CFX MKII Series Owner`s Manual
CFX MKII Series
owner’s manual
12, 16, AND 20-CHANNEL
Mic/Line MIXERS
WITH Digital Effects
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
MIC 3
MIC 2
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
FOR USE AS AN EFFECTS LOOP
(TIP = SEND, RING = RETURN)
MIC 4
MIC 5
MIC 7
MIC 6
MIC 8
STEREO EFX
RETURN
L
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
L
L
R
R
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
(MONO)
(MONO)
9
11
ZERO
ZERO
LEVEL
5
+50
-15dB +30dB
AUX
U
AUX
U
1
OO
1
+15
U
OO
LEFT
LEFT
RIGHT
RIGHT
10
12
+15
+15
OO
(EXT)
(EXT)
OO
+15
OO
+15
OO
OO
OO
+15
OO
+15
(EXT)
(EXT)
OO
OO
EFX
EFX
(INT)
(INT)
+15
OO
OO
EQ
U
HI
12k
-15
-15
+15
U
1.5k FREQ
8k
100
U
-15
100
U
-15
+15
8k
-15
100
-15
PAN
8k
100
-15
PAN
8k
1.5k FREQ
100
-15
PAN
100
U
-15
+15
PAN
-15
U
LOW
80Hz
-15
PAN
-15
PAN
OO
U
-15
+15
U
-15
L
MUTE
L
1-2
5
1-2
5
3-4
L
1-2
5
3-4
L
1-2
5
3-4
L
1-2
5
3-4
L
1-2
5
3-4
L
PAN
1-2
5
3-4
L
1-2
5
3-4
1-2
5
3-4
8K
10
RATE
R
SUB
ASSIGN
dB
10
1-2
5
3-4
16K
PHANTOM POWER
48v
U
POWER
+15
OO
+15
+20
OO
EFX
AUX 1
AUX 2
EFFECTS TO MONITOR
U
10
SUB
ASSIGN
dB
10
LEFT
5
0
4
RIGHT
3-4
0
LEFT
7
10
20
10
0dB=0dBu
DAMPING
SUB
3
SUB
ASSIGN
dB
10
LEFT
5
RIGHT
RUDE
SOLO
OO +10
UTILITY OUT LEVEL
DEPTH
2
5
2
ZERO
LEVEL
SET
30
BYPASS
ASSIGN
dB
10
2
BREAK SWITCH
(MUTES ALL CHANNELS)
NORMAL
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
1
4
OO +20
TAPE LEVEL
4
STEREO
STEREO
MAIN
MAIN MIX
MIX
ASSIGN
dB
10
LEFT
5
RIGHT
dB
10
5
RIGHT
U
U
U
U
U
U
U
U
U
U
U
U
U
U
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
30
SOLO
PFL
40
50
60
OO
SOLO
PFL
STATUS
22
7
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
WIDE
CLIP
1 RETURN
MAX
PHONES LEVEL
U
MUTE
ASSIGN
dB
10
4K
OO
11-12
MUTE
ASSIGN
dB
10
L
OO
EFX
PAN
R
9-10
MUTE
ASSIGN
dB
10
R
8
MUTE
ASSIGN
dB
10
R
7
MUTE
ASSIGN
dB
10
R
6
MUTE
ASSIGN
dB
10
R
5
MUTE
ASSIGN
dB
10
R
4
MUTE
ASSIGN
dB
10
R
3
MUTE
ASSIGN
dB
10
R
2
2K
U
+15
TIME
R
1
1
+15
OO
TO MAIN MIX
NORMAL
0
L
U
REVERSE
GATED
CATHEDRAL
LG. HALL
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
+15
U
LOW
80Hz
+15
+15
EFX 2
SEND
LOW
MID
400Hz
+15
U
PAN
1K
LEFT RIGHT
+15
U
LOW
80Hz
+15
500
STEREO GRAPHIC EQ
EFX 2 (INT) RETURN MASTERS
U
HI
MID
3k
-15
+15
U
LOW
80Hz
+15
-15
LOW
MID
400Hz
8k
250
HI
12k
+15
U
1.5k FREQ
125
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
CLIP
EQ
HI
MID
3k
-15
+15
600
150
8k
LOW
80Hz
+15
-15
+15
U
15–
DIGITAL STEREO EFFECTS PROCESSOR
+15
U
HI
12k
MID
-15
+15
600
U
LOW
80Hz
+15
-15
+15
U
150
OO
EQ
–15
63
2
+15
U
HI
12k
MID
-15
+15
600
1.5k FREQ
U
LOW
80Hz
+15
-15
+15
U
150
OO
EQ
U
HI
12k
MID
-15
+15
600
1.5k FREQ
U
LOW
80Hz
+15
-15
2
+15
OO
EQ
U
HI
12k
+15
U
150
+15
OO
EQ
MID
-15
+15
600
100
U
PAN
-15
1.5k FREQ
+15
U
HI
12k
+15
U
150
8k
LOW
80Hz
OO
EQ
MID
-15
+15
600
1.5k FREQ
+15
U
HI
12k
+15
U
150
8k
LOW
80Hz
OO
EQ
MID
-15
+15
600
150
+15
U
HI
12k
MID
-15
1.5k FREQ
+15
OO
EQ
U
2
5
10
+15
OO
EFX
(INT)
2
5
0
10
1
+15
U
EFX
(INT)
10
(EXT)
(EXT)
+15
U
EFX
(INT)
15+
EFX
U
1
EFX
EQ
PHONES
5
+15
OO
EFX
(INT)
2
75Hz
SUB OUT
SUB OUT
5
2
U
1
EFX
2
S
0
+15
U
PRE FADER
EFX
+15
U
OO
OO
(INT)
2
4
10
1
+15
U
EFX
2
2
R
+15
AUX
U
2
U
1
+15
U
OO
OO
EFX
(EXT)
+15
U
+15
U
PRE FADER
U
1
(EXT)
+15
U
+15
OO
EFX
1
2
EFX
AUX SEND
1
2
PRE FADER
U
EFX
(EXT)
+15
U
OO
2
PRE FADER
U
1
+15
U
OO
AUX
U
(INT)
+15
600
-15
(EXT)
2
+15
U
100
OO
1
3
FOOT
SWITCH
MASTER SEND
1
2
PRE FADER
EFX
1
GAIN
AUX
U
EFX
+15
150
+15
U
1
+20
-20
GAIN
AUX
U
+15
U
OO
R
11/12
(INT)
MID
-15
OO
1
+15
U
OO
+15
U
+20
-20
GAIN
1
2
PRE FADER
EFX
1
+15
U
OO
U
EFX
HI
12k
-15
+15
U
EFX
(EXT)
OO
+15
U
9/10
U
(INT)
2
U
OO
1
2
PRE FADER
U
1
+15
U
OO
+15
OO
EFX
1
OO
2
PRE FADER
U
EFX
+15
U
2
PRE FADER
U
OO
OO
1
R
R
LOW CUT
100 Hz
AUX
U
8
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
U
L
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
U
1
+15
U
OO
2
PRE FADER
AUX
U
1
+15
U
2
OO
AUX
U
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
7
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
6
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
3
U
IC GAIN
M
LAMP
12V 0.5A
L
L
UTILITY OUT
2
U
IC GAIN
M
MAIN OUT
MAIN OUT
L
BAL/UNBAL
LINE IN
1
U
IC GAIN
M
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
R
1
2
BAL/UNBAL
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
OPTIONAL USES FOR INSERTS
120 VAC, 50/60 Hz,
35 WATTS
MIC 1
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • THE FOLLOWING ARE TRADEMARKS OR
REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE • PATENT PENDING • COPYRIGHT ©2004
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
ON
MANUFACTURING DATE
SERIAL NUMBER
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
STEREO
PLUG
MONO PLUG
POWER
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
CAUTION
CFX12
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
U
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions. 12. Use only with a cart, stand, tripod, bracket, or table specified by
the manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
13. Unplug this apparatus during lightning storms or when unused for
long periods of time.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly
at plugs, convenience receptacles, and the point where they exit from
the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
CAUTION
AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
14. Refer all servicing to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way, such as
power-supply cord or plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has been exposed to rain
or moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases, shall be placed on the apparatus.
16. This apparatus has been designed with Class-I construction and
must be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
17. This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and should
remain readily accessible to the user.
18. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as set
out in the radio interference regulations of the Canadian Department of
Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement
sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
19. Exposure to extremely high noise levels may cause permanent
hearing loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified the
permissible noise level exposures shown in the following chart.
Duration Per Day Sound Level dBA, Typical
In Hours
Slow Response
Example
8
90
Duo in small club
6
92
4
95
Subway Train
3
97
2
100
Very loud classical music
1.5
102
1
105
Tami screaming at Adrian about deadlines
0.5 110
0.25 or less
115
Loudest parts at a rock concert
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially danger-
INTRODUCTION
Thank you for choosing a Mackie CFX MKII
mixer! These compact live-sound mixers are
designed to meet the sound reinforcement
needs of almost any small to medium-sized
club, meeting room, sanctuary, or outdoor gathering.
Here’s a quick glance at all the features
you’ve acquired:
8, 12, or 16 mono channels, with:
• Variable input gain (+5 to +50 dB mic, –15 to +30 dB line)
• Phantom power (globally switched)
• Zero Level gain setting indicator LED
• Switchable 100 Hz low-cut filter
• TRS insert jack
• 2 pre/post-fader aux sends
• 2 post-fader effects sends
• 3-band mid-sweep EQ
• Pan, mute, and 1-2/3-4 busing
• PFL solo
• 60mm mono fader
2 stereo line channels, with:
• Variable input gain (–20 to +20 dB)
• 2 pre/post-fader aux sends
• 2 post-fader effects sends
• 4-band EQ
• Pan, mute, and 1-2/3-4 busing
• PFL solo
• 60mm stereo fader
Comprehensive master section, with:
• Four 60mm submix mono faders
• Separate Left and Right assign for each
sub
• 60mm main mix stereo fader
• TRS insert jacks for main mix
• Balanced XLR stereo main outputs
• Balanced XLR mono subwoofer output
• 12-segment stereo LED metering
• Mackie’s (in)famous Rude Solo Light
• 9-band stereo graphic EQ (main mix)
• EMAC™ 32-bit digital stereo effects with
footswitch jack
• 2 aux sends with master level controls
• 2 effects sends with master level controls
• Level controls for stereo effect returns
• Break switch for ‘worry-free’ intermissions
• RCA tape out
• RCA tape in with stereo level control
• Headphone output with level control
• Utility out with level control
• 12V BNC lamp socket
ABOUT THIS MANUAL
Absolutely most important page:
Before you start engineering, please read
the “Quick Start” section on page 5. It’s a list
of steps that will familiarize you with the CFX
mixer and help you set up a basic performance.
About those blue numbers:
You’ll notice numbers in blue circles, like
. Every feature on the CFX mixer has
this:
one of these numbers assigned to it. Whenever
a feature is mentioned, described or illustrated,
its number will be right next to it.
Please write your serial number here for
f­ uture reference (i.e., insurance claims, tech
support, return authorization, etc.):
Purchased at:
Date of purchase:
Part No. SW0585 Rev. B 01/08
©2004-2008 LOUD Technologies Inc. All Rights Reserved.
