CFX 12 (12X4X1) 8 mic/line channels, 2 stereo line channels. CFX 16 (16X4X1) 12 mic/line channels, 2 stereo line channels

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1 COMPACT CFX MIXERS COMPACT SOUND REINFORCEMENT MIXERS WITH EFX FOR THE GIGGING MUSICIAN THREE MODELS CFX 12 (12X4X1) 8 mic/line channels, 2 stereo line channels CFX 16 (16X4X1) 12 mic/line channels, 2 stereo line channels CFX 20 (20X4X1) 16 mic/line channels, 2 stereo line channels KEY FEATURES Low-noise, high-headroom special-design mic preamps with superior RF rejection Expensive, studio-grade, 9-band program equalizers that utilize multiple summing amplifiers and precision infinite feedback band-pass filters, which yield superior linear-phase and combining properties. What this means is our graphic EQs are exceptionally low-noise, low-distortion, sound great, and don t suffer from any nasty phase-shift problems. Input trim controls with +50dB gain range compared to competitor s +40dB gain range 3-band EQ with swept mid on mic/line channels, 4-band EQ on stereo line channels 4 SUBGROUPS with direct outs and left/right assign switches 32-bit EMAC custom digital effects processor with 16 effects and two adjustable parameter controls and special EFX WIDE switch Rugged all metal chassis OTHER FEATURES Two aux sends with pre/post switch on each channel Internal and external effects level sends on each channel Pan control, Mute and PFL SOLO switches on each channel Bus assign switches on each channel for 1/2 and 3/4 9-band stereo main graphic EQ has 15dB cut/boost Dual 12-segment LED ladders Master Aux 1, Aux 2 and EFX 1 (EXT) sends, and external EFX 1 return EMAC effects return masters for EFX 2 SEND, MAIN MIX, AUX 1 and AUX 2 EFFECTS TO MONITOR Effects include 9 reverbs, 4 delays, and chorus, flange and phaser Special EFX Wide switch expands effect image on reverbs, chorus and flange Effects foot switch jack and separate EFX Bypass switch 48V master Phantom Power Tape/CD input and output RCA jacks with level control and Assign to Main Mix switch Headphone outputs with independent level control 12V BNC lamp jack for gooseneck lamp Left and right utility outputs with independent level control Mic-channel line inputs are TRS balanced/unbalanced TRS insert jacks on mic channels for insertion of external signal processors Dual effects sends with dual stereo returns Main left and right inserts and outs Main Left, Right and Mono 75Hz Sub Out XLR outputs

2 CHANNEL STRIP CONTROL EXPLANATIONS TRIM control. The TRIM control adjusts the level of the signal as it enters the channel strip at the XLR mic input. The control gain range is 0 to +50dB. Proper input level setting is accomplished by pushing the channel SOLO switch, then speaking, singing or screaming into the mic at performance levels and adjusting the TRIM control until the LEDs in the stereo LED ladder reach 0. Be sure the channel PAN control is set at center. Utilizing this control allows the user to achieve the proper input signal gain levels while using various different types of microphones, which may have different output levels. This also works for the stereo line channels, which also have TRIM controls. ZERO LEVEL LED. In order to achieve the optimal input signal level, which is 1 volt, Mackie CFX mixers have a ZERO LEVEL LED, which makes setting up input gain levels a snap. This LED is included on the MIC inputs and not on the LINE inputs. When setting up the mixer, first turn down the MAIN MIX as well as each channel VOLUME control. Plug in a microphone. While talking, singing or screaming into the mic at performance levels, turn up the TRIM knob until the yellow ZERO LEVEL LED starts to blink. That s all there is to it. The level is set. Utilizing this control allows the user to achieve the proper input signal gain levels while using various different types of microphones, which may have different output levels. 100Hz LOW CUT FILTER. Pushing this switch in cuts the input signal s frequencies below 100Hz at a rate of 18dB per octave. Cutting these frequencies eliminates foot stomping noise traveling up mic stands and being picked up by the mics as well as mic handling noise. AUX 1 and AUX 2 send controls. These control the amount of signal sent from a channel strip to the AUX SEND 1 and AUX SEND 2 jacks via the AUX SEND 1 and AUX SEND 2 master controls. Generally these signals are sent to power amps which power the stage monitors. For example, all vocal channels can send their signals via the AUX 1 send to the vocal monitors, and all vocal and instrument channels can send their signals via the AUX 2 send to the drummer s monitors. PRE FADER switch. The switch in the out position sends the AUX 1 and AUX 2 