DFX SERIES
OWNER’S MANUAL
DFX•6 AND DFX•12
6- AND 12-CHANNEL MIXERS
WITH DIGITAL EFFECTS
DFX12 MIXER
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
OPTIONAL USES FOR INSERTS
CAUTION
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
MANUFACTURING DATE
STEREO
PLUG
MONO PLUG
RISK OF ELECTRIC SHOCK
DO NOT OPEN
NO USER
AVISS:ERRIVSIQCEUAEBDLEE CHOC ELECTRIQUE
—
NE PAS OUVRIR
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
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP
(TIP= SEND, RING RETURN)
=
POWER
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
ON
100 240 VAC, 50/60 Hz,
30 WATTS
STEREO AUX
RETURN
AUX SEND
MAIN OUT
11/12
1
2
3
4
5/6
MIC
7/8
MIC
9/10
L
R
LEFT
RIGHT
MIC
MIC
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
EFX
IN
OUT
LINE IN
INSERT
LINE IN
LINE IN
INSERT
LINE IN
INSERT
L
L
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
INSERT
PHONES
R
R
R
R
R
R
1
2
3
4
5/6
7/8
9/10
11/12
LEVEL
MIC
SET
LEVEL
MIC
SET
LEVEL
SET
LEVEL
MIC
LEVEL
MIC
LEVEL
MIC
LEVEL
MIC
LEVEL
POWER
SET
U
SET
U
SET
U
SET
U
SET
U
U
U
U
·
DFX 12
12 CHANNEL INTEGRATED LIVE SOUND MIXER
MIN
+50
MIN
+50
MIN
+50
MIN
+50
MIN
+40
MIN
+40
+12
0
+12
0
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
20dB
-20dB
+
20dB
-20dB
+
20dB
-20dB
+20dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
PHANTOM POWER
+48V
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
LEFT RIGHT
HI
HI
HI
HI
HI
HI
HI
HI
CLIP
16
12
8
12k
12k
12k
12k
12k
12k
12k
12k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
–
12
–12
60
250
1K
3.5K
BYPASS
12K
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
4
MAIN
0
EQ
NORM
AUX
1
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
4
BYPASS
DIGITAL STEREO
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
8
EFFECTS PROCESSOR
LEVEL SET
1
1
1
1
1
1
1
1
12
16
20
24
30
U
U
U
U
U
U
U
U
U
U
U
U
U
U
REVERSE
GATE
DELAY
DELAY
1
2
MON
MON
MON
MON
MON
MON
MON
MON
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O
O
+6
+6
O O
+6
CATHEDRAL
LG. HALL
DELAY
DELAY
3
4
(EFFECTS TO
STAGE MONITOR)
2
2
2
2
2
2
2
2
U
U
U
MD. HALL
LG. PLATE
CHORUS
FLANGE
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
O O
O O
O O
O O
O O
O O
O O
O O
0
=
+4dBu
MD. PLATE
SM. ROOM
PHASER
SPRING
VOCAL
ELIMINATOR
U
U
BREAK
SWITCH
O O
+6
O O
+6
O O
MAX
L PAN R
L PAN R
L PAN R
PAN R
L PAN R
L PAN R
L PAN R
PAN R
AUX 1/MON SEND
PHONES
L
L
AUX 2/EFX SEND (MUTES ALL MIC CHANNELS)
AUX
1
AUX 2/EFX
RETURN
CD/TAPE
MUTE
RETURN
MAIN MIX
RIGHT
5
7
9
11
MUTE
/
12
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
/
/
/
1
2
3
4
6
8
10
RETURN
LEFT
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
OL
OL
OL
OL
OL
OL
OL
OL
5
5
5
5
5
5
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
U
U
U
U
U
U
U
5
5
5
5
5
5
5
5
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
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
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
O O
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About this manual:
This manual covers both the DFX•6 and DFX•12 mixers. They share the same design and
operate in the same way, except that the DFX•12 has 2 more mono channels than the DFX•6,
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. It’s a list of steps that will familiarize you with the mixer and help you
set up a basic performance.
CONTENTS
SAFETY INSTRUCTIONS ....................... page 2
MASTER SECTION FEATURES
QUICK START ............................................. 4
INTRODUCTION .......................................... 6
APPLICATION DIAGRAMS ............................ 7
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
PATCHBAY FEATURES
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
APPENDIX A: SERVICE INFO
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
WARRANTY SERVICE .......................... 20
TROUBLESHOOTING ........................... 20
REPAIR ............................................. 20
APPENDIX B: TECHNICAL INFO
SPECIFICATIONS ................................. 21
DIMENSIONS ..................................... 22
AC POWER CONSIDERATIONS .............. 22
BLOCK DIAGRAM ............................... 23
for more information about this and other Mackie products.
3
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QUICK START
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 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 mixer’s
POWER switch and PHANTOM POWER
switch.
2. Turn down the channel strip GAIN, AUX 1
and AUX 2 knobs, and faders.
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.
3. Center the channel strip EQ and PAN
controls.
9. Now you are ready to make the
connections, see the next page.