CONTENTS
IMPORTANT SAFETY INSTRUCTIONS.......................... 2
INTRODUCTION.......................................................... 3
ABOUT THIS MANUAL................................................ 3
QUICK START.............................................................. 5
APPLICATIONS DIAGRAMS......................................... 6
PATCHBAY FEATURES.................................................. 8
MIC .................................................................... 8
LINE IN ............................................................... 8
INSERT ............................................................... 8
EFFECTS: SERIAL OR PARALLEL?.......................... 9
STEREO LINE IN .................................................. 9
MAIN OUT .......................................................... 9
SUBWOOFER OUT .............................................. 9
MAIN INSERT ..................................................... 9
UTILITY OUT...................................................... 10
SUB OUT . ......................................................... 10
AUX SEND ......................................................... 10
EFX SEND ......................................................... 10
STEREO EFX RETURN ......................................... 10
TAPE INPUT ....................................................... 11
TAPE OUTPUT .................................................... 11
PHONES ............................................................ 11
EFX FOOT SWITCH ............................................. 11
LAMP ................................................................ 11
AC POWER INPUT ............................................. 11
POWER SWITCH
POWER STATUS . ...............11
CHANNEL STRIP FEATURES....................................... 12
PHANTOM POWER . .......................................... 12
GAIN ................................................................. 12
ZERO LEVEL ....................................................... 12
LOW CUT ........................................................... 12
AUX .................................................................. 12
PRE FADER ........................................................ 13
EFX 1 (EXT) ....................................................... 13
EFX 2 (INT) ........................................................ 13
EQ .................................................................. 13
PAN .................................................................. 14
MUTE . ............................................................... 14
ASSIGN ............................................................. 14
FADER ............................................................... 14
SOLO PFL . ......................................................... 14
MASTER SECTION FEATURES..................................... 15
MAIN MIX FADER .............................................. 15
METERS ............................................................. 15
RUDE SOLO ....................................................... 15
STEREO GRAPHIC EQ ......................................... 15
TAPE LEVEL ........................................................ 16
BREAK SWITCH ................................................. 16
PHONES LEVEL .................................................. 16
UTILITY OUT LEVEL ............................................ 16
SUB FADERS ...................................................... 16
LEFT/RIGHT SUB ASSIGN .................................. 16
AUX MASTER SEND .......................................... 17
EFX 1 MASTER SEND ......................................... 17
EFX 1 RETURN . ................................................. 17
EMAC EFFECTS PROCESSOR ............................... 17
EFX 2 SEND ....................................................... 17
TO MAIN MIX..................................................... 17
EFFECTS TO MONITOR........................................ 18
PRESET SELECT .................................................. 18
Preset Effects Descriptions................................. 18
TIME/RATE ....................................................... 19
DAMPING/DEPTH ............................................ 19
WIDE ................................................................. 19
BYPASS ............................................................. 19
CLIP .................................................................. 19
GENERAL PRECAUTIONS AND CONSIDERATIONS......20
APPENDIX A: Service Info ........................................ 20
Troubleshooting.................................................. 20
Repair................................................................ 21
APPENDIX B: Technical Info ...................................... 21
SpecificationsCFX12, CFX16, CFX20 MKII.....21
Block DiagramCFX MKII Series...........................22
CFX MKII SERIES LIMITED WARRANTY.....................23
Don’t forget to visit our website at www.mackie.com for more information about this and other Mackie products.
QUICK START
1
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
We know you can’t wait to
get the show on the road.
Who has time to read a
booooring manual? That’s
fine — the CFX MKII
mixer is designed to set up
quickly and operate intuitively — but please,
READ THIS PAGE!
AUX
U
1
1
OO
+15
U
OO
+15
U
2
2
+15
OO
EFX
10
15–
125
250
500
1K
4K
8K
DIGITAL STEREO EFFECTS PROCESSOR
2
+15
EQ
PHANTOM POWER
EFX 2 (INT) RETURN MASTERS
CLIP
U
U
U
48v
U
U
POWER
HI
12k
-15
+15
U
OO
8k
U
LOW
80Hz
-15
OO
+15
OO
+15
10
TIME
RATE
R
1
1
SUB
MUTE
DOWN
1-2
3-4
UP
U
WIDE
7
1
SUB
dB
10
LEFT
5
5
RIGHT
U
0
0
BREAK SWITCH
7
ZERO
LEVEL
SET
10
20
10
SUB
0dB=0dBu
dB
10
RUDE
SOLO
+10
UTILITY OUT LEVEL
OO
3
SUB
ASSIGN
4
STEREO
STEREO
MAIN
MAIN MIX
MIX
ASSIGN
dB
10
LEFT
5
RIGHT
U
2
4
DEPTH
2
LEFT
2
(MUTES ALL CHANNELS)
DAMPING
ASSIGN
dB
10
4
30
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
ASSIGN
ASSIGN
5
10
OO MAX
PHONES LEVEL
U
0
22
U
NORMAL
EFX
CLIP
1 RETURN
+20
OO
TAPE LEVEL
+15
L
+20
OO
EFX
AUX 1
AUX 2
EFFECTS TO MONITOR
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
NORMAL
PAN
dB
10
+15
OO
TO MAIN MIX
REVERSE
GATED
CATHEDRAL
LG. HALL
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
1.5k FREQ
100
+15
EFX 2
SEND
+15
600
150
LEFT
5
RIGHT
U
dB
10
5
RIGHT
U
U
5
5
5
5
5
5
10
10
10
10
10
10
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
40
50
60
STATUS
LEFT RIGHT
MID
-15
16K
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
EFX
SOLO
PFL
OO
MAKE THE CONNECTIONS:
1. Connect your amp’s outputs to your
speaker inputs (unless, of course, you have
powered monitors).
2. Plug all the sound system components into
suitable AC outlets, properly grounded and
capable of delivering adequate current.
3. Using XLR or TRS cables, make connections from your mixer’s MAIN OUT to your
amplification system’s line inputs.
4. Make connections from your microphones
and instruments to the mixer: Connect
balanced microphones to the mono channel
MIC jacks. (For condenser microphones,
engage the PHANTOM POWER switch,
located just above the meters.) Connect
line-level instruments (synthesizers, guitar
effects, direct boxes) to the mono or stereo
channel LINE IN TRS jacks.
5. Turn all the power switches on, leaving the
amplifier’s switch for last.
6. Turn up the MAIN MIX Fader to the “–30” label, for now. We’ll crank it up later on.
7. Turn up SUB Faders 1 and 2 to unity gain
(“U” label).
2K
STEREO GRAPHIC EQ
+15
OO
(INT)
1. Turn everything off, including the mixer’s
POWER switch and PHANTOM POWER
switch.
2. Channel strip GAIN, AUX, EFX, and Fader
down.
3. STEREO GRAPHIC EQ sliders centered.
4. MASTER AUX and EFX SENDS, and EFX
RETURNS down.
5. Channel strip EQ and PAN controls centered.
6. Channel strip ASSIGN 1-2 and MUTE
switches down.
7. Channel strip LOW CUT, PRE FADER, and
ASSIGN 3-4 switches up.
8. SUB 1 ASSIGN LEFT, SUB 2 ASSIGN
RIGHT down; all other SUB ASSIGN
switches up.
9. MAIN MIX and SUB Faders down.
5
10
–15
(EXT)
+15
U
U
0
5
1
1
ZERO THE CONSOLE:
5
0
63
(EXT)
OO
10
5
EFX
U
U
15+
10
+15
OO
PRE FADER
OO
+15
MASTER SEND
AUX
U
SET THE LEVELS:
1. Choose one of the microphones or instruments you connected. Make some noise. If
it’s a microphone, sing at your normal singing volume. If it’s a synthesizer, play it at its
normal output level.
2. While making noise, turn up that channel’s
GAIN until the adjacent ZERO LEVEL starts
blinking.
3. Disengage (up) that channel’s MUTE.
4. Raise that channel’s fader to unity gain
(“U” label). You should be hearing your
noise now.
5. If necessary, apply channel EQ changes.
(You may need to compensate for level
changes with the channel fader.)
6. Repeat steps 1 through 5 for the remaining
active channels.
7. Stop making noise. Everyone: start making
music.
TWEAK THE MIX:
KNOW THESE THINGS:
1. Engage MUTE on all channels except your
rhythm section (drums & bass).
2. Adjust the rhythm section’s channel faders
to get a good balance of levels.
3. Un-mute the other active channels and
adjust their faders.
4. Now that you have a rough mix going, turn
up the MAIN MIX Fader to a comfortable
listening level.
5. If the overall mix has an equalization
problem, make adjustments to the STEREO
GRAPHIC EQ. If an individual channel is
the problem, use its EQ instead.
6. Using channel EFX 2 (INT) and the EMAC
EFFECTS PROCESSOR, experiment with
adding some effects.
7. Depending on how much time you’ve got,
keep tweaking. Walk the room to see how it
sounds away from your mixer. Keep tweaking.
• Never listen to loud music for prolonged
periods. Please see “Safety Instructions” on
page 2 for information on hearing protection.
• Never plug amplifier outputs into anything
except speakers.
• Never use guitar cables to connect amplifiers to speakers.
• Before making connections to an external
amp or reconfiguring an amp’s routing,
turn the amp’s level (gain) controls down,
turn the power off, make the changes, turn
the power back on, and then turn the level
controls back up.
• When you shut down your equipment,
turn off any external amplifiers first. When
powering up, turn on the amplifiers last.
• Save the shipping box and packing material! You may need them someday, and you
probably don’t want to have to pay for that
again.
