Mackie Onyx 24 Channel 4 Bus Mixer

    Bringing innovative features and unparalleled sound quality, the Mackie Onyx 24 fills the gap between the Onyx Small-Format and 8-bus Onyx 80 Large-Format Consoles.
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    Product Description

    Mackie Onyx 24·4 and Onyx 32·4 mixers build upon the legendary Mackie SR24.4 and SR32.4 consoles - with their flagship Onyx mic preamps, new 4-band Perkins EQ, 100mm faders, a 6x2 matrix and a built-in stereo compressor limiter - all at a price that won’t break the bank.
    These new mixers bring the innovative feature set and unequalled sound quality of Mackie's Onyx Series to the world of mid-format live mixers, effectively filling the gap between the Onyx Small-Format and 8-bus Onyx 80 Large-Format Live Sound Consoles.

    The Onyx 4-bus Series mid-format consoles incorporate a host of new features like a full complement of Mackie's highly acclaimed, flagship Onyx preamps that combine greater fidelity, increased headroom and unequalled sonic performance with greater radio frequency rejection and wider dynamic range.

    Additional Onyx 4-Bus features include a fully balanced signal chain for lower noise and wider frequency range, as well as Mackie's exclusive Cal Perkins-designed four-band EQ circuitry, renowned for its highly musical British sound and wider-range control.

    Both Onyx 4-Bus consoles also feature a 6x2 matrix, 100mm Panasonic faders, and a fully assignable stereo compressor/limiter section built upon the high-quality THAT 4301 chip. This compressor/limiter features independent threshold, ratio and fast/slow attack controls, and can be assigned to the main output mix, Groups 1 and 2, or Groups 3 and 4.

    Onyx 4-bus Mid-Format Live Sound Console Features

    • Premium Onyx Mic Preamps on all mono channels
    • Four-Band Perkins EQ
    • Six fully assignable Aux Sends with Pre/post switches, mute and AFL solo
    • Smooth, long-throw 100mm Panasonic Faders
    • Analog direct outs per channel
    • Two Dedicated Stereo Inputs
    • 4 segment channel metering
    • Dedicated talkback section
    • 6 x 2 matrix
    • Built in stereo compressor/limiter
    An All-New Design for Superior Sound
    After 15 years designing industry re-defining mixers, Mackie has assembled one of the most grizzled teams of analog engineers in the business. This team spared no expense developing the Onyx 4-Bus Series, pulling together the highest-quality components available - from premium op-amps to IC chips costing exponentially more than those used in previous designs. All-new summing bus circuitry was designed from the ground up to maximize headroom. And the entire signal chain was electronically balanced from input to output, offering big, full-range sound and lower noise than any mixer in this class. Most significantly, premium Onyx mic preamps, Perkins EQ circuitry, and a new THAT Corporation 4301 assignable stereo compressor / limiter chip were custom tailored specifically for these new consoles. It's a difference you'll hear right out of the box.

    Onyx Mic Preamps: Boutique Quality for the Rest of Us
    Although Mackie's previous-generation XDR mic preamps set new standards for both quality and performance, our acclaimed Onyx mic preamps offer even greater fidelity, headroom and transparency—as well as better radio frequency (RFI) rejection and wider dynamic range than ever before. With specs like 123dB total dynamic range, -129.5 dBm Equivalent Input Noise, and 0.0007% Total Harmonic Distortion, Onyx preamps can hold their own against the tweakiest boutique standalone mic pres - as numerous magazine and online reviews have confirmed.

    Perkins EQ: British Sound with Greater Filter Control
    In developing EQ circuitry for Onyx, Mackie enlisted the aid of veteran audio engineer Cal Perkins. (For those of you who don't know Cal, he's been designing amazing audio gear since Greg Mackie was swiping copies of Popular Mechanics.) As a result of Cal's expertise, Perkins EQ circuitry takes the classic Wein Bridge circuit topology used in British mixing desks during the '60s and '70s, and gives it greater filter and phase shift control. The end result is a very effective and extremely musical 4-band EQ with sweepable low- and high-mids - perfect for the throes of live sound mixing.

