15. - Amici Di Bambi
Contents
1. gt EFX 2 MASTER SEND LEVEL 1 3 1 20k Low EQ 100 1 15 15 43 2 i 15 55 LOW MID 400Hz G LOW 80Hz 15 11 12 ASSIGN 10 1 2 Stereo Channel PAN PAN adjusts the amount of channel signal sent left versus right to the SUB OUTs and ultimately the MAIN OUTs via the SUB ASSIGN switches On mono chan nels the knob places the signal somewhere between hard left and hard right On stereo channels it works like the balance control on your home stereo by attenuating one side or the other With the PAN knob hard left the signal will feed SUB 1 and SUB assuming the channel s ASSIGN amp switches are engaged With the PAN knob hard right the signal will feed SUB 2 and SUB 4 assuming the chan nel s ASSIGN switches engaged With the PAN knob set somewhere in be tween the signal will be shared across both sides of the mix MUTE When you engage a channel s mute switch its signal disappears from these outputs MAIN OUT MAIN INSERT 9 508 OUT 1 4 AUX SEND 1 amp 2 EFX SEND 1 amp 2 O including the send to the EMAC EFFECTS PROCESSOR The only thing it doesn t mute is the channel s SOLO PFL switch so you can audition channels via headphones without sending them to the2. 14 ASSIGN ON 14 FADER 14 1 14 MASTER SECTION 15 MAIN MIX FADER 15 QD METERS 15 ED RUDE 010 15 STEREO GRAPHIC EQ 15 TAPE LEVEL 16 BREAK SWITCH 16 PHONES LEVEL 16 UTILITY OUT LEVEL 16 SUB 16 LEFT RIGHT SUB ASSIGN 16 MASTER SEND 17 EFX 1 MASTER 17 EFX 1 RETURN 17 EMAC EFFECTS PROCESSOR 17 2 SEND 17 TO MAIN MIX ccccccccccccccccsssssssssssssceesssssees 17 EFFECTS TO MONITOR 1
3. aoe OUT MAIN OUT R BAL UNBAL ay Sa 552 EFX BETA OUTS GeO Stereo Compressor Stereo Compressor CFX12 MKII Small Club Gig Stage Monitor Stage Monitor Keyboard or other line level input Subwoofer CFX16 Large Club Gig or Auditorium using a Subwoofer Left PA Speaker Right PA Speaker oe _ 4 SUB OUT MAIN OUT MAIN OUT TAPE TAPE 75Hz L R BAL UNBAL OUT IN AUX SENDS EFX SENDS STEREO EFX RETURNS SUB OUTS PHONES eee C0 Digital Multitrack Recorder eee 1 11 Optional Live Recording Keyboard or other line level input CELI Left Speaker Right PA Speaker 55 SUB OUT MAIN OUT MAIN OUT 75Hz ERR BAL UNBAL 0 AUX SENDS EFX SENDS STEREO EFX RETURNS SUB OUTS E ecce ee CFX20 MKII Church Sound Reinforcement with Separate Utility Mix _ SHIELD COLD XLR BALANCED WIRING RING COLD TIP HOT SLEEVE SHIELD TRS BALANCED WIRING TIP v SLEEVE SHIELD TS UNBALANCED WIRING PATCHBAY FEATURES At the risk of stating the obvious this is where you plug everything in microphones line level instruments effects headphones and t
4. gz SUB 1 OUT LEFT ASSIGN RIGHT ASSIGN SURZOUr MAIN INSERT LEFT 1 BREAK 2 OOOO 004 1 LEFT 9 63 125 2505001 2K 4K BK 16K 63 MAIN OUE gt 5 2 15 i Beee tes TAPE IN gt LEFT ES PRE POST ROHT i AUKT SUB 3 OUT Regt SUBWOOFER MIC LINE IN TE SDER a MONO CHANNELS une TAPE th Guta LEVEL oe oe on oe ee eee EFX1 LEFT Oa ASSIGN i pg 2 TAPE IN RIGHT i oe ee 3 a eine RIGHT pg SOLO 22 ASSIGN MAIN INSERT ee ee SUB 4 OUT Lobat gat bat dat dat dal da Sat LO MID MID HI 25 0 9 0 0 0 9 5 0 2 FOOL gt gt 63 125 2505001 2K 4K 8K 16K MAIN OUT 800 12K BREAK RIGHT LEFT 8 ASSIGN TAPE OUT 5 4 RIGHT LINE IN gt gt STEREO 7 CHANNELS 10 MID j gt lt RIGHT 80 800 120 ASSIGN RIGHT STEREO EFX RETURN 1 LEFT Be SIGNAL 144 ey TO PHONES PRE POST H AUX 2 gt RETURN 1 UTILITY OUT LEFT EFX1 STEREO EFX RETURN 1 RIGHT gt gt 2 AR UTIL
5. 9 9 SUBWOOFER 9 MAIN 9 OU 10 SUB OUT 10 AUX SEND 10 EFX 10 STEREO EFX RETURN 10 TAPE INPUT 11 O TAPE OUTPUT 11 11 O EFX FOOT SWITCH 11 11 AC POWER 11 POWER SWITCH POWER STATUS 11 CHANNEL STRIP 12 PHANTOM POWER 12 DOO 12 ZERO LEVEL 12 LOW 12 12 PRE 13 EFX 1 EXT 13 EFX 2 INT 13 13 OPAN 14 MUTE
6. 15 15 POWER STATUS LEFT RIGHT EFX2 MAIN E AUX 1 7 SEND EFFECTS TO MONITOR REVERSE DELAY 1 GATED DELAY 2 CATHEDRAL e 10 O 7 0 4 O 0 2 O oos 0 2 O 0 4 O 20 90708 BREAK SWITCH MUTES ALL CHANNELS MD PLATE 775 PHASER SM ROOM SPRING NORMAL EFX NORMAL WIDE BYPASS 4 0 10 0 10 S DAMPING H0 RATE CHORUS FLANGE PHASER DEPTH UTILITY OUT LEVEL SUB 1 SUB 2 SUB SUB 4 ASSIGN ASSIGN Sigana SET THE LEVELS 1 Choose one of the microphones or instru ments you connected Make some noise If it s a microphone sing at your normal sing ing volume If it s a synthesizer play it at its normal output level While making noise turn up that channel s GAIN until the adjacent ZERO LEVEL starts blinking Disengage up that channel s MUTE Raise that channel s fader to unity gain U label You should be hearing your noise now If necessary apply channel changes You may need to compensate for level changes with the channel fader Repeat steps 1 through 5 for the remaining active channels Stop making noise Everyone start making music TWEAK THE MIX 1 Engage MUTE on all channels except your rhythm section drums amp bass 2 Adjust the rhythm section s channel faders to get a good balance of levels 3 Un mute th
7. MKII SERIES vapp MANUAL 12 16 AND 20 CHANNEL MIC ALINE MIXERS 8 DIGITAL EFFECTS oie eee ie eee 429497 828 18 626 aes eee eee 20 Ch ne C O O O z oe A _ 6 9 IMPORTANT SAFETY INSTRUCTIONS 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with dry cloth 7 Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched par
8. 0O 10 1 9 2 0 O 0 2 O 0 4 6 OW 0 8 20 O 8 0 RUDE SOLO STEREO MAIN MIX 11 J 5 0 08 0 MACKIE E be 10 8 Sra 0 Sm Sm 5 10 8 8 10 15 f 15 8K 63 125 250 500 1K 2K 4K 16K STEREO GRAPHIC EQ 12 VUL 12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER 3 Slowly turn up the MAIN MIX Fader until feedback just begins to occur BE CAREFUL Feedback can occur quickly jacks and engage the BREAK SWITCH Instant ly the entire main mix is switched off and the intermission entertainment is switched on Even if you just want silence during the breaks this switch can act as a Master Mute switch simply by plugging nothing into TAPE INPUT PHONES LEVEL After the MAIN MIX Fader the mix is sent through this knob allowing you to set headphone levels as desired without disturbing the main mix level When achannel s SOLO PFL is engaged the main mix will be replaced by the solo sig nal allowing the engineer to audition channels without disturbing the main mix The stereo PHONES jack can drive any BCT RETURN and become very LOUD very fast standard headphones to very loud level
9. through this TO MAIN and TO MAIN MIX knob and continue at the center U mark Assuming you have your basic mix up and run ning turn up the EFX 2 per channel This feeds in individual amounts of channel sig nals to the EMAC inputs you should be hearing the effects as you do this Next goof around with the various param eters Preset Select REVERSE GATED CATHEDRAL e LG HALL MD PLATE SM ROOM WIDE IN MIX AUX 1 2 J EFFECTS ONITOR REVERBS DELAYS RATE CHORUS FLANGE PHASER DEPTH Fader 42 They contain the effects wet signals and are mixed together with the channels dry original signals Turned fully up it provides 15 dB of additional gain the center U mark is unity gain and fully down is off Being that this con trols only the return signals of external and TE DELAY 1 J DELAY 2 DELAY 3 DELAY 4 CHORUS e FLANGE PHASER a BYPASS 17 MASTER SEND AUX 20 EFX 1 RETURN BREAK SWITCH MUTES ALL CHANNELS 9 PHONES LEVEL U co 10 UTILITY OUT LEVEL EMAC effects with their levels already deter mined by the channels EFX 2 EXT knob you ll typically set this knob near the U mark and then leave it alone EFFECTS TO MONITOR This works jus
