"Boutique" Studio Preamp Performance, without the Price.
If you're looking to add 8 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.
8 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. For more on Mid/Side, click here.
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.
Technical Info
Frequency Response
Mic Input to Line Output (Gain @ unity):
+0, –0.1 dB, 20 Hz to 30 kHz
+0, –3 dB, 10 Hz to 170 kHz
Mic Input to Digital Output (AES, 192 kHz sample rate):
+0, –0.2 dB, 20 Hz to 85 kHz
+0, –1 dB, 10 Hz to 90 kHz
Distortion (THD & IMD)
Mic Input to Line Output (@ +4 dBu output):
THD+N: < 0.0007%, 20 Hz to 20 kHz BW, 1 kHz input @ +4 dBu, preamp at unity gain
THD+N: < 0.002%, 10 Hz to 30 kHz BW, 1kHz input @ 10mV rms (–37.8 dBu)
SMPTE IMD: < 0.005% (4:1 IMD)
Mic Input to Digital Output (AES, 48 kHz sample rate):
THD+N: < 0.004%, 10mV rms input, gain at –1 dB FS output
Dynamic Range
>123 dB (Mic In to Line Out)
>113 dB (through A-to-D converters)
Noise
Signal-to-Noise (A-weighted): >103 dB (ref. +4 dBu, Mic In to Line Out, Gain @ unity)
Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth, 150Ohm source impedance: –129 dBu @ +60 dB gain
Residual Output Noise:
Line Out: < –102 dBu (Channel Gain at unity)
Digital Out (AES, 48 kHz): < –113 dB FS
Common Mode Rejection Ratio (CMRR)
Mic In: >60 dB @ 1 kHz, Gain @ maximum
Crosstalk
< –100 dB @ 1 kHz, +10 dBu signal on adjacent input, 150
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