1220

Control Room Matrix, Metering, and Phones

ONYX

Typically, the engineer sends the MAIN MIX to an audience (if live) 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 1220, the engineer has several choices of what to listen to. This is one of those tricky parts, so buckle up.

20. CONTROL ROOM/PHONES SOURCE

Using the SOURCE switches, you can choose to listen to any combination of MAIN MIX, ALT 3-4, TAPE, and FIREWIRE (optional). By now, you probably know what the MAIN MIX is. ALT 3-4 is that additional stereo mix bus. TAPE is the stereo signal coming in from the TAPE IN RCA jacks. FIREWIRE is a 2-track feed coming in through the optional FireWire card from your computer.

Selections made in the SOURCE matrix deliver stereo signals to the CONTROL ROOM, PHONES, and Meters. With no switches engaged, there will be no signal at these outputs and no meter indication.

The exception to that is the SOLO function. Regardless of the SOURCE matrix selection, engaging a channel’s SOLO switch will replace that selection with the SOLO signal, also sent to the CONTROL ROOM, PHONES, and Meters.

21. ASSIGN TO MAIN MIX

Let’s say 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. Then you think, “But I have the CD player plugged into the TAPE inputs, and that never gets to the MAIN OUTPUTS!” Oh, but it does. 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 laptop you want to play during the break? Get the optional FireWire card and engage the FIREWIRE button 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: 1) Engaging this switch also feeds 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 ASSIGN TO

MAIN MIX, the MAIN MIX lines to the SOURCE matrix will be disconnected from the CONTROL ROOM and PHONES outputs, to prevent feedback. Then again, why on earth would anyone want to assign the MAIN MIX to the MAIN MIX?

WARNING: Pushing in both the TAPE

button (in the SOURCE matrix) and

ASSIGN TO MAIN MIX (21) 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 (22) is turned all the way down (off).

22. CONTROL ROOM Knob

This controls the volume at the CONTROL ROOM outputs, from off (∞) to maximum gain (MAX). It also controls the level of the control room signal going to the MAIN OUTS when ASSIGN TO MAIN MIX is selected in the CONTROL ROOM/PHONES SOURCE matrix.

PREMIUM ANALOG MIXER w/PERKINS EQ & FIREWIRE OPTION

 

CONTROL

 

 

 

 

 

ROOM/

LEFT

RIGHT

 

PHONES

 

 

 

 

 

SOURCE

0dB=0dBu

 

 

 

 

CLIP

20

 

 

 

 

 

10

 

 

MAIN MIX

 

7

 

 

 

 

 

 

 

 

 

 

4

 

 

 

FIREWIRE

 

2

 

 

 

 

 

 

 

 

(OPTION)

 

0

 

 

 

 

 

 

 

 

 

 

2

 

 

 

ALT 3-4

 

 

LEVEL

 

 

 

4

SET

 

 

 

 

 

 

 

 

 

7

 

 

 

TAPE

 

10

 

 

 

 

 

 

 

 

 

 

20

 

 

 

 

 

30

 

 

ASSIGN TO

 

 

 

 

MAIN MIX

 

 

 

 

 

 

RUDE

 

 

 

 

SOLO

 

OO

MAX

OO

MAX

 

 

CONTROL PHONES

ROOM

14

ONYX 1220