15
Owner’s Manual
Owner’
s Manual
6. Instrument Switch
Channels 11 and 12 have an extra button for switching
between the MIC/LINE and Instrument inputs. When
the button is out (MIC/LINE), the Neutrik Combo input
connector (XLR MIC input or the 1/4" LINE input)
is used, and the Instrument input [5] on the front
panel is disconnected. When the button is pushed in
(Instrument), the 1/4" Instrument input is used and
the Neutrik Combo inputs are disconnected. The input
stage of the Instrument inputs is specially designed for
the high-impedance pickups on electric guitars, basses,
acoustic guitar pickups, etc.
Plugging a guitar straight into a typical
line input can result in the loss of high
frequencies, causing an unnatural and
dull sound. Normally, you must use a
direct box between a guitar and the
input to a mixer or preamplifier, which serves to convert
the impedance of the guitar from high to low. The
Instrument inputs on channels 11 and 12 make the need
for a direct box unnecessary.
HOWEVER:
The Instrument inputs
are
unbalanced, so
if you are running a long cord between the instrument
and the Onyx 1200F (say over 20 feet), it is best to use
a direct box with a balanced output to avoid picking up
noise over the length of the cord.
7. PHONES 1-4 Level
These four knobs adjust the signal level at the
PHONES Out jacks [8] on the front panel. They range
from off (
∞
) to maximum gain (MAX).
Having independent level control for each headphone
output means that in an overdub situation, for example,
the musician and the engineer can each adjust their
own headphone volume to taste.
8. PHONES 1-4 Outputs
This is where you plug in your stereo headphones.
These are 1/4" TRS stereo jacks. Each PHONE jack has
its own individual level control [7].
When the DSP Mixer is turned on (in the Console’s
Settings tab), each headphone output can have a sepa-
rate and unique mix from any of the Onyx 1200F inputs
(including two audio streams from the DAW), using the
Console’s fader and pan controls.
When the DSP Mixer is turned off, only a pair of audio
streams from the DAW is fed to each headphone output.
You can create a stereo aux send in the DAW for each
headphone output, so each headphone output can still
have a separate and unique mix.
WARNING:
The headphone amps are
designed to drive any standard head-
phones to a very loud level. We’re not
kidding! They can cause permanent
hearing damage. Even intermediate
levels may be painfully loud with some headphones.
BE CAREFUL! Always start with the PHONES level
turned all the way down before connecting headphones
to the PHONES jack. Keep it down until you’ve put on
the headphones. Then turn it up slowly. Why? Always
remember:
“Engineers who fry their ears, find them-
selves with short careers.”
9. CLOCK SOURCE Select and Indicators
When the Onyx 1200F is not connected to a computer
(Standalone mode), press the CLOCK SOURCE Select
button to toggle the five clock source options. The five
LEDs indicate the clock source currently selected for
the Onyx 1200F. When the 1200F is connected to a com-
puter via FireWire, the selection must be made in the
Onyx 1200F Console (on the PC or Mac).
The five options are:
INT:
This is the default selection. The Onyx 1200F
runs on its own internal, extremely accurate, low-
jitter clock. Select INT when using the 1200F as the
master clock in a system of digital devices, or if no
other clock source is available.
WORD:
The Onyx 1200F uses the clock signal that
appears at the WORD CLOCK IN [30] connection
on the rear panel. Select WORD when you want the
1200F to be a slave in a system of digital devices.
AES/SPDIF:
The Onyx 1200F uses the clock signal
embedded in the AES/EBU [27] or S/PDIF digital
input [28] signal.
ADAT-1:
The Onyx 1200F uses the clock signal
that appears at the ADAT A digital optical
input [29] connection on the rear panel.
ADAT-2:
The Onyx 1200F uses the clock signal
that appears at the ADAT B digital optical
input [29] connection on the rear panel.
Tip:
It’s always best to use the highest quality
clock as the master. Experimenting with differ-
ent clock sources, and using your ears, is the
best way to determine which clock source to use.
-20dB
GAIN
11
12
UNBAL
UNBAL
ON
+
40dB
U
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
GAIN
+
40dB
U
-
20dB
U
20
30
40
60
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
48V
LINE
2
1
3
4
5
6
7
8
9
10
11
12
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
OL
-10
-40
-20
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
ONYX
MIC PRE
1
PHONES
2
3
4
O
O
MAX
O
MAX
O
O
MAX
CONTROL ROOM
OUTPUTS 1-8
A
B
SAMPLE RATE
176.4kHz
44.1kHz
96kHz
48kHz
88.2kHz
192kHz
MIDI
IN
MIDI
OUT
CLOCK SOURCE
ADAT-2
FW
ADAT-1
INT
WORD
AES
S/PDIF
IN-A
OUT-D
OUT-A
METERING
MONITOR
A/B
BYPASS
TALK TO
PHONES
ON
STUDIO RECORDING PREAMP WITH 192kHz FIREWIRE I/O
48V