10. amp jacks for connecting line level signals GAIN If you haven t already please read the SET THE LEVELS portion of QUICK START on page 5 GAIN adjusts the input sensitivity of the mic and line inputs connected to the channels mono and stereo This allows signals from the outside world to be adjusted to optimal internal operating levels If the signal originates through a mono channel s MIC XLR jack there will be 5 dB of gain with the knob fully down ramping to 50 dB of gain fully up Through a mono channel s LINE IN TRS input there is 15 dB of attenuation fully down and 30 dB of gain fully up with a U unity gain mark at 12 00 knob halfway up VERY IMPORTANT 12 Through a stereo channel s stereo LINE IN TRS inputs there is 20 dB of attenuation fully down and 20 dB of gain fully up with a U unity gain mark at 12 00 knob halfway up Having 20 dB of line level attenuation can be very handy when you are injecting a signal that is very hot when you want to add a lot of EQ boost both Without this virtual pad it would be very difficult to control the signal and might lead to channel clipping ZERO LEVEL This handy LED which we hope you al ready read about in QUICK START is triggered to glow when it receives an audio signal at or above 0 dBu If the LED is glowing as opposed to flicker ing turn the GAIN down If the LED is doing almost nothing
11. LOUD warrants to Customer that the product will be free from defects in materials and workman ship under normal use during the Warranty Period If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option either repair or replace any such nonconforming product provided that Customer gives notice of the noncompliance within the War ranty Period to the Company at www mackie com support or by calling LOUD technical support at 1 800 898 3211 toll free in the U S and Canada during normal business hours Pacific Time excluding weekends or LOUD holidays Please retain the original dated sales receipt as evidence of the date of purchase You will need it to obtain any warranty service For full terms and conditions as well as the specific duration of the Warranty for this product please visit www mackie com warranty The Product Warranty together with your invoice or receipt and the terms and conditions located at www mackie com warranty constitutes the entire agreement and supersedes any and all prior agree ments between LOUD and Customer related to the subject matter hereof No amendment modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby 22 Block Diagram PHANTOM POWER 9 255 898 S888 hz lt lt lt
12. 40 315 118 8 119 SOLO Mono Channel 26 CHANNEL STRIP FEATURES PHANTOM POWER Ha We tricked you The phantom power switch is not located in the channel strip sec tion at all It s way over on the right side of the mixer see graphic on previous page We re just mentioning it here since it applies to the channels specifically what type of micro phones you have plugged into them Push in this switch to provide phantom power to the XLR amp input jacks of the XLR mic inputs are capable of providing phantom power Phantom power is required to operate most condenser microphones some condenser microphones are battery powered The CFX mixers provide 48VDC phantom powering on pins 2 and 8 of the XLR connectors If you have dynamic ribbon or tube mics that do not require phantom power leave the PHANTOM POWER switch out If you are us ing both condenser and dynamic mics don t worry Phantom power will not hurt most dynamic mics Check the microphone s user manual if you re not sure Caution Turn all output levels down before operat ing this switch to avoid the possibility of a pop in your speakers Connecting an external line level device to an XLR input connector with the phantom power switched on could damage the device We recom mend using the LINE IN and STEREO LINE
13. Main Output 50 dB CFX12 MKII 35 Watts Aux Send 45 dB CFX16 MKII 40 Watts Tape Input to CFX20 MKII 45 Watts Main Output 30 dB Effects Return to Disclaimer Main Output 30 dB Since we are always striving to make our products 9900 00000000 552 oe o0 0000 5027mm Input Impedance better by incorporating new and improved materials components and manufacturing methods we re Input 3kQ balanced serve the right to change these specifications at any 5 Line Input 40 9 balanced time without notice g nsert Input Stereo Line Input Tape Input and 3 Effects Returns 10KQ unbalanced boo 6 09 4 ra 7 4 2 53 Mackie Limited Warranty Please keep your sales receipt in a safe place This Limited Product Warranty Product Warranty is provided by LOUD Technologies Inc LOUD and is applicable to products purchased in the United States or Canada through a LOUD authorized reseller or dealer The Product Warranty will not extend to anyone other than the original purchaser of the product hereinafter Customer you or your For products purchased outside the U S or Canada please visit www mackie com warranty to find contact information for your local distributor and information on any warranty coverage provided by the distributor in your local market
14. it provides 15 dB of additional gain the center U mark is unity gain and fully down is off Typically when the talent or lack thereof wants a louder monitor mix this is the knob to crank up watch out for feedback EFX 1 MASTER SEND Effects send signals are derived by each channel s EFX 1 EXT knob mixed to gether then sent through this EFX 1 MASTER SEND knob Turned fully up it provides 15 dB of additional gain the center U mark is unity gain and fully down is off Being that this controls only post fader sends destined for outboard effects devices you ll typically set this knob near the U mark and then leave it alone EFX 1 RETURN Stereo signals come through the EFX 1 RE TURN and continue on to the MAIN MIX Fader They contain the effects wet signals to be mixed together with the channels dry original signals Turned fully up it provides 15 dB of additional gain the center U mark is unity gain and fully down is off Being that this controls only the return signals of external effects with their levels al ready determined by the channels EFX 1 EXT knob you ll typically set this knob near the TIME RATE DAMPING DEPTH and WIDE When you find an effect you like jot down the parameters then goof around some more To mute these effects engage BYPASS or your foot switch if connected to EFX FOOT SWITCH
15. turn the GAIN up For more accurate method of setting gain levels please see RUDE SOLO page 15 where a soloed signal will appear on the mixer s meters LOW CUT The LOW CUT switch often referred to as a high pass filter depends on how you look at it cuts bass frequencies below 100 Hz ata rate of 18 dB per octave We recommend that you use LOW CUT on every microphone application except kick drum bass guitar or bass heavy synth patches LOW CUT can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power AUX These knobs tap a portion of each channel signal and send it out via the AUX SEND jacks to an external device for parallel effects processing or stage monitoring AUX levels are controlled by these AUX knobs and by the AUX MASTER SENDs These are more than mere effects and monitor sends they can be used to generate separate mixes for recording or mix minuses for broadcast Each AUX knob s level ranges from off through unity the center detent position on up to 15 dB of extra gain fully clockwise The line level stereo channels AUX knobs control a mono sum of the channel s stereo signals For instance on the CFX20 channel 17 L and 18 R mix together to feed that channel s AUX send knobs PRE FADER The aux send rule of thumb For parallel effects processing use aux sends in post fader mode For stage monitors use
