The Mackie CFX12 mkII Mixer is designed to make mixing live performances simpler. The mkII upgrades include sleek gray cosmetics, ergonomic knobs, and impact-resistant rubber sides. This live sound mixer features Mackie-designed mic preamps, logarithmic-taper 60mm faders, 9-band phase-accurate graphic equalizer, 32-bit EMAC digital effects processor with 16 effects, 4-bus design, 2 pre/post aux sends, internal/external effects sends, and a host of great features for live sound, including 48V pha... Read more
Part Number: 0014083-00
UPC: 0663961007343, 663961007343
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Mackie DFX 8 And Digitech Vocal 300: How Funky Is Too Funky?
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DFX SERIES OWNERS MANUAL
DFX6 AND DFX12 6- AND 12-CHANNEL MIXERS WITH DIGITAL EFFECTS
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
OPTIONAL USES FOR INSERTS
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
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
INSERT ALL THE WAY IN TO THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP (TIP = SEND, RING = RETURN)
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC WOODINVILLE WA USA MADE IN CHINA FABRIQUE AU CHINE COPYRIGHT 2001 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE PATENT PENDING
VAC, 50/60 Hz, 30 WATTS
STEREO AUX RETURN
(MONO) LINE IN
CD/TAPE IN L
TAPE OUT L
EFX FOOT SWITCH
12 CHANNEL INTEGRATED LIVE SOUND MIXER +12 +12
PHANTOM POWER +48V
MAIN AUX 1
DIGITAL STEREO EFFECTS PROCESSOR
BYPASS LEVEL SET
DELAY 1 DELAY 2 DELAY 3 DELAY 4 CHORUS FLANGE PHASER SPRING
0 = +4dBu
REVERSE GATE CATHEDRAL LG. HALL MD. HALL LG. PLATE MD. PLATE SM. ROOM
(EFFECTS TO STAGE MONITOR)
(MUTES ALL MIC CHANNELS)
AUX 1/MON SEND
AUX 2/EFX SEND
CD/TAPE MUTE RETURN
5 U 60
12. Damage Requiring Service This Mackie product should be serviced only by qualified service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this Mackie product; or C. This Mackie product has been exposed to rain; or D. This Mackie product does not appear to operate normally or exhibits a marked change in performance; or E. This Mackie product has been dropped, or its chassis damaged. 13. Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department. 14. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.
RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. 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'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
MIC.. 8 LINE IN (MONO).. 8 LINE IN (STEREO).. 8 INSERT.. 9 EFFECTS: SERIAL OR PARALLEL?. 9 MAIN OUTPUTS.. 10 PHONES.. 10 AUX SEND 1/MON.. 10 AUX SEND 2/EFX. 10 AUX 1 RETURN.. 11 AUX 2 RETURN.. 11 CD/TAPE INPUT.. 11 TAPE OUTPUT. 11 EFX FOOTSWITCH. 11 AC POWER INPUT.. 11 POWER SWITCH.. 11
CHANNEL STRIP FEATURES
GAIN.. 12 LEVEL SET LED. 12 LOW CUT.. 12 2-BAND EQ.. 12 HI EQ.. 12 LOW EQ... 12 AUXILIARIES.. 13 AUX 1/MON.. 13 AUX 2/EFX.. 13 PAN.. 13 MUTE.. 13 FADER.. 13 OL OVERLOAD LED.. 13
APPENDIX A: SERVICE INFO
WARRANTY SERVICE. 20 TROUBLESHOOTING.. 20 REPAIR.. 20
APPENDIX B: TECHNICAL INFO
SPECIFICATIONS.. 21 DIMENSIONS.. 22 AC POWER CONSIDERATIONS. 22 BLOCK DIAGRAM. 23
Please visit our website at www.mackie.com for more information about this and other Mackie products. 3
We know you cant wait to get the show on the road. Who has time to read a booooring manual? Thats fine the DFX Mixer is designed to set up quickly and operate intuitively but please, read the Safety Instructions on page 2, and then read these two pages! First you will zero the console, then make the connections, set the levels and tweak the mix.
1. ZERO THE CONSOLE:
1. Turn everything off, including the mixers POWER switch and PHANTOM POWER switch. 2. Turn down the channel strip GAIN, AUX 1 and AUX 2 knobs, and faders. 3. Center the channel strip EQ and PAN controls. 4. Push the channel strip MUTE switches down.
