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PRE FADER

The aux send rule of thumb: For parallel

effects processing, use aux sends in post-fader
mode. For stage monitors, use pre-fader mode
(see diagram below).

With this switch disengaged (up),

AUX 1

and

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

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

drummer’s vocals out of the main mix by turn-
ing 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 an

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.

EFX 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

; just remember that the sends (

EFX 2 (INT)

EFX 2 SEND

) and returns (

TO MAIN

MIX

) control two devices. The

PRE FADER

switch has no effect on the

EFX

sends;

they’re always post-fader.

The CFX MKII mixer has low shelving, mid

peaking, and high shelving EQ. “Shelving”
means that the circuitry boosts or cuts all fre-
quencies past the specified frequency. For
example, boosting the

LOW EQ

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 can bring
a 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 tape hiss.

MID EQ

Short for “midrange,” this knob provides 15

dB of boost 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.

The mono channels employ a semi-

parametric mid-sweep EQ. In addition to 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 3kHz;

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 low EQ,

simultaneously engaging the

LOW CUT

switch can create an audible low frequency boost
without boosting stage rumble, mic handling
clunks, and breath pops.

100

10k

20k

–15

–10

–5

+10

+15