SERIES | Soloed channels are sent to the PHONES output, | ||
MONITOR outputs, and SOLO Meters. PFL mode (Pre- | |||
Fader Listen) sends the channel’s signal after the GAIN | |||
and EQ controls, but before the channel fader, to the | |||
PFL solo bus. AFL mode | |||
signal | |||
80 | |||
| VERY IMPORTANT: Remember, PFL | ||
| |||
| mode taps the channel signal before | ||
ONYX |
| ||
| the fader. If you have a channel’s | ||
| fader set way below “U” (unity gain), | ||
| PFL solo won’t know that and will | ||
| |||
send a unity gain signal to the MONITOR OUT, PHONES | |||
|
| ||
23. GAIN Control
If you haven’t already, please read “Set the Levels” on page 5.
The GAIN control adjusts the input sensitivity of the stereo line inputs. This allows the signal from the outside world to be adjusted to optimal internal operating levels.
There is 20 dB of attenuation with the knob turned all the way down, ramping up to 20 dB of gain fully up, with a “U” (unity gain) mark at 12:00.
output, and meter display. That may result in a startling |
level boost at these outputs when switching from AFL to |
PFL mode. |
Auxiliary Section
This section includes the AUX MASTERS (Sends) and the STEREO AUX INPUTS. These can be a bit confusing to the uninitiated, so here’s the whole idea behind aux sends and inputs: sends are outputs and inputs are inputs. AUX SENDs tap signals off the channels, via the AUX knobs [13], mix these signals together, then send them out the AUX SEND jacks [72].
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 this external device are fed back to the mixer’s STEREO AUX INPUT jacks [71]. These signals are sent through the AUX INPUT faders [33], and finally delivered to a GROUP [43] and/or the MAIN MIX [60], depending on the ASSIGN [35] switches.
So, the original “dry” signals go from the channels to the MAIN MIX and the affected “wet” signals go from the AUX INPUTS 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, for example. In this case, the AUX INPUTS aren’t used to return the signal. Instead, they can be used as additional stereo inputs.
24. HIGH EQ
This control gives you up to 15 dB boost or cut above 12 kHz, and it is also flat at the center detent. Use it to add sizzle to cymbals, and an overall sense of transparency or edge to the keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.
25. HIGH MID EQ
Short for “midrange,” this knob provides 15 dB of boost or cut at
2.5kHz. Midrange EQ is often thought of as the most dynamic because the frequencies that define any particular sound are almost always found in this range. The HIGH MID EQ frequencies include the female vocal range as well as the fundamentals and harmonics for many instruments.
26. LOW MID EQ
This is a second midrange EQ control that provides 15 dB of boost or cut centered at 400 Hz. This includes the male vocal range and the fundamentals of some lower
UGAIN
U
HIGH
12kHz
U
HIGH
MID
2.5kHz
U
LOW
MID
400Hz
U
|
| LOW |
|
| 80Hz |
+15 |
| |
|
| AUX |
|
| SEND |
|
| 1 |
OO | MAX | |
|
| 2 |
|
| STEREO |
OO | MAX |
|
BAL
L R
STEREO 1
MUTE
dB
10OL
5+10
instruments (guitar, lower brass).
U
0
Stereo Aux Input Section
The stereo Aux Inputs can be used as mono or stereo
14 | ONYX 80 SERIES |
27. LOW EQ
This control gives you up to 15 dB of boost or cut below 80 Hz. The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers.
5
10
GROUP
20ASSIGN
30
40 |
|
50 |
|
60 | MAIN |
OO | MIX |
|
PFL