Review: Mackie Onyx Blackbird

Does the world need another Firewire audio interface? Mackie certainly believes so, and has accordingly let fly with the Onyx Blackbird interface. Mackie is a relative newcomer to the world of audio interfaces, yet it seemed almost inevitable, after the company began slipping Firewire connections onto small-format mixing consoles with the optional Onyx Firewire card, that Mackie would eventually incorporate DAW compatibility into smaller rackmount units alongside its well regarded microphone preamps.

Onyx is a name given to Mackie’s most recent mic preamp design, and is one of the drawcards of the Onyx interfaces. The Blackbird includes no less than eight of these ‘boutique-style’ preamps – two of the connectors for which are mounted on the front panel, while the remaining six connecting via the back of the unit. The front panel preamp inputs include high-pass filters (80Hz), high impedance switching for guitar input, and a phantom power switch that’s common to both. Phantom power, I’m pleased to report, is a healthy 48V via these channels – unlike many previous Mackie designs that could only summon around 35V.

The rear preamp inputs, while we’re on the subject, can have phantom power applied globally across the six channels by way of a single front-panel button, and these appear to offer approximately 46V. But getting back to the front panel preamps: these are dubbed ‘Super Channels’ according to the Mackie literature, offering a couple of useful aspects not found on the remaining six, aside from the already mentioned filter and high-impedance attributes. First up, they can be set to output directly to the monitor output, alleviating the need for a direct monitoring setup, such as a separate console, to achieve zero latency monitoring. A dedicated level control adjusts the volume of the channels going to the main monitor outputs (and headphones, should you wish) and the monitoring can be set to stereo or mono. What I also like about the ‘Super Channels’ is the metal plate that surrounds the combo XLR input jacks. These channels will be the ones to suffer the most punishment from other musicians as well as yourself – shoving leads into these inputs willy-nilly. So the surrounding plate should protect the front panel nicely.

Input gain controls for the entire eight channels are spread across the front panel, with the two ‘Super Channel’ gain pots separated by their direct monitoring level control. All eight also feature signal overload LEDs. To the right of all this is a larger knob for overall output monitoring level, followed by two headphone outputs with individual level control. These can be independently switched to monitor either the main monitoring outputs or either of two alternate headphone mixes that can be set up within the Blackbird’s mix software. The power switch is also situated on the front of the unit, as it should be with a rackmount unit. My only quibble would be the tight spacing of the six input gain controls – you may bump one while adjusting the others.

BLACKBIRD PECKING ORDER

The tail-end of the Blackbird is nicely appointed; mic/line inputs three to eight feature Neutrik combo XLR connectors – no surprises there. Analogue audio outputs include: a main stereo output, the monitor output (controlled via the front panel monitor knob), and an ‘Alt’ output – all three of which present as left and right 1/4-inch jacks. All are firmly bolted into the chassis – just as you’d expect from Mackie. Additionally, a pair of 1/4-inch jacks provide insert points across the two ‘Super Channels’.

Non-analogue ports on the Blackbird’s tail include four ADAT optical ports for access to the further eight audio streams – these will allow operation at 88.2 and 96kHz sample rates using the S/MUX II protocol. While we’re on the subject of sample rates, the Blackbird will capture audio at rates up to 96kHz – there’s no 192kHz option even when only using the onboard converters (ie. forgetting about the ADAT ports for additional I/O and their 96kHz restriction). In fact, Mackie has never really chased the 192kHz sampling dragon – apart from the Onyx 400/800/1200F series – perhaps it was technically more trouble than the super sample rate was sonically worth. Interestingly, the Blackbird’s buffer settings will only lower to ‘64’ using 44.1 and 48kHz capture. Further I/O to the Blackbird includes two Firewire 400 ports and BNC wordclock in and out. Sonically, the Blackbird flies with the much licensed JetPLL jitter reduction, and uses a Cirrus Logic A/D and D/A converter chip-set. The unit delivers 114dB of dynamic range (A-weighted).

MISSION CONTROL

Keeping the Blackbird in the air is the Blackbird Control software. Not surprisingly, this application looks like a Mackie mixing console and features plasma-esque metering and numeric peak indicators for each of the 16 inputs, DAW output and main outputs. Adjacent channels can be linked to act as stereo channels, and there’s also the facility to run eight separate mixes; an Aux mix, two headphone mixes, and four stereo mixes from adjacent ADAT outputs. Entire setups can be saved and reloaded, and you can copy and paste mixes between sub-mix sections, and route any input to any output with zero-latency tracking of all inputs.

The software is about as comprehensive as audio interface control software gets, but what sets it apart from other control software I’ve experienced in the past is the clearly laid out GUI and ease of use. There’s no software weirdness or bespoke operational methods – it just works, and worked admirably running on OSX 10.6.8. It will also run on 10.5 and a lowly G4. OSX Lion (10.7) compatibility, meanwhile, is yet to materialise – so if you’re running Lion you’re out of luck with the Blackbird (for the moment). PC folk can use Windows 7 32/64 RTM, Vista 32/64 SP 2 or XP 32 SP3 on either a Pentium 4, Celeron or Athlon XP processor. And just so you’re up and running without the added expense of a DAW application, Mackie also throws in a free copy of Tracktion 3. Incidentally, if you’re after more I/O, up to four Blackbird units can be cascaded together for up to 64 input channels including 24 preamps. I’ve got to say I’ve not tried this with any Firewire audio interface claiming to support such expandability.

DOES IT SING?

In terms of fidelity there’s nothing to complain about with the Blackbird, and in this era why should there be? With JetPLL jitter reduction and respectable D/A conversion you’ll not regret employing the Blackbird as your primary monitoring device. Nor will you be disappointed by the Blackbird’s A/D conversion. The real question will be whether you like the Onyx microphone preamps, and frankly, at this price you get a lot of mic pre for your money. The preamps are clear and precise, yet not so clinical that you’re reaching for something to soften their tone. I put them alongside similar preamps in similar interfaces, along with some mid-priced preamp units and the Onyx preamps were actually the pick of the bunch. They’re certainly not ‘boutique’ in the conventional sense of the word, and as we all know there are countless stunning mic preamps in the ‘boutique’ audio market, but nor will you need to justify equally stunning prices to own them. As an everyday, go-to mic pre the Onyx devices are a cut above the norm, and definitely set the Blackbird apart from direct competition has similarly specified interfaces. Would I recommend the Onyx pres? Yes I would.

So in answer to the question posed earlier: Does the world need another Firewire audio interface? When it comes to the Blackbird the answer is a resounding “bring it on!” For around a grand you get a great deal of facility: dual headphone outputs with individual mix settings, ADAT I/O, super-sturdy build quality, monitoring control, along with eight very good mic preamps. For the dollar you really couldn’t ask for much more.