5. Set the channel strip LOW CUT switches up. 6. Center the STEREO GRAPHIC EQ sliders. 7. Turn down the MASTER AUX SEND knobs, and the AUX RETURN faders. 8. Turn down the MAIN MIX faders. 9. Now you are ready to make the connections, see the next page.
Zeroing the console 4 Key to the control settings
2. MAKE THE CONNECTIONS:
1. Connect your amplifiers outputs to your speaker inputs (unless, of course, you have powered monitors). 2. Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 3. Using XLR or 1/4" TRS cables, make connections from your mixers MAIN OUT to your amplification systems 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 1/4" TRS jacks. 5. ZERO THE CONSOLE as shown on the previous page. 6. Turn all the power switches on, leaving the amplifiers switch for last. 7. Turn up the MAIN MIX faders to the 30 label, for now. Well crank it later on. 8. Now you are ready to set the levels:
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.):
Date of purchase:
Part No. 0000318 Rev. D 09/Mackie Designs Inc. All Rights Reserved.
Microphones 1-4 Active Monitor Mono in/Stereo out Reverb (optional)
Active Speakers (SRM450s)
Reverb (optional) Compressor
Headphones Tape Player Drum Machine DAT Recorder Foot Switch
DFX12 Small Club Gig
Passive Monitor (C300)
Mono in/Stereo out Reverb (optional)
SR1530 Active Speakers
Compressors (optional) Laser Disc /DVD Player CD/DVD Player Routed through Vocal Eliminator
DFX6 Karaoke set up
PATCHBAY (the intro and the outro)
This is where everything gets plugged in: microphones, line-level instruments, effects devices, and the ultimate destination(s): PA system, monitors, headphones, and tape recorder, etc.
The DFX Mixer is equipped with rugged, low noise, phantom-powered microphone preamplifiers, providing up to 50 dB of pounding crystal-clear amplification. Their balanced circuitry rejects all manner of extraneous interference. Professional condenser, dynamic, and ribbon mics 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.
2. LINE IN (FOR MONO CHANNELS)
These inputs can accept 1/4" TRS balanced and 1/4" TS unbalanced plugs from any linelevel instrument, effects device, or tape player. The line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven by virtually any line-level signal.
SLEEVE SLEEVE TIP
1/4" TS (Tip-Sleeve) unbalanced wiring: Tip = hot (+) Sleeve = shield
RING SLEEVE SLEEVE RING TIP
COLD 3 HOT
SHIELD COLD HOT
RING TIP SLEEVE
XLR balanced wiring: Pin 1 = shield Pin 2 = hot (+) Pin 3 = cold () The DFX Mixers provide +48 VDC phantom powering on pins 2 and 3 of all the mono channels XLR MIC inputs (not the stereo channels). This can be turned on or off using the PHANTOM POWER (31) switch on the right side of the mixer. DO NOT connect a linelevel device to a MIC input with the phantom power switched on. This could damage the device. Use the LINE IN (2, 3) jacks instead.
1/4" TRS stereo wiring: Tip = left, ring = right, sleeve = shield Walkperson-type phones can also be used with an appropriate adapter.
9. AUX 1 RETURN INPUTS
Patch the outputs of external parallel effects devices to these inputs. Signals coming in are adjusted using the AUX 1 RETURN (43) fader and MUTE. When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. The signal will appear on both sides.
level controls of your amplifiers a little. Adjust the channel faders upwards to compensate. This will increase the levels in the mixer and the tape output.
13. EFX FOOTSWITCH
You can connect a normally-open footswitch here to switch the EMAC effects processor in and out. Closing the switch connection causes the internal effects to be bypassed, as you bask in the warm glow of the BYPASS LED (44). Note: This only affects the internal effects and does not affect any signals from devices plugged into AUX 1 and AUX 2 returns.
10. AUX 2 RETURN INPUTS
Patch the outputs of external parallel effects devices to these inputs. Signals coming in are adjusted using the AUX 2 RETURN (40) fader and MUTE. When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. The signal will appear on both sides. Note: The AUX 2 RETURN signal is combined with the signal from the internal effects processor.
