15. - Amici Di Bambi
CFX MKII SERIES
OWNER’S MANUAL
12, 16, AND 20-CHANNEL
MIC/LINE MIXERS
WITH DIGITAL EFFECTS
CFX12
MANUFACTURING DATE
SERIAL NUMBER
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
STEREO
PLUG
MONO PLUG
POWER
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)
ON
MIC 3
MIC 2
MIC 1
OPTIONAL USES FOR INSERTS
MIC 4
MIC 5
MIC 7
MIC 6
MIC 8
STEREO EFX
RETURN
L
TAPE
INPUT
EFX SEND
R
MAIN INSERT
TAPE
OUTPUT
1
L
L
R
R
R
2
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
1
3
2
2
4
L
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
R
LINE IN
INSERT
LINE IN
INSERT
INSERT
(MONO)
9
11
LEFT
LEFT
RIGHT
RIGHT
10
12
1
5
+50
-15dB +30dB
2
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
3
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
4
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
5
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
6
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
7
U
C GAIN
MI
ZERO
LEVEL
5
+50
-15dB +30dB
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
AUX
U
AUX
U
1
OO
1
+15
U
OO
OO
OO
OO
OO
OO
+15
OO
FOOT
SWITCH
S
R
+20
OO
AUX
U
+20
AUX
U
1
+15
U
OO
OO
OO
2
+15
OO
+15
OO
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
U
U
U
EFX
EFX
1
OO
(INT)
(INT)
HI
12k
-15
-15
+15
U
-15
1.5k FREQ
150
100
-15
+15
U
-15
1.5k FREQ
100
U
-15
1.5k FREQ
150
8k
100
U
8k
-15
+15
1.5k FREQ
100
-15
100
-15
100
PAN
-15
1.5k FREQ
100
U
-15
-15
100
-15
-15
U
-15
+15
PAN
-15
-15
PAN
+15
U
LOW
MID
400Hz
-15
+15
U
+15
U
LOW
80Hz
LOW
80Hz
+15
-15
+15
PAN
U
+15
L
1
L
2
MUTE
1-2
5
1-2
5
L
1-2
1-2
5
3-4
U
L
1-2
5
3-4
U
L
1-2
5
3-4
U
L
1-2
5
3-4
U
L
1-2
5
3-4
U
1-2
5
3-4
U
10
RATE
SUB
ASSIGN
dB
10
3-4
+15
OO
+15
+20
EFX 1 RETURN
U
OO
1-2
WIDE
1
ASSIGN
dB
10
LEFT
RIGHT
3-4
U
0
LEFT
SUB
2
0
BREAK SWITCH
2
4
7
ZERO
LEVEL
SET
10
20
10
0dB=0dBu
3
LEFT
5
SUB
4
STEREO
STEREO
MAIN
MAINMIX
MIX
ASSIGN
dB
10
LEFT
5
RIGHT
U
RUDE
SOLO
+10
OO
UTILITY OUT LEVEL
ASSIGN
dB
10
RIGHT
U
4
(MUTES ALL CHANNELS)
DEPTH
2
5
10
7
DAMPING
ASSIGN
dB
10
22
30
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
SUB
CLIP
+20
TAPE LEVEL
NORMAL
EFX
5
U
dB
10
5
RIGHT
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
30
30
30
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
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
40
50
60
OO
SOLO
PFL
STATUS
RIGHT
OO
MAX
PHONES LEVEL
U
R
5
U
POWER
OO
MUTE
ASSIGN
dB
10
48v
U
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
NORMAL
11-12
MUTE
ASSIGN
dB
10
L
16K
PHANTOM POWER
U
AUX 2
AUX 1
EFFECTS TO MONITOR
TO MAIN MIX
PAN
R
9-10
MUTE
ASSIGN
dB
10
R
8K
PACT INTEGR ATED LIVE SOUND MIXER
+15
PAN
8
MUTE
ASSIGN
dB
10
R
7
MUTE
ASSIGN
dB
10
R
6
MUTE
ASSIGN
dB
10
R
5
MUTE
5
U
R
4
ASSIGN
dB
10
3-4
3-4
U
L
MUTE
ASSIGN
dB
10
R
3
MUTE
ASSIGN
dB
10
R
OO
REVERSE
GATED
CATHEDRAL
LG.
