According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous 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 re 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 ofce, waste authority, or your household waste disposal service.

INTRODUCTION

Thank you for choosing a Mackie CFX MKII mixer! These compact live-sound mixers are designed to meet the sound reinforcement needs of almost any small to medium-sized club, meeting room, sanctuary, or outdoor gathering. Heres a quick glance at all the features youve acquired: 8, 12, or 16 mono channels, with: 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 lter 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: Variable input gain (20 to +20 dB) 2 pre/post-fader aux sends 2 post-fader effects sends 4-band EQ Pan, mute, and 1-2/3-4 busing PFL solo 60mm stereo fader Comprehensive master section, with: Four 60mm submix mono faders 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 Mackies (in)famous Rude Solo Light 9-band stereo graphic EQ (main mix) EMAC 32-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 intermissions RCA tape out RCA tape in with stereo level control Headphone output with level control Utility out with level control 12V BNC lamp socket

QUICK START

We know you cant wait to get the show on the road. Who has time to read a booooring manual? Thats ne the CFX MKII mixer is designed to set up quickly and operate intuitively but please, READ THIS PAGE!

U IC GAIN

LEVEL 5 +50 -15dB +30dB

CLIP U

ZERO THE CONSOLE:
1. Turn everything off, including the mixers POWER switch and PHANTOM POWER switch. 2. Channel strip 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 centered. 6. Channel strip ASSIGN 1-2 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.
-15 +15 U MID -15 +U LOW 80Hz -15 +15 1.5k FREQ 8k
AUX 1 AUX 2 EFFECTS TO MONITOR

+20 O O TAPE LEVEL

10 +10 O O UTILITY OUT LEVEL

ASSIGN 1-2 3-4

ASSIGN LEFT RIGHT

dB U 60

MAKE THE CONNECTIONS:
1. Connect your amps 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 mixers MAIN OUTS to your powered speakers or amps 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 ampliers switch for last. 6. Turn up the MAIN MIX Fader to the 30 label, for now. Well crank it up later on. 7. Turn up SUB Faders 1 and 2 to unity gain (U label).

SET THE LEVELS:

1. Choose one of the microphones or instruments you connected. Make some noise. If its a microphone, sing at your normal singing volume. If its a synthesizer, play it at its normal output level. 2. While making noise, turn up that channels GAIN until the adjacent ZERO LEVEL starts blinking. 3. Disengage (up) that channels MUTE. 4. Raise that channels fader to unity gain (U label). You should be hearing your noise now. 5. If necessary, apply channel EQ changes. (You may need to compensate for level changes with the channel fader.) 6. Repeat steps 1 through 5 for the remaining active channels. 7. Stop making noise. Everyone: start making music.

CFX12 MKII Small Club Gig
Stage Monitor Stage Monitor

Subwoofer

CFX16 MKII Large Club Gig or Auditorium using a Subwoofer

Mono Power Amplifier

Drum Machine

Left PA Speaker

Right PA Speaker

Direct Box

Stereo EQ

in out

Guitar Effects Mono Power Amplifiers CD Player

UTIL OUT

Digital Multitrack Recorder
Optional Live Recording Digital Delay
Mono in / stereo out Reverb

Mono EQ

Mono Power Amplifiers
Wireless Microphone Receivers Direct Box

20 L R

CHANNEL INPUTS CHANNEL INSERTS

SUB OUT

Cassette or DAT Recorder
Digital Delay Stereo EQ Stereo EQ
CFX20 MKII Church Sound Reinforcement with Separate Utility Mix
Assistive Listening Transmitter Cry Room Nursery Left Right

Chapel

Stage Monitor

PATCHBAY FEATURES

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments, effects, headphones and the ultimate destination for your sound: PA system, tape recorder, etc. These unbalanced jacks are congured thusly:

tip ring sleeve

SEND to processor (TRS plug) tip
This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor

SHIELD COLD HOT

XLR BALANCED WIRING
The CFX MKII mixer is equipped with rugged, low noise, phantom-powered microphone preampliers, providing up to 50 dB of crystal-clear amplication. 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.
RING (COLD) TIP (HOT) SLEEVE (SHIELD)

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 youll come across, from 25 dBu up to +38 dBu.
Tip = Send (to effects device input) Ring = Return (from effects device output) Sleeve = Common ground (connect shield to all three sleeves) Specialty Y cables, developed just for these jacks, are widely available. Besides being used for inserting external devices, 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:

Patch the outputs of your intermission entertainment here. Any line-level mono or stereo device can be used: tape, CD player, television audio, etc. See BREAK SWITCH for more information. 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 patched. This adapter is widely available.