    Assignable Onboard Stereo Compressor Limiter Section
    Sound engineers have long used master compressor/limiters to smooth out live sound mixes, maximizing the performance of both great and not-so-great sound systems. So we decided to integrate a high-quality master compressor/limiter chip from THAT Corporation into both the Onyx 24.4 and 32.4. This assignable analog stereo compressor/limiter chip was designed and manufactured in the US by veteran analog engineers, offering true RMS Detection and Auto Make-up Gain for extremely accurate and musical results. It features independent Threshold, Ratio and Fast/Slow Attack controls, and can be assigned post-fader to the L/R main mix (for system limiting and protection) or pre-fader to Group 1 / 2 or 3 / 4 outputs (for grouped signal compression, like drums or background vocals). This reduces the hassle and expense of separate outboard processing.

    The Onyx 4-Bus Series Master Section
    The Onyx 4-Bus Series Master Section provides everything you’d expect from a Mackie mixing console, and more. Designed with a practical and easy to understand layout, anyone from a Sunday morning volunteer operator to a seasoned professional engineer can quickly learn to operate the console, fully exploiting its outstanding capabilities.

    Channel Strips Mackie has combined the premium sound quality of the Onyx mic preamp and Perkins EQ with an extensive professional feature set - all packaged into an intuitive, ergonomic layout for maximum ease-of-use.

    More Bang for Your Buck
    The Onyx 24.4 and 32.4 were designed to bring large-format console features to smaller live sound applications. These features include 100mm Panasonic® faders for maximum mixing resolution, analog direct ouputs for multi-track recording, and six pre/post switchable Aux sends for monitor output and effects routing. Plus, Aux inserts for adding graphic EQs to monitor mixes. We’ve also added new features that any hardcore live engineer can appreciate–like a 6x2 Matrix Mixer that offers two additional Mix outputs for cry rooms, green rooms and other zoned outputs. (Or use the Matrix for broadcast or simple recording applications.)

    Over-Designed for Life on the Road
    We know live sound can be tough on equipment. (Hey, we use this stuff too.) That’s why we designed the Onyx 4-Bus Series to handle anything the road dishes out. Chassis rigidity is maximized by vertical aluminum support beams spaced across the top of the console. And because these boards get moved around a lot, we designed comfortable carry handles right into the sides - even though they are portable enough to just tuck them under your arm and go.

    Two Dedicated Stereo Inputs
    The last two channels are for stereo signal like effects returns, stereo synthesizers or other two-track playback devices. These are full channel strips with appropriate 4-band fixed EQ, all 6 Aux sends and channel master section.