4. Push the channel strip MUTE switches down.
STEREO AUX
RETURN
AUX SEND
MAIN OUT
LEFT
11/12
7/8
9/10
1
2
3
4
5/6
L
R
RIGHT
MIC
MIC
MIC
MIC
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
EFX
IN
OUT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
L
L
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
PHONES
R
R
R
R
R
R
1
2
3
4
5/6
7/8
9/10
11/12
LEVEL
MIC
SET
LEVEL
MIC
SET
LEVEL
SET
LEVEL
MIC
LEVEL
MIC
LEVEL
MIC
SET
LEVEL
MIC
SET
LEVEL
POWER
SET
U
SET
U
SET
U
U
U
U
U
U
·
DFX 12
12 CHANNEL INTEGRATED LIVE SOUND MIXER
MIN
+50
MIN
+50
MIN
+50
MIN
+50
MIN
+40
MIN
+40
+12
0
+12
0
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
30dB
-20dB
+
20dB
-20dB
+
20dB
-20dB
+
20dB
-20dB
+20dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
PHANTOM POWER
+48V
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
LOW CUT
75 Hz
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
LEFT RIGHT
HI
HI
HI
HI
HI
HI
HI
HI
CLIP
16
12k
12k
12k
12k
12k
12k
12k
12k
12
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
–
12
–12
8
60
250
1K
3.5K
BYPASS
12K
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
4
MAIN
AUX 1
0
EQ
NORM
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
4
8
BYPASS
DIGITAL STEREO
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
EFFECTS PROCESSOR
LEVEL SET
1
1
1
1
1
1
1
1
12
U
U
U
U
U
U
U
U
U
U
U
U
U
U
REVERSE
GATE
DELAY
DELAY
1
2
MON
MON
MON
MON
MON
MON
MON
MON
16
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
O O +6
CATHEDRAL
LG. HALL
DELAY
DELAY
3
4
20
(EFFECTS TO
STAGE MONITOR)
24
2
2
2
2
2
2
2
2
U
U
U
MD. HALL
LG. PLATE
CHORUS
FLANGE
EFX
EFX
EFX
EFX
EFX
EFX
EFX
EFX
30
O O +6
O O +6
0 = +4dBu
MD. PLATE
SM. ROOM
PHASER
SPRING
VOCAL
ELIMINATOR
U
U
BREAK
SWITCH
O O +6
O O +6
O O MAX
L PAN R
L PAN R
L PAN R
PAN R
L PAN R
L PAN R
L PAN R
PAN R
PHONES
L
L
AUX 1/MON SEND
AUX 2/EFX SEND
(MUTES ALL MIC CHANNELS)
AUX 1
AUX 2/EFX
MUTE
CD/TAPE
MUTE
MAIN MIX
RIGHT
5
7
9
11
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
/
/
/
/
1
2
3
4
6
8
10
12
RETURN
RETURN
RETURN
LEFT
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
OL
OL
OL
OL
OL
OL
OL
OL
5
5
5
5
5
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
U
U
U
U
U
U
5
5
5
5
5
5
5
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
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
O
O
O O
O
O
O O
O
O
O
O
O O
O
Zeroing the console
4
Key to the control settings
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2. MAKE THE CONNECTIONS:
4. TWEAK THE MIX:
1. Connect your amplifier’s 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.
1. Engage MUTE on all channels except your
rhythm section (drums & bass).
2. Adjust the rhythm section’s channel faders
to get a good balance of levels.
3. Un-mute the other active channels and
adjust their faders.
3. Using XLR or 1/4" TRS cables, make
connections from your mixer’s MAIN OUT
to your amplification system’s line inputs.
4. Now that you have a rough mix going, turn
up the MAIN MIX faders to a comfortable
listening level.
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
amplifier’s switch for last.
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 you’ve got,
keep tweaking. Walk the room to see how it
sounds away from your mixer.
7. Turn up the MAIN MIX faders to the
“–30” label, for now. We’ll crank it later on.
8. Now you are ready to set the levels:
3. SET THE LEVELS:
Keep tweaking.
1. Choose one of the microphones or instru-
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
GAIN control until the adjacent LEVEL
SET LED starts a-blinking.
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 amplifi-
ers to speakers.
3. Disengage (up) that channel’s MUTE.
4. Raise that channel’s fader to unity gain
(“U” label). You should be hearing your
noise now.
• 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.
5. If necessary, apply channel EQ changes.
(You may need to compensate for level
changes with the channel fader.)
6. Check that the channel’s OL LED does not
come on. If it does, reset the GAIN and
adjust the EQ if required.
• 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.
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:
• 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.
5
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INTRODUCTION
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.
Here’s a quick glance at all the features
you’ve acquired:
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
•
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
•
•
•
•
•
•
•
•
•
•
•
•
•
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
Pan control
Mute switch
Overload warning LED
60mm mono fader
•
•
Headphone output with level control
Power LED indicator
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 DFX•12 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
•
•
•
•
•
•
•
•
•
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. 0000318 Rev. D 09/02
©2002 Mackie Designs Inc. All Rights Reserved.
6
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APPLICATION
DIAGRAMS
Microphones 1-4
Active Monitor
Mono in/Stereo out Reverb
(optional)
STEREAUX
AUSEND
MAIN OU
11/12
7/8
9/10
5/6
RETUN
RT
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
IN OUT
EFX
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
L
L
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
Active Speakers (SRM450s)
PHONES
R
R
R
R
Insert
Headphones
Reverb
Mono Effects
Guitar
Tape Player
Drum Machine
(optional)
Compressor
DAT Recorder
Foot Switch
Bass
DFX•12 — Small Club Gig
Amplifier (M1400)
Passive Monitor (C300)
Microphones
Mono in/Stereo out Reverb
(optional)
STEREAUX
AUSEND
MAIN OU
3/4
5/6
RETU
L
RT
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
IN OUT
EFX
LINE IN
INSERT
LINE IN
INSERT
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
PHONES
R
R
R
R
Insert
Insert
SR1530
Active Speakers
Compressors
(optional)
CD/DVD Player
Routed through
Vocal Eliminator
Headphones
Laser Disc /DVD Player
DFX•6 — Karaoke set up
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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.
STEREO AUX
RETURN
AUX SEND
MAIN OUT
LEFT
11/12
7/8
9/10
1
2
3
4
5/6
L
R
RIGHT
MIC
MIC
MIC
MIC
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
EFX
IN
OUT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
L
L
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
PHONES
R
R
R
R
R
R
1. MIC
2. LINE IN (FOR MONO CHANNELS)
The DFX Mixer is equipped with rugged, low
noise, phantom-powered microphone pream-
plifiers, providing up to 50 dB of pounding
These inputs can accept 1/4" TRS balanced
and 1/4" TS unbalanced plugs from any line-
level instrument, effects device, or tape player.
crystal-clear amplification. Their balanced cir- The line inputs share circuitry (but not phan-
cuitry rejects all manner of extraneous
interference. Professional condenser, dynamic,
and ribbon mics all sound excellent through
these XLR inputs.
tom power) with the mic preamps, and can be
driven by virtually any line-level signal.
SLEEVE
SLEEVE
TIP
TIP
You can plug in almost any kind of balanced
mic that has a standard XLR-type male mic
connector.