APPLICATIONS DIAGRAMS
Keyboard, or other line-level input
Left PA Speaker
Right PA Speaker
Stereo
Compressor
Drum
Machine
Guitar Effects
Stereo
Power Amplifier
5
1
2
3
6
7
8
9
11
10
12
4
CHANNEL INSERTS
SUB OUT
2
3
4
5
6
MAIN OUT
75Hz
L
7
8
1
2
BAL/UNBAL
1
2
L
R
L
R
BAL/UNBAL
2
3
R
MAIN
INSERT
BAL/UNBAL
BAL/UNBAL
1
L
UTIL OUT
SUB OUTS
2
1
R
MAIN OUT
R
AUX SENDS EFX SENDS STEREO EFX RETURNS
BAL/UNBAL
CD Player
L
CHANNEL INPUTS
1
in
out
Keyboard, or other line-level input
in
out
Stereo EQ
4
L
L
L
R
R
TAPE
OUT
TAPE
IN
PHONES
OUT
R
Digital Delay
Mono in / stereo out
Reverb
Stereo Compressor
Stereo Compressor
Stereo EQ
Stereo
Power Amplifier
CFX12 MKII — Small Club Gig
Stage Monitor
Stage Monitor
Subwoofer
Keyboard, or other line-level input
CFX16 MKII — Large Club Gig or Auditorium
using a Subwoofer
Keyboard, or other line-level input
Mono
Power Amplifier
Drum
Machine
Left PA Speaker
Right PA Speaker
in
out
Stereo
Compressor
Guitar Effects
in
out
Stereo EQ
Direct Box
Guitar Effects
Mono
Power Amplifiers
CD Player
5
1
2
3
6
7
8
9
10
11
13
12
15
14
16
SUB OUT
CHANNEL INPUTS
CHANNEL INSERTS
1
2
3
4
5
6
BAL/UNBAL
7
8
MAIN OUT
75Hz
1
2
BAL/UNBAL
1
L
L
R
2
1
R
3
MAIN OUT
R
BAL/UNBAL
L
4
L
L
R
R
TAPE
OUT
TAPE
IN
R
MAIN
INSERT
BAL/UNBAL
UTIL OUT
BAL/UNBAL
2
1
2
L
SUB OUTS
AUX SENDS EFX SENDS STEREO EFX RETURNS
L
R
L
4
PHONES
OUT
R
Digital Multitrack Recorder
Optional Live Recording
Digital Delay
Stereo Compressor
Mono in / stereo out
Reverb
Stereo Compressor
Mono EQ
Mono EQ
Subwoofer
Keyboard, or other line-level input
Mono Power Amplifiers
Keyboard, or other line-level input
Stage Monitor
Mono
Power Amplifier
Drum
Machine
Wireless
Microphone
Receivers
Left PA Speaker
Right PA Speaker
Stereo
Compressor
Guitar Effects
in
out
Stereo EQ
Direct Box
in
out
Stage Monitor
Guitar Effects
Stereo
Power Amplifier
7
1
2
3
4
5
8
9
10
11
13
12
14
15
17
16
19
18
20
L
6
SUB OUT
CHANNEL INPUTS
CHANNEL INSERTS
1
2
3
4
5
6
75Hz
BAL/UNBAL
7
8
1
2
BAL/UNBAL
1
2
R
L
1
R
BAL/UNBAL
BAL/UNBAL
2
1
L
UTIL OUT
SUB OUTS
AUX SENDS EFX SENDS STEREO EFX RETURNS
2
3
4
L
MAIN OUT
L
R
CD Player
L
R
MAIN OUT
BAL/UNBAL
R
MAIN
INSERT
L
L
R
R
TAPE
OUT
TAPE
IN
PHONES
OUT
R
Cassette or DAT Recorder
Digital Delay
Stereo Compressor
Mono in / stereo out
Reverb
Stereo Compressor
Mono EQ
CFX20 MKII — Church Sound Reinforcement
with Separate Utility Mix
Mono
Power
Amplifier
Stereo EQ
Stereo EQ
Stereo
Power
Amplifier
Stereo
Power
Amplifier
Assistive Listening
Transmitter
Cry Room
Stage Monitor
Nursery
Left
Chapel
Right
PATCHBAY FEATURES
At the risk of stating the obvious, this is
where you plug everything in: microphones,
line-level instruments, effects, headphones
and the ultimate destination for your sound:
PA system, tape recorder, etc.
1
SHIELD
COLD
2
HOT
XLR BALANCED WIRING
RING
(COLD)
TIP
(HOT)
SLEEVE
(SHIELD)
TRS BALANCED WIRING
TIP
(HOT)
SLEEVE
(SHIELD)
The CFX MKII mixer is equipped with rugged,
low noise, phantom-powered microphone preamplifiers, providing up to 50 dB of crystal-clear
amplification. Their balanced circuitry rejects all
manner of extraneous interference. Professional
condenser, dynamic, and ribbon mics will all
sound excellent through these XLR inputs.
You can plug in almost any kind of balanced
mic that has a standard XLR-type male mic
connector.
LINE IN
The line inputs share circuitry (but not
phantom power) with the mic preamps, and
can be driven by balanced or unbalanced
sources at almost any level. You can use these
TRS inputs for virtually any signal you’ll come
across, from –25 dBu up to +38 dBu.
TS UNBALANCED WIRING
tip
ring
SEND to processor
sleeve
“tip”
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
MIC
3
These unbalanced jacks are configured thusly:
“ring”
RETURN from processor
Tip = Send (to effects device input)
Ring = Return (from effects device output)
Sleeve = Common ground (connect shield to all three sleeves)
Specialty “Y” cables, developed just for these
jacks, are widely available.
Besides being used for inserting external devices, these jacks can also be used as channel
direct outputs; post-GAIN, post-LOW CUT, and
pre-EQ. Here are three ways you can use the
channel INSERT jacks:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click”
INSERT
This is where you connect serial effects
such as compressors, equalizers, de-essers or
filters. The send is low-impedance (150 ohms),
capable of driving any line-level device. The
return is high-impedance (10k ohms) and can
be driven by almost any device.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effects)
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
L
STEREO EFX
RETURN
1
2
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
(MONO)
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
9
LEFT
RIGHT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
10
EFFECTS: SERIAL OR PARALLEL?
MAIN OUT
Effects devices are used
either in serial or in parallel:
“Serial” means that
the entire signal is routed
through the effects device.
Examples: preamps, compressor/limiters,
graphic equalizers.
“Parallel” means that a portion of the signal
is tapped off to the device (usually via a mixer’s
aux send), processed and returned (usually
via a mixer’s aux return), to be mixed with
the original “dry” signals. Multiple signals (via
multiple mixer channels) can all make use of
the same parallel effects device. Examples: reverb, digital delay, chorus. See diagrams below.
Serial Device
Insert
Send
Insert
Return
Signal Processor
(e.g., Compressor)
Dry Signal
Processed
Signal
Parallel Device
Aux
Send
Aux
Return
Signal Processor
(e.g., Reverb)
Output
Section
Mix
Stage
Channel Path
Processed
Signal
Dry Signal(s)
STEREO LINE IN
These balanced inputs are designed for stereo or mono, balanced or unbalanced signals,
from –20 dB to +20 dB. These TRS inputs can
be used with just about any professional or
semipro instrument, effect or tape player.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input
and plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
MIC 8
L
STEREO EFX
RETURN
1
1
The CFX MKII mixer has an integrated
mono-summing 75 Hz 3rd-order low-pass filter.
signals,
It taps the left and right MAIN OUT
mixes them into a mono signal, then removes
all but the deepest bass information. Patch
this balanced XLR output to a high-powered
mono-summed amp and subwoofer (or an active subwoofer), and the music police will be
right over.
With nothing plugged into these jacks, the
mix signal goes from the mix amp straight
Faders . But
through to the MAIN MIX
when you plug a serial device into these jacks,
the mix leaves the mixer, goes through the device and back into the mixer’s main mix faders.
If you want to send your main mix through a
compressor/limiter or similar device, these are
the jacks for you. Since the insert is before the
mix faders, moving the fader will not alter the
signal strength sent to the compressor, thereby
preserving its compression characteristics.
These unbalanced jacks are configured the
same as the channel strip insert jacks. See
page 8 for wiring and usage information.
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
R
SUBWOOFER OUT
MAIN INSERT
Wet Signal
Dry Signal(s)
Coming in two flavors, XLR and TRS, the
main output represents the end of the mixer
chain, where your fully mixed and enhanced
stereo signal enters the real world.
The XLR balanced outputs will add 6 dB
when connected to balanced inputs, thereby
elevating signal from the noise floor by that
amount.
The TRS balanced outputs offer the advantage of having no 6 dB level change to deal with,
while still providing extraneous noise rejection.
MAIN OUT
L
L
L
2
R
R
R
EFX
BAL/UNBAL
(MONO)
IN
ERT
LINE IN
INSERT
1
(MONO)
9
11
LEFT
LEFT
RIGHT
RIGHT
10
12
LAMP
12V 0.5A
L
R
2
MAIN OUT
L
1
3
R
L
FOOT
SWITCH
2
2
UTILITY OUT
AUX SEND
4
S
R
SUB OUT
75Hz
SUB OUT
PHONES
6
NE IN
NSERT
EFX SEND
UTILITY OUT
RING
(COLD)
TIP
(HOT)
SLEEVE
(SHIELD)
TRS BALANCED WIRING
TIP
(HOT)
The stereo signal at these TRS jacks is the
, but with one
same as at the MAIN OUT
important difference:
, the mix
After the MAIN MIX Fader
is sent through the UTILITY OUT LEVEL control, allowing you to set levels as desired
without disturbing the main mix level.
SUB OUT
SLEEVE
(SHIELD)
TS UNBALANCED WIRING
In live sound applications, these TRS jacks
can be patched into one or two stereo amplifiers, thereby allowing you to control levels
.
independently via the SUB Faders
to
Alternatively, use the MAIN OUT
feed the amplifiers and one stereo SUB OUT
pair to feed a recorder.
In studio applications, these outputs can be
used as four separate paths to feed four tracks
of a multitrack recorder.
and SUB ASSIGN
for
See ASSIGN
more information.
The signal at these TRS outputs is postfader only, so they cannot be used as traditional
stage monitor cues. They’re intended to patch
into effects device inputs; hence the name
“EFX.” See EFX 1 (EXT) and EFX 2 (INT) for more information.
Note: The EFX 2 signal path also feeds the
CFX mixer’s internal EMAC EFFECTS PROCESSOR
inputs. If you’re using EMAC and
just one outboard processor, patch that processor via EFX SEND 1 for independent control of
the effects send level.
We recommend going into a stereo reverb in
mono and returning in stereo. We have found
that on most “stereo” reverbs the second input
just ties up an extra EFX send and adds nothing to the sound. There are exceptions, so feel
free to try it both ways. If your effects device is
true stereo all the way through, use EFX SEND
1 to feed its left input and EFX SEND 2 to feed
the right input.
STEREO EFX RETURN
AUX SEND
To create a stage monitor mix, with levels
set independently from the main mix, patch
these TRS jacks into your monitor amplifier
inputs. These jacks can also be used to feed the
inputs of an effects device.
and PRE FADER
for more
See AUX
information.
MIC 7
MIC 8
L
STEREO EFX
RETURN
1
1
L
MAIN OUT
L
2
R
LINE IN
INSERT
LINE IN
R
R
INSERT
1
(MONO)
9
11
LEFT
LEFT
RIGHT
RIGHT
10
12
EFX
1
3
R
L
FOOT
SWITCH
2
2
AUX SEND
4
S
R
UTILITY OUT
10
LAMP
12V 0.5A
L
BAL/UNBAL
(MONO)
MAIN OUT
L
L
R
2
BAL/UNBAL
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
R
Patch the outputs of external parallel effects devices to these inputs.
Note: The EFX 2 return signal is combined
with the signal from the CFX mixer’s internal
EMAC EFFECTS PROCESSOR . If you’re
using EMAC and just one outboard processor,
patch the outboard processor via EFX 1 RETURN
for independent control of the effects return
level.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input
and plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
SUB OUT
75Hz
SUB OUT
PHONES
TAPE INPUT
EFX FOOT SWITCH
Patch the outputs of your intermission entertainment here. Any line-level mono or stereo
device can be used: tape, CD player, television
audio, etc. See BREAK SWITCH for more
information.
When connecting a mono device (just one
cord), you’ll need a “Y-splitter” RCA adapter.
It turns a mono output cord into two cords; so
both the left and right tape input jacks can be
patched. This adapter is widely available.
TAPE OUTPUT
Use these jacks to capture the entire performance to tape. The signal at these jacks is
the main mix, after the MAIN INSERT but
before the MAIN MIX Fader . The main mix
signal will be present at these jacks regardless
of the position of the MAIN MIX Fader.
