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15

MASTER SECTION FEATURES

CLIP

0dB=0dBu

LEFT RIGHT

ZERO

LEVEL

SET

48v

dB

30

20

10

O

O

40
50

5

5

U

60

10

POWER

STATUS

RUDE

SOLO

22

10

7

4

2

0

2

4

7

10

20

30

STEREO

MAIN MIX

STEREO

MAIN MIX

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 EQ

 

, include: 

SUB ASSIGN

 

MAIN INSERT

 

STEREO EFX RETURN 1

 and

 2

 

 (including 

the 

EMAC EFFECTS PROCESSOR

 

), and 

TAPE INPUT

 

. All assigned 

SUB

 Faders 

 

and 

EFX RETURN

 that are not turned 

fully down will appear in the 

MAIN MIX

.

The fader, set fully up, provides 10 dB of 

gain. A “U” unity gain point is just below that. 
When set fully down, the main mix is effectively 
muted. This is the fader to pull down at the end 
of the song when you want The Great Fade-Out.

METERS 

The CFX mixer’s peak metering system is 

made up of two columns of twelve LEDs each, 
with thresholds ranging from –30 dB up to 
“CLIP” (+22 dBu at the TRS 

MAIN OUT

 

+28 dBu at the XLR 

MAIN OUT

). The meters 

display the main mix, post 

MAIN MIX

 Fader 

, unless a 

SOLO PFL

 

 switch is engaged. 

When a 

SOLO PFL

 

 switch is engaged, 

the meters will instead display the solo infor-
mation, at unity gain (pre channel fader 

). 

Why, you ask? The meters, being a tool for the 
engineer, must display what the engineer is lis-
tening to via the 

PHONES

 

 output.

You can get a good mix with the meter’s 

peaks fl ashing anywhere between –20 and +10 
dB. Most amplifi ers clip at about +10 dB, and 
some recorders aren’t so forgiving either. For 
best real-world results, try to keep your peaks 
between “0” and “+7.” 

You may already be familiar 
with “+4” (+4 dBu=1.23V) 
and “–10” (–10 dBV=0.32V) 
operating levels. Basically, 
what determines the 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. A “–10” mixer, with a –10 dBV signal 
trickling out, will also display 0 dB. So ... when 
is 0 dB actually 0 dB? Right now!

At the risk of creating another standard, 

Mackie’s compact mixers address the need of 
both crowds by calling things as they are: 0 dBu 
(0.775V) at the output shows as 0 dB VU on the 
meters. What could be easier? (By the way, the 
most wonderful thing about standards is that 
there are so many to choose from.)

RUDE SOLO 

This infamous fl ashing LED (Light Emitting 

Diode) serves two purposes —- to remind you 
that at least one 

SOLO PFL

 

 switch is en-

gaged, and to let you know that you’re mixing 
on a Mackie. 

Engaging a 

SOLO PFL

 

 switch affects 

these features: 

PHONES

 

 and Meters 

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 

PFL SOLO

 mode lets you really tune in. 

Instead of one fl ickering 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 a 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 thing 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 EQ

, by setting all 

the sliders to zero (center) you’ll effectively 
remove it from the signal path.

How to fi nd and reduce feedback:

1.   Set the 

GRAPHIC EQ

 sliders to zero (cen-

ter).

2.   Set the 

GAIN

 

 levels, using the 

ZERO 

LEVEL

 

 or 

SOLO PFL

 

.

Summary of Contents for CFX MKII

Page 1: ...20 10 OO 40 50 5 5 U 60 10 SOLO PFL dB 30 20 10 OO 40 50 5 5 U 60 10 dB 30 20 10 OO 40 50 5 5 U 60 10 dB 30 20 10 OO 40 50 5 5 U 60 10 dB 30 20 10 OO 40 50 5 5 U 60 10 dB 30 20 10 OO 40 50 5 5 U 60 10...

Page 2: ...e 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 rieu...

Page 3: ...circles like this Every feature on the CFX mixer has one of these numbers assigned to it Whenever a feature is mentioned described or illustrated its number will be right next to it Thank you for cho...

Page 4: ...RATIONS 20 APPENDIX A Service Info 20 Troubleshooting 20 Repair 21 APPENDIX B Technical Info 21 SpecificationsCFX12 CFX16 CFX20 MKII 21 CFX MKII SERIES LIMITED WARRANTY 22 BLOCK DIAGRAM 23 IMPORTANT S...

Page 5: ...rip GAIN AUX EFX and Fader down 3 STEREO GRAPHIC EQ sliders centered 4 MASTER AUX and EFX SENDS and EFX RETURNS down 5 Channel strip EQ and PAN controls cen tered 6 Channel strip ASSIGN 1 2 and MUTE s...

Page 6: ...comfortable listening level 5 If the overall mix has an equalization problem make adjustments to the STEREO GRAPHIC EQ If an individual channel is the problem use its EQ instead 6 Using channel EFX 2...

Page 7: ...eless Microphone Receivers Stereo EQ Stereo Power Amplifier Left Right Chapel Cassette or DAT Recorder CFX16 MKII Large Club Gig or Auditorium using a Subwoofer CFX20 MKII Church Sound Reinforcement w...

Page 8: ...INE IN INSERT MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 At the risk of stating the obvious this is where you plug everything in microphones line level instruments effects headphones and the ultimate d...

Page 9: ...eo 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...

Page 10: ...utputs 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 informat...

Page 11: ...ee the Safety Instructions on page 2 for information on hearing protection EFX FOOT SWITCH You can connect a normally open foot switch to this connector to duplicate the function of the BYPASS switch...

Page 12: ...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 in...

Page 13: ...EVEL EFX 1 EFX 2 Pre vs Post Auxiliary Signal Flow Diagram MID 400Hz L R PAN 1 2 dB 10 LOW 12k HI HI MID 3k 80Hz LOW EQ U 15 15 U 15 15 U 15 15 U 15 15 ASSIGN 11 12 MUTE example boosting the LOW EQ kn...

Page 14: ...ependently 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 m...

Page 15: ...ults try to keep your peaks between 0 and 7 You may already be familiar with 4 4 dBu 1 23V and 10 10 dBV 0 32V operating levels Basically what determines the oper ating level is the relative 0 dB VU o...

Page 16: ...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 sw...

Page 17: ...EFFECTS PROCESSOR FOR THE IMPA TIENT Set EFX 2 SEND and TO MAIN MIX at the center U mark Assuming you have your basic mix up and run ning turn up the EFX 2 INT per channel This feeds in individual amo...

Page 18: ...ng pre delay and late reflections Tails are very warm with some additional high end reflections imitating the stone walls of a cathedral A very dramatic effect that works well with wind instruments su...

Page 19: ...ramatic 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 FLAN...

Page 20: ...ab 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...

Page 21: ...Adjacent Inputs or Input to Output 90 dB 1 kHz Fader Off 90 dB 1 kHz Mute Switch and Break Switch Mute 80 dB 1 kHz Input Gain Control Range Mono Channels Mic In 5 dB to 50 dB Line In 15 to 30 dB Stere...

Page 22: ...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...

Page 23: ...FX 1 EFX 2 PRE POST PAN MAIN GAIN LEFT RIGHT SOLO 1 2 MUTE EFX RETURN 1 SUBWOOFER OUT 1 2 3 63 125 250500 1K 2K 4K 8K 16K TAPE OUT RIGHT BREAK MAIN LEVEL MAIN INSERT LEFT ASSIGN RIGHT ASSIGN SUB 1 OUT...

Page 24: ...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 s...

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