Architecturally, TT24 is a 56 x 45, 24-bit, 96kHz capable digital live console with 100mm touch-sensitive faders, on-board analogue and digital I/O, full channel metering, digital recall, EQ, dynamics, and effects. A unique control section combines a 5" touch screen, eight function buttons, and 12-parameter rotary encoders that work together to provide quick and easy access to key live functions such as Fat channel overview, EQ, dynamics, group/aux assignments, aux masters, snapshots, FX control, and matrix.
The rear panel of the TT24 is equipped with all of the necessary I/O connections: on board are 24 mic/line inputs with four-band EQ/comp/gate, eight line inputs with four-band parametric EQ, L-R-C/Mono outs with four-band parametric EQ and comp/limiter, 12 aux sends with four-band parametric EQ and comp/limiter, eight groups with 10 assignable four-band parametric EQ and comp/limiters, eight matrix outputs with 600ms of total delay. Every TT24 ships with a copy of the TT Control Software, a PC-based GUI that connects to the console via USB, allowing for a much larger view of console parameters.
Also on display at NSCA will be Mackie's new Onyx premium analogue mixers. The Onyx 1220, 1620 and 1640 incorporate the latest advances in hallmark Mackie technologies like low-noise microphone preamps and circuitry, durability, plenty of direct instrument inputs, and a FireWire option for integration into any computer-based system. The Onyx family derives its name from the inclusion of Mackie's Onyx mic pre - a low-noise microphone preamp circuit based on the XDR mic pre found in Mackie's award-winning compact mixers. They also feature a new EQ circuit, developed especially for the Onyx line by industry veteran Cal Perkins.
Each Onyx mixer also includes an upgrade slot for an optional FireWire card. The optional FireWire card allows the mixers to output a combination of direct outputs (from every single input channel) and the L-R mix directly into a FireWire equipped computer, and, at the same time, return two channels of computer audio back to the mixer for monitoring through the phones matrix.
(Sarah Rushton-Read)
