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The Mackie CFX12 mkII Mixer is designed to make mixing live performances simpler. The mkII upgrades include sleek gray cosmetics, ergonomic knobs, and impact-resistant rubber sides. This live sound mixer features Mackie-designed mic preamps, logarithmic-taper 60mm faders, 9-band phase-accurate graphic equalizer, 32-bit EMAC digital effects processor with 16 effects, 4-bus design, 2 pre/post aux sends, internal/external effects sends, and a host of great features for live sound, including 48V phantom power and 12V BNC lamp socket.
 
FEATURES:

  Low-noise, high-headroom Mackie mic preamps

  8 mono mic/line and 2 stereo line channels

  Built-in 32-bit EMAC digital effects processor with 16 effects

  External and internal EFX sends and EFX to Monitor control

  Onboard 9-band stereo graphic equalizer

  True 4-bus design ideal for live sound applications

  2 Pre/Post aux sends and internal/external FX sends

  3-band EQ with swept mid (100Hz to 8kHz) on mic/line

  4-band EQ on stereo line channels

  Pan, Mute, PFL solo on each channel

  100Hz low-cut filters on all mic/line channels

  Subwoofer output from built-in 18 dB/octave, 75Hz crossover

  Break switch mutes all channels

  Headphone output with level control

  Tape/CD inputs with level control assignable to Main Mix

  Logarithmic-taper 60mm faders

  48V phantom power

  12V BNC lamp socket


SPECIFICATIONS:

Frequency Response
Mic Input to any Output Trim at 0 dB
32Hz to 20kHz +0, -1 dB,

Distortion
THD and SMPTE IMD; 20Hz to 20kHz
Mic Input to Main Output < 0.05% at +4 dBu output

Noise
20Hz to 20kHz BW (150 Ohms source impedance)
Equivalent Input Noise (EIN): -127 dBu
Residual Output Noise Main, Monitor, & Effects outputs Channel & Master levels off: -95 dBu

Common Mode Rejection Ratio (CMRR)
at 1kHz, Trim at 0 dB is 60 dB

Crosstalk
Adjacent Inputs or Input to Output -90 dB at 1kHz
Fader Off -90 dB at 1kHz
Mute Switch and Break Switch Mute -80 dB at 1kHz

Input Level Trim Control Range
+6 to -50dB
Phantom Power +48V DC

Equalization

  Low Cut 100Hz, -18dB/octave

  Mono Channel EQ:
    High ±15dB at 12kHz, Mid ±15 dB at 100Hz to 8kHz, Low ±15 dB at 80Hz

  Stereo Channel EQ:
    High ±15 dB at 12kHz, High Mid ±15 dB at 3kHz, Low Mid ±15 dB at 400Hz, Low ±15 dB at 80Hz

  Graphic EQ
    (9 bands): ±15 dB Q =1.414
    ISO octave centers at 63Hz, 125Hz, 250Hz, 500Hz, 1k, 2k, 4k, 8k, 16kHz

Mixer Rated Output
Main, Sub, Aux, & Efx: +4 dBu Maximum Rated Output: +20 dBu

Maximum Input Levels
Mic input Trim at +6 dB, +18 dBu
Line Input Trim at -15 dB, +38 dBu
Insert Return, Stereo Line Input, Tape Input, and Effects Return +20 dBu

Maximum Voltage Gain

  Mic input to:
    Insert Output 50 dB
    Tape Output 66 dB
    Sub Output 66 dB
    Main Output 76 dB
    Aux Send 71 dB

  Line Input to:
    Insert Output 30 dB
    Tape Output 46 dB
    Sub Output 46 dB
    Main Output 56 dB
    Aux Send 51 dB

Stereo Line Input to:
    Tape Output 40 dB
    Sub Output 40 dB
    Main Output 50 dB
    Aux Send 45 dB

  Tape Input to Main Output 30 dB

  Effects Return to Main Output 30 dB

Input Impedance:

  Mic Input: 3 kilohms, balanced

  Line Input: 40 kilohms, balanced

  Insert Return, Stereo Line Input, Tape Input, and Effects Returns: 10 kilohms, unbalanced

