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CFX Series Owner'S Manual: 12, 16, AND 20-CHANNEL Mic/Line Mixers With Digital Effects
CFX Series Owner'S Manual: 12, 16, AND 20-CHANNEL Mic/Line Mixers With Digital Effects
OWNER’S MANUAL
AND WARRANTY REGISTRATION
CAUTION WARNING:
CFX12 MIXER
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
RISK OF ELECTRIC SHOCK
DO NOT OPEN
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER MANUFACTURING DATE
REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
MONO PLUG STEREO CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN CHINA • FABRIQUE AU CHINE • COPYRIGHT ©1998 • THE FOLLOWING
PLUG
ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE • PATENT PENDING
STEREO EFX EFX SEND TAPE TAPE MAIN INSERT MAIN OUT MAIN OUT LAMP
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 RETURN INPUT OUTPUT 12V 0.5A
L R
L L
1
1 L
L L
R R
2
2 R R EFX
RIGHT RIGHT 2 2 4
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT 10 12 R S
75Hz
UTILITY OUT AUX SEND SUB OUT SUB OUT PHONES
U 1 U 2 U 3 U 4 U 5 U 6 U 7 U 8 U
9 U
11
IC GAIN IC GAIN IC GAIN IC GAIN IC GAIN IC GAIN IC GAIN IC GAIN
M M M M M M M M 10 12
ZERO ZERO ZERO ZERO ZERO ZERO ZERO ZERO
6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL 6 +50 LEVEL
-20 +20 -20 +20
-15dB +30dB -15dB +30dB -15dB +30dB -15dB +30dB -15dB +30dB -15dB +30dB -15dB +30dB -15dB +30dB
TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT 15 15
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz MASTER SEND
10 10
U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX
5 5
1 1 1 1 1 1 1 1 1 1 1 0 0
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
5 5
U U U U U U U U U U U 10 10
2 2 2 2 2 2 2 2 2 2 2 15 15
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 63 125 250 500 1K 2K 4K 8K 16K
PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER STEREO GRAPHIC EQ
U U U U U U U U U U U EFX
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
EFX
1
(EXT)
1
(EXT) CFX 12 MIXER
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
U U U U U U U U U U
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX CUSTOM 32-BIT PRECISION PHANTOM POWER
2 2 2 2 2 2 2 2 2 2
(INT) (INT) (INT) (INT) (INT) (INT) (INT) (INT) (INT) (INT) DIGITAL STEREO EFFECTS PROCESSOR
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 CLIP EFX 2 (INT) RETURN MASTERS 48v
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U U U U U
POWER STATUS
HI HI HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k
LEFT RIGHT
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 OO +15 OO +15 OO +15 OO +15 OO +20
22 CLIP
U U U U U U U U U U EFX 1 RETURN
EFX 2 TO MAIN MIX AUX 1 AUX 2
U 10
HI HI SEND EFFECTS TO MONITOR
MID MID MID MID MID MID MID MID MID MID 7
3k 3k REVERSE DELAY 1
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 GATED DELAY 2 4
600 600 600 600 600 600 600 600 U U OO +20
CATHEDRAL DELAY 3
TAPE LEVEL 2
LOW LOW LG. HALL DELAY 4
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 MID MID 0
400Hz 400Hz MD. HALL CHORUS
LG. PLATE FLANGE BREAK SWITCH 2
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k -15 +15 -15 +15 (MUTES ALL CHANNELS)
U U U U U U U U U U MD. PLATE PHASER 4
SM. ROOM SPRING ZERO
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LEVEL 7
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz NORMAL EFX NORMAL SET
OO MAX 10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 PHONES LEVEL
20
U
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN 30
WIDE BYPASS
0 10 0 10 0dB=0dBu
REVERBS
TIME DELAYS DAMPING
OO +10 RUDE SOLO
L R L R L R L R L R L R L R L R L R L R RATE CHORUS/FLANGE/PHASER DEPTH UTILITY OUT LEVEL
dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 1-2 10 LEFT 10 LEFT 10 LEFT 10 LEFT 10
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 RIGHT RIGHT RIGHT RIGHT
U U U U U U U U U U U U U U U
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 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 60 60 60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
12. Damage Requiring Service — This Mackie product should be serviced
only by qualified service personnel when:
CAUTION AVIS
RISK OF ELECTRIC SHOCK A. The power-supply cord or the plug has been damaged; or
DO NOT OPEN
B. Objects have fallen, or liquid has spilled into this Mackie
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR product; or
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK C. This Mackie product has been exposed to rain; or
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE D. This Mackie product does not appear to operate normally or
REFER SERVICING TO QUALIFIED PERSONNEL
exhibits a marked change in performance; or
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN E. This Mackie product has been dropped, or its chassis damaged.
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
13. Servicing — The user should not attempt to service this Mackie product
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE beyond those means described in this operating manual. All other servicing
A LA PLUIE OU A L'HUMIDITE should be referred to the Mackie Service Department.
The lightning flash with arrowhead symbol within an equilateral 14. To prevent electric shock, do not use this polarized plug with an
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure that may be extension cord, receptacle or other outlet unless the blades can be fully
of sufficient magnitude to constitute a risk of electric shock to persons. inserted to prevent blade exposure.
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
Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un
suffisante pour constituer un risque d'éléctrocution. prolongateur, un prise de courant ou une autre sortie de courant, sauf si les
The exclamation point within an equilateral triangle is intended to lames peuvent être insérées à fond sans laisser aucune pariie à découvert.
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance. 15. Grounding or Polarization — Precautions should be taken so that the
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
grounding or polarization means of this Mackie product is not defeated.
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil. 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
SAFETY INSTRUCTIONS completely disconnected from the AC mains service when the power switch is
in the OFF position.
1. Read Instructions — All the safety and operation instructions should be
read before this Mackie product is operated. 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
2. Retain Instructions — The safety and operating instructions should be kept
radio interference regulations of the Canadian Department of Communications.
for future reference.
ATTENTION —Le présent appareil numérique n’émet pas de bruits
3. Heed Warnings — All warnings on this Mackie product and in these operating
radioélectriques dépassant las limites applicables aux appareils numériques de
instructions should be followed.
class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage
4. Follow Instructions — All operating and other instructions should be radioélectrique édicté par les ministere des communications du Canada.
followed.
