Mackie Musical Instrument CFX SERIES User Manual
CFX SERIES  
OWNER’S MANUAL  
AND WARRANTY REGISTRATION  
12, 16, AND 20-CHANNEL  
MIC/LINE MIXERS  
WITH DIGITAL EFFECTS  
CAUTION  
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT  
SERIAL NUMBER  
MANUFACTURING DATE  
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.  
CFX12 MIXER  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.  
AVIS: RISQUE DE CHOC ELECTRIQUE  
—
NE PAS OUVRIR  
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER  
REPLACE WITH THE SAME TYPE FUSE AND RATING.  
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE  
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.  
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE  
STEREO  
PLUG  
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC  
ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE", "EMAC", AND THE "RUNNING MAN" FIGURE  
•
WOODINVILLE  
•
WA  
•
USA  
•
MADE IN CHINA  
•
FABRIQUE AU CHINE  
•
COPYRIGHT ©1998 THE FOLLOWING  
•
MONO PLUG  
•
PATENT PENDING  
INSERT ALL THE WAY IN TO  
THE "SECOND CLICK"  
TIP OUT TO EFFECTS DEVICE  
RING RETURN FROM EFFECTS  
POWER  
ON  
DIRECT OUT WITH SIGNAL  
INTERRUPTION TO MASTER  
FOR USE AS AN EFFECTS LOOP  
(TIP= SEND, RING RETURN)  
=
OPTIONAL USES FOR INSERTS  
120V, 50/60 Hz,  
35 WATTS  
STEREO EFX  
RETURN  
EFX SEND  
TAPE  
TAPE  
MAIN INSERT MAIN OUT  
MAIN OUT  
LAMP  
12V 0.5A  
MIC 1  
MIC 2  
MIC 3  
MIC 4  
MIC 5  
MIC 6  
MIC 7  
MIC 8  
INPUT OUTPUT  
L
R
L
L
1
1
2
L
R
S
L
L
R
R
2
R
R
EFX  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
1
1
3
4
(MONO)  
(MONO)  
LINE IN  
LINE IN  
LINE IN  
LINE IN  
LINE IN  
LINE IN  
LINE IN  
LINE IN  
L
9
11  
FOOT  
SWITCH  
LEFT  
LEFT  
2
2
RIGHT  
RIGHT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
10  
12  
R
75Hz  
SUB OUT  
UTILITY OUT  
AUX SEND  
SUB OUT  
PHONES  
1
2
3
4
5
6
7
8
9
11  
12  
U
U
U
U
U
U
U
U
U
U
10  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
ZERO  
LEVEL  
6
+50  
6
+50  
6
+50  
6
+50  
6
+50  
6
+50  
6
+50  
6
+50  
-20 +20  
-20 +20  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
-15dB +30dB  
TRIM  
TRIM  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
LOW CUT  
15  
10  
15  
10  
100 Hz  
100 Hz  
100 Hz  
100 Hz  
100 Hz  
100 Hz  
100 Hz  
100 Hz  
MASTER SEND  
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
1
AUX  
U
U
U
U
U
U
U
U
U
U
U
5
0
5
0
1
5
5
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
U
U
U
U
U
U
U
U
U
U
U
10  
15  
10  
15  
2
2
2
2
2
2
2
2
2
2
2
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
PRE FADER  
U
STEREO GRAPHIC EQ  
EFX  
U
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
E1FX  
1
CFX12 MIXER  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
(EXT)  
O O  
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O
O
+15  
O O  
+15  
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER  
U
U
U
U
U
U
U
U
U
U
PHANTOM POWER  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
E2FX  
CUSTOM 32-BIT PRECISION  
DIGITAL STEREO EFFECTS PROCESSOR  
CLIP  
(INT) RETURN MASTERS  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
(INT)  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
O O  
+15  
EFX  
2
48v  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
POWER  
STATUS  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
HI  
12k  
LEFT RIGHT  
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
-15 +15  
U
EFX 1 R+E2T0URN  
U
O
O
+15  
O
O
+15  
O
O
+15  
AUX 1  
EFFECTS TO MONITOR  
O
O
+15  
O
O
CLIP  
22  
10  
7
EFX 2  
SEND  
TO MAIN MIX  
AUX 2  
HI  
MID  
3k  
HI  
MID  
3k  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
REVERSE  
GATED  
CATHEDRAL  
LG. HALL  
MD. HALL  
LG. PLATE  
MD. PLATE  
SM. ROOM  
NORMAL  
DELAY  
DELAY  
DELAY  
DELAY  
1
2
3
4
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
600  
-15 +15  
U
-15 +15  
U
4
O
O
+20  
TAPE LEVEL  
2
LOW  
MID  
400Hz  
LOW  
MID  
400Hz  
150  
100  
1.5k FREQ  
150  
100  
1.5k FREQ 150  
1.5k FREQ  
150  
100  
1.5k FREQ  
150  
100  
1.5k FREQ  
150  
100  
1.5k FREQ  
150  
100  
1.5k FREQ 150  
1.5k FREQ  
0
CHORUS  
FLANGE  
PHASER  
SPRING  
BREAK SWITCH  
2
-15 +15  
U
-15 +15  
U
8k  
8k  
100  
8k  
8k  
8k  
8k  
8k  
100  
8k  
(MUTES ALL CHANNELS)  
U
U
U
U
U
U
U
U
4
ZERO  
LEVEL  
SET  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
7
EFX  
NORMAL  
10  
20  
30  
O
O
MAX  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
-15 +15  
PHONES LEVEL  
U
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
WIDE  
BYPASS  
0
10  
TIME  
RATE  
0
10  
0dB  
RUDE  
STEREO  
=
0dBu  
REVERBS  
DELAYS  
CHORUS/FLANGE/PHASER  
DAMPING  
DEPTH  
O
O
+10  
SOLO  
UTILITY OUT LEVEL  
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
9-10  
11-12  
SUB  
SUB  
SUB  
SUB  
1
2
3
4
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
MAIN MIX  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
1
-
2
4
LEFT  
LEFT  
LEFT  
LEFT  
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
3
-
3
-
3
-
3
-
3
-
3
-
3
-
3
-
3
-
3
-
RIGHT  
RIGHT  
RIGHT  
RIGHT  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
SOLO  
PFL  
O O  
O
O
O O  
O
O
O
O O  
O
O
O O  
O
O
O
O
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INTRODUCTION  
Thank you for choosing a Mackie Designs  
CFX™ Mixer! These compact live-sound mixers  
are designed to meet the sound reinforcement  
needs of almost any small to medium-sized club,  
meeting room, sanctuary, or outdoor gathering.  
Here’s a quick glance at all the features  
you’ve acquired:  
Comprehensive master section, with:  
•
•
•
•
•
•
•
•
•
•
Four 60mm submix mono faders  
Separate Left & Right assign for each sub  
60mm main mix stereo fader  
TRS insert jacks for main mix  
Balanced XLR stereo main outputs  
Balanced XLR mono subwoofer output  
12-segment stereo LED metering  
Mackie’s (in)famous Rude Solo Light  
9-band stereo graphic EQ (main mix)  
EMAC™ 32-bit digital stereo effects with  
footswitch jack  
8, 12, or 16 mono channels, with:  
•
Variable input trim  
(+6 to +50 dB mic, –15 to +30 dB line)  
Phantom power (globally switched)  
Zero Level gain setting indicator LED  
Switchable 100Hz low-cut filter  
TRS insert jack  
2 pre/post-fader aux sends  
2 post-fader effects sends  
3-band mid-sweep EQ  
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
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  
Pan, mute, and 1-2/3-4 busing  
PFL solo  
60mm mono fader  
12V BNC lamp socket  
2 stereo line channels, with:  
ABOUT THIS MANUAL  
•
•
•
•
•
•
•
Variable input trim (–20 to +20 dB)  
2 pre/post-fader aux sends  
2 post-fader effects sends  
4-band EQ  
Pan, mute, and 1-2/3-4 busing  
PFL solo  
Absolutely most important page:  
Before you start engineering, please read  
the “Quick Start” section on page 5. It’s a list of  
steps that will familiarize you with the CFX  
Mixer and help you set up a basic performance.  
About those blue numbers:  
60mm stereo fader  
You’ll notice numbers in blue circles, like  
this: . Every feature on the CFX Mixer has  
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. 820-104-00 Rev. C 1/02  
©2002 Mackie Designs Inc. All Rights Reserved. 
3
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CONTENTS  
SAFETY INSTRUCTIONS.........................................2  
INTRODUCTION ...................................................3  
ABOUT THIS MANUAL ..........................................3  
QUICK START ......................................................5  
APPLICATIONS DIAGRAMS....................................6  
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  
TIME/RATE .................................................19  
DAMPING/DEPTH .......................................19  
WIDE .........................................................19  
BYPASS ......................................................19  
CLIP ...........................................................19  
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 FOOTSWITCH ........................................11  
LAMP .........................................................11  
AC POWER INPUT........................................11  
POWER SWITCH ..........................................11  
POWER STATUS ...........................................11  
GENERAL PRECAUTIONS AND CONSIDERATIONS....20  
APPENDIX A: Service Info ...................................20  
Warranty Service .....................................20  
Troubleshooting ........................................20  
Repair.....................................................21  
APPENDIX B: Technical Info ..................................21  
Specifications ...........................................21  
Block Diagram ..........................................22  
Contributors and Colophon .........................23  
CFX SERIES LIMITED WARRANTY .........................23  
CHANNEL STRIP FEATURES ..................................12  
PHANTOM POWER ......................................12  
TRIM .........................................................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  
Don’t forget to visit our website at www.mackie.com  
for more information about this and other Mackie products.  
4
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1
U
QUICK START  
ZERO  
LEVEL  
6
+50  
-15dB +30dB  
TRIM  
LOW CUT  
100 Hz  
15  
10  
15  
10  
MASTER SEND  
We know you can’t wait to  
get the show on the road.  
Who has time to read a  
booooring manual? That’s  
fine — the CFX Mixer is  
AUX  
1
U
AUX  
U
5
0
5
0
1
O O +15  
U
5
5
O O +15  
U
10  
15  
10  
15  
2
2
O O +15  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
O O +15  
U
PRE FADER  
U
STEREO GRAPHIC EQ  
EFX  
designed to set up quickly and operate intu-  
itively — but please, READ THIS PAGE!  