EFX FOOT SWITCH

You can connect a normally-open foot switch to this connector to duplicate the function of switch, located in the EMAC the BYPASS. Closing the switch EFFECTS PROCESSOR connection causes the EFX BYPASS indicator to light and mutes the effects. Note: When a foot switch is plugged into the FOOT SWITCH jack, the BYPASS switch is disabled. Just like the BYPASS switch, this affects only the internal EMAC EFFECTS PROCESSOR and not any device plugged into STEREO. EFX RETURN 2

SLEEVE TIP SLEEVE TIP

RING (RIGHT) TIP (LEFT) SLEEVE (SHIELD)

TRS HEADPHONE WIRING

Use these jacks to capture the entire performance to tape. The signal at these jacks is the main mix, after the MAIN INSERT but before the MAIN MIX Fader. The main mix signal will be present at these jacks regardless of the position of the MAIN MIX Fader.
TIP (HOT) SLEEVE (GROUND)
The stereo signal at these jacks is the same as at the MAIN OUT , but with two important 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 a channels SOLO PFL is engaged, the main mix signal at this output will be replaced 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. Walkperson-type phones can also be used with an appropriate adapter. Note: Please see the Safety Instructions on page 2 for information on hearing protection.
This BNC-type connector will accept almost TS FOOTSWITCH WIRING 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 delivering adequate current. If you happen to lose the AC linecord, replacements are available at any ofce/computer supply store.
POWER SWITCH POWER STATUS

TO AUX 1 MASTER SEND LEVEL TO AUX 2 MASTER SEND LEVEL TO EFX 1 MASTER SEND LEVEL TO EFX 2 MASTER SEND LEVEL
The CFX MKII mixer has low shelving, mid peaking, and high shelving EQ. Shelving means that the circuitry boosts or cuts all frequencies past the specied frequency. For

FADER PAN 1-2 INPUT GAIN

LO CUT INSERT

MUTE 3-4

"POST" SIGNAL "PRE" SIGNAL

PRE-POST

AUX 1 AUX 2 EFX 1
Pre vs. Post Auxiliary Signal Flow Diagram

Stereo Channel

PAN adjusts the amount of channel signal sent, left versus right, to the SUB OUTs via the (and ultimately the MAIN OUTs SUB ASSIGN switches). On mono channels, 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 3 (assuming the channels ASSIGN switches are engaged). With the PAN knob hard right, the signal will feed SUB 2 and SUB 4 (assuming the chanswitches are engaged). nels ASSIGN With the PAN knob set somewhere in between, the signal will be shared across both sides of the mix.
nal. Subtle adjustment of the channels fader positions is the key to a nely-tuned mix. knob is Typically (providing the GAIN 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, adding 10 dB of gain, thats 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 UNITY 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 signals will travel through the mixer at optimal levels. Whats more, all the labels on our level controls are measured in decibels (dB), so youll know what youre doing level-wise if you choose to change a controls settings.
When you engage a channels mute switch, its signal disappears from these outputs: MAIN , MAIN INSERT , SUB OUT 1-4 OUT , AUX SEND 1 & 2 , EFX SEND 1 & 2 (including the send to the EMAC EFFECTS ). The only thing it doesnt PROCESSOR switch, mute is the channels SOLO PFL so you can audition channels, via headphones, without sending them to the main mix.

Engaging a channels SOLO switch causes this dramatic turn of events: The PHONES , which ordinarily receive the and Meters 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 ashes obnoxiously to remind you that youre in solo. The SOLO PFL signal is tapped before the and Fader controls. It channels MUTE , LOW CUT , does, however, follow GAIN settings, making it the perfect tool and EQ for quick inspections of individual or multiple , MUTE channels. The channels PAN settings have no effect on the and Fader SOLO signal. See RUDE SOLO for more information. WARNING: Pre-fader SOLO taps the channel sig. If nal before the fader you have a channels fader set well below U (unity gain), SOLO wont know that and will send a output. unity gain signal to the PHONES That may result in a startling level boost in your headphones.
Used in conjunction with the PAN knob, ASSIGN determines the nal destination of a channels signal. Engaging ASSIGN 1-2, for instance, sends that channels signal to the SUB and, via their SUB ASSIGN 1 and 2 Faders switches, the MAIN MIX Fader. Typically, ASSIGN 1-2 will be engaged on all channels destined for the main mix. By conguring 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 conguring 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.
Although the most self-explanatory item on a mixer, well explain it anyway: The fader is the master level control for the channels sig14

MASTER SECTION FEATURES

We hope youve understood, if not memorized, the CHANNEL STRIP FEATURES you just read. If youre still confused, please look them over again before you tackle this section. Dont worry, its easy to swallow as long as you take it a bite at a time. 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, Mackies 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.)

UTILITY OUT LEVEL

After the MAIN MIX Fader , the mix is sent through this knob, allowing you to set the as desired withlevels at the UTILITY OUT out disturbing the main mix level.

SUB FADERS

The typical exit for channel signals is through one or more sub mixes. The sub mix signal is rst controlled by this fader, which provides 10 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 differsends the sub mix ent locations: SUB OUT directly out of the mixer via its TRS jacks; and SUB ASSIGN sends it to the MAIN MIX. Fader
+10 O O UTILITY OUT LEVEL

TAPE LEVEL

You can adjust the incoming level of your intermission entertainment, independent of the main mix level controls, via this feature. Heres how: Patch the stereo device into the TAPE. Put the device in play. Engage the INPUT BREAK SWITCH and set the TAPE LEVEL knob as desired. Assuming the MAIN MIX is set, you should hear the device. 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 1 and 2, from the channels to SUB Faders with SUB 1 carrying the left signal and SUB 2 carrying the right. Engage SUB 1 ASSIGN LEFT and SUB 2 ASSIGN RIGHT, and youre done. Take a look at the block diagram on page 22 itll explain this and more, but in hieroglyphics.
No, when we say BREAK SWITCH, were not asking you to break the switch, were offering you a very handy feature. When its 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

AUX MASTER SEND

Aux send signals are derived by each knob, mixed together, then channels AUX sent through this AUX 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. 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 knob, mixed tochannels EFX 1 (EXT) 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, youll typically set this knob near the U mark and then leave it alone.