PHONES
The stereo signal at these jacks is the same
as at the MAIN OUT , but with two important differences:
After the MAIN MIX Fader , the mix is
sent through the PHONES LEVEL control,
allowing you to set levels as desired, without
disturbing the main mix level.
When a channel’s SOLO PFL is engaged,
the main mix signal at this output will be replaced by the solo signal, allowing the engineer
to audition channels without disturbing the
main mix.
The stereo PHONES jack will drive any
standard headphones to very loud levels. Walkperson-type phones can also be used with an
appropriate adapter.
Note: Please see the “Safety Instructions” on
page 2 for information on hearing protection.
You can connect a normally-open foot switch
to this connector to duplicate the function of
switch, located in the EMAC
the BYPASS
EFFECTS PROCESSOR
. Closing the switch
connection causes the EFX BYPASS indicator
to light and mutes the effects.
Note: When a foot switch is plugged into
the FOOT SWITCH jack, the BYPASS switch is
disabled.
Just like the BYPASS switch, this affects
only the internal EMAC EFFECTS PROCESSOR and not any device plugged into STEREO
EFX RETURN 2
.
120 VAC, 50/60 Hz,
35 WATTS
TRS HEADPHONE WIRING
TIP
(HOT)
This BNC-type connector will accept almost TS FOOTSWITCH WIRING
any of the widely available 12VDC 0.5 amp
gooseneck lamps, made by Littlite® and others.
If your work involves mixing in the back of dark
theaters, this lamp will likely become your best
friend.
AC POWER INPUT
This IEC Socket is where you connect the
supplied AC linecord to provide AC power to
the CFX mixer. Plug the cord into a suitable AC
outlet, properly grounded and capable of delivering adequate current.
If you happen to lose the AC linecord,
replacements are available at any office/computer supply store.
POWER SWITCH
POWER STATUS
The POWER switch is located on the
rear panel, adjacent to the AC Power Input
. Push the side of the switch labeled “ON” to
turn the mixer on; you should see the POWER
STATUS
LED glow in confirmation. To turn
the mixer off, push the switch the other way.
(Let’s all say a big collective “Duh.”)
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
48v
ON
TIP
SLEEVE
(GROUND)
CFX12
POWER
TIP SLEEVE
RING
(RIGHT)
TIP
(LEFT)
SLEEVE
(SHIELD)
LAMP
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
MONO PLUG
SLEEVE
STEREO
PLUG
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP
(TIP = SEND, RING = RETURN)
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
STATUS
LEFT RIGHT
CLIP
MAN
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • THE FOLLOWING ARE TRADEMARKS OR
REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE • PATENT PENDING •
POWER
OPTIONAL USES FOR INSERTS
SERIAL NUMBER
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
22
10
7
4
2
0
2
4
11
1
U
IC GAIN
M
CHANNEL STRIP FEATURES
ZERO
PHANTOM POWER
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
U
1
OO
+15
U
OO
+15
2
PRE FADER
U
EFX
1
(EXT)
OO
+15
U
EFX
2
(INT)
+15
OO
EQ
U
HI
12k
-15
+15
U
MID
-15
+15
600
1.5k FREQ
150
100
8k
U
LOW
80Hz
-15
+15
PAN
L
R
Ha! We tricked you! The phantom power
switch is not located in the channel strip section at all! It’s way over on the right side of the
mixer (see graphic on previous page). We’re
just mentioning it here since it applies to the
channels; specifically, what type of microphones you have plugged into them.
Push in this switch to provide phantom
input jacks. All of
power to the XLR MIC
the XLR mic inputs are capable of providing
phantom power. Phantom power is required to
operate most condenser microphones (some
condenser microphones are battery-powered).
The CFX MKII mixers provide +48VDC phantom
powering on pins 2 and 3 of the XLR connectors.
If you have dynamic, ribbon, or tube mics
that do not require phantom power, leave the
PHANTOM POWER switch out. If you are using both condenser and dynamic mics, don’t
worry. Phantom power will not hurt most
dynamic mics. Check the microphone’s user
manual if you’re not sure.
Caution: Turn all output
levels down before operating this switch to avoid the
possibility of a “pop” in your
speakers.
Connecting an external line-level device to an
XLR input connector with the phantom power
switched on could damage the device. We recomand STEREO LINE
mend using the LINE IN
IN
jacks for connecting line-level signals.
1
1
GAIN
MUTE
ASSIGN
dB
10
1-2
5
3-4
U
5
10
20
30
40
50
60
SOLO
PFL
OO
If you haven’t already, please read the “SET
THE LEVELS” portion of “QUICK START,” on
page 5.
GAIN adjusts the input sensitivity of the
mic and line inputs connected to the channels,
mono and stereo. This allows signals from the
outside world to be adjusted to optimal internal
operating levels.
If the signal originates through a mono
XLR jack, there will be 5 dB
channel’s MIC
of gain with the knob fully down, ramping to 50
dB of gain fully up.
TRS
Through a mono channel’s LINE IN
input, there is 15 dB of attenuation fully down
and 30 dB of gain fully up, with a “U” (unity
gain) mark at 12:00 (knob halfway up).
Mono Channel
12
Through a stereo channel’s stereo LINE IN
TRS inputs, there is 20 dB of attenuation
fully down and 20 dB of gain fully up, with a “U”
(unity gain) mark at 12:00 (knob halfway up).
Having 20 dB of line-level attenuation can
be very handy when you are injecting a signal
that is very hot, when you want to add a lot of
EQ boost, or both. Without this “virtual pad,” it
would be very difficult to control the signal and
might lead to channel clipping.
ZERO LEVEL
This handy LED, which (we hope) you already read about in “QUICK START,” is triggered
to glow when it receives an audio signal at or
above 0 dBu.
If the LED is glowing, as opposed to flickerdown. If the LED is
ing, turn the GAIN
doing almost nothing, turn the GAIN up.
For a more accurate method of setting
(page
gain levels, please see RUDE SOLO
15), where a soloed signal will appear on the
.
mixer’s meters
LOW CUT
The LOW CUT switch, often referred to as
a high pass filter (depends on how you look
at it), cuts bass frequencies below 100 Hz at a
rate of 18 dB per octave.
We recommend that you use LOW CUT
on every microphone application except kick
drum, bass guitar, or bass-heavy synth patches.
LOW CUT can also help reduce the possibility
of feedback in live situations and it helps to
conserve amplifier power.
AUX
These knobs tap a portion of each channel
signal and send it out, via the AUX SEND
jacks, to an external device for parallel effects
processing or stage monitoring.
AUX levels are controlled by these AUX knobs
and by the AUX MASTER SENDs . These
are more than mere effects and monitor sends:
they can be used to generate separate mixes
for recording or “mix-minuses” for broadcast.
Each AUX knob’s level ranges from off through
unity (the center detent position) on up to 15 dB of
extra gain (fully clockwise).
The line-level stereo channels’ AUX knobs
control a mono sum of the channel’s stereo
signals. For instance, on the CFX20, channel
17 (L) and 18 (R) mix together to feed that
channel’s AUX send knobs.
PRE FADER
The aux send rule of thumb: For parallel
effects processing, use aux sends in post-fader
mode. For stage monitors, use pre-fader mode
(see diagram below).
With this switch disengaged (up), AUX 1
and 2 receive signals in post-fader mode: postlow cut, post-insert, post-EQ, post-mute, and
POST-fader. Any changes made to the channel
controls will affect the AUX signal.
With this switch engaged (down), AUX 1
and 2 receive signals in pre-fader mode: postlow cut, post-insert, post-EQ, post-mute, and
PRE-fader. Any changes made to the channel
controls, EXCEPT the fader, will affect the
AUX signal.
In pre-fader mode, you can take the drummer’s vocals out of the main mix by turning his
fader down, but since he still hears himself in
the monitors, he’s happy.
EFX 1 (EXT)
EFX 1, designed for feeding the inputs of
parallel effects devices, behaves exactly like
send, but it’s always in post-fader
an AUX
mode: Any changes made to the channel controls
will affect the EFX signal. The PRE FADER
switch has no effect on the EFX sends.
EFX 2 (INT)
EFX 2 is identical to EFX 1 with one big difference: In addition to feeding the EFX SEND
jacks, it also feeds the inputs to the EMAC
EFFECTS PROCESSOR . If you’re using
EMAC and just one outboard processor, patch
the outboard processor via EFX RETURN 1. You
can use EMAC and an outboard device via EFX
2; just remember that the sends (EFX 2 (INT)
, EFX 2 SEND ) and returns (TO MAIN
MIX ) control two devices. The PRE FADER
switch has no effect on the EFX sends;
they’re always post-fader.
EQ
The CFX MKII mixer has low shelving,
mid peaking, and high shelving EQ. “Shelving” means that the circuitry boosts or cuts all
frequencies past the specified frequency. For
FADER
PAN
1-2
INPUT
GAIN
LO CUT
INSERT
EQ
MUTE
3-4
"POST"
SIGNAL
100Hz
Hz
HI EQ
U
This control provides up to 15 dB of
+15
boost or cut at 12 kHz and above, and it is +10
also flat at the detent. Use it to add sizzle
-20 +20
+5
GAIN
to cymbals or an overall sense of transpar0
ency or edge to keyboards, vocals, guitar, –5
and bacon frying. Turn it down a little to U –10
reduce sibilance or hide tape hiss.
–15
9/10
OO
U
AUX
1
PRE-POST
AUX 1
AUX 2
100Hz
1kHz
+15
U
OO
Hz
EFX 1
EFX 2
+15
U
OO
+15
U
EFX
1
(EXT)
OO
+15
U
1kHz
OO
+15
2
10kHz 20kHz
Low EQ
EQ
U
HI
12k
-15
+15
U
HI
MID
3k
-15
+15
U
+15
U
LOW
1-2
EFX
(INT)
OO
dB
10
10kHz 20kHz
PRE FADER
Hz
MID
This control provides up to 15 dB of boost 400Hz
+15
or cut at 80 Hz and below. The circuit is-15flat
U
(no boost or cut) at the center detent position.
LOW
This frequency represents the punch in bass 80Hz
-15 high+15
drums, bass guitar, fat synth patches, and
testosterone male singers.
PAN
When adding boost to the channel’s low EQ,
simultaneously engaging the LOW CUT
R
switch can create an audible low frequencyL boost
without boosting stage rumble, mic handling
9-10
MUTE
clunks, and breath pops.
1
Mid EQ
2
OO
TO AUX 1 MASTER SEND LEVEL
AUX
U
OO
-15
11/12
GAIN
Short for “midrange,” this knob provides 15
2
dB of boost or cut, also flat at the center
+15
detent. Midrange EQ is often considered +15+10
PRE FADER
the most dynamic, because the frequencies
+5
U
that define any particular sound are almost 0 EFX
1
always found in this range. You can create –5 (EXT)
as many interesting and useful EQ changes+15–10
U
–15
by turning this knob down as well as up.
20 EFX 100
2
The mono channels employ a semi(INT)
+15
parametric mid-sweep EQ. In addition to being
able to set the amount of boost, you can “aim”
EQ
U
that boost at a specific frequency; anywhere HI
12k
from 100 Hz to 8 kHz.
