Owner's Manual
13
These same two channels from the computer can
also be chosen as inputs to channels 7 and 8, allow-
ing you to adjust the gain, EQ, level, and pan, as well
as to solo, and add to aux send 1 and 2. This is routed
using the FW/line input selector [22] on channels
7 and 8. This is useful for live performances, where
those 2 channels might have, for example, a software
synthesizer you are triggering from a MIDI keyboard,
and you want to treat the softsynth as "just another
instrument," with equal processing and routing op-
tions as the hardware keyboards coming into the other
channels.
The FireWire interface works with both PC (using
ASIO for Windows XP and Vista) and Mac (Core Audio
for Mac OS 10.4.11 or higher).
4. 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
amplifiers, 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 [14] on the top panel.
5. MAIN OUTPUT LEVEL
When this switch is out (+4 dB), the XLR main
outputs [4] provide a "+4 dBu" line-level signal. You
can then connect these outputs to the line-level inputs
of power amplifiers, 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 in-
puts 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 48 V phantom power.
The switch is recessed, to reduce the chance of ac-
cidently turning it on or off when plugging things in.
6. CTRL-RM OUT
These 1/4" TRS jacks provide balanced left and right-
line-level outputs to run a studio monitors in the control
room.
Connect these outputs to the inputs of an ampli
-
fier, powered speakers, or recording device.
The source that plays in the control room, head-
phones, and meters can be selected using the switches
[38, 39] in the control room/phones source matrix:
• The main mix, if main mix is selected as the
control room/phones source
• Tape outputs, if tape is selected
• Alt 3-4 outputs if alt 3-4 is selected
• A 2-track FireWire feed from your computer if
FW 1-2 is selected
• A combination of all four above
Except for main mix, whatever is playing in these out-
puts can also be routed to the main mix if assign to main
mix [40] is engaged. The main mix input to the control
room is disconnected if assign to main mix is engaged.
The headphones and meters play the same program
as the control room. The meters show the levels prior to
the control room and phones level controls.
Control-room out is long for ctrl-rm out, which
translated from the ancient language of the
Pacific NorthWestern I-405 corridor people
means "I'll have a double latté with chocolate
sprinkles, and a bagel with cream cheese, and I agree,
it does look like it will start raining again, but it might
stop in time for the Mariners game."
7. ALT 3–4 OUT
These 1/4" TRS jacks provide a balanced line-level sig-
nal that can provide an alternate stereo mix for record-
ing or subgrouping. Connect these outputs to the inputs
of an amplifier, powered speaker, or recording device.
Any channel whose mute switch [34] is engaged, is
added to the alt 3-4 outputs.
The alt 3-4 output doesn’t have a master level
control. All channels assigned to the alt 3-4
bus are summed together (post-fader and
pan) and sent directly to the alt 3-4 out.
MUTE
SOLO
48V
MUTE
SOLO
48V
MUTE
SOLO
48V
LINE
MUTE
SOLO
MUTE
SOLO
TAPE
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
ONYX MIC PRE
HIGH
12kHz
LOW
80Hz
EQ
INSERT
INSERT
ONY
X MIC PR
E
HIGH
12kHz
LOW
80Hz
EQ
ONY
X MIC PRE
HIGH
12kHz
HIGH
MID
2.5KHz
LOW
80Hz
EQ
AUX MASTER
2
1
SEND
RETURN
2
1
EQ
MAIN MIX
(MONO)
L
R
L
R
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
L
(MONO)
R
BAL/UNBAL
TAPE
IN
OUT
L
R
AUX RETURN
1
2
1
2
AUX SEND
MAIN OUT
CTRL ROOM/PHONES
SOURCE
PHONES
CONTROL
ROOM
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
RUDE
SOLO
20
15
10
6
3
0
2
4
7
10
20
30
L
R
0dB=0dBu
LEVEL
SET
CLIP
MIC
PRE
POST
PRE
POST
R/4
L/3
BAL/UNBAL
BAL/UNBAL
ALT 3-4 OUT
R
L
CTRL - RM OUT
POWER
ON
FW 1-2
LINE
HI-Z
LINE
-10dB
+
4dB
HI-Z
LINE
PREMIUM ANALOG MIXER
w/ PERKINS EQ & FIREWIRE
PRE
POST
PRE
POST
PRE
POST
PRE
POST
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
+10dB
O
O
U
+10dB
O
O
U
+10dB
O
O
U
+10dB
O
O
U
+10dB
O
O
U
+10dB
O
O
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
RTN TO
AUX1
AUX SEND 1-2
TO FW 5-6
ASSIGN TO
FW 7-8
MAIN MIX
AUX 1-2
PHONES
DESTINATION
LEVEL
O
O
MAX
OL
- 20
OL
-
20
-
20
OL
OL
-
20
OL
-
20
1
2
TALKBACK
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
SEND
SEND
SEND
SEND
SEND
INPUT
MAIN OUT
L
R
BALANCED
POWER
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE
"MACKIE" & "ONYX" ARE TRADEMARKS OF LOUD TECHNOLOGIES INC. • COPYRIGHT ©200
8
FIREWIRE
ALT 3-4
FW 1-2
ASSIGN TO
MAIN MIX
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
O
O
MAX
O
O
MAX
O
O
MAX
O
O
+
15
O
O
+
15
O
O
+
10
O
O
+
10
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
O
O
MAX
O
O
L
R
L
R
L
R
L
R
L
R
M
AIN OUTPUT
LEVEL
MIC
+
4dB
38
39
40
