Mackie Professional Audio
Onyx 1220i, Onyx-i Series Mixers

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Mackie Onyx 1220i

Model: Onyx 1220i
12-Channel Firewire Recording Mixer

The 12-channel Onyx 1220i delivers stunning performance in a size that is decidedly desk-friendly. Premium analog features like boutique-quality Onyx mic pres, smooth 60 mm channel faders and the proven tone-sculpting capability of Perkins EQ allows for performance that is unmatched in this category. The 16x2 built-in FireWire interface will simultaneously deliver all 12 channels, all auxes and the master L/R signal straight to your favorite DAW with zero routing. How easy is that? You can even return a couple of channels from the DAW right back into a channel strip for mix integration. It’s easy, it’s professional…it’s the Onyx 1220i.


 

DAW-FRIENDLY DOESN’T EVEN BEGIN TO COVER IT
Mackie-designed gear is more often than not, the result of customer interaction and suggestion. After all, we are making gear for you. For years, our customers have been asking for the freedom to work with any DAW they choose. So when we designed the Onyx-i series, we took this suggestion to heart. We are very proud that Onyx-i mixers are more DAW-friendly than any other interface ever. Onyx-i mixers are qualified by Mackie for use with all major DAWs, including Pro Tools® M-Powered™ 8*, Logic©, SONAR™, Cubase© and more. Now, dedicated Mackie customers can enjoy using their Mackie mixer with the world’s most popular DAW. And Pro Tools® M-Powered™ 8 users now have a variety of new, and different, tools to use with their favorite DAW. It’s a win-win situation.

DEEP FIREWIRE INTEGRATION
The Onyx-i Series features deeper FireWire integration than any other mixer out there and offers immensely powerful routing capabilities:
Wet or Dry? — Every channel on the mixer can be routed pre or post EQ to the computer, allowing you to choose whether to implement ‘EQ to tape’ or not.
Studio Quality Effects —All aux sends are routable to the computer, allowing you to utilize your computer as a powerful FX engine by implementing your favorite plug-ins in a live scenario.
Preserve Your Mix — Master L/R is routable to the computer for recording your analog mix. Burn and sell CDs of the mix at the end of the gig!
Mix Integration — Stereo return from the computer can be routed to either the control room for instant monitoring or to a stereo channel for mix integration.
Latency-Free Overdubs — Having a “real” mixer has its benefits. Latency-free overdubs are simple since you are using an analog mixer. No more wasted time dealing with the complicated “DSP” mixers commonly used on standalone interfaces.?

The 1220i delivers seamless, routing-free FireWire connection to your favorite DAW. All channels, auxes and (of course) the master L/R are simultaneously available to your DAW, with zero routing. The Onyx-i FireWire connection has amazing bandwidth, and the 1220i takes full advantage.

PREMIUM ANALOG MIXER
When it comes to the high pressure environment of a recording session or live performance, you simply cannot beat the stability and reliability of an analog mixer. With features honed over 20 years of design by some of the legends in the industry, the Onyx-i Series mixers are simply the best sounding full-featured analog mixing boards available to the modern sound engineer.
The 1220i has a plethora of analog features that are sure to please. First off, there are four Onyx mic preamps which have been proven as some of the best boutique quality preamps available today. That is, without having to re-mortgage your house in order to pay for all the inputs you need. Then there’s the Perkins EQ, which offers highly musical Q filter without sacrificing the precise control that Mackie EQs are known for. Four mono mic/line channels feature 3-band Perkins EQ with a sweepable mid and the additional stereo line channels have 3-band EQ. So, regardless of the type of signal you need to input, there is sure to be a channel with the right EQ for the application. Other analog tools include two aux sends with pre/post fader assignment, allowing for monitor mixes, effects loops or additional headphone mixes. There are built-in DIs on the first two channels for direct connection of guitars or bass and a dedicated talkback section with a built-in mic that lets you easily communicate with band members while on stage or recording. With all these proven, great-sounding analog features, it is easier than ever to create a memorable mix.