16. No pre MD HALL delay LG PLATE CATHEDRAL Dense smooth reverb with very long tail long pre delay and late reflections Tails are very warm with some WIDE GYPRGIE DIGITAL STEREO EFFECTS PROCESSOR 57 2 INT RETURN MASTERS U U DO C DELAY 1 NORMAL oe NORMAL cathedral A very dramatic effect that works well with wind instruments such as flute slow finger picking on acoustic guitar and quiet vo cal group harmony and choirs Also works well with keyboards and drums using short decay Decay range is adjustable from 2 seconds to 10 seconds Pre delay set 75 ms LG HALL Dense smooth reverb with long tail long pre delay and some early reflections Tails are warm with more apparent high end Works well with vocals and electric and acous tic guitar Decay range is adjustable from 1 second to 5 seconds Pre delay set at 75 ms MD HALL Dense smooth reverb with nor mal tail normal pre delay and increased early reflections Tails are warm with more apparent high end Works well with vocals and electric and acoustic guitar Decay range is adjustable from 750 ms to 2 5 seconds Pre delay set at 65ms LG PLATE Good early reflections and no pre delay Tails are normal and warm with strong high end for increased presence Perfect for vocals and snare Decay range is adjustable from 1 second to 5 seconds No pre delay MD PLATE Good early reflections and no pre delay Tail
17. To send these effects to the stage monitor cues turn up the EFFECTS TO MONITOR Y knobs FOR THE CURIOUS EMAC stands for Extended Multiply and Accumulate which is a proprietary 32 bit digital stereo processor developed by our Digital En gineering Group It provides 16 preset digital effects algorithms for you to select In addi tion to the presets there are two parameter controls you can adjust to change the sound and make it unique for your particular application 2 SEND This controls the signal level being sent to the input of the EMAC module and to the EFX SEND 2 jack Use the EFX 2 INT con trols on the individual channels to adjust the amount of each channel s signal you want to go to the EMAC Leave EFX 2 SEND set at the center U position If you find that youre not getting enough of the effect in the main mix make sure that the TO MAIN MIX amp control is turned up at least to unity the center detent position It s okay to turn up the EFX 2 SEND some more if you need to Just make sure the ZERO LEVEL LED never lights more than occasionally Read on to find out why on to the MAIN MIX U mark and then leave it alone TO MAIN MIX EMAC EFFECTS EIMC DIGITAL Si EFFECTS PROCESSOR Stereo signals from PROCESSOR 2 RETURN MASTERS EFX RETURN 2 FOR THE IMPA 7 and EMAC EFFECTS y lt gt PROCESSOR come Set EFX 2 SEND
18. 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 loudspeakers 2 Plug all the sound system components into suitable AC outlets properly grounded and capable of delivering adequate current 3 Using XLR or TRS cables connect your mixer s MAIN OUTS to your powered speakers or amp s line inputs 4 Make connections from your microphones and instruments to the mixer Connect balanced microphones to the mono channel MIC jacks For condenser microphones engage the PHANTOM POWER switch located just above the meters Connect line level instruments synthesizers guitar effects direct boxes to the mono or stereo channel LINE IN TRS jacks 5 Turn all the power switches on leaving the amplifier s switch for last 6 Turn up the MAIN MIX Fader to the 30 label for now We ll crank it up later on 7 Turn up SUB Faders 1 and 2 to unity gain U label 5 0 8 8 8 8 8 8 8 8 10 63 125 250 500 1K 2K 4K 8K 16K L STEREO GRAPHIC EQ CFX 12 1100 12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER EFX 2 INT RETURN MASTERS PHANTOM POWER a 48v
19. main mix ASSIGN Used in conjunction with the PAN knob ASSIGN determines the final destination of a channel s signal Engaging ASSIGN 1 2 for in stance sends that channel s signal to the SUB 1 and 2 Faders and via their SUB ASSIGN switches the MAIN MIX Fader Typically ASSIGN 1 2 will be engaged on all channels destined for the main mix By configuring SUB 1 and 2 to feed the main mix the channel ASSIGN 1 2 switches become the equivalent of being Main Mix switches Some channels can use ASSIGN 3 4 instead creating a submix for a set of channels all the drum channels for instance Then by configuring SUB 3 and 4 to also feed the main mix you can ride the SUB 3 and 4 Faders independently of the rest of the mix SUB Faders SUB ASSIGN and MAIN MIX Fader will explain this further 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 nal Subtle adjustment of the channels fader positions is the key to a finely tuned mix Typically providing the GAIN knob is set correctly the fader position will be posi tioned somewhere between 0 U and 80 dB If you have a fader set all the way up adding 10 dB of gain that s usually a sign that your GAIN knob is set too low Conversely if the fader is set way down your GAIN may be set too high U LIKE UN
20. pre fader mode see diagram below With this switch disengaged up AUX 1 and 2 receive signals in post fader mode post low cut post insert post EQ post mute and POST fader Any changes made to the channel controls will affect the AUX signal With this switch engaged down AUX 1 and 2 receive signals in pre fader mode post low cut post insert post EQ post mute and PRE fader Any changes made to the channel controls EXCEPT the fader will affect the AUX signal In pre fader mode you can take the drum mer s vocals out of the main mix by turning his fader down but since he still hears himself in the monitors he s happy EFX 1 EXT EFX 1 designed for feeding the inputs of parallel effects devices behaves exactly like AUX send but it s always in post fader mode Any changes made to the channel controls will affect the EFX signal The PRE FADER switch has no effect on the EFX sends 2 INT EFX 2 is identical to EFX 1 with one big dif ference In addition to feeding the EFX SEND jacks it also feeds the inputs to the EMAC EFFECTS PROCESSOR If you re using EMAC and just one outboard processor patch the outboard processor via EFX RETURN 1 You can use EMAC and an outboard device via EFX 2 just remember that the sends 2 INT 2 SEND and returns TO MAIN MIX amp 7 control two devices The PRE FADER switch has no effect on the EFX sends theyre alwa
21. sound mixers are designed to meet the sound reinforcement needs of almost any small to medium sized club meeting room sanctuary or outdoor gath ering Here s a quick glance at all the features you ve acquired 8 12 or 16 mono channels with e Variable input gain 5 to 50 dB mic 15 to 30 dB line Phantom power globally switched Zero Level gain setting indicator LED Switchable 100 Hz low cut filter TRS insert jack 2 pre post fader aux sends 2 post fader effects sends 3 band mid sweep EQ Pan mute and 1 2 3 4 busing PFL solo 60mm mono fader 2 stereo line channels with e Variable input gain 20 to 20 dB 2pre post fader aux sends e 2post fader effects sends e 4 band EQ e Pan mute and 1 2 3 4 busing e PFL solo e 60mm stereo fader Part No SW0585 Rev 04 09 2004 2009 LOUD Technologies Inc All Rights Reserved Comprehensive master section with e Four 60mm submix mono faders e Separate Left and Right assign for each sub 60mm main mix stereo fader TRS insert jacks for main mix Balanced XLR stereo main outputs Balanced XLR mono subwoofer output 12 segment stereo LED metering Mackie s in famous Rude Solo Light 9 band stereo graphic EQ main mix EMAC 82 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 intermiss
