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Info from Onyx 1620 owners..


Richard Ragon

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I'm going to attempt to make a snake cable adaption for making my Onyx work like that of the SD442. 

My question is.. do you know how you can 'listen' to whats coming back from the camera on a Onyx?  Is there an ability to feed the camera return back to the mixer, and have a way to monitor it without conflicting with the main mix?

Here's my thoughts..  I'm thinking of sending the camera audio back to Line-In 15/16, then hit the MUTE on channel 15/16 so that it doesn't go into the mix again..  When you hit the MUTE, it sends the audio over to ALT 3/4 (I think)  There's a jack for you to monitor ALT 3/4, but it would be nice to be able to switch monitors back and forth from monitoring the main mix or the ALT 3/4.  And I think that you can do this without unplugging the phones, by using the CONTROL ROOM/PHONES SOURCE buttons.

Just some thoughts on using this mixer for return monitoring.. does anyone monitor returns from the camera?  Or do other mixers just watch the recording to a separate source only?

Thanks.

-Richard

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Hey Richard

I haven't used the Onyx itself, but I still get plenty of use out of my well travelled 1640. What I've done in the past is to bring a return off the headphone jack of the camera back to a line in (I like to use 15/16 as well). I'll not only mute the channel, but also if you don't assign it to any of the sub masters or to L/R it won't go anywhere downstream. I then monitor the channel on a momentary basis by using the SOLO button. That's always worked for me in the past.

Joe

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I'm going to attempt to make a snake cable adaption for making my Onyx work like that of the SD442. 

My question is.. do you know how you can 'listen' to whats coming back from the camera on a Onyx?   Is there an ability to feed the camera return back to the mixer, and have a way to monitor it without conflicting with the main mix?

Here's my thoughts..  I'm thinking of sending the camera audio back to Line-In 15/16, then hit the MUTE on channel 15/16 so that it doesn't go into the mix again..  When you hit the MUTE, it sends the audio over to ALT 3/4 (I think)  There's a jack for you to monitor ALT 3/4, but it would be nice to be able to switch monitors back and forth from monitoring the main mix or the ALT 3/4.  And I think that you can do this without unplugging the phones, by using the CONTROL ROOM/PHONES SOURCE buttons.

Just some thoughts on using this mixer for return monitoring.. does anyone monitor returns from the camera?  Or do other mixers just watch the recording to a separate source only?

Thanks.

-Richard

It seems like you might be over-thinking this, unless I'm missing something here.  The Mackie mixers have a Tape-Return input to do exactly what you are talking about--and it's there in the Control Room monitor section.  This will give you a 2 channel return.  For MORE than two channels you might resort to what you mentioned, but I found doing things that way on a Mackie very confusing under fire so I went with using an outboard line-mixer for all the returns (as from several cameras or a multitrack) and bringing the stereo output of that mixer back to the Mackie's Tape Return.

Philip Perkins

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It seems like you might be over-thinking this, unless I'm missing something here.  The Mackie mixers have a Tape-Return input to do exactly what you are talking about--and it's there in the Control Room monitor section.  This will give you a 2 channel return.  For MORE than two channels you might resort to what you mentioned, but I found doing things that way on a Mackie very confusing under fire so I went with using an outboard line-mixer for all the returns (as from several cameras or a multitrack) and bringing the stereo output of that mixer back to the Mackie's Tape Return.

Philip Perkins

The normal tape return inputs on a Mackie work the same way they do on a 442 except there's no return toggle switch. You just select the tape monitor position on the headphone/monitor matrix. You can also use any input strip to monitor the tape return thru the solo button on the selected input position with the fader closed and the mute button engaged for extra protection. Like the 442 the solo or PFL is post trim and pre fader.

Eric

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Richard, bringing the camera return into the L ch15/16 (assuming it is a stereo 1/4") then muting it will put that feed into the control room/phones matrix, now depress the alt3/4 switch and unswitch the main mix then will have that feed in your right ear only and the meters will also show just the right letting you know you are listening to alt3/4. if you want to go back to the mix just depress main mix in the c.r./phones matrix. hope this helps.

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Ok, I have a Hosa (female) cable that I got from Location Sound.  So, I'm going to make a small adaptor with L/R XLR plugs, and a return 1/4 stereo jack to plug back into the mixer.  I'll just get a splitter for L/R mono 1/4 jacks too.  This will let me use the same Snake Cable that I use with my 442.

But, I'll also look into both MUTE/3/4 ALT and the TAPE route, see which one works better.

-Richard

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Ok, I have a Hosa (female) cable that I got from Location Sound.  So, I'm going to make a small adaptor with L/R XLR plugs, and a return 1/4 stereo jack to plug back into the mixer.  I'll just get a splitter for L/R mono 1/4 jacks too.  This will let me use the same Snake Cable that I use with my 442.

But, I'll also look into both MUTE/3/4 ALT and the TAPE route, see which one works better.

-Richard

15/16 has a L and R TRS input if you want to use two balanced XLR-TRS cables rather than make an adapter.

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