Mackie Onyx 800R 8 Channel Microphone Preamplifier with Digital OutputThe Mackie Onyx 800R Mic Preamplifier delivers Boutique Studio Preamp Performance, without the Price.
If you're looking to add eight stellar-sounding mic preamps to your computer audio setup, hard disk recorder or analog rig, look no further. The Onyx 800R is a high-performance, eight-channel rackmount mic preamp with simultaneous analog and 192kHz multi-format digital outputs. Built upon Mackie's flagship Onyx mic preamp circuitry, the 800R delivers boutique studio preamp performance with features such as variable mic input impedance controls for tuning each preamp to its connected mic.
This, along with superior analog components and premium A/D converters, gives the Onyx 800R unrivaled fidelity and dynamic range, making it a top choice for a range of professional studio and live applications.
Mackie Onyx 800R Mic Preamp Features
- Eight-channel 1U rackmount mic preamp featuring Mackie's flagship Onyx preamps
- Variable Microphone Input Impedance control allows for precise preamp tuning to each mic
- Simultaneous analog and 24-bit/192k digital connectivity via AES/EBU, ADAT lightpipe and S/PDIF
- Front panel Mic/Line switches on every channel
- 2 front-panel Instrument input jacks – no DI needed
- Individual Low Cut, Phase and Phantom Power control on every channel
- Class-leading 24-bit/192kHz A/D converters rivaling dedicated standalone converter boxes costing thousands of dollars
- Premium audiophile-grade components, analog circuitry and rugged professional build quality
Eight Channels of Fantastic-Sounding Preamps
The Onyx 800R is equipped with eight of Mackie's new flagship Onyx mic preamps, which meet or surpass the fidelity and dynamic range of ultra-expensive one- or two-channel models but at a much more reasonable cost.
And how does it sound? Onyx preamps are clear and extremely detailed, with a full-spectrum sound that's absolutely faithful to whatever microphone you're using. In fact, several of our big-name 800R beta testers called the 800R the most flexible mic preamp they've ever owned. (Probably because they were finally hearing the full character of all the mics they'd been using for years.)
Specifically, the Onyx 800R delivers a whopping 123dB of dynamic range and an amazingly low 0.0007% THD. With this degree of sonic transparency and multiple analog and digital output formats, the Onyx 800R makes an ideal audio interface for direct tracking to MDM, HDR, or software recording applications.
24-Bit/192kHz Digital Output
The 800R's sample rate selector allows you to choose 32, 44.1, 48, 88.2, 96, 176.4, or 192kHz sample rates, or an external clock from the rear panel. You can also select between 24-bit or 16-bit dithered word lengths at the digital outputs. Digital outputs are provided on two optical TOSlink connectors using the ADAT lightpipe digital audio format.
AES/EBU or S/PDIF formats are available on a DB25 connector, with selection buttons for impedance, pro or consumer status bits, and single-wire (two-channel) or dual-wire (single-channel) operation.
Variable Mic Impedance
Channels one and two feature an Impedance Select switch, which lets you fine-tune the mic preamp for a wide variety of microphone types. Variable Impedance presents an adjustable electrical impedance load to the microphone, giving you the ability to dial in various sweet spots. The result is multiple sound choices from the same microphone. It also helps you achieve optimum performance from certain types of microphones that may have non-standard impedance values, such as ribbon microphones or older tube microphones.
Mid/Side Decoder Unlocks Stereo Mysteries
Channels one and two also provide the option of engaging a Decoder for Mid-Side stereo miking. For the uninitiated, Mid-Side (or M-S) stereo miking technique not only provides a stereo image of the source, but also allows you to adjust the width of the image by varying the balance between the Mid (or mono) and Side signals. Mid-Side requires the use of two microphones, one with a cardioid pickup and one with a figure-8 (bidirectional) pattern. The cardioid microphone (mid) faces forward toward the center of the sound source, while the figure-8 (side) microphone's two elements face sideways, perpendicular to the mid microphone.**
And for Your Additional Convenience...
Because our engineers can never leave well-enough alone, channels seven and eight feature high-impedance instrument inputs so you can connect an acoustic, electric, or bass guitar directly to the mic preamp, eliminating the need for an external direct box. Each channel also has a mic/line switch, a polarity reverse switch, individual 48v phantom power switch, low-cut filter switch, and a gain control. As for the rear panel, it provides individual XLR balanced mic input connectors for each channel, and balanced line inputs on a DB25 connector. Finally, analog balanced line outputs are also provided on a DB25 connector.
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A Closer Look At Mid/Side Recording
A number of stereo recording techniques have been developed over the years including Blumlein, ORTF, spaced pair, and coincident pair, of which X–Y and M–S are a subset. They each have their advantages, depending on the application. Let's look at what the M–S method has to offer.
M–S (Mid–Side) requires the use of two microphones, one with a cardioid pickup and one with a figure–8 (bidirectional) pattern. The cardioid microphone (mid) faces straight forward toward the center of the sound source, while the fi gure–8 (side) microphone's two elements face sideways, perpendicular to the mid microphone. It is important that the null of the figure 8 mic aligns with the zero degree line of the cardioid.
Some microphone manufacturers make stereo mics designed specifi cally for M–S recording, with all three elements properly aligned in one housing. There's nothing wrong with using two separate microphones, however, as long as the capsules are as coincident (occupying the same space) as possible.
The M–S technique requires a special decoder that produces a left and right stereo signal. The left channel is the sum of the mid and side microphones (M+S), and the right channel is the difference between the mid and side microphones (M–S).
The Onyx 800R has a decoder built–in, which is activated by pushing in the MID/SIDE DECODE button on the rear panel. Connect the MID microphone to channel 1 and the SIDE microphone to channel 2. The signals pass through the decoder just prior to the A/D converters and the analog line outputs.
Stereo recording reproduces the instruments in the same relative locations within the stereo image as they were in the original performance. The side to side stereo image and, to some extent, the front to back depth of image are preserved.
The M–S stereo recording technique allows you to adjust the width of the stereo image by varying the ratio between the mid and side signals. With the 800R, this is accomplished by adjusting the gain controls on channels 1 and 2.
Notice that the adjustments are made prior to the decoder. Adjusting the ratio of the left and right signals after the decoder will not have the same effect. If you want to adjust the stereo image later during mixdown, record the raw MID and SIDE signals to tape with the decoder turned off. Then, when you are doing the final mix, run the recorded MID and SIDE signals through channels 1 and 2 with the decoder turned on and experiment with the gain controls on channels 1 and 2 to adjust the stereo image to your liking.
Another benefit of this recording technique is that the stereo recording is mono compatible. This is especially important for broadcast and film production applications.