsrequire48V

phantom power, which lets the mixer send

low-currentDCvoltagetothemic’selectronicsthrough

the same wires that carry audio. (Semi-pro condenser

mics often have batteries to accomplish the same

thing.) “Phantom” owes its name to an ability to be

“unseen”bydynamicmics(ShureSM57/SM58,for

instance), which don’t need external power and aren’t

affected by it anyway.

Phantom power for each channel can be selected

using that channel's phantom [22] switch.

Never plug single-ended (unbalanced)

micro phones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you are certain it is safe.

“tip”

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

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Mackie ONYX 1640I Owner's Manual Page 11

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