HALL
MD.
HALL
LG.
PLATE
MD.
PLATE
SM.
ROOM
TIME
R
U
+15
OO
EFX 2
SEND
0
L
4K
LEFT
OO
HI
MID
3k
+15
U
LOW
80Hz
U
+15
U
LOW
MID
400Hz
8k
LOW
80Hz
+15
-15
HI
MID
3k
+15
600
2K
HI
12k
+15
U
1.5k FREQ
U
PAN
-15
1K
EFX 2 (INT) RETURN MASTERS
CLIP
EQ
HI
12k
+15
U
150
8k
LOW
80Hz
+15
PAN
-15
+15
U
500
DIGITAL STEREO EFFECTS PROCESSOR
(INT)
OO
EQ
MID
+15
600
150
8k
LOW
80Hz
-15
-15
+15
U
2
+15
U
HI
12k
MID
+15
600
1.5k FREQ
U
+15
-15
+15
U
150
8k
LOW
80Hz
+15
PAN
-15
1.5k FREQ
HI
12k
MID
+15
600
150
8k
LOW
80Hz
+15
PAN
-15
U
LOW
80Hz
-15
+15
U
OO
EQ
250
12 CHANNEL COM
EFX
(INT)
+15
U
125
STEREO GRAPHIC EQ
+15
OO
2
(INT)
OO
EQ
HI
12k
MID
+15
600
150
U
LOW
80Hz
-15
+15
U
(INT)
U
+15
U
EFX
2
+15
OO
EQ
HI
12k
MID
+15
600
(INT)
U
OO
15–
(EXT)
(EXT)
+15
U
EFX
2
+15
OO
EQ
HI
12k
MID
+15
600
150
8k
-15
-15
+15
U
(INT)
U
OO
–15
1
1
(EXT)
+15
U
EFX
2
+15
OO
EQ
HI
12k
MID
+15
600
(INT)
U
OO
5
10
63
EFX
1
(EXT)
+15
U
EFX
2
+15
OO
EQ
HI
12k
MID
-15
(INT)
U
OO
0
10
EFX
U
EFX
1
(EXT)
+15
U
EFX
2
+15
OO
EQ
U
OO
EFX
1
(EXT)
+15
U
EFX
2
+15
OO
EQ
OO
EFX
1
(EXT)
+15
U
EFX
2
+15
U
OO
EFX
1
(EXT)
+15
U
EFX
EFX
1
(EXT)
+15
U
2
EFX
1
(EXT)
OO
EFX
OO
EFX
1
(EXT)
+15
U
5
5
+15
OO
PRE FADER
U
OO
2
+15
PRE FADER
U
10
5
0
+15
U
2
PRE FADER
10
1
+15
U
15+
+15
AUX
U
1
+15
U
2
OO
-20
PHONES
11/12
GAIN
1
+15
OO
-20
U
75Hz
SUB OUT
SUB OUT
AUX SEND
MASTER SEND
2
+15
OO
ZERO
LEVEL
AUX
U
+15
U
2
9/10
U
GAIN
1
+15
U
2
+15
OO
AUX
U
1
+15
U
2
+15
OO
AUX
U
1
+15
U
2
+15
OO
AUX
U
1
+15
U
2
+15
AUX
U
1
+15
U
2
OO
AUX
U
8
U
C GAIN
MI
R
L
UTILITY OUT
U
C GAIN
MI
EFX
BAL/UNBAL
(MONO)
LINE IN
LAMP
12V 0.5A
L
2
BAL/UNBAL
MAIN OUT
MAIN OUT
L
1
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
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.