TIP
SLEEVE
2
SHIELD
HOT
1/4" TS (Tip-Sleeve) unbalanced wiring:
Tip = hot (+)
1
3
COLD
Sleeve = shield
SHIELD
1
RING SLEEVE
TIP
SLEEVE RING TIP
3
COLD
2
HOT
SHIELD
COLD
HOT
1
RING
TIP
3
2
SLEEVE
XLR balanced wiring:
Pin 1 = shield
1/4" TRS (Tip-Ring-Sleeve) balanced
wiring:
Pin 2 = hot (+)
Pin 3 = cold (–)
Tip = hot (+)
Ring = cold (–)
Sleeve = shield
The DFX Mixers provide +48 VDC phantom
powering on pins 2 and 3 of all the mono chan-
nels’ 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 line-
3. LINE IN (FOR STEREO CHANNELS)
These inputs can accept 1/4" TRS balanced
and 1/4" TS unbalanced plugs from any line-
level instrument, effects device, or tape player.
When connecting a stereo device (two
cords), use both the left (mono) input and the
right input.
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” causes the signal to appear
on both sides.
level device to a MIC input
with the phantom power
switched on. This could
damage the device. Use the
LINE IN (2, 3) jacks instead.
8
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4. INSERT (FOR MONO CHANNELS)
EFFECTS: SERIAL OR PARALLEL?
Use the insert jacks to send the channel
signal through a compressor, graphic equalizer,
or similar device.
Effects devices are used
either in serial or in parallel:
Serial means that the en-
With nothing plugged into this jack, the
channel’s signal goes straight through the mic/
line preamp and channel strip. With an exter-
nal effects device plugged into this jack, the
tire signal is routed through
the effects device. Examples
include: preamps, compres-
sor/limiters, graphic equalizers. Connections are
channel’s signal leaves the mixer, goes through typically made via the channel INSERT jacks.
the effects device and back into the channel
strip (see insert plug diagram below).
The insert send signal is not affected by
the channel EQ or fader, thereby preserving
the original signal’s characteristics. Only the
Parallel means that a portion of the signal
is tapped off to the effects device, processed,
and returned, to be mixed with the original
“dry” signals. Multiple signals (via multiple
mixer channels) can all make use of the same
GAIN (16) control has any effect on the insert parallel effects device. Examples include:
send level.
Specialty cables, developed just for these
reverb, delay, chorus. Connections are typically
made via AUX sends and AUX returns.
insert jacks, are widely available. They allow a
signal to leave and enter the mixer on the
same TRS plug. They are wired thuswise:
Serial Device
Insert
Insert
Send
Return
Tip = Send (to effects device input)
Ring = Return (from effects device output)
Sleeve = Common ground (connect shield
to all three sleeves)
Signal Processor
(e.g., Compressor)
Processed
Signal
Dry Signal
Parallel Device
SEND to processor
ring
“tip”
Aux
Aux
Output
Section
(TRS plug)
sleeve
tip
Send
Return
Signal Processor
(e.g., Reverb)
Wet Signal
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
Mix
Processed
Signal
Besides being used for inserting effects de-
vices, these jacks can also be used as channel
direct outputs; post-GAIN (16), pre-LOW CUT
(18) and pre-EQ (19, 20).
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
Here are three ways to use the jacks:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
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 effects)
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STEREO AUX
RETURN
AUX SEND
MAIN OUT
LEFT
11/12
7/8
9/10
1
2
3
4
5/6
L
R
RIGHT
MIC
MIC
MIC
MIC
MIC
MIC
1
1
MON
(MONO)
2
2
EFX
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
CD/TAPE TAPE
EFX
IN
OUT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
LINE IN
INSERT
L
L
L
L
FOOT
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
(MONO)
LINE IN
SWITCH
BAL/UNBAL
L
L
PHONES
R
R
R
R
R
R
5. MAIN OUTPUTS
7. AUX SEND 1/MON OUTPUT
Coming in two flavors, XLR and 1/4" TRS,
the main output represents the end of the
mixer chain, where your fully mixed and en-
hanced stereo signal enters the real world.
Connect these outputs to the inputs of your
amplifier, or powered speakers.
XLR balanced wiring:
To create a stage monitor mix, patch this
TRS output into your monitor amplifier’s input,
or powered monitor’s input. This jack can also
be used to feed the inputs of an effects device.
Each channel strip has an AUX 1 (21) con-
trol knob which adjusts how much of that
channel’s signal appears at this output. The
output from this jack is the sum of all those
active channels which have their AUX 1 knobs
set more than in the minimum position. Use
the AUX 1/MON SEND (41) knob (page 17) to
control the overall output sent to your monitor.
The output is not affected by the main mix
faders, or channel faders, or by channel EQ.
The five band EQ (27) can be applied to
this output using the MAIN/AUX 1 (28)
switch. A sample of the stereo effects can also
be added to your monitor by adjusting the
EFFECTS TO MONITOR (42) knob.
Pin 1 = shield
Pin 2 = hot (+),
Pin 3 = cold (–)
1/4" TRS balanced wiring:
Tip = hot (+)
Ring = cold (–)
Sleeve = shield
6. PHONES OUTPUT
The stereo signal at this output jack is the
main mix, but it is not affected by the position
of the MAIN MIX (34) faders.
See AUX 1/MON (21) on page 13 for more
information.
The PHONES (33) control knob allows you
to set the levels in your headphones as desired,
without disturbing the main mix level.
Note: Be very careful because the PHONES
jack can drive any standard headphones to
very loud levels. Please see the “Safety Instruc-
tions” on page 2 for information on hearing
protection.
8. AUX SEND 2/EFX OUTPUT
This 1/4" TRS output can be used to connect
to the input of an external effects device.
Each channel strip has an AUX 2 (22) con-
trol knob which adjusts how much of that
channel’s signal appears at this output. The
output from this jack is the mix of all those ac-
tive channels which have their AUX 2 knobs
set more than minimum. Use the AUX 2/EFX
SEND (38) knob to control the overall output
sent to your external effects processor. The
EMAC internal effects processor receives the
same signal.
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
1/4" TRS stereo wiring:
Tip = left, ring = right, sleeve = shield
Walkperson-type phones can also be used
with an appropriate adapter.