Output Impedance:
Main Output, Insert Output, Tape Output, Sub Output, and Effects Sends: 150 Ohms

Digital Effects

  Resolution 32-bit EMAC processing, 2-channel

  Number of Presets 16

  Parameters 2 controllable

  Channel Level Set LED (Sensitivity): 0 dBu (normal operating level)

	This is a Mackie 1604 mixer,it has 16 inputs and 4 main outputs. In our lab, we utilize the main outputs and the auxiliary outputs in order to do multi-way communications. Nearly all audio mixers have the same knobs and buttons on them, so once you know this one, you can figure out most other mixers. Each of the 16 channels are the same, so once you understand what each knob does, you understand about 90% of the mixer. Trim: A signal enters through an input, then is amplified by the trim pot (a little pre-amp). The mixer can accept mic level or line level signals, use the trim to boost a mic level signal to the power of a line level signal.
	AUX sends: These can send audio PRE or POST fader. That means you can send the input signal out the AUX sends without it ever coming out of the MAIN outputs. For EVL, this is a VERY important feature of the mixing board, see _____________ to learn why. For AUX send 1 and 2, they are switchable between pre and post. You'll want to set them to PRE in most cases. EQ: These knobs are self explanitory. On more expensive mixers, you have the ability to "sweep" the rage of an EQ. This means you can tune the EQ to a particular sound, to boost or cut just the frequences you want. A quick note about EQ in recording: the general rule is "try to cut rather than boost" this adds less noise to your mix, and is good technique. Pan Choose between left or right, when sending to a SUB out, its an even or odd numbered channel. Mute: mutes the output of a channel (but nots a PRE fader AUX send) Solo: mutes all other channels, flashes the "rude solo light" so you know why you're only hearing one channel. This can be a good way to isolate a problem, or really confuse someone. Output Assign: Choose between sub outs, main (L/R Mix) outs, or any combination. Channel Fader: Adjusts the output level of the channel. (the little u stands for unity, usually you want the channel near that level) Sub Out: adjust the SUB out level, mute or solo sub outputs. L/R Out: set the main left/right mix output level. Rude Solo Light: see Solo above Aux Out: sets the output level of the AUX channels. Is a mixer even necessary for your rig? Maybe not. If you are doing everything in the digital domain of your computer with a sequencer like Logic 5.0 or Sonar or VST, and you have a multi input audio interface, it certainly is possible to simply connect your sources to the interface and your outputs to a monitoring system.  With new control surfaces like Logic Control, or Houston, you can have a hardware mixer like surface to control all the software mixing.  Just get a good preamp for your mics.  However, you may want to have a mixer to if you have lots of synths, mics, or use quality outboard gear like reverbs and delays, or have compressors, pedals and other stuff you like to patch.  You can also route your audio interface's outputs to the board and use the EQs and sends/returns to touch up and polish the sound in the analog domain.  This turns your software mixer into a pre-mixer and your analog board into the final polishing mixer. So what's the big differences between all these mixers?  Typically, in mixers, you get what you pay for, and you really can't go by specs.  Quality components cost money, so does rugged, reliable construction.  Inexpensive mixers often have less headroom, more hiss and susceptibility to picking up hum, so you have to be real careful about overloading it, wiring, and not eq-ing as much. The inexpensive mixer may have wobbly, sticky faders and knobs. Or it may have had less than rigorous quality control at the factory where they were built.  A mixer is full of complex wiring and circuitry and if even one of internal connections goes bad, it may be extremely difficult to fix. Warrantees and repair policies may figure into the price. There is also the matter of microphone preamps, which have to boost the relatively weak signal coming from a mic into useable line level signal. The cheaper the preamp, the more garbage will be included in the final signal. Now if you are just mixing synths (which are usually all at line level already, you don't need mic preamps. But if you are wanting to record acoustic guitars and vocals into your computer, you need good preamps.  The Mackie's, for example, cost more, but are built like tanks, sound excellent and are great work surfaces, and they have their much hyped XDR preamps, which will not let you down.  But in experienced hands all the mixers shown will improve your audio by allowing you to tastefully level individual parts, add effects, and blend sounds.  