2. Keep these instructions.
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).
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
17. This apparatus has been equipped with a rocker-style AC mains
power switch. This switch is located on the rear panel and should remain
readily accessible to the user.
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.
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.
PORTABLE CART
WARNING
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
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.
CAUTION
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.
19. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
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.
20. 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
In Hours
8
6
4
3
2
1.5
1
0.5
0.25 or less
Sound Level dBA,
Slow Response
90
92
95
97
100
102
105
110
115
Typical
Example
Duo in small club
Subway Train
Very loud classical music
Greg screaming at Troy about deadlines
Loudest parts at a rock concert
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.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure
levels use hearing protectors while the equipment is in operation. Ear
plugs or protectors in the ear canals or over the ears must be worn when
operating the equipment in order to prevent permanent hearing loss if
exposure is in excess of the limits set forth here.
WARNING — To reduce the risk of fire or electric shock, do
not expose this appliance to rain or moisture.
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.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your
national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could
have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in
the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please
contact your local city office, waste authority, or your household waste disposal service.
2
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
future reference (i.e., insurance claims, tech
support, return authorization, etc.):
Purchased at:
Date of purchase:
Part No. SW0585 Rev. C 04/09
©2004-2009 LOUD Technologies Inc. All Rights Reserved.
3
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
CFX MKII SERIES LIMITED WARRANTY ....................22
BLOCK DIAGRAM ....................................................23
Don’t forget to visit our website at www.mackie.com
for more information about this and other Mackie products.
4
M
QUICK START
1
U
IC GAIN
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
OO
+15
U
+15
U
2
2
OO
10
–15
15–
125
250
500
1K
4K
8K
DIGITAL STEREO EFFECTS PROCESSOR
2
U
EQ
PHANTOM POWER
EFX 2 (INT) RETURN MASTERS
CLIP
+15
U
U
48v
U
U
POWER
HI
12k
+15
+15
OO
EFX 2
SEND
MID
OO
TO MAIN MIX
+15
1.5k FREQ
8k
U
+15
+20
EFX 1 RETURN
U
OO
TIME
L
RATE
R
SUB
1
1
MUTE
1-2
1
dB
10
LEFT
5
5
3-4
U
5
10
20
SUB
0
4
5
RIGHT
10
20
0dB=0dBu
SUB
3
SUB
ASSIGN
dB
10
LEFT
5
RIGHT
RUDE
SOLO
+10
OO
UTILITY OUT LEVEL
DEPTH
2
LEFT
7
ZERO
LEVEL
SET
10
DAMPING
ASSIGN
dB
10
2
30
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
ASSIGN
ASSIGN
dB
10
WIDE
2
0
-15 +15
10
4
BREAK SWITCH
MAX
PHONES LEVEL
U
0
10
(MUTES ALL CHANNELS)
OO
PAN
22
+20
OO
TAPE LEVEL
NORMAL
EFX
CLIP
7
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
NORMAL
LOW
80Hz
OO
AUX 1
AUX 2
EFFECTS TO MONITOR
REVERSE
GATED
CATHEDRAL
LG. HALL
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
-15 +15
600
100
4
STEREO
STEREO
MAIN
MAIN MIX
MIX
ASSIGN
dB
10
LEFT
5
RIGHT
dB
10
5
RIGHT
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
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
30
40
50
60
SOLO
PFL
STATUS
LEFT RIGHT
OO
-15 +15
U
150
16K
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
OO
MAKE THE CONNECTIONS:
1. Connect your amp’s outputs to your
speaker inputs (unless, of course, you have
powered loudspeakers).
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, connect your
mixer’s MAIN OUTS to your powered
speakers or amp’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
+15
U
U
5
10
(EXT)
EFX
ZERO THE CONSOLE:
0
5
1
1
(EXT)
OO
5
0
EFX
EFX
OO
10
5
63
U
U
10
+15
OO
+15
PRE FADER
(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.
