4•Bus

TALKBACK Section

The talkback feature allows the engineer to com-

 

 

municate with the talent either through the AUX 1-6

ONYX

[87] Sends, or the MAIN L/R [82] outputs. Connect an

external microphone to the TALKBACK MIC XLR [81]

 

 

connector on the rear panel to use the talkback feature.

 

52. TALKBACK ASSIGN Switches

 

These switches route the talkback signal to vari-

 

ous outputs, including AUX 1-2, AUX 3-4, AUX 5-6, and

 

MAIN MIX outputs. You might use a pair of Aux Sends

 

to communicate with musicians on-stage through their

 

monitors during a live performance. These could be

 

floor wedges or in-ear monitors.

 

By the way, it is okay to have more than one TB ASSIGN

 

switch pushed in at the same time. The talkback signal

 

will be routed to all the destinations you have selected.

 

But if you don’t have any of the assign switches pushed

 

in, the talkback signal won’t go anywhere, and you will

 

wonder why everyone seems to be ignoring you.

 

53. TALKBACK Level Control

 

Use this knob to control the level of the talkback

 

signal being routed to the AUX or MAIN L/R outputs.

 

54. TALKBACK Switch

 

This is a latching switch, meaning it’s always active

 

when the switch is pushed in. As long as the switch is

 

engaged, the talkback signal is routed to the outputs

 

determined by the talkback assign switches [52]. Push

 

the switch again to release it, and the talkback circuit is

 

turned off. An LED above the switch indicates when the

 

TALKBACK switch is active.

 

 

 

 

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ONYX 4•Bus

Auxiliary Section

This section includes the AUX SEND MASTERS and the STEREO RETURNS. These can be a bit confusing to the uninitiated, so here’s the whole idea behind aux sends and returns: sends are outputs and returns are inputs. AUX SENDs tap signals off the channels, via the AUX knobs [12/25], mix these signals together, then send them out the AUX SEND jacks [87].

These outputs are fed to the inputs of an external processor like a reverb or digital delay. From there, the mono or stereo outputs of the external device are fed back to the mixer’s STEREO RETURN jacks [80]. These signals are sent through the STEREO RETURN LEVEL controls [64], and finally delivered to the MAIN MIX bus.

So, the original “dry” signals go from the channels to the MAIN MIX and the affected “wet” signals go from the STEREO RETURNS to the MAIN MIX, and once mixed together, the dry and wet signals combine to create a glorious sound!

The AUX SENDS can also be used to provide another mix for stage monitors. In this case, the STEREO RETURNS aren’t used to return the signal. Instead, they can be used as additional stereo inputs.

Aux Send Masters Section

55. AUX SEND MASTERS

The AUX SEND MASTERS provide overall control over the AUX SEND levels, just before they are delivered to the AUX SEND outputs [87]. These knobs go from off (∞) to +15 dB when turned all the way up.

When using the Aux Send for monitors, 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.)

56. PRE/POST Switch

This switch is used to select whether the Aux send signal is pre-fader or post-fader.

When the PRE/POST switch is up, the Aux send signal is pre-fader, which is usually used for sending to monitors (stage monitor wedges or IEM, in-ear monitor systems). This way, when changes are made to fader levels in the front-of-house mix, it doesn’t affect the monitor mix.

When the PRE/POST switch is pushed in, the Aux send signal is post-fader, which is usually used when