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OWNERS MANUAL
12, 16, AND 20-CHANNEL
MIC/LINE MIXERS
WITH DIGITAL EFFECTS
CAUTION
CFX12
ON
MIC 3
MIC 2
MIC 1
STEREO
PLUG
MONO PLUG
POWER
MIC 4
MIC 5
MIC 7
MIC 6
MIC 8
STEREO EFX
RETURN
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
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
(MONO)
U
IC GAIN
M
ZERO
ZERO
LEVEL
5
+50
-15dB +30dB
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
U
IC GAIN
M
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
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
AUX
1
OO
+15
U
OO
PRE FADER
LEFT
RIGHT
10
12
HI
12k
-15
-15
100
1.5k FREQ
100
1.5k FREQ
100
8k
-15
+15
1.5k FREQ
100
-15
+15
PAN
8k
1.5k FREQ
100
-15
PAN
8k
100
-15
PAN
1.5k FREQ
100
-15
100
-15
+15
PAN
-15
8k
LOW
80Hz
-15
PAN
-15
PAN
-15
1-2
dB
10
1-2
dB
10
1-2
dB
10
1-2
dB
10
1-2
dB
10
OO
1-2
ASSIGN
dB
10
1-2
3-4
+15
U
LOW
80Hz
-15
+15
ASSIGN
dB
10
1-2
3-4
dB
10
1-2
3-4
8K
dB
10
+15
OO
48v
U
+15
POWER
+20
EFX 1 RETURN
U
OO
AUX 1
AUX 2
EFFECTS TO MONITOR
10
RATE
SUB
1-2
WIDE
SUB
ASSIGN
dB
10
LEFT
dB
10
LEFT
2
0
2
4
ZERO
LEVEL
SET
10
20
10
0dB=0dBu
DAMPING
SUB
SUB
ASSIGN
dB
10
LEFT
RIGHT
RUDE
SOLO
OO +10
UTILITY OUT LEVEL
DEPTH
2
ASSIGN
RIGHT
3-4
BREAK SWITCH
30
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
10
MAX
PHONES LEVEL
U
STEREO
STEREO
MAIN
MAIN MIX
MIX
ASSIGN
dB
10
LEFT
RIGHT
dB
10
5
RIGHT
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
OO +20
TAPE LEVEL
NORMAL
EFX
CLIP
DELAY 1
DELAY 2
DELAY 3
DELAY 4
CHORUS
FLANGE
PHASER
SPRING
OO
ASSIGN
3-4
16K
PHANTOM POWER
+15
MUTE
ASSIGN
OO
TO MAIN MIX
NORMAL
11-12
MUTE
+15
OO
PAN
9-10
MUTE
REVERSE
GATED
CATHEDRAL
LG. HALL
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
LOW
MID
400Hz
-15
+15
EFX 2
SEND
+15
U
PAN
MUTE
ASSIGN
3-4
MUTE
ASSIGN
3-4
MUTE
ASSIGN
3-4
MUTE
ASSIGN
3-4
MUTE
ASSIGN
3-4
MUTE
ASSIGN
dB
10
MUTE
4K
STEREO GRAPHIC EQ
TIME
R
1
1
2K
LEFT RIGHT
+15
U
1K
HI
MID
3k
-15
+15
U
PAN
500
CLIP
LOW
80Hz
+15
250
HI
12k
+15
U
LOW
80Hz
+15
EQ
LOW
MID
400Hz
LOW
80Hz
+15
PAN
8k
125
EFX
+15
U
1.5k FREQ
15
+15
U
HI
MID
3k
-15
+15
600
150
15
(EXT)
(INT)
OO
EQ
HI
12k
-15
10
+15
OO
+15
U
10
EFX
EFX
MID
-15
+15
600
150
8k
LOW
80Hz
+15
-15
10
63
EFX
+15
U
15+
+15
(EXT)
+15
U
(INT)
OO
+15
U
OO
HI
12k
+15
U
LOW
80Hz
+15
1.5k FREQ
PHONES
PRE FADER
OO
EQ
MID
-15
+15
600
150
LOW
80Hz
-15
+15
U
75Hz
SUB OUT
SUB OUT
+15
(INT)
HI
12k
MID
-15
+15
600
150
LOW
80Hz
-15
MID
-15
+15
600
150
HI
12k
+15
U
MID
-15
+15
600
150
8k
LOW
80Hz
-15
+15
U
MID
-15
+15
600
150
8k
-15
-15
HI
12k
10
1
OO
EFX
+15
OO
EQ
+15
AUX
+15
U
(EXT)
+15
U
EFX
+15
OO
EQ
OO
OO
(INT)
+15
U
AUX SEND
+15
EFX
OO
EQ
OO
(EXT)
+15
U
OO
(INT)
+15
U
HI
12k
+15
U
MID
-15
+15
600
1.5k FREQ
HI
12k
+15
U
MID
-15
150
OO
EQ
+15
U
EFX
EFX
(INT)
+15
U
EFX
R
FOOT
SWITCH
PRE FADER
U
EFX
+15
U
OO
AUX
2
OO
(EXT)
+15
U
EFX
(INT)
OO
HI
12k
+15
U
EFX
EQ
OO
PRE FADER
(EXT)
OO
MASTER SEND
+15
OO
EFX
11/12
PRE FADER