-15 +15
The stereo channels employ a 2-stage fixedU
frequency MID EQ. HI-MID is centered at 3kHz; HI
MID
LOW-MID is centered at 400 Hz.
3k
LOW EQ
10kHz 20kHz
+20
-20
20Hz
MID EQ
1kHz
LOW
MID
400Hz
-15
+15
U
LOW
80Hz
-15
+15
PAN
L
R
11-12
MUTE
ASSIGN
"PRE" SIGNAL
“Pre vs. Post” Auxiliary
Signal Flow Diagram
example, boosting the LOW EQ knob boosts
bass frequencies at 80 Hz and below. “Peaking”
means that only a selected “hill” of frequencies
surrounding a center “hilltop” frequency is affected by the EQ control.
Everything in moderation (including moderation): with EQ, although you can bring +15
a sound to life, you can also screw things +10
up. If you max the EQs on every channel, +5
you’ll get mix mush, not to mention driving 0
–5
your mix levels near or beyond clipping.
–10
So equalize subtly; use the left sides of the –15
knobs (cut) as well as the right (boost).
20
ASSIGN
dB
10
1-2
TO AUX 2 MASTER SEND LEVEL
TO EFX 1 MASTER SEND LEVEL
TO EFX 2 MASTER SEND LEVEL
5
3-4
U
13
5
Stereo
Channel
3-4
U
5
5
10
10
PAN
1
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
U
1
OO
+15
U
OO
+15
2
PRE FADER
U
EFX
1
(EXT)
OO
+15
U
EFX
PAN adjusts the amount of channel signal
sent, left versus right, to the SUB OUTs
via the
(and ultimately the MAIN OUTs
SUB ASSIGN
switches). On mono channels, the knob places the signal somewhere
between hard left and hard right. On stereo
channels, it works like the balance control on
your home stereo, by attenuating one side or
the other.
With the PAN knob hard left, the signal will
feed SUB 1 and SUB 3 (assuming the channel’s
ASSIGN
switches are engaged).
With the PAN knob hard right, the signal
will feed SUB 2 and SUB 4 (assuming the chanswitches are engaged).
nel’s ASSIGN
With the PAN knob set somewhere in between, the signal will be shared across both
sides of the mix.
2
MUTE
(INT)
+15
OO
EQ
U
HI
12k
-15
+15
U
-15
+15
600
MID
1.5k FREQ
150
100
8k
When you engage a channel’s mute switch,
its signal disappears from these outputs: MAIN
OUT
, MAIN INSERT
, SUB OUT 1-4
, AUX SEND 1 & 2
, EFX SEND 1 & 2
(including the send to the EMAC EFFECTS
PROCESSOR
). The only thing it doesn’t
switch,
mute is the channel’s SOLO PFL
so you can audition channels, via headphones,
without sending them to the main mix.
U
LOW
80Hz
-15
+15
PAN
L
R
1
1
MUTE
ASSIGN
dB
10
1-2
5
3-4
U
5
10
20
30
40
50
60
SOLO
PFL
ASSIGN
Used in conjunction with the PAN
knob,
ASSIGN determines the final destination of a
channel’s signal. Engaging ASSIGN 1-2, for instance, sends that channel’s signal to the SUB
1 and 2 Faders
and, via their SUB ASSIGN
switches, the MAIN MIX Fader
.
Typically, ASSIGN 1-2 will be engaged on
all channels destined for the main mix. By
configuring SUB 1 and 2 to feed the main mix,
the channel ASSIGN 1-2 switches become the
equivalent of being “Main Mix” switches.
Some channels can use ASSIGN 3-4 instead;
creating a submix for a set of channels (all
the drum channels, for instance). Then, by
configuring SUB 3 and 4 to also feed the main
mix, you can “ride” the SUB 3 and 4 Faders
independently of the rest of the mix.
SUB Faders
, SUB ASSIGN
, and
MAIN MIX Fader
will explain this further.
OO
FADER
Although the most self-explanatory item on
a mixer, we’ll explain it anyway: The fader is
the master level control for the channel’s sig14
nal. Subtle adjustment of the channels’ fader
positions is the key to a finely-tuned mix.
knob is
Typically (providing the GAIN
set correctly) the fader position will be positioned somewhere between 0 dB (“U”) and –30
dB.
If you have a fader set all the way up, adding
10 dB of gain, that’s usually a sign that your GAIN
knob is set too low. Conversely, if the fader is
set way down, your GAIN may be set too high.
“U” LIKE UNITY GAIN
Mackie mixers have a “U”
symbol on almost every level
control. This “U” stands for
“unity gain,” meaning no
change in signal level. Once
you have adjusted the input signal to line-level,
you can set every control at “U” and your signals will travel through the mixer at optimal
levels. What’s more, all the labels on our level
controls are measured in decibels (dB), so
you’ll know what you’re doing level-wise if you
choose to change a control’s settings.
SOLO PFL
Engaging a channel’s SOLO switch causes
this dramatic turn of events: The PHONES
, which ordinarily receive the
and Meters
main mix signals, instead receive the SOLO
PFL signal. PFL, being a mono signal, is sent to
both sides of the PHONES outputs and to the
LEFT meter. Additionally, the RUDE SOLO
LED flashes obnoxiously to remind you that
“you’re in solo.”
The SOLO PFL signal is tapped before the
and Fader
controls. It
channel’s MUTE
, LOW CUT
,
does, however, follow GAIN
settings, making it the perfect tool
and EQ
for quick inspections of individual or multiple
, MUTE
channels. The channel’s PAN
settings have no effect on the
and Fader
SOLO signal. See RUDE SOLO
for more
information.
WARNING: Pre-fader
SOLO taps the channel sig. If
nal before the fader
you have a channel’s fader
set well below “U” (unity
gain), SOLO won’t know that and will send a
output.
unity gain signal to the PHONES
That may result in a startling level boost in
your headphones.
MASTER SECTION FEATURES
We hope you’ve understood, if not memorized, the CHANNEL STRIP FEATURES you
just read. If you’re still confused, please look
them over again before you tackle this section.
Don’t worry, it’s easy to swallow as long as you
take it a bite at a time.
MAIN MIX FADER
As the name implies, this stereo fader
controls the levels of signals sent to the main
. The
outputs: XLR and TRS MAIN OUT
TAPE OUTPUT
RCA jacks also receive the
main mix, but before the MAIN MIX Fader.
Signals feeding the MAIN MIX Fader, after
passing through the STEREO GRAPHIC EQ
, include: SUB ASSIGN
, MAIN INSERT
, STEREO EFX RETURN 1 and 2
(including
), and
the EMAC EFFECTS PROCESSOR
TAPE INPUT
. All assigned SUB Faders
that are not turned
and EFX RETURNs
fully down will appear in the MAIN MIX.
The fader, set fully up, provides 10 dB of
gain. A “U” unity gain point is just below that.
When set fully down, the main mix is effectively
muted. This is the fader to pull down at the end
of the song when you want The Great Fade-Out.
METERS
The CFX mixer’s peak metering system is
made up of two columns of twelve LEDs each,
with thresholds ranging from –30 dB up to
,
“CLIP” (+22 dBu at the TRS MAIN OUT
+28 dBu at the XLR MAIN OUT). The meters
display the main mix, post MAIN MIX Fader
, unless a SOLO PFL
switch is engaged.
switch is engaged,
When a SOLO PFL
the meters will instead display the solo infor).
mation, at unity gain (pre channel fader
Why, you ask? The meters, being a tool for the
engineer, must display what the engineer is lisoutput.
tening to via the PHONES
You can get a good mix with the meter’s
peaks flashing anywhere between –20 and +10
dB. Most amplifiers clip at about +10 dB, and
some recorders aren’t so forgiving either. For
best real-world results, try to keep your peaks
between “0” and “+7.”
You may already be familiar
with “+4” (+4 dBu=1.23V)
and “–10” (–10 dBV=0.32V)
operating levels. Basically,
what determines the operating level is the relative 0 dB VU (or 0VU)
chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring
out the back, will actually display 0 dB on its
meters. A “–10” mixer, with a –10 dBV signal
trickling out, will also display 0 dB. So ... when
is 0 dB actually 0 dB? Right now!
At the risk of creating another standard,
Mackie’s compact mixers address the need of
both crowds by calling things as they are: 0 dBu
(0.775V) at the output shows as 0 dB VU on the
meters. What could be easier? (By the way, the
most wonderful thing about standards is that
there are so many to choose from.)
RUDE SOLO
This infamous flashing LED (Light Emitting
Diode) serves two purposes —- to remind you
switch is enthat at least one SOLO PFL
gaged, and to let you know that you’re mixing
on a Mackie.
switch affects
Engaging a SOLO PFL
and Meters
.
these features: PHONES
No other outputs are affected in any way.
Although the “SET THE LEVELS” section
of “QUICK START” (page 5) will get your levelsetting tasks accomplished, using the meters
in PFL SOLO mode lets you really tune in.
Instead of one flickering LED, you can make
use of the 12-segment VU display in the meters.
switch and
How? Just engage a SOLO PFL
watch the meters.
WARNING: SOLO is prefader and taps the channel
.
signal before the fader
If you have a channel’s fader set well below “U” (unity
gain), SOLO won’t know that and will send a
output.
unity gain signal to the PHONES
That may result in a startling level boost in
your headphones.
STEREO GRAPHIC EQ
48v
POWER
LEFT RIGHT
CLIP
22
10
7
4
2
0
2
4
7
ZERO
LEVEL
SET
10
20
30
0dB=0dBu
RUDE
SOLO
STEREO
STEREO
MAIN
MAIN MIX
MIX
dB
10
5
U
This equalizer, used to shape the frequency
spectrum of the main mix, is the last thing in
and
the chain prior to the MAIN MIX Fader
MAIN OUT
XLR and TRS jacks.
Although there is no actual bypass switch
for the STEREO GRAPHIC EQ, by setting all
the sliders to zero (center) you’ll effectively
remove it from the signal path.
How to find and reduce feedback:
1. Set the GRAPHIC EQ sliders to zero (center).
levels, using the ZERO
2. Set the GAIN
LEVEL
or SOLO PFL
.
15
STATUS
5
10
20
30
40
50
60
OO
MASTER SEND
U
1
OO
OO
L
0
NG
H
15+
10
10
5
5
0
0
5
5
10
10
–15
PHONES LEVEL
15–
63
+15
U
125
250
500
1K
2K
4K
8K
16K
After the MAIN MIX Fader
, the mix
is sent through this knob, allowing you to set
headphone levels as desired without disturbing
the main mix level.
is engaged,
When a channel’s SOLO PFL
the main mix will be replaced by the solo signal, allowing the engineer to audition channels
without disturbing the main mix.
can drive any
The stereo PHONES jack
standard headphones to very loud levels. Walkperson-type phones can also be used with an
appropriate adapter.
Note: Please see the “Safety Instructions” on
page 2 for information on hearing protection.
STEREO GRAPHIC EQ
EFX
1
(EXT)
OO
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
+15
PHANTOM POWER
ERS
R
+15
U
2
SOR
5
+15
AUX
jacks and engage the BREAK SWITCH. Instantly, the entire main mix is switched off and the
intermission entertainment is switched on.
