Tape Level; Break Switch; Phones Level; Utility Out Level - Mackie CFX 12 Owner's Manual

+15
10
5
0
5
10
–15
3. Slowly turn up the MAIN MIX Fader
U
until feedback just begins to occur. BE
CAREFUL! Feedback can occur quickly
and become very LOUD, very fast.
+20
O O
C
1
EFX RETURN
4. Cut the appropriate slider until feedback
U
stops.
Suggestions for better sound:
• For better vocal sound, set the 125, 250,
+20
O O

TAPE LEVEL

and 16K sliders to +5.
Note: Make sure the singer is within 3 to 6

BREAK SWITCH

inches of the microphone. No amount of
(MUTES ALL CHANNELS)
EQ can save a wandering minstrel.
• For more presence, set the 4K and 8K
ZE
LEV
sliders to +5.
SE
MAX
O O

PHONES LEVEL

• To warm up the overall sound, set the 2K
U
slider to –5.
• REMEMBER, LESS IS BETTER.
+10
O O
TAPE LEVEL

UTILITY OUT LEVEL

You can adjust the incoming level of your in-
termission entertainment, independent of the
1
SUB
main mix level controls, via this feature. Here's
how: Patch the stereo device into the TAPE IN-
ASSIGN
PUT
dB
10 LEFT
BREAK SWITCH
knob as desired. Assuming the MAIN MIX
5
Fader
RIGHT
U
BREAK SWITCH
5
No, when we say BREAK SWITCH, we're not
10
asking you to break the switch, we're offering
20
you a very handy feature. When it's time for the
talent to take a break, the engineer usually
30
wants to stretch his legs. But walking away
40
50
from a live mixer in a crowded club can be
60
somewhat unnerving — what if some goon
O O
starts dinking around with the faders?
No problem. Just plug in your intermission
entertainment device to the TAPE INPUT
16
63 125 250 500 1K 2K 4K
STEREO GRAPHIC EQ
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
. Put the device in play. Engage the
and set the TAPE LEVEL
is set, you should hear the device.
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
15+
breaks, this switch can act as a "Master Mute"
10
switch, simply by plugging nothing into TAPE
5
0
INPUT
5
10
PHONES LEVEL
15–
8K 16K
After the MAIN MIX Fader
sent through this knob, allowing you to set
headphone levels as desired without disturbing
the main mix level.
When a channel's SOLO PFL
the main mix will be replaced by the solo sig-
nal, allowing the engineer to audition channels
without disturbing the main mix.
The stereo PHONES jack
standard headphones to very loud levels.
Walkperson-type phones can also be used with
an appropriate adapter.
Note: Please see the "Safety Instructions"
on page 2 for information on hearing protection.
UTILITY OUT LEVEL
After the MAIN MIX Fader
sent through this knob, allowing you to set the
levels at the UTILITY OUT
out disturbing the main mix level.

SUB FADERS

The typical exit for channel signals is through
one or more sub mixes. The sub mix signal is
first controlled by this fader, which provides 10
dB of gain fully up, unity gain at the "U" mark,
and is effectively muted fully down.
From here, the signal goes to two very differ-
ent locations: SUB OUT
directly out of the mixer via its TRS jacks; and
SUB ASSIGN
Fader .

LEFT/RIGHT SUB ASSIGN

As discussed in ASSIGN
get channel outputs to the main mix is via the
sub mixes, and this switch is the key.
Continuing the assumption made in ASSIGN
, Subs 1 and 2 are the left-right stereo path
from the channels to SUB Faders
with SUB 1 carrying the left signal and SUB 2
carrying the right. Engage SUB 1 ASSIGN LEFT
and SUB 2 ASSIGN RIGHT, and you're done.
Take a look at the block diagram on page 22 —
it'll explain this and more, but in hieroglyphics.
.
, the mix is
is engaged,
can drive any
, the mix is
as desired with-
sends the sub mix
sends it to the MAIN MIX
, the only way to
1 and 2,