signals after they have been affected by the channel fader control, or as is referred to as post fader. The switch in the in position sends the AUX 1 and AUX 2 signals before they pass through the channel fader control, or as is referred to as pre fader. For monitor purposes, it is advantageous to use the pre fader position so that the aux send levels are controlled by the monitor mixer rather than the front-of-house mixer, or so vocal levels for the drummer can be maintained much louder independent of the vocal faders. The post fader position is useful to allow a prerecorded music or sound effect track to be faded in and out during a performance by inputing it into a channel and using a channel fader to fade the sound independent of the main mix or SUBGROUP faders. EFX 1 (EXT) control. This controls amount of signal sent from a channel strip, via the EFX SEND 1 jack, to be processed by an external processor and returned to the mixer via the STEREO EFX RETURN 1 jacks. Remember that in addition to this processed signal, each channel also continues to send an unprocessed signal through the channel strip EQ and on to the MAIN OUTPUT control via the sub mix. The returning processed signal is then routed to the main mix through the EFX RETURN 1 level control, which adjusts the level of externally processed signal added back to the unprocessed main signal. This allows the user to adjust the amount of effect independently in the main outputs. EFX 2 (INT) control. This controls amount of signal sent from a channel strip to be processed by the on-board 32-bit EMAC EFX PROCESSOR. It also sends the same amount of signal to the EFX SEND 2 jack to be processed by an external processor and returned to the mixer via the STEREO EFX RETURN 2 jacks (see EFX SEND 2 jack). Remember that in addition to this processed signal, each channel also continues to send an unprocessed signal through the channel strip EQ and on to the

3 MAIN OUTPUT control via the SUBGROUP. Any or all of the channels can send signals simultaneously to the on-board EFX PROCESSOR where they are summed, processed, and then sent to the EFFECTS 2 MASTERS controls for routing as required. These controls adjust the level of processed signal added back to the unprocessed main and/or aux signals. This allows the user to adjust the amount of effect independently in the main and aux outputs. Active 3-band HI, swept MID, and LOW EQ on mic/line channels. There are labeled HI, MID, FREQ and LOW on each mic/line channel strip. Cut/boost for all is 15dB. Frequency sweep is 100Hz to 8kHz. Active 4-band HI, HI MID, LOW MID, and LOW EQ on stereo line channels. There are four EQ controls labeled HI, HI MID, LOW MID and LOW on each stereo line channel strip. The frequency points for each of these controls are 12kHz, 2.5kHz, 500HZ and 80Hz respectively with cut and boost capability of +/-15dB for HI and LOW, and +/-12dB for the MIDs. An active EQ system allows the user to cut and boost the frequency points for more dramatic control over the tone compared to a passive EQ system, which only boosts. Flat tone response is achieved by adjusting each EQ knob so that its indicator is pointed straight up at the U. When setting up the mixer for a gig, it is best to start by setting all EQ controls to flat. PAN control. This control is used for moving the channel signal image to the left or right of center. MUTE switch. This switch mutes the channel when pressed. Use it for stopping mic feedback, or eliminating instrument noise and mic bleedover on unused channels. ASSIGN 1-2 and 3-4 switches. These switches assign the channel signal to SUB faders 1 and 2 or 3 and 4. If you wish to have a particular channel signal sent to only one of the SUBGROUP buses, simply rotate the PAN control all the way counterclockwise for 1 and 3 or all the clockwise for 2 and 4. An example would be assigning the lead vocal to SUBGROUP 1 by pushing the lead vocal channel ASSIGN 1-2 switch, rotating the channel PAN control all the way counterclockwise, then pushing the SUB 1 mix LEFT and RIGHT switches in to keep the signal in the left and right channels of the main mix. Assign the backing vocals to SUBGROUP 2 by pushing the backing vocals' channel ASSIGN 1-2 switches, rotating the channel PAN controls all the way clockwise, then pushing the SUB 2 mix LEFT and RIGHT switches in to keep the signal in the left and right channels of the main mix. Stereo instruments, such as keyboards and drum mixes, plus mono signals from other instruments, would then be assigned to SUBGROUPS 3 and 4 by keeping their channel PAN controls centered or adjusted slightly left or right as desired. SOLO switch. The SOLO switch is mainly used to set the input gain level for each channel and to listen to individual channels independently during a performance to monitor their sound or listen for problems. To achieve the optimal input signal gain level, see the above control explanation for TRIM. When checking for problems, for example you think there may be unwanted distortion in the lead vocal channel, simply push the lead vocal channel SOLO switch and listen on the headphone. All channels will be automatically cut out of the headphone mix except for the channel you have soloed. Note that you can solo more than one channel if you want to check balances between vocal harmonies for example. Also see ZERO LEVEL LED above. 