O O O O O O O O

EMAC effects, with their levels already determined by the channels EFX 2 (EXT) knob, youll typically set this knob near the U mark and then leave it alone.
delay. CATHEDRAL: Dense, smooth reverb with very long tail, long pre-delay, and late reections. Tails are very warm with some additional high-end reections imitating the stone walls of a
LG. PLATE MD. PLATE SM. ROOM

FLANGE PHASER SPRING

Delays There are four delays available with one, two, three, and four repeats. TIME/RATE controls the time between repeats, with the fastest repeats at the 0 position and the
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 switch. DELAY 1: One repeat. Works best for slapback delay used in country and swing guitar, and for rockabilly and some country vocals. Delay 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 ute. Especially effective for some nger-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 ute music. This delay usually works best when the channel 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 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. 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 fastcontrols the effect est. DAMPING/DEPTH depth, which is the strength of the sweeping effect. Fully counter-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 channels EFX 2 (INT) should be set halfway or higher. Rate is adjustable 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 channels EFX 2 (INT)

should be set halfway or higher. Rate is adjustable from 0.5 Hz to 20 Hz. Depth is adjustable from 0% to 100%. 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. 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 control adjusts how long the reverberation lasts, with 0 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, ange, or phaser effect selected, this control adjusts the rate or speed of the modulation of the effect.

DAMPING/DEPTH

If you have a reverb or delay effect selected, this control adjusts how fast the higher frequencies 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, ange, or phaser effect selected, this control adjusts the depth of the modulation of the effect.
Depending on the effect selected, this switch adds more width or depth to the effect. Note that it doesnt work with the DELAY and PHASER effects because they are monophonic.
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 processor you may have connected to the STEREO jack. EFX RETURN 2
This indicates when the EMAC is 6 dB below clipping. Just like the channels ZERO LEVEL LED, this LED should only light occasionally. If it blinks frequently, you should turn down EFX 2 SEND a little.
GENERAL PRECAUTIONS AND CONSIDERATIONS
NEVER bypass the AC plugs ground pin. This is dangerous! When setting up for a show, oftentimes you are plugging into an AC power distribution system you know nothing about. You may even be faced with 2-wire outlets that are missing the third safety ground pin. Its 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. Dont use an outlet if it is wired improperly! This is to protect yourself as well as your equipment. If you nd that you must plug into a twowire 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 handydandy AC outlet tester.

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 transformer. 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 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 a common (star) grounding point, and the distance between the outlets and the common grounding point should be as short as possible.

APPENDIX A: Service Info

If you think your Mackie product has a problem, please check out the following troubleshooting tips and do your best to conrm the problem. Visit the Support section of our website (www.mackie.com/support) where you will nd lots of useful information such as FAQs and other documentation. You may nd the answer to the problem without having to send your Mackie product away. Are the MAIN MIX Fader and SUB Fadturned up? ers , try un If its one of the MAIN OUTs plugging all the others. For example, if its a TRS MAIN OUT, unplug the associated XLR outputs. If the problem goes away, its not the mixer. If its 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, its not the mixer.

Troubleshooting

Bad Channel
Is the ASSIGN switch set correctly? turned up? Is the channel Fader On mono channels, try unplugging any INSERT devices. Try the same source signal in another channel, set up exactly like the suspect channel.
Turn the channel Faders , EFX 1 REand EFX 2 SEND down, one TURN by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, its from your whatever.

Bad Output

Are the SUB ASSIGN rectly?

switches set cor-

Our favorite question: 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 center. 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 distributors. If you do not have access to our website, you can call our Tech Support department at 1800-898-3211, Monday-Friday, normal business hours, Pacic 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

Frequency Response

Mic Input to any Output (Gain at 0 dB): +0, 1 dB, 32 Hz to 20 kHz

Input Gain Control Range

Mono Channels Mic In: Line In: Stereo Channels Line In: +5 dB to +50 dB 15 to +30 dB 20 to +20 dB

Distortion

THD and SMPTE IMD; 20 Hz to 20 kHz Mic Input to Main Output: < 0.05% @ +4 dBu output

Phantom Power

+48V DC
20 Hz to 20 kHz BW (150 source impedance) Equivalent Input Noise (EIN): 127 dBu Residual Output Noise: Main, Monitor, and Effects outputs Channel & Master levels off 95 dBu

Equalization

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 dB @ 3 kHz Low Mid 15 dB @ 400 Hz Low 15 dB @ 80 Hz Graphic EQ (9 bands): Q = 1.414, ISO octave centers 15 dB @ 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz
Common Mode Rejection Ratio (CMRR)
60 dB @ 1 kHz, Gain @ 0 dB

Crosstalk

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

Mixer Rated Output

Main, Sub, Aux, & Efx: Maximum Rated Output: +4 dBu +20 dBu

Maximum Input Levels

Mic Input: 28 dBu, Gain @ +50 dB +18 dBu, Gain @ +6 dB Line Input: 8 dBu, Gain @ +30 dB +38 dBu, Gain @ 15 dB Insert Input, Stereo Line Input, Tape Input, and Effects Return: +20 dBu

