24
Onyx 1220i
Aux Master
This section includes the aux sends and the aux
returns. Aux sends tap signals off the channels, via the
aux knobs [29], mix these signals from each channel
together, then sends them out the aux send jacks [6]
and FireWire outputs 11 and 12. The aux sends can be
pre-fader or post-fader (both are post-EQ, but see page
38).
Post-fader aux sends can be fed to the inputs of an
external processor like a reverb or digital delay. From
there, the outputs of this external processor are fed
back to the mixer’s aux return jacks [7]. Then these
signals are sent through the aux return level controls
[44], and finally delivered to the main mix.
So, the original unprocessed “dry” signals go from
the channels to the main mix, and the processed “wet”
signals go from the aux returns to the main mix, and
once mixed together, the dry and wet signals combine to
create a glorious sound!
Pre-fader aux sends are typically used to provide
another mix for stage monitors. In this case, the aux re-
turns aren’t used to return the signal. Instead, they can
be used as additional stereo inputs, or not used at all.
42. MASTER AUX SEND 1 and 2
These knobs provide overall control over the aux send
levels, just before they are delivered to the aux send
outputs [6]. These knobs go from off to +15 db when
turned all the way up.
The aux sends can either be pre or post fader, depend-
ing on the position of the aux pre/post switches [43].
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow that if
the singer stuck his thumb down, you’d turn the knob
down, but that never happens.)
The aux sends are also sent to FireWire output 11 and
12 for recording. The levels to FireWire are affected by
these send controls and the pre/post switch.
43. PRE/POST
The pre/post switches determine whether the aux
send signal is tapped from the channels before the
channel level controls (pre-fader) or after (post-fader).
Having a separate pre/post switch for each aux is a
super-useful feature as it allows the use of one effects
processor and one stage monitor chain, at the same
time.
For stage monitor work, use pre, so the stage moni-
tors do not increase in volume when the channel level is
adjusted.
For external processors, use post. In this way, the feed
to external processors will vary with the channel level,
keeping them in the same ratio, so that the “wet” signal
level follows the “dry” signal level.
44. MASTER AUX RETURN 1 and 2
These two controls set the overall level of effects
received from the stereo aux return 1 and 2 inputs [7].
These controls range from off to +10 db of gain when
fully clockwise, to compensate for low-level effects.
Signals passing through these controls go directly to
the main mix bus where they are combined with the
other channels. Alternatively, the aux 2 return can be
routed to aux 1 send instead, using the rtn to aux 1
switch [45] described next.
45. RTN TO AUX 1
This switch routes the signal from aux return 2 to the
aux 1 send mix instead of to the main mix bus.
For example, this allows you to use an external effects
device, like a reverb or delay, exclusively for the moni-
tors. When this switch is pushed in, the effects signals
coming into the aux return 2 jacks are added to your
aux 1 stage monitor mix. Adjust the effects level coming
in with the aux 2 return controls [44], until it sounds
just right in your monitors.
AUX SEND 1-2 and FIREWIRE
A copy of the aux send 1 and 2 outputs is always avail-
able via FireWire to send to a computer. The FireWire
output is affected by the channel aux send and master
aux send controls. For example, you can set up a soft-
ware effects processor as follows:
• Set up an aux send in post mode.
• FireWire outputs 11 and 12 are always available
to send aux send 1 and 2 to your computer.
• Pass this through a software effects processor
or plug-in of your choice.
• Return the processed output from the effects
processor to mixer channels 11 and 12 (input
switch [23] set to FW 1-2).
• Alternatively bring the processed sounds into
the control room matrix (engage FW 1-2 [36])
and add it to the main mix (engage assign to
main mix [37]).
• You can even use the computer as two separate
independent mono in, stereo out processors.
Have aux 1 go into one plug-in, and aux 2 go
into a different one. The stereo outputs of both
plug-ins are combined back into the stereo
stream coming back to the mixer.