18. Exposure to extremely high noise levels may cause permanent hearing
5. Water and Moisture — This Mackie product should not be used near water loss. Individuals vary considerably in susceptibility to noise-induced hearing loss,
– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet but nearly everyone will lose some hearing if exposed to sufficiently intense
basement, near a swimming pool, swamp or salivating St. Bernard dog, etc. noise for a period of time. The U.S. Government’s Occupational Safety and
Health Administration (OSHA) has specified the permissible noise level exposures
6. Cleaning — Clean only with a dry cloth. shown in the following chart.
7. Ventilation — This Mackie product should be situated so that its According to OSHA, any exposure in excess of these permissible limits could
location or position does not interfere with its proper ventilation. For result in some hearing loss. To ensure against potentially dangerous exposure to
example, the Component should not be situated on a bed, sofa, rug, or high sound pressure levels, it is recommended that all persons exposed to equip-
similar surface that may block any ventilation openings, or placed in a ment capable of producing high sound pressure levels use hearing protectors
built-in installation such as a bookcase or cabinet that may impede the while the equipment is in operation. Ear plugs or protectors in the ear canals or
flow of air through ventilation openings. 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.
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 Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
supply only of the type described in these operation instructions or as marked
8 90 Duo in small club
on this Mackie product.
6 92
10. Power Cord Protection — Power supply cords should be routed so that 4 95 Subway Train
they are not likely to be walked upon or pinched by items placed upon or 3 97
against them, paying particular attention to cords at plugs, convenience 2 100 Very loud classical music
receptacles, and the point where they exit this Mackie product. 1.5 102
1 105 Patrice screaming at Ron about deadlines
11. Object and Liquid Entry — Care should be taken so that objects do not 0.5 110
fall on, and liquids are not spilled into, this Mackie product. 0.25 or less 115 Loudest parts at a rock concert
Purchased at:
Date of purchase:
4
QUICK START M
6
U
IC GAIN
+50 LEVEL
1
ZERO
-15dB +30dB
TRIM
LOW CUT
U AUX
MASTER SEND
15
10
15
10
U AUX
get the show on the road. 1 1
5
0
5
0
STEREO GRAPHIC EQ
2K 4K 8K 16K
U EFX
designed to set up quickly and operate intu- EFX
U
LOW
SM. ROOM SPRING ZERO
LEVEL
4
7
80Hz NORMAL EFX NORMAL SET
5 5 5 5 5 5
UP
7. Channel strip LOW CUT, PRE FADER, and U
3-4
U
RIGHT
UP U
RIGHT
DOWNU
RIGHT
UP U
RIGHT
UP U
20
10
20
10
20
10
20
10
20
20
switches up. 40
50
SOLO
PFL
40
50
40
50
40
50
40
50
40
50
60 60 60 60 60 60
APPLICATIONS DIAGRAMS
Keyboard, or other line-level input Left PA Speaker Right PA Speaker
Stereo EQ
out
out
in
in
Guitar Effects Drum
Machine
Stereo CD Player
Power Amplifier
5 6 7 8 9 10 11 12 L L
L R L R
R R
1 2 3 4
SUB OUT MAIN OUT MAIN OUT MAIN TAPE TAPE
CHANNEL INPUTS 75Hz L R BAL/UNBAL INSERT OUT IN
CHANNEL INSERTS AUX SENDS EFX SENDS STEREO EFX RETURNS SUB OUTS UTIL OUT PHONES
BAL/UNBAL BAL/UNBAL
1 2 BAL/UNBAL BAL/UNBAL OUT
1 2 3 4 5 6 7 8 1 2 1 2 L R L R 1 2 3 4 L R
Digital Delay
Stereo
Power Amplifier
Stereo EQ
Direct Box
Stereo
Compressor
out
out
in
in
Guitar Effects
Guitar Effects
Mono
Power Amplifiers
CD Player
5 6 7 8 9 10 11 12 13 14 15 16 L L
L R L R
R R
1 2 3 4
SUB OUT MAIN OUT MAIN OUT MAIN TAPE TAPE
CHANNEL INPUTS 75Hz L R BAL/UNBAL INSERT OUT IN
CHANNEL INSERTS AUX SENDS EFX SENDS STEREO EFX RETURNS SUB OUTS UTIL OUT PHONES
BAL/UNBAL BAL/UNBAL
1 2 BAL/UNBAL BAL/UNBAL OUT
1 2 3 4 5 6 7 8 1 2 1 2 L R L R 1 2 3 4 L R
Digital Delay
Mono EQ Mono EQ
Drum Mono
Machine Power Amplifier
Stereo
Compressor
out
out
Guitar Effects
in
in
Guitar Effects
Stereo CD Player
Power Amplifier
7 8 9 10 11 12 13 14 15 16 17 18 19 20 L L
L R L R
R R
1 2 3 4 5 6
SUB OUT MAIN OUT MAIN OUT MAIN TAPE TAPE
CHANNEL INPUTS 75Hz L R BAL/UNBAL INSERT OUT IN
CHANNEL INSERTS AUX SENDS EFX SENDS STEREO EFX RETURNS SUB OUTS UTIL OUT PHONES
BAL/UNBAL BAL/UNBAL
1 2 BAL/UNBAL BAL/UNBAL OUT
1 2 3 4 5 6 7 8 1 2 1 2 L R L R 1 2 3 4 L R
Digital Delay
Stereo EQ Stereo EQ
Mono in / stereo out
Stereo Compressor Stereo Compressor Reverb
Stereo Stereo
Power Power
Mono EQ Amplifier Amplifier
7
PATCHBAY FEATURES
At the risk of stating the obvious, this is These unbalanced jacks are configured thusly:
where you plug everything in: microphones,
SEND to processor
line-level instruments, effects, headphones tip
ring
sleeve (TRS plug)
“tip”
1 SHIELD The CFX Mixer is equipped with rugged, low Tip = Send (to effects device input)
3
2
COLD
noise, phantom-powered microphone pream- Ring = Return (from effects device output)
HOT
plifiers, providing up to 50 dB of crystal-clear Sleeve = Common ground (connect shield
XLR BALANCED WIRING amplification. Their balanced circuitry rejects to all three sleeves)
all manner of extraneous interference. Profes- Specialty “Y” cables, developed just for these
sional condenser, dynamic, and ribbon mics will jacks, are widely available.
all sound excellent through these XLR inputs. Besides being used for inserting external
You can plug in almost any kind of balanced devices, these jacks can also be used as chan-
mic that has a standard XLR-type male mic nel direct outputs; post-TRIM, post-LOW CUT,
connector. and pre-EQ. Here are three ways you can use
the channel INSERT jacks:
RING
(COLD) LINE IN
TIP
(HOT)
SLEEVE The line inputs share circuitry (but not
(SHIELD)
TRS BALANCED WIRING phantom power) with the mic preamps, and
can be driven by balanced or unbalanced MONO PLUG
sources at almost any level. You can use these Channel Insert jack
TIP
(HOT)
TRS inputs for virtually any signal you’ll come Direct out with no signal interruption.