22. stereo ampli fiers thereby allowing you to control levels independently via the SUB Faders Alternatively use the MAIN OUT to feed the amplifiers and one stereo SUB OUT pair to feed a recorder In studio applications these outputs can be used as four separate paths to feed four tracks of a multitrack recorder See ASSIGN and SUB ASSIGN for more information AUX SEND To create a stage monitor mix with levels set independently from the main mix patch these TRS jacks into your monitor amplifier inputs These jacks can also be used to feed the inputs of an effects device See AUX and PRE FADER for more information EFX SEND TAPE INPUT TAPE OUTPUT STEREO EFX RETURN MONO 11 LEFT RIGHT 12 R UTILITY OUT 1 AUX SEND EFX SEND The signal at these TRS outputs is post fader only so they cannot be used as traditional stage monitor cues They re intended to patch into effects device inputs hence the name EFX See EFX 1 EXT and EFX 2 INT for more information Note The EFX 2 signal path also feeds the CFX mixer s internal EMAC EFFECTS PRO CESSOR inputs If youre using EMAC and just one outboard processor patch that proces sor via EFX SEND 1 for independent control of the effects send level We recommend going into a stereo reverb in mono and returning in stereo We have found that on most stereo reverbs the second input just ties up an extra EFX sen
23. 8 PRESET 1 18 Preset Effects 18 TIME RATE 19 DAMPING DEPTH 19 19 BYPASS 19 19 GENERAL PRECAUTIONS AND CONSIDERATIONS 20 APPENDIX Service Info 402020 20 Troubleshooting sceccscsssessecessessecsssessecsecees 20 21 APPENDIX Technical Info ccoccscoscoscescesees 21 SpecificationsCFX12 CFX16 CFX20 21 MKII SERIES LIMITED WARRANTY 22 BLOCK 23 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 GAIN AUX EFX and Fader down 3 STEREO GRAPHIC sliders centered 4 MASTER AUX and EFX SENDS and EFX RETURNS down 5 Channel strip and PAN controls cen tered 6 Channel strip ASSIGN 1 2
24. ITY tag EFX SEND 2 STEREO EFX FROM EFX SOLO UTILITY OUT RIGHT RETURN 2 LEFT TO MAIN MIX OFF gt I EFX LEVEL SET EFX BYPASS 6010 CONTROL SOLO V ACTIVE LOW ON V EFX TO MAIN MIX PFL TO LEFT MAIN PHONES PHONES LEVEL STEREO EFX EFX SEND 2 EFX RETURN 2 EFX TO AUX1 SELECT AUX SEND 1 BOTHELL MONROE gt D gt gt gt PFL WOODINVILLE SIGNAL EFX TO AUX 2 AUX SEND 1 EXIT TO LEFT o METER DAMPING DEPTH TO RIGHT MAIN AUX SEND 2 EFX WIDE MACKIE MKII SERIES BLOCK DIAGRAM 122104CJM DF AUX SEND 2 EFX SEND 1 EFX gt ey Foot EFX SEND1 SWITCH EFX BYPASS SOLO CONTROL 8010 V ACTIVE LOW ON SWFLOMASNSR 28 16220 Wood Red Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
25. ITY GAIN Mackie mixers have a U symbol on almost every level control This U stands for unity gain meaning no change in signal level Once you have adjusted the input signal to line level you can set every control at U and your sig nals will travel through the mixer at optimal levels What s more all the labels on our level controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control s settings SOLO PFL Engaging a channel s SOLO switch causes this dramatic turn of events The PHONES and Meters 7 which ordinarily receive the main mix signals instead receive the SOLO PFL signal PFL being a mono signal is sent to both sides of the PHONES outputs and to the LEFT meter Additionally the RUDE SOLO LED flashes obnoxiously to remind you that you re in solo The SOLO signal is tapped before the channel s MUTE and Fader controls It does however follow GAIN Low CUT and settings making it the perfect tool for quick inspections of individual or multiple channels The channel s PAN MUTE and Fader amp settings have no effect on the SOLO signal See RUDE SOLO for more information Q 25 5 lt WARNING Pre fader SOLO taps the channel sig nal before the fader If you have channel s fader set well below U unity gain SOLO won t know that and will send a unity gain si
26. Mic In 5 dB to 50 dB Line In 15 to 80 dB Stereo Channels Line In 20 to 20 dB Phantom Power 48V DC Equalizat Low Cut 100Hz 18 dB octave Mono Channel EQ High 15 dB 12 kHz Mid 15 dB 100 Hz to 8 kHz Low 15 dB 80 Hz Stereo Channel EQ High 15 dB 12 kHz High Mid 15 3kHz Low Mid 15 dB 400 Hz Low 15 dB 80 Hz Graphic EQ 9 bands 9 1 414 ISO octave centers 15 dB 68 125 250 500 1k 2k 4k 8k 16k Hz Mixer Rated Output Main Sub Aux amp Efx 4 dBu Maximum Rated Output 20 dBu Maximum Input Levels Mic Input 28 dBu Gain 50 dB 18 dBu Gain 6 dB Line Input 8 dBu Gain 30 dB 88 dBu Gain 15 dB Insert Input Stereo Line Input Tape Input and Effects Return 20 dBu 21 Maximum Voltage Gain Output Impedance 16 0 in 406 mm L Mic Input to Main Output Insert Output Tape Output Sub Insert Output 50 dB Output and Effects Sends 1500 Tape Output 66 dB Digital Effect Sub Output 66 dB _ Main Output 76 dB Resolution 32 bit 16 bit 2 channel 1 Aux Send 71dB Number of Presets 16 _ Line Input to hannel Level Set LED Sensitivi Insert Output 30 dB Tape Output 46 dB 0 dBu normal operating level Sub Output 46 dB VU Meters Main Output 56 dB Main L R Aux Send 51 dB 7 is ee oii Tape Output 40 dB Sub Output 40 dB Power Con ion
27. PING DEPTH If you have a reverb or delay effect selected this control adjusts how fast the higher fre quencies roll off in the reverberation or delay with 0 having little roll off and 10 having the most roll off If you have a chorus flange or phaser effect selected this control adjusts the depth of the modulation of the effect WIDE Depending on the effect selected this switch adds more width or depth to the effect Note that it doesn t work with the DELAY and PHASER effects because they are monophonic BYPASS Pushing in this button causes the adjacent EFX BYPASS indicator to light and mutes the effects output signal It affects only the internal EMAC effects not any external effects proces sor you may have connected to the STEREO EFX RETURN 2 jack CLIP This indicates when the EMAC is 6 dB below clipping Just like the channels ZERO LEVEL LED this LED should only light occasional ly If it blinks frequently you should turn down EFX 2 SEND a little 19 GENERAL PRECAUTIONS AND CONSIDERATIONS NEVER bypass the AC plug s ground pin This is dangerous AC Power Distribution The majority of AC outlets encountered in homes and clubs in the U S are served by a 240VAC center tapped service entrance trans former This provides two phases of AC power on either side of the center tap at 120V each If lighting is used in a show it is preferable to power the lights from one leg of
28. al will be present at these jacks regardless of the position of the MAIN MIX Fader PHONES The stereo signal at these jacks is the same as at the MAIN OUT amp but with two impor tant differences After the MAIN MIX Fader the mix is sent through the PHONES LEVEL control allowing you to set levels as desired without disturbing the main mix level When channel s SOLO PFL Q is engaged the main mix signal at this output will be re placed by the solo signal allowing the engineer to audition channels without disturbing the main mix The stereo PHONES jack will drive any standard headphones to very loud levels Walk person type phones can also be used with an appropriate adapter Note Please see the Safety Instructions on page 2 for information on hearing protection 08 MACKIE 12 CHANNEL COMPACT INTEGRAJ DIRECT OUT WITH SIGNAL FOR INTERRUPTION TO MASTER OPTIONAL USES FOR EFX FOOT SWITCH You can connect a normally open foot switch to this connector to duplicate the function of 6 the BYPASS switch located in the EMAC EFFECTS PROCESSOR Closing the switch connection causes the EFX BYPASS indicator to light and mutes the effects SLEEVE TIP SLEEVE TIP Note When a foot switch is plugged into RING the FOOT SWITCH jack the BYPASS switch is STe LEFT disabled SHIELD Just like the BYPASS sw