This output is not affected by the main mix
faders, the five-band EQ (27), or by the EMAC
internal effects.
As the output is post-channel-fader, and
post-channel EQ, it cannot be used as tradi-
tional stage monitor cues. It is intended to
patch into effects device inputs; hence the
name “EFX.” See AUX 2/EFX on page 13.
10
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level controls of your amplifiers a little. Adjust
the channel faders upwards to compensate.
This will increase the levels in the mixer and
the tape output.
9. AUX 1 RETURN INPUTS
Patch the outputs of external parallel ef-
fects devices to these inputs.
Signals coming in are adjusted using the
AUX 1 RETURN (43) fader and MUTE.
When connecting a mono device (just one
cord), always use the left (mono) input and
plug nothing into the right input. The signal
will appear on both sides.
13. EFX FOOTSWITCH
You can connect a normally-open footswitch
here to switch the EMAC effects processor in
and out. Closing the switch connection causes
the internal effects to be bypassed, as you bask
in the warm glow of the BYPASS LED (44).
Note: This only affects the internal effects
and does not affect any signals from devices
plugged into AUX 1 and AUX 2 returns.
10. AUX 2 RETURN INPUTS
Patch the outputs of external parallel ef-
fects devices to these inputs.
Signals coming in are adjusted using the
AUX 2 RETURN (40) fader and MUTE.
When connecting a mono device (just one
cord), always use the left (mono) input and
plug nothing into the right input. The signal
will appear on both sides.
SLEEVE
SLEEVE
TIP
TIP
TIP
SLEEVE
Note: The AUX 2 RETURN signal is com-
bined with the signal from the internal
effects processor.
1/4" TS (Tip-Sleeve) Footswitch wiring:
Tip = one end of a normally-open switch
Sleeve = shield, and other end of a
normally-open switch.
11. CD/TAPE INPUT
14. AC POWER INPUT
Patch the outputs of your intermission
entertainment here. Any line-level mono or
stereo device can be used: tape, DVD/CD
player, television audio, etc.
Signals coming into the CD/TAPE (11) in-
puts are adjusted using the CD/TAPE RETURN
(35) fader and MUTE.
This IEC socket
on the rear panel,
is where you con-
nect the supplied
AC linecord to pro-
vide AC power to
the mixer. Plug
the cord into a
suitable AC outlet,
POWER
Also see page 16 for information regarding
the BREAK (36) switch.
ON
100 240 VAC, 50/60 Hz,
30 WATTS
SLEEVE TIP SLEEVE TIP
properly grounded
and capable of de-
livering adequate
current.
RCA unbalanced wiring:
Tip = hot, sleeve = shield
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
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.
The mixer has a universal-input, switching
power supply, so you can plug the AC linecord
into any AC outlet with a nominal voltage
between 100 and 240 VAC, without having to
worry about setting any switches or using a
step-up or step-down voltage transformer.
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 perfor-
mance 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 lev-
els are good, you might try turning down the
11
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CHANNEL STRIP FEATURES
1
LEVEL
SET
MIC
U
OVERVIEW
18. LOW CUT
The channel strips are independent of each
other, and allow you to adjust, tweak and other- high-pass filter, cuts the bass frequencies
wise beautify the sound coming from your
different microphones, guitars and other in-
struments. The Faders and Pans let you adjust every microphone application except kick
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 LOW CUT circuit, often referred to as a
MIN
+50
-20dB
+
30dB
GAIN
below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on
LOW CUT
75 Hz
U
EQ
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.
HI
12k
-15 +15
U
The channel strips come in two flavors:
Mono and Stereo. In addition, the DFX•12 has
two line-level-only stereo channels.
LOW
2-BAND CHANNEL EQ
80Hz
-15 +15
The DFX Mixers use “shelving” equalization.
This boosts or cuts all frequencies past a speci-
fied frequency. For example, turning the
LOW EQ (20) knob clockwise will boost the
bass frequencies at 80 Hz and below.
AUX
16. GAIN
If you haven’t already, please read “SET
THE LEVELS” on page 5.
The GAIN control adjusts the input sensitiv-
ity of the mic and line inputs on each channel. proper EQ, you can also mess things up. If you
This allows signals from the outside world to be max the EQs on every channel, you’ll get mix
1
U
MON
O O
O O
+6
+6
Although you can bring sound to life with
2
U
EFX
adjusted to optimal internal operating levels.
Through the mono channel MIC (XLR) in-
mush, not to mention driving your mix levels
near or beyond clipping. So equalize subtly;
puts, there is 50 dB of gain fully up. For stereo use cut as well as boost.
channel MIC inputs, this is +40 dB.
Adjusting the channel EQ will affect your
Through the mono channel LINE IN (TRS) main mix and the AUX 2/EFX (8) output, but
inputs, there is 20 dB of attenuation fully down not the AUX 1/MON (7) output.
and +30 dB of gain fully up, with a “U” (unity
L PAN R
19. HI EQ
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 sig-
nal and might lead to channel clipping.
MUTE
1
+15
+10
This control provides up to
15 dB of boost, or 15 dB of cut
at 12 kHz and above. There is
no boost or cut at the center
detent position.
+5
0
HI
dB
10
–5
–10
OL
–15
20Hz
100Hz
1kHz
10kHz 20kHz
5
Use this wisely to add sizzle to cymbals or
an overall sense of transparency or edge to
keyboards, vocals, guitar, and bacon frying.
Turn it down a little to reduce sibilance or
hide tape hiss.
U
5
17. LEVEL SET LED
10
This LED (Light Emitting Dohickey) lets
you know that the signals going into the mixer
are adjusted to the correct level, not too strong
to cause distortion and not too weak to be lost
in noise.
20
30
20. LOW EQ
This control provides up
to 15 dB of boost, or 15 dB of
+15
+10
+5
40
50
60
0
LOW
After you connect a microphone or line-
level component to the mixer, do a sound test
and adjust the GAIN (16) control until this
handy LED flickers just occasionally. If it is
glowing constantly, turn the GAIN down. If the
LED is doing almost nothing, turn it up.
cut at 80 Hz and below.