11. CD/TAPE INPUT
Patch the outputs of your intermission entertainment here. Any line-level mono or stereo device can be used: tape, DVD/CD player, television audio, etc. Signals coming into the CD/TAPE (11) inputs are adjusted using the CD/TAPE RETURN (35) fader and MUTE. Also see page 16 for information regarding the BREAK (36) switch.
SLEEVE TIP SLEEVE TIP
1/4" TS (Tip-Sleeve) Footswitch wiring: Tip = one end of a normally-open switch Sleeve = shield, and other end of a normally-open switch.
14. AC POWER INPUT
This IEC socket on the rear panel, is where you connect the supplied AC linecord to provide AC power to POWER the mixer. Plug the cord into a suitable AC outlet, properly grounded and capable of delivering adequate current. The mixer has a universal-input, switching power supply, so you can plug the AC linecord into any AC outlet with a nominal voltage between 100 and 240 VAC, without having to worry about setting any switches or using a step-up or step-down voltage transformer.
RCA unbalanced wiring: Tip = hot, sleeve = shield When connecting a mono device (just one cord), youll need a Y-splitter RCA adapter. It turns a mono output cord into two cords; so both the left and right tape input jacks can be used. This adapter is widely available. Note: There is a chance of feedback if you have the ins and outs connected to the same recorder, and it is in record mode.
15. POWER SWITCH
Push the side of the switch labeled ON to turn the mixer on; you should see the POWER LED (30) glow in confirmation on the top right of the mixer. To turn the mixer off, push the switch the other way. As a general rule, turn the mixer on first, before any amplifiers or powered speakers, and at the end of a show, turn it off last. This will prevent any turn-on or turn-off thumps being heard in your speakers.
12. TAPE OUTPUT
Use these jacks to capture the entire performance to tape. The signal at these jacks is the main mix, but it is not affected by the position of the MAIN MIX (34) faders. If you find that the output to tape is quite low in level, but your main speaker sound levels are good, you might try turning down the
The channel strips are independent of each other, and allow you to adjust, tweak and otherwise beautify the sound coming from your different microphones, guitars and other instruments. The Faders and Pans let you adjust how much of each channel is sent to the main mix. The Auxes let you adjust how much of each channel goes to your stage monitors or out to external or internal effects. The channel strips come in two flavors: Mono and Stereo. In addition, the DFX12 has two line-level-only stereo channels.
18. LOW CUT
The LOW CUT circuit, often referred to as a high-pass filter, cuts the bass frequencies below 75 Hz at a 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.
2-BAND CHANNEL EQ
The DFX Mixers use shelving equalization. This boosts or cuts all frequencies past a specified frequency. For example, turning the LOW EQ (20) knob clockwise will boost the bass frequencies at 80 Hz and below. Although you can bring sound to life with proper EQ, you can also mess things up. If you max the EQs on every channel, youll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost. Adjusting the channel EQ will affect your main mix and the AUX 2/EFX (8) output, but not the AUX 1/MON (7) output.
If you havent already, please read SET THE LEVELS on page 5. The GAIN control adjusts the input sensitivity of the mic and line inputs on each channel. This allows signals from the outside world to be adjusted to optimal internal operating levels. Through the mono channel MIC (XLR) inputs, there is 50 dB of gain fully up. For stereo channel MIC inputs, this is +40 dB. Through the mono channel LINE IN (TRS) inputs, there is 20 dB of attenuation fully down and +30 dB of gain fully up, with a U (unity gain) mark halfway up. The stereo channel LINE INs have a maximum gain of +20 dB. Having 20 dB of line-level attenuation can be very handy when you are injecting a signal that is very hot, or when you want to add a lot of EQ boost, or both. Without this pad, it would be very difficult to control the line signal and might lead to channel clipping.
19. HI EQ
This control provides up to 15 dB of boost, or 15 dB of cut at 12 kHz and above. There is no boost or cut at the center detent position. Use this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or hide tape hiss.
+15 +10 +5
17. LEVEL SET LED
This LED (Light Emitting Dohickey) lets you know that the signals going into the mixer are adjusted to the correct level, not too strong to cause distortion and not too weak to be lost in noise. After you connect a microphone or linelevel component to the mixer, do a sound test and adjust the GAIN (16) control until this handy LED flickers just occasionally. If it is glowing constantly, turn the GAIN down. If the LED is doing almost nothing, turn it up.