E1FX  
1
(EXT)  
CFX12 MIXER  
(EXT)  
O O +15  
U
O O +15  
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER  
PHANTOM POWER  
E2FX  
CUSTOM 32-BIT PRECISION  
DIGITAL STEREO EFFECTS PROCESSOR  
CLIP  
(INT)  
ZERO THE CONSOLE:  
O O +15  
U
EFX 2 (INT) RETURN MASTERS  
48v  
EQ  
U
U
U
U
U
POWER  
STATUS  
1. Turn everything off, including the mixer’s  
POWER switch and PHANTOM POWER  
switch.  
HI  
12k  
LEFT RIGHT  
O O +15  
O O +15  
O O +15  
O O +15  
O O  
EFX 1 R+E2T0URN  
-15 +15  
U
CLIP  
22  
10  
7
EFX  
SEND  
2
TO MAIN MIX  
AUX  
1
AUX  
2
U
EFFECTS TO MONITOR  
MID  
REVERSE  
GATED  
CATHEDRAL  
LG. HALL  
MD. HALL  
LG. PLATE  
MD. PLATE  
SM. ROOM  
NORMAL  
DELAY  
DELAY  
DELAY  
DELAY  
1
2
3
4
4
-15 +15  
600  
O O +20  
TAPE LEVEL  
2. Channel strip TRIM AUX, EFX, and  
,
2
0
150  
100  
1.5k FREQ  
8k  
CHORUS  
FLANGE  
PHASER  
SPRING  
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  
BREAK SWITCH  
2
(MUTES ALL CHANNELS)  
U
4
ZERO  
LEVEL  
SET  
7
LOW  
80Hz  
NORMAL  
EFX  
10  
20  
30  
O O MAX  
PHONES LEVEL  
U
-15 +15  
PAN  
WIDE  
BYPASS  
0
10  
TIME  
RATE  
0
10  
0dB  
=
0dBu  
SOLO  
STEREO  
REVERBS  
DELAYS  
CHORUS/FLANGE/PHASER  
DAMPING  
DEPTH  
O O +10  
UTILITY OUT LEVEL  
RUDE  
L
R
1
SUB  
SUB  
SUB  
SUB  
centered.  
1
2
3
4
ASSIGNDOWN  
UP  
UP  
UP  
ASSIGN  
ASSIGN  
ASSIGN  
ASSIGN  
MAIN MIX  
MUTE  
6. Channel strip ASSIGN 1-2 and MUTE  
DOWN  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
dB  
10  
1
-
2
4
LEFT  
LEFT  
LEFT  
LEFT  
switches down.  
5
U
5
5
U
5
5
U
5
5
5
U
5
5
U
5
UP  
3
-
RIGHT  
UP  
RIGHT  
DOWN  
RIGHT  
UP  
RIGHT  
UP  
7. Channel strip LOW CUT  
ASSIGN 3-4 switches up.  
8. SUB 1 ASSIGN LEFT SUB 2 ASSIGN  
,
PRE FADER, and  
U
5
10  
10  
10  
10  
10  
10  
,
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
20  
30  
RIGHT down; all other SUB ASSIGN  
switches up.  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
40  
50  
60  
SOLO  
PFL  
O
O
O
O
O
O
9. MAIN MIX and SUB Faders down.  
MAKE THE CONNECTIONS:  
1. Connect your amp’s outputs to your  
speaker inputs (unless, of course, you have  
powered monitors).  
SET THE LEVELS:  
2. Plug all the sound system components into 1. Choose one of the microphones or instru-  
suitable AC outlets, properly grounded and  
capable of delivering adequate current.  
3. Using XLR or TRS cables, make connec-  
tions from your mixer’s MAIN OUT to your  
amplification system’s line inputs.  
ments you connected. Make some noise. If  
it’s a microphone, sing at your normal  
singing volume. If it’s a synthesizer, play it  
at its normal output level.  
2. While making noise, turn up that channel’s  
TRIM until the adjacent ZERO LEVEL starts  
blinking.  
4. Make connections from your microphones  
and instruments to the mixer: Connect  
balanced microphones to the mono channel 3. Disengage (up) that channel’s MUTE  
.
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.  
4. Raise that channel’s fader to unity gain  
(“ ” label). You should be hearing your  
U
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  
5. Turn all the power switches on, leaving the  
amplifier’s switch for last.  
6. Turn up the MAIN MIX Fader to the  
“–30” label, for now. We’ll crank it up later on.  
music.  
7. Turn up SUB Faders  
(“ ” label).  
1
and to unity gain  
2
5
U
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TWEAK THE MIX:  
KNOW THESE THINGS:  
1. Engage MUTE on all channels except your  
rhythm section (drums & bass).  
2. Adjust the rhythm section’s channel faders  
•
Never listen to loud music for prolonged  
periods. Please see “Safety Instructions” on  
page 2 for information on hearing protection.  
to get a good balance of levels.  
3. Un-mute the other active channels and  
•
•
•
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 amp’s routing,  
turn the amp’s level (gain) controls down,  
turn the power off, make the changes, turn  
the power back on, and then turn the level  
controls back up.  
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.  
•
•
When you shut down your equipment, turn  
off any external amplifiers first. When  
powering up, turn on the amplifiers last.  
Save the shipping box and packing material!  
You may need them someday, and you probably  
don’t want to have to pay for that again.  
6. Using channel EFX 2 (INT) and the EMAC  
EFFECTS PROCESSOR, experiment with  
adding some effects.  
7. Depending on how much time you’ve got,  
keep tweaking. Walk the room to see how it  
sounds away from your mixer. Keep tweaking.  
APPLICATIONS DIAGRAMS  
Keyboard, or other line-level input  
Left PA Speaker  
Right PA Speaker  
Stereo EQ  
Keyboard, or other line-level input  
Stereo  
Compressor  
Drum  
Guitar Effects  
Machine  
Stereo  
CD Player  
Power Amplifier  
L
L
9
5
6
7
8
10  
11  
12  
L
R
L
R
R
R
1
2
3
4
SUB OUT  
MAIN OUT  
MAIN OUT  
BAL/UNBAL  
MAIN  
TAPE TAPE  
75Hz  
L
R
CHANNEL INPUTS  
CHANNEL INSERTS AUX SENDS EFX SENDS  
INSERT  
OUT  
IN  
UTIL OUT  
BAL/UNBAL  
PHONES  
OUT  
SUB OUTS  
STEREO EFX RETURNS  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
2
1
1
2
1
2
L
R
1
2
3
4
5
6
7
8
L
L
1
2
3
4
R
R
Digital Delay  
Mono in / stereo out  
Reverb  
Stereo Compressor  
Stereo Compressor  
Stereo EQ  
Stereo  
Power Amplifier  
CFX•12 — Small Club Gig  
6
Stage Monitor  
Stage Monitor  
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Subwoofer  
Keyboard, or other line-level input  
CFX•16 — Large Club Gig or Auditorium  
using a Subwoofer  
Keyboard, or other line-level input  
Mono  
Drum  
Power Amplifier  
Machine  
Left PA Speaker  
Right PA Speaker  
Stereo EQ  
Stereo  
Direct Box  
Compressor  
Guitar Effects  
Guitar Effects  
Mono  
Power Amplifiers  
CD Player  
L
L
5
6
7
8
9
10  
11  
12 13  
14  
15  
16  
L
R
L
R
R
R
1
2
3
4
SUB OUT  
75Hz  
MAIN OUT  
MAIN OUT  
BAL/UNBAL  
MAIN  
INSERT  
TAPE TAPE  
OUT IN  
L
R
CHANNEL INPUTS  
CHANNEL INSERTS AUX SENDS EFX SENDS  
UTIL OUT  
BAL/UNBAL  
PHONES  
OUT  
SUB OUTS  
BAL/UNBAL  
STEREO EFX RETURNS  
BAL/UNBAL  
BAL/UNBAL  
2
1
1
2
1
2
L
R
1
2
3
4
5
6
7
8
L
L
1
2
3
4
R
R
Digital Multitrack Recorder  
Optional Live Recording  
Digital Delay  
Mono in / stereo out  
Reverb  
Stereo Compressor  
Stereo Compressor  
Mono EQ  
Mono EQ  
Subwoofer  
Keyboard, or other line-level input  
Mono Power Amplifiers  
Keyboard, or other line-level input  
Stage Monitor  
Stage Monitor  
Mono  
Drum  
Power Amplifier  
Machine  
Wireless  
Left PA Speaker  
Right PA Speaker  
Microphone  
Receivers  
Stereo EQ  
Direct Box  
Stereo  
Compressor  
Guitar Effects  
Guitar Effects  
Stereo  
Power Amplifier  
CD Player  
L
L
7
8
9
10  
11  
12 13  
14  
15  
16 17  
18  
19  
20  
L
R
L
R
R
R
1
2
3
4
5
6
SUB OUT  
75Hz  
MAIN OUT  
MAIN OUT  
BAL/UNBAL  
MAIN  
INSERT  
TAPE TAPE  
OUT IN  
L
R
CHANNEL INPUTS  
CHANNEL INSERTS AUX SENDS EFX SENDS  
UTIL OUT  
BAL/UNBAL  
PHONES  
OUT  
SUB OUTS  
BAL/UNBAL  
STEREO EFX RETURNS  
BAL/UNBAL  
BAL/UNBAL  
2
1
1
2
1
2
L
R
1
2
3
4
5
6
7
8
L
L
1
2
3
4
R
R
Cassette or DAT Recorder  
Digital Delay  
Stereo EQ  
Stereo EQ  
Mono in / stereo out  
Reverb  
Stereo Compressor  
Stereo Compressor  
Stereo  
Power  
Stereo  
Power  
Amplifier  
Amplifier  
Mono EQ  
Mono  
Assistive Listening  
Transmitter  
Power  
Amplifier  
CFX•20 — Church Sound Reinforcement  
with Separate Utility Mix  
Cry Room  
Nursery  
Left  
Right  
Chapel  
Stage Monitor  
7
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PATCHBAY FEATURES  
At the risk of stating the obvious, this is  
where you plug everything in: microphones,  
line-level instruments, effects, headphones  
and the ultimate destination for your sound:  
PA system, tape recorder, etc.  