U
EFX
(EXT)
+15
U
GAIN
AUX
+15
U
OO
+15
OO
+20
-20
GAIN
+15
+20
-20
+15
U
OO
PRE FADER
OO
(INT)
OO
+15
OO
EQ
+15
U
9/10
AUX
+15
EFX
+15
U
EFX
(INT)
+15
OO
OO
(EXT)
OO
EFX
EQ
+15
U
PRE FADER
+15
U
OO
EFX
OO
AUX
+15
(EXT)
+15
U
(INT)
+15
U
OO
EFX
(EXT)
OO
+15
U
PRE FADER
U
EFX
-15
PRE FADER
U
EFX
(EXT)
+15
U
OO
OO
AUX
+15
OO
PRE FADER
OO
OO
+15
OO
AUX
+15
U
OO
+15
AUX
+15
U
2
OO
AUX
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
U
11
LEFT
RIGHT
UTILITY OUT
LAMP
12V 0.5A
BAL/UNBAL
(MONO)
U
IC GAIN
M
MAIN OUT
MAIN OUT
L
1
2
BAL/UNBAL
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
2
BAL/UNBAL
MANUFACTURING DATE
SERIAL NUMBER
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
CAUTION
AVIS
13. Unplug this apparatus during lightning storms or when unused for
long periods of time.
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 prsent appareil numrique nmet pas de bruits
radiolectriques dpassant las limites applicables aux appareils
numriques de class A/de class B (selon le cas) prescrites dans le
rglement sur le brouillage radiolectrique dict 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. Governments
Occupational Safety and Health Administration (OSHA) has specified the
permissible noise level exposures shown in the following chart.
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.
Typical
Example
Duo in small club
Subway Train
Very loud classical music
Tami screaming at Adrian about deadlines
Loudest parts at a rock concert
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.
Heres a quick glance at all the features
youve 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
Purchased at:
Date of purchase:
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 FOOTSWITCH ........................................ 11
LAMP ......................................................... 11
AC POWER INPUT ........................................ 11
POWER SWITCH .......................................... 11
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
QUICK START
U
IC GAIN
M
ZERO
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
1
OO
+15
U
OO
+15
U
2
+15
OO
EFX
10
10
15
15
125
250
500
1K
4K
8K
EFX
(INT)
+15
PHANTOM POWER
CLIP
EQ
48v
POWER
HI
12k
-15
+15
U
OO
8k
U
LOW
80Hz
-15
OO
+15
OO
+15
TIME
RATE
1
1
SUB
MUTE
0
BREAK SWITCH
1-2
3-4
UP
SUB
dB
10
LEFT
LEFT
10
20
0dB=0dBu
SUB
SUB
ASSIGN
dB
10
RUDE
SOLO
OO +10
UTILITY OUT LEVEL
DEPTH
STEREO
STEREO
MAIN
MAIN MIX
MIX
ASSIGN
dB
10
LEFT
RIGHT
U
ZERO
LEVEL
SET
10
DAMPING
RIGHT
U
ASSIGN
dB
10
30
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
ASSIGN
ASSIGN
DOWN
WIDE
MAX
PHONES LEVEL
U
10
OO +20
TAPE LEVEL
OO
22
10
NORMAL
EFX
CLIP
1 RETURN
U
+15
+20
OO
EFX
AUX 2
AUX 1
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
RIGHT
U
dB
10
5
RIGHT
U
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
(EXT)
SOLO
PFL
OO
2K
STEREO GRAPHIC EQ
+15
OO
+15
U
OO
63
(EXT)
OO
10
EFX
10
+15
OO
PRE FADER
AUX