There is no boost or cut at
the center detent position.
Frequencies of 80 Hz and
below represents the punch in bass drums,
bass guitar, fat synth patches, and
–5
–10
O O
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Mono Channel
high-testosterone male singers.
While adding boost, also engaging the
LOW CUT (18) switch can create an audible
low frequency boost without boosting stage
rumble, mic-handling clunks, and breath pops.
12
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the center position, the left and right channel
signals pass through to the main mix unaffected.
If PAN is turned left, the right channel is attenu-
ated; if turned right, the left side is attenuated.
AUXILIARIES
AUX 1/MON allows you to create a separate
mono mix which can be used to feed stage
monitors.
11/12
LEVEL
SET
U
AUX 2/EFX allows you to create another
mono mix to feed the EMAC internal effects,
and any external effects processor you have.
The channel AUX knobs adjust how much
of each channel is added to each aux mix. The
adjustment ranges from off, through unity, and
on up to 6 dB of extra gain.
The stereo channel AUX knobs control a
mono sum of the channel’s stereo signals. For
example, on the DFX•12, channel 9 (L) and
10 (R) mix together to feed that the channel
9/10 AUX knobs.
24. MUTE
-20dB
+20dB
GAIN
When you engage a channel’s MUTE switch,
its signal disappears from the main mix, tape,
AUX 1, AUX 2 and headphones. The only ex-
ception is the INSERT (4) outputs.
U
EQ
HI
12k
25. FADER
-15 +15
This fader is the master level control for
the channel’s signal. Subtle adjustment of the
channels’ fader positions is the key to a finely-
tuned mix.
U
LOW
80Hz
-15 +15
Typically (providing the GAIN (16) control
is set correctly) the fader position will be posi-
tioned somewhere between 0 dB (“U”) and
–30 dB.
If you have a fader set all the way up, that’s
usually a sign that your GAIN is set too low.
Conversely, if the fader is set way down, your
GAIN may be set too high.
The master AUX SEND (38, 41) knobs ad-
just the overall aux output levels.
These are more than mere effects and
monitor sends: they can be used to generate
separate mixes for recording or “mix-minuses”
for broadcast.
AUX
1
U
U
MON
O O
O O
+6
+6
2
EFX
21. AUX 1/MON
AUX 1 is designed for feeding a separate
monitor mix to the musicians on stage, via the
AUX 1 SEND (7) output jack.
The signal is tapped off before the channel
EQ section, and before the channel fader. Only
the channel GAIN, MUTE and LOW CUT will
affect the output to your monitors.
“U” = UNITY GAIN
Mackie mixers have a “U”
mark on almost every level
control. This stands for
“unity gain,” meaning there
L PAN R
11
MUTE
is no change in signal level. Once you have ad-
justed the input signal to line-level, you can
set every control at “U” and your signals will
travel through the mixer at optimal levels.
What’s more, all the labels on our level con-
trols are measured in dog biscuits (dB), so
you’ll know what you’re doing level-wise if you
choose to change a control’s settings.
/
12
22. AUX 2/EFX
AUX 2 is designed for feeding the EMAC in-
ternal effects processor and the inputs of
parallel effects devices.
It is post-fader, so any changes to the chan-
nel controls will affect the AUX 2 signal. In
addition to feeding the inputs of the EMAC, it
also feeds the AUX 2 SEND (8) output.
dB
10
OL
5
U
5
26. OL (OVERLOAD) LED
This handy feature gives you the chance to
take care of any signal overload before it is
made worse by turning up the fader.
This LED only lights when the channel’s sig-
nals are set too high and are about to distort
(clip). The OL circuit monitors the signal just
before it reaches the channel fader, so any
overload must be taken care of by adjusting the
channel’s GAIN, EQ, or the LOW CUT, and not
the channel fader.
If the LED comes on, make sure you reset
the GAIN control correctly, and check that
your channel EQ settings are not too high.
10
23. PAN
20
30
This adjusts how much of the channel sig-
nal is playing in the left side of the main mix,
and how much is playing in the right.
For mono channels, if the PAN control is in
the center position, the mono signal appears
equally in both the left and right of the main
mix. If the control is set left, more of the signal
appears in the left side of the main mix. If the
control is set right, more of the signal appears
in the right side of the mix.
40
50
60
O O
Stereo Channel
(DFX•12)
For stereo channels, the PAN control works
like the balance control on your home stereo,
by attenuating one side or the other. If it is in
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MASTER SECTION FEATURES
Before you read this chapter,
you might want to look at the
rather lovely channel strip fea-
tures on the previous page.
POWER
·
DFX 12
12 CHANNEL INTEGRATED LIVE SOUND MIXER
+12
0
+12
0
27. STEREO GRAPHIC EQ
PHANTOM POWER
+48V
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 dif-
ferent section of the audio
frequency range. Moving a slider
up or down will boost or cut the
output levels of signals around
the slider’s center frequency. By
setting all the EQ sliders to zero
(center) you’ll effectively remove
it from the signal path.
LEFGHT
CLIP
16
12
–
12
–
12
8
250
1K
3.5K
BYPASS
12K
60
4
MAIN
AUX 1
0
EQ
NORM
4
8
BYPASS
DIGITAL STEREO
EFFECTS PROCESSOR
LEVEL SET
12
U
REVERSE
GATE
DE
DELAY 2
16
O O
+6
CATHEDRAL
LG. HALL
DELAY 3
DELAY 4
20
(EFFECTS TO
STAGE MONITOR)
24
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.
MD. HALL
LG. PLATE
CHORUS
FLANGE
30
0 = +4dBu
MD. PLATE
SM. ROOM
PHASER
SPRING
VOCAL
ELIMINAT
BREAK
SWITCH
O O
+6
O O
+6
2. Set the channel GAIN (16)
levels, using the LEVEL
O O
MAX
PHONES
AUX 1/MON SEND
AUX 2/EFX SEND
(MUTES ALL MIC CHANNELS)
SET LED (17) and adjust
the channel faders for a
nice mix.
AUX 1
AUX 2/EFX
MUTE
CD/TAPE
MUTE
MAIN MIX
MUTE
RETURN
RETURN
RETURN
LEFT
RIGHT
3. Slowly turn up the MAIN
MIX (34) faders until feed-
back just begins to occur.
