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Mackie Onyx 24.4 Premium 24-Channel Analog Live Sound Mixing Console

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The Mackie Onyx 24.4 live sound mixing console upgrades the performance and functionality of the legendary Mackie SR24•4 while retaining its convenient 24-channel footprint. The greatly enhanced 24-... Click To Read More About This Product

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The Mackie Onyx 24.4 live sound mixing console upgrades the performance and functionality of the legendary Mackie SR24•4 while retaining its convenient 24-channel footprint.

The greatly enhanced 24-channel Mackie Onyx analog mixer includes 100mm Panasonic faders, all new mic preamps, completely redesigned analog circuitry, Perkins EQ, and a built in assignable stereo compressor/limiter section - all at a price that won't break the bank.

The Mackie Onyx 24.4's all-new mixer design for superior sound
In developing the Mackie Onyx 24.4 mixing console, the design team of analog engineers used 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 its class. Most significantly, the analog mixing console features premium Onyx mic preamps, Perkins EQ circuitry, and THAT Corporation 4301 assignable stereo compressor/limiter chip, all custom tailored specifically for the Onyx 32.4 audio mixer.

Boutique quality preamps
Although Mackie's previous generation XDR mic preamps set new standards for both quality and performance, the next generation 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 easily hold their own against boutique standalone preamps.

Perkins EQ: "British" sound with greater filter control
Mackie enlisted veteran audio engineer Cal Perkins to develop the EQ circuitry for the Mackie Onyx 24.4. Perkins EQ circuitry takes the classic Wein Bridge circuit topology used in British mixing desks of 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 any sound system. Mackie integrated a high quality master compressor/limiter chip from THAT Corporation into this 24-channel mixer. This assignable analog stereo compressor/limiter chip was designed and manufactured in the U.S. by veteran analog engineers, offering true RMS detection and
auto make-up gain for extremely accurate and musical results. The Mackie Onyx 24.4 mixer 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.

Master section
If total control over signal routing, talk back/monitor mixing, and external effects processing is what you seek, then look no further - the Onyx 4-Bus Series Master section has everything you've come to expect from a Mackie mixing console, and more. The onboard 6 x 2 Matrix Mixer is the solution to the "not-enough monitor send" blues. Not only can you use the Aux Sends to generate up to six monitor mixes, but the Matrix Mixer can be used to generate two additional independent mixes-ideal for IEM (in-ear monitor) systems, cry rooms, green rooms or other zoned outputs. Visual monitoring of Solo, Main output and compression/limiting is expertly handled via four, giant 12-segment LED ladders. Even the Sub Groups feature 4-segment LED's, so you know what signal levels are at glance.


  • 24-channel/4-bus premium analog mixer designed for live sound
  • Onyx microphone preamps with class-leading fidelity and dynamic range on every channel
  • 4-band Perkins EQ on every channel for warm, musical sound
  • 6 x 2 Matrix Mixer provides two additional mixes for monitors, etc.
  • Assignable stereo compressor/limiter designed by THAT
  • Giant 12 segment LED ladders for main output and compressor/limiter
  • 6 aux sends with pre/post switching
  • 2 dedicated stereo channels
  • Two dedicated stereo channels
  • 100mm Panasonic faders on all channels, groups, and mains
  • Same physical size as the popular SR24¢4 mixing console
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 & 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:
  • -89 dBu, (ref. +4 dBu, Mic In to Main Out, 24 channels and Main Mix levels at unity)
  • Equivalent Input Noise (E.I.N.), 20Hz to 20 kHz Bandwidth, 150Î 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:
  • 24¢4: -85 dBu (24 channels and Main Mix levels at unity)
Common Mode Rejection Ratio (CMRR)
  • Mic In: >70dB @ 1 kHz, Gain @ maximum
  • Adjacent Inputs: < -95dB @ 1 kHz
  • Input to Output: < -85dB @ 1 kHz
Input Gain Control Range
  • Mic In: 0dB to +60dB
  • Line In: -20dB to + 40dB, mono channels
Phantom Power
  • +48 VDC
  • Mono Channel EQ:
  • High: ±15 dB @ 12 kHz
  • High Mid: ±15dB, sweepable from 400 Hz to 8 kHz
  • Low Mid: ±15dB, sweepable from 100 Hz to 2 kHz
  • Low: ±15dB @ 80 Hz
  • Stereo Channel (Aux Input) EQ:
  • High: ±15dB @ 12 kHz
  • High Mid: ±15dB @ 2.5 kHz
  • Low Mid: ±15dB @ 400 Hz
  • Low: ±15dB @ 80 Hz
Mixer Rated Output
  • Main Outs: +4dBu
  • Aux Send: +4dBu
  • Group Send: +4dBu
  • Monitor Out: +4dBu
  • Matrix Out: +4dBu
  • 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: 90dB
  • Group Out: 80dB
  • Aux Sends: 86dB
  • Monitor Out: 103dB
  • Matrix Out: 105dB
  • Phones Out: 103dB
  • Line Input to:
  • Main Out: 70dB
  • Group Out: 60dB
  • Aux Sends: 66dB
  • Monitor Out: 83dB
  • Matrix Out: 85dB
  • Phones Out: 83dB
  • Stereo Return to:
  • Main Out: 53dB
  • Group Out: 43dB
  • Aux Sends: 49dB
  • Monitor Out: 66dB
  • Matrix Out: 68dB
  • Phones Out: 66dB
Input Impedance
  • Mic Input: 3 kOhms, balanced
  • Mono Channel Line Input: 34 kOhm, balanced
  • Stereo Returns: 20 kOhm, balanced
  • Talkback Mic: 1 kOhm, balanced
Output Impedance
  • Main Out: 100Ohm balanced, XLR outputs, 300Î TRS outputs
  • Direct Out: 300Ohm
  • Group Out: 300Ohm
  • Monitor Out: 300Ohm
  • Matrix Out: 300Ohm
  • Aux Sends: 300Ohm
  • Phones Out: 25Ohm
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:
  • 100 watts
  • Universal AC Power Supply: 100 VAC - 240 VAC, 50-60Hz
Dimensions: (HxWxD):
  • 7.3" x 31.2" x 21.9", 185mm x 792mm x 555mm
  • 39.5 lb./ 17.9kg
Customer Reviews