29. ast one SOLO PFL switch is en gaged and to let you know that you re mixing on Mackie Engaging a SOLO PFL switch affects these features PHONES amp and Meters Y No other outputs are affected in any way Although the SET THE LEVELS section of QUICK START page 5 will get your level setting tasks accomplished using the meters in PFLSOLO mode lets you really tune in Instead of one flickering LED you can make use of the 12 segment VU display in the meters How Just engage a SOLO PFL switch and watch the meters WARNING SOLO is pre fader and taps the channel signal before the fader If you have channel s fad er set well below U unity gain SOLO won t know that and will send a unity gain signal to the PHONES output That may result in a startling level boost in your headphones STEREO GRAPHIC EQ This equalizer used to shape the frequency spectrum of the main mix is the last ae in the chain prior to the MAIN MIX Fader and MAIN OUT XLR and TRS jacks Although there is no actual bypass switch for the STEREO GRAPHIC EO by setting all the sliders to zero center you ll effectively remove it from the signal path How to find and reduce feedback 1 Set the GRAPHIC sliders to zero cen ter 2 Set the GAIN levels using the ZERO LEVEL or SOLO PFL Lu gt 15 48v POWER STATUS LEFT RIGHT cuP 22
30. d and adds noth ing to the sound There are exceptions so feel free to try it both ways If your effects device is true stereo all the way through use EFX SEND 1 to feed its left input and EFX SEND 2 to feed the right input STEREO EFX RETURN Patch the outputs of external parallel ef fects devices to these inputs Note The EFX 2 return signal is combined with the signal from the CFX mixer s internal EMAC EFFECTS PROCESSOR If you re using EMAC and just one outboard processor patch the outboard processor via EFX 1 RETURN for independent control of the effects return level When connecting a mono device just one cord always use the LEFT MONO input and plug nothing into the RIGHT input A trick called jack normalling will cause the signal to appear on both sides SUB OUT PHONES TAPE INPUT Patch the outputs of your intermission en tertainment here Any line level mono or stereo device can be used tape CD player television audio etc See BREAK SWITCH amp for more information When connecting a mono device just one cord you ll need Y splitter RCA adapter It turns a mono output cord into two cords so both the left and right tape input jacks can be patched This adapter is widely available TAPE OUTPUT Use these jacks to capture the entire per formance to tape The signal at these jacks is the main mix after the MAIN INSERT but before the MAIN MIX Fader The main mix sign
31. der unless a SOLO PFL switch is engaged When a SOLO PFL switch is engaged the meters will instead display the solo infor mation at unity gain pre channel fader amp Why you ask The meters being a tool for the engineer must display what the engineer is lis tening to via the PHONES output You can get good mix with the meter s peaks flashing anywhere between 20 and 10 dB Most amplifiers clip at about 10 dB and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 7 You may already be familiar with 4 4 dBu 1 28V and 10 10 dBV 0 32V operating levels Basically what determines the oper ating level is the relative 0 dB VU or 0VU chosen for the meters A 4 mixer with a 4 dBu signal pouring out the back will actually display 0 dB on its meters 10 mixer with a 10 signal trickling out will also display 0 dB So when is 0 dB actually 0 dB Right now At the risk of creating another standard Mackie s compact mixers address the need of both crowds by calling things as they are 0 dBu 0 775V at the output shows as 0 dB VU on the meters What could be easier By the way the most wonderful thing about standards is that there are so many to choose from RUDE SOLO This infamous flashing LED Light Emitting Diode serves two purposes to remind you that at le
32. duct has a prob lem please check out the following trouble shooting tips and do your best to confirm the problem Visit the Support section of our website www mackie com support where you will find lots of useful information such as FAQs and other documentation You may find the answer to the problem without having to send your Mackie product away Troubleshooting Bad Channel 5 ASSIGN switch set correctly channel Fader turned up e channels try unplugging any INSERT devices e Try the same source signal in another chan nel set up exactly like the suspect channel Bad Output Are the SUB ASSIGN switches set cor rectly 20 Are the MAIN MIX Fader and SUB Fad ers W turned up If it s one of the MAIN OUTs try un plugging all the others For example if it s a TRS MAIN OUT unplug the associated XLR outputs If the problem goes away it s not the mixer Ifit s a stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the left speaker is still dead it s not the mixer Noise e Turn the channel Faders EFX 1 RE TURN and EFX 2 SEND amp down by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power e Our favorite qu
33. e 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 Ifthe overall mix has an equalization problem make adjustments to the STEREO GRAPHIC EO If an individual channel is the problem use its EO instead 6 Using channel EFX 2 INT and the EMAC EFFECTS PROCESSOR experiment with adding some effects 7 Depending 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 e Never listen to loud music for prolonged periods Please see Safety Instructions on page 2 for information on hearing protection e Never plug amplifier outputs into anything except passive speakers e Never use guitar cables to connect ampli fiers to speakers e 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 con trols back up The same is true for powered speakers e When you shut down your equipment turn off any external amplifiers and or powered speakers first When powering up turn on the amplifiers and or speakers last e Save the shipping box and packing mate rial You may need them someday APPLICATIONS DIAGRAMS Left PA Speaker Right PA Speaker Keyboard or other line level input
34. estion Is the POWER switch on Repair For warranty service refer to the warranty information on page 22 Non warranty service for Mackie products is available at a factory authorized service cen ter To locate your nearest service center visit www mackie com click Support and select Locate a Service Center Service for Mackie products living outside the United States can be obtained through local dealers or distribu tors If you do not have access to our website you can call our Tech Support department at 1 800 898 3211 Monday Friday normal business hours Pacific Time to explain the problem Tech Support will tell you where the nearest factory authorized service center is located in your area APPENDIX B Technical Info Specifications CFX12 CFX16 CFX20 MKII Mixer Section Fr n n Mic Input to any Output Gain at 0 dB 0 1 dB 32 Hz to 20 kHz Distortion THD and SMPTE IMD 20 Hz to 20 kHz Mic Input to Main Output lt 0 05 4 dBu output Noise 20 Hz to 20 kHz BW 15002 ree im n Equivalent Input Noise EIN 127 dBu Residual Output Noise Main Monitor and Effects outputs Channel amp Master levels off 95 dBu mmon M jection 1 60 dB 1 kHz Gain 0 dB Crosstalk __ Z o Adjacent Inputs or Input to Output 90 dB 1 kHz Fader Off 90 dB 1 kHz Mute Switch and Break Switch Mute 80 dB 1 kHz Input Gain Control Range Mono Channels