AUX
U
15+
+15
MASTER SEND
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.
5
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 passive 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. The same is true for powered
speakers.
• When you shut down your equipment, turn
off any external amplifiers and/or powered
speakers first. When powering up, turn on
the amplifiers and/or speakers last.
• Save the shipping box and packing material! You may need them someday.
APPLICATIONS DIAGRAMS
Keyboard, or other line-level input
Left PA Speaker
Right PA Speaker
Stereo EQ
Drum
Machine
Guitar Effects
Stereo
Power Amplifier
5
1
3
2
6
7
8
9
11
10
12
4
SUB OUT
CHANNEL INSERTS
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
Stereo
Compressor
in
out
Keyboard, or other line-level input
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
6
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
3
2
6
7
8
9
10
11
13
12
15
14
16
L
4
SUB OUT
CHANNEL INSERTS
2
3
4
5
6
7
8
1
2
BAL/UNBAL
1
2
L
R
L
1
R
2
3
MAIN OUT
R
L
L
R
TAPE
OUT
TAPE
IN
PHONES
OUT
BAL/UNBAL
4
L
R
R
MAIN
INSERT
BAL/UNBAL
UTIL OUT
BAL/UNBAL
2
1
L
SUB OUTS
AUX SENDS EFX SENDS STEREO EFX RETURNS
BAL/UNBAL
1
MAIN OUT
75Hz
CHANNEL INPUTS
L
R
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
8
9
10
11
12
13
14
15
17
16
19
18
20
L
1
3
2
4
5
CHANNEL INSERTS
SUB OUT
75Hz
3
4
5
6
7
8
1
2
BAL/UNBAL
1
2
R
L
1
R
R
L
L
R
R
2
3
4
L
MAIN OUT
L
R
MAIN OUT
BAL/UNBAL
MAIN
INSERT
TAPE
OUT
TAPE
IN
PHONES
BAL/UNBAL
BAL/UNBAL
2
1
L
UTIL OUT
SUB OUTS
AUX SENDS EFX SENDS STEREO EFX RETURNS
BAL/UNBAL
2
L
6
CHANNEL INPUTS
1
R
CD Player
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
Nursery
Stage Monitor
7
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
SEND to processor
ring
sleeve
(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
BAL/UNBAL
8
MIC 2
BAL/UNBAL
MIC 3
BAL/UNBAL
MIC 4
BAL/UNBAL
MIC 5
BAL/UNBAL
MIC 6
BAL/UNBAL
“tip”
MIC 7
BAL/UNBAL
MIC 8
BAL/UNBAL
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
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.
L
STEREO EFX
RETURN
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 monosummed amp and subwoofer (or a powered
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
R
2
2
(MONO)
(MONO)
9
11
LEFT
LEFT
RIGHT
RIGHT
10
12
L
L
L
R
LAMP
12V 0.5A
1
1
MAIN OUT
R
R
1
EFX
1
3
R
L
FOOT
SWITCH
2
2
S
R
UTILITY OUT
4
AUX SEND
SUB OUT
75Hz
SUB OUT
PHONES
9
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 PROinputs. If you’re using EMAC and
CESSOR
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.
L
STEREO EFX
RETURN
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
R
MAIN OUT
L
1
L
R
2
2
(MONO)
(MONO)
9
11
LEFT
LEFT
RIGHT
RIGHT
10
12
R
LAMP
L
L
L
MAIN OUT
12V 0.5A
1
R
R
1
EFX
1
3
R
L
FOOT
SWITCH
2
2
4
S
R
UTILITY OUT
10
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.
AUX SEND
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
. Closing the switch
EFFECTS PROCESSOR
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
LAMP
TIP
RING
(RIGHT)
TIP
(LEFT)
SLEEVE
(SHIELD)
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 right side of the switch labeled “ON”
to turn the mixer on; you should see the POWLED glow in confirmation. Press
ER STATUS
the left side of this switch to put the mixer into
standby mode. It will not function, but
the circuits are still live. To remove AC
power, either turn off the AC mains supply, or unplug the power cord from the
mixer and the AC mains supply.