SLEEVE
(SHIELD) across, from –25 dBu up to +38 dBu. Insert only to first “click.”
TS UNBALANCED WIRING
INSERT
This is where you connect serial effects MONO PLUG
such as compressors, equalizers, de-essers or Channel Insert jack
filters. The send is low-impedance (150 ohms),
Direct out with signal interruption.
capable of driving any line-level device. The re- Insert all the way in to the second “click.”
turn is high-impedance (10k ohms) and can be
driven by almost any device.
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
8
EFFECTS: SERIAL OR PARALLEL? MAIN OUT
Effects devices are used Coming in two flavors, XLR and TRS, the
either in serial or in parallel: main output represents the end of the mixer
“Serial” means that the chain, where your fully mixed and enhanced
entire signal is routed stereo signal enters the real world.
through the effects device. The XLR balanced outputs will add 6 dB
Examples: preamps, compressor/limiters, when connected to balanced inputs, thereby
graphic equalizers. elevating signal from the noise floor by that
“Parallel” means that a portion of the signal amount.
is tapped off to the device (usually via a mixer’s The TRS balanced outputs offer the advan-
aux send), processed and returned (usually via tage of having no 6 dB level change to deal with,
a mixer’s aux return), to be mixed with the origi- while still providing extraneous noise rejection.
nal “dry” signals. Multiple signals (via multiple
mixer channels) can all make use of the same SUBWOOFER OUT
parallel effects device. Examples: reverb, digital The CFX Mixer has an integrated mono-
delay, chorus. See diagrams below. summing 75Hz 3rd-order low-pass filter. It taps
the left and right MAIN OUT signals, mixes
Serial Device them into a mono signal, then removes all but
Insert Insert
Send Return the deepest bass information. Patch this balanced
Dry Signal
Signal Processor
(e.g., Compressor) Processed
XLR output to a high-powered mono-summed
Signal
amp and subwoofer (or an active subwoofer),
Parallel Device and the music police will be right over.
Aux Aux Output
Send Return Section
MAIN INSERT
Signal Processor
(e.g., Reverb) Wet Signal
With nothing plugged into these jacks, the
Mix
Stage
Processed
Signal
mix signal goes from the mix amp straight
Channel Path
Dry Signal(s) Dry Signal(s) through to the MAIN MIX Faders . But when
you plug a serial device into these jacks, the mix
leaves the mixer, goes through the device and
STEREO LINE IN back into the mixer’s main mix faders.
These balanced inputs are designed for ste- If you want to send your main mix through a
reo or mono, balanced or unbalanced signals, compressor/limiter or similar device, these are
from –20 dB to +20 dB. These TRS inputs can the jacks for you. Since the insert is before the
be used with just about any professional or mix faders, moving the fader will not alter the
semipro instrument, effect or tape player. signal strength sent to the compressor, thereby
When connecting a mono device (just one preserving its compression characteristics.
cord), always use the LEFT (MONO) input and These unbalanced jacks are configured the
plug nothing into the RIGHT input. A trick same as the channel strip insert jacks. See
called “jack normalling” will cause the signal to page 8 for wiring and usage information.
appear on both sides.
STEREO EFX EFX SEND TAPE TAPE MAIN INSERT MAIN OUT MAIN OUT LAMP
RETURN INPUT OUTPUT 12V 0.5A
L R
L L
1
1 L
L L
R R
2
2 R R EFX
R
(MONO) (MONO) 1 1 3
9 11 L
FOOT
LEFT LEFT SWITCH
RIGHT RIGHT 2 2 4
10 12 R S
75Hz
UTILITY OUT AUX SEND SUB OUT SUB OUT PHONES
9
UTILITY OUT EFX SEND
RING The stereo signal at these TRS jacks is the The signal at these TRS outputs is post-
(COLD)
TIP same as at the MAIN OUT , but with one fader only, so they cannot be used as
(HOT)
SLEEVE important difference: traditional stage monitor cues. They’re in-
(SHIELD)
TRS BALANCED WIRING After the MAIN MIX Fader , the mix is tended to patch into effects device inputs;
sent through the UTILITY OUT LEVEL con- hence the name “EFX.” See EFX 1 (EXT)
trol, allowing you to set levels as desired and EFX 2 (INT) for more information.
without disturbing the main mix level. Note: The EFX 2 signal path also feeds the
TIP
(HOT) CFX Mixer’s internal EMAC EFFECTS PRO-
SLEEVE
(SHIELD)
SUB OUT CESSOR inputs. If you’re using EMAC and
TS UNBALANCED WIRING In live sound applications, these TRS jacks just one outboard processor, patch that proces-
can be patched into one or two stereo amplifi- sor via EFX SEND 1 for independent control of
ers, thereby allowing you to control levels the effects send level.
independently via the SUB Faders . We recommend going into a stereo reverb in
Alternatively, use the MAIN OUT to mono and returning in stereo. We have found
feed the amplifiers and one stereo SUB OUT that on most “stereo” reverbs the second input
pair to feed a recorder. just ties up an extra EFX send and adds noth-
In studio applications, these outputs can be ing to the sound. There are exceptions, so feel
used as four separate paths to feed four tracks free to try it both ways. If your effects device is
of a multitrack recorder. true stereo all the way through, use EFX SEND 1
See ASSIGN and SUB ASSIGN for to feed its left input and EFX SEND 2 to feed
more information. the right input.
AUX SEND STEREO EFX RETURN
To create a stage monitor mix, with levels Patch the outputs of external parallel ef-
set independently from the main mix, patch fects devices to these inputs.
these TRS jacks into your monitor amplifier in- Note: The EFX 2 return signal is combined
puts. These jacks can also be used to feed the with the signal from the CFX Mixer’s internal
inputs of an effects device. EMAC EFFECTS PROCESSOR . If you’re
See AUX and PRE FADER for more using EMAC and just one outboard processor,
information. patch the outboard processor via EFX 1 RETURN
for independent control of the effects return level.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
STEREO EFX EFX SEND TAPE TAPE MAIN INSERT MAIN OUT MAIN OUT LAMP
RETURN INPUT OUTPUT 12V 0.5A
L R
L L
1
1 L
L L
R R
2
2 R R EFX
R
(MONO) (MONO) 1 1 3
9 11 L
FOOT
LEFT LEFT SWITCH
RIGHT RIGHT 2 2 4
10 12 R S
75Hz
UTILITY OUT AUX SEND SUB OUT SUB OUT PHONES
10
TAPE INPUT EFX FOOT SWITCH
Patch the outputs of your intermission en- You can connect a normally-open foot switch
SLEEVE SLEEVE
tertainment here. Any line-level mono or stereo to this connector to duplicate the function of TIP TIP
device can be used: tape, CD player, television the BYPASS switch, located in the EMAC
audio, etc. See BREAK SWITCH for more EFFECTS PROCESSOR . Closing the switch RCA UNBALANCED WIRING
information. connection causes the EFX BYPASS indicator
When connecting a mono device (just one to light and mutes the effects.
