However, what is definitely dead (in the end, not just "smelling strong") is the classic summation of the individual tracks on 2 inch analog tape, no matter how "fat" it was in terms of sound. High operating and maintenance costs, a lack of editing options and massive space requirements have (unfortunately) sent these melodious giants to the museum, where only first-generation musicians like the writer of this article mourn after them.
Aware of this, mixing console manufacturers are also adapting to the appropriate archiving method and are increasingly combining high-quality analog filter technology with a direct converter connection to the computer, so that an external interface is no longer necessary. This is what happened with the Mackie Onyx 1640i I have.
construction
The product, once again developed in the USA and assembled in China, is a 16-channel, or 4 subgroup mixer, which can also be connected directly to the computer via 2 Firewire interfaces if necessary and manages the above-mentioned interface internally . Separately from this, commercially available outputs in the form of XLR and jack, as well as two DB-25 Tascam standard connectors are of course also available.
In terms of approach, the Onyx 1640i will primarily be used at live events, with the option of also being used in project studios due to its fast computer integration. The necessary Windows drivers for Firewire use are supplied on a CD-ROM; as usual, no driver is necessary for OSX because the system uses Apple's internal engine.
When it comes to system construction, you can choose whether to use the mixer as a desk version (front side cabling) or as a flat bed (on top cabling) via the variable use of the connection panel (Rotopad). It is also possible to screw the mixer into the rack using the rack rails provided. All channels have gain-connected inserts, with channels 1 and 2 also having high-impedance input circuitry so that, for example, a passive bass can be fed directly into the console.
In addition to 48 V phantom power and an impact sound filter with 18 dB at 75 Hertz, all input channels have a selector switch for the applied signal, which can be fed either via Firewire 1-16 or line. The following gain control allows a pre-amplification of - 20 dB to + 40 dB, followed by a push switch that allows the pre- or post-equalizer signal to be tapped.
When it comes to filters, the Onyx 1640i has two switchable shelving filters with the classic Mackie operating frequencies of 12 Khz and 80 Hz for treble and bass plus two semi-parametric mids (100 Hz - 2 kHz and 400 Hz - 8 kHz), each +/ - 15 dB adjustable. The product also has 6 aux sends, all pre/post, solo and switchable to Firewire 9-14. The return paths are four times stereo, each with its own signal control.
As talkback you can choose an internal microphone or an external product via an XLR input. The 65 mm faders run a little sloppily and have relatively strong lateral play, but otherwise do their job perfectly.
Practice
When used with Logic 8 on a 24-inch iMac with 2GB of RAM, there's nothing to say, which is ultimately high praise. The forward and return routing of the signal worked as desired and never caused any problems with latency or anything similar. So let's get straight to the most important point of a console, the sound, whereby the collaboration between pre-amplification and filter is particularly important here.
To put it bluntly, the built-in equalizers do a decent job, but they can't keep up with Mackie's VLZ series when it comes to sound quality. The high cow tail still makes a pretty good impression and doesn't let the feared sharpness appear at any time, a real workhorse. The bass range is quite unspectacular, which on the one hand means a practical reference, but is also a little pale in terms of depth and warmth.
I was a little disappointed by the parametric mids. Definitely sufficient for live use, but the filters lack a bit of “silkiness” in studio use. The frequencies are picked up too coarsely if you have screwed the fine fuse into your ear. In order to avoid any misunderstandings, the performance of the equalizers is always very good for the price asked, but anyone hoping to achieve the legendary Mackie sound of the next higher product group may be a little disappointed.
The preamplifier does its job satisfactorily, although the transition to clipping could be a little smoother. What I still appreciate about the VLZ series is the smooth transition into clipping, which is accompanied by very high-quality compression immediately before the first distortion is reached. This wasn't quite as easy to achieve with the Onyx product.
An interesting function in terms of acoustic level adjustment could be found using the solo switch on the headphone input. If you take the signal from the main mix and only listen to it via the solo circuit, the clippings on the gain control show through with a short click, so that you can easily control the maximum level without visual control without the signal being overdriven too much destroy.
Conclusion
With the Onyx 1640i, Mackie delivers a practical mixer that offers a high level of flexibility, good signal routing and, thanks to the built-in Firewire interface, can be used both in the live area and in the project studio. The product impresses with Mackie's well-known clarity and experience has shown that it will meet with open ears from the responsible sound engineers.
Whether live recordings, studio work or whatever, the Onyx 1640i's design means it can be used in almost all production areas, even up to DVD production. However, anyone hoping to purchase the legendary Mackie sound culture of the professional league for 16 channels for under €2000 will unfortunately have to be put off. Both pre-amp and filter do a good job, nothing more, nothing less.
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Additional Informations:
Audio mixers, often called mixing consoles or soundboards, are devices that combine multiple audio signals, blend them, and output the result to various destinations. They are pivotal in sound recording, live performances, broadcasting, and more. The development of audio mixers has a rich history, evolving significantly from large analog consoles to the compact digital mixers we see today. This article delves into the journey of audio mixers, focusing on the innovations and technological advancements that shaped the modern compact mixer.
## Early Beginnings: The Birth of Audio Mixing
### The Analog Era
The origins of audio mixers can be traced back to the early 20th century with the advent of radio broadcasting and the growing need to manage multiple audio sources. The earliest mixers were rudimentary, often homemade by engineers, featuring basic components such as resistors, transformers, and capacitors to blend signals.
