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

ABOUT THIS MANUAL

Absolutely most important page: Before you start engineering, please read the Quick Start section on page 5. Its a list of steps that will familiarize you with the CFX mixer and help you set up a basic performance. About those blue numbers: Youll notice numbers in blue circles, like. Every feature on the CFX mixer has this: one of these numbers assigned to it. Whenever a feature is mentioned, described or illustrated, its number will be right next to it. Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.):

Purchased at:

Date of purchase:
Part No. SW0585 Rev. C 04/09 2004-2009 LOUD Technologies Inc. All Rights Reserved.

CONTENTS

IMPORTANT SAFETY INSTRUCTIONS.. 2 INTRODUCTION.. 3 ABOUT THIS MANUAL.. 3 QUICK START... 5 APPLICATIONS DIAGRAMS.. 6 PATCHBAY FEATURES.. 8 MIC.. 8 LINE IN.. 8 INSERT... 8 EFFECTS: SERIAL OR PARALLEL?.. 9 STEREO LINE IN.. 9 MAIN OUT.. 9 SUBWOOFER OUT... 9 MAIN INSERT... 9 UTILITY OUT...10 SUB OUT...10 AUX SEND...10 EFX SEND..10 STEREO EFX RETURN..10 TAPE INPUT..11 TAPE OUTPUT...11 PHONES..11 EFX FOOT SWITCH..11 LAMP...11 AC POWER INPUT..11 POWER SWITCH POWER STATUS.11 CHANNEL STRIP FEATURES..12 PHANTOM POWER..12 GAIN...12 ZERO LEVEL..12 LOW CUT...12 AUX...12 PRE FADER...13 EFX 1 (EXT)..13 EFX 2 (INT)..13 EQ...13 PAN...14 MUTE...14 ASSIGN...14 FADER...14 SOLO PFL...14 MASTER SECTION FEATURES.15 MAIN MIX FADER..15 METERS..15 RUDE SOLO..15 STEREO GRAPHIC EQ..15 TAPE LEVEL..16 BREAK SWITCH..16 PHONES LEVEL..16 UTILITY OUT LEVEL..16 SUB FADERS..16 LEFT/RIGHT SUB ASSIGN..16 AUX MASTER SEND...17 EFX 1 MASTER SEND...17 EFX 1 RETURN..17 EMAC EFFECTS PROCESSOR..17 EFX 2 SEND..17 TO MAIN MIX..17 EFFECTS TO MONITOR..18 PRESET SELECT..18 Preset Effects Descriptions..18 TIME/RATE..19 DAMPING/DEPTH..19 WIDE...19 BYPASS..19 CLIP...19 GENERAL PRECAUTIONS AND CONSIDERATIONS..20 APPENDIX A: Service Info..20 Troubleshooting..20 Repair...21 APPENDIX B: Technical Info..21 SpecicationsCFX12, CFX16, CFX20 MKII.21 CFX MKII SERIES LIMITED WARRANTY..22 BLOCK DIAGRAM..23

Dont forget to visit our website at www.mackie.com for more information about this and other Mackie products.

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.

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 amplier outputs into anything except passive speakers. Never use guitar cables to connect ampliers to speakers. Before making connections to an external amp or reconguring 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. The same is true for powered speakers. When you shut down your equipment, turn off any external ampliers and/or powered speakers rst. When powering up, turn on the ampliers and/or speakers last. Save the shipping box and packing material! You may need them someday.

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 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

The stereo signal at these TRS jacks is the , but with one same as at the MAIN OUT important difference: , the mix After the MAIN MIX Fader is sent through the UTILITY OUT LEVEL control, 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 ampliers, thereby allowing you to control levels. independently via the SUB Faders to Alternatively, use the MAIN OUT feed the ampliers 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 amplier 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.
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

