CFX SERIES OWNER’S MANUAL
AND WARRANTY REGISTRATION
12, 16, AND 20-CHANNEL MIC/LINE MIXERS
WITH DIGITAL EFFECTS
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CFX12 MIXER |
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12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER |
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MONO PLUG |
STEREO |
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PLUG |
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POWER |
THE "SECOND CLICK" |
RING RETURN FROM EFFECTS |
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INSERT ALL THE WAY IN TO |
TIP OUT TO EFFECTS DEVICE |
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DIRECT OUT WITH SIGNAL |
FOR USE AS AN EFFECTS LOOP |
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INTERRUPTION TO MASTER |
(TIP= SEND, RING = RETURN) |
OPTIONAL USES FOR INSERTS
120V, 50/60 Hz,
35 WATTS
ON
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CAUTION |
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. |
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WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT |
SERIAL NUMBER |
MANUFACTURING DATE |
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RISK OF ELECTRIC SHOCK |
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. |
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DO NOT OPEN |
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR |
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REPLACE WITH THE SAME TYPE FUSE AND RATING. |
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UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. |
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DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE |
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DEBRANCHER AVANT DE REMPLACER LE FUSIBLE |
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CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN CHINA • FABRIQUE AU CHINE • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE • PATENT PENDING
MIC 1 |
MIC 2 |
MIC 3 |
MIC 4 |
MIC 5 |
MIC 6 |
MIC 7 |
MIC 8 |
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STEREO EFX |
EFX SEND |
TAPE |
TAPE |
MAIN INSERT MAIN OUT |
MAIN OUT |
LAMP |
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L |
RETURN |
R |
INPUT |
OUTPUT |
L |
L |
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12V 0.5A |
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1 |
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1 |
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L |
L |
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L |
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2 |
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R |
R |
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2 |
R |
R |
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EFX |
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BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
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R |
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(MONO) |
(MONO) |
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1 |
1 |
3 |
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LINE IN |
LINE IN |
LINE IN |
LINE IN |
LINE IN |
LINE IN |
LINE IN |
LINE IN |
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9 |
11 |
L |
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FOOT |
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LEFT |
LEFT |
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SWITCH |
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RIGHT |
RIGHT |
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2 |
2 |
4 |
S |
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INSERT |
INSERT |
INSERT |
INSERT |
INSERT |
INSERT |
INSERT |
INSERT |
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10 |
12 |
R |
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UTILITY OUT |
AUX SEND |
SUB OUT |
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75Hz |
PHONES |
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SUB OUT |
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G |
1 |
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G |
2 |
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G |
3 |
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G |
4 |
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G |
5 |
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G |
6 |
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G |
7 |
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G |
8 |
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U |
9 |
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U |
11 |
M |
U |
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M |
U |
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M |
U |
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M |
U |
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M |
U |
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M |
U |
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M |
U |
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M |
U |
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10 |
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12 |
IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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IC |
AIN |
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6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
6 |
+50 |
ZERO |
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LEVEL |
LEVEL |
LEVEL |
LEVEL |
LEVEL |
LEVEL |
LEVEL |
LEVEL |
-20 |
+20 |
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-20 |
+20 |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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-15dB +30dB |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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TRIM |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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15 |
15 |
100 Hz |
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100 Hz |
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100 Hz |
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100 Hz |
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100 Hz |
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100 Hz |
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100 Hz |
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100 Hz |
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MASTER SEND |
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10 |
10 |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
5 |
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5 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
0 |
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0 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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5 |
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5 |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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10 |
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10 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
15 |
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15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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63 |
125 |
250 |
500 |
1K |
2K |
4K |
8K |
16K |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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PRE FADER |
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EFX |
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STEREO GRAPHIC EQ |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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CFX12 MIXER |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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1 |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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(EXT) |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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EFX |
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CUSTOM 32-BIT PRECISION |
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PHANTOM POWER |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
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2 |
DIGITAL STEREO EFFECTS PROCESSOR |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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(INT) |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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CLIP |
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EFX 2 (INT) RETURN MASTERS |
