Aux Master

This section includes the aux sends and the aux returns. Aux sends tap signals off the channels, via the aux knobs [29], mix these signals from each channel together, then sends them out the aux send jacks [6] and FireWire outputs 11 and 12. The aux sends can be pre-fader or post-fader (both are post-EQ, but see page 38).

Post-fader aux sends can be fed to the inputs of an external processor like a reverb or digital delay. From there, the outputs of this external processor are fed back to the mixer’s aux return jacks [7]. Then these signals are sent through the aux return level controls [44], and finally delivered to the main mix.

So, the original unprocessed “dry” signals go from the channels to the main mix, and the processed “wet” signals go from the aux returns to the main mix, and once mixed together, the dry and wet signals combine to create a glorious sound!

Pre-fader aux sends are typically used to provide another mix for stage monitors. In this case, the aux returns aren’t used to return the signal. Instead, they can be used as additional stereo inputs, or not used at all.

42. MASTER AUX SEND 1 and 2

These knobs provide overall control over the aux send levels, just before they are delivered to the aux send outputs [6]. These knobs go from off to +15 db when turned all the way up.

The aux sends can either be pre or post fader, depending on the position of the aux pre/post switches [43].

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.)

The aux sends are also sent to FireWire output 11 and 12 for recording. The levels to FireWire are affected by these send controls and the pre/post switch.

43. PRE/POST

The pre/post switches determine whether the aux send signal is tapped from the channels before the channel level controls (pre-fader) or after (post-fader). Having a separate pre/post switch for each aux is a super-useful feature as it allows the use of one effects processor and one stage monitor chain, at the same time.

24Onyx 1220i

For stage monitor work, use pre, so the stage monitors do not increase in volume when the channel level is adjusted.

For external processors, use post. In this way, the feed to external processors will vary with the channel level, keeping them in the same ratio, so that the “wet” signal level follows the “dry” signal level.

44. MASTER AUX RETURN 1 and 2

These two controls set the overall level of effects received from the stereo aux return 1 and 2 inputs [7]. These controls range from off to +10 db of gain when fully clockwise, to compensate for low-level effects.

Signals passing through these controls go directly to the main mix bus where they are combined with the other channels. Alternatively, the aux 2 return can be routed to aux 1 send instead, using the rtn to aux 1 switch [45] described next.

45. RTN TO AUX 1

This switch routes the signal from aux return 2 to the aux 1 send mix instead of to the main mix bus.

For example, this allows you to use an external effects device, like a reverb or delay, exclusively for the monitors. When this switch is pushed in, the effects signals coming into the aux return 2 jacks are added to your aux 1 stage monitor mix. Adjust the effects level coming in with the aux 2 return controls [44], until it sounds just right in your monitors.

AUX SEND 1-2 and FIREWIRE

A copy of the aux send 1 and 2 outputs is always available via FireWire to send to a computer. The FireWire output is affected by the channel aux send and master aux send controls. For example, you can set up a software effects processor as follows:

•Set up an aux send in post mode.

•FireWire outputs 11 and 12 are always available to send aux send 1 and 2 to your computer.

•Pass this through a software effects processor or plug-in of your choice.

•Return the processed output from the effects processor to mixer channels 11 and 12 (input switch [23] set to FW 1-2).

•Alternatively bring the processed sounds into the control room matrix (engage FW 1-2 [36]) and add it to the main mix (engage assign to main mix [37]).

•You can even use the computer as two separate independent mono in, stereo out processors. Have aux 1 go into one plug-in, and aux 2 go into a different one. The stereo outputs of both plug-ins are combined back into the stereo stream coming back to the mixer.