20. LOW EQ
This control provides up to 15 dB of boost, or 15 dB of cut at 80 Hz and below. There is no boost or cut at the center detent position. Frequencies of 80 Hz and below represents the punch in bass drums, bass guitar, fat synth patches, and high-testosterone male singers. While adding boost, also engaging the LOW CUT (18) switch can create an audible low frequency boost without boosting stage rumble, mic-handling clunks, and breath pops.
AUX 1/MON allows you to create a separate mono mix which can be used to feed stage monitors. AUX 2/EFX allows you to create another mono mix to feed the EMAC internal effects, and any external effects processor you have. The channel AUX knobs adjust how much of each channel is added to each aux mix. The adjustment ranges from off, through unity, and on up to 6 dB of extra gain. The stereo channel AUX knobs control a mono sum of the channels stereo signals. For example, on the DFX12, channel 9 (L) and 10 (R) mix together to feed that the channel 9/10 AUX knobs. The master AUX SEND (38, 41) knobs adjust the overall aux output levels. These are more than mere effects and monitor sends: they can be used to generate separate mixes for recording or mix-minuses for broadcast.
the center position, the left and right channel signals pass through to the main mix unaffected. If PAN is turned left, the right channel is attenuated; if turned right, the left side is attenuated.
When you engage a channels MUTE switch, its signal disappears from the main mix, tape, AUX 1, AUX 2 and headphones. The only exception is the INSERT (4) outputs.
This fader is the master level control for the channels signal. Subtle adjustment of the channels fader positions is the key to a finelytuned mix. Typically (providing the GAIN (16) control is set correctly) the fader position will be positioned somewhere between 0 dB (U) and 30 dB. If you have a fader set all the way up, thats usually a sign that your GAIN is set too low. Conversely, if the fader is set way down, your GAIN may be set too high.
-15 +15 U
21. AUX 1/MON
AUX 1 is designed for feeding a separate monitor mix to the musicians on stage, via the AUX 1 SEND (7) output jack. The signal is tapped off before the channel EQ section, and before the channel fader. Only the channel GAIN, MUTE and LOW CUT will affect the output to your monitors.
U = UNITY GAIN
Mackie mixers have a U mark on almost every level control. This stands for unity gain, meaning there is no change in signal level. Once you have adjusted the input signal to line-level, you can set every control at U and your signals will travel through the mixer at optimal levels. Whats more, all the labels on our level controls are measured in dog biscuits (dB), so youll know what youre doing level-wise if you choose to change a controls settings.
22. AUX 2/EFX
AUX 2 is designed for feeding the EMAC internal effects processor and the inputs of parallel effects devices. It is post-fader, so any changes to the channel controls will affect the AUX 2 signal. In addition to feeding the inputs of the EMAC, it also feeds the AUX 2 SEND (8) output.
26. OL (OVERLOAD) LED
This handy feature gives you the chance to take care of any signal overload before it is made worse by turning up the fader. This LED only lights when the channels signals are set too high and are about to distort (clip). The OL circuit monitors the signal just before it reaches the channel fader, so any overload must be taken care of by adjusting the channels GAIN, EQ, or the LOW CUT, and not the channel fader. If the LED comes on, make sure you reset the GAIN control correctly, and check that your channel EQ settings are not too high.
This adjusts how much of the channel signal is playing in the left side of the main mix, and how much is playing in the right. For mono channels, if the PAN control is in the center position, the mono signal appears equally in both the left and right of the main mix. If the control is set left, more of the signal appears in the left side of the main mix. If the control is set right, more of the signal appears in the right side of the mix. For stereo channels, the PAN control works like the balance control on your home stereo, by attenuating one side or the other. If it is in
This control allows you to adjust the headphone levels without disturbing the main mix. Turn this down before connecting and putting on your headphones. Bring it up slowly. Please see the Safety Instructions on page 2 for information on hearing protection.
30. POWER LED
This LED turns on when the mixer is switched on, and (as you can probably guess) it turns off when the mixer is switched off.
34. MAIN MIX FADERS
These two faders control the final level of the signals sent to the MAIN (5) outputs. The TAPE (12) and PHONE (6) outputs also receive the main mix, but are not affected by these faders. All active mono and stereo channels that are not turned fully down will appear in the main mix. Other signals feeding these faders include: AUX 1 RETURN(9), AUX 2 RETURN (10) including the EMAC internal effects, and the CD/TAPE (11) inputs. The faders, set fully up, provide 10 dB of gain. A U unity gain point is just below that. When set fully down, the main mix is effectively muted. These are the faders to pull down at the end of the song when you want The Great Fade-Out.