16.0 in/406 mm

Maximum Voltage Gain
Mic Input to Insert Output: Tape Output: Sub Output: Main Output: Aux Send: Line Input to Insert Output: Tape Output: Sub Output: Main Output: Aux Send: Stereo Line Input to Tape Output: Sub Output: Main Output: Aux Send: Tape Input to Main Output: Effects Return to Main Output:

5.0 in/127 mm

Output Impedance
50 dB 66 dB 66 dB 76 dB 71 dB 30 dB 46 dB 46 dB 56 dB 51 dB 40 dB 40 dB 50 dB 45 dB 30 dB 30 dB Main Output, Insert Output, Tape Output, Sub Output, and Effects Sends: 150

16.2 in/412 mm

SOLO CONTROL

SUB 3 SUB 4

SUB 1 OUT

+48 VDC

TO HAN

LEFT ASSIGN

INSERT GAIN 2 MUTE 1-FADER 3-Hz HPF 12K LOW CUT LO MID FREQ HI PAN LEVEL SET SUB 2 OUT
MAIN INSERT TAPE OUT LEFT BREAK LEFT ASSIGN

250500 1K 2K 4K 8K 16K

MAIN OUT LEFT
MAIN LEVEL PRE-P0ST AUX 1 MIC/LINE IN MONO CHANNELS AUX 2 EFX 1 EFX 2 SUB 3 OUT RIGHT ASSIGN TAPE IN LEFT
TAPE LEVEL LEFT ASSIGN TAPE IN RIGHT RIGHT ASSIGN SUB 4 OUT

75 Hz LPF

SUBWOOFER OUT 2 1

MAIN LEVEL

LO 3K LEFT PAN MAIN 1-2 12K
MID MID HI BREAK LEFT ASSIGN 3-4 TAPE OUT RIGHT

MAIN OUT RIGHT

LINE IN STEREO CHANNELS LO 3K RIGHT 12K MID MID HI
RIGHT ASSIGN STEREO EFX RETURN 1 LEFT AUX 1 PRE/POST PFL SIGNAL TO PHONES AUX 2 EFX RETURN 1 EFX 1 STEREO EFX RETURN 1 RIGHT EFX 2 +5 VDC RUDE SOLO LIGHT

UTILITY OUT LEFT

UTILITY LEVEL STEREO EFX RETURN 2 LEFT FROM EFX TO MAIN MIX SOLO OFF
EFX SEND 2 EFX LEVEL SET EFX BYPASS

UTILITY OUT RIGHT

SOLO CONTROL (ACTIVE LOW) EFX TO MAIN MIX +5 VDC L EFX SEND 2 EFX SELECT STEREO EFX RETURN 2 RIGHT TO LEFT MAIN

SOLO ON PFL

PHONES LEVEL EFX TO AUX 1 AUX SEND 1 BOTHELL MONROE

Block Diagram

EMAC DSP

EFX WIDE

EFX TO AUX 2 TO RIGHT MAIN R

AUX SEND 1 AUX SEND 2

WOODINVILLE EXIT

PFL SIGNAL TO LEFT METER

AUX SEND 2 EFX SEND 1 EFX FOOT SWITCH EFX BYPASS

SOLO OFF

MACKIE CFX MKII SERIES BLOCK DIAGRAM (#122104CJM/DF)

EFX SEND 1

SOLO CONTROL (ACTIVE LOW)

SOLO ON

RIGHT ASSIGN

RIGHT MAIN

LEFT MAIN
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

Pour prvenir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert.
15. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated. 16. Power Precaution Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position. 17. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

SAFETY INSTRUCTIONS

1. Read Instructions All the safety and operation instructions should be read before this Mackie product is operated. 2. Retain Instructions The safety and operating instructions should be kept for future reference. 3. Heed Warnings All warnings on this Mackie product and in these operating instructions should be followed. 4. Follow Instructions All operating and other instructions should be followed. 5. Water and Moisture This Mackie product should not be used near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc. 6. Cleaning Clean only with a dry cloth. 7. Ventilation This Mackie product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings. 8. Heat This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. 9. Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product. 10. Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product. 11. Object and Liquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.
ATTENTION Le prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada.

18. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to 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. Governments Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous 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 a permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day In Hours 2 1.0.5 0.25 or less Sound Level dBA, Slow Response 115 Typical Example Duo in small club Subway Train Very loud classical music Patrice screaming at Ron about deadlines Loudest parts at a rock concert
WARNING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

INTRODUCTION

Thank you for choosing a Mackie Designs CFX Mixer! These compact live-sound mixers are designed to meet the sound reinforcement needs of almost any small to medium-sized club, meeting room, sanctuary, or outdoor gathering. Heres a quick glance at all the features youve acquired: 8, 12, or 16 mono channels, with: Variable input trim (+6 to +50 dB mic, 15 to +30 dB line) Phantom power (globally switched) Zero Level gain setting indicator LED Switchable 100Hz 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: Variable input trim (20 to +20 dB) 2 pre/post-fader aux sends 2 post-fader effects sends 4-band EQ Pan, mute, and 1-2/3-4 busing PFL solo 60mm stereo fader Comprehensive master section, with: Four 60mm submix mono faders Separate Left & 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 Mackies (in)famous Rude Solo Light 9-band stereo graphic EQ (main mix) EMAC 32-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 intermissions RCA tape out RCA tape in with stereo level control Headphone output with level control Utility out with level control 12V BNC lamp socket

ZERO THE CONSOLE:

1. Turn everything off, including the mixers POWER switch and PHANTOM POWER switch. 2. Channel strip TRIM, 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 centered. 6. Channel strip ASSIGN 1-2 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.

