Mackie Dfxa Acirc 12
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DFX SERIES OWNERS MANUAL
DFX6 AND DFX12 6- AND 12-CHANNEL MIXERS WITH DIGITAL EFFECTS
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
OPTIONAL USES FOR INSERTS
RISK OF ELECTRIC SHOCK DO NOT OPEN
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
INSERT ALL THE WAY IN TO THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP (TIP = SEND, RING = RETURN)
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC WOODINVILLE WA USA MADE IN CHINA FABRIQUE AU CHINE COPYRIGHT 2001 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE PATENT PENDING
VAC, 50/60 Hz, 30 WATTS
STEREO AUX RETURN
(MONO) LINE IN
CD/TAPE IN L
TAPE OUT L
EFX FOOT SWITCH
12 CHANNEL INTEGRATED LIVE SOUND MIXER +12 +12
PHANTOM POWER +48V
MAIN AUX 1
DIGITAL STEREO EFFECTS PROCESSOR
BYPASS LEVEL SET
DELAY 1 DELAY 2 DELAY 3 DELAY 4 CHORUS FLANGE PHASER SPRING
0 = +4dBu
REVERSE GATE CATHEDRAL LG. HALL MD. HALL LG. PLATE MD. PLATE SM. ROOM
(EFFECTS TO STAGE MONITOR)
(MUTES ALL MIC CHANNELS)
AUX 1/MON SEND
AUX 2/EFX SEND
CD/TAPE MUTE RETURN
5 U 60
12. Damage Requiring Service This Mackie product should be serviced only by qualified service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this Mackie product; or C. This Mackie product has been exposed to rain; or D. This Mackie product does not appear to operate normally or exhibits a marked change in performance; or E. This Mackie product has been dropped, or its chassis damaged. 13. Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department. 14. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.
RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
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. 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.
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.
About this manual:
This manual covers both the DFX6 and DFX12 mixers. They share the same design and operate in the same way, except that the DFX12 has 2 more mono channels than the DFX6, and it has 2 stereo line-only channels.
Absolutely most important pages:
Before connecting and using your mixer, please read the Safety Instructions on page 2. Before you start mixing, please read the Quick Start section starting on page 4. Its a list of steps that will familiarize you with the mixer and help you set up a basic performance.
SAFETY INSTRUCTIONS.. page 2 QUICK START.. 4 INTRODUCTION.. 6 APPLICATION DIAGRAMS.. 7
MASTER SECTION FEATURES
STEREO GRAPHIC EQ. page 14 MAIN/AUX 1 EQ SWITCH. 15 BYPASS EQ SWITCH.. 15 POWER LED.. 15 PHANTOM POWER SWITCH AND LED. 15 METERS.. 15 PHONES LEVEL.. 15 MAIN MIX FADERS.. 15 CD/TAPE RETURN FADER AND MUTE. 15 BREAK SWITCH.. 16 VOCAL ELIMINATOR SWITCH.. 16 AUX 2/EFX SEND. 16 LEVEL SET LED. 16 AUX 2/EFX RETURN FADER AND MUTE 17 AUX 1/MON SEND.. 17 EFFECTS TO MONITOR. 17 AUX 1 RETURN FADER AND MUTE. 17 EMAC EFFECTS PROCESSOR.. 17 QUICK START.. 17 BYPASS LED. 17 PRESET SELECTION.. 18
MIC.. 8 LINE IN (MONO).. 8 LINE IN (STEREO).. 8 INSERT.. 9 EFFECTS: SERIAL OR PARALLEL?. 9 MAIN OUTPUTS.. 10 PHONES.. 10 AUX SEND 1/MON.. 10 AUX SEND 2/EFX. 10 AUX 1 RETURN.. 11 AUX 2 RETURN.. 11 CD/TAPE INPUT.. 11 TAPE OUTPUT. 11 EFX FOOTSWITCH. 11 AC POWER INPUT.. 11 POWER SWITCH.. 11
CHANNEL STRIP FEATURES
GAIN.. 12 LEVEL SET LED. 12 LOW CUT.. 12 2-BAND EQ.. 12 HI EQ.. 12 LOW EQ... 12 AUXILIARIES.. 13 AUX 1/MON.. 13 AUX 2/EFX.. 13 PAN.. 13 MUTE.. 13 FADER.. 13 OL OVERLOAD LED.. 13
APPENDIX A: SERVICE INFO
WARRANTY SERVICE. 20 TROUBLESHOOTING.. 20 REPAIR.. 20
APPENDIX B: TECHNICAL INFO
SPECIFICATIONS.. 21 DIMENSIONS.. 22 AC POWER CONSIDERATIONS. 22 BLOCK DIAGRAM. 23
Please visit our website at www.mackie.com for more information about this and other Mackie products. 3
We know you cant wait to get the show on the road. Who has time to read a booooring manual? Thats fine the DFX Mixer is designed to set up quickly and operate intuitively but please, read the Safety Instructions on page 2, and then read these two pages! First you will zero the console, then make the connections, set the levels and tweak the mix.
1. ZERO THE CONSOLE:
1. Turn everything off, including the mixers POWER switch and PHANTOM POWER switch. 2. Turn down the channel strip GAIN, AUX 1 and AUX 2 knobs, and faders. 3. Center the channel strip EQ and PAN controls. 4. Push the channel strip MUTE switches down.
5. Set the channel strip LOW CUT switches up. 6. Center the STEREO GRAPHIC EQ sliders. 7. Turn down the MASTER AUX SEND knobs, and the AUX RETURN faders. 8. Turn down the MAIN MIX faders. 9. Now you are ready to make the connections, see the next page.
Zeroing the console 4 Key to the control settings
2. MAKE THE CONNECTIONS:
1. Connect your amplifiers outputs to your speaker inputs (unless, of course, you have powered monitors). 2. Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 3. Using XLR or 1/4" TRS cables, make connections from your mixers MAIN OUT to your amplification systems line inputs. 4. Make connections from your microphones and instruments to the mixer: Connect balanced microphones to the mono channel MIC jacks. (For condenser microphones, engage the PHANTOM POWER switch, located just above the meters). Connect line-level instruments (synthesizers, guitar effects, direct boxes) to the mono or stereo channel LINE IN 1/4" TRS jacks. 5. ZERO THE CONSOLE as shown on the previous page. 6. Turn all the power switches on, leaving the amplifiers switch for last. 7. Turn up the MAIN MIX faders to the 30 label, for now. Well crank it later on. 8. Now you are ready to set the levels:
4. 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 faders 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 channel EQ instead. 6. Use the channel AUX 2/EFX knobs to send signals to the EMAC internal effects processor (and to any external effects processor you might have). Then adjust the AUX 2/EFX RETURN fader and experiment with adding some effects to your main mix. 7. If you are playing into the CD/TAPE input, try using the VOCAL ELIMINATOR to hear its effect on centered vocals and start up a bit of audience mass-Karaoke. 8. Depending on how much time youve got, keep tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking.
3. 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 control until the adjacent LEVEL SET LED starts a-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. Check that the channels OL LED does not come on. If it does, reset the GAIN and adjust the EQ if required. 7. Repeat steps 1 through 6 for the remaining active channels. 8. Stop making noise. Everyone: start making music. 9. Now you are ready to tweak the mix:
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. Change your engine oil every 3,000 miles and rotate your tires for even wear. Dad would be proud of you. Save the shipping box and packing material! You may need them someday, and you probably dont want to have to pay for that again.
Thank you for choosing a Mackie Designs DFX 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: 2 or 4 mono channels, with: Variable input gain (0 to +50 dB mic, 20 to +30 dB line) Phantom power (globally switched) Level Set gain-setting indicator LED XLR microphone input jack 1/4" TRS line input jack 1/4" TRS insert jack Switchable 75 Hz low-cut filter Pre-fader aux (monitor) send Post-fader aux (effects) send 2-band EQ Pan control Mute switch Overload warning LED 60mm mono fader 2 mono-mic / stereo-line channels, with: Variable input gain (0 to +40 dB mic, 20 to +20 dB line) Level Set gain-setting indicator LED XLR microphone input jack Left and Right 1/4" TRS line input jacks Pre-fader aux (monitor) send Post-fader aux (effects) send 2-band EQ Pan control Mute switch Overload warning LED 60mm stereo fader The DFX12 also includes: 2 stereo-line channels, with: Variable input gain (20 to +20 dB line) Level Set gain-setting indicator LED Left and Right TRS line input jacks Pre-fader aux (monitor) send Post-fader aux (effects) send 2-band EQ Pan control Mute switch Overload warning LED 60mm stereo fader Comprehensive master section, with: Two 60mm main mix faders (L, R) Balanced XLR stereo main outputs Balanced TRS stereo main outputs 12-segment stereo LED metering 5-band stereo graphic EQ with main mix/ monitor switch and bypass switch EMAC 32-bit digital stereo effects with footswitch bypass, and Level Set LED Aux 1/monitor send with level control Aux 2/effects send with level control Effects-to-monitor control Two 60mm stereo aux return faders with mute switches Break switch for intermissions RCA Tape output RCA CD/Tape input Vocal Eliminator circuit for CD/Tape Master +48 V phantom power switch with LED indicator Headphone output with level control Power LED indicator
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.):
Date of purchase:
Part No. 0000318 Rev. D 09/Mackie Designs Inc. All Rights Reserved.
Microphones 1-4 Active Monitor Mono in/Stereo out Reverb (optional)
Active Speakers (SRM450s)
Reverb (optional) Compressor
Headphones Tape Player Drum Machine DAT Recorder Foot Switch
DFX12 Small Club Gig
Passive Monitor (C300)
Mono in/Stereo out Reverb (optional)
SR1530 Active Speakers
Compressors (optional) Laser Disc /DVD Player CD/DVD Player Routed through Vocal Eliminator
DFX6 Karaoke set up
PATCHBAY (the intro and the outro)
This is where everything gets plugged in: microphones, line-level instruments, effects devices, and the ultimate destination(s): PA system, monitors, headphones, and tape recorder, etc.
The DFX Mixer is equipped with rugged, low noise, phantom-powered microphone preamplifiers, providing up to 50 dB of pounding crystal-clear amplification. Their balanced circuitry rejects all manner of extraneous interference. Professional condenser, dynamic, and ribbon mics all sound excellent through these XLR inputs. You can plug in almost any kind of balanced mic that has a standard XLR-type male mic connector.
2. LINE IN (FOR MONO CHANNELS)
These inputs can accept 1/4" TRS balanced and 1/4" TS unbalanced plugs from any linelevel instrument, effects device, or tape player. The line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven by virtually any line-level signal.
SLEEVE SLEEVE TIP
1/4" TS (Tip-Sleeve) unbalanced wiring: Tip = hot (+) Sleeve = shield
RING SLEEVE SLEEVE RING TIP
COLD 3 HOT
SHIELD COLD HOT
RING TIP SLEEVE
XLR balanced wiring: Pin 1 = shield Pin 2 = hot (+) Pin 3 = cold () The DFX Mixers provide +48 VDC phantom powering on pins 2 and 3 of all the mono channels XLR MIC inputs (not the stereo channels). This can be turned on or off using the PHANTOM POWER (31) switch on the right side of the mixer. DO NOT connect a linelevel device to a MIC input with the phantom power switched on. This could damage the device. Use the LINE IN (2, 3) jacks instead.
RCA unbalanced wiring: Tip = hot, sleeve = shield When connecting a mono device (just one cord), youll need a Y-splitter RCA adapter. It turns a mono output cord into two cords; so both the left and right tape input jacks can be used. This adapter is widely available. Note: There is a chance of feedback if you have the ins and outs connected to the same recorder, and it is in record mode.
15. POWER SWITCH
Push the side of the switch labeled ON to turn the mixer on; you should see the POWER LED (30) glow in confirmation on the top right of the mixer. To turn the mixer off, push the switch the other way. As a general rule, turn the mixer on first, before any amplifiers or powered speakers, and at the end of a show, turn it off last. This will prevent any turn-on or turn-off thumps being heard in your speakers.