U IC GAIN M

CHANNEL STRIP FEATURES

PHANTOM POWER

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; specically, what type of microphones you have plugged into them. Push in this switch to provide phantom input jacks. All of power to the XLR MIC the XLR mic inputs are capable of providing phantom power. Phantom power is required to operate most condenser microphones (some condenser microphones are battery-powered). The CFX MKII mixers 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 difcult to control the signal and might lead to channel clipping.
This handy LED, which (we hope) you already read about in QUICK START, is triggered to glow when it receives an audio signal at or above 0 dBu. If the LED is glowing, as opposed to ickerdown. If the LED is ing, turn the GAIN doing almost nothing, turn the GAIN up. For a more accurate method of setting (page gain levels, please see RUDE SOLO 15), where a soloed signal will appear on the. mixers meters

LOW CUT

The LOW CUT switch, often referred to as a high pass lter (depends on how you look at it), cuts bass frequencies below 100 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 amplier power.

1-2 3-4

If you havent already, please read the SET THE LEVELS portion of QUICK START, on page 5. GAIN adjusts the input sensitivity of the mic and line inputs connected to the channels, mono and stereo. This allows signals from the outside world to be adjusted to optimal internal operating levels. If the signal originates through a mono XLR jack, there will be 5 dB channels MIC of gain with the knob fully down, ramping to 50 dB of gain fully up. TRS Through a mono channels LINE IN input, there is 15 dB of attenuation fully down and 30 dB of gain fully up, with a U (unity gain) mark at 12:00 (knob halfway up).
These knobs tap a portion of each channel signal and send it out, via the AUX SEND jacks, to an external device for parallel effects processing or stage monitoring. AUX levels are controlled by these AUX knobs and by the AUX MASTER SENDs. These are more than mere effects and monitor sends: they can be used to generate separate mixes for recording or mix-minuses for broadcast. Each AUX knobs level ranges from off through unity (the center detent position) on up to 15 dB of extra gain (fully clockwise). The line-level stereo channels AUX knobs control a mono sum of the channels stereo signals. For instance, on the CFX20, channel 17 (L) and 18 (R) mix together to feed that channels AUX send knobs.

Mono Channel

The aux send rule of thumb: For parallel effects processing, use aux sends in post-fader mode. For stage monitors, use pre-fader mode (see diagram below). With this switch disengaged (up), AUX 1 and 2 receive signals in post-fader mode: postlow cut, post-insert, post-EQ, post-mute, and POST-fader. Any changes made to the channel controls will affect the AUX signal. With this switch engaged (down), AUX 1 and 2 receive signals in pre-fader mode: postlow cut, post-insert, post-EQ, post-mute, and PRE-fader. Any changes made to the channel controls, EXCEPT the fader, will affect the AUX signal. In pre-fader mode, you can take the drummers vocals out of the main mix by turning his fader down, but since he still hears himself in the monitors, hes happy.

example, boosting the LOW EQ knob boosts bass frequencies at 80 Hz and below. Peaking means that only a selected hill of frequencies surrounding a center hilltop frequency is affected by the EQ control. Everything in moderation (including moderation): with EQ, although you can bring +15 a sound to life, you can also screw things +10 up. If you max the EQs on every channel, +5 youll get mix mush, not to mention driving your mix levels near or beyond clipping. 10 So equalize subtly; use the left sides of the 15 knobs (cut) as well as the right (boost). 20

10kHz 20kHz

This control provides up to 15 dB of boost or cut at 12 kHz and above, and it is also at at the detent. Use it 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 hiss.

+15 +10 +5

15 20Hz 100Hz 1kHz 10kHz 20kHz

EFX 1 (EXT)

EFX 1, designed for feeding the inputs of parallel effects devices, behaves exactly like send, but its always in post-fader an AUX mode: Any changes made to the channel controls will affect the EFX signal. The PRE FADER switch has no effect on the EFX sends.

MID EQ

Short for midrange, this knob provides 15 dB of boost or cut, also at at the center +15 detent. Midrange EQ is often considered +10 the most dynamic, because the frequencies +5 that dene any particular sound are almost 0 always found in this range. You can create 5 as many interesting and useful EQ changes by turning this knob down as well as up. 20 The mono channels employ a semiparametric mid-sweep EQ. In addition to being able to set the amount of boost, you can aim that boost at a specic frequency; anywhere from 100 Hz to 8 kHz. The stereo channels employ a 2-stage xedfrequency MID EQ. HI-MID is centered at 3kHz; LOW-MID is centered at 400 Hz.

Mid EQ

EFX 2 (INT)
EFX 2 is identical to EFX 1 with one big difference: In addition to feeding the EFX SEND jacks, it also feeds the inputs to the EMAC EFFECTS PROCESSOR. If youre using EMAC and just one outboard processor, patch the outboard processor via EFX RETURN 1. You can use EMAC and an outboard device via EFX 2; just remember that the sends (EFX 2 (INT) , EFX 2 SEND ) and returns (TO MAIN MIX ) control two devices. The PRE FADER switch has no effect on the EFX sends; theyre always post-fader.

Low EQ

LOW EQ
This control provides up to 15 dB of boost or cut at 80 Hz and below. The circuit is at (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and hightestosterone male singers. When adding boost to the channels low EQ, simultaneously engaging the LOW CUT switch can create an audible low frequency boost without boosting stage rumble, mic handling clunks, and breath pops.
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.)

+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.
, TIME/RATE , DAMPING/DEPTH and WIDE. When you nd an effect you like, jot down the parameters, then goof around some more. To mute these effects, engage BYPASS (or your foot switch if connected to EFX FOOT SWITCH ). To send these effects to the stage monitor cues, turn up the EFFECTS TO knobs. MONITOR FOR THE CURIOUS: EMAC stands for Extended Multiply and Accumulate, which is a proprietary 32-bit digital stereo processor developed by our Digital Engineering Group. It provides 16 preset digital effects algorithms for you to select. In addition to the presets, there are two parameter ) you can adjust to change the controls ( sound and make it unique for your particular application.

This controls the signal level being sent to the input of the EMAC module (and to the EFX jack). Use the EFX 2 (INT) conSEND 2 trols on the individual channels to adjust the amount of each channels signal you want to go to the EMAC. Leave EFX 2 SEND set at the center U position. If you nd that youre not getting enough of the effect in the main mix, control make sure that the TO MAIN MIX is turned up at least to unity (the center detent position). Its okay to turn up the EFX 2 SEND some more if you need to. Just make sure the ZERO LEVEL LED never lights more than occasionally. Read on to nd out why.

EFX 1 RETURN

Stereo signals come through the EFX 1 RETURN and continue on to the MAIN MIX Fader. They contain the effects wet signals to be mixed together with the channels dry original signals. Turned fully up, it provides 15 dB of additional gain, the center U mark is unity gain, and fully down is off. Being that this controls only the return signals of external effects, with their levels already determined by the channels EFX 1 (EXT) knob, youll typically set this knob near the U mark and then leave it alone.
Stereo signals (from STEREO EFX RETURN 2 and EMAC EFFECTS PROCESSOR ) come through this TO MAIN MIX knob and continue on to the MAIN MIX Fader. They contain the effects wet signals and are mixed together with the channels dry original signals. Turned fully up, it provides 15 dB of additional gain, the center U mark is unity gain, and fully down is off. Being that this controls only the return signals of external and

EMAC EFFECTS PROCESSOR

FOR THE IMPATIENT: Set EFX 2 SEND and TO MAIN MIX at the center U mark. Assuming you have your basic mix up and running, turn up the EFX 2 (INT) , per channel. This feeds in individual amounts of channel signals to the EMAC inputs you should be hearing the effects as you do this. Next, goof around with the various parameters: Preset Select