BE CAREFUL! Feedback
can occur quickly and be-
come very LOUD, very fast.
4. Cut the appropriate EQ slider
until the feedback stops.
dB
10
dB
10
dB
10
dB
10
5
U
5
5
U
5
5
U
5
5
U
5
10
10
10
10
Here are some general sugges-
tions on using the EQ:
20
30
20
30
20
30
20
30
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.
40
50
40
50
40
50
40
50
60
60
60
60
O O
O O
O O
O O
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.
14
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The meters display the level of the main
mix, after the MAIN MIX (34) faders.
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.
You can get a good mix with the meter’s
peaks flashing anywhere between –20 and
+8 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 “+8.”
If your meters are too high, you will get dis-
tortion. 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.
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 by-
passed and has no effect on any outputs.
33. PHONES
This control allows you to adjust the head-
phone levels without disturbing the main mix.
Turn this down before connecting and put-
ting on your headphones. Bring it up slowly.
Please see the “Safety Instructions” on page
2 for information on hearing protection.
30. POWER LED
This LED turns on when the mixer is
switched on, and (as you can probably guess)
it turns off when the mixer is switched off.
34. MAIN MIX FADERS
These two faders control the final level of
the signals sent to the MAIN (5) outputs.
The TAPE (12) and PHONE (6) outputs
also receive the main mix, but are not affected
by these faders.
All active mono and stereo channels that
are not turned fully down will appear in the
main mix. Other signals feeding these faders
include: AUX 1 RETURN(9), AUX 2 RETURN
(10) including the EMAC internal effects, and
the CD/TAPE (11) inputs.
The faders, set fully up, provide 10 dB of
gain. A “U” unity gain point is just below that.
When set fully down, the main mix is effec-
tively muted. These are the faders to pull
down at the end of the song when you want
The Great Fade-Out.
31. PHANTOM POWER SWITCH and LED
Press this switch to turn on the pretty LED.
It also supplies phantom power to all of the
mono channels’ XLR MIC inputs. Phantom
power is required to operate most condenser
microphones (some condenser microphones
are battery-powered). With the switch pressed
in, the DFX Mixers provide +48 VDC phantom
powering on pins 2 and 3 of the XLR connectors.
Note: The stereo channels do not have
phantom power on their XLR connectors.
If you have dynamic, ribbon, or tube mics
that do not require phantom power, leave the
switch out. If you are using both condenser and
dynamic mics, don’t worry. Phantom power will
not hurt most dynamic mics. Check the
microphone’s user manual if you’re not sure.
Caution: Turn all output
35. CD/TAPE RETURN FADER and MUTE
levels down before operat-
If you have a CD or Tape player connected to
the CD/TAPE (11) inputs, the signals pass through
the MUTE switch, through this stereo fader, and
then into your main mix. This is like a channel
fader, except it is adding the CD/TAPE input to
the main mix, instead of adding a channel.
Set this fader to minimum, then play your
selection and increase the fader as desired.
Assuming the MAIN MIX (34) faders are set,
you should hear the music. Press down the
VOCAL ELIMINATOR (37) if you like to
remove centered vocals, and BREAK (36) if
you want to play soothing CDs or tapes
ing this switch to avoid the
possibility of a “pop” in your
speakers.
32. METERS
The DFX Mixer’s 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.
while the band is breaking up the bar.
15
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36. BREAK SWITCH
Engage the BREAK switch (as in take-a-
break) and the entire main microphone mix
is switched off.
·
DFX 12
12 CHANNEL INTEGRATED LIVE SOUND MIXER
+12
0
+12
0
The CD/TAPE (11) input is still active, so
you can play your intermission CDs or tapes
through the main outputs. On the DFX•12,
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.
–
12
–
12
250
1K
3.5K
BYPASS
12K
60
MAIN
AUX 1
EQ
BYPASS
DIGITAL STEREO
EFFECTS PROCESSOR
LEVEL SET
U
REVERSE
GATE
DE
DELAY 2
O O
+6
37. VOCAL ELIMINATOR SWITCH
This switch allows you to eliminate the vo-
cals 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 ste-
reo image will be attenuated.
CATHEDRAL
LG. HALL
DELAY 3
DELAY 4
(EFFECTS TO
STAGE MONITOR)
MD. HALL
LG. PLATE
CHORUS
FLANGE
MD. PLATE
SM. ROOM
PHASER
SPRING
VOCAL
ELIMINAT
BREAK
SWITCH
O O
O O
+6
+6
The circuit design uses phase cancellation
of the vocal frequency range between the left
and right channels. The effect is most notice-
able on music material which has the vocals
panned dead center.
AUX 1/MON SEND
AUX 2/EFX SEND
(MUTES ALL MIC CHANNELS)
AUX 1
AUX 2/EFX
MUTE
CD/TAPE
MUTE
MUTE
RETURN
RETURN
RETURN
dB
10
dB
10
dB
10
38. AUX 2/EFX SEND
Effects send signals are derived by each
channel’s AUX 2/EFX (22) control, summed
together, then sent through this master con-
trol. 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
channel’s signal you want to go to the AUX 2/
EFX SEND or EMAC. Then use this master
control to make sure the EMAC’s LEVEL SET
LED (39) never lights more than occasionally.
5
U
5
5
U
5
5
U
5
10
10
10
20
30
20
30
20
30
40
50
40
50
40
50
60
60
60
O O
O O
O O
39. LEVEL SET LED
This indicates when the EMAC is 6 dB be-
low 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.
16
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40. AUX 2/EFX RETURN FADER, MUTE EMAC EFFECTS PROCESSOR
The EMAC output is added to any signals
EMAC stands for Extended Multiply and Ac-
going into the AUX 2 RETURN (10) jacks from cumulate, which is a proprietary 32-bit digital
an external effects processor. The final effects stereo processor developed by our Digital En-
signal is then sent to this MUTE switch and
stereo fader. It acts like a channel fader, ex-
cept it is adding the final effects signal 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.
Press MUTE to quickly compare the differ-
ence between adding, or not adding effects.