31. PHANTOM POWER SWITCH and LED
Press this switch to turn on the pretty LED. It also supplies phantom power to all of the mono channels XLR MIC inputs. Phantom power is required to operate most condenser microphones (some condenser microphones are battery-powered). With the switch pressed in, the DFX Mixers provide +48 VDC phantom powering on pins 2 and 3 of the XLR connectors. Note: The stereo channels do not have phantom power on their XLR connectors. If you have dynamic, ribbon, or tube mics that do not require phantom power, leave the switch out. If you are using both condenser and dynamic mics, dont worry. Phantom power will not hurt most dynamic mics. Check the microphones user manual if youre not sure. Caution: Turn all output levels down before operating this switch to avoid the possibility of a pop in your speakers.
35. CD/TAPE RETURN FADER and MUTE
If you have a CD or Tape player connected to the CD/TAPE (11) inputs, the signals pass through the MUTE switch, through this stereo fader, and then into your main mix. This is like a channel fader, except it is adding the CD/TAPE input to the main mix, instead of adding a channel. Set this fader to minimum, then play your selection and increase the fader as desired. Assuming the MAIN MIX (34) faders are set, you should hear the music. Press down the VOCAL ELIMINATOR (37) if you like to remove centered vocals, and BREAK (36) if you want to play soothing CDs or tapes while the band is breaking up the bar.
The DFX Mixers metering system is made up of two columns of twelve LEDs each, with thresholds ranging from 30 dB up to CLIP. The 0 dB LEDs correspond to an output level of +4 dBu (=1.23 V). The CLIP LEDs turn on when the output reaches +20 dBu. There is a fair margin of safety before actual clipping distortion occurs, but you should turn things down if you see it come on.
EMAC EFFECTS PROCESSOR
EMAC stands for Extended Multiply and Accumulate, which is a proprietary 32-bit digital stereo processor developed by our Digital Engineering Group. It provides you with a choice of 16 preset digital effects algorithms for your enjoyment. The mono signal going into the EMAC comes from the AUX 2/EFX (22) controls of each channel, summed together and passed through the AUX 2/EFX SEND (38) control. Note that the AUX 2/EFX signals are postchannel EQ and post-channel fader, so any channel adjustments will alter the effects. The EMAC takes the mono input, processes it and creates a stereo output. A footswitch allows the EMAC to be bypassed and a SET LEVEL LED (39) allows the input signal strength to be optimized for best performance. The processed stereo signals coming out of the EMAC are added to any signals coming in from an external processor connected to the AUX 2 RETURN (10) jacks. The combined signals then pass through the MUTE (40) and AUX 2/EFX RETURN (40) fader and then on to the main mix.
41. AUX 1/MON SEND
This allows you to control the level of the signal going out to your monitors. Any signals from each channels AUX 1/MON (21) control (and the EFFECTS TO MONITOR (42) control), are summed together, then sent through this master control. Turned fully up, it provides 6 dB of gain, U is unity gain, and fully down is off. When the talent wants a louder monitor mix, this is the control to crank up watch out for feedback!
EMAC QUICK START
Assuming you have your basic mix up and running, turn up the AUX 2 /EFX (22) controls on each channel. This feeds individual amounts of channel signals to the EMAC. Set the master AUX 2 /EFX SEND (38) control so the EMACs LEVEL SET LED (39) blinks occasionally. Turn up the AUX 2/EFX (40) fader and you should be hearing the effects. Next, goof around with the various Preset Selects (45) to listen to their effect. When you find an effect you like, jot it down, then goof around some more. To bypass these effects, engage an optional foot switch connected to EFX FOOT SWITCH (13). To send these effects to the stage monitors, turn up the EFFECTS TO MONITOR (42) knob.
42. EFFECTS TO MONITOR
Typically, this control is used to add effects to the stage monitors. Any effects sent to the monitors are the same as in the main mix, except for the level, and they are summed mono. The effects level sent to the monitor mix is not affected by the AUX 2/EFX RETURN (40) fader, so the monitors and main mix effect levels can be set independently. Turned fully up, this control provides 6 dB of gain, and U is unity gain. Turn it fully down for no effects sent to your monitors. This control is similar to each channels AUX 1/MON (21) control, except it adds the effects (summed mono) to the monitor mix, rather than adding a channel signal.