1 RETURN

ZERO LEVEL SET MAX PHONES LEVEL U

BYPASS

MAKE THE CONNECTIONS:
1. Connect your amps 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 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 TRS jacks. 5. Turn all the power switches on, leaving the amplifiers switch for last. 6. Turn up the MAIN MIX Fader to the 30 label, for now. Well crank it up later on. 7. Turn up SUB Faders 1 and 2 to unity gain (U label).

SET THE LEVELS:

1. Choose one of the microphones or instruments you connected. Make some noise. If its a microphone, sing at your normal singing volume. If its a synthesizer, play it at its normal output level. 2. While making noise, turn up that channels TRIM until the adjacent ZERO LEVEL starts blinking. 3. Disengage (up) that channels MUTE. 4. Raise that channels fader to unity gain (U label). You should be hearing your noise now. 5. If necessary, apply channel EQ changes. (You may need to compensate for level changes with the channel fader.) 6. Repeat steps 1 through 5 for the remaining active channels. 7. Stop making noise. Everyone: start making music.

TWEAK THE MIX:

1. Engage MUTE on all channels except your rhythm section (drums & bass). 2. Adjust the rhythm sections channel faders to get a good balance of levels. 3. Un-mute the 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. 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 (INT) and the EMAC EFFECTS PROCESSOR, experiment with adding some effects. 7. Depending on how much time youve got, keep tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking.

KNOW THESE THINGS:

Never listen to loud music for prolonged periods. Please see Safety Instructions on page 2 for information on hearing protection. Never plug amplifier outputs into anything except speakers. Never use guitar cables to connect amplifiers to speakers. Before making connections to an external amp or reconfiguring an amps routing, turn the amps level (gain) controls down, turn the power off, make the changes, turn the power back on, and then turn the level controls back up. When you shut down your equipment, turn off any external amplifiers first. When powering up, turn on the amplifiers last. Save the shipping box and packing material! You may need them someday, and you probably dont want to have to pay for that again.

APPLICATIONS DIAGRAMS

Keyboard, or other line-level input
Left PA Speaker Right PA Speaker
Stereo EQ Keyboard, or other line-level input

in out in out

Stereo Compressor

Guitar Effects

Drum Machine Stereo Power Amplifier

CD Player

SUB OUT CHANNEL INPUTS

BAL/UNBAL

MAIN INSERT UTIL OUT

TAPE OUT

TAPE IN

CHANNEL INSERTS

AUX SENDS EFX SENDS STEREO EFX RETURNS

BAL/UNBAL BAL/UNBAL

SUB OUTS

1 L R L

Digital Delay
Mono in / stereo out Reverb Stereo Compressor Stereo Compressor Stereo EQ

Stereo Power Amplifier

CFX12 Small Club Gig
Stage Monitor Stage Monitor

Subwoofer

CFX16 Large Club Gig or Auditorium using a Subwoofer

Mono Power Amplifier

Drum Machine

Left PA Speaker

Right PA Speaker

Direct Box

Stereo EQ

in out

Guitar Effects Mono Power Amplifiers CD Player

UTIL OUT

Digital Multitrack Recorder
Optional Live Recording Digital Delay
Mono in / stereo out Reverb

Mono EQ

Mono Power Amplifiers
Wireless Microphone Receivers Direct Box

20 L R

CHANNEL INPUTS CHANNEL INSERTS

SUB OUT

Cassette or DAT Recorder
Digital Delay Stereo EQ Stereo EQ
CFX20 Church Sound Reinforcement with Separate Utility Mix
Assistive Listening Transmitter Cry Room Nursery Left Right

Chapel

Stage Monitor

PATCHBAY FEATURES

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments, effects, headphones and the ultimate destination for your sound: PA system, tape recorder, etc. These unbalanced jacks are configured thusly:
tip ring sleeve SEND to processor (TRS plug) tip

This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor

SHIELD COLD HOT

XLR BALANCED WIRING
The CFX Mixer is equipped with rugged, low noise, phantom-powered microphone preamplifiers, 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.
RING (COLD) TIP (HOT) SLEEVE (SHIELD)

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 youll come across, from 25 dBu up to +38 dBu.
Tip = Send (to effects device input) Ring = Return (from effects device output) Sleeve = Common ground (connect shield to all three sleeves) Specialty Y cables, developed just for these jacks, are widely available. Besides being used for inserting external devices, these jacks can also be used as channel direct outputs; post-TRIM, post-LOW CUT, and pre-EQ. Here are three ways you can use the channel INSERT jacks:

TRS BALANCED WIRING

TIP (HOT) SLEEVE (SHIELD)

MONO PLUG

Channel Insert jack
Direct out with no signal interruption. Insert only to first click.

TS UNBALANCED WIRING

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.
Direct out with signal interruption. Insert all the way in to the second click.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)
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 mixers aux send), processed and returned (usually via a mixers 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: reverb, digital delay, chorus. See diagrams below.

Serial Device

Insert Send Dry Signal Signal Processor (e.g., Compressor) Insert Return Processed Signal
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 advantage of having no 6 dB level change to deal with, while still providing extraneous noise rejection.

The stereo signal at these TRS jacks is the , but with one same as at the MAIN OUT important difference: , the mix is After the MAIN MIX Fader consent through the UTILITY OUT LEVEL trol, allowing you to set levels as desired without disturbing the main mix level.
In live sound applications, these TRS jacks can be patched into one or two stereo amplifiers, thereby allowing you to control levels. independently via the SUB Faders to Alternatively, use the MAIN OUT 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. and SUB ASSIGN for See ASSIGN 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. and PRE FADER for more See AUX information.
Patch the outputs of external parallel effects devices to these inputs. Note: The EFX 2 return signal is combined with the signal from the CFX Mixers internal EMAC EFFECTS PROCESSOR. If youre 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.

TAPE INPUT

Patch the outputs of your intermission entertainment here. Any line-level mono or stereo device can be used: tape, CD player, television for more audio, etc. See BREAK SWITCH information. 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 patched. This adapter is widely available.

EFX FOOT SWITCH

You can connect a normally-open foot switch SLEEVE SLEEVE TIP TIP to this connector to duplicate the function of switch, located in the EMAC the BYPASS. Closing the switch RCA UNBALANCED WIRING EFFECTS PROCESSOR connection causes the EFX BYPASS indicator to light and mutes the effects. Note: When a foot switch is plugged into RING (RIGHT) the FOOT SWITCH jack, the BYPASS switch TIP (LEFT) is disabled. SLEEVE (SHIELD) switch, this Just like the BYPASS TRS HEADPHONE WIRING affects only the internal EMAC EFFECTS PROCESSOR and not any device plugged into STEREO EFX RETURN 2. TIP

TAPE OUTPUT

Use these jacks to capture the entire performance to tape. The signal at these jacks is the but bemain mix, after the MAIN INSERT. The main mix fore the MAIN MIX Fader signal will be present at these jacks regardless of the position of the MAIN MIX Fader.

SLEEVE (GROUND)

The stereo signal at these jacks is the same , but with two imporas at the MAIN OUT tant differences: , the mix is After the MAIN MIX Fader control, sent through the PHONES LEVEL allowing you to set levels as desired, without disturbing the main mix level. is engaged, When a channels SOLO PFL the main mix signal at this output will be replaced 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. Walkperson-type phones can also be used with an appropriate adapter. Note: Please see the Safety Instructions on page 2 for information on hearing protection.
This BNC-type connector will accept almost TS FOOTSWITCH WIRING 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 delivering adequate current. If you happen to lose the AC linecord, replacements are available at any office/ computer supply store.
POWER SWITCH POWER STATUS
The POWER switch is located on the rear panel, adjacent to the AC Power Input. Push the side of the switch labeled ON to turn the mixer on; you should see the POWER STATUS LED glow in confirmation. To turn the mixer off, push the switch the other way. (Lets all say a big collective Duh.)

PHANTOM POWER

12 CHANNEL COMPACT INTEGRA

CFX12 M

48v POWER

TIP RIN

STATUS
INSERT ALL THE WAY IN TO THE "SECOND CLICK"

FOR U (TIP =

OPTIONAL USES FOR

CHANNEL STRIP FEATURES

Ha! We tricked you! The phantom power switch is not located in the channel strip section at all! Its way over on the right side of the mixer (see graphic on previous page). Were just mentioning it here since it applies to the channels; specifically, what type of microphones you have plugged into them. Push in this switch to provide phantom input jacks. All of the power to the XLR MIC 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 Series provide +48VDC phantom powering on pins 2 and 3 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 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. Connecting an external line-level device to an XLR input connector with the phantom power switched on could damage the device. We recomand STEREO LINE mend using the LINE IN jacks for connecting line-level signals. IN Through a stereo channels 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, or both. Without this virtual pad, it would be very difficult to control the signal and might lead to channel clipping.

RUDE SOLO

This infamous flashing LED (Light Emitting Diode) serves two purposes - to remind you switch is enthat at least one SOLO PFL gaged, and to let you know that youre mixing on a Mackie. switch affects Engaging a SOLO PFL and Meters. these features: PHONES No other outputs are affected in any way. Although the SET THE LEVELS section of QUICK START (page 5) will get your levelsetting tasks accomplished, using the meters in PFL SOLO 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 prefader and taps the channel. signal before the fader If you have a channels fader set well below U (unity gain), SOLO wont know that and will send a unity gain signal to the PHONES output. That may result in a startling level boost in your headphones.

48v POWER STATUS

ZERO LEVEL SET CLIP

METERS

The CFX Mixers 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 lisoutput. tening to via the PHONES You can get a good mix with the meters peaks flashing anywhere between 20 and +10 dB. Most amplifiers clip at about +10 dB, and some recorders arent 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 operating level is the relative 0 dB VU (or 0VU) chosen for the meters.

0dB=0dBu RUDE SOLO

dB U 60
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) youll effectively remove it from the signal path. How to find and reduce feedback: 1. Set the GRAPHIC EQ sliders to zero (center). 2. Set the TRIM levels, using the ZERO or SOLO PFL. LEVEL
jacks and engage the BREAK SWITCH. Instantly, 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. is engaged, When a channels SOLO PFL the main mix will be replaced by the solo signal, allowing the engineer to audition channels without disturbing the main mix. can drive any The stereo PHONES jack standard headphones to very loud levels. Walkperson-type phones can also be used with an appropriate adapter. Note: Please see the Safety Instructions on page 2 for information on hearing protection.

+20 O O TAPE LEVEL

ZE LEV SE
3. Slowly turn up the MAIN MIX Fader until feedback just begins to occur. BE CAREFUL! Feedback can occur quickly and become very LOUD, very fast. 4. Cut the appropriate slider until feedback stops. Suggestions for better sound: For better vocal sound, set the 125, 250, and 16K sliders to +5. Note: Make sure the singer is within 3 to 6 inches of the microphone. No amount of EQ can save a wandering minstrel. For more presence, set the 4K and 8K sliders to +5. To warm up the overall sound, set the 2K slider to 5. REMEMBER, LESS IS BETTER.

UTILITY OUT LEVEL

After the MAIN MIX Fader , the mix is sent through this knob, allowing you to set the as desired withlevels at the UTILITY OUT out disturbing the main mix level.

SUB FADERS

The typical exit for channel signals is through one or more sub mixes. The sub mix signal is first controlled by this fader, which provides 10 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 differsends the sub mix ent locations: SUB OUT directly out of the mixer via its TRS jacks; and SUB ASSIGN sends it to the MAIN MIX Fader.
+10 O O UTILITY OUT LEVEL

TAPE LEVEL

You can adjust the incoming level of your intermission entertainment, independent of the main mix level controls, via this feature. Heres how: Patch the stereo device into the TAPE IN. Put the device in play. Engage the PUT BREAK SWITCH and set the TAPE LEVEL knob as desired. Assuming the MAIN MIX Fader is set, you should hear the device.

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 1 and 2, from the channels to SUB Faders with SUB 1 carrying the left signal and SUB 2 carrying the right. Engage SUB 1 ASSIGN LEFT and SUB 2 ASSIGN RIGHT, and youre done. Take a look at the block diagram on page 22 itll explain this and more, but in hieroglyphics.
No, when we say BREAK SWITCH, were not asking you to break the switch, were offering you a very handy feature. When its 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

O O O O O O O O

EMAC effects, with their levels already determined by the channels EFX 2 (EXT) knob, youll typically set this knob near the U mark and then leave it alone.
CATHEDRAL: Dense, smooth reverb with very long tail, long pre-delay, and late reflections. Tails are very warm with some additional high-end reflections imitating the stone walls of a cathedral.
MD. HALL LG. PLATE MD. PLATE SM. ROOM
CHORUS FLANGE PHASER SPRING
Delays There are four delays available with one, two, three, and four repeats. TIME/RATE controls the time between repeats, with the fastest repeats at the 0 position and the
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 switch. DELAY 1: One repeat. Works best for slapback delay used in country and swing guitar, and for rockabilly and some country vocals. Delay range is adjustable from 5ms to 524ms. 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 5ms to 524ms. 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 range is adjustable from 5ms to 524ms. 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. Delay range is adjustable from 5ms to 524ms. 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 fastest. DAMPING/DEPTH controls the effect depth, which is the strength of the sweeping effect. Fully counter-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 channels EFX 2 (INT) should be set halfway or higher. Rate is adjustable from 0.5Hz to 30Hz. Depth is adjustable from 0% to 100%. FLANGE: Creates a strong sweeping effect, particularly effective on rock electric guitar, lead and rhythm. The channels EFX 2 (INT) should be set halfway or higher. Rate is adjust-

Turn the channel Faders , EFX 1 RETURN and EFX 2 SEND down, one by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, its from your whatever.
Our favorite question: Is the POWER switch on?

Repair

Service for the CFX Series mixers is available only at our factory, located in sunny Woodinville, Washington. Service for Mackie mixers living outside the United States can be obtained through local dealers or distributors. If your mixer needs service, follow these instructions: 1. Review the preceding troubleshooting suggestions. Please. 2. Call Tech Support at 1-800-258-6883, 8am to 5pm PST, to explain the problem and request an RA (Return Authorization) number. Have your mixers serial number ready. You must have an RA number before you can obtain service at the factory. 3. Keep this owners manual. We dont need it to repair the mixer. 4. Pack the mixer in its original package, including endcaps and box. This is very important. When you call for the RA number, please let Tech Support know if you need new packaging. Mackie is not responsible for any damage that occurs due to non-factory packaging.
5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime phone number, RA number, and a detailed description of the problem, including how we can duplicate it. 6. Write the RA number in BIG PRINT on top of the box. 7. Ship the mixer to us. We suggest insurance for all forms of cartage. Ship to this address: Mackie Designs SERVICE DEPARTMENT 16140 Wood-Red Rd. NE, Ste. 5 Woodinville, WA 98072 8. Well try to fix the mixer within five business days. Ask Tech Support for current turn-around times when you call for your RA number. We normally send everything back prepaid using UPS ORANGE (three-day air). However, if you rush your mixer to us by Next Day Air, well treat it in kind by shipping it back to you the same way in which it was received. This paragraph does not necessarily apply to non-warranty service.
APPENDIX B: Technical Info