15+
+15
MASTER SEND
AUX
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
11
10
12
SUB OUT
CHANNEL INSERTS
3
MAIN OUT
75Hz
BAL/UNBAL
BAL/UNBAL
MAIN
INSERT
BAL/UNBAL
BAL/UNBAL
UTIL OUT
SUB OUTS
1
L
MAIN OUT
CD Player
CHANNEL INPUTS
in
out
Stereo
Compressor
in
out
TAPE
OUT
TAPE
IN
PHONES
OUT
Digital Delay
Stereo Compressor
Stereo EQ
Stereo
Power Amplifier
Stage Monitor
Stage Monitor
Subwoofer
Mono
Power Amplifier
Drum
Machine
Left PA Speaker
Right PA Speaker
Stereo EQ
in
out
Stereo
Compressor
Guitar Effects
in
out
Direct Box
Guitar Effects
Mono
Power Amplifiers
CD Player
5
1
10
11
13
12
15
14
SUB OUT
BAL/UNBAL
MAIN
INSERT
BAL/UNBAL
BAL/UNBAL
MAIN OUT
UTIL OUT
BAL/UNBAL
SUB OUTS
MAIN OUT
75Hz
CHANNEL INPUTS
CHANNEL INSERTS
16
TAPE
OUT
TAPE
IN
PHONES
OUT
Stereo Compressor
Stereo Compressor
Mono EQ
Mono EQ
Subwoofer
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
10
11
12
13
14
15
17
16
19
18
20
L
SUB OUT
CHANNEL INPUTS
75Hz
BAL/UNBAL
MAIN OUT
L
MAIN OUT
BAL/UNBAL
MAIN
INSERT
TAPE
OUT
TAPE
IN
PHONES
BAL/UNBAL
BAL/UNBAL
1
L
UTIL OUT
SUB OUTS
CHANNEL INSERTS
1
CD Player
OUT
Digital Delay
Stereo Compressor
Stereo Compressor
Mono EQ
Mono
Power
Amplifier
Stereo EQ
Stereo EQ
Stereo
Power
Amplifier
Stereo
Power
Amplifier
Assistive Listening
Transmitter
Cry Room
Left
Nursery
Stage Monitor
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.
SHIELD
COLD
HOT
RING
(COLD)
TIP
(HOT)
SLEEVE
(SHIELD)
tip
SEND to processor
ring
sleeve
LINE IN
MONO PLUG
Channel Insert jack
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
STEREO
PLUG
Channel Insert jack
MIC 1
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC 2
tip
ring
RETURN from processor
TS UNBALANCED WIRING
(TRS plug)
MIC
3
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
MAIN OUT
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.
STEREO EFX
RETURN
MAIN OUT
R
1
(MONO)
11
LEFT
LEFT
RIGHT
RIGHT
10
12
LAMP
L
L
2
2
MAIN OUT
12V 0.5A
(MONO)
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
SUBWOOFER OUT
MAIN INSERT
Wet Signal
Dry Signal(s)
R
EFX
FOOT
SWITCH
UTILITY OUT
75Hz
SUB OUT
AUX SEND
SUB OUT
PHONES
UTILITY OUT
RING
(COLD)
TIP
(HOT)
SLEEVE
(SHIELD)
TIP
(HOT)
SUB OUT
SLEEVE
(SHIELD)
TS UNBALANCED WIRING
EFX SEND
The signal at these TRS outputs is postfader only, so they cannot be used as
traditional stage monitor cues. Theyre 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 mixers internal EMAC EFFECTS PROinputs. If youre 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.
AUX SEND
STEREO EFX
RETURN
MAIN INSERT
TAPE
TAPE
INPUT OUTPUT
EFX SEND
L
1
(MONO)
11
LEFT
LEFT
RIGHT
RIGHT
10
12
MAIN OUT
LAMP
L
L
R
EFX
FOOT
SWITCH
4
S
R
UTILITY OUT
10
MAIN OUT
12V 0.5A
(MONO)
AUX SEND
SUB OUT
75Hz
SUB OUT
PHONES
TAPE INPUT
Patch the outputs of your intermission entertainment here. Any line-level mono or stereo
device can be used: tape, CD player, television
for more
audio, etc. See BREAK SWITCH
information.
When connecting a mono device (just one
cord), youll 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
but bemain mix, after the MAIN INSERT
. The main mix
fore the MAIN MIX Fader
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
, but with two imporas at the MAIN OUT
tant differences:
, the mix is
After the MAIN MIX Fader
control,
sent through the PHONES LEVEL
allowing you to set levels as desired, without
disturbing the main mix level.
is engaged,
When a channels SOLO PFL
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.
LAMP
SLEEVE
(GROUND)
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. (Lets all say a big collective Duh.)
CFX12
12 CHANNEL COMPACT INTEGRAT
48v
MONO PLUG
POWER
ON
120 VAC, 50/60 Hz,
35 WATTS
POWER
TIP OU
RING R
STATUS
FOR USE
(TIP = S
LEFT RIGHT
CLIP
22
10
7
4
11
U
IC GAIN
M
ZERO
PHANTOM POWER
LEVEL
5
+50
-15dB +30dB
GAIN
LOW CUT
100 Hz
AUX
1
OO
+15
U
OO
+15
2
PRE FADER
U
EFX
(EXT)
OO
+15
U
EFX
(INT)
+15
OO
EQ
HI
12k
-15
+15
U
-15
+15
600
MID
1.5k FREQ
150
100
8k
U
LOW
80Hz
-15
+15
PAN
1
1
GAIN
MUTE
ASSIGN
dB
10
1-2
3-4
U
5
10
20
30
40
50
60
SOLO
PFL
OO
Mono Channel
12
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 gain
(page 15),
levels, please see RUDE SOLO
where a soloed signal will appear on the
.
mixers 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 knobs 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 channels stereo signals. For instance, on the CFX20, channel 17
(L) and 18 (R) mix together to feed that
channels 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: post-low 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
drummers vocals out of the main mix by turning his fader down, but since he still hears
himself in the monitors, hes happy.
EFX 1 (EXT)
EFX 1, designed for feeding the inputs of
parallel effects devices, behaves exactly like an
AUX
send, but its always in post-fader
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 youre 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;
theyre 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
example, boosting the LOW EQ knob boosts
FADER
PAN
1-2
INPUT
GAIN
LO CUT
INSERT
EQ
MUTE
3-4
"POST"
SIGNAL
15
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 tape hiss.
MID EQ
20Hz
100Hz
1kHz
10kHz 20kHz
Hi EQ
+15
+10
+5
0
5
10
15
20Hz
100Hz
1kHz
100Hz
1kHz
10kHz 20kHz
Low EQ
EQ
HI
12k
-15
+15
U
HI
MID
3k
LOW EQ
-15
10kHz 20kHz
Mid EQ
+15
U
LOW
MID
400Hz
-15
+15
U
LOW
80Hz
-15
+15
PAN
11-12
MUTE
ASSIGN
PRE-POST
AUX 1
"PRE" SIGNAL
AUX 2
EFX 1
EFX 2
dB
10
1-2
Stereo Channel
13
PAN
PAN adjusts the amount of channel signal
sent, left versus right, to the SUB OUTs
(and ultimately the MAIN OUTs
via the
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 channels
ASSIGN
switches are engaged).
With the PAN knob hard right, the signal
will feed SUB 2 and SUB 4 (assuming the
switches are engaged).
channels ASSIGN
With the PAN knob set somewhere in between, the signal will be shared across both
sides of the mix.
MUTE
EQ
HI
12k
-15
+15
U
MID
-15
+15
600
1.5k FREQ
150
100
8k
U
LOW
80Hz
-15
+15
PAN
1
1
MUTE
ASSIGN
dB
10
1-2
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
channels signal. Engaging ASSIGN 1-2, for instance, sends that channels 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, well explain it anyway: The fader is
the master level control for the channels sig14
SOLO PFL
Engaging a channels SOLO switch causes
this dramatic turn of events: The PHONES
and Meters
, which ordinarily receive the
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
youre in solo.
The SOLO PFL signal is tapped before the
channels MUTE
and Fader
controls. It
, LOW CUT
does, however, follow GAIN
, and EQ
settings, making it the perfect
tool for quick inspections of individual or mul, MUTE
tiple channels. The channels PAN
and Fader
settings have no effect on
the SOLO signal. See RUDE SOLO
for
more information.