Even if you just want silence during the
breaks, this switch can act as a “Master Mute”
switch, simply by plugging nothing into TAPE
INPUT
.
48v
3. SlowlySTATUS
turn up the MAIN MIX Fader
POWER
until feedback just begins to occur. BE
CAREFUL!
LEFT
RIGHT Feedback can occur quickly
+20
OO
and22become very LOUD, very fast.
CLIP
EFX 1 RETURN
U
4. Cut10the appropriate slider until feedback
stops.
7
Suggestions
for better sound:
4
+20
OO
•
For
better
vocal
sound, set the 125, 250,
TAPE LEVEL
2
and0 16K sliders to +5. Note: Make sure the singer is within 3 to
BREAK SWITCH
2
(MUTES ALL CHANNELS)
6 inches of the microphone. No amount of
EQ4can save a wandering minstrel.
ZERO • For7more presence, set the 4K and 8K slidLEVEL
SET
OO MAX
ers10to +5.
PHONES LEVEL
• To 20
warm up the overall sound, set the 2K
U
30 to –5.
slider
0dB=0dBu
• REMEMBER, LESS IS BETTER.
U
+10
OO
UTILITY OUT LEVEL
SUB
1
ASSIGN
dB
10
LEFT
5
RIGHT
U
5
10
20
30
40
50
60
OO
UTILITY OUT LEVEL
After the MAIN MIX Fader
, the mix is
sent through this knob, allowing you to set the
as desired withlevels at the UTILITY OUT
out disturbing the main mix level.
SUB FADERS
The typical exit for channel signals is through
one or more sub mixes. The sub mix signal is
RUDE
SOLO
first controlled by this fader, which provides 10
TAPE LEVEL
dB of gain fully up, unity gain at the “U” mark,
You can adjust the incoming level of your in- and is effectively muted fully down.
STEREO
STEREO
termission
entertainment,
From here, the signal goes to two very differSUB
SUB 3 independent
SUB 4of theMAIN MIX
2
MAIN
main mix level controls, via this feature. Here’s
sends the sub mix
entMIX
locations: SUB OUT
ASSIGN
ASSIGN
TAPE
how:ASSIGN
Patch the stereo
device into the
directly out of the mixer via its TRS jacks; and
dB INPUT
dB
. Put
the device indB
play. Engage the dB
SUB ASSIGN
sends it to the MAIN MIX
10
10
LEFT 10
LEFT 10
LEFT
BREAK SWITCH
and set the TAPE LEVEL
.
Fader
5
5
knob as 5desired. Assuming
the MAIN MIX 5
RIGHT
LEFT/RIGHT SUB ASSIGN
hear the RIGHT
device. U
FaderRIGHTisUset, you should
U
U
As discussed in ASSIGN
, the only way to
5
5
5
BREAK 5SWITCH
get channel outputs to the main mix is via the
10
10 sub mixes, and this switch is the key.
No, when10we say BREAK 10SWITCH, we’re
not asking you
to break the switch,
we’re of- 20
Continuing the assumption made in ASSIGN
20
20
20
fering you a very handy feature. When it’s time
, Subs 1 and 2 are the left-right stereo path
30
30
30
for the talent30to take a break,
the engineer
1 and 2,
from the channels to SUB Faders
40 usually wants
40 to stretch his 40
legs. But walking 40 with SUB 1 carrying the left signal and SUB 2
50
50
50
50
live mixer in a crowded
club can 60 carrying the right. Engage SUB 1 ASSIGN LEFT
60 away from a 60
60
be somewhat unnerving — what if some goon
and SUB 2 ASSIGN RIGHT, and you’re done.
starts dinking around with the faders?
Take a look at the block diagram on page 22 —
No problem. Just plug in your intermission
it’ll explain this and more, but in hieroglyphics.
entertainment device to the TAPE INPUT
OO
OO
16
OO
OO
AUX MASTER SEND
Aux send signals are derived by each
knob, mixed together, then
channel’s AUX
sent through this AUX MASTER SEND knob.
Turned fully up, it provides 15 dB of additional
gain, the center “U” mark is unity gain, and
fully down is off.
Typically, when the talent (or lack thereof)
wants a louder monitor mix, this is the knob to
crank up — watch out for feedback!
EFX 1 MASTER SEND
Effects send signals are derived by each
knob, mixed tochannel’s EFX 1 (EXT)
gether, then sent through this EFX 1 MASTER
SEND knob. Turned fully up, it provides 15 dB
of additional gain, the center “U” mark is unity
gain, and fully down is off.
Being that this controls only post-fader
sends destined for outboard effects devices,
you’ll typically set this knob near the “U” mark
and then leave it alone.
EFX 1 RETURN
Stereo signals come through the EFX 1 RETURN and continue on to the MAIN MIX Fader
. They contain the effects’ “wet” signals to
be mixed together with the channels’ “dry”
original signals. Turned fully up, it provides 15
dB of additional gain, the center “U” mark is
unity gain, and fully down is off.
Being that this controls only the return
signals of external effects, with their levels already determined by the channels’ EFX 1 (EXT)
knob, you’ll typically set this knob near the
“U” mark and then leave it alone.
EMAC EFFECTS
PROCESSOR
FOR THE IMPATIENT:
Set EFX 2 SEND
and TO MAIN MIX
at the center “U” mark.
Assuming you have your
basic mix up and running, turn up the EFX 2
(INT) , per channel.
This feeds in individual
amounts of channel signals to the EMAC inputs
— you should be hearing
the effects as you do this.
Next, goof around
with the various parameters: Preset Select
, TIME/RATE , DAMPING/DEPTH
and
WIDE . When you find an effect you like, jot
down the parameters, then goof around some
more.
To mute these effects, engage BYPASS
(or your foot switch if connected to EFX FOOT
SWITCH ). To send these effects to the
stage monitor cues, turn up the EFFECTS TO
MONITOR
knobs.
FOR THE CURIOUS:
EMAC™ stands for Extended Multiply and
Accumulate, which is a proprietary 32-bit digital
stereo processor developed by our Digital Engineering Group. It provides 16 preset digital
effects algorithms for you to select. In addition to the presets, there are two parameter
) you can adjust to change the
controls (
sound and make it unique for your particular
application.
EFX 2 SEND
This controls the signal level being sent to
the input of the EMAC module (and to the EFX
SEND 2
jack). Use the EFX 2 (INT)
controls on the individual channels to adjust the
amount of each channel’s signal you want to
go to the EMAC. Leave EFX 2 SEND set at the
center “U” position. If you find that you’re not
getting enough of the effect in the main mix,
control
make sure that the TO MAIN MIX
is turned up at least to unity (the center detent
position). It’s okay to turn up the EFX 2 SEND
some more if you
need to. Just make sure the
DIGITAL STEREO EFFECTS PROCESSOR
ZERO LEVEL
LED never lights more than
EFX
(INT)
RETURN
CLIP
occasionally.
Read2on
to find
out why.MASTERS
U
U
U
TO UMAIN MIX
MASTER SEND
AUX
U
1
OO
10
5
0
5
+15
U
10
2
OO
+15
–15
6
+15
EFX
U
1
(EXT)
OO
+15
PHANTOM POWER
U
Stereo signals (from
STEREO
EFX RETURN
POWER
+15
+15 2
+20
OO PHANTOM
OO
OO
CLIP
EFX 2 (INT)
CLIP
EFX 1 RETURN
48v
and
EFFECTS
AUXEMAC
1
AUX 2
EFX 2
TO MAIN MIX
U
U
U
USEND
U
U TO MONITOR
EFFECTS
POWER
STATUS
PROCESSOR
) come
DELAY
1
REVERSE
through this TO MAIN
GATED
DELAY 2 LEFT RIGHT
MIX knob+20
and
continue
+15
+15
+15
+15
+20
OO
CLIP 3
22
CATHEDRAL
DELAY
EFX 1 RETURN
TAPE LEVEL
AUX 1
AUX 2
EFX 2
TO MAIN MIX
MAIN
MIX4
on
to
the
U
10
LG.
HALL
DELAY
SEND
EFFECTS TO MONITOR
contain 7
Fader . They
MD. HALL
CHORUS
DELAY 1
REVERSE
BREAK SWITCH
the effects’ “wet”
signals 4
LG. PLATE
FLANGE
GATED
DELAY 2
(MUTES ALL CHANNELS)
+20
CATHEDRAL
DELAY 3
MD. PLATE
PHASER
and are
mixed
TAPE
LEVEL together
2
LG. HALL
DELAY 4
SM. ROOM
SPRING“dry”
with
the
channels’
0
MD. HALL
CHORUS
ZERO
NORMAL
EFX BREAK SWITCH NORMAL
LEVEL
original
signals. Turned 2
LG. PLATE
FLANGE
(MUTES ALL CHANNELS)
SET
OO MAX
MD. PLATE
PHASER
fully up, it provides 15 dB 4
PHONES LEVEL
SM. ROOM
SPRING
U
of additional gain,
the 7
ZERO
NORMAL
NORMAL
EFX
LEVEL
10
WIDE center
BYPASS
mark SET
is unity
“U”MAX
10
0
10
PHONES LEVEL 0
20
REVERBS
gain, andUfully down
is off.
TIME
DAMPING
DELAYS
+10
OO
30
Being
that
this
conWIDE
BYPASS
RATE
CHORUS/FLANGE/PHASER
DEPTH
UTILITY OUT LEVEL
0
10
0
10
0dB=0dBu
REVERBS
trols only the return
TIME
DAMPING
DELAYS
RUDE
+10
SOLO
RATE
CHORUS/FLANGE/PHASER
DEPTH
signals
external
and
UTILITYof
OUT
LEVEL
DIGITAL STEREO EFFECTS PROCESSOR
+15 MASTERS
+15
OO
RETURN
OO
OO
OO
OO
OO
OO
OO
OO
OO
17
POWE
LE
EMAC effects, with their levels already determined by the channels’ EFX 2 (EXT) knob, you’ll
typically set this knob near the “U” mark and
then leave it alone.
cathedral. A very dramatic effect that works
well with wind instruments such as flute, slow
finger picking on acoustic guitar, and quiet vocal group harmony and choirs. Also works well
with keyboards and drums using short decay.
EFFECTS TO MONITOR
Decay range is adjustable from 2 seconds to 10
This works just like the channel AUX
seconds. Pre-delay set at 75 ms.
LG. HALL: Dense, smooth reverb with long
knobs, but here, the source signal is the EFX 2
RETURN and the EMAC output. Typically, this
tail, long pre-delay, and some early reflections.
knob is used to add effects to the stage monitors.
Tails are warm with more apparent high end.
Turned fully up, it provides 15 dB of addiWorks well with vocals and electric and acoustional gain, the center “U” mark is unity gain,
tic guitar. Decay range is adjustable from 1
and fully down is off.
second to 5 seconds. Pre-delay set at 75 ms.
MD. HALL: Dense, smooth reverb with norPRESET SELECT
mal tail, normal pre-delay, and increased early
Rotate this detented switch to select the
reflections. Tails are warm with more apparent
preset effect you want to use.
high end. Works well with vocals and electric
and acoustic guitar. Decay range is adjustable
Preset Effects Descriptions
from 750 ms to 2.5 seconds. Pre-delay set at 65ms.