cord), you’ll need a “Y-splitter” RCA adapter. It Note: When a foot switch is plugged into RING
(RIGHT)
turns a mono output cord into two cords; so the FOOT SWITCH jack, the BYPASS switch TIP
(LEFT)
both the left and right tape input jacks can be is disabled. SLEEVE
(SHIELD)
patched. This adapter is widely available. Just like the BYPASS switch, this TRS HEADPHONE WIRING
affects only the internal EMAC EFFECTS
TAPE OUTPUT PROCESSOR and not any device plugged into
Use these jacks to capture the entire perfor- STEREO EFX RETURN 2 . TIP
mance to tape. The signal at these jacks is the (HOT)
main mix, after the MAIN INSERT but be- LAMP SLEEVE
(GROUND)
fore the MAIN MIX Fader . The main mix This BNC-type connector will accept almost TS FOOTSWITCH WIRING
signal will be present at these jacks regardless any of the widely available 12VDC 0.5 amp
of the position of the MAIN MIX Fader. gooseneck lamps, made by Littlite® and others.
If your work involves mixing in the back of
PHONES dark theaters, this lamp will likely become
The stereo signal at these jacks is the same your best friend.
as at the MAIN OUT , but with two impor-
tant differences: AC POWER INPUT
After the MAIN MIX Fader , the mix is This IEC Socket is where you connect the
sent through the PHONES LEVEL control, supplied AC linecord to provide AC power to
allowing you to set levels as desired, without the CFX Mixer. Plug the cord into a suitable
disturbing the main mix level. AC outlet, properly grounded and capable of
When a channel’s SOLO PFL is engaged, delivering adequate current.
the main mix signal at this output will be re- If you happen to lose the AC linecord,
placed by the solo signal, allowing the engineer replacements are available at any office/
to audition channels without disturbing the computer supply store.
main mix.
The stereo PHONES jack will drive any POWER SWITCH
standard headphones to very loud levels. POWER STATUS
Walkperson-type phones can also be used with The POWER switch is located on the
an appropriate adapter. rear panel, adjacent to the AC Power Input
Note: Please see the “Safety Instructions” on . Push the side of the switch labeled “ON”
page 2 for information on hearing protection. to turn the mixer on; you should see the
POWER STATUS LED glow in confirma-
tion. To turn the mixer off, push the switch the
other way. (Let’s all say a big collective “Duh.”)
PHANTOM POWER
CFX12 M
12 CHANNEL COMPACT INTEGRA
48v
MONO PLUG
POWER STATUS
POWER INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
TIP
RIN
10
7
11
M
U
IC GAIN
1
CHANNEL STRIP FEATURES
ZERO
6 +50
-15dB +30dB
LEVEL
PHANTOM POWER Through a stereo channel’s stereo LINE IN
TRIM
LOW CUT Ha! We tricked you! The phantom power TRS inputs, there is 20 dB of attenuation fully
100 Hz
switch is not located in the channel strip sec- down and 20 dB of gain fully up, with a “U”
U AUX tion at all! It’s way over on the right side of the (unity gain) mark at 12:00 (knob halfway up).
1 mixer (see graphic on previous page). We’re Having 20 dB of line-level attenuation can
OO +15
just mentioning it here since it applies to the be very handy when you are injecting a signal
U channels; specifically, what type of micro- that is very hot, when you want to add a lot of
2 phones you have plugged into them. EQ boost, or both. Without this “virtual pad,” it
OO +15
Push in this switch to provide phantom would be very difficult to control the signal and
PRE FADER power to the XLR MIC input jacks. All of the might lead to channel clipping.
U XLR mic inputs are capable of providing phan-
EFX
tom power. Phantom power is required to ZERO LEVEL
1
(EXT)
OO +15
operate most condenser microphones (some This handy LED, which (we hope) you al-
U condenser microphones are battery-powered). ready read about in “QUICK START,” is triggered
EFX
2
The CFX Series provide +48VDC phantom pow- to glow when it receives an audio signal at or
OO +15
(INT) ering on pins 2 and 3 of the XLR connectors. above 0 dBu.
If you have dynamic, ribbon, or tube mics If the LED is glowing, as opposed to flicker-
U EQ
that do not require phantom power, leave the ing, turn the TRIM down. If the LED is
HI
12k
PHANTOM POWER switch out. If you are us- doing almost nothing, turn the TRIM up.
-15 +15 ing both condenser and dynamic mics, don’t For a more accurate method of setting trim
U worry. Phantom power will not hurt most dy- levels, please see RUDE SOLO (page 15),
MID namic mics. Check the microphone’s user where a soloed signal will appear on the
-15 +15
manual if you’re not sure. mixer’s meters .
600 Caution: Turn all output
150 1.5k FREQ levels down before operat- LOW CUT
100 8k
ing this switch to avoid the The LOW CUT switch, often referred to as a
U possibility of a “pop” in High Pass Filter (depends on how you look at
LOW
80Hz
your speakers. it), cuts bass frequencies below 100Hz at a rate
-15 +15
Connecting an external line-level device to an of 18 dB per octave.
XLR input connector with the phantom power We recommend that you use LOW CUT on
PAN
switched on could damage the device. We recom- every microphone application except kick
mend using the LINE IN and STEREO LINE drum, bass guitar, or bass-heavy synth patches.
L R IN jacks for connecting line-level signals. LOW CUT can also help reduce the possibility
1 of feedback in live situations and it helps to
TRIM conserve amplifier power.
ASSIGN
MUTE If you haven’t already, please read the “SET
THE LEVELS” portion of “QUICK START,” on AUX
dB
10 1-2 page 5. These knobs tap a portion of each channel
5
TRIM adjusts the input sensitivity of the mic signal and send it out, via the AUX SEND
3-4 and line inputs connected to the channels, jacks, to an external device for parallel effects
U
mono and stereo. This allows signals from the processing or stage monitoring.
5 outside world to be adjusted to optimal internal AUX levels are controlled by these AUX knobs
10
operating levels. and by the AUX MASTER SENDs . These are
If the signal originates through a mono more than mere effects and monitor sends:
20 channel’s MIC XLR jack, there will be 6 dB they can be used to generate separate mixes
30 of gain with the knob fully down, ramping to 50 for recording or “mix-minuses” for broadcast.
40
dB of gain fully up. Each AUX knob’s level ranges from off
SOLO
50 PFL Through a mono channel’s LINE IN TRS through unity (the center detent position) on
60
OO input, there is 15 dB of attenuation fully down up to 15 dB of extra gain (fully clockwise).
and 30 dB of gain fully up, with a “U” (unity The line-level stereo channels’ AUX knobs
gain) mark at 12:00 (knob halfway up). control a mono sum of the channel’s stereo sig-
nals. For instance, on the CFX•20, channel 17
Mono Channel (L) and 18 (R) mix together to feed that
channel’s AUX send knobs.
12
PRE FADER 80Hz and below. “Peaking” means that only a
The aux send rule of thumb: For parallel selected “hill” of frequencies surrounding a
effects processing, use aux sends in post-fader center “hilltop” frequency is affected by the
mode. For stage monitors, use pre-fader mode EQ control.
(see diagram below). Everything in moderation (including mod-
With this switch disengaged (up), AUX 1 eration): with EQ, although you can bring
and 2 receive signals in post-fader mode: post- a sound to life, you can also screw things +15
low cut, post-insert, post-EQ, post-mute, and up. If you max the EQs on every channel, +10
POST-fader. Any changes made to the channel you’ll get mix mush, not to mention driving +5
controls will affect the AUX signal. your mix levels near or beyond clipping. So 0
–5
With this switch engaged (down), AUX 1 and equalize subtly; use the left sides of the
–10
2 receive signals in pre-fader mode: post-low cut, knobs (cut) as well as the right (boost). –15
20Hz 100Hz 1kHz 10kHz 20kHz
post-insert, post-EQ, post-mute, and PRE-fader. HI EQ Hi EQ
Any changes made to the channel controls,
EXCEPT the fader, will affect the AUX signal. This control provides up to 15 dB of
In pre-fader mode, you can take the boost or cut at 12kHz and above, and it is +15
drummer’s vocals out of the main mix by turn- also flat at the detent. Use it to add sizzle +10
ing his fader down, but since he still hears to cymbals or an overall sense of transpar- +5
himself in the monitors, he’s happy. ency or edge to keyboards, vocals, guitar, 0
and bacon frying. Turn it down a little to –5
jacks, it also feeds the inputs to the EMAC The mono channels employ a semi- –15
20 Hz 100Hz 1kHz 10kHz 20kHz
EFFECTS PROCESSOR . If you’re using parametric mid-sweep EQ. In addition to being Low EQ
EMAC and just one outboard processor, patch able to set the amount of boost, you can “aim”
the outboard processor via EFX RETURN 1. You that boost at a specific frequency; anywhere
can use EMAC and an outboard device via EFX from 100Hz to 8kHz.
2; just remember that the sends (EFX 2 (INT) The stereo channels employ a 2-stage fixed- EQ
U
, EFX 2 SEND ) and returns (TO MAIN frequency MID EQ. HI-MID is centered at 3kHz;
HI
MIX ) control two devices. The PRE FADER LOW-MID is centered at 400Hz. 12k
-15 +15
switch has no effect on the EFX sends; LOW EQ U
they’re always post-fader. HI
This control provides up to 15 dB of boost or MID
3k
EQ cut at 80Hz and below. The circuit is flat (no -15 +15
U
The CFX Mixer has low shelving, mid peak- boost or cut) at the center detent position.
LOW
ing, and high shelving EQ. “Shelving” means that This frequency represents the punch in bass MID
400Hz
the circuitry boosts or cuts all frequencies past drums, bass guitar, fat synth patches, and high- -15 +15
U
the specified frequency. For example, boosting testosterone male singers.
LOW
the LOW EQ knob boosts bass frequencies at When adding boost to the channel’s low EQ, 80Hz
simultaneously engaging the LOW CUT -15 +15
GAIN
(FADER) PAN
switch can create an audible low frequency boost PAN
1-2
without boosting stage rumble, mic handling
INPUT TRIM LO CUT INSERT EQ MUTE
clunks, and breath pops.
3-4
L R
"POST"
SIGNAL PRE-POST
17-18
"PRE" SIGNAL
AUX 1
TO AUX 1 MASTER SEND LEVEL ASSIGN
AUX 2
MUTE
TO AUX 2 MASTER SEND LEVEL
switches, the MAIN MIX Fader . and EQ settings, making it the perfect tool
1 for quick inspections of individual or multiple
ASSIGN Typically, ASSIGN 1-2 will be engaged on all
MUTE
channels destined for the main mix. By config- channels. The channel’s PAN , MUTE
dB uring SUB 1 and 2 to feed the main mix, the and Fader settings have no effect on the
10 1-2
channel ASSIGN 1-2 switches become the SOLO signal. See RUDE SOLO for more
5 equivalent of being “Main Mix” switches. information.
3-4
Some channels can use ASSIGN 3-4 in- WARNING: Pre-fader
U
stead; creating a submix for a set of channels SOLO taps the channel
5
(all the drum channels, for instance). Then, by signal before the fader .
10
configuring SUB 3 and 4 to also feed the main If you have a channel’s
20 mix, you can “ride” the SUB 3 and 4 Faders fader set well below “U”
independently of the rest of the mix. (unity gain), SOLO won’t know that and will
30
SUB Faders , SUB ASSIGN , and send a unity gain signal to the PHONES
40
50
SOLO
MAIN MIX Fader will explain this further. output. That may result in a startling level
PFL
60
OO
boost in your headphones.
FADER
Although the most self-explanatory item on
a mixer, we’ll explain it anyway: The fader is
the master level control for the channel’s sig-
14
MASTER SECTION FEATURES
We hope you’ve understood, if not memo- A “+4” mixer, with a +4 dBu signal pouring
rized, the CHANNEL STRIP FEATURES you out the back, will actually display 0 dB on its
just read. If you’re still confused, please look meters. A “–10” mixer, with a –10 dBV signal
them over again before you tackle this section. trickling out, will also display 0 dB. So ... when
Don’t worry, it’s easy to swallow as long as you is 0 dB actually 0 dB? Right now!
take it a bite at a time. At the risk of creating another standard,
Mackie’s compact mixers address the need of
MAIN MIX FADER both crowds by calling things as they are: 0 dBu
As the name implies, this stereo fader con- (0.775V) at the output shows as 0 dB VU on
trols the levels of signals sent to the main the meters. What could be easier? (By the way,
outputs: XLR and TRS MAIN OUT . The the most wonderful thing about standards is
TAPE OUTPUT RCA jacks also receive the that there are so many to choose from.)
main mix, but before the MAIN MIX Fader.
Signals feeding the MAIN MIX Fader, after RUDE SOLO
passing through the STEREO GRAPHIC EQ , This infamous flashing LED (Light Emitting PHANTOM POWER
include: SUB ASSIGN , MAIN INSERT , Diode) serves two purposes —- to remind you
STEREO EFX RETURN 1 and 2 (including that at least one SOLO PFL switch is en- 48v
the EMAC EFFECTS PROCESSOR ), and gaged, and to let you know that you’re mixing POWER STATUS
TAPE INPUT . All assigned SUB Faders on a Mackie.
LEFT RIGHT
and EFX RETURNs that are not turned Engaging a SOLO PFL switch affects
22 CLIP
fully down will appear in the MAIN MIX. these features: PHONES and Meters .
10
The fader, set fully up, provides 10 dB of gain. No other outputs are affected in any way.
7
A “U” unity gain point is just below that. When Although the “SET THE LEVELS” section of 4
set fully down, the main mix is effectively “QUICK START” (page 5) will get your level- 2
muted. This is the fader to pull down at the end setting tasks accomplished, using the meters 0
of the song when you want The Great Fade-Out. in PFL SOLO mode lets you really tune in. 2
Instead of one flickering LED, you can make
METERS use of the 12-segment VU display in the ZERO
LEVEL
4
7
SET
The CFX Mixer’s peak metering system is meters. How? Just engage a SOLO PFL 10
made up of two columns of twelve LEDs each, switch and watch the meters. 20
display the main mix, post MAIN MIX Fader If you have a channel’s STEREO
, unless a SOLO PFL switch is engaged. fader set well below “U” MAIN MIX
When a SOLO PFL switch is engaged, (unity gain), SOLO won’t know that and will
the meters will instead display the solo infor- send a unity gain signal to the PHONES dB
mation, at unity gain (pre channel fader ). output. That may result in a startling level 10
Why, you ask? The meters, being a tool for the boost in your headphones. 5
engineer, must display what the engineer is lis-
tening to via the PHONES output. STEREO GRAPHIC EQ U
You can get a good mix with the meter’s This equalizer, used to shape the frequency 5
peaks flashing anywhere between –20 and +10 spectrum of the main mix, is the last thing in
10
dB. Most amplifiers clip at about +10 dB, and the chain prior to the MAIN MIX Fader
some recorders aren’t so forgiving either. For and MAIN OUT XLR and TRS jacks. 20
best real-world results, try to keep your peaks Although there is no actual bypass switch 30
between “0” and “+7.” for the STEREO GRAPHIC EQ, by setting all
40
You may already be familiar the sliders to zero (center) you’ll effectively 50
60
with “+4” (+4 dBu=1.23V) remove it from the signal path. OO
16
AUX MASTER SEND ING/DEPTH and WIDE . When you find
Aux send signals are derived by each an effect you like, jot down the parameters, then
channel’s AUX knob, mixed together, then goof around some more.
sent through this AUX MASTER SEND knob. To mute these effects, engage BYPASS
Turned fully up, it provides 15 dB of additional (or your foot switch if connected to EFX FOOT
gain, the center “U” mark is unity gain, and SWITCH ). To send these effects to the
fully down is off. stage monitor cues, turn up the EFFECTS TO
Typically, when the talent (or lack thereof) MONITOR knobs.
wants a louder monitor mix, this is the knob to FOR THE CURIOUS:
crank up — watch out for feedback! EMAC™ stands for Extended Multiply and
Accumulate, which is a proprietary 32-bit digital
EFX 1 MASTER SEND stereo processor developed by our Digital Engi-
Effects send signals are derived by each neering Group. It provides 16 preset digital
channel’s EFX 1 (EXT) knob, mixed to- effects algorithms for you to select. In addition
gether, then sent through this EFX 1 MASTER to the presets, there are two parameter con-
SEND knob. Turned fully up, it provides 15 dB trols ( ) you can adjust to change the
of additional gain, the center “U” mark is unity sound and make it unique for your particular
gain, and fully down is off. application.
Being that this controls only post-fader EFX 2 SEND
sends destined for outboard effects devices,
you’ll typically set this knob near the “U” mark This controls the signal level being sent to
and then leave it alone. the input of the EMAC module (and to the EFX MASTER SEND
SEND 2 jack). Use the EFX 2 (INT) U AUX
EFX 1 RETURN controls on the individual channels to adjust
1
Stereo signals come through the EFX 1 the amount of each channel’s signal you want
+15
RETURN and continue on to the MAIN MIX to go to the EMAC. Leave EFX 2 SEND set at OO
U
Fader . They contain the effects’ “wet” the center “U” position. If you find that you’re
2
signals to be mixed together with the channels’ not getting enough of the effect in the main
+15
“dry” original signals. Turned fully up, it pro- mix, make sure that the TO MAIN MIX OO
vides 15 dB of additional gain, the center “U” control is turned up at least to unity (the cen- U EFX
mark is unity gain, and fully down is off. ter detent position). It’s okay to turn up the 1
Being that this controls only the return sig- EFX 2 SEND some more if you need to. Just (EXT)
+15
nals of external effects, with their levels make sure the ZERO LEVEL LED never OO
already determined by the channels’ EFX 1 lights more than occasionally. Read on to find
(EXT) knob, you’ll typically set this knob out why.
near the “U” mark and then leave it alone. TO MAIN MIX U
basic mix up and run- SEND EFFECTS TO MONITOR Fader . They contain
ning, turn up the EFX 2
REVERSE DELAY 1 the effects’ “wet” signals BREAK SWITCH
GATED DELAY 2 (MUTES ALL CHANNELS)
(INT) , per channel. CATHEDRAL DELAY 3
and are mixed together
This feeds in individual LG. HALL DELAY 4 with the channels’ “dry” ZE
LEV
MD. HALL CHORUS original signals. Turned SE
amounts of channel sig- LG. PLATE FLANGE
nals to the EMAC inputs MD. PLATE PHASER fully up, it provides 15 dB OO MAX
PHONES LEVEL
— you should be hearing SM. ROOM SPRING of additional gain, the U
NORMAL EFX NORMAL
the effects as you do this. center “U” mark is unity
Next, goof around gain, and fully down is off.
with the various param- Being that this con- OO +10
WIDE BYPASS UTILITY OUT LEVEL
eters: Preset Select ,
0 10
REVERBS
0 10 trols only the return
TIME DAMPING
TIME/RATE , DAMP-
DELAYS signals of external and
RATE CHORUS/FLANGE/PHASER DEPTH
17
EMAC effects, with their levels already deter- A very dramatic effect that works well with wind
mined by the channels’ EFX 2 (EXT) knob, you’ll instruments such as flute, slow finger picking on
typically set this knob near the “U” mark and acoustic guitar, and quiet vocal group harmony
then leave it alone. and choirs. Also works well with keyboards and
drums using short decay. Decay range is adjust-
EFFECTS TO MONITOR able from 2 seconds to 10 seconds. Pre-delay set
This works just like the channel AUX at 75ms.
knobs, but here, the source signal is the EFX 2 LG. HALL: Dense, smooth reverb with long
RETURN and the EMAC output. Typically, this tail, long pre-delay, and some early reflections.
knob is used to add effects to the stage monitors. Tails are warm with more apparent high end.
Turned fully up, it provides 15 dB of addi- Works well with vocals and electric and acoustic
tional gain, the center “U” mark is unity gain, guitar. Decay range is adjustable from 1 second
and fully down is off. to 5 seconds. Pre-delay set at 75ms.
MD. HALL: Dense, smooth reverb with nor-
PRESET SELECT mal tail, normal pre-delay, and increased early
Rotate this detented switch to select the reflections. Tails are warm with more apparent
preset effect you want to use. high end. Works well with vocals and electric
and acoustic guitar. Decay range is adjustable
Preset Effects Descriptions from 750ms to 2.5 seconds. Pre-delay set at 65ms.
Reverbs LG. PLATE: Good early reflections and no
The reverbs are designed to provide a wide pre-delay. Tails are normal and warm with
variety of reverb sounds for vocal and instru- strong high end for increased presence. Perfect
ment applications. In the following description, for vocals and snare. Decay range is adjustable
tail refers to the reflections that follow the initial from 1 second to 5 seconds. No pre-delay.
sound event, also referred to as decay range. MD. PLATE: Good early reflections and no
Pre-delay is the amount of time between the pre-delay. Tails are short and warm with strong
initial sound event and the first reflection. high end for increased presence. Perfect for
TIME/RATE controls the length of the tight vocals and snare. Decay range is adjust-
tail, with the shortest tail at the 0 position and able from 750ms to 2.5 seconds. No pre-delay.
the longest tail at 10. DAMPING/DEPTH SM. ROOM: Reverb featuring very fast and
controls the damping, with the darkest tone at scattered early reflections with a short pre-delay.
0 and the brightest tone at 10. The WIDE Tails are very short and warm with normal high-
switch is very effective at increasing the stereo end imitating absorbent wall materials and
image of the reverb effect. audience. Good for tight vocal effects. Decay
REVERSE: Standard reverse reverb, simulat- range is adjustable from 250ms to 1 second.
ing a tail-first effect Pre-delay set at 30ms.
increasing to the original SPRING: Mimics the
note. Decay range is ad- CUSTOM 32-BIT PRECISION vintage 60’s-style wet
justable from 35ms to
DIGITAL STEREO EFFECTS PROCESSOR spring reverb effect. Tails
CLIP EFX 2 (INT) RETURN MASTERS are normal with strong
515ms. No pre-delay.
GATED: Standard
U U U U high end and a slight wa-
gated reverb, where the ver imitating the slow
reverb tail is cut off OO +15 OO+15 +15 OO +15
OO
flutter of the mechanical
sharply after the preset EFX 2 TO MAIN MIX AUX 1 AUX 2 spring system. Very good
SEND EFFECTS TO MONITOR
decay length. Decay with acoustic guitar.
REVERSE DELAY 1
range is adjustable from GATED DELAY 2
Decay range is adjust-
35ms to 515ms. No pre- CATHEDRAL DELAY 3 able from 1 second to 5
delay.
LG. HALL DELAY 4 seconds. No pre-delay.
MD. HALL CHORUS
CATHEDRAL: Dense, LG. PLATE FLANGE Delays
MD. PLATE PHASER
smooth reverb with very SM. ROOM SPRING There are four delays
long tail, long pre-delay, NORMAL EFX NORMAL
available with one, two,
and late reflections. Tails three, and four repeats.
are very warm with some TIME/RATE controls
additional high-end 0 10
WIDE BYPASS
0 10 the time between repeats,
REVERBS
reflections imitating the TIME DELAYS DAMPING
with the fastest repeats
stone walls of a cathedral. RATE CHORUS/FLANGE/PHASER DEPTH
at the 0 position and the
18
slowest repeats at 10. DAMPING/DEPTH able from 0.5Hz to 20Hz. Depth is adjustable
controls the damping, with the darkest tone at from 0% to 100%.
0 and the brightest tone at 10. Since the delay PHASER: This effect is perfect for enhanc-
effect is not stereo, it is not affected by the ing strummed acoustic guitar or electric guitar
WIDE switch. power chords. The PHASER effectively dupli-
DELAY 1: One repeat. Works best for cates the popular 70’s phase shift effect used
slapback delay used in country and swing gui- for guitar. Rate is adjustable from 0.5Hz to
tar, and for rockabilly and some country vocals. 35Hz. Depth is adjustable from 50% to 100%.
Delay range is adjustable from 5ms to 524ms.
DELAY 2: Two repeats. Provides a fuller, more TIME/RATE
dramatic effect for rock and gospel vocals, If you have a reverb effect selected, this
acoustic guitar, and wind instruments such as control adjusts how long the reverberation
flute. Especially effective for some finger-picking lasts, with 0 being a short reverb time and 10
styles. Delay range is adjustable from 5ms to being the longest.
524ms. If you have a delay effect selected, this adjusts
DELAY 3: Three repeats. An excellent delay the amount of time between the original signal
for slow, bluesy vocals and melodic flute music. and the delayed signal, with 0 being a short delay
This delay usually works best when the chan- time and 10 being the longest delay time.
nel EFX send is set at less than halfway. Delay If you have a chorus, flange, or phaser effect
range is adjustable from 5ms to 524ms. selected, this control adjusts the rate or speed
DELAY 4: Four repeats. This is for very dra- of the modulation of the effect.
matic delay effects, particularly for enhancing
long vocal notes and dramatic instrumental DAMPING/DEPTH
note-chopping effects. Be sure to set the chan- If you have a reverb or delay effect selected,
nel EFX send at about halfway. Delay range is this control adjusts how fast the higher fre-
adjustable from 5ms to 524ms. quencies roll off in the reverberation or delay,
Modulation Effects with 0 having little roll off and 10 having the
most roll off.
These include Chorus, Flange, and Phaser, If you have a chorus, flange, or phaser effect
and are generally used for enhancement of selected, this control adjusts the depth of the
instrumental music. However, Chorus adds a modulation of the effect.
dramatic effect to vocals as well. The WIDE
switch is very effective at dramatically WIDE
increasing the strength and thickness of a Depending on the effect selected, this
modulation effect. For example, using WIDE on switch adds more width or depth to the effect.