35. ght MAIN OUT signals mixes them into mono signal then removes all but the deepest bass information Patch this balanced XLR output a high powered mono summed amp and subwoofer or a powered subwoofer and the music police will be right over MAIN INSERT With nothing plugged into these jacks the mix signal goes from the mix amp straight through to the MAIN MIX Faders But when you plug a serial device into these jacks the mix leaves the mixer goes through the de vice and back into the mixer s main mix faders If you want to send your main mix through a compressor limiter or similar device these are the jacks for you Since the insert is before the mix faders moving the fader will not alter the signal strength sent to the compressor thereby preserving its compression characteristics These unbalanced jacks are configured the same as the channel strip insert jacks See page 8 for wiring and usage information MAIN OUT SUB OUT TRS BALANCED WIRING TIP HOT SLEEVE SHIELD TS UNBALANCED WIRING UTILITY OUT The stereo signal at these TRS jacks is the same as at the MAIN OUT but with one important difference After the MAIN MIX Fader the mix is sent through the UTILITY OUT LEVEL control allowing you to set levels as desired without disturbing the main mix level SUB OUT In live sound applications these TRS jacks can be patched into one or two
36. gnal to the PHONES output That may result in a startling level boost in your headphones 2 z gt MASTER SECTION FEATURES We hope you ve understood if not memo rized the CHANNEL STRIP FEATURES you just read If you re still confused please look them over again before you tackle this section Don t worry it s easy to swallow as long as you take it a bite at a time MAIN MIX FADER As the name implies this stereo fader controls the levels of signals sent to the main outputs XLR and TRS MAIN OUT The TAPE OUTPUT RCA jacks also receive the main mix but before the MAIN MIX Fader Signals feeding the MAIN MIX Fader after passing through the STEREO GRAPHIC include SUB ASSIGN MAIN INSERT STEREO EFX RETURN 1 and 2 including the EMAC EFFECTS PROCESSOR and TAPE INPUT All assigned SUB Faders EFX RETURNs that are not turned fully down will appear in the MAIN MIX The fader set fully up provides 10 dB of gain 0 unity gain point is just below that When set fully down the main mix is effectively muted This is the fader to pull down at the end of the song when you want The Great Fade Out METERS The CFX mixer s peak metering system is made up of two columns of twelve LEDs each with thresholds ranging from 80 dB up to CLIP 22 dBu at the TRS MAIN OUT 28 dBu at the XLR MAIN OUT The meters display the main mix post MAIN MIX Fa
37. he ultimate destination for your sound PA system tape recorder etc MIC The CFX MKII mixer is equipped with rugged low noise phantom powered microphone pre amplifiers providing up to 50 dB of crystal clear amplification Their balanced circuitry rejects all manner of extraneous interference Professional condenser dynamic and ribbon mics will all sound excellent through these XLR inputs You can plug in almost any kind of balanced mic that has a standard XLR type male mic connector LINE IN The line inputs share circuitry but not phantom power with the mic preamps and can be driven by balanced or unbalanced sources at almost any level You can use these TRS inputs for virtually any signal you ll come across from 25 dBu up to 88 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 1 Mic 2 Mic 3 4 These unbalanced jacks are configured thusly SEND to processor SS 8 a This plug connects to one of the CT 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 cables developed just for these
38. ice Insert Insert Send Return L 2 09 Signal Processor Processed Signal Dry Signal e g Compressor Parallel Device Output Section h 000000 Signal Processor e g Reverb Wet Signal p gt Mix Processed Stage Signal 2 Dry Signal s Channel Path Dry Signal s STEREO LINE IN These balanced inputs are designed for ste reo or mono balanced or unbalanced signals from 20 dB to 20 dB These TRS inputs can be used with just about any professional or semipro instrument effect or tape player When connecting a mono device just one cord always use the LEFT MONO input and plug nothing into the RIGHT input A trick called jack normalling will cause the signal to appear on both sides TAPE INPUT OUTPUT UTILITY OUT 1 AUX SEND MAIN OUT Coming in two flavors XLR and TRS the main output represents the end of the mixer chain where your fully mixed and enhanced stereo signal enters the real world The XLR balanced outputs will add 6 dB when connected to balanced inputs thereby elevating signal from the noise floor by that amount The TRS balanced outputs offer the advan tage of having no 6 dB level change to deal with while still providing extraneous noise rejection SUBWOOFER OUT The CFX mixer has an integrated mono summing 75 Hz 8rd order low pass filter It taps the left and ri
39. ions 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 W Every feature on the 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 reference 1 insurance claims tech i return etc Purchased at Date ws CONTENTS IMPORTANT SAFETY INSTRUCTIONS 2 3 ABOUT THIS 3 QUICK START scezzccccssccsccccoosscesccccconsscececconsssesececconsees 5 APPLICATIONS 1 6 PATCHBAY 8 8 8 INSERT 8 EFFECTS SERIAL OR PARALLEL 9 STEREO
40. itch this affects TRS HEADPHONE WIRING only the internal EMAC EFFECTS PROCES SOR and not any device plugged into STEREO EFX RETURN 2 LAMP This BNC type connector will accept almost any of the widely available 12VDC 0 5 amp gooseneck lamps made by Littlite and others If your work involves mixing in the back of dark theaters this lamp will likely become your best friend AC POWER INPUT This IEC Socket is where you connect the supplied AC linecord to provide AC power to the CFX mixer Plug the cord into a suitable AC outlet properly grounded and capable of deliv ering adequate current If you happen to lose the AC linecord replacements are available at any office com puter supply store POWER SWITCH POWER STATUS The POWER switch is located on the rear panel adjacent to the AC Power Input Push the right side of the switch labeled ON to turn the mixer on you should see the POW ER STATUS amp LED glow in confirmation Press the left side of this switch to put the mixer into standby mode It will not function but the circuits are still live To remove AC power either turn off the AC mains sup ply or unplug the power cord from the mixer and the AC mains supply TIP HOT SLEEVE GROUND TS FOOTSWITCH WIRING LEFT RIGHT cP 2 7 11 1 22 5 50 7 LEVEL 15dB 309 GAIN 100 Hz co 15 PRE FADER
