Справочник Пользователя для Mackie 1220I

12

   Onyx 1220i

as well as to solo, and add to aux send 1 and 2. This 
is routed using the FW/line input selector [23] on  
channels 11 and 12. This is useful for live  

 

performances, where those 2 channels might have, 
for example, a software synthesizer you are  
triggering from a MIDI keyboard, and you want to 
treat the softsynth as "just another instrument," with 
equal processing and routing options as the hardware 
keyboards coming into the other channels.

The FireWire interface works with both PC (using 

ASIO for Windows XP and Vista) and Mac (Core Audio 
for Mac OS 10.4.11 or higher).

These male XLR connectors provide a balanced line-

level signal that represents the end of the mixer chain, 
where your fully mixed stereo signal enters the real 
world. Connect these to the inputs of your main power 
amplifi ers, powered speakers, or serial effects 
processor (like a graphic equalizer or compressor/ 
limiter). It provides a fully balanced signal that is the 
same level as the 1/4" TRS main out jacks [13] on the 
top panel.

When this switch is out (+4 dB), the XLR main 

outputs [4] provide a "+4 dBu" line-level signal. You 
can then connect these outputs to the line-level inputs 
of power amplifi ers, powered loudspeakers, or serial 
processors.

When the switch is pushed in (mic), the XLR main 

outputs are attenuated to microphone level. You can 
then connect these outputs safely to the microphone  
inputs of another mixer, providing a submix for 
keyboards or drums, for example, in a live sound  
application. The main outputs can then be plugged  
directly into a stage snake, and appear back at the front 
of house console like any other microphone level source.

When mic is engaged, you can safely plug the 
XLR main output into a mixer's microphone 
input, even if it provides 48 V phantom power.

The switch is recessed, to reduce the chance of    

accidently turning it on or off when plugging things in.

These 1/4" TRS connectors allow you to send balanced 

or unbalanced line-level outputs to external effects 
devices, headphone amplifi ers, or stage monitors. These 
could either be passive stage monitors powered by an 
external amplifi er, or powered stage monitors with  
built-in power amplifi ers.

Aux send 1 and aux send 2 are independent of each 

other, so you can set up two separate aux mixes. 

The aux 1 send signal is the sum (mix) of all the 

channels whose aux 1 send control [29] is set to more 
than minimum. The aux 2 send is the sum of all the 
channels whose aux 2 send control is set to more than 
minimum. The overall aux output level can be adjusted 
with the aux send master controls [42].

The aux sends can either be pre or post fader,  

depending on the position of the pre/post switches [43]. 
For stage monitor work, use pre, so the stage monitors 
do not increase in volume when the channel faders are 
adjusted. Imagine how upsetting that can be to big hairy 
drummers. This allows you to set up the monitor mix 
and levels just right, and not have it change every time a 
channel fader is adjusted.

For external processors, use post. In this way, the feed 

to external processors will vary with the channel faders, 
so the level of any returned effect (like an echo) will 
also change if the channel fader is changed, keeping 
them in the same ratio (wet/dry).

These 1/4" TRS stereo input connectors allow you to 

add the stereo processed output from external effects 
processors or other devices to the main mix.

Level adjustment of the incoming signals is made with 

the aux return controls [44].

The signals going into aux return 2 can also be added 

to aux send 1 by engaging the return to aux 1 switch 
[45]. For example, you could add effects from an  
external effects processor to your stage monitors.

You can also use these inputs to add any stereo line-

level signals to your main mix, so it could be another 
line-level source, not just an effects processor.

If you are connecting a mono source, use the left 

(mono) aux return input, and the mono signals will  
appear on both sides of the main mix.

These unbalanced 1/4" jacks on channels 1-4, are for 

connecting serial  effects processors such as  
compressors, equalizers, de-essers, or fi lters. The insert 
point is after the gain control [21] and low cut fi lter 
[19], but before the channel’s EQ and fader [33]. The 
channel signal can go out of the insert jack to an  
external device, be processed and come back in on the 
same insert jack. To do this requires a standard insert 
cable that must be wired thusly:

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground