Mackie CFX SERIES PRE FADER, EFX 1 (EXT), EFX 2 (INT), HI EQ, MID EQ, LOW EQ

PRE FADER

80Hz and below. “Peaking” means that only a

The aux send rule of thumb: For parallel

selected “hill” of frequencies surrounding a

center “hilltop” frequency is affected by the

effects processing, use aux sends in post-fader

EQ control.

mode. For stage monitors, use pre-fader mode

Everything in moderation (including mod-

(see diagram below).

eration): with EQ, although you can bring

With this switch disengaged (up), AUX 1

a sound to life, you can also screw things

+15

and 2 receive signals in post-fader mode: post-

up. If you max the EQs on every channel,

+10

low cut, post-insert, post-EQ, post-mute, and

you’ll get mix mush, not to mention driving

+5

POST-fader. Any changes made to the channel

your mix levels near or beyond clipping. So

0

controls will affect the AUX signal.

equalize subtly; use the left sides of the

–5

With this switch engaged (down), AUX 1 and

–10

knobs (cut) as well as the right (boost).

2 receive signals in pre-fader mode: post-low cut,

–15

post-insert, post-EQ, post-mute, and PRE-fader.

HI EQ

20Hz

100Hz

1kHz

10kHz 20kHz

Hi EQ

Any changes made to the channel controls,

This control provides up to 15 dB of

EXCEPT the fader, will affect the AUX signal.

boost or cut at 12kHz and above, and it is

In pre-fader mode, you can take the

+15

also flat at the detent. Use it to add sizzle

drummer’s vocals out of the main mix by turn-

to cymbals or an overall sense of transpar-

+10

ing his fader down, but since he still hears

+5

ency or edge to keyboards, vocals, guitar,

himself in the monitors, he’s happy.

0

and bacon frying. Turn it down a little to

EFX 1 (EXT)

–5

reduce sibilance or hide tape hiss.

–10

EFX 1, designed for feeding the inputs of

MID EQ

20Hz

100Hz

1k

Hz

10kHz 20kHz

parallel effects devices, behaves exactly like an

–15

Short for “midrange,” this knob provides 15

Mid EQ

AUX

send, but it’s always in post-fader

dB of boost or cut, also flat at the center detent.

mode: Any changes made to the channel controls

Midrange EQ is often considered the most

will affect the EFX signal. The PRE FADER

+15

dynamic, because the frequencies that

switch has no effect on the EFX sends.

+10

define any particular sound are almost

EFX 2 (INT)

+5

always found in this range. You can create

0

EFX 2 is identical to EFX 1 with one big dif-

as many interesting and useful EQ changes

–5

by turning this knob down as well as up.

–10

ference: In addition to feeding the EFX SEND

The mono channels employ a semi-

–15

jacks, it also feeds the inputs to the EMAC

20Hz

Hz

100Hz

1k

10kHz 20kHz

EFFECTS PROCESSOR

. If you’re using

parametric mid-sweep EQ. In addition to being

Low EQ

able to set the amount of boost, you can “aim”

EMAC and just one outboard processor, patch

that boost at a specific frequency; anywhere

the outboard processor via EFX RETURN 1. You

from 100Hz to 8kHz.

can use EMAC and an outboard device via EFX

The stereo channels employ a 2-stage fixed-

2; just remember that the sends (EFX 2 (INT)

U

EQ

frequency MID EQ. HI-MIDis centered at 3kHz;

, EFX 2 SEND ) and returns (TO MAIN

HI

LOW-MIDis centered at 400Hz.

MIX

) control two devices. The PRE FADER

-15

+15

12k

switch has no effect on the EFX sends;

LOW EQ

U

they’re always post-fader.

This control provides up to 15 dB of boost or

HI

MID

EQ

cut at 80Hz and below. The circuit is flat (no

3k

-15

+15

The CFX Mixer has low shelving, mid peak-

boost or cut) at the center detent position.

U

LOW

This frequency represents the punch in bass

ing, and high shelving EQ. “Shelving” means that

MID

drums, bass guitar, fat synth patches, and high-

400Hz

the circuitry boosts or cuts all frequencies past

-15

+15

testosterone male singers.

U

the specified frequency. For example, boosting

When adding boost to the channel’s low EQ,

LOW

the LOW EQ knob boosts bass frequencies at

80Hz

simultaneously engaging the LOW CUT

-15

+15

(FADER)

PAN

switch can create an audible low frequency boost

GAIN

1-2

without boosting stage rumble, mic handling

PAN

INPUT

TRIM

LO CUT

INSERT

EQ

MUTE

clunks, and breath pops.

3-4

L

R

SIGNAL

17-18

"POST"

PRE-POST

TO AUX 1 MASTER SEND LEVEL

ASSIGN

"PRE" SIGNAL

AUX 1

AUX 2

TO AUX 2 MASTER SEND LEVEL

MUTE

Stereo Channel

“Pre vs. Post” Auxiliary

EFX 1

TO EFX 1 MASTER SEND LEVEL

13

Signal Flow Diagram

EFX 2

TO EFX 2 MASTER SEND LEVEL