41. jacks are widely available Besides being used for inserting external de vices these jacks can also be used as channel direct outputs post GAIN post LOW CUT and pre EQ Here are three ways you can use the channel INSERT jacks MONO PLUG Channel Insert jack Direct out with no signal interruption to master Insert only to first click MONO PLUG Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click Insert jack T use as an effects loop SEND to effect RING RETURN from effects 5 Mic 6 Mic 7 mic 8 BAL UNBAL BAL UNBAL BAL UNBAL BAL UNBAL BAL UNBAL BAL UNBAL BAL UNBAL 0 0 6 9 lt 5 5 6 BAL UNBAL EFFECTS SERIAL OR PARALLEL Effects devices are used either in serial or in parallel Serial means that the entire signal is routed through the effects device Examples preamps compressor limiters graphic equalizers Parallel means that a portion of the signal is tapped off to the device usually via a mixer s aux send processed and returned usually via a mixer s aux return to be mixed with the original dry signals Multiple signals via multiple mixer channels can all make use of the same parallel effects device Examples re verb digital delay chorus See diagrams below Serial Dev
42. lateral 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 clair avec point de fl che l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux isol d ampleur suffisante pour constituer un risque d l ctrocution 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 l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil 15 This apparatus shall not be exposed to dripping or splashing and no object filled with liquids such as vases shall be placed on the apparatus 16 This apparatus has been designed with Class I construction and must be connected to a mains socket outlet with a protective earthing connection the third grounding prong 17 This apparatus has been equipped with a rocker style AC mains power switch This switch is located on the rear panel and should remain readily accessible to the user 18 Thi
43. or cut also flat at the center detent Midrange EQ is often considered the most dynamic because the frequencies that define any particular sound are almost always found in this range You can create as many interesting and useful EQ changes by turning this knob down as well as up 5 The mono channels employ a semi parametric mid sweep EQ In addition being able to set the amount of boost you can aim that boost at a specific frequency anywhere from 100 Hz to 8 kHz The stereo channels employ a 2 stage fixed frequency MID EQ HI MID is centered at 38kHz LOW MID is centered at 400 Hz LOW EQ This control provides up to 15 dB of boost or cut at 80 Hz and below The circuit is flat no boost or cut at the center detent position This frequency represents the punch in bass drums bass guitar fat synth patches and high testosterone male singers When adding boost to the channel s D EQ simultaneously engaging the LOW switch can create an audible low frequency boost without boosting stage rumble mic handling clunks and breath pops gt TO AUX1 MASTER SEND LEVEL SIGNAL _ AUX 2 gt TO AUX 2 MASTER SEND LEVEL EFX1 gt EFX 1 MASTER SEND LEVEL Pre vs Post Auxiliary 2 Re ON Signal Flow Diagram
44. ounter clockwise produces the lightest sweeping effect and fully clockwise produces the thickest CHORUS Provides a soft ethereal sweeping effect Perfect for enhancement of electric and acoustic guitar and bass Also adds a dramatic effect to vocals particularly group harmonies and choirs The channel s EFX 2 INT should be set halfway or higher Rate is adjust able from 0 5 Hz to 30 Hz Depth is adjustable from 0 to 100 FLANGE Creates a strong sweeping effect particularly effective on rock electric guitar lead and rhythm The channel s EFX 2 INT should be set halfway or higher Rate is adjust able from 0 5 Hz to 20 Hz Depth is adjustable from 0 to 100 PHASER This effect is perfect for enhanc ing strummed acoustic guitar or electric guitar power chords The PHASER effectively dupli cates the popular 70 s phase shift effect used for guitar Rate is adjustable from 0 5 Hz to 35 Hz Depth is adjustable from 50 to 100 TIME RATE If you have a reverb effect selected this con trol adjusts how long the reverberation lasts with O being a short reverb time and 10 being the longest If you have a delay effect selected this adjusts the amount of time between the original signal and the delayed signal with 0 being a short delay time and 10 being the longest delay time If you have a chorus flange or phaser effect selected this control adjusts the rate or speed of the modulation of the effect DAM
45. rockabilly and some country vocals De lay range is adjustable from 5 ms to 524 ms DELAY 2 Two repeats Provides a fuller more dramatic effect for rock and gospel vocals acoustic guitar and wind instruments such as flute Especially effective for some finger picking styles Delay range is adjustable from 5 ms to 524 ms DELAY 3 Three repeats An excellent delay for slow bluesy vocals and melodic flute music This delay usually works best when the chan nel EFX send is set at less than halfway Delay range is adjustable from 5 ms to 524 ms DELAY 4 Four repeats This is for very dra matic delay effects particularly for enhancing long vocal notes and dramatic instrumental note chopping effects Be sure to set the chan nel EFX send at about halfway Delay range is adjustable from 5 ms to 524 ms Modulation Effects These include Chorus Flange and Phaser and are generally used for enhancement of instrumental music However Chorus adds a dramatic effect to vocals as well The WIDE switch is very effective at dramatically increasing the strength and thickness of a modulation effect For example using WIDE on Chorus mimics a multi voiced chorus effect TIME RATE controls the effect Rate which is the speed of the sweeping effect Fully counter clockwise produces the slowest sweeps and fully clockwise produces the fast est DAMPING DEPTH controls the effect depth which is the strength of the sweeping effect Fully c
46. s Walk U Cut the appropriate slider until feedback person type phones can also be used with an Stops appropriate adapter 5 Suggestions for better sound Note Please see the Safety Instructions on oe For better vocal sound set the 125 250 page 2 for information on hearing protection and 16K sliders to 5 UTILITY OUT LEVEL BREACH Note Make sure the singer is within 3 to MUTES ALL CHANNELS After the MAIN MIX Fader the mix is 6 inches of the microphone No amount of EQ can save a wandering minstrel For more presence set the 4K and 8K slid sent through this knob allowing you to set the levels at the UTILITY OUT as desired with out disturbing the main mix level oc 5 ers to 5 PHONES LEVEL U e To warm up the overall sound set the 2K SUB FADERS slider 0 5 The typical exit for channel signals is through e REMEMBER LESS IS BETTER one or more sub mixes The sub mix signal is UTILITY OUT LEVEL TAPE LEVEL first controlled by this fader which provides 10 N bik You can adjust the incoming level of your in termission entertainment independent of the main mix level controls via this feature Here s how Patch the stereo device into the TAPE INPUT Put the device in play Engage the BREAK SWITCH and set the TAPE LEVEL knob as desired Assuming the MAIN MIX Fader is set yo
47. s apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications 19 The MAINS plug or an appliance coupler is used as the disconnect device so the disconnect device shall remain readily operable ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num ri ques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communica tions du Canada 20 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart Duration Per Day Sound Level dBA Typical In Hours Slow Response Example 90 Duo in small club 92 95 Subway Train 97 100 Very loud classical music 102 105 Greg screaming at Troy about deadlines 0 5 110 0 25 or less 115 Loudest parts at a rock concert According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To en