WARNING: Pre-fader
SOLO taps the channel
.
signal before the fader
If you have a channels
fader set well below U
(unity gain), SOLO wont know that and will
send a unity gain signal to the PHONES
output. That may result in a startling level
boost in your headphones.
METERS
The CFX mixers 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.
When a SOLO PFL
switch is engaged,
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 meters
peaks flashing anywhere between 20 and +10
dB. Most amplifiers clip at about +10 dB, and
some recorders arent 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.
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 youre 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. How? Just engage a SOLO PFL
switch and watch the meters.
WARNING: SOLO is prefader and taps the channel
.
signal before the fader
If you have a channels
fader set well below U
(unity gain), SOLO wont know that and will
send a unity gain signal to the PHONES
output. 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
STATUS
5
10
20
30
40
50
60
OO
+15
15+
10
10
10
10
15
15
63
125
250
500
1K
2K
4K
8K
16K
STEREO GRAPHIC EQ
OO
EFX
+20
1 RETURN
U
+20
OO
TAPE LEVEL
BREAK SWITCH
MAX
PHONES LEVEL
U
OO
ZE
LEV
SE
+10
OO
UTILITY OUT LEVEL
SUB
1
ASSIGN
dB
10
LEFT
RIGHT
TAPE LEVEL
You can adjust the incoming level of your intermission entertainment, independent of the
main mix level controls, via this feature. Heres
how: Patch the stereo device into the TAPE IN. Put the device in play. Engage the
PUT
BREAK SWITCH
and set the TAPE LEVEL
knob as desired. Assuming the MAIN MIX
Fader
is set, you should hear the device.
BREAK SWITCH
5
10
20
30
40
50
60
OO
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 channels 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.
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
.
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)
SEND 2
controls on the individual channels to adjust
the amount of each channels signal you want
to go to the EMAC. Leave EFX 2 SEND set at
the center U position. If you find that youre
not getting enough of the effect in the main
mix, make sure that the TO MAIN MIX
control is turned up at least to unity (the center detent position). Its okay to turn up the
EFX 2 SEND some more if you need to. Just
LED never
make sure the ZERO LEVEL
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
knob, youll typically set this knob
(EXT)
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 param,
eters: Preset Select
TIME/RATE
, DAMP-
OO
+15
EFX 2
SEND
OO
+15
OO
TO MAIN MIX
+15
10
TIME
RATE
OO
+15
AUX 2
AUX 1
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
1
OO
+15
U
2
+15
OO
EFX
(EXT)
+15
OO
TO MAIN MIX
MASTER SEND
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
10
DAMPING
DEPTH
OO
EFX
+20
CL
1 RETURN
U
+20
OO
TAPE LEVEL
BREAK SWITCH
MAX
PHONES LEVEL
U
OO
+10
OO
UTILITY OUT LEVEL
ZER
LEV
SE
EMAC effects, with their levels already determined by the channels EFX 2 (EXT) knob, youll
typically set this knob near the U mark and
then leave it alone.
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 cathedral.
18
OO
OO
MD. HALL
LG. PLATE
MD. PLATE
SM. ROOM
CHORUS
FLANGE
PHASER
SPRING
NORMAL
10
TIME
RATE
OO
NORMAL
EFX
WIDE
Delays
BYPASS
REVERBS
DELAYS
CHORUS/FLANGE/PHASER
10
DAMPING
DEPTH
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 doesnt 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
jack.
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
a little.
down EFX 2 SEND
19
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.
Bad Output
Troubleshooting
Noise
Bad Channel
Is the ASSIGN
switch set correctly?
Is the channel Fader
turned up?
On mono channels, try unplugging any
INSERT devices.
Try the same source signal in another
channel, set up exactly like the suspect
channel.
20
Power
Our favorite question: Is the POWER
switch on?
Repair
Service for the CFX MKII Series mixers is
available at a factory-authorized service center.
Service for Mackie mixers living outside the
United States can be obtained through local
dealers or distributors.
If your mixer needs service, follow these instructions:
1. Review the preceding troubleshooting
suggestions. Please.