ZE LEV SE

TIME RATE
cathedral. A very dramatic effect that works well with wind instruments such as ute, slow nger picking on acoustic guitar, and quiet vocal group harmony and choirs. Also works well with keyboards and drums using short decay. EFFECTS TO MONITOR Decay range is adjustable from 2 seconds to 10 This works just like the channel AUX seconds. Pre-delay set at 75 ms. LG. HALL: Dense, smooth reverb with long knobs, but here, the source signal is the EFX 2 RETURN and the EMAC output. Typically, this tail, long pre-delay, and some early reections. knob is used to add effects to the stage monitors. Tails are warm with more apparent high end. Turned fully up, it provides 15 dB of addiWorks well with vocals and electric and acoustional gain, the center U mark is unity gain, tic guitar. Decay range is adjustable from 1 and fully down is off. second to 5 seconds. Pre-delay set at 75 ms. MD. HALL: Dense, smooth reverb with norPRESET SELECT mal tail, normal pre-delay, and increased early Rotate this detented switch to select the reections. Tails are warm with more apparent preset effect you want to use. high end. Works well with vocals and electric and acoustic guitar. Decay range is adjustable Preset Effects Descriptions from 750 ms to 2.5 seconds. Pre-delay set at 65ms. Reverbs LG. PLATE: Good early reections and no pre-delay. Tails are normal and warm with The reverbs are designed to provide a wide strong high end for increased presence. Perfect variety of reverb sounds for vocal and instrument applications. In the following description, for vocals and snare. Decay range is adjustable from 1 second to 5 seconds. No pre-delay. tail refers to the reections that follow the MD. PLATE: Good early reections and no initial sound event, also referred to as decay pre-delay. Tails are short and warm with strong range. Pre-delay is the amount of time behigh end for increased presence. Perfect for tween the initial sound event and the rst tight vocals and snare. Decay range is adjustreection. able from 750 ms to 2.5 seconds. No pre-delay. TIME/RATE controls the length of the SM. ROOM: Reverb featuring very fast and tail, with the shortest tail at the 0 position and scattered early reections with a short pre-dethe longest tail at 10. DAMPING/DEPTH lay. Tails are very short and warm with normal controls the damping, with the darkest tone at high-end imitating absorbent wall materials 0 and the brightest tone at 10. The WIDE switch is very effective at increasing the stereo and audience. Good for tight vocal effects. Decay range is adjustable from 250 ms to 1 secimage of the reverb effect. ond. Pre-delay set at 30 ms. REVERSE: Standard reverse reverb, simuSPRING: Mimics the lating a tail-rst effect vintage 60s-style wet DIGITAL STEREO EFFECTS PROCESSOR increasing to the original spring reverb effect. Tails note. Decay range is EFX 2 (INT) RETURN MASTERS CLIP are normal with strong adjustable from 35 ms to U U U U high end and a slight 515 ms. No pre-delay. waver imitating the slow GATED: Standard utter of the mechani+15 +15 +15 +15 gated reverb, where cal spring system. Very AUX 1 AUX 2 TO MAIN MIX EFX 2 the reverb tail is cut off SEND EFFECTS TO MONITOR good with acoustic guitar. sharply after the preset DELAY 1 REVERSE Decay range is adjustable DELAY 2 GATED decay length. Decay CATHEDRAL DELAY 3 from 1 second to 5 secrange is adjustable from LG. HALL DELAY 4 onds. No pre-delay. 35 ms to 515 ms. No preCHORUS MD. HALL

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

18.4 in/467 mm

CFX12 WEIGHT 17.8 lb/ 8.1 kg

Digital Effects

Resolution: Number of Presets: 32-bit (16-bit, 2-channel) 16
Channel Level Set LED (Sensitivity)
0 dBu (normal operating level)

VU Meters

Main L/R 12 segments: Clip, +10, +7, +4, +2, 0, 2, 4, 7, 10, 20, 30

22.9 in/ 582 mm

CFX16 WEIGHT 21.0 lb/ 9.5 kg

Power Consumption

CFX12 MKII: CFX16 MKII: CFX20 MKII: 35 Watts 40 Watts 45 Watts

Disclaimer

CFX12/CFX12.mkII

CFX12.mkII
Rack Ear Kit Installation Instructions
(translated from an original epic Sumerian love poem, and now a major Broadway musical of the same name)

15.75" 9 RU

Rack Ear Kit

#6-32 x 5/16"

2005 LOUD Technologies Inc. All Rights Reserved. Part No. 82020800 Rev B 02/2005
LOUD Technologies Inc. 16220 Wood-Red Road NE Woodinville WA 98072 800/258-6883 Outside the U.S. call 425/487-4333 FAX 425/487-4337