48. s are short and warm with strong high end for increased presence Perfect for tight vocals and snare Decay range is adjust able from 750 ms to 2 5 seconds No pre delay SM ROOM Reverb featuring very fast and scattered early reflections with a short pre de lay Tails are very short and warm with normal high end imitating absorbent wall materials and audience Good for tight vocal effects Decay range is adjustable from 250 ms to 1 sec ond Pre delay set at 30 ms SPRING Mimics the vintage 60 s style wet spring reverb effect Tails are normal with strong high end and a slight waver imitating the slow flutter of the mechani cal spring system Very good with acoustic guitar Decay range is adjustable from 1 second to 5 sec onds No pre delay 1 EFFECTS DELAY 2 DELAY 3 DELAY 4 CHORUS e FLANGE 5 Delays There are four delays available with one two three and four repeats TIME RATE controls BYPASS additional high end TIME 1 1 RATE CHORUS FLANGE PHASER DEPTH at the 0 position and the the stone walls of a slowest repeats at 10 DAMPING DEPTH controls the damping with the darkest tone at 0 and the brightest tone at 10 Since the delay effect is not stereo it is not affected by the WIDE amp switch DELAY 1 One repeat Works best for slap back delay used in country and swing guitar and for
49. sure against potentially danger ous exposure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here WARNING To reduce the risk of fire or electric shock do not expose this appliance to rain or moisture Correct disposal of this product This symbol indicates that this product should not be disposed of with your household waste according to the WEEE Directive 2002 96 EC and your national law This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service INTRODUCTION Thank you for choosing a Mackie CFX MKII mixer These compact live
50. t like the channel AUX knobs but here the source signal is the EFX 2 RETURN and the EMAC output Typically this knob is used to add effects to the stage monitors Turned fully up it provides 15 dB of addi tional gain the center U mark is unity gain and fully down is off PRESET SELECT Rotate this detented switch to select the preset effect you want to use Preset Effects Descriptions Reverbs The reverbs are designed to provide a wide variety of reverb sounds for vocal and instru ment applications In the following description tail refers to the reflections that follow the initial sound event also referred to as decay range Pre delay is the amount of time be tween the initial sound event and the first reflection TIME RATE controls the length of the tail with the shortest tail at the 0 position and the longest tail at 10 DAMPING DEPTH controls the damping with the darkest tone at 0 and the brightest tone at 10 The WIDE switch is very effective at increasing the stereo image of the reverb effect REVERSE Standard reverse reverb simu lating a tail first effect increasing to the original note Decay range is adjustable from 35 ms to 515 ms No pre delay GATED Standard gated reverb where the reverb tail is cut off sharply after the preset 15 SEND REVERSE decay length Decay GATED 4 CATHEDRAL range is adjustable from iG ALL 35 ms to 515 ms
51. the service and power the audio equipment from the other leg This will help minimize noise from the lights coupling into the audio particularly if SCRs or light dimmer switches are used In order to minimize ground loops the safety grounds for all the outlets should be connected to acommon star grounding point and the distance between the outlets and the common grounding point should be as short as possible When setting up for a show oftentimes you are plugging into an AC power distribution sys 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 you can check the outlets yourself to make sure they are wired correctly These testers will tell you if the polarity of the hot and neutral wires is reversed and if the safety ground is disconnected Don t use an outlet if it is wired improperly This is to protect yourself as well as your equipment If you find that you must plug into a two wire outlet you will need to use a two wire to three wire adapter cheater plug These come with a metal tab that you put underneath the center screw that holds the AC outlet faceplate in place This center screw must be grounded You can check it by connecting the adapter to the outlet and then plugging in your handy dandy AC outlet tester APPENDIX A Service Info If you think your Mackie pro
52. ticularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer PORTABLE CART WARNING 12 Use only with a cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualitied service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain moisture does not operate normally or has been dropped CAUTION AVIS RISK 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 ALA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equi
53. u should hear the device BREAK SWITCH No when we say BREAK SWITCH not asking you to break the switch of fering you a very handy feature When it s time for the talent to take a break the engineer usually wants to stretch his legs But walking away from a live mixer in a crowded club can be somewhat unnerving what if some goon starts dinking around with the faders No problem Just plug in your intermission entertainment device to the TAPE INPUT 16 dB of gain fully up unity gain at the U mark and is effectively muted fully down From here the signal goes to two very differ ent locations SUB OUT sends the sub mix directly out of the mixer via its TRS jacks and SUB ASSIGN sends it to the MAIN MIX Fader LEFT RIGHT SUB ASSIGN As discussed in ASSIGN the only way to get channel outputs to the main mix is via the sub mixes and this switch is the key Continuing the assumption made in ASSIGN subs 1 and 2 are the left right stereo path from the channels to SUB Faders 1 and 2 with SUB 1 carrying the left signal and SUB 2 carrying the right Engage SUB 1 ASSIGN LEFT and SUB 2 ASSIGN RIGHT and you re done Take a look at the block diagram on page 22 itll explain this and more but in hieroglyphics AUX MASTER SEND Aux send signals are derived by each channel s AUX amp knob mixed together then sent through this AUX MASTER SEND knob Turned fully up
54. ys post fader EQ The CFX MKII mixer has low shelving mid peaking and high shelving EQ Shelv ing means that the circuitry boosts or cuts all frequencies past the specified frequency For FADER PAN INPUT GAIN CUT INSERT gt EQ PRE POST AUX 1 example boosting the LOW knob boosts bass frequencies at 80 Hz and below Peaking means that only a selected hill of frequencies surrounding a center hilltop frequency is af fected by the EQ control Everything in moderation including mod eration with EQ although you bring sound to life you can also screw things up If you max the EQs on every channel you ll get mix mush not to mention driving your mix levels near or beyond clipping So equalize subtly use the left sides of the knobs cut as well as the right boost HI EQ This control provides up to 15 dB of boost or cut at 12 kHz and above and it is also flat at the detent Use it to add sizzle to cymbals or an overall sense of transpar ency or edge to keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilance or hide hiss MID EQ Short for midrange this knob provides 15 dB of boost
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