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12 Onyx 1640i
7. TALKBACK MIC
This is where you plug in your external talkback
microphone if you need to have one. This female XLR
connector has +48 VDC phantom power always applied,
so you may use dynamic or condenser microphones.
Note: Almost all dynamic microphones may be used
with phantom power, but you might want to check the
documentation that came with your microphone just to
be sure.
8. LEFT/RIGHT XLR MAIN OUTPUTS
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 proces-
sor (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 [10] next door (except
the 1/4" jacks are unaffected by the main output level
switch [9]).
9. MAIN OUTPUT LEVEL
When this switch is out (+4 dB), the XLR main
outputs [8] 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 48V phantom power.
The switch is recessed to reduce the chance of
accidently turning it on or off when plugging things in.
10. LEFT/RIGHT 1/4" MAIN OUTPUTS
These 1/4" TRS output connectors provide balanced
or unbalanced line-level signals. This is the same signal
that appears at the XLR main outputs [8] (except
the 1/4" jacks are unaffected by the main output level
switch [9]). Connect these to the next device in the
signal chain like an external processor (graphic
equalizer or compressor/limiter), or directly to the
inputs of the main amplifi er.
11. MONO OUT
This 1/4" TRS output connector provides a balanced
or unbalanced line-level signal that is a combination of
the left and right main out [10] signals (L+R). You may
use this for a separate mix that does not require a stereo
feed, or to simply test the monaural compatibility of the
stereo mix.
12. MONO OUT LEVEL Control
This is a separate level control for the mono out [11].
It comes after the main mix fader [73] but before the
main output level switch [9], so turning the main mix
fader up and down does affect the mono out signal. With
this control turned all the way up, you will have 6 dB of
extra gain at the mono out.
13. MAIN INSERTS
These 1/4" TRS jacks are for connecting serial effects
such as compressors, equalizers, deessers, or fi lters. The
insert point is after the mix amps, but before the main
mix fader [73]. Refer to the description of the channel
insert on page 11 to see how to make this connection.
14. TAPE INPUTS
These stereo unbalanced RCA inputs allow you to play
a tape, CD player, iPod
®
dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
Push in the tape button [45] to route the tape input
to the control room and phones outputs [16, 42]. This
allows you to play back recordings of your mixes.
Push in the assign to main mix button [46] to route
the
tape input to the main outs [8, 10]. This allows you
to play
back music between sets over the main PA speakers.
Pushing tape in the source matrix and
pushing assign to main mix 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 control room level
control is turned all the way down fi rst.
15. TAPE OUTPUTS
These stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a tape deck, hard disk
recorder, or automatic CD burner, for example. This
lets you make a recording for posterity/archive/legal
purposes whenever the band gets back together again.
The tape output is the stereo main mix, and it is
affected by the main mix level control [73]. The output
could also be used as an extra set of main outputs for
feeding another zone.