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48v |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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EQ |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
U |
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U |
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U |
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U |
POWER |
STATUS |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
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12k |
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12k |
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12k |
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12k |
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12k |
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12k |
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12k |
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12k |
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12k |
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12k |
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LEFT |
RIGHT |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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OO |
+15 |
OO +15 |
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OO |
+15 |
OO |
+15 |
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OO |
+20 |
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22 |
CLIP |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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EFX 2 |
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AUX 1 |
AUX 2 |
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EFX 1 RETURN |
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TO MAIN MIX |
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U |
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10 |
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HI |
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HI |
SEND |
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EFFECTS TO MONITOR |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
REVERSE |
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DELAY 1 |
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7 |
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3k |
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3k |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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GATED |
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DELAY 2 |
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OO |
+20 |
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4 |
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600 |
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600 |
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600 |
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600 |
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600 |
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600 |
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600 |
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600 |
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U |
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U |
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CATHEDRAL |
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DELAY 3 |
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2 |
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LOW |
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LOW |
LG. HALL |
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DELAY 4 |
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TAPE LEVEL |
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150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
150 |
1.5k FREQ |
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MID |
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MID |
MD. HALL |
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CHORUS |
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0 |
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400Hz |
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400Hz |
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BREAK SWITCH |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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100 |
8k |
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-15 |
+15 |
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-15 |
+15 |
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LG. PLATE |
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FLANGE |
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2 |
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(MUTES ALL CHANNELS) |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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MD. PLATE |
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MAX |
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DELAYS |
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+10 |
RUDE |
SOLO |
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L |
R |
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L |
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L |
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L |
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RATE |
CHORUS/FLANGE/PHASER |
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8 |
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9-10 |
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11-12 |
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SUB |
1 |
SUB |
2 |
SUB |
3 |
SUB |
4 |
STEREO |
ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
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ASSIGN |
ASSIGN |
ASSIGN |
ASSIGN |
MAIN MIX |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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dB |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
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10 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
1-2 |
LEFT |
10 |
LEFT |
10 |
LEFT |
10 |
LEFT |
10 |
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5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
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5 |
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5 |
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5 |
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5 |
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3-4 |
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3-4 |
3-4 |
3-4 |
3-4 |
3-4 |
3-4 |
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3-4 |
3-4 |
3-4 |
RIGHT |
RIGHT |
RIGHT |
RIGHT |
U |
U |
U |
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U |
U |
U |
U |
U |
U |
U |
U |
U |
U |
U |
U |
5 |
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5 |
5 |
5 |
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5 |
5 |
5 |
5 |
5 |
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5 |
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5 |
5 |
5 |
5 |
5 |
10 |
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10 |
10 |
10 |
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10 |
10 |
10 |
10 |
10 |
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10 |
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10 |
10 |
10 |
10 |
10 |
20 |
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20 |
20 |
20 |
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20 |
20 |
20 |
20 |
20 |
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20 |
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20 |
20 |
20 |
20 |
20 |
30 |
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30 |
30 |
30 |
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30 |
30 |
30 |
30 |
30 |
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30 |
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30 |
30 |
30 |
30 |
30 |
40 |
SOLO |
40 |
SOLO 40 |
SOLO 40 |
SOLO |
40 |
SOLO 40 |
SOLO 40 |
SOLO 40 |
SOLO 40 |
SOLO |
40 |
SOLO |
40 |
40 |
40 |
40 |
40 |
50 |
PFL |
50 |
PFL 50 |
PFL 50 |
PFL |
50 |
PFL 50 |
PFL 50 |
PFL 50 |
PFL 50 |
PFL |
50 |
PFL |
50 |
50 |
50 |
50 |
50 |
60 |
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60 |
60 |
60 |
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60 |
60 |
60 |
60 |
60 |
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60 |
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60 |
60 |
60 |
60 |
60 |
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
SAFETY INSTRUCTIONS
1.Read Instructions — All the safety and operation instructions should be read before this Mackie product is operated.