60mm fader. Use this control to adjust an individual channel level after the input level (TRIM) has been set. MASTER OUTPUT SECTION CONTROL EXPLANATIONS POWER STATUS LED. This LED indicates when the mixer is on or off. The rocker-style power switch is located on the rear panel. PHANTOM POWER 48V switch. Condenser microphones require Phantom Power. Pushing this switch will provide Phantom Power simultaneously to all the XLR MIC inputs. Microphones not

4 requiring Phantom Power will not be affected, even though Phantom Power is present at the mic input. However, if there is concern that a microphone might be damaged by the presence of Phantom Power, contact the microphone's manufacturer before plugging the mic into the mixer. 48V is the optimum voltage level for condenser mics. 9-band stereo graphic MAIN EQUALIZER. Cheap powered mixers use graphic EQs designed with low-quality, non-combining gyrator circuitry that creates noise and distortion as you boost or cut a frequency, and can induce unwanted phasing effect. Our graphic EQs are more expensive, studio-grade, 9-band program equalizers that utilize multiple summing amplifiers and precision infinite feedback band-pass filters, which yield superior linear-phase and combining properties. What this means is our graphic EQs are exceptionally low-noise, low-distortion, sound great, and don t suffer from any nasty phase-shift problems. The CFX mixer s graphic equalizer is true stereo and all the frequencies are standard ISO centers with 15dB cut/boost for extra feedback control. AUX SEND 1 and AUX SEND 2 master controls. Each channel's AUX 1 and AUX 2 controls route signals to the AUX 1 and AUX 2 buses where they are summed respectively. The signals then pass through the AUX SEND 1 and AUX SEND 2 master controls, which adjust their overall summed levels before they continue on to the AUX 1 and AUX 2 SEND jacks. EFX 1 (EXT) MASTER SEND control. Each channel s EFX 1 (EXT) control routes signal to the EFX 1 (EXT) bus where it is summed. The signal then passes through the EFX 1 (EXT) MASTER SEND control, which adjusts its overall summed level before the signal continues on to the EFX 1 SEND jack where the signal is sent to an external effects processor. For example, this is useful for routing multiple vocals to an external rack-mounted compressor via EFX 1 SEND jack. EFX RETURN 1 control. This controls the amount of processed signal returning from the external processor, via the STEREO EFX RETURN 1 jack, and being inserted into the MAIN MIX. This lets the user adjust the amount of effects coming from the external effects processor he/she wants in the overall main mix. See EFX 1 SEND above. TAPE LEVEL control. This controls the amount of signal coming into the mixer through the TAPE INPUT RCA jacks from an external CD or tape player. Since signal levels coming from different CD or tape players can vary, this is useful for strengthening weak signals or cutting back hot signals. BREAK SWITCH. Pushing this switch in mutes all the channels. This is a very useful feature to ensure against feedback occurring or unwanted bar poets from getting on a mic while you are away from your gear on break. A CD or tape plugged into the TAPE INPUT RCA jacks will still get signal to the MAIN MIX whether the BREAK SWITCH is in or out. PHONE LEVEL control. This controls the level of main mix signal sent to the stereo PHONES A jack, which is the volume level for your headphones. UTILITY OUT LEVEL control. This controls the level of main mix signal sent to the UTILITY OUT L and R jacks. This additional output is very useful for sending additional main signals to a second room at the gig, such as the back pool room for example. Or sending audio signal to a video camera doing a demo tape of your band. LEFT and RIGHT output level LED ladders. There are two LED ladders labeled L and R for left and right with 12 LEDs each. Unity gain is at the 0 position. RUDE SOLO LED. This light indicates that one or more of the channel SOLO switches is pushed in, which means only that particular channel(s) is sending signal to the headphones and control room. SUBGROUP 1, 2, 3 and 4 faders and assign LEFT and RIGHT switches. The SUBGROUPS are used for overall mix levels coming from drums, backup vocals, or other multiple-miked instru-