    Product Specifications
    Mackie Onyx 4 Bus Mixer Specifications
      Frequency Response
      Mic Input to Main Output (Gain @ Unity)
    • +0, –1 dB, <10 Hz to 80 kHz
    • +0, –3 dB, <10 Hz to 120 kHz
      Distortion (THD and IMD)
      Mic Input to Main Output (@ +4 dBu)
    • THD:
    • < 0.007% 20 Hz to 20 kHz
    • 0.003% @ 1kHz typical
    • SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)
      Dynamic Range
    • >115 dB, Mic In to Main Out
      Noise Floor
    • Signal-to-Noise Ratio:
    • –87 dBu (ref. +4 dBu, Mic In to Main Out, 32 channels and Main Mix levels at unity)
    • –89 dBu, (ref. +4 dBu, Mic In to Main Out, 24 channels and Main Mix levels at unity)
    • Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth, 150 Ohms source impedance: –129.5 dBu @ +60 dB gain
    • Mic Output Noise: Direct Output: –100 dBu (minimum gain)
  • Residual Output Noise:
    • Main Out: –100 dBu (Channel and Main Mix levels off)
    • Main Out:
      • 32•4: –83 dBu (32 channels and Main Mix levels at unity)
      • 24•4: –85 dBu (24 channels and Main Mix levels at unity)
      Common Mode Rejection Ratio (CMRR)
    • Mic In: >70 dB @ 1 kHz, Gain @ maximum
    • Adjacent Inputs: < –95 dB @ 1 kHz
    • Input to Output: < –85 dB @ 1 kHz
      Input Gain Control Range
    • Mic In: 0 dB to +60 dB
    • Line In: –20 dB to + 40 dB, mono channels
      Phantom Power
    • +48 VDC
    • Mono Channel EQ:
    • High: ±15 dB @ 12 kHz
    • High Mid: ±15 dB, sweepable from 400 Hz to 8 kHz
    • Low Mid: ±15 dB, sweepable from 100 Hz to 2 kHz
    • Low: ±15 dB @ 80 Hz
      Stereo Channel (Aux Input) EQ:
    • High: ±15 dB @ 12 kHz
    • High Mid: ±15 dB @ 2.5 kHz
    • Low Mid: ±15 dB @ 400 Hz
    • Low: ±15 dB @ 80 Hz
      Mixer Rated Output
    • Main Outs: +4 dBu
    • Aux Send: +4 dBu
    • Group Send: +4 dBu
    • Monitor Out: +4 dBu
    • Matrix Out: +4 dBu
    • Maximum Rated Output: +21 dBu @ Main XLR and TRS outputs
      Maximum Input Levels
    • Mic Input: +21 dBu, Gain @ unity, pad out
    • Mic Input: +30 dBu, Gain @ unity, pad in
    • Line Input: +21 dBu, Gain @ –20 dB
    • Tape Input: +30 dBu
    • Stereo Return: +21 dBu
      Maximum Voltage Gain
    • Mic Input to:
      • Main Out: 90 dB
      • Group Out: 80 dB
      • Aux Sends: 86 dB
      • Monitor Out: 103 dB
      • Matrix Out: 105 dB
      • Phones Out: 103 dB
  • Line Input to:
    • Main Out: 70 dB
    • Group Out: 60 dB
    • Aux Sends: 66 dB
    • Monitor Out: 83 dB
    • Matrix Out: 85 dB
    • Phones Out: 83 dB
  • Stereo Return to:
    • Main Out: 53 dB
    • Group Out: 43 dB
    • Aux Sends: 49 dB
    • Monitor Out: 66 dB
    • Matrix Out: 68 dB
    • Phones Out: 66 dB
      Input Impedance
    • Mic Input: 3 kOhms, balanced
    • Mono Channel Line Input: 34 kOhms balanced
    • Stereo Returns: 20 kOhms balanced
    • Talkback Mic: 1 kOhm balanced
      Output Impedance
    • Main Out:
      • 100 Ohms balanced XLR outputs
      • 300 Ohms TRS outputs
    • Direct Out: 300 Ohms
    • Group Out: 300 Ohms
    • Monitor Out: 300 Ohms
    • Matrix Out: 300 Ohms
    • Aux Sends: 300 Ohms
    • Phones Out: 25 Ohms
      Channel Level LED (Sensitivity)
    • 0 LED = 0 dBu (normal operating level)
      VU Meters
    • Main Left and Right, Compressor Input, 12 segments: Clip (+20), +15, +10, +6, +3, 0, –2, –4, –7, –10, –20, –30 0 LED = 0 dBu
    • Compressor Gain Reduction, 12 segments: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15 dB
      AC Power Requirements
    • Power Consumption:
      • Onyx 24 4 100 watts Onyx
      • 32 4 120 watts
    • Universal AC Power Supply: 100 VAC – 240 VAC, 50-60 Hz
      Physical Dimensions and Weight
    • Onyx 24 4
      • Height: 7.3 in (185 mm)
      • Width: 31.2 in (792 mm)
      • Depth: 21.9 in (555 mm)
      • Weight: 39.5 lb (17.9) kg
    • Onyx 32 4
      • Height: 7.3 in (185 mm)
      • Width: 39.8 in (1011 mm)
      • Depth: 21.9 in (555 mm)
      • Weight: 48.0 lb (21.8 kg)
    LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these speci?cations at any time without notice.

  • Helpful Info about the Manufacturer
    Phone:  800-258-6883 Warranty:  All SRM, DLM, HD, iP and C Speakers, Reach, PPM Mixers, HRmk2 Studio Monitors: 3-year inclusive of electronics, 2-year drivers (where applicable), nontransferable; Thump, Freeplay, Onyx Mixers and Interfaces, DL, VLZ4, ProFX mixers, MRmk3 Studio Monitors, Big Knob, MCU Pro Series, SP260, FRS Series Amplifiers, Mixer Bags/Covers/Hardware, Loudspeaker Bags/Covers/Hardware: 1-year nontransferable; FreePlay Lithium Ion Battery: 90-day all inclusive, nontransferable;B-Stock items, 90 days.
    Jed Dunkin
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    What is your opinion of this product?
    Works great for rehearsals band recording in my studio. Great service from AMS by the way.
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