Mackie 1220I ユーザーズマニュアル

20

   Onyx 1220i

These controls allow you to set up two independent 

mixes, typically for running stage monitors or external 
effects processors.

The controls are off when turned fully down, deliver 

unity gain at the center, and can provide up to 15 dB 
of gain turned fully up. Chances are that you will never 
need this extra gain, but it’s nice to know it’s there if 
you do.

Aux Send 1 and 2 [6] are line-level outputs, and 

are used if you want to connect external processors, 
powered stage monitors, or external power amps with 
passive stage monitors. Aux Return 1 and 2 [7] are line-
level inputs, typically used to return the output from 
external processors back to the main mix.

Carefully adjust how much of each channel appears 

in your aux mixes. For example, if you are running stage 
monitors, and someone wants "more me, and less them," 
adjust these carefully.

The aux sends can either be pre or post fader,  

depending on the position of the aux pre/post switches 
[43]. For stage monitor work, use pre, so the stage 
monitors do not increase in volume when the channel 
level is adjusted. For external processors, use post. In 
this way, the feed to external processors will vary with 
the channel level, keeping them in the same ratio  
(wet/dry).

For mono channels 1-4, this control allows you to 

adjust how much of the channel signal goes to the left 
main mix, and how much goes to the right main mix. 
It has no effect on the aux, as these are mono. In the 
center position, the mono channel is split equally to the 
left and right.

Pan also affects the channel output to the Alt 3–4 mix 

if a channel mute switch is engaged.

For channels 5-12, pan acts in a similar way to a home 

stereo balance control (panning left turns down the 
right channel, and panning right turns down the left 
channel).

If you have a stereo source and the mixer's stereo  

inputs are already taken, connect the source's left  
output into channel 1, and the right into channel 2. Pan 
the channel 1 fully left, and channel 2 fully right, then 
the source will appear in the main mix in full stereo.

The pan control employs a design called “Constant 

Loudness.” If you have a channel panned hard left (or 
right) and then pan to the center, the signal is  
attenuated about 3 dB to maintain the same apparent 
loudness. Otherwise, it would make the sound appear 
much louder when panned center.

The dual-purpose mute/alt 3-4 switch is a Mackie 

signature. When Greg was designing our fi rst product, 
he had to include a mute switch for each channel. Mute 
switches do just what they sound like they do. They turn 
off the signal by “routing” it into oblivion. “Gee, what 
a waste,” he reasoned. “Why not have the mute button 
route the signal somewhere else useful, like a separate 
stereo bus?”

So mute/alt 3-4 really serves two functions—muting 

(often used during mixdown or live shows), and signal 
routing (for multitrack and live work) where it acts as 
an extra stereo bus.

To use this as a mute switch, all you have to do is not 

use the alt 3-4 outputs [14]. Then, whenever you assign 
a channel to these unused outputs, you’ll also be 
disconnecting it from the main mix, effectively 
muting the channel. The mute switch also disconnects 
the channel from the post-fader aux send bus. The 
channel’s signal is still present on the pre-fader aux 
send bus, so muting a channel does not affect your stage 
monitors, and the quiet and gentle disposition of your 
lead singer.

To use this as an alt 3-4 switch, all you have to do is 

connect the alt 3-4 outputs to whatever destination you 
desire. Here are two popular examples:

When doing multitrack recording, you can use the 

alt 3-4 outputs as a stereo or dual-mono feed to your 
multitrack.

When doing live sound or mixdown, it’s often handy 

to control the level of several channels with one knob. 
That’s called subgrouping. Simply assign these channels 
to the alt 3-4 mix, engage alt 3-4 in the control room/
phones source matrix [36], and the signals will appear 
at the control room [12] and phones [17] outputs. If 
you want the alt 3-4 signals to go back into the main 
mix, engage the assign to main mix switch [37] and the 
control room knob [38] will control the levels of all the 
channels assigned to alt 3-4.

Another way to do the same thing is to assign the 

channels to the alt 3-4 mix, then patch out of the alt 
3-4 out (left/3 and right/4) back into an unused stereo 
channel (5-12). If that’s your choice, don’t ever engage 
the mute/alt 3-4 switch on that stereo channel, or you’ll 
have every dog in the neighborhood howling at your 
feedback loop.

Another benefi t of the alt 3-4 feature is that it can act 

as an “afl ” (after fader listen). Just engage a channel’s 
mute/alt 3-4 switch and the alt 3-4 switch in the source 
matrix and you’ll get that channel, all by itself, in the 
control room and headphones.