5 ments/vocal sections. After the SUBGROUP level is set, the mix can be assigned to either the left, right or both channels of the MAIN MIX by pressing the desired LEFT and RIGHT switches for each SUBGROUP fader. Each fader is protected against dust and bar crud with lip seals. MAIN MIX fader. This stereo fader controls the level of the MAIN MIX signals sent to the MAIN OUT TRS jacks and the TAPE OUTPUT RCA jacks. In addition, when the MAIN MIX switch is pressed, the MAIN MIX faders control the overall MAIN MIX signals sent to the UTILITY and PHONES jacks. Fader is protected against dust and bar crud with lip seals. EFFECTS SECTION CONTROL EXPLANATIONS EFX 2 (INT) RETURN MASTERS ZERO LEVEL LED. This LED is used when adjusting the EFX 2 SEND control. After you have adjusted all you channel gains and levels, and while using your mics and instruments at performance level, turn the EFX 2 SEND control up until the ZERO LEVEL LED starts to blink. This sets your internal effects output to the optimum level. EFX 2 SEND control. This control adjusts the overall strength of the summed EFX 2 (INT) signal from each channel as it enters the internal EMAC effects processor. It also sends the same amount of signal to the EFX 2 SEND jack to be processed by an external processor and returned to the mixer via the STEREO EFX 2 RETURN jacks (see EFX 2 SEND jack). While setting effects levels during sound check, turn up the EFX 2 SEND control until the ZERO LEVEL LED starts to blink, then back it down slightly until the LED stops blinking. This will provide optimal signal to the effects processor. TO MAIN MIX control. This controls the amount of signal being added into the MAIN MIX from the internal EMAC effects processor and from an external processor (see EFX 2 RETURN jack). This is useful for adjusting how much of an effect you want to appear in the MAIN MIX. EFFECTS TO MONITOR AUX 1 and AUX 2 controls. These two controls adjust the amount of signal from the internal EMAC effects processor and from an external processor (see EFX 2 RETURN jack) being added to the AUX SEND 1 and AUX SEND 2 signals going to the AUX SEND 1 and 2 jacks. Since AUX 1 and 2 sends are generally used for sending signals to monitor amplifiers, this is useful for adding internal EMAC effects to the monitors themselves when desired. For example, the singer may want to hear how the digital delay effect sounds in his/her vocals. EFX BYPASS switch. Pushing this switch in stops the effects, even when all other effectsrelated controls are turned up. The red LED will light when the EFX BYPASS switch is pushed in and when the EFX FOOT SWITCH is pressed. EFX WIDE switch. Pushing this switch widens the stereo effect image for the reverbs, chorus, flange and phaser. The reverbs expand into a 3-dimensional image, and the chorus and flange sound like multi-voicing has been added. Effect select rotary knob. The user can select from the 16 different effects available by rotating the selector knob. Each effect select point is indented. PARAMETER controls. There are two independent parameter controls. The first controls the decay TIME of the reverbs and the TIME between repeats on the delays. It also controls the sweep RATE of the chorus, flange and phaser. The second controls the tail DAMPING of the reverbs, which means the tone of the reverb tails and delay repeats increasingly darken as this control is increased, emulating analog devices. It also controls the DEPTH of all the effects, which is the effect strength. CHANNEL JACKS SECTION EXPLAINED MIC jack. This is a low-impedance XLR microphone input. Any microphone utilizing this type of connection can be used. For microphones requiring Phantom Power (condenser mics), this is provided

6 by pushing the PHANTOM POWER switch, which will send Phantom Power to all channels. Most microphones not requiring Phantom Power will not be affected, even though Phantom Power is present at the mic input. However, if there is concern that a microphone might be damaged by the presence of Phantom Power, contact the microphone's manufacturer before plugging the mic into the mixer. BAL/UNBAL LINE IN jack. This jack accepts a 1/4" TRS plug. A normal, unbalanced 1/4" mono (TS) phone plug from an instrument, such as a guitar, can be used. In addition, a balanced line cord can be used, which is useful for using cables longer than 25'. Using unbalanced cables longer than 25' tends to cause degradation of the signal