These unbalanced jacks are configured thusly:  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
This plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
MIC  
SHIELD  
COLD  
HOT  
The CFX Mixer is equipped with rugged, low  
noise, phantom-powered microphone pream-  
plifiers, providing up to 50 dB of crystal-clear  
amplification. Their balanced circuitry rejects  
all manner of extraneous interference. Profes-  
sional condenser, dynamic, and ribbon mics will  
all sound excellent through these XLR inputs.  
You can plug in almost any kind of balanced  
mic that has a standard XLR-type male mic  
connector.  
1
Tip = Send (to effects device input)  
Ring = Return (from effects device output)  
Sleeve = Common ground (connect shield  
to all three sleeves)  
3
2
XLR BALANCED WIRING  
Specialty “Y” cables, developed just for these  
jacks, are widely available.  
Besides being used for inserting external  
devices, these jacks can also be used as chan-  
nel direct outputs; post-TRIM, post-LOW CUT  
,
and pre-EQ. Here are three ways you can use  
the channel INSERT jacks:  
RING  
(COLD)  
LINE IN  
TIP  
(HOT)  
The line inputs share circuitry (but not  
phantom power) with the mic preamps, and  
can be driven by balanced or unbalanced  
sources at almost any level. You can use these  
TRS inputs for virtually any signal you’ll come  
across, from –25 dBu up to +38 dBu.  
SLEEVE  
(SHIELD)  
TRS BALANCED WIRING  
MONO PLUG  
Channel Insert jack  
TIP  
(HOT)  
Direct out with no signal interruption.  
SLEEVE  
Insert only to first “click.”  
(SHIELD)  
TS UNBALANCED WIRING  
INSERT  
MONO PLUG  
This is where you connect serial effects  
such as compressors, equalizers, de-essers or  
filters. The send is low-impedance (150 ohms),  
capable of driving any line-level device. The re-  
turn is high-impedance (10k ohms) and can be  
driven by almost any device.  
Channel Insert jack  
Direct out with signal interruption.  
Insert all the way in to the second “click.”  
STEREO  
PLUG  
Channel Insert jack  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect.)  
MIC  
1
MIC  
2
MIC  
3
MIC  
4
MIC  
5
MIC  
6
MIC  
7
MIC  
8
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
BAL/UNBAL  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
LINE IN  
INSERT  
8
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EFFECTS: SERIAL OR PARALLEL?  
MAIN OUT  
Effects devices are used  
Coming in two flavors, XLR and TRS, the  
either in serial or in parallel: main output represents the end of the mixer  
“Serial” means that the  
entire signal is routed  
chain, where your fully mixed and enhanced  
stereo signal enters the real world.  
through the effects device.  
Examples: preamps, compressor/limiters,  
graphic equalizers.  
The XLR balanced outputs will add 6 dB  
when connected to balanced inputs, thereby  
elevating signal from the noise floor by that  
“Parallel” means that a portion of the signal amount.  
is tapped off to the device (usually via a mixer’s  
aux send), processed and returned (usually via  
The TRS balanced outputs offer the advan-  
tage of having no 6 dB level change to deal with,  
a mixer’s aux return), to be mixed with the origi- while still providing extraneous noise rejection.  
nal “dry” signals. Multiple signals (via multiple  
SUBWOOFER OUT  
mixer channels) can all make use of the same  
parallel effects device. Examples: reverb, digital  
delay, chorus. See diagrams below.  
The CFX Mixer has an integrated mono-  
summing 75Hz 3rd-order low-pass filter. It taps  
the left and right MAIN OUT  
signals, mixes  
Serial Device  
them into a mono signal, then removes all but  
the deepest bass information. Patch this balanced  
XLR output to a high-powered mono-summed  
amp and subwoofer (or an active subwoofer),  
and the music police will be right over.  
Insert  
Insert  
Send  
Return  
Signal Processor  
(e.g., Compressor)  
Processed  
Signal  
Dry Signal  
Parallel Device  
Aux  
Aux  
Output  
Section  
Send  
Return  
MAIN INSERT  
Signal Processor  
(e.g., Reverb)  
Wet Signal  
With nothing plugged into these jacks, the  
mix signal goes from the mix amp straight  
through to the MAIN MIX Faders . But when  
you plug a serial device into these jacks, the mix  
leaves the mixer, goes through the device and  
back into the mixer’s main mix faders.  
Mix  
Processed  
Signal  
Stage  
Channel Path  
Dry Signal(s)  
Dry Signal(s)  
STEREO LINE IN  
If you want to send your main mix through a  
compressor/limiter or similar device, these are  
the jacks for you. Since the insert is before the  
mix faders, moving the fader will not alter the  
signal strength sent to the compressor, thereby  
preserving its compression characteristics.  
These unbalanced jacks are configured the  
same as the channel strip insert jacks. See  
page 8 for wiring and usage information.  
These balanced inputs are designed for ste-  
reo 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.  
STEREO EFX  
RETURN  
EFX SEND  
TAPE  
TAPE  
MAIN INSERT MAIN OUT  
MAIN OUT  
LAMP  
INPUT OUTPUT  
12V 0.5A  
L
R
L
L
1
1
2
L
R
S
L
L
R
R
2
R
R
EFX  
1
1
3
4
(MONO)  
(MONO)  
L
9
11  
FOOT  
SWITCH  
LEFT  
LEFT  
2
2
RIGHT  
RIGHT  
R
10  
12  
75Hz  
SUB OUT  
UTILITY OUT  
AUX SEND  
SUB OUT  
PHONES  
9
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UTILITY OUT  
EFX SEND  
The stereo signal at these TRS jacks is the  
same as at the MAIN OUT , but with one  
important difference:  
The signal at these TRS outputs is post-  
fader only, so they cannot be used as  
traditional stage monitor cues. They’re in-  
tended to patch into effects device inputs;  
RING  
(COLD)  
TIP  
(HOT)  
SLEEVE  
(SHIELD)  
After the MAIN MIX Fader , the mix is  
TRS BALANCED WIRING  
sent through the UTILITY OUT LEVEL  
trol, allowing you to set levels as desired  
without disturbing the main mix level.  
con- 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 Mixer’s internal EMAC EFFECTS PRO-  
TIP  
(HOT)  
SUB OUT  
SLEEVE  
CESSOR  
inputs. If you’re using EMAC and  
(SHIELD)  
In live sound applications, these TRS jacks  
can be patched into one or two stereo amplifi-  
ers, thereby allowing you to control levels  
just one outboard processor, patch that proces-  
sor via EFX SEND 1 for independent control of  
the effects send level.  
TS UNBALANCED WIRING  
independently via the SUB Faders  
Alternatively, use the MAIN OUT  
feed the amplifiers and one stereo SUB OUT  
.
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 noth-  
to  
pair to feed a recorder.  
In studio applications, these outputs can be ing to the sound. There are exceptions, so feel  
used as four separate paths to feed four tracks free to try it both ways. If your effects device is  
of a multitrack recorder.  
true stereo all the way through, use EFX SEND 1  
to feed its left input and EFX SEND 2 to feed  
the right input.  
See ASSIGN  
and SUB ASSIGN  
for  
more information.  
AUX SEND  
STEREO EFX RETURN  
To create a stage monitor mix, with levels  
set independently from the main mix, patch  
these TRS jacks into your monitor amplifier in-  
puts. These jacks can also be used to feed the  
inputs of an effects device.  
Patch the outputs of external parallel ef-  
fects devices to these inputs.  
Note: The EFX 2 return signal is combined  
with the signal from the CFX Mixer’s internal  
EMAC EFFECTS PROCESSOR  
. If you’re  
See AUX  
information.  
and PRE FADER  
for more  
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.  
STEREO EFX  
RETURN  
EFX SEND  
TAPE  
TAPE  
MAIN INSERT MAIN OUT  
MAIN OUT  
LAMP  
INPUT OUTPUT  
12V 0.5A  
L
R
L
L
1
1
2
L
R
S
L
L
R
R
2
R
R
EFX  
1
1
3
4
(MONO)  
(MONO)  
L
9
11  
FOOT  
SWITCH  
LEFT  
LEFT  
2
2
RIGHT  
RIGHT  
R
10  
12  
75Hz  
SUB OUT  
UTILITY OUT  
AUX SEND  
SUB OUT  
PHONES  
10  
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TAPE INPUT  
EFX FOOT SWITCH  
Patch the outputs of your intermission en-  
You can connect a normally-open foot switch  
SLEEVE  
SLEEVE  
TIP  
TIP  
tertainment here. Any line-level mono or stereo to this connector to duplicate the function of  
device can be used: tape, CD player, television switch, located in the EMAC  
. Closing the switch  
the BYPASS  
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.  
audio, etc. See BREAK SWITCH  
for more  
RCA UNBALANCED WIRING  
information.  
When connecting a mono device (just one  
cord), you’ll 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.  
RING  
(RIGHT)  
TIP  
(LEFT)  
SLEEVE  
(SHIELD)  
Just like the BYPASS  
switch, this  
TRS HEADPHONE WIRING  
affects only the internal EMAC EFFECTS  
PROCESSOR and not any device plugged into  
TAPE OUTPUT  
Use these jacks to capture the entire perfor- STEREO EFX RETURN 2  
.
TIP  
(HOT)  
mance to tape. The signal at these jacks is the  
LAMP  
SLEEVE  
main mix, after the MAIN INSERT  
fore the MAIN MIX Fader . The main mix  
signal will be present at these jacks regardless any of the widely available 12VDC 0.5 amp  
but be-  
(GROUND)  
This BNC-type connector will accept almost TS FOOTSWITCH WIRING  
of the position of the MAIN MIX Fader.  
gooseneck lamps, made by Littlite® and others.  
If your work involves mixing in the back of  
dark theaters, this lamp will likely become  
PHONES  
The stereo signal at these jacks is the same your best friend.  
as at the MAIN OUT  
tant differences:  
, but with two impor-  
AC POWER INPUT  
After the MAIN MIX Fader , the mix is  
sent through the PHONES LEVEL control,  
allowing you to set levels as desired, without  
This IEC Socket is where you connect the  
supplied AC linecord to provide AC power to  
the CFX Mixer. Plug the cord into a suitable  
AC outlet, properly grounded and capable of  
disturbing the main mix level.  
When a channel’s SOLO PFL  
is engaged, delivering adequate current.  
the main mix signal at this output will be re-  
If you happen to lose the AC linecord,  
placed by the solo signal, allowing the engineer replacements are available at any office/  
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.  
computer supply store.  
POWER SWITCH  
POWER STATUS  
The POWER  
switch is located on the  
rear panel, adjacent to the AC Power Input  
. Push the side of the switch labeled “ON  
to turn the mixer on; you should see the  
Note: Please see the “Safety Instructions” on  
page 2 for information on hearing protection.  
”
POWER STATUS  
LED glow in confirma-  
tion. To turn the mixer off, push the switch the  
other way. (Let’s all say a big collective “Duh.”)  
PHANTOM POWER  
48v  
CFX12 M  
12 CHANNEL COMPACT INTEGRA  
MONO PLUG  
POWER  
STATUS  
INSERT ALL THE WAY IN TO  
THE "SECOND CLICK"  
TIP  
POWER  
ON  
RIN  
DIRECT OUT WITH SIGNAL  
INTERRUPTION TO MASTER  
FOR U  
(TIP=  
LEFT RIGHT  
OPTIONAL USES FOR  
120V, 50/60 Hz,  
35 WATTS  
CLIP  
22  
10  
7
11  
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1
U
CHANNEL STRIP FEATURES  
ZERO  
LEVEL  
6
+50  
PHANTOM POWER  
-15dB +30dB  
Through a stereo channel’s stereo LINE IN  
TRS inputs, there is 20 dB of attenuation fully  
TRIM  
Ha! We tricked you! The phantom power  
switch is not located in the channel strip sec-  
tion at all! It’s way over on the right side of the  
mixer (see graphic on previous page). We’re  
just mentioning it here since it applies to the  
channels; specifically, what type of micro-  
phones you have plugged into them.  
LOW CUT  
100 Hz  
down and 20 dB of gain fully up, with a “  
U”  
AUX  
1
U
(unity gain) mark at 12:00 (knob halfway up).  
Having 20 dB of line-level attenuation can  
be very handy when you are injecting a signal  
that is very hot, when you want to add a lot of  
EQ boost, or both. Without this “virtual pad,” it  
would be very difficult to control the signal and  
might lead to channel clipping.  
O O +15  
U
2
Push in this switch to provide phantom  
O O +15  
power to the XLR MIC  
input jacks. All of the  
PRE FADER  
U
XLR mic inputs are capable of providing phan-  
tom power. Phantom power is required to  
operate most condenser microphones (some  
condenser microphones are battery-powered).  
The CFX Series provide +48VDC phantom pow-  
ering 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 us-  
ing both condenser and dynamic mics, don’t  
worry. Phantom power will not hurt most dy-  
namic mics. Check the microphone’s user  
manual if you’re not sure.  
E1FX  
ZERO LEVEL  
(EXT)  
This handy LED, which (we hope) you al-  
ready read about in “QUICK START,” is triggered  
to glow when it receives an audio signal at or  
above 0 dBu.  
O O +15  
U
E2FX  
(INT)  
O O +15  
U
If the LED is glowing, as opposed to flicker-  
EQ  
ing, turn the TRIM  
down. If the LED is  
HI  
12k  
doing almost nothing, turn the TRIM up.  
For a more accurate method of setting trim  
-15 +15  
U
levels, please see RUDE SOLO  
(page 15),  
where a soloed signal will appear on the  
MID  
mixer’s meters  
.
-15 +15  
600  
Caution: Turn all output  
LOW CUT  
levels down before operat-  
ing this switch to avoid the  
possibility of a “pop” in  
your speakers.  
150  
100  
1.5k FREQ  
8k  
The LOW CUT switch, often referred to as a  
High Pass Filter (depends on how you look at  
it), cuts bass frequencies below 100Hz 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.  
U
LOW  
80Hz  
Connecting an external line-level device to an  
XLR input connector with the phantom power  
switched on could damage the device. We recom-  
-15 +15  
PAN  
mend using the LINE IN  
and STEREO LINE  
IN  
jacks for connecting line-level signals.  
L
R
1
TRIM  
ASSIGN  
MUTE  
If you haven’t already, please read the “SET  
THE LEVELS” portion of “QUICK START,” on  
page 5.  
TRIM 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.  
AUX  
dB  
10  
1
-
2
4
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 SEND  
5
U
5
3
-
s
. These are  
10  
If the signal originates through a mono  
more than mere effects and monitor sends:  
they can be used to generate separate mixes  
for recording or “mix-minuses” for broadcast.  
Each AUX knob’s 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 channel’s stereo sig-  
nals. For instance, on the CFX•20, channel 17  
(L) and 18 (R) mix together to feed that  
channel’s AUX send knobs.  
20  
30  
channel’s MIC  
XLR jack, there will be 6 dB  
of gain with the knob fully down, ramping to 50  
dB of gain fully up.  
40  
50  
60  
SOLO  
PFL  
Through a mono channel’s LINE IN  
input, there is 15 dB of attenuation fully down  
and 30 dB of gain fully up, with a “ ” (unity  
TRS  
O
U
gain) mark at 12:00 (knob halfway up).  
Mono Channel  
12  
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PRE FADER  
80Hz and below. “Peaking” means that only a  
selected “hill” of frequencies surrounding a  
center “hilltop” frequency is affected by the  
EQ control.  
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).  
Everything in moderation (including mod-  
eration): with EQ, although you can bring  
With this switch disengaged (up), AUX 1  
+15  
a sound to life, you can also screw things  
up. If you max the EQs on every channel,  
you’ll get mix mush, not to mention driving  
your mix levels near or beyond clipping. So  
and receive signals in post-fader mode: post-  
2
+10  
low 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  
receive signals in pre-fader mode: post-low cut,  
+5  
0
–5  
equalize subtly; use the left sides of the  
–10  
knobs (cut) as well as the right (boost).  
2
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
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  
drummer’s vocals out of the main mix by turn-  
ing his fader down, but since he still hears  
himself in the monitors, he’s happy.  
HI EQ  
Hi EQ  
This control provides up to 15 dB of  
boost or cut at 12kHz and above, and it is  
also flat at the detent. Use it to add sizzle  
to cymbals or an overall sense of transpar-  
ency or edge to keyboards, vocals, guitar,  
and bacon frying. Turn it down a little to  
+15  
+10  
+5  
0
–5  
EFX 1 (EXT)  
EFX 1, designed for feeding the inputs of  
parallel effects devices, behaves exactly like an  
reduce sibilance or hide tape hiss.  
–10  
–15  
MID EQ  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Mid EQ  
Short for “midrange,” this knob provides 15  
dB of boost or cut, also flat at the center detent.  
Midrange EQ is often considered the most  
dynamic, because the frequencies that  
AUX  
send, but it’s always in post-fader  
mode: Any changes made to the channel controls  
will affect the EFX signal. The PRE FADER  
switch has no effect on the EFX sends.  
+15  
+10  
define any particular sound are almost  
+5  
EFX 2 (INT)  
EFX 2 is identical to EFX 1 with one big dif-  
ference: In addition to feeding the EFX SEND  
jacks, it also feeds the inputs to the EMAC  
always found in this range. You can create  
as many interesting and useful EQ changes  
by turning this knob down as well as up.  
The mono channels employ a semi-  
parametric mid-sweep EQ. In addition to being  
able to set the amount of boost, you can “aim”  
that boost at a specific frequency; anywhere  
from 100Hz to 8kHz.  
0
–5  
–10  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
Low EQ  
EFFECTS PROCESSOR  
. If you’re 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  
The stereo channels employ a 2-stage fixed-  
EQ  
2
; just remember that the sends (EFX 2 (INT)  
U
frequency MID EQ HI-MID is centered at 3kHz;  
.
,
EFX 2 SEND ) and returns (TO MAIN  
) control two devices. The PRE FADER  
switch has no effect on the EFX sends;  
HI  
12k  
LOW-MID is centered at 400Hz.  
MIX  
-15 +15  
U
LOW EQ  
they’re always post-fader.  
HI  
MID  
3k  
This control provides up to 15 dB of boost or  
cut at 80Hz and below. The circuit is flat (no  
boost or cut) at the center detent position.  
This frequency represents the punch in bass  
drums, bass guitar, fat synth patches, and high-  
testosterone male singers.  
When adding boost to the channel’s 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.  
-15 +15  
U
EQ  
The CFX Mixer has low shelving, mid peak-  
ing, and high shelving EQ. “Shelving” means that  
the circuitry boosts or cuts all frequencies past  
the specified frequency. For example, boosting  
the LOW EQ knob boosts bass frequencies at  
LOW  
MID  
400Hz  
-15 +15  
U
LOW  
80Hz  
-15 +15  
GAIN  
(FADER)  
PAN  
PAN  
1-2  
INPUT  
TRIM  
LO CUT  
INSERT  
EQ  
MUTE  
3-4  
L
R
"POST"  
SIGNAL  
17-18  
PRE-POST  
AUX 1  
ASSIGN  
TO AUX 1 MASTER SEND LEVEL  
"PRE" SIGNAL  
MUTE  
AUX 2  
EFX 1  
TO AUX 2 MASTER SEND LEVEL  
TO EFX 1 MASTER SEND LEVEL  
Stereo Channel  
“Pre vs. Post” Auxiliary  
Signal Flow Diagram  
EFX 2  
TO EFX 2 MASTER SEND LEVEL  
13  
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PAN  
nal. Subtle adjustment of the channels’ fader  
positions is the key to a finely-tuned mix.  
PAN adjusts the amount of channel signal  
Typically (providing the TRIM  
correctly) the fader position will be positioned  
somewhere between 0 dB (“ ”) and –30 dB.  
knob is set  
sent, left versus right, to the SUB OUT  
(and ultimately the MAIN OUT via the  
switches). On mono chan-  
s
s
U
SUB ASSIGN  
If you have a fader set all the way up, adding  
10 dB of gain, that’s usually a sign that your TRIM  
knob is set too low. Conversely, if the fader is  
set way down, your TRIM may be set too high.  
nels, 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 channel’s  
“U” LIKE UNITY GAIN  
Mackie mixers have a “  
symbol on almost every level  
control. This “ ” stands for  
U”  
ASSIGN  
switches are engaged).  
U
With the PAN knob hard right, the signal  
will feed SUB 2 and SUB 4 (assuming the  
channel’s ASSIGN  
With the PAN knob set somewhere in be-  
tween, the signal will be shared across both  
sides of the mix.  
“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 sig-  
nals will travel through the mixer at optimal  
levels. What’s more, all the labels on our level  
controls are measured in decibels (dB), so  
you’ll know what you’re doing level-wise if you  
choose to change a control’s settings.  
switches are engaged).  
MUTE  
When you engage a channel’s mute switch,  
its signal disappears from these outputs: MAIN  
EQ  
U
HI  
12k  
OUT  
,
MAIN INSERT  
,
SUB OUT 1-4  
,
SOLO PFL  
-15 +15  
U
AUX SEND 1 & 2  
,
EFX SEND 1 & 2  
Engaging a channel’s SOLO switch causes  
this dramatic turn of events: The PHONES  
and Meters , which ordinarily receive the  
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 flashes obnoxiously to remind you that  
“you’re in solo.”  
(including the send to the EMAC EFFECTS  
). The only thing it doesn’t  
mute is the channel’s SOLO PFL switch, so  
you can audition channels, via headphones,  
without sending them to the main mix.  
MID  
PROCESSOR  
-15 +15  
600  
150  
100  
1.5k FREQ  
8k  
U
ASSIGN  
LOW  
80Hz  
Used in conjunction with the PAN  
knob,  
-15 +15  
ASSIGN determines the final destination of a  
channel’s signal. Engaging ASSIGN 1-2, for in-  
stance, sends that channel’s signal to the SUB  
The SOLO PFL signal is tapped before the  
PAN  
channel’s MUTE  
does, however, follow TRIM  
and EQ settings, making it the perfect tool  
for quick inspections of individual or multiple  
channels. The channel’s PAN  
and Fader settings have no effect on the  
and Fader  
controls. It  
,
LOW CUT  
,
1
and  
switches, the MAIN MIX Fader  
Typically, ASSIGN 1-2 will be engaged on all  
channels destined for the main mix. By config-  
uring SUB 1 and to feed the main mix, the  
2
Faders  
and, via their SUB ASSIGN  
L
R
.
1
ASSIG
MUTE  
,
MUTE  
dB  
10  
2
1
-
2
4
SOLO signal. See RUDE SOLO  
for more  
channel ASSIGN 1-2 switches become the  
equivalent of being “Main Mix” switches.  
Some channels can use ASSIGN 3-4 in-  
stead; creating a submix for a set of channels  
(all the drum channels, for instance). Then, by  
information.  
5
U
5
3
-
WARNING: Pre-fader  
SOLO taps the channel  
signal before the fader  
If you have a channel’s  
.
10  
configuring SUB 3 and  
mix, you can “ride” the SUB 3 and  
independently of the rest of the mix.  
4
to also feed the main  
fader set well below “  
U”  
4
Faders  
0  
30  
(unity gain), SOLO won’t know that and will  
send a unity gain signal to the PHONES  
output. That may result in a startling level  
boost in your headphones.  
SUB Faders  
,
SUB ASSIGN  
, and  
40  
50  
60  
SOLO  
PFL  
MAIN MIX Fader  
will explain this further.  
O
FADER  
Although the most self-explanatory item on  
a mixer, we’ll explain it anyway: The fader is  
the master level control for the channel’s sig-  
14  
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MASTER SECTION FEATURES  
We hope you’ve understood, if not memo-  
rized, the CHANNEL STRIP FEATURES you  
just read. If you’re still confused, please look  
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  
them over again before you tackle this section. trickling out, will also display 0 dB. So ... when  
Don’t worry, it’s easy to swallow as long as you  
take it a bite at a time.  
is 0 dB actually 0 dB? Right now!  
At the risk of creating another standard,  
Mackie’s 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 con-  
trols the levels of signals sent to the main  
outputs: XLR and TRS MAIN OUT . The  
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  
RUDE SOLO  
This infamous flashing LED (Light Emitting  
Diode) serves two purposes —- to remind you  
that at least one SOLO PFL  
gaged, and to let you know that you’re mixing  
on a Mackie.  
Engaging a SOLO PFL  
these features: PHONES  
PHANTOM POWER  
48v  
,
include: SUB ASSIGN  
STEREO EFX RETURN 1 and  
the EMAC EFFECTS PROCESSOR  
TAPE INPUT  
and EFX RETURN  
,
MAIN INSERT  
2
,
(including  
), and  
switch is en-  
POWER  
STATUS  
. All assigned SUB Faders  
LEFT RIGHT  
s
that are not turned  
switch affects  
and Meters  
CLIP  
22  
10  
7
fully down will appear in the MAIN MIX  
.
.
The fader, set fully up, provides 10 dB of gain. No other outputs are affected in any way.  
A “  
U
” unity gain point is just below that. When  
Although the “SET THE LEVELS” section of  
“QUICK START” (page 5) will get your level-  
4
set fully down, the main mix is effectively  
2
muted. This is the fader to pull down at the end setting tasks accomplished, using the meters  
0
of the song when you want The Great Fade-Out.  
in PFL SOLO mode lets you really tune in.  
Instead of one flickering LED, you can make  
use of the 12-segment VU display in the  
meters. How? Just engage a SOLO PFL  
switch and watch the meters.  
2
4
METERS  
ZERO  
LEVEL  
SET  
7
The CFX Mixer’s peak metering system is  
made up of two columns of twelve LEDs each,  
with thresholds ranging from –30 dB up to  
10  
20  
30  
WARNING: SOLO is pre-  
fader and taps the channel  
signal before the fader  
If you have a channel’s  
0dB  
=
0dBu  
“CLIP” (+22 dBu at the TRS MAIN OUT  
,
RUDE  
SOLO  
+28 dBu at the XLR MAIN OUT). The meters  
display the main mix, post MAIN MIX Fader  
.
STEREO  
, unless a SOLO PFL  
When a SOLO PFL  
the meters will instead display the solo infor-  
mation, at unity gain (pre channel fader ).  
Why, you ask? The meters, being a tool for the  
engineer, must display what the engineer is lis-  
switch is engaged.  
switch is engaged,  
fader set well below “U”  
MAIN MIX  
(unity gain), SOLO won’t know that and will  
send a unity gain signal to the PHONES  
output. That may result in a startling level  
boost in your headphones.  
dB  
10  
5
U
5
STEREO GRAPHIC EQ  
This equalizer, used to shape the frequency  
tening to via the PHONES  
output.  
You can get a good mix with the meter’s  
peaks flashing anywhere between –20 and +10 spectrum of the main mix, is the last thing in  
10  
dB. Most amplifiers clip at about +10 dB, and  
some recorders aren’t so forgiving either. For  
best real-world results, try to keep your peaks  
between “0” and “+7.”  
the chain prior to the MAIN MIX Fader  
and MAIN OUT XLR and TRS jacks.  
Although there is no actual bypass switch  
for the STEREO GRAPHIC EQ, by setting all  
the sliders to zero (center) you’ll effectively  
remove it from the signal path.  
20  
30  
40  
50  
You may already be familiar  
with “+4” (+4 dBu=1.23V)  
60  
O
and “–10” (–10 dBV=0.32V)  
How to find and reduce feedback:  
operating levels. Basically,  
1. Set the GRAPHIC EQ sliders to zero (center).  
what determines the operat-  
2. Set the TRIM  
levels, using the ZERO  
ing level is the relative 0 dB VU (or 0VU)  
chosen for the meters.  
LEVEL  
or SOLO PFL  
.
15  
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jacks and engage the BREAK SWITCH. In-  
stantly, the entire main mix is switched off and  
the intermission entertainment is switched on.  
Even if you just want silence during the  
breaks, this switch can act as a “Master Mute”  
switch, simply by plugging nothing into TAPE  
15  
10  
15  
10  
5
0
5
0
INPUT  
.
5
5
10  
15  
10  
15  
PHONES LEVEL  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
After the MAIN MIX Fader , the mix is  
sent through this knob, allowing you to set  
headphone levels as desired without disturbing  
the main mix level.  
STEREO GRAPHIC EQ  
CFX12 MIXER  
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER  
When a channel’s SOLO PFL  
is engaged,  
the main mix will be replaced by the solo sig-  
nal, allowing the engineer to audition channels  
without disturbing the main mix.  
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.  
U
The stereo PHONES jack  
can drive any  
EFX 1 R+E2T0URN  
U
O O  
standard headphones to very loud levels.  
Walkperson-type phones can also be used with  
an appropriate adapter.  
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.  
Note: Please see the “Safety Instructions”  
on page 2 for information on hearing protection.  
O O +20  
•
TAPE LEVEL  
UTILITY OUT LEVEL  
After the MAIN MIX Fader , the mix is  
sent through this knob, allowing you to set the  
BREAK SWITCH  
(MUTES ALL CHANNELS)  
ZE  
LEV  
SE  
levels at the UTILITY OUT  
as desired with-  
•
•
•
out disturbing the main mix level.  
O O  
MAX  
PHONES LEVEL  
U
To warm up the overall sound, set the 2K  
slider to –5.  
REMEMBER, LESS IS BETTER.  
SUB FADERS  
The typical exit for channel signals is through  
one or more sub mixes. The sub mix signal is  
first controlled by this fader, which provides 10  
O O +10  
UTILITY OUT LEVEL  
TAPE LEVEL  
You can adjust the incoming level of your in-  
termission entertainment, independent of the  
main mix level controls, via this feature. Here’s  
how: Patch the stereo device into the TAPE IN-  
dB of gain fully up, unity gain at the “  
and is effectively muted fully down.  
From here, the signal goes to two very differ-  
ent locations: SUB OUT sends the sub mix  
directly out of the mixer via its TRS jacks; and  
sends it to the MAIN MIX  
U” mark,  
SUB  
1
ASSIGN  
PUT  
. Put the device in play. Engage the  
and set the TAPE LEVEL  
knob as desired. Assuming the MAIN MIX  
Fader is set, you should hear the device.  
dB  
10  
d
SUB ASSIGN  
LEFT  
BREAK SWITCH  
Fader  
.
5
U
5
RIGHT  
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.  
BREAK SWITCH  
No, when we say BREAK SWITCH, we’re not  
asking you to break the switch, we’re offering  
you a very handy feature. When it’s 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?  
10  
Continuing the assumption made in ASSIGN  
, Subs 1 and 2 are the left-right stereo path  
20  
30  
from the channels to SUB Faders  
1
and  
2,  
40  
50  
60  
with SUB 1 carrying the left signal and SUB 2  
carrying the right. Engage SUB 1 ASSIGN LEFT  
and SUB 2 ASSIGN RIGHT, and you’re done.  
Take a look at the block diagram on page 22 —  
it’ll explain this and more, but in hieroglyphics.  
O
No problem. Just plug in your intermission  
entertainment device to the TAPE INPUT  
16  
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AUX MASTER SEND  
Aux send signals are derived by each  
ING/DEPTH  
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  
and WIDE . When you find  
channel’s AUX  
knob, mixed together, then  
sent through this AUX MASTER SEND knob.  
Turned fully up, it provides 15 dB of additional  
SWITCH  
). To send these effects to the  
stage monitor cues, turn up the EFFECTS TO  
knobs.  
gain, the center “U” mark is unity gain, and  
fully down is off.  
MONITOR  
Typically, when the talent (or lack thereof)  
wants a louder monitor mix, this is the knob to  
crank up — watch out for feedback!  
FOR THE CURIOUS:  
EMAC™ stands for Extended Multiply and  
Accumulate, which is a proprietary 32-bit digital  
stereo processor developed by our Digital Engi-  
neering Group. It provides 16 preset digital  
effects algorithms for you to select. In addition  
to the presets, there are two parameter con-  
EFX 1 MASTER SEND  
Effects send signals are derived by each  
channel’s EFX 1 (EXT)  
knob, mixed to-  
gether, then sent through this EFX 1 MASTER  
SEND knob. Turned fully up, it provides 15 dB  
of additional gain, the center “  
gain, and fully down is off.  
trols (  
) you can adjust to change the  
sound and make it unique for your particular  
application.  
U” mark is unity  
Being that this controls only post-fader  
sends destined for outboard effects devices,  
EFX 2 SEND  
This controls the signal level being sent to  
the input of the EMAC module (and to the EFX  
you’ll typically set this knob near the “  
U” mark  
MASTER SEND  
and then leave it alone.  
SEND 2  
jack). Use the EFX 2 (INT)  
AUX  
U
EFX 1 RETURN  
controls on the individual channels to adjust  
the amount of each channel’s signal you want  
to go to the EMAC. Leave EFX 2 SEND set at  
the center “U” position. If you find that you’re  
not getting enough of the effect in the main  
1
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 pro-  
vides 15 dB of additional gain, the center “  
mark is unity gain, and fully down is off.  
Being that this controls only the return sig-  
nals of external effects, with their levels  
already determined by the channels’ EFX 1  
O O +15  
U
2
O O +15  
U
mix, make sure that the TO MAIN MIX  
control is turned up at least to unity (the cen-  
ter detent position). It’s okay to turn up the  
EFX 2 SEND some more if you need to. Just  
EFX  
U”  
1
(EXT)  
O O +15  
make sure the ZERO LEVEL  
LED never  
lights more than occasionally. Read on to find  
out why.  
(EXT)  
knob, you’ll typically set this knob  
near the “U” mark and then leave it alone.  
U
TO MAIN MIX  
EMAC EFFECTS  
PROCESSOR  
FOR THE IMPATIENT:  
Set EFX 2 SEND  
and TO MAIN MIX  
Stereo signals (from  
STEREO EFX RETURN 2  
CUSTOM 32-BIT PRECISION  
DIGITAL STEREO EFFECTS PROCESSOR  
EFX 1 R+E2T0URN  
U
O O  
CLIP  
and EMAC EFFECTS  
EFX 2 (INT) RETURN MASTERS  
PROCESSOR  
) come  
U
U
U
U
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 con-  
trols only the return  
signals of external and  
at the center “U” mark.  
O O +20  
TAPE LEVEL  
O O +15  
O +15  
O O +15  
O O +15  
Assuming you have your  
basic mix up and run-  
ning, turn up the EFX 2  
EFX  
SEND  
2
AIN MIX  
AUX  
1
AUX  
2
EFFECTS TO MONITOR  
REVERSE  
GATED  
CATHEDRAL  
LG. HALL  
MD. HALL  
LG. PLATE  
MD. PLATE  
SM. ROOM  
NORMAL  
DELAY 1  
DELAY 2  
DELAY 3  
DELAY 4  
CHORUS  
FLANGE  
PHASER  
SPRING  
BREAK SWITCH  
(MUTES ALL CHANNELS)  
(INT)  
, per channel.  
ZE  
LEV  
SE  
This feeds in individual  
amounts of channel sig-  
nals to the EMAC inputs  
— you should be hearing  
the effects as you do this.  
Next, goof around  
O O  
MAX  
PHONES LEVEL  
U
NORMAL  
EFX  
O O +10  
UTILITY OUT LEVEL  
with the various param-  
eters: Preset Select  
WIDE  
BYPASS  
10  
TIME  
RATE  
0
1
REVERBS  
DELAYS  
CHORUS/FLANGE/PHASER  
,
DAMPING  
DEPTH  
TIME/RATE  
,
DAMP-  
17  
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EMAC effects, with their levels already deter-  
A very dramatic effect that works well with wind  
mined by the channels’ EFX 2 (EXT) knob, you’ll instruments such as flute, slow finger picking on  
typically set this knob near the “  
then leave it alone.  
U
” mark and  
acoustic guitar, and quiet vocal group harmony  
and choirs. Also works well with keyboards and  
drums using short decay. Decay range is adjust-  
able from 2 seconds to 10 seconds. Pre-delay set  
at 75ms.  
EFFECTS TO MONITOR  
This works just like the channel AUX  
knobs, but here, the source signal is the EFX 2  
LG. HALL: Dense, smooth reverb with long  
RETURN and the EMAC output. Typically, this tail, long pre-delay, and some early reflections.  
knob is used to add effects to the stage monitors.  
Tails are warm with more apparent high end.  
Works well with vocals and electric and acoustic  
guitar. Decay range is adjustable from 1 second  
to 5 seconds. Pre-delay set at 75ms.  
Turned fully up, it provides 15 dB of addi-  
tional gain, the center “U” mark is unity gain,  
and fully down is off.  
MD. HALL: Dense, smooth reverb with nor-  
mal 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. Decay range is adjustable  
from 750ms to 2.5 seconds. Pre-delay set at 65ms.  
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. Decay range is adjustable  
from 1 second to 5 seconds. No pre-delay.  
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. Decay range is adjust-  
able from 750ms to 2.5 seconds. No pre-delay.  
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. Decay  
range is adjustable from 250ms to 1 second.  
Pre-delay set at 30ms.  
PRESET SELECT  
Rotate this detented switch to select the  
preset effect you want to use.  
Preset Effects Descriptions  
Reverbs  
The reverbs are designed to provide a wide  
variety of reverb sounds for vocal and instru-  
ment 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.  
TIME/RATE  
controls the length of the  
tail, with the shortest tail at the position and  
the longest tail at 10  
controls the damping, with the darkest tone at  
and the brightest tone at 10. The WIDE  
0
.
DAMPING/DEPTH  
0
switch is very effective at increasing the stereo  
image of the reverb effect.  
REVERSE: Standard reverse reverb, simulat-  
ing a tail-first effect  
increasing to the original  
SPRING: Mimics the  
vintage 60’s-style wet  
CUSTOM 32-BIT PRECISION  
DIGITAL STEREO EFFECTS PROCESSOR  
note. Decay range is ad-  
justable from 35ms to  
515ms. No pre-delay.  
GATED: Standard  
gated reverb, where the  
reverb tail is cut off  
sharply after the preset  
decay length. Decay  
range is adjustable from  
35ms to 515ms. No pre-  
delay.  
CATHEDRAL: Dense,  
smooth reverb with very  
long tail, long pre-delay,  
and late reflections. Tails  
are very warm with some  
additional high-end  
spring reverb effect. Tails  
are normal with strong  
high end and a slight wa-  
ver imitating the slow  
flutter of the mechanical  
spring system. Very good  
with acoustic guitar.  
Decay range is adjust-  
able from 1 second to 5  
seconds. No pre-delay.  
CLIP  
EFX 2 (INT) RETURN MASTERS  
U
U
U
U
O O +15  
EFX  
SEND  
O O +15  
O O +15  
O O +15  
2
TO MAIN MIX  
AUX  
1
AUX  
2
EFFECTS TO MONITOR  
REVERSE  
GATED  
CATHEDRAL  
LG. HALL  
MD. HALL  
LG. PLATE  
MD. PLATE  
SM. ROOM  
NORMAL  
DELAY 1  
DELAY 2  
DELAY 3  
DELAY 4  
CHORUS  
FLANGE  
PHASER  
SPRING  
Delays  
There are four delays  
available with one, two,  
three, and four repeats.  
NORMAL  
EFX  
TIME/RATE  
the time between repeats,  
with the fastest repeats  
controls  
WIDE  
BYPASS  
10  
TIME  
RATE  
0
1
REVERBS  
DELAYS  
CHORUS/FLANGE/PHASER  
DAMPING  
DEPTH  
reflections imitating the  
stone walls of a cathedral.  
at the position and the  
0
18  
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slowest repeats at 10  
.
DAMPING/DEPTH  
able from 0.5Hz to 20Hz. Depth is adjustable  
controls the damping, with the darkest tone at from 0% to 100%.  
0
and the brightest tone at 10. Since the delay  
effect is not stereo, it is not affected by the  
switch.  
PHASER: This effect is perfect for enhanc-  
ing strummed acoustic guitar or electric guitar  
power chords. The PHASER effectively dupli-  
cates the popular 70’s phase shift effect used  
for guitar. Rate is adjustable from 0.5Hz to  
WIDE  
DELAY 1: One repeat. Works best for  
slapback delay used in country and swing gui-  
tar, and for rockabilly and some country vocals. 35Hz. Depth is adjustable from 50% to 100%.  
Delay range is adjustable from 5ms to 524ms.  
TIME/RATE  
DELAY 2: Two repeats. Provides a fuller, more  
dramatic effect for rock and gospel vocals,  
acoustic guitar, and wind instruments such as  
flute. Especially effective for some finger-picking  
styles. Delay range is adjustable from 5ms to  
524ms.  
If you have a reverb effect selected, this  
control adjusts how long the reverberation  
lasts, with being a short reverb time and 10  
0
being the longest.  
If you have a delay effect selected, this adjusts  
DELAY 3: Three repeats. An excellent delay the amount of time between the original signal  
for slow, bluesy vocals and melodic flute music. and the delayed signal, with being a short delay  
0
This delay usually works best when the chan-  
nel EFX send is set at less than halfway. Delay  
range is adjustable from 5ms to 524ms.  
DELAY 4: Four repeats. This is for very dra-  
matic delay effects, particularly for enhancing  
long vocal notes and dramatic instrumental  
note-chopping effects. Be sure to set the chan-  
nel EFX send at about halfway. Delay range is  
adjustable from 5ms to 524ms.  
time and 10 being the longest delay time.  
If you have a chorus, flange, or phaser effect  
selected, this control adjusts the rate or speed  
of the modulation of the effect.  
DAMPING/DEPTH  
If you have a reverb or delay effect selected,  
this control adjusts how fast the higher fre-  
quencies roll off in the reverberation or delay,  
with 0 having little roll off and 10 having the  
most roll off.  
Modulation Effects  
These include Chorus, Flange, and Phaser,  
and are generally used for enhancement of  
instrumental music. However, Chorus adds a  
dramatic effect to vocals as well. The WIDE  
switch is very effective at dramatically  
If you have a chorus, flange, or phaser effect  
selected, this control adjusts the depth of the  
modulation of the effect.  
WIDE  
increasing the strength and thickness of a  
modulation effect. For example, using WIDE on  
Chorus mimics a multi-voiced chorus effect.  
Depending on the effect selected, this  
switch adds more width or depth to the effect.  
Note that it doesn’t work with the DELAY and  
PHASER effects because they are monophonic.  
TIME/RATE  
controls the effect Rate,  
which is the speed of the sweeping effect. Fully  
counter-clockwise produces the slowest sweeps  
and fully clockwise produces the fastest.  
BYPASS  
Pushing in this button causes the adjacent  
EFX BYPASS indicator to light and mutes the  
effects’ output signal. It affects only the internal  
EMAC effects, not any external effects processor  
you may have connected to the STEREO EFX  
DAMPING/DEPTH  
controls the effect  
depth, which is the strength of the sweeping  
effect. Fully counter-clockwise produces the  
lightest sweeping effect and fully clockwise  
produces the thickest.  
RETURN 2  
jack.  
CHORUS: Provides a soft, ethereal sweeping  
effect. Perfect for enhancement of electric and  
acoustic guitar and bass. Also adds a dramatic  
effect to vocals, particularly group harmonies  
and choirs. The channel’s EFX 2 (INT)  
should be set halfway or higher. Rate is adjust-  
able from 0.5Hz to 30Hz. Depth is adjustable  
from 0% to 100%.  
CLIP  
This indicates when the EMAC is 6 dB below  
clipping. Just like the channels’ ZERO LEVEL  
LED, this LED should only light occasion-  
ally. If it blinks frequently, you should turn  
down EFX 2 SEND  
a little.  
FLANGE: Creates a strong sweeping effect,  
particularly effective on rock electric guitar,  
lead and rhythm. The channel’s EFX 2 (INT)  
should be set halfway or higher. Rate is adjust-  
19  
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GENERAL PRECAUTIONS AND CONSIDERATIONS  
NEVER bypass the AC  
plug’s ground pin. This is  
dangerous!  
When setting up for a show, oftentimes you  
are plugging into an AC power distribution sys-  
tem you know nothing about. You may even be  
faced with 2-wire outlets that are missing the  
third safety ground pin. It’s a good idea to have  
a three-wire AC outlet tester in your toolbox so  
you can check the outlets yourself to make  
sure they are wired correctly. These testers will  
tell you if the polarity of the hot and neutral  
wires is reversed and if the safety ground is dis-  
connected. Don’t use an outlet if it is wired  
improperly! This is to protect yourself as well  
as your equipment.  
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 trans-  
former. 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,  
If you find that you must plug into a two-  
and power the audio equipment from the other wire outlet, you will need to use a two-wire to  
leg. This will help minimize noise from the  
lights coupling into the audio (particularly if  
SCRs, or light-dimmer switches, are used).  
three-wire adapter (cheater plug). These come  
with a metal tab that you put underneath the  
center screw that holds the AC outlet faceplate  
In order to minimize ground loops, the safety in place. This center screw must be grounded.  
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.  
You can check it by connecting the adapter to  
the outlet and then plugging in your handy-  
dandy AC outlet tester.  
APPENDIX A: Service Info  
Warranty Service  
Bad Output  
Details concerning Warranty Service are  
spelled out page 23.  
•
Are the SUB ASSIGN  
correctly?  
switches set  
If you think your CFX Mixer has a problem,  
please do everything you can to confirm it be-  
fore calling for service. Doing so might save you  
from the deprivation of your mixer and the as-  
sociated suffering.  
Of all Mackie products returned for service  
(which is hardly any at all), roughly 50% are  
coded “CND” — Could Not Duplicate, which  
usually means the problem lay somewhere  
other than the mixer. These may sound obvious  
to you, but there’s some things you can check.  
Read on.  
•
•
Are the MAIN MIX Fader  
and SUB  
Faders  
turned up?  
If it’s one of the MAIN OUT  
s
, try  
unplugging all the others. For example, if  
it’s a TRS MAIN OUT, unplug the associ-  
ated XLR outputs. If the problem goes  
away, it’s not the mixer.  
If it’s 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, it’s not the mixer.  
•
Troubleshooting  
Bad Channel  
Noise  
Turn the channel Faders  
•
,
EFX 1  
RETURN  
and EFX 2 SEND  
down,  
•
•
•
Is the ASSIGN  
Is the channel Fader  
On mono channels, try unplugging any  
switch set correctly?  
turned up?  
one by one. If the sound disappears, it’s  
either that channel or whatever is plugged  
into it, so unplug whatever that is. If the  
noise disappears, it’s from your whatever.  
INSERT devices.  
•
Try the same source signal in another  
channel, set up exactly like the suspect  
channel.  
Power  
Our favorite question: Is the POWER  
switch on?  
•
20  
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Repair  
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.  
Service for the CFX Series mixers is avail-  
able only at our factory, located in sunny  
Woodinville, Washington. Service for Mackie  
mixers living outside the United States can be  
obtained through local dealers or distributors.  
If your mixer needs service, follow these in-  
structions:  
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:  
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 mixer’s serial number  
ready. You must have an RA number before  
you can obtain service at the factory.  
Mackie Designs  
SERVICE DEPARTMENT  
16140 Wood-Red Rd. NE, Ste. 5  
Woodinville, WA 98072  
8. We’ll try to fix the mixer within five  
business days. Ask Tech Support for  
current turn-around times when you call  
for your RA number. We normally send  
everything back prepaid using UPS OR-  
ANGE (three-day air). However, if you rush  
your mixer to us by Next Day Air, we’ll treat  
it in kind by shipping it back to you the  
same way in which it was received. This  
paragraph does not necessarily apply to  
non-warranty service.  
3. Keep this owner’s manual. We don’t need it  
to repair the mixer.  
4. Pack the mixer in its original package,  
including endcaps and box. This is very  
important. When you call for the RA  
number, please let Tech Support know if  
you need new packaging. Mackie is not  
responsible for any damage that occurs  
due to non-factory packaging.  
APPENDIX B: Technical Info  
Input Level Trim Control Range  
+6 to –50 dB  
Specifications  
CFX•12, CFX•16, CFX•20  
Phantom Power  
+48V DC  
Mixer Section  
Frequency Response  
Mic Input to any Output (Trim at 0 dB):  
+0, –1 dB, 32Hz to 20kHz  
Equalization  
Low Cut:  
Mono Channel EQ:  
100Hz, –18 dB/octave  
High  
Mid  
Low  
15 dB @ 12kHz  
15 dB @ 100Hz to 8kHz  
15 dB @ 80Hz  
Distortion  
THD and SMPTE IMD; 20Hz to 20kHz  
Mic Input to Main Output:  
< 0.05% @ +4 dBu output  
Stereo Channel EQ:  
High  
15 dB @ 12kHz  
15 dB @ 3kHz  
15 dB @ 400Hz  
15 dB @ 80Hz  
High Mid  
Low Mid  
Low  
Noise  
20Hz to 20kHz BW (150Ω source impedance)  
Equivalent Input Noise (EIN):  
–127 dBu  
Residual Output Noise:  
Main, Monitor, & Effects outputs  
Channel & Master levels off  
–95 dBu  
Graphic EQ (9 bands):  
Q = 1.414, ISO octave centers  
15 dB @ 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16k Hz  
Mixer Rated Output  
Main, Sub, Aux, & Efx:  
+4 dBu  
Maximum Rated Output:  
+20 dBu  
Common Mode Rejection Ratio (CMRR)  
60 dB @ 1kHz, Trim @ 0 dB  
Maximum Input Levels  
Mic Input:  
–28 dBu, Trim @ +50 dB  
+18 dBu, Trim @ +6 dB  
–8 dBu, Trim @ +30 dB  
+38 dBu, Trim @ –15 dB  
Crosstalk  
Adjacent Inputs or Input to Output:  
–90 dB @ 1kHz  
Line Input:  
Fader Off  
Insert Input, Stereo Line Input, Tape Input, and  
Effects Return: +20 dBu  
–90 dB @ 1kHz  
Mute Switch and Break Switch Mute  
–80 dB @ 1kHz  
21  
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Maximum Voltage Gain  
Input Impedance  
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:  
Mic Input:  
Line Input:  
3kΩ, balanced  
50 dB  
66 dB  
66 dB  
76 dB  
71 dB  
40kΩ, balanced  
CFX•12  
WEIGHT  
17.8 lbs.  
(8.1 kg)  
Insert Input, Stereo Line Input, Tape Input, and  
Effects Returns:  
10kΩ, unbalanced  
Output Impedance  
Main Output, Insert Output, Tape Output, Sub  
Output, and Effects Sends: 150Ω  
30 dB  
46 dB  
46 dB  
56 dB  
51 dB  
Digital Effects  
Resolution:  
Number of Presets:  
16-bit, 2-channel  
16  
CFX•16  
WEIGHT  
21.0 lbs.  
(9.5 kg)  
Channel Level Set LED (Sensitivity)  
0 dBu (normal operating level)  
40 dB  
40 dB  
50 dB  
45 dB  
VU Meters  
Main L/R  
Tape Input to  
Main Output:  
Effects Return to  
Main Output:  
5.0"/127mm  
12 segments:  
Clip, +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30  
30 dB  
30 dB  
CFX•20  
WEIGHT  
24.3 lbs.  