**1930s and 1940s: The Pioneers**
During the 1930s and 1940s, radio stations began using more sophisticated audio consoles. These early mixers were entirely analog, using vacuum tubes (valves) to amplify audio signals. They were bulky and required significant manual operation. RCA and Western Electric were among the first companies to produce commercial audio mixers, which were primarily used in radio broadcasting and early film sound production.
**1950s: The Rise of Multitrack Recording**
The 1950s marked a significant leap in audio technology with the introduction of multitrack recording. Pioneered by innovators like Les Paul, this technology allowed multiple audio tracks to be recorded separately and then mixed together. This development necessitated more complex mixers with additional channels and features like EQ (equalization) and auxiliary sends.
### The Transition to Transistors
**1960s: The Advent of Transistor Technology**
The invention of the transistor in the late 1940s eventually revolutionized audio equipment. By the 1960s, transistors replaced vacuum tubes in mixers, leading to more reliable, less bulky, and less power-consuming designs. Companies like Neve, EMI, and SSL (Solid State Logic) emerged, producing iconic analog mixing consoles. These mixers provided superior sound quality and greater flexibility, becoming staples in recording studios worldwide.
**1970s: Modular Designs and Increased Functionality**
The 1970s saw further advancements with the introduction of modular mixing console designs. Engineers could now customize and expand their mixers with different modules for specific functions like EQ, dynamics processing, and effects. This decade also witnessed the rise of live sound reinforcement, with companies like Midas and Yamaha producing mixers tailored for live performances.
## The Digital Revolution: Compact Mixers Emerge
### Early Digital Innovations
**1980s: The First Digital Mixers**
The digital revolution of the 1980s brought about the first digital audio mixers. Companies like Yamaha and Sony were at the forefront, with Yamaha's DMP7 (1987) being one of the first commercially successful digital mixers. These early digital mixers introduced features such as digital signal processing (DSP), automation, and recallable settings, which were groundbreaking for their time.
**1990s: Digital Mixing Goes Mainstream**
By the 1990s, digital mixing technology had advanced significantly. Digital mixers became more affordable and accessible, with models like the Yamaha O2R (1995) gaining widespread popularity. These mixers provided numerous channels, onboard effects, and full automation, making them ideal for both studio and live applications.
### Compact Digital Mixers
**2000s: The Rise of Compact Mixers**
The early 2000s saw a growing demand for more portable and compact mixers, particularly for live sound applications. Digital technology allowed manufacturers to shrink the size of mixers without sacrificing functionality. Compact mixers like the Mackie Onyx series and the Yamaha MG series became popular choices for small venues, home studios, and portable recording setups.
**2010s: Integration and Connectivity**
The 2010s brought further advancements in compact mixer technology, emphasizing integration and connectivity. Mixers now featured USB and FireWire interfaces, allowing direct connection to computers for recording and playback. Additionally, wireless control via smartphones and tablets became a standard feature, offering greater flexibility for remote mixing and control.
**Modern Compact Mixers**
Today's compact mixers, such as the Behringer X32 and the Soundcraft Ui series, offer an array of advanced features. They provide multitrack recording capabilities, extensive DSP, wireless control, and even integration with digital audio workstations (DAWs). The focus is on delivering professional-grade sound quality in a small, portable format suitable for various applications from live sound to podcasting and home recording.
## The Impact of Technology on Mixer Design
### Advancements in DSP and Software
One of the most significant technological advancements in the evolution of audio mixers is the development of digital signal processing (DSP). DSP has allowed mixers to incorporate a wide range of effects and processing options that were previously only available as outboard gear. This includes EQ, compression, reverb, and delay, all integrated into the mixer.
Software advancements have also played a crucial role. Modern mixers often come with companion software that enhances their functionality, providing detailed control over all parameters, scene management, and integration with DAWs.
### Wireless and Remote Control
The introduction of wireless control has revolutionized the way mixers are used, particularly in live sound environments. Mixers can now be controlled remotely using apps on smartphones and tablets. This allows sound engineers to move freely around a venue, making adjustments on the fly to ensure optimal sound quality throughout the space.
### Integration with Digital Ecosystems
Modern compact mixers are designed to be part of a larger digital ecosystem. They often feature USB, Ethernet, and other digital connectivity options that allow them to interface seamlessly with computers, digital recording systems, and other digital audio equipment. This integration facilitates tasks such as multitrack recording, playback, and live streaming.
## Conclusion
The evolution of audio mixers from large, analog consoles to modern compact digital designs is a testament to the rapid advancements in technology over the past century. Early mixers were simple, analog devices, but the introduction of transistors, digital technology, and DSP has transformed them into powerful, versatile tools that are essential in both recording and live sound applications.
Today's compact mixers offer a wealth of features in a small footprint, making professional audio mixing accessible to a broader audience. As technology continues to advance, we can expect future mixers to become even more versatile, integrating seamlessly with emerging digital audio technologies and offering new levels of control and convenience.
The journey of audio mixers is a fascinating example of how technology can evolve to meet the changing needs of users, continuously improving and adapting to deliver better performance and functionality. From the early days of radio broadcasting to the sophisticated digital systems of today, audio mixers have come a long way, and their evolution is far from over.
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