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20 Onyx 820i
26. MID EQ FREQUENCY (Ch. 1 and 2)
This knob sets the center frequency of the mid EQ
level control [27]. This is sweepable from 100 Hz to
8 kHz.
Once this is set, the mid EQ level can be adjusted with
the mid EQ level control.
Most of the root and lower harmonics that defi ne
a sound are located in the 100 Hz–8 kHz frequency
range, and you can create drastic changes with these
two knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to
set the mid fully up, turn the frequency knob until you
fi nd a point where it sounds just terrible, then back the
mid down into the cut range, causing those terrible
frequencies to disappear. Sounds silly, but it works.
Sometimes.
27. MID EQ LEVEL (Ch. 1 and 2)
The mid EQ provides up to
15 dB of boost or cut, and it is
also fl at (no boost or cut) at the
detent. The frequency at which
the cut or boost occurs is set by
the mid EQ frequency
control [26].
28. HIGH MID EQ LEVEL (Ch. 3 and 4)
The high mid EQ provides up to 15 dB of boost or cut
at 2.5 kHz, and it is fl at at the detent.
29. LOW MID EQ LEVEL (Ch. 3 and 4)
The low mid EQ provides up to 15 dB of boost or cut at
400 Hz, and is fl at at the detent.
30. MID EQ LEVEL (Ch. 5/6 and 7/8)
The mid EQ provides up to 15 dB of boost or cut at
2.5 kHz, and is fl at at the detent.
31. LOW EQ
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is fl at at the
center detent position. This
frequency represents the punch
in bass drums, bass guitar, fat
synth patches, and some really serious male singers who
eat raw beef for breakfast.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
H
z
–15
–10
–5
0
+5
+10
+15
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
PAN
2
1
MID
FREQ
MID
FREQ
BAL/UNBAL BAL/UNBAL
ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4
LOW
MID
400Hz
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
INSERT INSERT
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
LOW
80Hz
EQ
O
N
Y
X
M
I
C
P
R
E
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ EQ
(MONO)
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
AUX RET
U
1
1
2
AUX SEND
MID
2.5kHz
LOW
80Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
HIGH
12kHz
MID
2.5kHz
LOW
80Hz
HIGH
12kHz
FW 1-2
LINE
HI
-
Z
LINE
-10dB
+
4dB
HI
-
Z
LINE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVELLEVELLEVEL LEVEL LEVEL
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
+10dB
OO
U
1 2 3-4
LINE IN 5-6 LINE IN 7-8
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
PAN
2
1
AUX
OL
- 20
OL
-
20
-
20
OLOL
-
20
OL
-
20
12
BAL/UNBAL BAL/UNBA
L
SEND SEND SEND SEND
SEND INPUT
3-4 5-6 7-8
GAIN
+20dB-20dB
U
GAIN
MIC
GAIN
GAIN
+20dB-20dB
U
U
20
30
40
60
+40dB
U
-20dB
U
20
30
40
60
GAIN
+40dB
U
-20dB
U
20
30
40
60
1
LINE
2
LINE
1k
100 8k
1k
100 8k
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
MAX
OO
LR LR LR LR LR
25. HIGH EQ
The high EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also fl at (no
boost or cut) at the detent. Use
it to add sizzle to cymbals, an
overall sense of transparency,
or an edge to keyboards, vocals, guitar and bacon frying.
Turn it down a little to reduce sibilance or to mask tape
hiss.
8
9
10
18
19
20
23
24
25
26
27
31
32
33
34
35
36
37
28
29
30
21
22
12
13