Справочник Пользователя для Mackie 1220I

18

   Onyx 1220i

Each channel of the mixer can send a FireWire output 

to your computer or DAW. The FireWire output from 
each channel can be tapped before (pre) or after (post) 
the channel EQ. (The output is always pre-fader.)

If you want the mixer EQ to affect the FireWire 

recording, then set this switch to post. This is useful 
in recording channels in a studio (where the recording 
includes the benefi cial effect of our Perkins EQ).

If you would rather record the straight signals from a 

live performance, and EQ them later in your DAW, then 
set this switch to pre. This is good for live work, where 
you may have added EQ to adjust for the room, and yet 
not want this added to your recording.

Channel 11 and 12 can either be fed from the  

 

1/4" line level inputs, or by two outputs from a computer 
via FireWire. This switch lets you choose which to use. 
Either way, the channels receive line-level analog audio 
signals just prior to the gain control, so channel setup, 
gain adjustment and EQ adjustment are the same for 
line or FireWire. This is useful for virtual instruments 
that want to be "just another channel" among hardware 
instruments.

There are two different fl avors of EQ:

Mono Channels 1-4

 

3-band EQ with shelving high, shelving low, and 
peaking mid EQ with adjustable mid frequency.

Stereo Channels 5-12

 

3-band EQ with shelving high, shelving low, and 
peaking mid EQ.

Shelving means that the circuitry boosts or cuts all 

frequencies past the specifi ed frequency. For example, 
the low EQ boosts bass frequencies below 80 Hz and 
continuing down to the lowest note you never heard. 
Peaking means that certain frequencies form a “hill” 
around the center frequency.

With too much EQ, you can really upset 
things. We’ve designed a lot of boost and cut 
into each equalizer circuit because we know 

that everyone will occasionally need that. But if you max 
the EQ on every channel, you’ll get mix mush. Equalize 
subtly and use the left sides of the knobs (cut), as well 
as the right (boost). If you fi nd yourself repeatedly using 
a lot of boost or cut, consider altering the sound source, 
such as placing a mic differently, trying a different kind 
of mic, a different vocalist, changing the strings, or 
gargling.

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.)

Never plug   single-ended (unbalanced)  
micro phones, or ribbon mics into the mic 
input jacks if phantom power is on.  Do not 

plug instrument outputs into the mic XLR input jacks 
with phantom power on,  unless you know for certain it 
is safe to do so. Be sure the main level [51] is turned 
down when connecting microphones to the mic inputs 
when phantom power is turned on, to prevent pops from 
getting through to the speakers.

If you haven’t already, please read the level-setting 

procedure on page 3. 

The gain knobs adjust the input sensitivity of the mic 

and line inputs. This allows signals from the outside 
world to be adjusted to run through each channel at 
optimal internal operating levels. 

If the signal originates through the mic XLR jack, 

there will be 0 dB of gain with the knob fully down, 
ramping to 60 dB of gain fully up.

Through the 1⁄4" line input of channels 1-4, there is  

20 dB of  attenuation fully down and 40 dB of gain fully 
up, with unity gain "U" at 11:00. 

Through the 1⁄4" line input of channels 5-12, there is 

20 dB of  attenuation fully down and 20 dB of gain fully 
up, with unity gain "U" at 11:00. 

This 20 dB of  attenuation can be very handy when 

you are  inserting a hot signal, when you want to add EQ 
gain, or both. Without this  “virtual pad,” there is more 
chance of channel clipping.