SMACKS OF QUALITY

The Onyx 1220i offers a tremendous collection of professional analog features and extremely deep DAW integration, but it is so much more than that. The sleek, modern design might even tempt you build a museum quality display for your engineer friends to admire. Plus, since it’s a Mackie, you can be sure that it is “Built-Like-A-Tank” and will survive years of abuse.

Any audio company can cram a bunch of inferior components into a chassis and, believe us, a lot of them do. This is never the case with a Mackie mixer. Everything about the Onyx-i Series smacks of quality, because only the most quality, high-end components are used throughout the entire signal path. At the front end, you have the pristine signal boost offered by the Onyx mic preamps, which will likely get routed through the legendary Perkins EQ. The signal then passes through a series of sealed rotary knobs, which keep dust and grime out of the potentiometer. Then your mix hits the summing bus, which has been custom-designed to offer the highest possible headroom while preserving the sonic quality offered by the aforementioned components. Maybe you assigned the signal to stream across the FireWire outputs. If so, they had the pleasure of passing through the high-quality Cirrus analog-to-digital converter on their way to your computer. Or maybe you were overdubbing and streamed your backing tracks from your DAW and integrated them into the mix. In that case, you can thank the ridiculously high-end AKM digital-to-analog converter for the immaculate quality of the playback. These converters are extremely high-quality and easily rival the most esoteric (and expensive) interfaces out there today. From start to finish, no matter how you use it, the 1220i offers the quality demanded by industry professionals.

  • 12-channel premium analog mixer with integrated 24-bit/96kHz FireWire I/O

  • Qualified by Mackie for use with all major DAWs, including:
    » Pro Tools® 9
    » Pro Tools® M-Powered™ 8*
    » Logic®
    » SONAR™
    » Cubase®
    » Ableton® Live
    » Final Cut Pro®

  • 4 Onyx boutique-quality mic preamps

  • 3-band Perkins EQ with sweepable mids on mic/line channels

  • 3-band Perkins EQ on stereo line channels

  • 16x2 FireWire routing, including aux sends and pre/post EQ assignment for all channels

  • Stereo playback from DAW, returned to control room or into channel for integration into mix

  • Built-in DI on first two channels for direct connection of guitars, bass, etc.

  • Individual 48V phantom power switches on all mic inputs

  • Talkback section with built in mic and flexible routing

  • “Planet Earth” switching power supply for worldwide use

  • Optional rack kit available

  • Includes Tracktion 3™ Music Production Software for Mac or PC

*Requires driver upgrade download

General Specifications
Frequency Response: Mic Input to any output (all gain stages at unity, +0/ -0.5 dB)
20Hz to 20kHz
Stereo channel line input to any output (all gain stages at unity, +0/ 0.5 dB)
20hz to 20kHz
Firewire in and out(mic input to FireWire send,returned to Control Room,all gain stages at unity):
44.1kHz Sample rate (+0/-0.5dB): 20Hz to 20kHz, -3dB at 21kHz
96 kHz Sample rate(+0/-0.5dB): 20Hz to 20kHz, -3dB at 45kHz
Distortion (THD+N): (20 Hz to 20kHz bandwidth)
Mic input at insert(+4 dBu in, 0 dB gain, +4 dBu Out): 0.0015%
Mic input at insert(-36 dBu in, +40 dB gain, +4 dBu Out): 0.0017%
Stereo channel line input to any output(+4 dBu in, all gain stages at unity, +4 dBu out): 0.005%
FireWire in and out (+4 dBu in, mic input to FireWire send, returned to Control Room, all gain stages at unity):
44.1 kHz Sample Rate: 0.01%, 20 Hz to 2 kHz
                                      0.02%, 2 kHz to 20 kHz
96 kHz Sample Rate: 0.01%, 10Hz to 1 kHz
                                  0.03%, 1 kHz to 47 kHz
Noise Characteristics: Equivalent Input Noise (EIN), mic input at insert 150Ω source impedance, 20 Hz to 20 kHz
60 dB (max) gain: -127 dBu
40 dB gain: -126.5 dBu

