MACKIE CFX SERIES - Manual (Page 14)

14
1
3-4
1-2
MUTE
600
1.5k 150
8k 100
12k
HI
MID
FREQ
80Hz
LOW
EQ U
+15 -15
U
+15 -15
U
+15 -15
ASSIGN
L R
PAN
dB
30
20
10
O O
40
50
5
5
U
60
10
SOLO
PFL
PAN
PAN adjusts the amount of channel signal
sent, left versus right, to the SUB OUTs
(and ultimately the MAIN OUTs via the
SUB ASSIGN switches). On mono chan-
nels, the knob places the signal somewhere
between hard left and hard right. On stereo
channels, it works like the balance control on
your home stereo, by attenuating one side or
the other.
With the PAN knob hard left, the signal will
feed SUB 1 and SUB 3 (assuming the channel’s
ASSIGN switches are engaged).
With the PAN knob hard right, the signal
will feed SUB 2 and SUB 4 (assuming the
channel’s ASSIGN switches are engaged).
With the PAN knob set somewhere in be-
tween, the signal will be shared across both
sides of the mix.
MUTE
When you engage a channel’s mute switch,
its signal disappears from these outputs: MAIN
OUT , MAIN INSERT , SUB OUT 1-4 ,
AUX SEND 1 & 2 , EFX SEND 1 & 2
(including the send to the EMAC EFFECTS
PROCESSOR ). The only thing it doesn’t
mute is the channel’s SOLO PFL switch, so
you can audition channels, via headphones,
without sending them to the main mix.
ASSIGN
Used in conjunction with the PAN knob,
ASSIGN determines the final destination of a
channel’s signal. Engaging
ASSIGN 1-2, for in-
stance, sends that channel’s signal to the SUB
1 and 2 Faders and, via their SUB ASSIGN
switches, the MAIN MIX Fader .
Typically, ASSIGN 1-2 will be engaged on all
channels destined for the main mix. By config-
uring
SUB 1 and 2 to feed the main mix, the
channel ASSIGN 1-2 switches become the
equivalent of being “Main Mix” switches.
Some channels can use ASSIGN 3-4 in-
stead; creating a submix for a set of channels
(all the drum channels, for instance). Then, by
configuring
SUB 3 and 4 to also feed the main
mix, you can “ride” the SUB 3 and 4 Faders
independently of the rest of the mix.
SUB Faders , SUB ASSIGN , and
MAIN MIX Fader will explain this further.
FADER
Although the most self-explanatory item on
a mixer, we’ll explain it anyway: The fader is
the master level control for the channel’s sig-
nal. Subtle adjustment of the channels’ fader
positions is the key to a finely-tuned mix.
Typically (providing the TRIM knob is set
correctly) the fader position will be positioned
somewhere between 0 dB (“
U”) and –30 dB.
If you have a fader set all the way up, adding
10 dB of gain, that’s usually a sign that your TRIM
knob is set too low. Conversely, if the fader is
set way down, your TRIM may be set too high.
“U” LIKE UNITY GAIN
Mackie mixers have a “ U”
symbol on almost every level
control. This “
U” stands for
“unity gain,” meaning no
change in signal level. Once
you have adjusted the input signal to line-level,
you can set every control at “
U” and your sig-
nals will travel through the mixer at optimal
levels. What’s more, all the labels on our level
controls are measured in decibels (dB), so
you’ll know what you’re doing level-wise if you
choose to change a control’s settings.
SOLO PFL
Engaging a channel’s SOLO switch causes
this dramatic turn of events: The PHONES
and Meters , which ordinarily receive the
main mix signals, instead receive the SOLO
PFL signal. PFL, being a mono signal, is sent to
both sides of the
PHONES outputs and to the
LEFT meter. Additionally, the RUDE SOLO
LED flashes obnoxiously to remind you that
“you’re in solo.”
The SOLO PFL signal is tapped before the
channel’s MUTE and Fader controls. It
does, however, follow TRIM , LOW CUT ,
and EQ settings, making it the perfect tool
for quick inspections of individual or multiple
channels. The channel’s
PAN , MUTE
and Fader settings have no effect on the
SOLO signal. See RUDE SOLO for more
information.
WARNING: Pre-fader
SOLO taps the channel
signal before the fader
.
If you have a channel’s
fader set well below “
U”
(unity gain), SOLO won’t know that and will
send a unity gain signal to the PHONES
output. That may result in a startling level
boost in your headphones.