12. TAPE OUTPUT
Use these jacks to capture the entire performance to tape. The signal at these jacks is the main mix, but it is not affected by the position of the MAIN MIX (34) faders. If you find that the output to tape is quite low in level, but your main speaker sound levels are good, you might try turning down the
The channel strips are independent of each other, and allow you to adjust, tweak and otherwise beautify the sound coming from your different microphones, guitars and other instruments. The Faders and Pans let you adjust how much of each channel is sent to the main mix. The Auxes let you adjust how much of each channel goes to your stage monitors or out to external or internal effects. The channel strips come in two flavors: Mono and Stereo. In addition, the DFX12 has two line-level-only stereo channels.
18. LOW CUT
The LOW CUT circuit, often referred to as a high-pass filter, cuts the bass frequencies below 75 Hz at a rate of 18 dB per octave. We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, or bass-heavy synth patches. LOW CUT can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power.
2-BAND CHANNEL EQ
The DFX Mixers use shelving equalization. This boosts or cuts all frequencies past a specified frequency. For example, turning the LOW EQ (20) knob clockwise will boost the bass frequencies at 80 Hz and below. Although you can bring sound to life with proper EQ, you can also mess things up. If you max the EQs on every channel, youll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost. Adjusting the channel EQ will affect your main mix and the AUX 2/EFX (8) output, but not the AUX 1/MON (7) output.
If you havent already, please read SET THE LEVELS on page 5. The GAIN control adjusts the input sensitivity of the mic and line inputs on each channel. This allows signals from the outside world to be adjusted to optimal internal operating levels. Through the mono channel MIC (XLR) inputs, there is 50 dB of gain fully up. For stereo channel MIC inputs, this is +40 dB. Through the mono channel LINE IN (TRS) inputs, there is 20 dB of attenuation fully down and +30 dB of gain fully up, with a U (unity gain) mark halfway up. The stereo channel LINE INs have a maximum gain of +20 dB. Having 20 dB of line-level attenuation can be very handy when you are injecting a signal that is very hot, or when you want to add a lot of EQ boost, or both. Without this pad, it would be very difficult to control the line signal and might lead to channel clipping.
27. STEREO GRAPHIC EQ
This equalizer is used to shape the frequency spectrum of the main mix or monitor mix. It is the last thing in the signal chain before the MAIN MIX (34) faders and the MAIN OUT (5) jacks. Each EQ slider controls a different section of the audio frequency range. Moving a slider up or down will boost or cut the output levels of signals around the sliders center frequency. By setting all the EQ sliders to zero (center) youll effectively remove it from the signal path. The following steps show how the equalizer can be used to reduce feedback: 1. Set the EQ sliders to zero (center) while the band plays on. 2. Set the channel GAIN (16) levels, using the LEVEL SET LED (17) and adjust the channel faders for a nice mix. 3. Slowly turn up the MAIN MIX (34) faders until feedback just begins to occur. BE CAREFUL! Feedback can occur quickly and become very LOUD, very fast. 4. Cut the appropriate EQ slider until the feedback stops. Here are some general suggestions on using the EQ: For better vocal sound, set the 250, and 12K 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 3.5K slider to +5. To warm up the overall sound, set the 1K slider to 5. REMEMBER, LESS IS BETTER.
28. MAIN/AUX 1 EQ SWITCH
This switch allows you to add EQ either to your main mix, or to your monitors. In the UP (MAIN) position, the EQ (27) only affects the main mix, phone or tape outs. In the DOWN (AUX 1) position, the EQ only affects the AUX SEND 1/MON (7) output; with no effect on the main mix, phone or tape outs.
29. BYPASS EQ SWITCH
Use this switch to quickly compare the effect of your EQ settings. In the UP position, the EQ (27) section is in line with the signal path, (either main mix or monitor, depending on the position of the MAIN/AUX 1 (28) switch). In the DOWN position, the EQ section is bypassed and has no effect on any outputs.
The meters display the level of the main mix, after the MAIN MIX (34) faders. You can get a good mix with the meters peaks flashing anywhere between 20 and +8 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 +8. If your meters are too high, you will get distortion. If they are too low, then your signal/ noise will suffer. Use the meters to help you adjust the mixer for optimum performance without distortion or noise, then you can adjust your amplifiers for good overall volume.
The DFX Mixers metering system is made up of two columns of twelve LEDs each, with thresholds ranging from 30 dB up to CLIP. The 0 dB LEDs correspond to an output level of +4 dBu (=1.23 V). The CLIP LEDs turn on when the output reaches +20 dBu. There is a fair margin of safety before actual clipping distortion occurs, but you should turn things down if you see it come on.
36. BREAK SWITCH
Engage the BREAK switch (as in take-abreak) and the entire main microphone mix is switched off. The CD/TAPE (11) input is still active, so you can play your intermission CDs or tapes through the main outputs. On the DFX12, line level inputs 9 and 10, 11 and 12 are also still active, and are summed with the CD/ TAPE input. During an intermission, you could play keyboards or a second tape deck into these line inputs. BREAK acts as a master mute switch for your microphones, so it is useful when moving microphones around on stage. It does not mute the AUX 1 (7) or AUX 2 (8) outputs, so turn down the master AUX SEND (41, 38) knobs if desired.
37. VOCAL ELIMINATOR SWITCH
This switch allows you to eliminate the vocals from any CD or Tape selection playing in the CD/TAPE (11) inputs. In the UP position, the CD or Tape signals are not affected. In the DOWN position, any vocals which are centered in the normal stereo image will be attenuated. The circuit design uses phase cancellation of the vocal frequency range between the left and right channels. The effect is most noticeable on music material which has the vocals panned dead center.
38. AUX 2/EFX SEND
Effects send signals are derived by each channels AUX 2/EFX (22) control, summed together, then sent through this master control. It allows you to simultaneously adjust the signal levels out to the AUX 2/EFX SEND (8) output, and to the EMAC effects processor. Turned fully up, it provides 6 dB of gain, U is unity gain, and fully down is off. Use the individual channel AUX 2/EFX controls to adjust the amount of each channels signal you want to go to the AUX 2/ EFX SEND or EMAC. Then use this master control to make sure the EMACs LEVEL SET LED (39) never lights more than occasionally.
39. LEVEL SET LED
This indicates when the EMAC is 6 dB below clipping. Just like the channel LEVEL SET LEDs (17), this should only light occasionally. If it blinks frequently, you should turn down the AUX 2/EFX SEND (38) control a little. If this LED never blinks, then turn the control up.
Assuming you have your basic mix up and running, turn up the AUX 2 /EFX (22) controls on each channel. This feeds individual amounts of channel signals to the EMAC. Set the master AUX 2 /EFX SEND (38) control so the EMACs LEVEL SET LED (39) blinks occasionally. Turn up the AUX 2/EFX (40) fader and you should be hearing the effects. Next, goof around with the various Preset Selects (45) to listen to their effect. When you find an effect you like, jot it down, then goof around some more. To bypass these effects, engage an optional foot switch connected to EFX FOOT SWITCH (13). To send these effects to the stage monitors, turn up the EFFECTS TO MONITOR (42) knob.
42. EFFECTS TO MONITOR
Typically, this control is used to add effects to the stage monitors. Any effects sent to the monitors are the same as in the main mix, except for the level, and they are summed mono. The effects level sent to the monitor mix is not affected by the AUX 2/EFX RETURN (40) fader, so the monitors and main mix effect levels can be set independently. Turned fully up, this control provides 6 dB of gain, and U is unity gain. Turn it fully down for no effects sent to your monitors. This control is similar to each channels AUX 1/MON (21) control, except it adds the effects (summed mono) to the monitor mix, rather than adding a channel signal.
43. AUX 1 RETURN FADER and MUTE
Any signals going into the AUX 1 RETURN (9) jacks from an external processor pass through the MUTE switch and then to this stereo fader. This is like a channel fader, except it is adding the signal from an external device to the main mix, rather than adding a channel signal. Turned fully up, it provides 10 dB of gain, U is unity gain, and fully down is off.
44. BYPASS LED
This LED will come on when the EMAC circuit is bypassed by use of an external footswitch. The bypass affects only the internal EMAC effects, not any external effects processor you may have connected to the AUX 2 RETURN (10) jacks.
45. PRESET SELECT
Rotate this detented switch to select any of the following preset effects:
The reverbs are designed to provide a wide variety of reverb sounds for vocal and instrument applications. In the following description, tail refers to the reflections that follow the initial sound event, also referred to as decay range. Pre-delay is the amount of time between the initial sound event and the first reflection. REVERSE: Standard reverse reverb, simulating a tail-first effect increasing to the original note. GATED: Standard gated reverb, where the reverb tail is cut off sharply after the preset decay length. CATHEDRAL: Dense, smooth reverb with very long tail, long pre-delay, and late reflections. Tails are very warm with some additional highend reflections imitating the stone walls of a cathedral. A very dramatic effect that works well with wind instruments such as flute, slow finger picking on acoustic guitar, and quiet vocal group harmony and choirs. Also works well with keyboards. LG. HALL: Dense, smooth reverb with long tail, long pre-delay, and some early reflections. Tails are warm with more apparent high end. Works well with vocals and electric and acoustic guitar.
MD. HALL: Dense, smooth reverb with normal tail, normal pre-delay, and increased early reflections. Tails are warm with more apparent high end. Works well with vocals and electric and acoustic guitar. LG. PLATE: Good early reflections and no pre-delay. Tails are normal and warm with strong high end for increased presence. Perfect for vocals and snare. MD. PLATE: Good early reflections and no pre-delay. Tails are short and warm with strong high end for increased presence. Perfect for tight vocals and snare. SM. ROOM: Reverb featuring very fast and scattered early reflections with a short pre-delay. Tails are very short and warm with normal high-end imitating absorbent wall materials and audience. Good for tight vocal effects. SPRING: Mimics the vintage 60s-style wet spring reverb effect. Tails are normal with strong high end and a slight waver imitating the slow flutter of the mechanical spring system. Very good with acoustic guitar.
There are four delays available with one, two, three, and four repeats: DELAY 1: One repeat. Works best for slapback delay used in country and swing guitar, and for rockabilly and some country vocals. DELAY 2: Two repeats. Provides a fuller, more dramatic effect for rock and gospel vocals, acoustic guitar, and wind instruments such as flute. Especially effective for some finger-picking styles. DELAY 3: Three repeats. An excellent delay for slow, bluesy vocals and melodic flute music. This delay usually works best when the channel EFX send is set at less than halfway. DELAY 4: Four repeats. This is for very dramatic delay effects, particularly for enhancing long vocal notes and dramatic instrumental note-chopping effects. Be sure to set the channel EFX send at about halfway.
These include Chorus, Flange, and Phaser, and are generally used for enhancement of instrumental music. However, Chorus adds a dramatic effect to vocals as well. CHORUS: Provides a soft, ethereal sweeping effect. Perfect for enhancement of electric and acoustic guitar and bass. It also adds a dramatic effect to vocals, particularly group harmonies and choirs. The channels AUX 2/EFX should be set halfway or higher. FLANGE: Creates a strong sweeping effect, particularly effective on rock electric guitar, lead and rhythm. The channels AUX 2/EFX should be set halfway or higher. PHASER: This effect is perfect for enhancing strummed acoustic guitar or electric guitar power chords. The PHASER effectively duplicates the popular 70s phase shift effect used for guitar.
The following effect ideas did not quite make the grade: ELEVATOR: Each musical selection is carefully stripped of its lyrics, passed through a true mono, house band simulator and emerges as a piece even its own songwriter would not recognize or sue you for. The intermingled bing at each floor, will have you facing the walls, looking up at the ceiling, and avoiding all eye contact in your own living room. DAD: When musical passages increase in volume, they reach a certain trigger point (dad-threshold) at which point, irate male vocals containing the words: turn it down! can be faintly heard coming from downstairs, even if you dont have a downstairs, followed by the sound of a broom handle banging on the virtual ceiling. Additional settings include the terms: if I have to come up there! and you long haired hippy! complete this sound effect suite. PUNK: This will turn all of your favorite lyrics into something shouted loudly and out of key, about teenage rebellion from not being all that good at school, not having an easy job that pays good money, or not ever having a girlfriend who was very nice to you.
APPENDIX A: Service Info
Details concerning Warranty Service are spelled out in the Warranty Card included with your mixer. If its missing, please let us or your dealer know. If you think your DFX Mixer has a problem, please do everything you can to confirm it before calling for service. Doing so might save you from the deprivation of your mixer and the associated suffering. These may sound obvious to you, but theres some things you can check. Read on.
Service for DFX mixers sold in the USA is available 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. This is very important. When you call for the RA number, please let Tech Support know if you need new packaging. Do not use packing peanuts or any small packing pieces which could get inside the mixer. Always wrap it in a plastic bag. 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 three to five business days. Ask Tech Support for the latest turn-around times when you call for your RA number. The mixer MUST be packaged in its original packing box, and must have the RA number on the box. Once its repaired, well ship it back the same way in which it was received. This paragraph does not necessarily apply to non-warranty repair.
Is the channel Fader turned up? Is the MUTE switch on? On mono channels, try unplugging any INSERT devices. Try the same source signal in another channel, set up exactly like the suspect channel.
Are the MAIN MIX faders turned up? If its one of the MAIN OUTs , try unplugging 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.
Turn the channel Faders , AUX RETURN and AUX SEND controls down, one by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is.
Our favorite question: Is the POWER switch on? Are all the lights out in your building? If the POWER LED is blinking, switch the mixer off for a few seconds, and disconnect all connections except the linecord. Switch it back on, and if the LED continues to blink, the mixer may need repair.
APPENDIX B: Technical Info
Specifications DFX6, DFX12
Mic Input to any Main output (GAIN at 0 dB): +0, 1 dB, 16 Hz to 30 kHz
Maximum Voltage Gain
Mic Input to Insert Output: Tape Output: Main Output: Aux Send: Line Input to Insert Output: Tape Output: Main Output: Aux Send: Stereo Line Input to Tape Output: Main Output: Aux Send: Tape Input to Main Output: Effects Return to Main Output: 50 dB 60 dB 76 dB 85 dB 30 dB 40 dB 56 dB 66 dB 20 dB 40 dB 50 dB 22 dB 22 dB
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 Input: 3 k, balanced Line Input: 40 k, balanced Insert Input, Stereo Line Input, Tape Input, and Effects Returns: 10 k, unbalanced
MACKIE HOOK-UP GUIDE
OUR [IN]FAMOUS PRODUCT HOOKUPS IN BYTE-SIZED MORSELS
Copyright 2002 Mackie Designs Inc. All Rights Reserved.
PRINTING NOTE: These pages were built 21cm wide (8.26in) by 27.94cm (11in) tall to accommodate the printers of both our North American users and our users around the globe. This PDF will print at 100% on both Letter sized and A4 sized paper (with room in the left margin for hole punching).
Hello and welcome to one of many downloadable web editions of Mackies Product Hook-Up Guide. Since 1992, weve been including these helpful connection maps in our In Your Face product guides, and weve been urged to continue doing so because theyre so gosh-darned helpful. Now, weve split our hook-ups into product famlies, and made them available to you over this new-fangled Internet thingy that everyone is talking about these days. There will be documents that cover hooking up our compact VLZ PRO Series, Analog 8Bus Series consoles, CFX Series effects mixers, DFX Series compact effects mixers, the D8B digital console, the HDR24/96 hard disk recorder, PPM Series powered mixers, the FR Series ampliers, SR Series front-of-house mixers, and our Active loudspeakers. Inside youll nd lots of useful information most likely your questions will be answered here. We realize that theres no possible way to cover every single question or application in so few pages because new ways to use Mackie products are invented every day. You may come up with some ideas on how to do what you want by looking at the various diagrams weve included here. Keep in mind that a good half of the battle in hooking up our products is having the proper connections. Check the cables n plugs that you already have with the diagrams on the next page. We know it may look boring, but one of these drawings could save your life. Well, maybe not your life, but probably a lot of weeping and sorrow. And dont forget to check out the tech tips/FAQs document also available for download on the web at www.mackie.com/techsupport
If you dont nd the answers youre after, then why not give our mighty Tech Support gang a call? These folks have tons of experience in the real world, and theyve got lots of equipment and mixers at their beck and call. Theyre aching to share their knowledge with you. (And calling them would be a very humanitarian thing to do theyre located in the dank sub-basement of our building and they rarely get visitors. Your call just may be the one that keeps their spirits alive.) Call Mackie Tech Support toll-free (in the U.S.) at 800-258-6883 (Monday through Friday, 7 AM to 5 PM Pacic Time) with any Mackie productquestion you can conjure. Put them through the wringer! We encourage it. Incidentally, the Mackie Product Hook-Up Guide (Web Editions) were put together from within the connes of the Mackie Digital Mosh Pit located on the second oor near the Area Of Refuge by the well-meaning, super-preening Mackie Macintosh Department. We used Adobe InDesign, Illustrator, Photoshop, and Acrobat on a number of suped-up big daddy Macs. Oh yeah: Copyright 2002 Mackie Designs Inc. All Rights Reserved. The following are trademarks or registered trademarks of Mackie Designs Inc.: MACKIE., the Running Man gure, VLZ, XDR, D8B, HUI, CFX Series, FR Series, and HR Series.
A VISUAL GUIDE
TS Plug (mono)
COMMON PRO AUDIO PLUGS AND CONNECTORS
KNOW YOUR PLUGS
Standard mono/unbalanced phone plug used for most mixer connections.
TRS Plug (stereo)
Standard XLR microphone connector to be used with mic-level.
Standard stereo/balanced phone plug used for balanced connections on Mackie mixers. Tape deck connections on most Mackie mixers.
Insert Y Cable
The Y Cable is used for connecting serial effects devices, such as graphic equalizers or compressors, to a Mackie mixers Channel or Bus insert jacks. On one end is a standard Tip-Ring-Sleeve stereo plug. Its tip and ring are wired to separate mono Tip-Sleeve plugs. Note that the RING of the TRS plug (A) is actually wired to the TIP of one of the mono TS plugs (B). If you insert a TS (mono) 1/4" plug only partially (to the first click) into an insert jack, the plug will not activate the jack switch and will not break the insert connection in the circuit (thereby allowing the channel signal to continue on its merry way through
the mixer). See (C) in Insert Points below. Partial insertion allows you to tap out of the channel or bus circuit at that point in the circuit without interrupting normal operation. If you push the 1/4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel or bus circuit. See (D) in Insert Points above. Note: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal of the mixer.
TS Plug (mono) Direct out with no signal interruption to master. Insert only to first click. TS Plug (mono)
You may notice these effects unit hookups (Figure A) throughout this applications guide. These hookups utilize the Insert "Y" Cable (explained on the facing page).
Direct out with signal interruption to master. Insert all the way in to the second click. TRS Plug (stereo) For use as an effects loop.
(TIP = SEND to effects RING = RETURN from effects)
Figure B is a closeup of Figure A. The two colors represent the input and output traveling the length of the "Y" cable. The dotted line represents the two signals travelling alongside one another.
SET IT UP, AND GO!
DFX PRO VLZSERIES
CHANNEL INSERTS CHANNEL INPUTS R R
DFX 12 KAROKE
Laser Disc Player
STEREO AUX RETURNS 2 1
CD Player routed through Vocal Eliminator
Mono in/Stereo out Reverb Active Monitor (SRM450)
SA1530 Active Monitors
L L CD/TAPE IN TAPE OUT
CHANNEL INSERTS CHANNEL INPUTS R R R R
(MONO) (MONO) (MONO) (MONO)
DFX 12 REHEARSAL ROOM
Guitar Bass Mono Effects
Drum Machine Cassette Player
Active Monitors (SRM450s)
L L L CD/TAPE IN TAPE OUT
DFX 12 SMALL CHURCH
STEREO AUX RETURNS 1 2
SA1521 Active Monitors
R R R R
DFX 6 DJ SET UP
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