2. Call Tech Support at 1-800-898-3211, 8am
to 5pm PST, to explain the problem in
detail. If it appears that the mixer needs
repair, you will be given a Service Request
Number. Have your mixers serial number
ready. You must have an Service Request
Number before you can obtain service at a
factory-authorized service center.
3. Keep this owners manual and the detachable linecord. We dont need them to repair
the mixer.
4. Pack the mixer in its original package,
including endcaps and box. This is VERY
IMPORTANT. When you call for the Service
Request Number, please let Tech Support
5.
6.
7.
8.
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 (150 source impedance)
Equivalent Input Noise (EIN):
127 dBu
Residual Output Noise:
Main, Monitor, and Effects outputs
Channel & Master levels off
95 dBu
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
+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
15 dB @ 100 Hz to 8 kHz
Mid
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
+4 dBu
+20 dBu
21
16.0 in/406 mm
18.4 in/467 mm
CFX12
WEIGHT
17.8 lb/
8.1 kg
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:
3k, balanced
Line Input:
40k, balanced
Insert Input, Stereo Line Input, Tape Input, and
Effects Returns:
10k, unbalanced
50 dB
66 dB
66 dB
76 dB
71 dB
Output Impedance
Main Output, Insert Output, Tape Output, Sub
Output, and Effects Sends: 150
30 dB
46 dB
46 dB
56 dB
51 dB
Digital Effects
Resolution:
Number of Presets:
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 2
AUX 1
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
16-bit, 2-channel
16
R
POWE
TOM
HAN
LEFT
ASSIGN
PHANTOM POWER
RIGHT
ASSIGN
SOLO
INSERT
LO MID FREQ HI
LOW CUT
SUB 2 OUT
LEVEL
SET
GAIN
80
MUTE
TAPE OUT
LEFT
1-2
12K
BREAK
100 Hz
HPF
MAIN INSERT
PAN
LEFT
ASSIGN
FADER
MAIN OUT
LEFT
3-4
MAIN
LEVEL
RIGHT
ASSIGN
PRE-P0ST
AUX 1
MIC/LINE IN
MONO CHANNELS
TAPE IN
LEFT
SUB 3 OUT
AUX 2
TAPE
LEVEL
EFX 1
LEFT
ASSIGN
EFX 2
TAPE IN
RIGHT
RIGHT
ASSIGN
SOLO
MAIN INSERT
MAIN
LEVEL
SUB 4 OUT
LO
MID MID HI
80 800 3K
12K
LEFT
LINE IN
STEREO
CHANNELS
PAN
MUTE
GAIN
LO
1-2
SUBWOOFER
OUT
2
1
75 Hz
LPF
3-4
MAIN OUT
RIGHT
LEFT
ASSIGN
TAPE OUT
RIGHT
MAIN
MID MID HI
80 800 3K
RIGHT
ASSIGN
12K
RIGHT
STEREO EFX
RETURN 1 LEFT
PFL
SIGNAL
TO PHONES
AUX 1
PRE/POST
AUX 2
EFX RETURN 1
EFX 1
RUDE SOLO
LIGHT
STEREO EFX
RETURN 1 RIGHT
EFX 2
UTILITY
LEVEL
+5
VDC
EFX SEND 2
STEREO EFX
RETURN 2 LEFT
EFX LEVEL SET
FROM EFX
TO MAIN MIX
SOLO
OFF
EFX BYPASS
SOLO CONTROL
(ACTIVE LOW)
SOLO
ON
PFL
TO LEFT MAIN
L
EFX SEND 2
PHONES
STEREO EFX
RETURN 2
RIGHT
EFX
SELECT
PHONES LEVEL
EFX TO AUX 1
AUX SEND 1
TIME/RATE
DAMPING/DEPTH
EMAC
DSP
EFX TO AUX 2
MONROE
PFL
SIGNAL
TO LEFT
METER
WOODINVILLE
EXIT
AUX SEND 1
TO RIGHT MAIN
BOTHELL
AUX SEND 2
22
10
7
4
2
0
2
4
7
10
20
30
EFX WIDE
AUX SEND 2
EFX SEND 1
EFX BYPASS
EFX
FOOT
SWITCH
SOLO
OFF
EFX SEND 1
MACKIE
CFX MKII SERIES
BLOCK DIAGRAM
(#122104CJM/DF)
SOLO CONTROL
(ACTIVE LOW)
22
SOLO
ON
23