The MUTE and fader affect the level of the
effects going to the main mix only, and not of
any effects going to the monitors.
gineering Group. It provides you with a choice
of 16 preset digital effects algorithms for your
enjoyment.
The mono signal going into the EMAC
comes from the AUX 2/EFX (22) controls of
each channel, summed together and passed
through the AUX 2/EFX SEND (38) control.
Note that the AUX 2/EFX signals are post-
channel EQ and post-channel fader, so any
channel adjustments will alter the effects.
The EMAC takes the mono input, processes
it and creates a stereo output. A footswitch al-
lows the EMAC to be bypassed and a SET
LEVEL LED (39) allows the input signal
strength to be optimized for best performance.
The processed stereo signals coming out of
the EMAC are added to any signals coming in
from an external processor connected to the
AUX 2 RETURN (10) jacks. The combined sig-
nals then pass through the MUTE (40) and
AUX 2/EFX RETURN (40) fader and then on
to the main mix.
41. AUX 1/MON SEND
This allows you to control the level of the
signal going out to your monitors.
Any signals from each channel’s AUX 1/MON
(21) control (and the EFFECTS TO MONITOR
(42) control), are summed together, then sent
through this master control.
Turned fully up, it provides 6 dB of gain,
“U” is unity gain, and fully down is off.
When the talent wants a louder monitor
mix, this is the control to crank up — watch
out for feedback!
EMAC QUICK START
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) con-
trol so the EMAC’s 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.
42. EFFECTS TO MONITOR
Typically, this control is used to add effects to
the stage monitors. Any effects sent to the moni-
tors 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 af-
fected 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 channel’s
AUX 1/MON (21) control, except it adds the ef-
fects (summed mono) to the monitor mix,
rather than adding a channel signal.
To bypass these effects, engage an optional
foot switch connected to EFX FOOT SWITCH
(13). To send these effects to the stage moni-
tors, turn up the EFFECTS TO MONITOR (42)
knob.
43. AUX 1 RETURN FADER and MUTE
44. BYPASS LED
Any signals going into the AUX 1 RETURN
(9) jacks from an external processor pass
through the MUTE switch and then to this ste-
reo 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.
This LED will come on when the EMAC cir-
cuit is bypassed by use of an external
footswitch. The bypass affects only the internal
EMAC effects, not any external effects proces-
sor you may have connected to the AUX 2
RETURN (10) jacks.
17
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MD. HALL:
BYPASS
DIGITAL STEREO
EFFECTS PROCESSOR
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:
LEVEL SET
U
REVERSE
GATE
DELAY 1
DELAY 2
O O
+6
CATHEDRAL
LG. HALL
DELAY 3
DELAY 4
(EFFECTS TO
STAGE MONITOR)
MD. HALL
LG. PLATE
CHORUS
FLANGE
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
SM. ROOM
PHASER
SPRING
VOCAL
ELIMINATOR
U
U
MD. PLATE:
BREAK
SWITCH
O O
O O
+6
+6
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.
AUX 1/MON SEND
AUX 2/EFX SEND
(MUTES ALL MIC CHANNELS)
AUX 1
AUX 2/EFX
MUTE
CD/TAPE
MUTE
MUTE
RETURN
RETURN
RETURN
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.
45. PRESET SELECT
Rotate this detented switch to select any of
the following preset effects:
REVERBS
SPRING:
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 ini-
tial sound event, also referred to as decay
range. “Pre-delay” is the amount of time
between the initial sound event and the first
reflection.
Mimics the vintage 60’s-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.
DELAYS
REVERSE:
There are four delays available with one, two,
three, and four repeats:
Standard reverse reverb, simulating a
tail-first effect increasing to the original
note.
DELAY 1:
One repeat. Works best for slapback delay
used in country and swing guitar, and for
rockabilly and some country vocals.
DELAY 2:
GATED:
Standard gated reverb, where the reverb
tail is cut off sharply after the preset
decay length.
Two repeats. Provides a fuller, more dra-
matic effect for rock and gospel vocals,
acoustic guitar, and wind instruments
such as flute. Especially effective for
some finger-picking styles.
CATHEDRAL:
Dense, smooth reverb with very long tail,
long pre-delay, and late reflections. Tails
are very warm with some additional high-
end reflections imitating the stone walls
of a cathedral. 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.
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:
LG. HALL:
Four repeats. This is for very dramatic
delay effects, particularly for enhancing
long vocal notes and dramatic instrumen-
tal note-chopping effects. Be sure to set
the channel EFX send at about halfway.
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.
18
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MODULATION EFFECTS
BAD EFFECTS
These include Chorus, Flange, and Phaser,
and are generally used for enhancement of in-
strumental music. However, Chorus adds a
dramatic effect to vocals as well.
CHORUS:
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, look-
ing up at the ceiling, and avoiding all eye
contact in your own living room.
DAD:
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
channel’s AUX 2/EFX should be set half-
way or higher.
FLANGE:
Creates a strong sweeping effect, particu-
larly effective on rock electric guitar, lead
and rhythm. The channel’s AUX 2/EFX
should be set halfway or higher.
PHASER:
When musical passages increase in vol-
ume, 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 don’t have a
downstairs, followed by the sound of a
broom handle banging on the virtual ceil-
ing. Additional settings include the terms:
“if I have to come up there!” and “you
long haired hippy!” complete this sound
effect suite.
This effect is perfect for enhancing
strummed acoustic guitar or electric gui-
tar power chords. The PHASER
effectively duplicates the popular 70’s
phase shift effect used for guitar.
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.
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APPENDIX A: Service Info
Warranty Service
Repair
Details concerning Warranty Service are
Service for DFX mixers sold in the USA is
spelled out in the Warranty Card included with available at our factory, located in sunny Wood-
your mixer. If it’s missing, please let us or your inville, Washington. Service for Mackie mixers
dealer know.
living outside the United States can be obtained
If you think your DFX Mixer has a problem, through local dealers or distributors.
please do everything you can to confirm it be-
fore calling for service. Doing so might save
If your mixer needs service, follow these
instructions:
you from the deprivation of your mixer and the 1. Review the preceding troubleshooting
associated suffering.
suggestions. Please.
