Feeding the Recorder

In this setup, we’re using two different ways to feed signals to the recorder. Tracks 1-4 are fed from the four subgroup outputs. By using the ASSIGN switches and PAN pots, those tracks can receive a signal individually or in odd-even pairs from any input channel. We’ve dedicated Tracks 5-8 to what’s plugged into mixer Channels 5-8 (keyboard and drum machine) by connecting those recorder inputs to the DIRECT OUTs for Channels 5-8.

For a cleaner signal path, you might choose to feed tracks 1-4 from direct outputs. The disadvantage of this is that if you want to use the same mic —say the one connected to Channel 1— to record a second vocal track, you’ll need to re-patch things. By using the sub outputs, all you need to do is turn the PAN pot or press a different ASSIGN button.

Note that the Onyx has Direct outputs for every channel, but they’re not on 1/4" jacks like the VLZ- PRO mixers, but rather on a 25 pin D-subminiature (DB-25) connector. See Mixer Tips, Chapter 9, for the wiring diagram of this connector.

There’s nothing sacred about this channel layout, but we had to pick something to talk about. Adapt it to your own choice of instruments and tracks. Incidentally, we show the guitar and bass going to Line inputs through outboard processors. They could have just as well been connected to the mic inputs through direct boxes (DIs) or by placing microphones in front of the amplifiers.

Direct electric guitar without the help of an ampli- fier or processor is kind of wimpy (though sometimes nice when added to a miked amplifier, but direct bass is often quite effective. This is a good time to mention that the Onyx mixers have two direct instrument inputs on Channels 1 and 2. Just push a button and plug in an instrument.

Making Tracks

First we’ll describe the most straightforward procedure using the system as shown in the diagram

–eight sources, eight tracks. Then we’ll do another take and show you some studio tricks. First, to avoid an inadvertent feedback path while you’re getting things organized, pull the faders fully down on Chan- nels 1-8.

Ready......

The keyboard and drum machine are already routed directly to tracks. To record the vocals, guitar

APPLICATIONS: CHAPTER 2

and bass, you must first ASSIGN those channels to SUB OUTs 1-4 using the ASSIGN buttons and PAN controls.

ChannelASSIGNPAN

 

 

 

1

1-2

L

 

 

 

2

1-2

R

 

 

 

3

3-4

L

 

 

 

4

3-4

R

 

 

 

Here’s the rest of your pre-flight checklist:•Chan 9-16 - ASSIGN L-R•TRIMs - Unity Gain•Chan 9-16 PANs - where you want them•CHANNEL 9-16 FADERs – Unity Gain•EQs – Flat (all knobs in their centered posi- tion)•MAIN MIX FADER – Unity Gain•SUB FADERs 1-4 – Unity Gain•CTL ROOM SOURCE – MAIN MIX•CTL ROOM/PHONES volume – up a bit

Set.....

Perform the Famous Mackie Level-Setting Procedure for all the instruments and mics. Don’t be shy. When setting levels, sing and play as loud as you will during a real take. If you’ll be recording parts one at a time, set levels one at a time. If the whole band will be playing together, set levels during a run-through.

Now the mixer will be happy, but what about the recorder?WARNING: You’re about to send therecorder outputs to the mixer, which is connected to the control room speak-

ers, which can be picked up by the mics if they’re in the same room as the speakers. The mics feed the recorder, which feeds the speakers, which feeds the mics, which feeds the recorder.. . . This is why the loud squeal you hear is called feedback.

If you’re recording with mics in the Con-

trol Room (along with the monitor speak- ers), you must turn the speakers off – re-

ally off! Switch off the power amplifier or powered speakers. Since, in this application, we’re using the mixer’s headphone jack as a cue feed for the players, while turning down the CTL ROOM/PHONES control

 

 

Compact Mixer Reference Guide

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