Reverbs
LG. PLATE: Good early reflections and no
pre-delay. Tails are normal and warm with
The reverbs are designed to provide a wide
strong high end for increased presence. Perfect
variety of reverb sounds for vocal and instrument applications. In the following description, for vocals and snare. Decay range is adjustable
from 1 second to 5 seconds. No pre-delay.
tail refers to the reflections that follow the
MD. PLATE: Good early reflections and no
initial sound event, also referred to as decay
pre-delay.
Tails are short and warm with strong
range. Pre-delay is the amount of time behigh
end
for
increased presence. Perfect for
tween the initial sound event and the first
tight
vocals
and
snare. Decay range is adjustreflection.
able from 750 ms to 2.5 seconds. No pre-delay.
TIME/RATE
controls the length of the
SM. ROOM: Reverb featuring very fast and
tail, with the shortest tail at the 0 position and
scattered
early reflections with a short pre-dethe longest tail at 10. DAMPING/DEPTH
lay.
Tails
are
very short and warm with normal
controls the damping, with the darkest tone at
high-end imitating absorbent wall materials
0 and the brightest tone at 10. The WIDE
switch is very effective at increasing the stereo and audience. Good for tight vocal effects.
Decay range is adjustable from 250 ms to 1 secimage of the reverb effect.
ond.
Pre-delay set at 30 ms.
REVERSE: Standard reverse reverb, simuSPRING: Mimics the
lating a tail-first effect
vintage
60’s-style wet
DIGITAL STEREO EFFECTS PROCESSOR
increasing to the original
spring
reverb
PHANTOMeffect.
POWER Tails
note. Decay range is
EFX 2 (INT) RETURN MASTERS
CLIP
are
normal
with
strong 48v
adjustable from 35 ms to
U
U
U
U
U
high end and a slightPOWER STATUS
515 ms. No pre-delay.
waver imitating the slow
GATED: Standard
LEFT RIGHT
flutter of the
+15
+15
+15
+15
+20 mechanigated reverb, where
CLIP
22
EFX 1 RETURN
cal springU system. Very 10
AUX 1
AUX 2
EFX 2
TO MAIN MIX
the reverb tail is cut off
SEND
EFFECTS TO MONITOR
good with acoustic guitar. 7
sharply after the preset
DELAY 1
REVERSE
Decay range is adjustable 4
GATED
DELAY 2
decay length. Decay
+20
CATHEDRAL
DELAY 3
from 1TAPE
second
LEVEL to 5 sec2
range is adjustable from
LG. HALL
DELAY 4
onds.
No
pre-delay.
0
35 ms to 515 ms. No preMD. HALL
CHORUS
OO
OO
OO
OO
OO
OO
delay.
CATHEDRAL: Dense,
smooth reverb with very
long tail, long pre-delay,
and late reflections. Tails
are very warm with some
additional high-end reflections imitating
the stone walls of a
18
LG. PLATE
MD. PLATE
SM. ROOM
BREAK SWITCH
(MUTES ALL CHANNELS)
Delays
FLANGE
PHASER
SPRING
NORMAL
4
NORMAL
EFX
There are four
delays 7
ZERO
LEVEL
available with
one,
two, 10
SET
MAX
LEVEL
three,PHONES
and
four
repeats.
20
U
TIME/RATE
controls 30
0dB=0dBu
the time between repeats,
RUDE
+10
withUTILITY
theOUT
fastest
repeats
SOLO
LEVEL
at the 0 position and the
OO
0
10
TIME
RATE
WIDE
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
0
2
10
DAMPING
DEPTH
OO
slowest repeats at 10. DAMPING/DEPTH
controls the damping, with the darkest tone at
0 and the brightest tone at 10. Since the delay
effect is not stereo, it is not affected by the
WIDE
switch.
DELAY 1: One repeat. Works best for slapback delay used in country and swing guitar,
and for rockabilly and some country vocals. Delay range is adjustable from 5 ms to 524 ms.
DELAY 2: Two repeats. Provides a fuller,
more dramatic effect for rock and gospel vocals,
acoustic guitar, and wind instruments such as
flute. Especially effective for some finger-picking
styles. Delay range is adjustable from 5 ms to
524 ms.
DELAY 3: Three repeats. An excellent delay
for slow, bluesy vocals and melodic flute music.
This delay usually works best when the channel EFX send is set at less than halfway. Delay
range is adjustable from 5 ms to 524 ms.
DELAY 4: Four repeats. This is for very dramatic delay effects, particularly for enhancing
long vocal notes and dramatic instrumental
note-chopping effects. Be sure to set the channel EFX send at about halfway. Delay range is
adjustable from 5 ms to 524 ms.
Modulation Effects
These include Chorus, Flange, and Phaser,
and are generally used for enhancement of
instrumental music. However, Chorus adds
a dramatic effect to vocals as well. The WIDE
switch is very effective at dramatically
increasing the strength and thickness of a
modulation effect. For example, using WIDE on
Chorus mimics a multi-voiced chorus effect.
TIME/RATE
controls the effect Rate,
which is the speed of the sweeping effect.
Fully counter-clockwise produces the slowest
sweeps and fully clockwise produces the fastcontrols the effect
est. DAMPING/DEPTH
depth, which is the strength of the sweeping
effect. Fully counter-clockwise produces the
lightest sweeping effect and fully clockwise
produces the thickest.
CHORUS: Provides a soft, ethereal sweeping
effect. Perfect for enhancement of electric and
acoustic guitar and bass. Also adds a dramatic
effect to vocals, particularly group harmonies
and choirs. The channel’s EFX 2 (INT)
should be set halfway or higher. Rate is adjustable from 0.5 Hz to 30 Hz. Depth is adjustable
from 0% to 100%.
FLANGE: Creates a strong sweeping effect,
particularly effective on rock electric guitar,
lead and rhythm. The channel’s EFX 2 (INT)
should be set halfway or higher. Rate is adjustable from 0.5 Hz to 20 Hz. Depth is adjustable
from 0% to 100%.
PHASER: This effect is perfect for enhancing strummed acoustic guitar or electric guitar
power chords. The PHASER effectively duplicates the popular 70’s phase shift effect used for
guitar. Rate is adjustable from 0.5 Hz to 35 Hz.
Depth is adjustable from 50% to 100%.
TIME/RATE
If you have a reverb effect selected, this control adjusts how long the reverberation lasts,
with 0 being a short reverb time and 10 being
the longest.
If you have a delay effect selected, this adjusts
the amount of time between the original signal
and the delayed signal, with 0 being a short delay
time and 10 being the longest delay time.
If you have a chorus, flange, or phaser effect
selected, this control adjusts the rate or speed
of the modulation of the effect.
DAMPING/DEPTH
If you have a reverb or delay effect selected,
this control adjusts how fast the higher frequencies roll off in the reverberation or delay,
with 0 having little roll off and 10 having the
most roll off.
If you have a chorus, flange, or phaser effect
selected, this control adjusts the depth of the
modulation of the effect.
WIDE
Depending on the effect selected, this
switch adds more width or depth to the effect.
Note that it doesn’t work with the DELAY and
PHASER effects because they are monophonic.
BYPASS
Pushing in this button causes the adjacent
EFX BYPASS indicator to light and mutes the
effects’ output signal. It affects only the internal
EMAC effects, not any external effects processor you may have connected to the STEREO
EFX RETURN 2
jack.
CLIP
This indicates when the EMAC is 6 dB below
clipping. Just like the channels’ ZERO LEVEL
LED, this LED should only light occasionally. If it blinks frequently, you should turn down
EFX 2 SEND
a little.
19
GENERAL PRECAUTIONS AND CONSIDERATIONS
NEVER bypass the AC
plug’s ground pin. This is
dangerous!
AC Power Distribution
The majority of AC outlets encountered in
homes and clubs (in the U.S.) are served by a
240VAC center-tapped service entrance transformer. This provides two phases of AC power
on either side of the center tap, at 120V each.
If lighting is used in a show, it is preferable
to power the lights from one leg of the service,
and power the audio equipment from the other
leg. This will help minimize noise from the
lights coupling into the audio (particularly if
SCRs, or light-dimmer switches, are used).
In order to minimize ground loops, the safety
grounds for all the outlets should be connected
to a common (“star”) grounding point, and the
distance between the outlets and the common
grounding point should be as short as possible.
When setting up for a show, oftentimes you
are plugging into an AC power distribution system you know nothing about. You may even be
faced with 2-wire outlets that are missing the
third safety ground pin. It’s a good idea to have
a three-wire AC outlet tester in your toolbox
so you can check the outlets yourself to make
sure they are wired correctly. These testers will
tell you if the polarity of the hot and neutral
wires is reversed and if the safety ground is
disconnected. Don’t use an outlet if it is wired
improperly! This is to protect yourself as well
as your equipment.
If you find that you must plug into a twowire outlet, you will need to use a two-wire to
three-wire adapter (cheater plug). These come
with a metal tab that you put underneath the
center screw that holds the AC outlet faceplate
in place. This center screw must be grounded.
You can check it by connecting the adapter to
the outlet and then plugging in your handydandy AC outlet tester. APPENDIX A: Service Info
If you think your Mackie product has a problem, please check out the following troubleshooting tips and do your best to confirm the
problem. Visit the Support section of our
website (www.mackie.com/support) where
you will find lots of useful information such as
FAQs, documentation, and user forums. You
may find the answer to the problem without
having to send your Mackie product away.
Troubleshooting
Bad Channel
• Is the ASSIGN
switch set correctly?
turned up?
• Is the channel Fader
• On mono channels, try unplugging any
INSERT devices.
• Try the same source signal in another channel, set up exactly like the suspect channel.
Bad Output
• Are the SUB ASSIGN
rectly?
20
switches set cor-
• Are the MAIN MIX Fader
and SUB Fadturned up?
ers
, try un• If it’s one of the MAIN OUTs
plugging all the others. For example, if it’s
a TRS MAIN OUT, unplug the associated
XLR outputs. If the problem goes away, it’s
not the mixer.
• If it’s a stereo pair, try switching them
around. For example, if a left output is
presumed dead, switch the left and right
cords, at the mixer end. If the left speaker
is still dead, it’s not the mixer.
Noise
• Turn the channel Faders
, EFX 1 RETURN
and EFX 2 SEND
down, one
by one. If the sound disappears, it’s either
that channel or whatever is plugged into
it, so unplug whatever that is. If the noise
disappears, it’s from your whatever.
Power
• Our favorite question: Is the POWER
switch on?
Repair
For warranty repair or replacement, refer to
the warranty information on page 24.
Non-warranty repair for Mackie products is
available at a factory-authorized service center. To locate your nearest service center, visit
www.mackie.com, click “Support” and select
“Locate a Service Center.” Service for Mackie
products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website,
you can call our Tech Support department at
1-800-898-3211, Monday-Friday, 7 am to 5 pm
Pacific Time, to explain the problem. Tech
Support will tell you where the nearest factoryauthorized service center is located in your
area.