2.Retain Instructions — The safety and operating instructions should be kept for future reference.
3.Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed.
4.Follow Instructions — All operating and other instructions should be followed.
5.Water and Moisture — This Mackie product should not be used near water
– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.
6.Cleaning — Clean only with a dry cloth.
7.Ventilation — This Mackie product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings.
8.Heat — This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat.
9.Power Sources — This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product.
10.Power Cord Protection — Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product.
11.Object and Liquid Entry — Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.
12.Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when:
A.The power-supply cord or the plug has been damaged; or
B.Objects have fallen, or liquid has spilled into this Mackie product; or
C.This Mackie product has been exposed to rain; or
D.This Mackie product does not appear to operate normally or exhibits a marked change in performance; or
E.This Mackie product has been dropped, or its chassis damaged.
13.Servicing — The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department.
14.To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.
Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.
15.Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated.
16.Power Precaution — Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position.
17.This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION —Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
18. 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.
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 a permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day |
Sound Level dBA, |
Typical |
In Hours |
Slow Response |
Example |
8 |
90 |
Duo in small club |
6 |
92 |
|
4 |
95 |
Subway Train |
3 |
97 |
|
2 |
100 |
Very loud classical music |
1.5 |
102 |
|
1 |
105 |
Patrice screaming at Ron about deadlines |
0.5 |
110 |
|
0.25 or less |
115 |
Loudest parts at a rock concert |
|
|
|
WARNING — To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
INTRODUCTION
Thank you for choosing a Mackie Designs CFX™ 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 trim
(+6 to +50 dB mic, –15 to +30 dB line)
•Phantom power (globally switched)
•Zero Level gain setting indicator LED
•Switchable 100Hz 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 trim (–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 & 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 this: 
. Every feature on the CFX Mixer has 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. 820-104-00 Rev. C 1/02 |
|
©2002 Mackie Designs Inc. All Rights Reserved. Printed in China. |
3 |
CONTENTS |
|
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 |
TRIM ......................................................... |
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 |
TIME/RATE ................................................. |
19 |
DAMPING/DEPTH ....................................... |
19 |
WIDE ......................................................... |
19 |
BYPASS ...................................................... |
19 |
CLIP ........................................................... |
19 |
GENERAL PRECAUTIONS AND CONSIDERATIONS .... |
20 |
APPENDIX A: Service Info ................................... |
20 |
Warranty Service ..................................... |
20 |
Troubleshooting ........................................ |
20 |
Repair ..................................................... |
21 |
APPENDIX B: Technical Info .................................. |
21 |
Specifications ........................................... |
21 |
Block Diagram .......................................... |
22 |
Contributors and Colophon ......................... |
23 |
CFX SERIES LIMITED WARRANTY ......................... |
23 |
Don’t forget to visit our website at www.mackie.com for more information about this and other Mackie products.
4
QUICK START
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 Mixer is
designed to set up quickly and operate intuitively — but please, READ THIS PAGE!
ZERO THE CONSOLE:
1.Turn everything off, including the mixer’s
POWER switch and PHANTOM POWER switch.
2.Channel strip TRIM, 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.
MAKE THE CONNECTIONS:
1.Connect your amp’s outputs to your speaker inputs (unless, of course, you have powered monitors).
2.Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current.
3.Using XLR or TRS cables, make connections from your mixer’s MAIN OUT to your amplification system’s line inputs.
4.Make connections from your microphones and instruments to the mixer: Connect balanced microphones to the mono channel MIC jacks. (For condenser microphones, engage the PHANTOM POWER switch, located just above the meters.) Connect line-level instruments (synthesizers, guitar effects, direct boxes) to the mono or stereo channel LINE IN TRS jacks.
