Mackie ONYX 1640I Owner's Manual download pdf (Page 15)

Owner's Manual 15

Another way to consider low-cut’s function

isthatitactuallyaddsexibilityduringlive

performances. With the addition of low-cut,

you can safely use low equalization on vocals.

Manytimes,bassshelvingEQcanreallybenetvoices.

Trouble is, adding low EQ also boosts stage rumble, mic

handling clunks and breath pops from way-down low.

Applying low-cut removes all those problems, so you can

add low EQ without blowing your subwoofers.

24. INPUT (LINE or FW 1-16)

All 16 channels may be fed either from the mic/line

inputs, or by up to 16 outputs from a computer via

FireWire. This switch lets you choose (on a per-channel

basis) whether the channel is accepting a mic/line input

or a FireWire output stream from your DAW.

While tracking, you will likely want all of these

switches in the "up" position so you can hear the inputs.

When overdubbing, you will likely want whichever

tracks are already recorded to the DAW to stream back

into the board (e.g. drums on 1-8 while overdubbing

bass on channel 9, so you'll want the input switches on

channels 1-8 in the FW position). And when you are

ready for full analog mixdown, you will probably want all

of these switches in the "down" position so you can do

a full 16-channel "tape style" mix - the way mixing was

meant to be!

25. HI-Z SWITCH (Chs. 1 and 2 only)

Engage this switch if you want to connect guitars

directly to the 1/4" line inputs of channels 1 or 2.

Without this switch, you need to use a DI box ﬁrst,

before connecting guitars. If these switches are not

pressed in, guitars will not sound good, particularly the

high frequency response.

Plugging a guitar into a lower-impedance

line-level input

can result in the loss of high

frequencies, causing an unnatural and dull

sound.

Normally, you must use a direct box

between a guitar and a mixer’s input, which serves to

convert the impedance of the guitar from high to low.

The hi-z inputs on channels 1 and 2 make the need for

a direct box unnecessary. However: The hi-z inputs are

unbalanced (when the switch is in), so if you’re doing a

live show and running a long cord between the

instrument and the mixer (say over 25 or 30 feet), it is

best to use a direct box with a balanced output to avoid

picking up noise over the length of the cord.

26. GAIN CONTROL

If you haven’t already, please read the level-setting

procedure on page 3.

The gain knobs adjust the input sensitivity of the mic

and line inputs. This allows signals from the outside

world to be adjusted to run through each channel at

optimal internal operating levels.

If the signal originates through the mic XLR jack,

there will be 0 dB of gain with the knob fully down,

ramping to 60 dB of gain fully up.

Through the 1⁄4" line input of all 16 channels, there is

20 dB of attenuation fully down and 40 dB of gain fully

up, with unity gain "U" at 11:00.

This 20 dB of attenuation can be very handy when you

are inserting a hot signal, or when you want to add EQ

gain, or both. Without this “virtual pad,” there is more

chance of channel clipping.

27. SEND FIREWIRE PRE/POST

Each channel of the mixer can send a FireWire output

to your computer or DAW. The FireWire output from

each channel can be tapped before (pre) or after (post)

the channel EQ. (The output is always pre-fader.)

If you want the mixer EQ to affect the FireWire

recording, then set this switch to post. This is useful

in recording channels in a studio (where the recording

includes the beneﬁcial effect of our Perkins EQ).

If you would rather record the straight signals from a

live performance, and EQ them later in your DAW, then

set this switch to pre. This is good for live work, where

you may have added EQ to adjust for the room, and yet

not want this added to your recording.

CHANNEL EQUALIZATION (EQ)

All 16 channels have 4-band EQ with shelving high,

shelving low, and peaking hi-mid and peaking lo-mid

with adjustable mid frequency.

Shelving means that the circuitry boosts or cuts all

frequencies past the speciﬁed frequency. For example,

the low EQ boosts bass frequencies below 80 Hz and

continuing down to the lowest note you never heard.

Peaking means that certain frequencies form a “hill”

around the center frequency.

With too much EQ, you can really upset

things. We’ve designed a lot of boost and cut

into each equalizer circuit because we know

that everyone will occasionally need that. But if you max

the EQ on every channel, you’ll get mix mush. Equalize

subtly and use the left sides of the knobs (cut), as well

as the right (boost). If you ﬁnd yourself repeatedly using

a lot of boost or cut, consider altering the sound source,

such as placing a mic differently, trying a different kind

of mic, a different vocalist, changing the strings, or

gargling.

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Mackie ONYX 1640I Owner's Manual Page 15

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