| U |
OO | +20 |
EFX 1 RETURN | |
| U |
OO | +20 |
TAPE LEVEL
BREAK SWITCH
(MUTES ALL CHANNELS)
ZE
LE
SE
OO | MAX |
PHONES LEVEL | |
| U |
OO | +10 |
UTILITY OUT LEVEL
ASSIGNSUB 1
dB
10LEFT
15 |
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63 | 125 | 250 | 500 |
| 1K |
| 2K |
| 4K |
| 8K |
| 16K | |||||||||||||||||
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| STEREO GRAPHIC EQ |
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CFX12 MIXER
12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER
3.Slowly turn up the MAIN MIX Fader 
until feedback just begins to occur. BE CAREFUL! Feedback can occur quickly and become very LOUD, very fast.
4.Cut the appropriate slider until feedback stops.
Suggestions for better sound:
•For better vocal sound, set the 125, 250, and 16K sliders to +5.
Note: Make sure the singer is within 3 to 6 inches of the microphone. No amount of EQ can save a wandering minstrel.
•For more presence, set the 4K and 8K sliders to +5.
•To warm up the overall sound, set the 2K slider to
•REMEMBER, LESS IS BETTER.
TAPE LEVEL
You can adjust the incoming level of your intermission entertainment, independent of the main mix level controls, via this feature. Here’s how: Patch the stereo device into the TAPE INPUT 
. Put the device in play. Engage the
BREAK SWITCH 
and set the TAPE LEVEL knob as desired. Assuming the MAIN MIX
jacks and engage the BREAK SWITCH. In- stantly, the entire main mix is switched off and the intermission entertainment is switched on.
Even if you just want silence during the breaks, this switch can act as a “Master Mute” switch, simply by plugging nothing into TAPE INPUT 
.
PHONES LEVEL
After the MAIN MIX Fader 
, the mix is sent through this knob, allowing you to set headphone levels as desired without disturbing the main mix level.
When a channel’s SOLO PFL 
is engaged, the main mix will be replaced by the solo sig- nal, allowing the engineer to audition channels without disturbing the main mix.
The stereo PHONES jack 
can drive any standard headphones to very loud levels.
Note: Please see the “Safety Instructions” on page 2 for information on hearing protection.
UTILITY OUT LEVEL
After the MAIN MIX Fader 
, the mix is sent through this knob, allowing you to set the levels at the UTILITY OUT 
as desired without 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 
sends the sub mix directly out of the mixer via its TRS jacks; and
SUB ASSIGN 
sends it to the MAIN MIX Fader 
.
5
U
5
10
20
30
40
50
60
OO
RIGHT
Fader 
is set, you should hear the device.
BREAK SWITCH
No, when we say BREAK SWITCH, we’re not asking you to break the switch, we’re offering you a very handy feature. When it’s time for the talent to take a break, the engineer usually wants to stretch his legs. But walking away from a live mixer in a crowded club can be somewhat unnerving — what if some goon starts dinking around with the faders?
No problem. Just plug in your intermission entertainment device to the TAPE INPUT 
LEFT/RIGHT SUB ASSIGN
As discussed in ASSIGN 
, the only way to get channel outputs to the main mix is via the sub mixes, and this switch is the key.
Continuing the assumption made in ASSIGN 
, Subs 1 and 2 are the
from the channels to SUB Faders 
1 and 2, 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.
16