Equivalent Input Noise (EIN), mic input at insert 50Ω source impedance, A-weighted
60 dB (max) gain: -130.5 dBu
40 dB gain: -130 dBu

Output Noise Figure(1/4" Main out, all channels assigned to main, Gain knobs at unity, 20 Hz to 30 kHz)
Main Mix Knob down, channel Level knobs down: -102 dBu(-106 dB SNR, ref +4 dBu)
Main Mix Knob unity, channel Level knobs down: -96 dBu(-100 dB SNR, ref +4 dBu)
Main Mix Knob unity, channel Level knobs unity: -93 dBu(-97 dB SNR, ref +4 dBu)

FireWire Through(Record + Playback) Dynamic Range(0 dBu in, mic input to FireWire send, returned to Control Room, all gain stages at unity, 20Hz to 20kHz)
44.1 kHz Sample Rate: -104 dB
96 kHz Sample Rate: -106.5 dB
Attenuation and Crosstalk (@1 kHz): Main Mix knob down: -85dBu
Channel Alt/Mute switch engaged: -95dBu
Channel Level knob down: -95dBu
Common Mode Rejection Ratio (CMRR): Mic Input to insert, max gain, 1kHz: -70 dB
Maximum Input Levels: Mic Input, gain at min(0 dB): +22 dBu
Mic Input, gain at max(60 dB): -38dBu
Line Input, gain at -20dB: +22 dBu
Instrument input, gain at -20dB: +22 dBu
Tape Input: +12 dBu
Aux Return: +22 dBu
Maximum Output Levels: All Outputs: +22dBu
Equalization:
Mono Channels:
Low: ± 15 dB @ 80Hz
Mid Frequency: 100Hz to 8 kHz
Mid Gain: ±15 dB
High: ±15 dB @ 12kHz
Stereo Channels:
Low: ± 15 dB @ 80Hz
Mid: ± 15 dB @ 2.5kHz
High: ± 15 dB @ 12kHz
FireWire: Sample Rates Available: 44.1kHz, 48kHz, 88.2kHz, 96 kHz
Buffer Size: 32 (44.1kHz and 48kHz only), 64, 128, 256, 512, 1024, 2048 samples
Resolution: 24-bit
Meters: 2-segment Pre-fader channel meters: OL(+18 dBu), -20dBu
12-segment Pre-fader Control Room meters: OL(+20 dBu), +15, +10, +6, +3, 0, -2,
                                                                         -4, -7, -10, -20, -30, (0 dB = dBu)
Input Impedance: Mic Input: 2.8 kΩ balanced
Hi-Z Input: 1 MΩ unbalanced
Mono channel line input: 30 kΩ balanced, 15 kΩ unbalanced
Stereo channel line input: 20 kΩ balanced, 10 kΩ unbalanced
Output Impedance: Main XLR output: 100Ω balanced
Phones Output: 75Ω
All other outputs: 300Ω
AC Power Requirements: Power Consumption: 30 watts
Universal AC Power Supply: 100 - 240 VAC, 50-60 Hz
Operating Temperature: 0° - 40°C, 32° - 104°F
Physical Dimensions and Weight: Height: 3.85 in / 96 mm
Width: 12.25 in / 310 mm
Depth: 16.75 in / 420 mm
Weight: 13.5 lb / 6.1 kg

     
   

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VLZ3 Compact Mixers - 402-VLZ3 | 802-VLZ3 | 1202-VLZ3 | 1402-VLZ3 | 1642-VLZ3 | 1604-VLZ3 | 2404-VLZ3 | 3204-VLZ3 |
CFX.mkII Mixers - CFX12.mkII | CFX16.mkII | CFX20.mkII | On-Stage Mixers - ProFX8 | ProFX12 | ProFX16 | ProFx22 |
PPM Powered Mixers - PPM 608 | PPM1008 | PPM1012 |
Loudspeakers | PortablePowered - SRM150 | SRM350v2 | SRM450v2 | TH-12A |
TH-15A | SRM1801 | High-Def Powered - HD1221 | HD1521 | HD1531 | HD1501 | HD1801 | HDA | PortablePassive - C200 | C300z |