5.Turn all the power switches on, leaving the amplifier’s switch for last.
6.Turn up the MAIN MIX Fader to the
“–30” label, for now. We’ll crank it up later on.
7.Turn up SUB Faders 1 and 2 to unity gain (“U” label).
|
U |
1 |
IC |
G |
|
AI |
|
|
M |
N |
|
6 |
+50 |
ZERO |
LEVEL |
||
-15dB +30dB |
||
TRIM |
|
|
LOW CUT |
|
|
100 Hz |
|
|
|
U |
AUX |
|
|
1 |
OO |
+15 |
|
|
U |
|
|
|
2 |
OO |
+15 |
|
PRE FADER |
|
|
|
U |
|
|
|
EFX |
|
|
1 |
|
|
(EXT) |
OO |
+15 |
|
|
U |
|
|
|
EFX |
|
|
2 |
|
|
(INT) |
OO |
+15 |
|
|
U |
EQ |
|
|
HI |
|
|
12k |
-15 |
+15 |
|
|
U |
|
|
|
MID |
-15 |
+15 |
|
600 |
|
|
150 |
1.5k FREQ |
|
100 |
8k |
|
|
U |
|
|
|
LOW |
|
|
80Hz |
-15 |
+15 |
|
|
|
PAN |
L |
R |
|
1 |
|
|
ASSIGN |
MUTE |
|
|
|
|
dB |
|
|
|
DOWN |
|
|
|
1-2 |
|
10 |
|
|
|
|
|
|
5
3-4 UP
U
5
10
20
30
40 
SOLO
50
PFL
60
MASTER SEND
UAUX
1
OO |
+15 |
|
U |
|
|
2 |
OO |
+15 |
|
|
U |
EFX |
|
|
1 |
|
|
(EXT) |
OO |
+15 |
|
15 |
|
|
|
|
|
|
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63 |
125 |
250 |
500 |
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1K |
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2K |
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4K |
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8K |
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16K |
||||||||||||
STEREO GRAPHIC EQ 
CFX12 MIXER
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
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CUSTOM 32-BIT PRECISION |
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DIGITAL STEREO EFFECTS PROCESSOR |
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CLIP |
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EFX 2 (INT) RETURN MASTERS |
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U |
U |
U |
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U |
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U |
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OO |
+15 |
OO +15 |
OO +15 |
OO |
+15 |
OO |
+20 |
|
EFX 2 TO MAIN MIX |
AUX 1 |
AUX 2 |
EFX 1 RETURN |
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U |
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SEND |
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EFFECTS TO MONITOR |
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REVERSE |
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DELAY 1 |
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GATED |
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DELAY 2 |
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+20 |
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CATHEDRAL |
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DELAY 3 |
OO |
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TAPE LEVEL |
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LG. HALL |
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DELAY 4 |
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MD. HALL |
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CHORUS |
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LG. PLATE |
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FLANGE |
BREAK SWITCH |
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MD. PLATE |
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PHASER |
(MUTES ALL CHANNELS) |
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SM. ROOM |
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SPRING |
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ZERO |
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NORMAL |
EFX |
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NORMAL |
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LEVEL |
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SET |
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OO |
MAX |
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PHONES LEVEL |
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U |
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0 |
10 |
WIDE |
BYPASS |
0 |
10 |
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REVERBS |
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TIME |
DAMPING |
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DELAYS |
OO |
+10 |
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RATE |
CHORUS/FLANGE/PHASER |
DEPTH |
UTILITY OUT LEVEL |
|||||
PHANTOM POWER
48v |
POWER 
STATUS
LEFT RIGHT
22 
CLIP
10
7
4
2
0
2
4
7
10
20
30
0dB=0dBu
RUDE 
SOLO
ASSIGNSUB 1 |
ASSIGNSUB 2 |
|
ASSIGNSUB 3 |
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ASSIGNSUB 4 |
MAIN MIX |
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STEREO |
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DOWN |
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UP |
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UP |
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UP |
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dB |
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dB |
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dB |
10 |
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LEFT |
10 |
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LEFT |
10 |
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5 |
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5 |
5 |
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RIGHT |
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RIGHT |
U |
UP |
U |
DOWNU |
5 |
5 |
5 |
10 |
10 |
10 |
20 |
20 |
20 |
30 |
30 |
30 |
40 |
40 |
40 |
50 |
50 |
50 |
60 |
60 |
60 |
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dB |
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dB |
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LEFT |
10 |
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LEFT |
10 |
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RIGHT |
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RIGHT |
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UP |
U |
UP |
U |
55
10 |
10 |
20 |
20 |
30 |
30 |
40 |
40 |
50 |
50 |
60 |
60 |
OO |
OO |
OO |
OO |
OO |
OO |
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 TRIM 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:
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.
