CFX MKII SERIES OWNERS MANUAL
12, 16, AND 20-CHANNEL MIC/LINE MIXERS WITH DIGITAL EFFECTS
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER

MONO PLUG STEREO PLUG

SERIAL NUMBER

MANUFACTURING DATE

INSERT ALL THE WAY IN TO THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP (TIP = SEND, RING = RETURN)
OPTIONAL USES FOR INSERTS

STEREO EFX RETURN

EFX SEND

R 1 L R

TAPE INPUT

TAPE OUTPUT

MAIN INSERT

MAIN OUT

12V 0.5A
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL (MONO) LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN (MONO)

R R 1 L 2 R

UTILITY OUT AUX SEND SUB OUT

FOOT SWITCH

LEFT RIGHT

75Hz SUB OUT

INSERT

10 9/10

+20 -20

12 11/12

PHONES

U C GAIN MI

ZERO LEVEL

5 +50 -15dB +30dB

LOW CUT 100 Hz U

LOW CUT 100 Hz

MASTER SEND

15+ 1K 2K 4K 8K 16K

+15 U EFX (EXT)

PRE FADER

PRE FADER EFX (EXT)

STEREO GRAPHIC EQ

EFX (EXT)

+15 U EFX (INT)

12 CHANNEL COM
PACT INTEGR ATED LIVE SOUND MIXER
DIGITAL STEREO EFFECTS PROCESSOR
EFX 2 (INT) RETURN MASTERS

U U U U

PHANTOM POWER 48v U POWER STATUS

HI 12k

+15 U MID

+15 U HI MID 3k

EFX 2 SEND

TO MAIN MIX

AUX 2 AUX 1 EFFECTS TO MONITOR

+20 EFX 1 RETURN U

+1.5k FREQ 8k U LOW 80Hz

+15 U LOW MID 400Hz

150 100

+15 U LOW 80Hz

REVERSE GATED CATHEDRAL LG. HALL MD. HALL LG. PLATE MD. PLATE SM. ROOM

NORMAL EFX

DELAY 1 DELAY 2 DELAY 3 DELAY 4 CHORUS FLANGE PHASER SPRING

NORMAL

+20 TAPE LEVEL

(MUTES ALL CHANNELS)

BREAK SWITCH

ZERO LEVEL SET

0dB=0dBu

MAX PHONES LEVEL U

BYPASS
L R L R L R L R L R L R L R L R L R L R
REVERBS DELAYS CHORUS/FLANGE/PHASER
10 +10 OO UTILITY OUT LEVEL

DAMPING DEPTH

RUDE SOLO

dB 10 5

ASSIGN LEFT

MAIN MIX MAIN MIX

STEREO STEREO

ASSIGN

ASSIGN 1-2

U U 20 30

U 20 30

SOLO PFL

IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachments/accessories specied by the manufacturer. 12. Use only with a cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
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.

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.

Channel Path Dry Signal(s)

STEREO LINE IN

These balanced inputs are designed for stereo or mono, balanced or unbalanced signals, from 20 dB to +20 dB. These TRS inputs can be used with just about any professional or semipro instrument, effect or tape player. 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 TAPE INPUT OUTPUT

R 1 L 2 R

UTILITY OUT AUX SEND

(MONO)

UTILITY OUT

The signal at these TRS outputs is postfader only, so they cannot be used as traditional stage monitor cues. Theyre intended to patch into effects device inputs; hence the name EFX. See EFX 1 (EXT) and EFX 2 (INT) for more information. Note: The EFX 2 signal path also feeds the CFX mixers internal EMAC EFFECTS PROinputs. If youre using EMAC and CESSOR just one outboard processor, patch that processor via EFX SEND 1 for independent control of the effects send level. We recommend going into a stereo reverb in mono and returning in stereo. We have found that on most stereo reverbs the second input just ties up an extra EFX send and adds nothing to the sound. There are exceptions, so feel free to try it both ways. If your effects device is true stereo all the way through, use EFX SEND 1 to feed its left input and EFX SEND 2 to feed the right input.
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

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.

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.)

MAIN MIX FADER

As the name implies, this stereo fader controls the levels of signals sent to the main. The outputs: XLR and TRS MAIN OUT TAPE OUTPUT RCA jacks also receive the main mix, but before the MAIN MIX Fader. Signals feeding the MAIN MIX Fader, after passing through the STEREO GRAPHIC EQ , include: SUB ASSIGN , MAIN INSERT , STEREO EFX RETURN 1 and 2 (including ), and the EMAC EFFECTS PROCESSOR TAPE INPUT. All assigned SUB Faders that are not turned and EFX RETURNs fully down will appear in the MAIN MIX. The fader, set fully up, provides 10 dB of gain. A U unity gain point is just below that. When set fully down, the main mix is effectively muted. This is the fader to pull down at the end of the song when you want The Great Fade-Out.
This infamous ashing 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 ickering LED, you can make use of the 12-segment VU display in the meters. switch and How? Just engage a SOLO PFL 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 output. unity gain signal to the PHONES That may result in a startling level boost in your headphones.

1 RETURN

O O MAX PHONES LEVEL U

ZE LE S

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 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.
, 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.

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

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

Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specications at any time without notice.
CFX20 WEIGHT 24.3 lb/ 11.0 kg

26.8 in/681 mm

Input Impedance
Mic Input: 3k, balanced Line Input: 40k, balanced Insert Input, Stereo Line Input, Tape Input, and Effects Returns: 10k, unbalanced

15.7 in/400 mm

4.6 in/117 mm

2.1 in/53 mm

Mackie Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (Product Warranty) is provided by LOUD Technologies Inc. (LOUD) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafter, Customer, you or your). For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to nd contact information for your local distributor, and information on any warranty coverage provided by the distributor in your local market. LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option, either repair or replace any such nonconforming product, provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-free in the U.S. and Canada) during normal business hours Pacic Time, excluding weekends or LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain any warranty service. For full terms and conditions, as well as the specic duration of the Warranty for this product, please visit www.mackie.com/warranty. The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof. No amendment, modication or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby.

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
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