CTRL ROOM/PHONES

SOURCE 0dB=0dBu

35

 

 

L

R

 

 

 

 

20

CLIP

 

 

 

 

 

 

MAIN MIX

 

 

15

 

 

 

 

 

 

10

 

36 TAPE

 

 

6

40

 

 

3

 

 

 

 

 

0

 

 

FW 1-2

ALT 3-4

 

2

LEVEL

 

 

 

 

 

 

 

 

 

 

 

4

SET

37

 

 

 

 

 

 

 

7

 

 

 

 

 

 

 

 

ASSIGN TO

 

 

10

 

 

MAIN MIX

 

 

20

 

 

 

 

 

 

 

 

 

 

 

 

30

 

OO

MAX

OO

MAX

RUDE

 

CONTROL

PHONES

 

SOLO

 

ROOM

 

 

 

 

 

 

 

 

38 39 41

Control Room/Phones and Meters

Typically, the engineer sends the main mix to an audience (for a live show) or to a mixdown deck (if recording). But what if the engineer needs to hear something other than the main mix in the control room or headphones? With the Onyx 1220i, the engineer has several choices of what to listen to. This is one of those tricky parts, so buckle up.

35. MAIN MIX

Press this switch in to listen to the main mix in your control room and headphones, and to check the main mix levels in the meters. In addition to the main mix, you can listen to any combination of tape, FW 1-2 and alt 3-4, depending on which of these switches [36] is engaged.

If the assign to main mix switch [37] is

engaged, you cannot hear the main mix in the control room or headphones, or see its level

on the meters. This is to prevent feedback caused by sending the main mix to the main mix.

36. TAPE, FW 1-2, ALT 3-4

Using these source switches, you can choose to listen to any combination of tape, FireWire, and alt 3-4 in the control room and headphones, in addition to the main mix if its source switch [35] is engaged.

22 Onyx 1220i

Tape is the stereo signal coming in from the tape in

[15]RCA jacks. FireWire is a 2-track feed coming in through the FireWire [3] connection from your computer. Alt 3-4 is the additional stereo mix bus formed when any channel is muted with the mute/alt 3-4 switch [31].

Selections made here deliver stereo signals to the control room, phones, and meters. With no switches or main mix [35] engaged, there will be no signal at these outputs and no meter indication.

The exception is the solo function. Regardless of the source matrix selection here, engaging a channel’s solo switch will replace that selection with the solo signal, sent to the control room, phones, and the right meter.

37. ASSIGN TO MAIN MIX

Let’s say you’re doing a live show: "You're doing a live show." Intermission is nearing and you want to play a soothing CD for the crowd to prevent them from becoming antsy. Simply engage this switch and your source matrix selection, after going through the control room level control, will feed into the main mix, just as if it were another stereo channel.

What if you have a playlist of MP3 files on your computer you want to play during the break? Engage this switch and the FireWire switch [36] to play your MP3s directly from your computer, through the source matrix, and into the main mix.

Another handy use for this switch is to enable the alt 3-4 mix to become a submix of the main mix, using the control room level control.

Side effects to engaging this switch:

1.It will also feed any soloed channels into the main mix, which may be the last thing you want.

2.If you have main mix as your source matrix selection and then engage this switch, the main mix lines to the source matrix will be disconnected from the control room and phones outputs, to prevent feedback.

3.If you have tape as your source matrix selection, and then engage this switch, it can create a feedback path between tape in and tape out. Make sure your tape deck is not in record, record-pause, or input monitor mode when you engage these switches, or make sure the control room knob [38] is turned all the way down.

38.CONTROL ROOM Knob

This controls the volume at the control room outputs, from off to maximum gain (+10 dB). It also controls the level of the control room signal going to the main outs when assign to main mix [37] is selected.