APPENDIX B: Technical Info
Specifications
CFX12, CFX16, CFX20 MKII
Mixer Section
Frequency Response
Mic Input to any Output (Gain at 0 dB):
+0, –1 dB, 32 Hz to 20 kHz
Distortion
THD and SMPTE IMD; 20 Hz to 20 kHz
Mic Input to Main Output:
< 0.05% @ +4 dBu output
Noise
20 Hz to 20 kHz BW (150Ω source impedance)
Equivalent Input Noise (EIN):
–127 dBu
Residual Output Noise:
Main, Monitor, and Effects outputs
Channel & Master levels off
–95 dBu
Common Mode Rejection Ratio (CMRR)
60 dB @ 1 kHz, Gain @ 0 dB
Crosstalk
Adjacent Inputs or Input to Output:
–90 dB @ 1 kHz
Fader Off
–90 dB @ 1 kHz
Mute Switch and Break Switch Mute
–80 dB @ 1 kHz
Input Gain Control Range
ono Channels
M
Mic In:
Line In:
Stereo Channels
Line In:
+5 dB to +50 dB
–15 to +30 dB
–20 to +20 dB
Phantom Power
+48V DC
Equalization
Low Cut:
100Hz, –18 dB/octave
Mono Channel EQ:
High
±15 dB @ 12 kHz
Mid
±15 dB @ 100 Hz to 8 kHz
Low
±15 dB @ 80 Hz
Stereo Channel EQ:
High
±15 dB @ 12 kHz
High Mid
±15 dB @ 3 kHz
Low Mid
±15 dB @ 400 Hz
Low
±15 dB @ 80 Hz
Graphic EQ (9 bands):
Q = 1.414, ISO octave centers
±15 dB @ 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz
Mixer Rated Output
Main, Sub, Aux, & Efx:
Maximum Rated Output:
+4 dBu
+20 dBu
Maximum Input Levels
Mic Input:
–28 dBu, Gain @ +50 dB
+18 dBu, Gain @ +6 dB
Line Input:
–8 dBu, Gain @ +30 dB
+38 dBu, Gain @ –15 dB
Insert Input, Stereo Line Input, Tape Input, and Effects Return: +20 dBu
21
Maximum Voltage Gain
16.0 in/406 mm
18.4 in/467 mm
CFX12
WEIGHT
17.8 lb/
8.1 kg
22.9 in/ 582 mm
CFX16
WEIGHT
21.0 lb/
9.5 kg
Input Impedance
Mic Input to
Insert Output:
Tape Output:
Sub Output:
Main Output:
Aux Send:
Line Input to
Insert Output:
Tape Output:
Sub Output:
Main Output:
Aux Send:
Stereo Line Input to
Tape Output:
Sub Output:
Main Output:
Aux Send:
Tape Input to
Main Output:
Effects Return to
Main Output:
CFX20
WEIGHT
24.3 lb/
11.0 kg
Mic Input:
3kΩ, balanced
Line Input:
40kΩ, balanced
Insert Input, Stereo Line Input, Tape Input, and
Effects Returns:
10kΩ, unbalanced
50 dB
66 dB
66 dB
76 dB
71 dB
Output Impedance
Main Output, Insert Output, Tape Output, Sub
Output, and Effects Sends: 150Ω
30 dB
46 dB
46 dB
56 dB
51 dB
Digital Effects
Resolution:
Number of Presets:
Channel Level Set LED (Sensitivity)
40 dB
40 dB
50 dB
45 dB
0 dBu (normal operating level)
VU Meters
Main L/R
12 segments:
Clip, +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30
30 dB
30 dB
Disclaimer
Since we are always striving to make our products
better by incorporating new and improved materials,
components, and manufacturing methods, we reserve the right to change these specifications at any
time without notice.
16.2 in/412 mm
26.8 in/681 mm
5.0 in/127 mm
LEFT
MAIN
Block Diagram
CFX MKII Series
RIGHT
MAIN
SUB 4
SUB 3
SUB 2
SUB 1
SOLO
SOLO
CONTROL
AUX 1
AUX 2
EFX 2
EFX 1
2.1 in/53 mm
4.6 in/117 mm
15.7 in/400 mm
SUB 1 OUT
GLO
+48 VDC
P
BAL
32-bit (16-bit, 2-channel)
16
R
POWE
TOM
HAN
LEFT
ASSIGN
PHANTOM POWER
INSERT
GAIN
SUB 2 OUT
LO MID FREQ HI
LOW CUT
2
1
80
MAIN INSERT
PAN
MUTE
TAPE OUT
LEFT
1-2
12K
2
BREAK
100 Hz
HPF
3
RIGHT
ASSIGN
SOLO
LEVEL
SET
63 125 250500 1K 2K 4K 8K 16K
LEFT
ASSIGN
FADER
PRE-P0ST
MIC/LINE IN
MONO CHANNELS
AUX 1
SUB 3 OUT
RIGHT
ASSIGN
TAPE
LEVEL
SUB 4 OUT
LINE IN
STEREO
CHANNELS
MAIN
LEVEL
2
BREAK
12K
PAN
MUTE
1-2
3-4
1
MAIN OUT
RIGHT
3
LEFT
ASSIGN
TAPE OUT
RIGHT
MAIN
MID MID HI
80 800 3K
RIGHT
MAIN INSERT
63 125 250500 1K 2K 4K 8K 16K
GAIN
LO
RIGHT
ASSIGN
MID MID HI
80 800 3K
3
TAPE IN
RIGHT
SOLO
LEFT
SUBWOOFER
OUT
2
1
75 Hz
LPF
LEFT
ASSIGN
EFX 2
LO
MAIN OUT
LEFT
MAIN
LEVEL
TAPE IN
LEFT
AUX 2
EFX 1
1
3
3-4
12K
PRE/POST
RIGHT
ASSIGN
STEREO EFX
RETURN 1 LEFT
AUX 1
PFL
SIGNAL
TO PHONES
AUX 2
EFX RETURN 1
EFX 1
UTILITY OUT LEFT
RUDE SOLO
LIGHT
STEREO EFX
RETURN 1 RIGHT
EFX 2
EFX SEND 2
EFX LEVEL SET
FROM EFX
TO MAIN MIX
EFX BYPASS
UTILITY OUT RIGHT
SOLO
OFF
SOLO CONTROL
(ACTIVE LOW)
SOLO
ON
EFX TO MAIN MIX
+5
VDC
UTILITY
LEVEL
+5
VDC
STEREO EFX
RETURN 2 LEFT
PFL
TO LEFT MAIN
L
EFX SEND 2
TIME/RATE
DAMPING/DEPTH
PHONES
STEREO EFX
RETURN 2
RIGHT
EFX
SELECT
EMAC
DSP
PHONES LEVEL
EFX TO AUX 1
AUX SEND 1
EFX TO AUX 2
MONROE
PFL
SIGNAL
TO LEFT
METER
WOODINVILLE
EXIT
AUX SEND 1
TO RIGHT MAIN
BOTHELL
AUX SEND 2
R
22
10
7
4
2
0
2
4
7
10
20
30
EFX WIDE
AUX SEND 2
EFX SEND 1
MACKIE
CFX MKII SERIES
BLOCK DIAGRAM
(#122104CJM/DF)
EFX BYPASS
EFX
FOOT
SWITCH
SOLO
OFF
EFX SEND 1
SOLO CONTROL
(ACTIVE LOW)
22
SOLO
ON
CFX MKII SERIES LIMITED WARRANTY
Please keep your sales receipt in a safe place.
A. LOUD Technologies Inc. warrants all materials, workmanship and proper operation of this product for a period of one
year from the original date of purchase. You may purchase
an additional 24-month Extended Warranty (for a total of 36
months of coverage). Visit our website and follow the “Product
Registration” links for details (www.mackie.com). If any defects
are found in the materials or workmanship or if the product
fails to function properly during the applicable warranty period,
LOUD Technologies, at its option, will repair or replace the
product. This warranty applies only to equipment sold and delivered within the U.S. and Canada by LOUD Technologies Inc. or
its authorized dealers.
B. For faster processing (not to mention a free gift), register
online or mail in the product registration card.
C. Unauthorized service, repairs, or modification of Mackie
products will void this warranty. To obtain repairs or replacement under warranty, you must have a copy of your sales
receipt from the authorized Mackie dealer where you purchased the product. It is necessary to establish purchase date
and determine whether your Mackie product is within the
warranty period.
D. To obtain warranty repair or replacement:
1. Call Mackie Technical Support at 800/898-3211, 7 AM
to 5 PM Monday through Friday (Pacific Time) to get authorization for repair or replacement. Alternately, go to the
Mackie website, click “Support” (www.mackie.com/support), and follow the instructions for reporting a warranty
issue and submitting a request for an advance replacement.
2. Advance Replacement: Mackie will ship a replacement
unit to you along with an invoice for the suggested retail
price of the replacement unit. You must return the defective unit immediately to cancel the invoice. If you do not
return the defective unit within 30 days, you must pay the
full amount stated in the invoice to satisfy your debt.
3. Repair: When you call Mackie Technical Support, explain the problem and obtain a Service Request Number.
Have your Mackie product’s serial number ready. You
must have a Service Request Number before you can
obtain factory-authorized service.
• Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, your daytime phone number and return street
address (no P.O. boxes or route numbers, please!), and
the Service Request Number. If we cannot duplicate the
problem or establish the starting date of your Limited
Warranty, we may, at our option, charge for service time
and parts.
• Ship the product in its original shipping carton, freight
prepaid to the authorized service center. Write the Service Request Number in BIG PRINT on top of the box.
The address of your closest authorized service center
will be given to you by Technical Support, or it may be
obtained from our website. Once it’s repaired, the authorized service center will ship it back by ground shipping,
pre-paid (if it qualified as a warranty repair).
Note: Under the terms of the warranty, you must ship or
drop-off the unit to an authorized service center. The return ground shipment is covered for those units deemed
by us to be under warranty.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for warranty
repair.
IMPORTANT: Make sure that the Service Request Number
is plainly written on the shipping carton. No receipt, no warranty service.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible for
repair or replacement under the terms of this warranty will be
repaired or replaced. LOUD Technologies and its authorized
service centers may use refurbished parts for repair or replacement of any product. Products returned to LOUD Technologies
that do not meet the terms of this Warranty will not be repaired
unless payment is received for labor, materials, return freight,
and insurance. Products repaired under warranty will be
returned freight prepaid by LOUD Technologies to any location
within the boundaries of the USA or Canada.
G. LOUD Technologies warrants all repairs performed for 90
days or for the remainder of the warranty period. This warranty
does not extend to damage resulting from improper installation, misuse, neglect or abuse, or to exterior appearance. This
warranty is recognized only if the inspection seals and serial
number on the unit have not been defaced or removed.
H. LOUD Technologies assumes no responsibility for the timeliness of repairs performed by an authorized service center.
I. This warranty is extended to the original purchaser. This
warranty may be transferred to anyone who may subsequently
purchase this product within the applicable warranty period for
a nominal fee. A copy of the original sales receipt is required to
obtain warranty repairs or replacement.
J. This is your sole warranty. LOUD Technologies does not
authorize any third party, including any dealer or sales
representative, to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND
IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND
IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY
LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF
ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE
DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL HAVE NO
FURTHER WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do not
allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last,
so some of the above limitations and exclusions may not apply
to you. This warranty provides specific legal rights and you may
have other rights which vary from state to state.
23
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
US and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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