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Mackie 1220I User Manual

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8
   Onyx 1220i
Microphones
Connect your microphones to the female XLR  
 
connectors on mono channels 1-4. The microphone  
preamps feature our Onyx design, with super high 
fi delity and headroom. Professional ribbon, dynamic, 
and condenser mics all sound excellent through these 
inputs. 
Microphone-level signals are passed through these 
splendid microphone preamplifi ers to become line-level 
signals.
48V PHANTOM POWER
Press the 48V phantom power switch if your microphones 
need it. 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.
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 
are certain it is safe to do so.
LOW CUT
Mono channels 1-4 each have a low-cut switch (often 
referred to as a high-pass fi lter) that cuts bass 
frequencies below 75 Hz. This will reduce the thumps 
and bangs due to stage noise and rumble, and mic 
handling.
We recommend that you use low-cut on  every  
microphone application except kick drum, bass guitar, 
or bassy synth patches. 
Using the low cut switch also allows you to add some 
bass EQ to your vocals without boosting the really-low 
lows.
EQUALIZATION
Mono channels 1-4 have a 3-band EQ, with shelving-
low, shelving-high and peaking-mid. The frequency of 
the mid can be adjusted from 100 Hz to 8 kHz.
This loving attention to detail in the mid EQ section is 
ideal for vocal equalization, so you might consider using 
channels 1 to 4 for your main vocal microphones.
INSERTS
Channels 1-4  have insert jacks on the rear panel. 
These allow you to send the mic and line signals out 
to an external device, and back in again on the same 
connector. For example, vocals benefi t from having an 
external vocal compressor. These compress the level 
of the signals when they reach a certain threshold, and 
help prevent overloading. 
SETTING THE MICROPHONE GAIN
The gain controls allow you to set your input signals 
to an optimum level: not so hot that the mixer is  
overloaded, and not so low that the signal is lost in 
noise. For a signal entering the XLR mic inputs, the 
adjustment range is from 0 to 60 dB. Use the following 
procedure for setting the gain just right:
1.  Press the solo switch at the bottom of the  
channel your microphone is connected to. The 
rude solo light will fl ash to remind you that 
what you are listening to in the control room 
and headphones, and shown on the main right 
meter is the soloed channel.
2.  Sing/talk/shout/scream into the microphone at 
typical loudness levels.
3.  Adjust the channel gain control until the right 
main meter level is hovering around the 0 dB  
mark (labeled "level set").
4.  Now that the gain is set correctly, disengage 
solo.
5.  During a performance, if you notice that the OL 
(overload) LED comes on next to the channel 
fader, carefully decrease the gain until OL no 
longer comes on.
dB
30
20
10
40
50
5
5
U
60
10
O
O
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
10
dB
30
20
10
40
50
5
5
U
60
O
O
ALT 3/4
OL
- 
20
OL
- 
20
OL
- 
20
OL
- 
20
OL
- 
20
OL
- 
20
OL
- 
20
OL
- 
20
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
48V
48V
48V
48V
U
+
15
-
15
U
+
15
-
15
ON
YX MIC PRE
 
TALKBACK
MAIN MIX
TALKBACK
PRE
POST
HI-Z
LINE
PREMIUM ANALOG MIXER 
w/ PERKINS EQ & FIREWIRE 
TAPE 
MAIN OUT
IN
OUT
L
R
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
BAL/UNBAL
CTRL - RM OUT
AUX
1-2
PHONES
DESTINATION
LEVEL
O
O
MAX
 SEND
PRE
POST
 SEND
PRE
POST
 SEND
EQ
MID
2.5kHz
HIGH
12kHz
PRE
POST
SEND
L
L
L
L
R
R
R
R
 SEND
INPUT
FW 1-2
LINE
(MONO)
(MONO)
(MONO)
(MONO)
R/4
L/3
L
R
L
R
POWER
MIC
1
2
75Hz
18dB/OCT
3
75Hz
18dB/OCT
4
ON
YX MIC PRE
 
PRE
POST
HI-Z
LINE
 SEND
ON
YX MIC PRE
 
PRE
POST
 SEND
ON
YX MIC PRE
 
GAIN
GAIN
GAIN
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
+
40dB
U
-
20dB
U
20
30
40
60
+
40dB
U
-
20dB
U
20
30
40
60
+
40dB
U
-
20dB
U
20
30
40
60
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
EQ
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
EQ
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
PRE
POST
 SEND
1k
100
8k
HIGH
12kHz
U
+
15
-
15
LOW
80Hz
EQ
AUX
2
1
L
R
PAN
1
LINE
2
LINE
4
LINE
3
LINE
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
GAIN
GAIN
GAIN
GAIN
+
20dB
-
20dB
U
+
20dB
-
20dB
U
U
+15
-15
U
+15
-15
U
+15
-15
+
20dB
-
20dB
U
U
+15
-15
U
+15
-15
U
+15
-15
+
20dB
-
20dB
U
AUX MASTER
2
1
SEND
RETURN
2
1
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
L
R
0dB=0dBu
LEVEL
SET
CLIP
PRE
POST
PRE
POST
RTN TO
AUX1
MAIN MIX
ALT 3-4
TAPE
FW 1-2
ASSIGN TO
MAIN MIX
MAX
O
O
MAX
O
O
+
15
O
O
+
15
O
O
+
10
O
O
+
10
O
O
MAX
O
O
MAX
O
O
U
+15
-15
U
+15
-15
LOW
80Hz
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
2
3
4
7-8
5-6
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
9-10
11-12
LINE IN 9-10
LINE IN 11-12
LINE IN 7-8
LINE IN 5-6
MID
FREQ
U
+
15
-
15
U
+
15
-
15
1k
100
8k
HIGH
12kHz
U
+
15
-
15
LOW
80Hz
EQ
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
MID
FREQ
U
+
15
-
15
U
+
15
-
15
1k
100
8k
HIGH
12kHz
U
+
15
-
15
LOW
80Hz
EQ
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
MID
FREQ
U
+
15
-
15
U
+
15
-
15
1k
100
8k
HIGH
12kHz
U
+
15
-
15
LOW
80Hz
EQ
AUX
2
1
L
R
PAN
MAX
O
O
MAX
O
O
MID
FREQ
1
FIREWIRE
L
R
POWER
4
3
CHANNEL INSERT
BAL/UNBAL
1
AUX RETURN
2
2
1
1
( PRE-FADER / PRE EQ    TIP SEND / RING RETURN )
BAL/UNBAL
2
MAIN OUT
BALANCED
AUX SEND
L
R
L
R
MAIN OUTPUT
 LEVEL
MIC
+
4dB 
XLR Mic
Inputs
Low Cut
EQ
Gain
48V
Level 
Set
Solo
Inserts