Studio Monitors
- Active Monitor - HR824mk2 | HR624mk2 | MR8mk2 | MR5mk2 | MR8 | MR5 | Monitor Control - Big Knob |
Digital Recording- Compact Mixers - Onyx 820i | Onyx 1220i | Onyx 1620i | Onyx 1640i | ProFX8 | ProFX12 | ProFX16 | ProFx22 |
Recording Interfaces - Onyx Blackjack | Onyx Blackbird | Software - Tracktion3 | Control Surfaces - MCU Pro & Extender Pro |

Amplifiers - Powered Mixers - PPM608 | PPM1008 | PPM012 | Software - Music Production Software - Tracktion 3 | C4 Commander |
d8b Plug-Ins - d8b v5 | Pro Audio Lab | DSR-1 | Final Mix | Saturated Fat | Real Time Analysis 31 | Delay Factor | Filter Machine | Time Pak |
Auto Tune | ADX100 | MDW2x2 | Accessories - Loudspeaker Bags - SRM450/C300z Bag | SRM350/C200 Bag | TH-15A Bag | TH-12A Bag |
Loudspeaker Covers - HD1221 Cover | HD1521 Cover | HD1531 Cover | SRM1801 Cover | HD1501 Cover | HD1801 Cover |
Loudspeaker Hardware - SPM200 | SRM350/C200 Bracket | PA-A1 | PA-A2 | FB221 | ACC-R280S | ACC-CK100 | HDA Rigging Kit L |
HDA Rigging Kit R | HDA Rigging Pin Kit | Mixer Bags - ProFX8 Bag | ProFX12 Bag | ProFX16 Bag | ProFX22 Bag | 402-VLZ Bag | 802-VLZ Bag |
1202-VLZ Bag | 1402-VLZ Bag | 1604 -VLZ Bag | PPM Bag | Onyx 820i Bag | Onyx 1220i Bag | Onyx 1620i Bag | Onyx 1640i Bag| CFX12.mkII Bag|
CFX16.mkII Bag | CFX20.mkII Bag | Mixer Covers - ProFX16 Cover | ProFX22 Cover | 1604-VLZ Cover | 2404-VLZ Cover | 3204-VLZ Cover |
Onyx 24.4 Cover | Onyx 32.4 Cover | CFX12.mkII Cover | CFX16.mkII Cover | CFX20.mkII Cover | Mixer Hardware - 1202-VLZ Rack Ears | 1402-VLZ |
1642-VLZ Rack Ears| 1604-VLZ Rotopod | Onyx 820i Rack Ears | Onyx 1220i Rack Ears | Onyx 1620i Rack Ears | Onyx 1640i Rotopod Kit |
ProFX16 Rack Ears | CFX12.mkII Rack Ears |


Discontinued Products -
d.2 | Onyx 1220 | Onyx 1620 | Onyx 1640 | Onyx FireWire Card | 1202-VLZ Pro | 1402-VLZ Pro | 1642-VLZ Pro | 1604-VLZ Pro |
MIXERS-Onyx 80 Series | MIXERS-SR Consoles | MIXERS-Onyx 80 Series | Onyx 2480 | Onyx 3280 | Onyx 4080 | Onyx 4880 |
Onyx 2480 | Onyx 3280 |
Onyx 4080 | Onyx 4880| MIXERS-SR C
onsoles |
SR24•4 VLZ PRO | SR32•4 VLZ PRO | Tracktion 2  | Spike  | Onyx 400F | Onyx 800R | MCU & Extender |
Mackie Control C4 | DFX•6 | DFX•12 |