43. AUX 1 RETURN FADER and MUTE
Any signals going into the AUX 1 RETURN (9) jacks from an external processor pass through the MUTE switch and then to this stereo fader. This is like a channel fader, except it is adding the signal from an external device to the main mix, rather than adding a channel signal. Turned fully up, it provides 10 dB of gain, U is unity gain, and fully down is off.
44. BYPASS LED
This LED will come on when the EMAC circuit is bypassed by use of an external footswitch. The bypass affects only the internal EMAC effects, not any external effects processor you may have connected to the AUX 2 RETURN (10) jacks.
45. PRESET SELECT
Rotate this detented switch to select any of the following preset effects:
The reverbs are designed to provide a wide variety of reverb sounds for vocal and instrument 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 between the initial sound event and the first reflection. REVERSE: Standard reverse reverb, simulating a tail-first effect increasing to the original note. GATED: Standard gated reverb, where the reverb tail is cut off sharply after the preset decay length. CATHEDRAL: Dense, smooth reverb with very long tail, long pre-delay, and late reflections. Tails are very warm with some additional highend reflections imitating the stone walls of a cathedral. A very dramatic effect that works well with wind instruments such as flute, slow finger picking on acoustic guitar, and quiet vocal group harmony and choirs. Also works well with keyboards. 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 acoustic guitar.
MD. HALL: Dense, smooth reverb with normal 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. 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. MD. PLATE: Good early reflections and no pre-delay. Tails are short and warm with strong high end for increased presence. Perfect for tight vocals and snare. SM. ROOM: Reverb featuring very fast and scattered early reflections with a short pre-delay. Tails are very short and warm with normal high-end imitating absorbent wall materials and audience. Good for tight vocal effects. SPRING: Mimics the vintage 60s-style wet spring reverb effect. Tails are normal with strong high end and a slight waver imitating the slow flutter of the mechanical spring system. Very good with acoustic guitar.
There are four delays available with one, two, three, and four repeats: DELAY 1: One repeat. Works best for slapback delay used in country and swing guitar, and for rockabilly and some country vocals. 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 3: Three repeats. An excellent delay for slow, bluesy vocals and melodic flute music. This delay usually works best when the channel EFX send is set at less than halfway. DELAY 4: Four repeats. This is for very dramatic delay effects, particularly for enhancing long vocal notes and dramatic instrumental note-chopping effects. Be sure to set the channel EFX send at about halfway.
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. CHORUS: Provides a soft, ethereal sweeping effect. Perfect for enhancement of electric and acoustic guitar and bass. It also adds a dramatic effect to vocals, particularly group harmonies and choirs. The channels AUX 2/EFX should be set halfway or higher. FLANGE: Creates a strong sweeping effect, particularly effective on rock electric guitar, lead and rhythm. The channels AUX 2/EFX should be set halfway or higher. PHASER: This effect is perfect for enhancing strummed acoustic guitar or electric guitar power chords. The PHASER effectively duplicates the popular 70s phase shift effect used for guitar.
The following effect ideas did not quite make the grade: ELEVATOR: Each musical selection is carefully stripped of its lyrics, passed through a true mono, house band simulator and emerges as a piece even its own songwriter would not recognize or sue you for. The intermingled bing at each floor, will have you facing the walls, looking up at the ceiling, and avoiding all eye contact in your own living room. DAD: When musical passages increase in volume, they reach a certain trigger point (dad-threshold) at which point, irate male vocals containing the words: turn it down! can be faintly heard coming from downstairs, even if you dont have a downstairs, followed by the sound of a broom handle banging on the virtual ceiling. Additional settings include the terms: if I have to come up there! and you long haired hippy! complete this sound effect suite. PUNK: This will turn all of your favorite lyrics into something shouted loudly and out of key, about teenage rebellion from not being all that good at school, not having an easy job that pays good money, or not ever having a girlfriend who was very nice to you.
