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ONYX 1620
ONYX 1620
Control Room Matrix, Metering, and Phones
I have the CD player plugged into the TAPE inputs, and
that never gets to the MAIN OUTPUTS!” Oh, but it does.
Simply engage this switch and your SOURCE matrix se-
lection, after going through the CONTROL ROOM level
control, will feed into the MAIN MIX, just as if it were
another stereo channel.
What if you have a playlist of MP3 fi les on your laptop
you want to play during the break? Get the optional
FireWire card and engage the FIREWIRE button to play
your MP3s directly from your computer, through the
SOURCE matrix, and into the MAIN MIX.
Another handy use for this switch is to enable the ALT
3-4 mix to become a submix of the MAIN MIX, using the
CONTROL ROOM level control.
Side effects: 1) Engaging this switch also feeds any so-
loed channels into the MAIN MIX, which may be the last
thing you want. 2) If you have MAIN MIX as your SOURCE
matrix selection and then engage ASSIGN TO MAIN MIX,
the MAIN MIX lines to the SOURCE matrix will be discon-
nected from the CONTROL ROOM and PHONES outputs,
to prevent feedback. Then again, why on earth would
anyone want to assign the MAIN MIX to the MAIN MIX?
WARNING: Pushing in both the TAPE
button (in the SOURCE matrix) and
ASSIGN TO MAIN MIX (21) can create
a feedback path between TAPE IN and
TAPE OUT. Make sure your tape deck
is not in record, record-pause, or input monitor mode
when you engage these switches, or make sure the CON-
TROL ROOM knob (22) is turned all the way down (off).
22. CONTROL ROOM Knob
This controls the volume at the CONTROL ROOM
outputs, from off (∞) to maximum gain (MAX). It also
controls the level of the control room signal going to the
MAIN OUTS when ASSIGN TO MAIN MIX is selected in
the CONTROL ROOM/PHONES SOURCE matrix.
23. PHONES Knob
This controls the volume at the PHONES output, from
off (∞) to maximum gain (MAX).
24. PHONES
This is where you plug in your stereo headphones. It
is a 1/4" TRS stereo jack and provides the same signal
that is routed to the CONTROL ROOM outputs (40), as
determined by the CONTROL ROOM/PHONES SOURCE
matrix (20). The volume is controlled with the PHONES
knob (23) (right next to the CONTROL ROOM knob).
Typically, the engineer sends the MAIN MIX to an audi-
ence (if live) or to a mixdown deck (if recording). But
what if the engineer needs to hear something other than
the MAIN MIX in the control room or headphones? With
the Onyx 1620, the engineer has several choices of what
to listen to. This is one of those tricky parts, so buckle up.
20. CONTROL ROOM/PHONES SOURCE
Using the SOURCE switches, you can choose to listen
to any combination of MAIN MIX, ALT 3-4, TAPE, and
FIREWIRE (optional). By now, you probably know what
the MAIN MIX is. ALT 3-4 is that additional stereo mix
bus. TAPE is the stereo signal coming in from the TAPE
IN RCA jacks. FIREWIRE is a 2-track feed coming in
through the optional FireWire card from your computer.
Selections made in
the SOURCE matrix
deliver stereo signals
to the CONTROL
ROOM, PHONES,
and Meters. With no
switches engaged,
there will be no signal
at these outputs and
no meter indication.
The exception to
that is the SOLO
function. Regard-
less of the SOURCE
matrix selection,
engaging a channel’s
SOLO switch will
replace that selec-
tion with the SOLO
signal, also sent
to the CONTROL
ROOM, PHONES,
and Meters.
21. ASSIGN TO
MAIN MIX
Let’s say you’re
doing a live show.
Intermission is near-
ing and you want
to play a soothing
CD for the crowd to
prevent them from
becoming antsy.
Then you think, “But
PHONES
PFL
AFL
ALT 3-4
TAPE
CONTROL
ROOM/
PHONES
SOURCE
FIREWIRE
(OPTION)
ASSIGN TO
MAIN MIX
PHONESCONTROL
ROOM
OO
MAX
OO
MAX
MAIN MIX
SOLO
MODE
RUDE
SOLO
20
10
7
4
2
0
2
4
7
10
20
30
LEFT RIGHT
0dB=0dBu
LEVEL
SET
CLIP
PREMIUM ANALOG MIXER
w/ PERKINS EQ & FIREWIRE OPTION