CFX12
48v
MONO PLUG
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
ON
TIP SLEEVE
SLEEVE
(GROUND)
12 CHANNEL COMPACT INTEGRAT
POWER
SLEEVE
POWER
TIP O
RING
FOR US
(TIP =
STATUS
LEFT RIGHT
OPTIONAL USES FOR
CLIP
22
10
7
4
11
1
U
IC GAIN
M
CHANNEL STRIP FEATURES
ZERO
LEVEL
5
+50
-15dB +30dB
PHANTOM POWER
GAIN
LOW CUT
100 Hz
AUX
U
1
OO
+15
U
2
+15
OO
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
jacks for connecting line-level signals.
IN
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 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
GAIN
LO CUT
INSERT
Hz
EQ
MUTE
3-4
"POST"
SIGNAL
PRE-POST
AUX 1
"PRE" SIGNAL
AUX 2
EFX 1
“Pre vs. Post” Auxiliary
Signal Flow Diagram
EFX 2
100Hz
1kHz
10kHz 20kHz
Hi EQ
HI EQ
This control provides up to 15 dB of
boost or cut at 12 kHz and above, and it is
also flat at the detent. Use it to add sizzle
to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar,
and bacon frying. Turn it down a little to
reduce sibilance or hide hiss.
+15
+10
+5
0
–5
–10
–15
20Hz
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.
INPUT
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
100Hz
1kHz
MID EQ
Mid EQ
Short for “midrange,” this knob provides 15
dB of boost or cut, also flat at the center
+15
detent. Midrange EQ is often considered
+10
the most dynamic, because the frequencies +5
that define any particular sound are almost 0
always found in this range. You can create –5
as many interesting and useful EQ changes –10
–15
by turning this knob down as well as up.
20
The mono channels employ a semiparametric mid-sweep EQ. In addition to being
able to set the amount of boost, you can “aim”
that boost at a specific frequency; anywhere
from 100 Hz to 8 kHz.
The stereo channels employ a 2-stage fixedfrequency MID EQ. HI-MID is centered at 3kHz;
LOW-MID is centered at 400 Hz.
Hz
100Hz
1kHz
HI
12k
-15
TO AUX 2 MASTER SEND LEVEL
+15
U
HI
MID
3k
+15
U
LOW
MID
400Hz
-15
+15
U
LOW
80Hz
-15
+15
PAN
L
R
11-12
MUTE
ASSIGN
dB
10
TO AUX 1 MASTER SEND LEVEL
EQ
U
-15
This control provides up to 15 dB of boost
or cut at 80 Hz and below. The circuit is flat
(no boost or cut) at the center detent position.
This frequency represents the punch in bass
drums, bass guitar, fat synth patches, and hightestosterone male singers.
When adding boost to the channel’s low EQ,
simultaneously engaging the LOW CUT
switch can create an audible low frequency boost
without boosting stage rumble, mic handling
clunks, and breath pops.
10kHz 20kHz
Low EQ
LOW EQ
1-2
Stereo Channel
TO EFX 1 MASTER SEND LEVEL
TO EFX 2 MASTER SEND LEVEL
10kHz 20kHz
13
PAN
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.
MUTE
EQ
U
HI
12k
-15
+15
U
MID
-15
+15
600
1.5k FREQ
150
100
8k
When you engage a channel’s mute switch,
its signal disappears from these outputs: MAIN
, MAIN INSERT
, SUB OUT 1-4
OUT
, AUX SEND 1 & 2
, EFX SEND 1 & 2
(including the send to the EMAC EFFECTS
). The only thing it doesn’t
PROCESSOR
switch,
mute is the channel’s SOLO PFL
so you can audition channels, via headphones,
without sending them to the main mix.