DFX6 WEIGHT 8 lbs. (3.6 kg)
OL LEFT PHONE KNOB SHELVING EQ LO HI MONO FADER PAN LEFT RIGHT RIGHT AUX 2/EFX AUX 1 RETURN FADER MUTE
PHANTOM 80 12K
AUX 1 RETURN
75Hz HPF LOW CUT
SHELVING EQ LO HI BYPASS PAN LEFT STEREO FADER 80 HI L0 SHELVING EQ AUX 2/EFX AUX 1/MONITOR (BREAK SUM) MAIN/AUX1 12K RIGHT R MIX BYPASS 1K 3.5K12K BYPASS BYPASS 80 12K OL BREAK 1K 3.5K12K
LEVEL SET MAIN/AUX1 MAIN/AUX1
LEFT MAIN MIX FADER
LEFT MAIN OUT
RIGHT MAIN MIX FADER
RIGHT MAIN OUT
9/10, 11/12(DFX12 ONLY)
NOTES: PRESS THE BYPASS SWITCH TO ROUTE THE MAIN MIX OR MONITOR SIGNALS AROUND THE EQ
LINE IN 12K PAN LEFT STEREO FADER 12K AUX 2/EFX AUX 1/MONITOR RIGHT AUX 1 SUM AUX 2/EFX SUM
SHELVING EQ LO HI
AUX 1/MON SEND CONTROL
PRESS THE MAIN/AUX 1 SWITCH TO ROUTE THE MAIN MIX AROUND THE EQ, AND ROUTE THE MONITOR MIX THROUGH THE RIGHT EQ. THE LEFT EQ IS UNUSED. AUX 2/EFX SEND CONTROL BYPASS +5V
AUX 2 /EFX SEND
HI L0 SHELVING EQ
AUX 2/EFX RETURN MUTE FADER LEFT OUT
CD/TAPE IN VOCAL ELIMINATOR
VE IN/OUT LEFT LPF HPF
CD/TAPE RETURN FADER MUTE
EFX TO MONITOR
RIGHT MUTE LEFT
AUX 1 / MONITOR
DFX12 / DFX6 BLOCK DIAGRAM SSE 191201
AUX 2 / EFX
AUX 2/EFX RETURN
Some of the people at our factory who helped design, build, sell, and support your product.
Mackie Designs Inc.
16220 Wood-Red Rd. NE Woodinville, WA 98072 USA US & Canada: 800/898-3211 Europe, Asia, Central & South America: 425/487-4333 Middle East & Africa: 31-20-654-4000 Fax: 425/487-4337 www.mackie.com E-mail: firstname.lastname@example.org
MACKIE HOOK-UP GUIDE
OUR [IN]FAMOUS PRODUCT HOOKUPS IN BYTE-SIZED MORSELS
Copyright 2002 Mackie Designs Inc. All Rights Reserved.
PRINTING NOTE: These pages were built 21cm wide (8.26in) by 27.94cm (11in) tall to accommodate the printers of both our North American users and our users around the globe. This PDF will print at 100% on both Letter sized and A4 sized paper (with room in the left margin for hole punching).
Hello and welcome to one of many downloadable web editions of Mackies Product Hook-Up Guide. Since 1992, weve been including these helpful connection maps in our In Your Face product guides, and weve been urged to continue doing so because theyre so gosh-darned helpful. Now, weve split our hook-ups into product famlies, and made them available to you over this new-fangled Internet thingy that everyone is talking about these days. There will be documents that cover hooking up our compact VLZ PRO Series, Analog 8Bus Series consoles, CFX Series effects mixers, DFX Series compact effects mixers, the D8B digital console, the HDR24/96 hard disk recorder, PPM Series powered mixers, the FR Series ampliers, SR Series front-of-house mixers, and our Active loudspeakers. Inside youll nd lots of useful information most likely your questions will be answered here. We realize that theres no possible way to cover every single question or application in so few pages because new ways to use Mackie products are invented every day. You may come up with some ideas on how to do what you want by looking at the various diagrams weve included here. Keep in mind that a good half of the battle in hooking up our products is having the proper connections. Check the cables n plugs that you already have with the diagrams on the next page. We know it may look boring, but one of these drawings could save your life. Well, maybe not your life, but probably a lot of weeping and sorrow. And dont forget to check out the tech tips/FAQs document also available for download on the web at www.mackie.com/techsupport
If you dont nd the answers youre after, then why not give our mighty Tech Support gang a call? These folks have tons of experience in the real world, and theyve got lots of equipment and mixers at their beck and call. Theyre aching to share their knowledge with you. (And calling them would be a very humanitarian thing to do theyre located in the dank sub-basement of our building and they rarely get visitors. Your call just may be the one that keeps their spirits alive.) Call Mackie Tech Support toll-free (in the U.S.) at 800-258-6883 (Monday through Friday, 7 AM to 5 PM Pacic Time) with any Mackie productquestion you can conjure. Put them through the wringer! We encourage it. Incidentally, the Mackie Product Hook-Up Guide (Web Editions) were put together from within the connes of the Mackie Digital Mosh Pit located on the second oor near the Area Of Refuge by the well-meaning, super-preening Mackie Macintosh Department. We used Adobe InDesign, Illustrator, Photoshop, and Acrobat on a number of suped-up big daddy Macs. Oh yeah: Copyright 2002 Mackie Designs Inc. All Rights Reserved. The following are trademarks or registered trademarks of Mackie Designs Inc.: MACKIE., the Running Man gure, VLZ, XDR, D8B, HUI, CFX Series, FR Series, and HR Series.
