Votos - 5, Puntuación media: 3.8
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Resumen del manual
rv>, * S§£ [ Д/i ^ *'Y" ,i if ^ vi '*' A \ ~ist V 4^1>;1 " ^ * ' V '* ✓д ^ *« 4 , * ;v^ '** >л * ‘i ^ /*. , iY^ 1 i‘ -r f* A à :' (P>i '<*>Д '* хД '* Л 1 ^ 'T V-1 У ^ 4 'P^ *тя :* a f 'A *Y* "f-'\ ^ î . , < л si 'т~л 'fr л .#Ы ir /Л lit in sr»< л ’ sr{ s_.\ s.t ' ‘ Л *iT "W s.{ n w, * 1 •i К t y * У il ' : <Д 'V .1 :r ✓ Mackie combine a completely redesigned 16:2 mixer with a multi-channel Firewire audio interface. What more could you want? Paul White This new straightforward but high-quality mixer incorporates A-D and D-A conversion plus a Firewire audio interface to transmit both the channel direct outputs and the main stereo output to your computer. However, in order to avoid making the mixer prohibitively expensive for those users who didn't need digital I/O, Mackie have made the Firewire interface an optional extra that can apparently be installed by the user simply by plugging it in and installing the driver software. This is a very sound idea and, although when I started this review no firm date had been set for the release of the Firewire card, Mackie managed to get one to me just before we hit deadline. This interface works at up to 24-bit/96kHz and can handle 16 inputs and two outputs Test Spec • Apple G5 dual 2GHz with 2GB RAM, running OS 10.3.4. simultaneously. The clear advantage of having a built-in Firewire interface is that you no longer need to worry about your computer’s audio interface having enough capacity to handle all the inputs you might wish to record. Up to 16 inputs from the mixer (plus the main mixed output, taken pre-fader) are converted into 24-bit digital audio and then sent directly to your audio software's input via your computer’s Firewire port. A gain trim control 48 SOUND ON SOUND • October 2004 Mackie Onyx $9.19 pros • Warm, musical sound. • Low noise and wide dynamic range. • Fuss-free Firewire interface. on the interface card allows the user to adjust the recording level sent to the DAW from the pre-fader stereo output. ASIO for Windows XP and Core Audio for Mac OS 10.3 or above are supported (although Windows PCs can connect to multiple desks where Macs can only handle one), and the Mackie Tracktion sequencer is bundled with the interface. Although the return path from the computer is only stereo, the vast majority of people now mix within their DAW software so as to be able to make use of processing plug-ins, so this isn't a serious limitation. Construction & Design As you'd expect from a Mackie mixer, the Onyx has a solid-steel construction and uses all-metal jack sockets, where the majority of the connectors are mounted on the top panel for easy access — D-Subs, inserts, aux sends, and power inlet are on the rear, as are the XLR main outputs and the external talkback mic input. A long covered slot allows for the installation of the Firewire card, and power comes directly from the mains rather than from an external PSU, accepting any standard international supply voltage without the need to switch. The overall styling, though a departure from the traditional Mackie livery, is still an exercise in clarity and functionality. The rounded edges, light fader area, and perforated rear section make the appearance much less square and formal than usual, while the rubber-edged end cheeks give the mixer a very purposeful look. Although Mackie products are now built outside the US, the design of this particular mixer was apparently supervised by Greg Mackie and, overall, I have to say I like this new style. The mixer has a simple dual-buss 16:2 design that uses a new generation of Mackie mic preamp claimed to be their best design yet. Certainly the paper spec is good, with a frequency response extending from 20Hz to 50kHz within ldB, and it is only 3dB down at 100kHz. The mic preamp noise is also low at -129.5dB with a 60dB gain setting, while the mic amp distortion is below 0.0007 percent. The design has evolved from the existing XDR mic preamp used in the VLZ Pro mixers. The gain range is wide and can accommodate inputs as high as +22dB line level. To maintain maximum flexibility, channels one and two include switchable high-impedance instrument inputs (selectable via buttons in the preamp panel) as well as mic inputs. Each of the eight mono mic/line channels has individual phantom-power switching, as compared with the more usual budget solution of making this global, or at best having it switched for groups of channels. All channels have an input gain trim control, and gain trim adjustment can be undertaken using the Solo switches in PFL mode as usual, where the signal level shows up on the main meter section. Mono & Stereo Channels As is becoming increasingly common, some of the channels (nine to 16 in this case) are arranged as stereo pairs, and as stereo EQ sections are more complex and expensive than their mono counterparts, the line-only mono channels have four-b...