U
ASSIGN
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
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
and, via their SUB ASSIGN
1 and 2 Faders
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
or SOLO PFL
.
LEVEL
15
STATUS
5
10
20
30
40
50
60
OO
15+
+15
10
10
5
5
0
0
5
5
10
10
–15
15–
63
125
250
500
1K
2K
4K
8K
16K
STEREO GRAPHIC EQ
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
U
OO
EFX
+20
C
1 RETURN
U
+20
OO
TAPE LEVEL
BREAK SWITCH
(MUTES ALL CHANNELS)
OO MAX
PHONES LEVEL
U
ZE
LE
S
3. Slowly turn up the MAIN MIX Fader
until feedback just begins to occur. BE
CAREFUL! Feedback can occur quickly
and become very LOUD, very fast.
4. Cut the appropriate slider until feedback
stops.
Suggestions for better sound:
• For better vocal sound, set the 125, 250,
and 16K sliders to +5.
Note: Make sure the singer is within 3 to
6 inches of the microphone. No amount of
EQ can save a wandering minstrel.
• For more presence, set the 4K and 8K sliders to +5.
• To warm up the overall sound, set the 2K
slider to –5.
• REMEMBER, LESS IS BETTER.
+10
OO
UTILITY OUT LEVEL
SUB
1
ASSIGN
dB
10
LEFT
5
RIGHT
U
TAPE LEVEL
You can adjust the incoming level of your intermission entertainment, independent of the
main mix level controls, via this feature. Here’s
how: Patch the stereo device into the TAPE
. Put the device in play. Engage the
INPUT
BREAK SWITCH
and set the TAPE LEVEL
knob as desired. Assuming the MAIN MIX
is set, you should hear the device.
Fader
BREAK SWITCH
5
10
20
30
40
50
60
OO
No, when we say BREAK SWITCH, we’re
not asking you to break the switch, we’re offering you a very handy feature. When it’s time
for the talent to take a break, the engineer
usually wants to stretch his legs. But walking
away from a live mixer in a crowded club can
be somewhat unnerving — what if some goon
starts dinking around with the faders?
No problem. Just plug in your intermission
entertainment device to the TAPE INPUT
16
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
PHONES LEVEL
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.
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
first controlled by this fader, which provides 10
dB of gain fully up, unity gain at the “U” mark,
and is effectively muted fully down.
From here, the signal goes to two very differsends the sub mix
ent locations: SUB OUT
directly out of the mixer via its TRS jacks; and
SUB ASSIGN
sends it to the MAIN MIX
.
Fader
LEFT/RIGHT SUB ASSIGN
As discussed in ASSIGN
, the only way to
get channel outputs to the main mix is via the
sub mixes, and this switch is the key.
Continuing the assumption made in ASSIGN
, Subs 1 and 2 are the left-right stereo path
1 and 2,
from the channels to SUB Faders
with SUB 1 carrying the left signal and SUB 2
carrying the right. Engage SUB 1 ASSIGN LEFT
and SUB 2 ASSIGN RIGHT, and you’re done.
Take a look at the block diagram on page 22 —
it’ll explain this and more, but in hieroglyphics.
AUX MASTER SEND
, 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
knobs.
MONITOR
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.
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 2 SEND
This controls the signal level being sent to
the input of the EMAC module (and to the EFX
jack). Use the EFX 2 (INT)
conSEND 2
trols 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
ZERO LEVEL
LED never lights more than
occasionally. Read on to find out why.