KNOW THESE THINGS:
•Never listen to loud music for prolonged periods. Please see “Safety Instructions” on page 2 for information on hearing protection.
•Never plug amplifier outputs into anything except speakers.
•Never use guitar cables to connect amplifiers to speakers.
•Before making connections to an external amp or reconfiguring an amp’s routing, turn the amp’s level (gain) controls down, turn the power off, make the changes, turn the power back on, and then turn the level controls back up.
•When you shut down your equipment, turn off any external amplifiers first. When powering up, turn on the amplifiers last.
•Save the shipping box and packing material! You may need them someday, and you probably don’t want to have to pay for that again.
APPLICATIONS DIAGRAMS
Keyboard, or other line-level input |
Left PA Speaker |
Right PA Speaker |
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Stereo EQ |
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Keyboard, or other line-level input |
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Stereo |
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Compressor |
in out |
in |
out |
Guitar Effects |
Drum |
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Machine |
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Stereo |
CD Player |
|
Power Amplifier |
||
|
1
1
Stereo Compressor
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5 |
6 |
7 |
8 |
9 |
10 |
11 |
12 |
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L |
R |
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2 |
3 |
4 |
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SUB OUT |
MAIN OUT |
|
MAIN OUT |
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CHANNEL INPUTS |
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75Hz |
L |
R |
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BAL/UNBAL |
|||||
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CHANNEL INSERTS |
|
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AUX SENDS |
EFX SENDS |
STEREO EFX RETURNS |
SUB OUTS |
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BAL/UNBAL |
BAL/UNBAL |
1 |
2 |
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BAL/UNBAL |
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2 3 4 5 6 7 8 |
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1 |
2 |
1 |
2 |
1 |
2 |
3 |
4 |
|||||
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L R L R |
|||||||||||||
Digital Delay
Mono in / stereo out
Reverb
Stereo Compressor |
Stereo EQ |
Stereo
Power Amplifier
L L
L R
R R
MAIN |
TAPE |
TAPE |
INSERT |
OUT |
IN |
UTIL OUT |
PHONES |
|
BAL/UNBAL |
OUT |
|
L R |
|
|
CFX•12 — Small Club Gig
6 |
Stage Monitor |
Stage Monitor |
|
Keyboard, or other line-level input
Keyboard, or other line-level input
Drum
Machine
Direct Box
Guitar Effects
Guitar Effects
Subwoofer
CFX•16 — Large Club Gig or Auditorium using a Subwoofer
Mono
Power Amplifier
Left PA Speaker |
Right PA Speaker |
Stereo EQ |
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Stereo |
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Compressor |
in out |
in |
out |
Mono
Power Amplifiers
CD Player
1 
2
1 2
Stereo Compressor
5 |
6 |
7 |
8 |
9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
R |
L |
R |
L |
L |
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L |
R |
R |
3 |
4 |
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SUB OUT |
|
MAIN OUT |
MAIN OUT |
MAIN |
TAPE |
TAPE |
||
|
CHANNEL INPUTS |
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|||||||||
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75Hz |
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L |
R |
BAL/UNBAL |
INSERT |
OUT |
IN |
||
CHANNEL INSERTS |
AUX SENDS |
EFX SENDS |
STEREO EFX RETURNS |
|
SUB OUTS |
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UTIL OUT |
PHONES |
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|||||
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BAL/UNBAL |
BAL/UNBAL |
1 |
2 |
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BAL/UNBAL |
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BAL/UNBAL |
OUT |
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|||
3 4 5 6 7 8 |
1 |
2 |
1 |
2 |
L R L R |