Chorus mimics a multi-voiced chorus effect. Note that it doesn’t work with the DELAY and
TIME/RATE controls the effect Rate, PHASER effects because they are monophonic.
which is the speed of the sweeping effect. Fully
counter-clockwise produces the slowest sweeps BYPASS
and fully clockwise produces the fastest. Pushing in this button causes the adjacent
DAMPING/DEPTH controls the effect EFX BYPASS indicator to light and mutes the
depth, which is the strength of the sweeping effects’ output signal. It affects only the internal
effect. Fully counter-clockwise produces the EMAC effects, not any external effects processor
lightest sweeping effect and fully clockwise you may have connected to the STEREO EFX
produces the thickest. RETURN 2 jack.
CHORUS: Provides a soft, ethereal sweeping
effect. Perfect for enhancement of electric and CLIP
acoustic guitar and bass. Also adds a dramatic This indicates when the EMAC is 6 dB below
effect to vocals, particularly group harmonies clipping. Just like the channels’ ZERO LEVEL
and choirs. The channel’s EFX 2 (INT) LED, this LED should only light occasion-
should be set halfway or higher. Rate is adjust- ally. If it blinks frequently, you should turn
able from 0.5Hz to 30Hz. Depth is adjustable down EFX 2 SEND a little.
from 0% to 100%.
FLANGE: Creates a strong sweeping effect,
particularly effective on rock electric guitar,
lead and rhythm. The channel’s EFX 2 (INT)
should be set halfway or higher. Rate is adjust-
19
GENERAL PRECAUTIONS AND CONSIDERATIONS
NEVER bypass the AC When setting up for a show, oftentimes you
plug’s ground pin. This is are plugging into an AC power distribution sys-
dangerous! tem you know nothing about. You may even be
faced with 2-wire outlets that are missing the
third safety ground pin. It’s a good idea to have
a three-wire AC outlet tester in your toolbox so
AC Power Distribution you can check the outlets yourself to make
The majority of AC outlets encountered in sure they are wired correctly. These testers will
homes and clubs (in the U.S.) are served by a tell you if the polarity of the hot and neutral
240VAC center-tapped service entrance trans- wires is reversed and if the safety ground is dis-
former. This provides two phases of AC power connected. Don’t use an outlet if it is wired
on either side of the center tap, at 120V each. improperly! This is to protect yourself as well
If lighting is used in a show, it is preferable as your equipment.
to power the lights from one leg of the service, If you find that you must plug into a two-
and power the audio equipment from the other wire outlet, you will need to use a two-wire to
leg. This will help minimize noise from the three-wire adapter (cheater plug). These come
lights coupling into the audio (particularly if with a metal tab that you put underneath the
SCRs, or light-dimmer switches, are used). center screw that holds the AC outlet faceplate
In order to minimize ground loops, the safety in place. This center screw must be grounded.
grounds for all the outlets should be connected You can check it by connecting the adapter to
to a common (“star”) grounding point, and the the outlet and then plugging in your handy-
distance between the outlets and the common dandy AC outlet tester.
grounding point should be as short as possible.
Tape Output: 40 dB
0 dBu (normal operating level)
Sub Output: 40 dB
Main Output: 50 dB VU Meters
Aux Send: 45 dB Main L/R
Tape Input to 12 segments:
Main Output: 30 dB Clip, +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30
Effects Return to
CFX•20
WEIGHT
Main Output: 30 dB
24.3 lbs.
(11.0 kg)
5.0"/127mm Disclaimer
Since we are always striving to make our products
25.6"/650mm
Block Diagram
CONTROL
SUB 3
SUB 4
SUB 2
RIGHT
SOLO
SOLO
AUX 2
SUB 1
MAIN
MAIN
AUX 1
EFX 2
LEFT
EFX 1
R
SUB 1 OUT
CFX Series
POWE
TOM
P HAN
BAL
GLO
+48 VDC LEFT
ASSIGN
PHANTOM POWER
SOLO RIGHT
INSERT ASSIGN
TRIM LEVEL SUB 2 OUT MAIN INSERT
SET
PAN TAPE OUT
2 LOW CUT LO MID FREQ HI MUTE LEFT
1 1-2
80 12K BREAK 2
1
3 100 Hz 63 125 250500 1K 2K 4K 8K 16K MAIN OUT
HPF LEFT LEFT
FADER ASSIGN
3
3-4
MAIN
LEVEL
TAPE IN
RIGHT LEFT
PRE-P0ST ASSIGN
AUX 1
SUB 3 OUT
SUBWOOFER
OUT
MIC/LINE IN AUX 2 2
MONO CHANNELS TAPE 1
LEVEL 75 Hz
LPF
EFX 1 3
LEFT
ASSIGN
EFX 2 TAPE IN
RIGHT
RIGHT
SOLO ASSIGN MAIN INSERT
MAIN
SUB 4 OUT LEVEL
LO MID MID HI 2
63 125 250500 1K 2K 4K 8K 16K 1
MAIN OUT
80 800 3K 12K BREAK RIGHT
LEFT 3
LEFT
ASSIGN TAPE OUT
PAN 1-2 3-4 RIGHT
LINE IN TRIM MUTE MAIN
STEREO
CHANNELS
LO MID MID HI
RIGHT
80 800 3K 12K ASSIGN
RIGHT STEREO EFX
RETURN 1 LEFT
PFL
AUX 1 SIGNAL
TO PHONES
PRE/POST
AUX 2
EFX RETURN 1
RUDE SOLO UTILITY OUT LEFT
EFX 1 STEREO EFX LIGHT
RETURN 1 RIGHT
EFX 2
UTILITY
+5 LEVEL
VDC
EFX SEND 2 STEREO EFX UTILITY OUT RIGHT
FROM EFX SOLO
RETURN 2 LEFT TO MAIN MIX OFF
EFX LEVEL SET EFX BYPASS
SOLO CONTROL SOLO
(ACTIVE LOW) ON
TIME/RATE PFL
WOODINVILLE
SIGNAL
EMAC EFX TO AUX 2 AUX SEND 1 EXIT TO LEFT
METER
DAMPING/DEPTH TO RIGHT MAIN
DSP R
AUX SEND 2 22
10
7
EFX WIDE 4
2
0
2
AUX SEND 2 4
7
10
EFX SEND 1 20
30
EFX
FOOT
SWITCH SOLO
EFX BYPASS OFF
EFX SEND 1
MACKIE DESIGNS SOLO CONTROL SOLO
CFX SERIES (ACTIVE LOW) ON
BLOCK DIAGRAM
(#62399CJM/DF)
22
CFX SERIES LIMITED WARRANTY
people at our
factory who helped
design, build, sell,
and support your
product.