1

 

 

 

 

2

3-4AUX SEND

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MIC

 

 

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MIC

 

 

NYX MIC

 

BAL/UNBAL

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NY

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P

R

 

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E

 

 

 

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8

9 INSERT

10

LINE

 

1

18

BAL/UNBAL

LINE

 

HI-Z

19 U 30

48V

20

20

40

23U 60 GAIN

-20dB +40dB

SEND

24PRE

POST

UEQ

25

HIGH

12kHz

-15

+15

26

1k

FREQ

 

100

8k

27

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31

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32

AUX

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33 2

 

 

 

 

 

 

 

 

 

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(MONO)

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(MONO)

 

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21

 

 

 

 

 

 

 

 

+4dB

 

 

 

 

LINE

 

 

LINE

 

 

 

 

 

HI-Z

 

 

 

 

-10dB

 

 

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48V

 

 

 

 

48V

 

 

 

 

 

 

 

 

 

 

30

 

 

 

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PRE

 

 

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POST

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2.5kHz

 

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LOW

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MID

 

 

 

 

 

29

 

400Hz

 

 

 

-15

+15

 

 

-15 +15

 

 

 

 

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U

 

 

 

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LOW

 

 

 

LOW

 

 

LOW

 

80Hz

 

 

 

 

80Hz

 

 

80Hz

-15

+15

 

 

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AUX

 

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2

Plugging a guitar into a lower-impedance

line-level input can result in the loss of high

frequencies, causing an unnatural and dull sound. Normally, you must use a direct box between a guitar and a mixer’s input, which serves to

convert the impedance of the guitar from high to low. The hi-z inputs on channels 1 and 2 make the need for a direct box unnecessary. However: The hi-z inputs are unbalanced (when the switch is in), so if you’re doing a live show and running a long cord between the instrument and the mixer (say over 25 or 30 feet), it is best to use a direct box with a balanced output to avoid picking up noise over the length of the cord.

19. LOW CUT (Ch.1–4 only)

The mono and hybrid channels each have a low-cut switch (often referred to as a high-pass filter) that cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.

For channels 1 and 2, the low cut switch affects the mic and line inputs. For channels 3 and 4, it affects the mic input only.

We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn’t much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power.

OO

MAX

OO

MAX

OO

MAX

OO

MAX

 

 

 

 

PAN

 

PAN

PAN

PAN

34

 

 

 

 

L R

L R

L R

L

R

OO

MAX

 

 

PAN

L R

35MUTE

36

OL

ALT 3-4

-20

 

U

 

37

 

OO +10dB

LEVEL

 

38SOLO

1

 

MUTE

OL

ALT 3-4

- 20

U

OO

+10dB

LEVEL

SOLO

2

MUTE

MUTE

OL

OL

ALT 3-4

ALT 3-4

- 20

- 20

U

U

OO

+10dB

OO

+10dB

LEVEL LEVEL

SOLO SOLO

3-4 5-6

MUTE

OL

ALT 3-4

- 20

U

OO

+10dB

LEVEL

SOLO

7-8

18. HI-Z SWITCH (Ch. 1 and 2 only)

Engage this switch if you want to connect guitars directly to the 1/4" line inputs of channels 1 or 2.

Without this switch, you need to use a DI box first, before connecting guitars. If these switches are not pressed in, guitars will not sound good, particularly the high frequency response.

Another way to consider low-cut’s function

is that it actually adds flexibility during live

performances. With the addition of low-cut, you can safely use low equalization on vocals.

Many times, bass shelving EQ can really benefit voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops from way-down low.

Applying low-cut removes all those problems, so you can add low EQ without blowing your subwoofers.

20. 48V PHANTOM POWER (Ch. 1-4 only)

Most modern professional condenser mics require 48V phantom power, which lets the mixer send low- current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

Press this switch in if your microphone requires phantom power. (Always check the position of this switch before connecting microphones.)

18Onyx 820i