These may sound obvious to you, but there’s
some things you can check. Read on.
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.
Troubleshooting
Bad Channel
•
•
•
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.
3. Keep this owner’s manual. We don’t 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.
•
Bad Output
•
Are the MAIN MIX faders turned up?
• If it’s one of the MAIN OUTs , try unplug-
ging all the others. For example, if it’s a
TRS MAIN OUT, unplug the associated XLR
outputs. If the problem goes away, it’s not
the mixer.
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.
• 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.
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
Noise
SERVICE DEPARTMENT
16140 Wood-Red Rd. NE, Ste 5
Woodinville, WA 98072
• Turn the channel Faders , AUX RETURN
and AUX SEND controls down, one by one.
If the sound disappears, it’s either that
channel or whatever is plugged into it, so
unplug whatever that is.
8. We’ll 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
Power
packaged in its original packing box, and
must have the RA number on the box. Once
it’s repaired, we’ll ship it back the same way
in which it was received. This paragraph does
not necessarily apply to non-warranty repair.
• 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.
20
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APPENDIX B: Technical Info
Maximum Voltage Gain
Specifications
DFX•6, DFX•12
Mic Input to
Insert Output:
Tape Output:
Main Output:
Aux Send:
Line Input to
Insert Output:
Tape Output:
Main Output:
Aux Send:
50 dB
60 dB
76 dB
85 dB
Mixer Section
Frequency Response
Mic Input to any Main output (GAIN at 0 dB):
+0, –1 dB, 16 Hz to 30 kHz
30 dB
40 dB
56 dB
66 dB
Distortion
THD and SMPTE IMD; 20Hz to 20kHz
Stereo Line Input to
Tape Output:
Main Output:
Aux Send:
Tape Input to
Main Output:
Effects Return to
Main Output:
Mic Input to Main Output:
< 0.05% @ +4 dBu output
20 dB
40 dB
50 dB
Noise
20Hz to 20kHz BW (150Ω source impedance)
22 dB
22 dB
Equivalent Input Noise (EIN):
–127 dBu
Residual Output Noise:
Main, Monitor, & Effects outputs
Channel & Master levels off
–95 dBu
Input Impedance
Mic Input:
Line Input:
Insert Input, Stereo Line Input, Tape Input, and
Effects Returns:
3 kΩ, balanced
40 kΩ, balanced
Common Mode Rejection Ratio (CMRR)
60 dB @ 1kHz, Gain @ unity
10 kΩ, unbalanced
Output Impedance
Crosstalk
Main Output, Insert Output, Tape Output, and
Adjacent Inputs or Input to Output:
–90 dB @ 1kHz
Effects Sends:
150 Ω
Fader Off
Digital Effects
Resolution:
Number of Presets:
–90 dB @ 1kHz
Mute Switch and Break Switch Mute
–80 dB @ 1kHz
16-bit, 2-channel
16
Channel Level Set LED (Sensitivity)
0 dBu (normal operating level)
Input Level Trim Control Range
0 to +50 dB
VU Meters
Main L/R
Phantom Power
+48V DC on mono channels
12 segments:
Equalization
Low Cut:
Clip (+16), +12, +8, +4, 0, –4, –8, –12, –16, –20, –24,
and –30
75 Hz, –18 dB/octave
Channel EQ:
AC Power Requirements
High
Low
15 dB @ 12kHz
15 dB @ 80Hz
100 – 240 VAC, 50/60 Hz, 30 watts
(Capable of operation from 85% to 110% of rated line
voltage.)
Stereo Graphic EQ (5 bands):
Q = 1.414, ISO octave centers
12 dB @ 60, 250, 1k, 3.5 k, 12 kHz
Disclaimer
Mixer Rated Output
Main, Aux, & EFX: +4 dBu
Maximum Rated Output:
Since we are always striving to make our products bet-
ter by incorporating new and improved materials,
components, and manufacturing methods, we reserve
the right to change these specifications at any time
without notice.
“Mackie.,” the “Running Man” figure, “DFX,” and “EMAC”
are trademarks or registered trademarks of Mackie
Designs Inc.
+20 dBu
Maximum Input Levels
Mic Input:
–28 dBu, Gain @ +50 dB
+18 dBu, Gain @ +6 dB
–8 dBu, Gain @ +30 dB
+38 dBu, Gain @ –15 dB
Line Input:
Insert Input, Stereo Line Input, Tape Input, and
Effects Return: +20 dBu
All other brand names mentioned are trademarks or
registered trademarks of their respective holders, and
are hereby acknowledged.
©2002 Mackie Designs Inc.
All Rights Reserved.
21
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Dimensions
4.1" (105 mm)
16.1" (410 mm)
DFX•12
WEIGHT
10.0 lbs.
(4.5 kg)
11.8" (300 mm)
DFX•6
WEIGHT
8 lbs.
(3.6 kg)
AC Power Considerations
The majority of AC outlets encountered in
homes and clubs (in the U.S.) are served by a
will tell you if the polarity of the hot and neu-
tral wires is reversed and if the safety ground
240 VAC center-tapped service entrance trans- is disconnected. Don’t use an outlet if it is
former. This provides two phases of AC power wired improperly! This is to protect yourself as
on either side of the center tap, at 120 V each. well as your equipment.
If lighting is used in a show, it is preferable
If you find that you must plug into a two-
to power the lights from one leg of the service, wire outlet, you will need to use a two-wire to
and power the audio equipment from the
other leg. This will help minimize noise from
three-wire adapter (cheater plug). These
come with a metal tab that you put under-
the lights coupling into the audio (particularly neath the center screw that holds the AC
if SCRs, or light-dimmer switches, are used).
In order to minimize ground loops, the
safety grounds for all the outlets should be
connected to a common (“star”) grounding
point, and the distance between the outlets
and the common grounding point should be as
short as possible.
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
outlet faceplate in place. This center screw
must be grounded. You can check it by con-
necting the adapter to the outlet and then
plugging in your handy-dandy AC outlet tester.
NEVER bypass the AC plug’s
ground pin. This is
dangerous!
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Block Diagram
R O I T N O
X U 1 A /
X U 2 A / E F X
S U B R L -
23
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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
E-mail: [email protected]
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