Review Snapshot

by PowerReviews
MackieOnyx 24.4 Premium 24-Channel Analog Live Sound Mixing Console

(based on 2 reviews)

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(31 of 35 customers found this review helpful)




from Chicago, IL

Comments about Mackie Onyx 24.4 Premium 24-Channel Analog Live Sound Mixing Console:

I have been using the this Onyx 24.4 for a year now. It is absolutely awesome and inexpensive. it handles well under abuse. The Limiter works great when you need an extra boost. I am running it with EV sx300 Speaker and EV 18" subs. I also have a DBX Drive Rack PA and DBX EQ. Gets the Job done and does it great. Easy to operate by inexperience ppl perfect for traveling bands and churches.

(1 of 1 customers found this review helpful)


Mackie Onyx24.4 Very nice, but...

By Wayne Perlich

from Sylmar, Ca.

Comments about Mackie Onyx 24.4 Premium 24-Channel Analog Live Sound Mixing Console:

Let me say 2 things upfront: 1.) I will not comment on the sonic aspect because our configuration masks how well the board performs. 2.) I bought a refurbished unit and it is in excellent condition, everything users manual though. I have used the board twice now, and, very easy to run. The good: Very well constructed, nicely layed out, a lot of features and options. > 6 aux sends, each may be pre / post fader. > 6x2 matrix: oooh, more sends! > There are 2 stereo channels, but now switches for split trax. Just pull out the right side input and the left goes mono. That works! > There are 2 stereo returns. That means you could run as many as four separate trax feeds. For those programs where the director has you flipping thru CDs, this is nice. Or, gives you 1 or 2 channels for background music. These can be assigned to aux sends, but not all individually: 1 or 2, 3 or 4, and main. (At least, that's my understanding.) > "British" EQ -- two sweepable mid's. This is a must, and these work fine. The not so good (but not bad): > I love mute groups, but, typical of 24ch boards and smaller, there is none. > This has 4, mutable groups. Seems like a good idea, except it doesn't mute any of the aux sends. You still have to mute each channel to do that. > Each aux send has it's own mute. Seems like a good idea, but, not really. If you have multiple vocal groups sharing same monitor, then, muting the aux master doesn't help. If helps if you want to mute background music from the aux's. That helps if your CD player is doubling for both program and background music. I'd get a 2nd player for background and not bother with aux sends. > Built-in compressor. Ah! Excellent! Well, may be not. It's just a single compressor, so, it can be assigned to either main outs, groups 1,2, or groups 3,4. It has a dedicated auto-gain function. If, you turn the threshold down to start earlier compression, the auto-gain gives you a post compression gain boost. Think expander. I find this feature particularly annoying. The compressor itself works fine. I ended up sending individual (solos) vocals to grp 4, and applying compression. That seems to work OK. > DC/tape input. Yes, there is another input! This could be useful for background music. There is a Break switch used to enable this input. It forces bypassing of all other inputs so you don't have to worry about muting them. Seems like a good idea until someone needs to make a surprise announcement (live is predictable, right?). Now, you have to a.) un-break, b.) enable desired mike. But, this "rudely" kills the background music, rather than just allowing you to fade it back a little. I find this weakly useful, and personally, don't use it. A stereo return is much more effective for this function. Summary: The board is well constructed, everything works as designed and works well. Having British EQ and all of the input/outputs make this board worth having. The other features: compressor, mutable aux sends, cd/track input are fluff, that have limited usefulness. I would have prefer true group mutes that mute individual channels assigned to a group including their aux sends. Thus, the board itself deserves a 5, but architecturally, it gets a 3, thus, averaged rating is a 4.

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