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
EFX 2 (INT) RETURN MASTERS
U
OO
U
+15
EFX 2
SEND
OO
U
+15
OO
TO MAIN MIX
+15
0
10
TIME
RATE
U
OO
+15
AUX 1
AUX 2
EFFECTS TO MONITOR
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
REVERSE
GATED
CATHEDRAL
LG. HALL
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
NORMAL
NORMAL
EFX
WIDE
AUX
U
1
OO
+15
U
2
+15
OO
EFX
U
1
(EXT)
OO
+15
U
TO MAIN MIX
DIGITAL STEREO EFFECTS PROCESSOR
CLIP
MASTER SEND
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
0
10
DAMPING
DEPTH
Stereo signals (from
STEREO EFX RETURN 2
and EMAC EFFECTS
PROCESSOR ) come
through this TO MAIN
MIX knob and continue
on to the MAIN MIX
Fader . They contain
the effects’ “wet” signals
and are 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 and
17
OO
EFX
+20
C
1 RETURN
U
+20
OO
TAPE LEVEL
BREAK SWITCH
(MUTES ALL CHANNELS)
OO MAX
PHONES LEVEL
U
+10
OO
UTILITY OUT LEVEL
ZE
LEV
SE
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 effect. Tails
note. Decay range is
EFX 2 (INT) RETURN MASTERS
CLIP
are normal with strong
adjustable from 35 ms to
U
U
U
U
high end and a slight
515 ms. No pre-delay.
waver imitating the slow
GATED: Standard
flutter of the mechani+15
+15
+15
+15
gated reverb, where
cal spring system. Very
AUX 1
AUX 2
TO MAIN MIX
EFX 2
the reverb tail is cut off
SEND
EFFECTS TO MONITOR
good with acoustic guitar.
sharply after the preset
DELAY 1
REVERSE
Decay range is adjustable
DELAY 2
GATED
decay length. Decay
CATHEDRAL
DELAY 3
from 1 second to 5 secrange is adjustable from
LG. HALL
DELAY 4
onds. No pre-delay.
35 ms to 515 ms. No preCHORUS
MD. HALL
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
OO
OO
LG. PLATE
MD. PLATE
SM. ROOM
10
TIME
RATE
Delays
FLANGE
PHASER
SPRING
NORMAL
0
OO
NORMAL
EFX
WIDE
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
0
10
DAMPING
DEPTH
There are four delays
available with one, two,
three, and four repeats.
TIME/RATE
controls
the time between repeats,
with the fastest repeats
at the 0 position and the
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
jack.
EFX RETURN 2
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 and other documentation. 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 REand EFX 2 SEND
down, one
TURN
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 service, refer to the warranty
information on page 22.
Non-warranty service 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 1800-898-3211, Monday-Friday, normal business
hours, Pacific Time, to explain the problem.
Tech Support will tell you where the nearest
factory-authorized 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
Mono Channels
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
CFX16
WEIGHT
21.0 lb/
9.5 kg
18.4 in/467 mm
22.9 in/ 582 mm
CFX12
WEIGHT
17.8 lb/
8.1 kg
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
16.2 in/412 mm
26.8 in/681 mm
5.0 in/127 mm
4.6 in/117 mm
15.7 in/400 mm
Output Impedance
50 dB
66 dB
66 dB
76 dB
71 dB
30 dB
46 dB
46 dB
56 dB
51 dB
40 dB
40 dB
50 dB
45 dB
30 dB
30 dB
Input Impedance
Mic Input:
3kΩ, balanced
Line Input:
40kΩ, balanced
Insert Input, Stereo Line Input, Tape Input, and
Effects Returns:
10kΩ, unbalanced
Main Output, Insert Output, Tape Output, Sub
Output, and Effects Sends: 150Ω
Digital Effects
Resolution:
Number of Presets:
Channel Level Set LED (Sensitivity)
0 dBu (normal operating level)
VU Meters
Main L/R
12 segments:
Clip, +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30
Power Consumption
CFX12 MKII:
CFX16 MKII:
CFX20 MKII:
35 Watts
40 Watts
45 Watts
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.