Specifications

CFX12, CFX16, CFX20 Mixer Section

Frequency Response

Mic Input to any Output (Trim at 0 dB): +0, 1 dB, 32Hz to 20kHz
Input Level Trim Control Range

+6 to 50 dB

Phantom Power

+48V DC

Equalization
Low Cut: 100Hz, 18 dB/octave Mono Channel EQ: High 15 dB @ 12kHz Mid 15 dB @ 100Hz to 8kHz Low 15 dB @ 80Hz Stereo Channel EQ: High 15 dB @ 12kHz High Mid 15 dB @ 3kHz 15 dB @ 400Hz Low Mid Low 15 dB @ 80Hz Graphic EQ (9 bands): Q = 1.414, ISO octave centers 15 dB @ 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz

Distortion

THD and SMPTE IMD; 20Hz to 20kHz Mic Input to Main Output: < 0.05% @ +4 dBu output
20Hz to 20kHz BW (150 source impedance) Equivalent Input Noise (EIN): 127 dBu Residual Output Noise: Main, Monitor, & Effects outputs Channel & Master levels off 95 dBu

MIC/LINE IN MONO CHANNELS

AUX 2 EFX 1 EFX 2

RIGHT MAIN

LEFT MAIN

TAPE LEVEL LEFT ASSIGN TAPE IN RIGHT RIGHT ASSIGN SUB 4 OUT

75 Hz LPF

MAIN LEVEL 1K 2K 4K 8K 16K BREAK 1

LO LEFT

MID MID HI 12K 1-2 3-4 LEFT ASSIGN TAPE OUT RIGHT

MAIN OUT RIGHT

LINE IN STEREO CHANNELS

TRIM LO MID MID HI 12K

PAN MAIN

3K RIGHT

RIGHT ASSIGN STEREO EFX RETURN 1 LEFT AUX 1 PRE/POST PFL SIGNAL TO PHONES
AUX 2 EFX RETURN 1 EFX 1 STEREO EFX RETURN 1 RIGHT RUDE SOLO LIGHT UTILITY OUT LEFT
EFX 2 +5 VDC EFX SEND 2 EFX LEVEL SET EFX BYPASS SOLO CONTROL (ACTIVE LOW) EFX TO MAIN MIX +5 VDC L EFX SEND 2 STEREO EFX RETURN 2 RIGHT PHONES LEVEL EFX TO AUX 1 AUX SEND 1 BOTHELL MONROE TO LEFT MAIN SOLO ON PFL PHONES STEREO EFX RETURN 2 LEFT FROM EFX TO MAIN MIX SOLO OFF UTILITY LEVEL UTILITY OUT RIGHT

EFX SELECT

EMAC DSP
EFX TO AUX 2 TO RIGHT MAIN R

AUX SEND 1 AUX SEND 2

WOODINVILLE EXIT
PFL SIGNAL TO LEFT METER SOLO OFF
EFX WIDE AUX SEND 2 EFX SEND 1 EFX FOOT SWITCH EFX SEND 1 SOLO CONTROL (ACTIVE LOW) SOLO ON

EFX BYPASS

MACKIE DESIGNS CFX SERIES BLOCK DIAGRAM (#62399CJM/DF)
CFX SERIES LIMITED WARRANTY
Please keep your sales receipt in a safe place.
A. Mackie warrants all materials, workmanship and proper operation of this CFX Series product for a period of one year from the original date of purchase. If you complete the optional questionnaire portion of the Product Registration Card, the warranty will be extended for an additional two years, but during the additional two years the labor for replacing slide potentiometers will be excluded from warranty coverage and may be billed to you. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, Mackie, at its option, will repair or replace the product. This warranty applies only to equipment sold and delivered within the U.S. by Mackie or its authorized dealers. B. Failure to return the card will not void the 1-year warranty. C. Service and repairs of Mackie products are to be performed only at the factory. Unauthorized service, repairs, or modification will void this warranty. D. To obtain factory service: 1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get a Return Authorization (RA). Products returned without an RA number will be refused. 2. Pack the CFX Series product in its original shipping carton. If you do not have the carton, just ask for one when you get your RA number, and well send a shipping carton out promptly. More information on packing can be found in the Service section of the appropriate manual. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem at the Mackie Factory or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. 3. Ship the product in its original shipping carton, freight prepaid to: Mackie Designs Inc. SERVICE DEPARTMENT 16140 Wood-Red Road NE, Ste. 5 Woodinville, WA, 98072, USA IMPORTANT: Make sure that the RA number is plainly written on the shipping carton. E. Mackie reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. Mackie may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealers invoice or sales receipt. Final determination of warranty coverage lies solely with Mackie Designs Inc. F. Mackie CFX Series products returned to Mackie and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie at our rainforest factory complex. Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at Mackie's factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA. G. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. H. This is your sole warranty. Mackie does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs. I. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specific legal rights and you may have other rights which vary from state to state.