and the resulting sound. INSERT jack. These are useful for connecting an external effects processor to an individual channel. Connect a stereo 'Y' plug, which consists of a 1/4" TRS (stereo) center plug and two 1/4" TS (mono or phone) plugs to the INSERT jack. Connect the TRS plug to the INSERT jack. Connect one of the TS plugs to the mono input of a signal processor and the other TS plug to the mono output. You may have to switch the TS plugs if you get no signal. Be sure to label the TS plugs IN and OUT after finding the correct connection. The owner's manual provides additional information regarding the proper connection of the INSERT jack. L MONO and R LINE jacks. These jacks are used for inputing keyboards and/or CD/tape into the stereo line channels, and prevents using up two mic channels inputing the stereo signal from a keyboard, for example. MASTER JACKS SECTION EXPLANATIONS EFX 1 SEND jack. This jack is used to send signal from the channels to an external effects processor. See EFX 1 (EXT) and EFX 1 MASTER SEND above. EFX 2 SEND jack. This jack is used to send signal from the channels to an external effects processor. This is a normalled TRS jack, which means signal can be sent to the internal EMAC effects processor as well as to an external effects processor by plugging a 1/4" TS (unbalanced) cable into the first click of the jack. By plugging a 1/4" TS (unbalanced) cable all the way into the EFX 2 SEND jack, signal will be sent to the EFX 2 SEND jack only and not to the internal EMAC effects processor. See EFX 2 (INT) and EFX 2 SEND above. STEREO EFX 1 RETURN jacks. These jacks receive the signal returning from an external effects processor. See EFX 1 RETURN above. STEREO EFX 2 RETURN jacks. These jacks receive the signal returning from an external effects processor. The signal is summed with the output signal of the internal EMAC effects processor before being sent to the TO MAIN MIX and EFFECTS TO MONITOR AUX 1 and AUX 2 controls. See EFX 2 RETURN above. TAPE INPUT L and R RCA jacks. These jacks receive signal from an external CD or tape source. The TAPE LEVEL control adjusts the level of the signal being input into the mixer through the TAPE INPUT L and R RCA jacks. See TAPE LEVEL and TAPE TO MAIN MIX above. TAPE OUTPUT L and R RCA jacks. These jacks send stereo signal from the MAIN MIX to an external hard disk or tape recorder. There is no level control on these jacks since it is normal for a recording device to have an input signal level control. These jacks are useful when recording demo tapes, for example. MAIN INSERT L and R jacks. An external signal can be inserted directly to the main mix through these jacks. This is useful for inserting an additional signal, when needed, when the TAPE INPUT L and R RCA jacks are being used. For example, a special percussion track for a specific song.

7 MAIN OUT L and R 1/4" jacks. The MAIN MIX signal can be sent via the MAIN OUT L and R jacks to a secondary recording device or a power amp that only has 1/4" phone jack inputs, for example. MAIN OUT L, R and M 75Hz SUB OUT XLR balanced jacks. The MAIN MIX signal can be sent via the MAIN OUT L, R and M 75Hz SUB OUT jacks to the PA system power amps or powered processed speakers. For additional convenience, the summed mono (M 75Hz SUB OUT) XLR jack is for use with subwoofers and has a 75Hz low-pass filter built in, which eliminates the need for an external subwoofer crossover. LAMP 12V 0.5A BNC jack. This jack accepts a standard 12V gooseneck lamp. EFFECTS FOOT SWITCH jack. This uses a typical push on/push off foot switch to turn the internal and external effects on and off. Note that foot switches are not included with the mixers. PHONES stereo TRS 1/4" jack. Plug stereo headphones into this jack to hear the main mix. The PHONES LEVEL control adjusts the main mix signal going to the PHONES jack. See PHONES LEVEL control above. SUB OUT 1, 2, 3 and 4 jacks. These are direct outs from the SUBGROUP buses. There are a number of useful applications for these. A couple of examples include 4-track recording; or assigning all vocals to a SUB channel, then sending the signal vial the SUB OUT 1 jack to a compressor and returning the signal back to the mixer via the MAIN INSERT L and R jacks. AUX SEND 1 and 2 jacks. The channel AUX 1 and AUX 2 signals are output from the mixer via these jacks. See AUX 1 and AUX 2 send jacks, and AUX SEND 1 and AUX SEND 2 jacks above. UTILITY OUT L and R jacks. The MAIN MIX signal is sent to the control room powered monitors or monitor power amp via these jacks. See UTILITY OUT LEVEL control above. REAR PANEL CONTROL EXPLANATIONS POWER ON switch. Turns the unit on and off. IEC connector. Accepts the power cable.