1 |
2 |
3 |
4 |
|
L R |
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||
Digital Multitrack Recorder
Optional Live Recording
Digital Delay
Stereo Compressor |
Mono in / stereo out |
||
Reverb |
|||
Mono EQ |
Mono EQ |
||
|
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Mono Power Amplifiers |
Keyboard, or other line-level input |
Subwoofer |
|
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|
Keyboard, or other line-level input |
|
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Stage Monitor |
Stage Monitor |
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Drum |
Mono |
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Machine |
Power Amplifier |
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Wireless |
Left PA Speaker |
Right PA Speaker |
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Microphone |
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Receivers |
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Stereo EQ |
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Direct Box |
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Stereo |
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Guitar Effects |
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Compressor |
in out |
in |
out |
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Guitar Effects |
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Stereo |
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CD Player |
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Power Amplifier |
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7 |
8 |
9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
19 |
20 |
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L |
R |
L |
L |
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L |
R |
R |
R |
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1 |
2 |
3 |
4 |
5 |
6 |
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CHANNEL INPUTS |
SUB OUT |
MAIN OUT |
MAIN OUT |
MAIN |
TAPE |
TAPE |
|
75Hz |
L |
R |
BAL/UNBAL |
INSERT |
OUT |
IN |
|
CHANNEL INSERTS
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
AUX SENDS EFX SENDS
BAL/UNBAL BAL/UNBAL
1 |
2 |
1 |
2 |
STEREO EFX RETURNS
1 |
2 |
L R |
L R |
SUB OUTS
BAL/UNBAL
1 |
2 |
3 |
4 |
UTIL OUT PHONES
BAL/UNBAL OUT
L R
Cassette or DAT Recorder
|
|
Digital Delay |
|
|
|
Stereo EQ |
Stereo EQ |
Stereo Compressor |
Stereo Compressor |
Mono in / stereo out |
|
Reverb |
|
||
|
|
Stereo |
Stereo |
|
|
Power |
Power |
|
Mono EQ |
Amplifier |
Amplifier |
|
Mono |
|
Assistive Listening |
|
|
|
|
Power |
Transmitter |
|
|
|
|
CFX•20 — Church Sound Reinforcement |
Amplifier |
|
|
|
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|
|
Cry Room |
Nursery |
Left |
Right |
|
with Separate Utility Mix |
Chapel |
|
|
|
Stage Monitor |
7
1 SHIELD
3 COLD
2 HOT
XLR BALANCED WIRING
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.
MIC
The CFX 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.
RING |
(COLD) |
TIP |
(HOT) |
SLEEVE |
(SHIELD) |
TRS BALANCED WIRING
TIP (HOT)
SLEEVE (SHIELD)
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 |
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.
These unbalanced jacks are configured thusly:
|
ring |
|
SEND to processor |
|
tip |
(TRS plug) |
“tip” |
||
sleeve |
|
|||
This plug connects to one of the |
“ring” |
|||
mixer’s Channel Insert jacks. |
||||
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-TRIM, 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.
Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption.
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 effect.)
MIC 1 |
|
|
|
MIC 2 |
|
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MIC 3 |
|
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MIC 4 |
|
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MIC 5 |
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MIC 6 |
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MIC 7 |
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MIC 8 |
||||||
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BAL/UNBAL |
BAL/UNBAL |
BAL/UNBAL |
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 |
8
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