(11.0 kg)  
Disclaimer  
Since we are always striving to make our products  
better by incorporating new and improved materi-  
als, components, and manufacturing methods, we  
reserve the right to change these specifications at  
any time without notice.  
15.7"/399mm  
2.1"/53mm  
4.6"/117mm  
Block Diagram  
CFX Series  
SUB  
SUB  
SUB  
SUB  
1
OUT  
OUT  
OUT  
OUT  
+48 VDC  
LEFT  
ASSIGN  
PHANTOM POWER  
RIGHT  
SOLO  
ASSIGN  
INSERT  
2
3
4
TRIM  
LEVEL  
SET  
MAIN INSERT  
PAN  
TAPE OUT  
LEFT  
LO MID FREQ HI  
80 12K  
LOW CUT  
2
3
MUTE  
1-2  
1
2
3
BREAK  
1
MAIN OUT  
LEFT  
100 Hz  
HPF  
63 125 250500 1K 2K 4K 8K 16K  
LEFT  
ASSIGN  
FADER  
3-4  
MAIN  
LEVEL  
TAPE IN  
LEFT  
RIGHT  
PRE-P0ST  
ASSIGN  
AUX  
1
SUBWOOFER  
OUT  
1
MIC/LINE IN  
2
AUX  
EFX  
EFX  
2
1
TAPE  
MONO CHANNELS  
LEVEL  
75 Hz  
LPF  
3
LEFT  
ASSIGN  
2
TAPE IN  
RIGHT  
RIGHT  
SOLO  
ASSIGN  
MAIN INSERT  
MAIN  
LEVEL  
2
LO MID MID HI  
80 800 3K 12K  
1
63 125 2505001K 2K 4K 8K 16K  
MAIN OUT  
RIGHT  
BREAK  
LEFT  
3
LEFT  
ASSIGN  
TAPE OUT  
RIGHT  
1-2  
3-4  
PAN  
MUTE  
MAIN  
LINE IN  
TRIM  
STEREO  
CHANNELS  
LO MID MID HI  
80 800 3K 12K  
RIGHT  
ASSIGN  
RIGHT  
STEREO EFX  
RETURN LEFT  
1
PFL  
AUX  
AUX  
EFX  
EFX  
1
SIGNAL  
TO PHONES  
PRE/POST  
2
EFX RETURN  
1
UTILITY OUT LEFT  
UTILITY OUT RIGHT  
RUDE SOLO  
LIGHT  
1
STEREO EFX  
RETURN RIGHT  
1
2
UTILITY  
LEVEL  
+5  
VDC  
EFX SEND  
2
STEREO EFX  
RETURN LEFT  
FROM EFX  
SOLO  
OFF  
2
TO MAIN MIX  
EFX LEVEL SET  
EFX BYPASS  
SOLO CONTROL  
(ACTIVE LOW)  
SOLO  
ON  
EFX TO MAIN MIX  
PFL  
+5  
VDC  
TO LEFT MAIN  
L
PHONES  
PHONES LEVEL  
STEREO EFX  
EFX SEND  
2
RETURN  
RIGHT  
2
EFX TO AUX  
1
EFX  
SELECT  
AUX SEND  
1
BOTHELL  
MONROE  
TIME/RATE  
PFL  
WOODINVILLE  
EXIT  
SIGNAL  
TO LEFT  
METER  
EFX TO AUX  
2
AUX SEND  
1
EMAC  
DSP  
DAMPING/DEPTH  
EFX WIDE  
TO RIGHT MAIN  
AUX SEND  
EFX SEND  
2
22  
10  
7
R
4
2
0
2
AUX SEND  
EFX SEND  
2
4
7
10  
20  
30  
1
EFX  
FOOT  
SOLO  
SWITCH  
OFF  
EFX BYPASS  
1
MACKIE DESIGNS  
CFX SERIES  
SOLO  
ON  
SOLO CONTROL  
(ACTIVE LOW)  
BLOCK DIAGRAM  
(#62399CJM/DF)  
22  
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CFX SERIES LIMITED WARRANTY  
Please keep your sales receipt in a safe place.  
A. Mackie warrants all materials, workmanship and  
proper operation of this CFX Series product for a  
period of one year from the original date of  
purchase. If you complete the optional question-  
naire portion of the Product Registration Card, the  
warranty will be extended for an additional two  
years, but during the additional two years the labor  
for replacing slide potentiometers will be excluded  
from warranty coverage and may be billed to you. If  
any defects are found in the materials or workman-  
ship or if the product fails to function properly  
during the applicable warranty period, Mackie, at  
its option, will repair or replace the product. This  
warranty applies only to equipment sold and  
delivered within the U.S. by Mackie or its  
authorized dealers.  
E. Mackie reserves the right to inspect any products  
that may be the subject of any warranty claims  
before repair or replacement is carried out. Mackie  
may, at their option, require proof of the original  
date of purchase in the form of a dated copy of the  
original dealer’s invoice or sales receipt. Final  
determination of warranty coverage lies solely with  
Mackie Designs Inc.  
F. Mackie CFX Series products returned to Mackie  
and deemed eligible for repair or replacement  
under the terms of this warranty will be repaired or  
replaced within thirty days of receipt by Mackie at  
our rainforest factory complex. Products returned to  
Mackie that do not meet the terms of this Warranty  
will be repaired and returned C.O.D. with billing  
for labor, materials, return freight, and insurance.  
Products repaired under warranty at Mackie's  
factory will be returned freight prepaid by Mackie  
to any location within the boundaries of the USA.  
G. This warranty is extended to the original  
purchaser and to anyone who may subsequently  
purchase this product within the applicable  
warranty period.  
H. This is your sole warranty. Mackie does not  
authorize any third party, including any dealer or  
sales representative, to assume any liability on  
behalf of Mackie Designs or to make any warranty  
for Mackie Designs.  
I. THE WARRANTY GIVEN ON THIS PAGE IS THE  
SOLE WARRANTY GIVEN BY MACKIE AND IS IN  
LIEU OF ALL OTHER WARRANTIES, EXPRESS  
AND IMPLIED, INCLUDING THE WARRANTIES  
OF MERCHANTABILITY AND FITNESS FOR A  
PARTICULAR PURPOSE. THE WARRANTY GIVEN  
ON THIS PAGE SHALL BE STRICTLY LIMITED IN  
DURATION TO ONE YEAR FROM THE DATE OF  
ORIGINAL PURCHASE FROM AN AUTHORIZED  
MACKIE DEALER. UPON EXPIRATION OF THE  
APPLICABLE WARRANTY PERIOD, MACKIE  
SHALL HAVE NO FURTHER WARRANTY OBLIGA-  
TION OF ANY KIND. MACKIE SHALL NOT BE  
LIABLE FOR ANY INCIDENTAL, SPECIAL, OR  
CONSEQUENTIAL DAMAGES THAT MAY RESULT  
FROM ANY DEFECT IN THE MACKIE PRODUCT  
OR ANY WARRANTY CLAIM. Some states do not  
allow exclusion or limitation of incidental, special,  
or consequential damages or a limitation on how  
long warranties last, so some of the above limita-  
tions and exclusions may not apply to you. This  
warranty provides specific legal rights and you may  
have other rights which vary from state to state.  
B. Failure to return the card will not void the 1-year  
warranty.  
C. Service and repairs of Mackie products are to be  
performed only at the factory. Unauthorized service,  
repairs, or modification will void this warranty.  
D. To obtain factory service:  
1. Call Mackie at 800/258-6883, 8AM to 5PM  
Monday through Friday (Pacific Time) to get a  
Return Authorization (RA). Products returned  
without an RA number will be refused.  
2. Pack the CFX Series product in its original  
shipping carton. If you do not have the carton,  
just ask for one when you get your RA number,  
and we’ll send a shipping carton out promptly.  
More information on packing can be found in  
the Service section of the appropriate manual.  
Also include a note explaining exactly how to  
duplicate the problem, a copy of the sales receipt  
with price and date showing, and your return  
street address (no P.O. boxes or route numbers,  
please!). If we cannot duplicate the problem at  
the Mackie Factory or establish the starting date  
of your Limited Warranty, we may, at our  
option, charge for service time.  
3. Ship the product in its original shipping  
carton, freight prepaid to:  
Mackie Designs Inc.  
SERVICE DEPARTMENT  
16140 Wood-Red Road NE, Ste. 5  
Woodinville, WA, 98072, USA  
IMPORTANT: Make sure that the RA number is  
plainly written on the shipping carton.  
Contributors and Colophon  
Typesetting was performed on a Power Macintosh® 8100/  
100AV using Adobe® PageMaker® 6.5. Illustrations were cre-  
ated using Adobe® Illustrator® 7.0. Fonts used include ITC  
Century Light Condensed, Avenir Roman, and Tekton. Sub-  
headings were made with Futura Condensed. Font management  
provided by Adobe® Type Manager® Deluxe 4.0 and Type  
Reunion® Deluxe 2.0.  
Manual composed by Jeff Gilbert, the original 10-year  
Mackoid (not counting Greg, of course). It was created in just 3  
hours, using a mascara pencil applied to cocktail napkins in the  
back booth of a diner in Bothell WA. He then borrowed snippets  
of text found lying on the floor of Mackie’s Engineering and Ad-  
vertising departments and pasted them in, using cat saliva. It  
was really quite disgusting, so he turned it all over to Dave  
Franzwa, a REAL technical writer, to gussy it up.  
Additional input provided by Paul Larson, Tech Support  
guru, Rick Bos, CFX Series Product Manager (and tall, cool  
guy), and CJ Murray, project engineer. Proofreading provided  
by honorary Mackoid Linn Compton.  
“Mackie.,” the “Running Man” figure, “CFX,” and “EMAC” are  
trademarks or registered trademarks of Mackie Designs Inc.  
All other brand names mentioned are trademarks or regis-  
tered trademarks of their respective holders, and are hereby  
acknowledged.  
23  
©2002 Mackie Designs Inc., All Rights Reserved.
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Some of the  
people at our  
®
factory who helped  
design, build, sell,  
and support your  
product.  
®
™
®
Mackie Designs Inc.  
16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA  
US & Canada: 800/898-3211  
Europe, Asia, Central & South America: 425/487-4333  
Middle East & Africa: 31-20-654-4000  
Fax: 425/487-4337 • www.mackie.com  
E-mail: [email protected]  
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