2.1 in/53 mm
Mackie Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty
then LOUD or its authorized service representative will at its option, either repair or replace any such
nonconforming product, provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at: www.mackie.com/support or by calling LOUD technical support at
1.800.898.3211 (toll-free in the U.S. and Canada) during normal business hours Pacific Time, excluding
weekends or LOUD holidays. Please retain the original dated sales receipt as evidence of the date of
purchase. You will need it to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please
visit www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located at
www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof. No amendment, modification
or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written
instrument signed by the party to be bound thereby.
22
32-bit (16-bit, 2-channel)
16
Block Diagram
1
2
3
GLO
P
BAL
TO
HAN
M PO
INSERT
WE R
MUTE
+5
VDC
12K
LO MID FREQ HI
80
R
L
EFX BYPASS
LEVEL
SET
MID MID HI
LOW CUT
LO
12K
12K
MID MID HI
80 800 3K
LO
80 800 3K
EFX LEVEL SET
EMAC
DSP
EFX BYPASS
MUTE
SOLO
MAIN
STEREO EFX
RETURN 2 LEFT
STEREO EFX
RETURN 2
RIGHT
EFX
FOOT
SWITCH
SOLO
FADER
PAN
1-2
3-4
PRE-P0ST
PAN
PRE/POST
EFX TO MAIN MIX
AUX 1
AUX 2
EFX 1
EFX 2
1-2
AUX 1
AUX 2
EFX 1
EFX 2
3-4
TO LEFT MAIN
EFX TO AUX 1
EFX 1
EFX TO AUX 2
TO RIGHT MAIN
SUB 2
SUB 3
AUX SEND 2
AUX SEND 1
SUB 1
EFX SEND 1
STEREO EFX
RETURN 1 LEFT
STEREO EFX
RETURN 1 RIGHT
AUX SEND 1
SUB 1 OUT
SUB 2 OUT
SUB 3 OUT
SUB 4 OUT
RIGHT
ASSIGN
LEFT
ASSIGN
RIGHT
ASSIGN
LEFT
ASSIGN
RIGHT
ASSIGN
LEFT
ASSIGN
RIGHT
ASSIGN
LEFT
ASSIGN
LEFT
MAIN
EFX RETURN 1
FROM EFX
TO MAIN MIX
AUX SEND 2
EFX SEND 1
TAPE OUT
LEFT
SOLO
ON
SOLO
OFF
MONROE
PFL
+5
VDC
BREAK
BREAK
PFL
SIGNAL
TO PHONES
TAPE OUT
RIGHT
TAPE
LEVEL
MAIN INSERT
TAPE IN
LEFT
TAPE IN
RIGHT
MAIN INSERT
RUDE SOLO
LIGHT
SOLO CONTROL
(ACTIVE LOW)
BOTHELL
WOODINVILLE
EXIT
63 125 250500 1K 2K 4K 8K 16K
SOLO
ON
SOLO
OFF
PFL
SIGNAL
TO LEFT
METER
MAIN
LEVEL
MAIN
LEVEL
PHONES LEVEL
UTILITY
LEVEL
63 125 250500 1K 2K 4K 8K 16K
SOLO CONTROL
(ACTIVE LOW)
2
3
1
MAIN OUT
LEFT
3
SUBWOOFER
OUT
2
1
MAIN OUT
RIGHT
PHONES
1
75 Hz
LPF
2
3
UTILITY OUT LEFT
UTILITY OUT RIGHT
22
10
7
4
2
0
2
4
7
10
20
30
23
+48 VDC
GAIN
GAIN
100 Hz
HPF
PHANTOM POWER
MIC/LINE IN
MONO CHANNELS
LEFT
EFX
SELECT
EFX SEND 2
LINE IN
STEREO
CHANNELS
RIGHT
EFX SEND 2
TIME/RATE
DAMPING/DEPTH
EFX WIDE
MACKIE
CFX MKII SERIES
BLOCK DIAGRAM
(#122104CJM/DF)
EFX 2
AUX 2
AUX 1
SOLO
SOLO
CONTROL
SUB 4
RIGHT
MAIN
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States 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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