A VISUAL GUIDE
TS Plug (mono)
COMMON PRO AUDIO PLUGS AND CONNECTORS
KNOW YOUR PLUGS
Standard mono/unbalanced phone plug used for most mixer connections.
TRS Plug (stereo)
Standard XLR microphone connector to be used with mic-level.
Standard stereo/balanced phone plug used for balanced connections on Mackie mixers. Tape deck connections on most Mackie mixers.
Insert Y Cable
The Y Cable is used for connecting serial effects devices, such as graphic equalizers or compressors, to a Mackie mixers Channel or Bus insert jacks. On one end is a standard Tip-Ring-Sleeve stereo plug. Its tip and ring are wired to separate mono Tip-Sleeve plugs. Note that the RING of the TRS plug (A) is actually wired to the TIP of one of the mono TS plugs (B). If you insert a TS (mono) 1/4" plug only partially (to the first click) into an insert jack, the plug will not activate the jack switch and will not break the insert connection in the circuit (thereby allowing the channel signal to continue on its merry way through
the mixer). See (C) in Insert Points below. Partial insertion allows you to tap out of the channel or bus circuit at that point in the circuit without interrupting normal operation. If you push the 1/4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel or bus circuit. See (D) in Insert Points above. Note: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal of the mixer.
TS Plug (mono) Direct out with no signal interruption to master. Insert only to first click. TS Plug (mono)
You may notice these effects unit hookups (Figure A) throughout this applications guide. These hookups utilize the Insert "Y" Cable (explained on the facing page).
Direct out with signal interruption to master. Insert all the way in to the second click. TRS Plug (stereo) For use as an effects loop.
(TIP = SEND to effects RING = RETURN from effects)
Figure B is a closeup of Figure A. The two colors represent the input and output traveling the length of the "Y" cable. The dotted line represents the two signals travelling alongside one another.
SET IT UP, AND GO!
DFX PRO VLZSERIES
CHANNEL INSERTS CHANNEL INPUTS R R
DFX 12 KAROKE
Laser Disc Player
STEREO AUX RETURNS 2 1
CD Player routed through Vocal Eliminator
Mono in/Stereo out Reverb Active Monitor (SRM450)
SA1530 Active Monitors
L L CD/TAPE IN TAPE OUT
CHANNEL INSERTS CHANNEL INPUTS R R R R
(MONO) (MONO) (MONO) (MONO)
DFX 12 REHEARSAL ROOM
Guitar Bass Mono Effects
Drum Machine Cassette Player
Active Monitors (SRM450s)
L L L CD/TAPE IN TAPE OUT
DFX 12 SMALL CHURCH
STEREO AUX RETURNS 1 2
SA1521 Active Monitors
R R R R
DFX 6 DJ SET UP
The Mackie CFX12 mkII Mixer is designed to make mixing live performances simpler. The mkII upgrades include sleek gray cosmetics, ergonomic knobs, and impact-resistant rubber sides. This live sound mixer features Mackie-designed mic preamps, logarithmic-taper 60mm faders, 9-band phase-accurate graphic equalizer, 32-bit EMAC digital effects processor with 16 effects, 4-bus design, 2 pre/post aux sends, internal/external effects sends, and a host of great features for live sound, including 48V phantom power and 12V BNC lamp socket.
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