Going to digital mixing is not a decision you want to make lightly.  The question: is the perceived audio result worth the trouble of learning yet another gear language, dealing with menus and submenus, just to make something 3 db hotter?  It's not for everyone.  Many of the functions of a digital mixer can be had without one. MIDI sequencers can do volume fades, effects fades, and can automate virtual effects sends and returns, pans, even eq sweeps. If you are planning to do automation at the sequencer level, do you really need another layer of automation after that?  I say no.  However, if you are interfacing a stand alone multi track recorder that does not have an onboard mixer (or only has a simple one) such as an ADAT, Roland, Mackie, Korg or Tascam 8, 16 or 24 track recorder, then you bet, a digital mixer will let you automate your rough tracks and polish them down to sweetness. And for the true die-hard tweaks who want every nuance of their mix recallable, including bus destinations, internal effects settings, onboard eq and compression settings, a digital mixer will reward them with consistent, repeatable performance. Yet, it pays to carefully research compatibility. Here's where you get into issues like ADAT lightpipes, TDIF, S/PDIF and other digital audio piping schemes. Here's where you need to hit the newsgroups and find out what people are saying that have the gear you are thinking of getting.  Pay attention to horror stories of digital interfacing.    Join the mailing lists that address the gear you want.  The answers are out there. And people that spend thousands on digital gear are usually quite vocal when something doesn't work as advertised. Fortunately, as of 2002, many of the early gremlins are behind us and a good digital mixer makes an awesome centerpiece for the modern studio.  Perhaps the main advantage of going digital is that you can keep your signal path totally in the digital domain all the way to the computer.  True?  Well yes.  If.  That is, if most of your studio is digital.  If you like to use global inserts on the mix bus, that is, route the master out through a compressor, exciter, eq, you better make sure it's digital too, or you will be doing extra da/ad conversions.  Read up on the quality of analog to digital converters, this is a picky point with the pros. Also double check on the number of analog inputs you get.  Its very common for a piece to tout 24 channels but only have 8 analog inputs.  When you add in the price of 2 extra analog expander modules to take you to 24 you find yourself at a premium price point over and above a classy 48 input analog dream board. Don't think that because the board is "analog" that it is "old" and not as good.  People love the dedicated faders knobs, the warm sound, and the immediate response of the sound to the twist of a tweak.     Which Mixer is right for you?  That's the tough question.  So lets get to it.  Are you using a modular multi-track like an Alesis ADAT, or a hard disk recorder like an HR 24?  If the multi track has no mixer of its own, then you will need either a large mixer or a digital mixer with the right number of channels.  Count up the number of tracks.  You will need that many channels to play them all at one.  Now add more channels for inputs to the multi track recorder.  This is where boards with "in line monitoring" come in useful. (see sidebar, right).   Digital mixers make a lot of sense here. If you are using a computer sequencer as a recorder, then a small mixer or just a good preamp is fine.  However, keep in mind if you are adding lots of outboard hardware, then you too will benefit for a larger console.  If you are doing digital mixing in the sequencer then a digital mixer is not necessary.  Read my article on mixing in the digital domain for more ideas on this  The more synths you have, the larger the mixer you will want.  Though it is not necessary to get a full tilt 32 channel recording console.  Since it is just synths, you can get by with rackmount sub mixer or even a patchbay if you don't mind all the plugging and unplugging.  If you are planning to record 2-3 musicians into the computer simultaneously, make sure you have at least that many audio interface inputs and preamps going to your computer.  A mixer that sums to stereo is NOT going to cut it here.  You need one with as many busses as performers.  (4 musicians=4 busses).  Each musician gets there own mono channel, assigned to a bus out to a separate channel on the audio interface. That way, in the sequencer, each will have their own isolated track. If you are using a digital multi track that already has a built in mixer, you might only need a rackmount mixer for your arsenal of synths.  You can route different sources to different tracks easily.  Just make sure you have enough preamps to cover your mics. Reference some Pro Mixers   The Sony Oxford Console Fairlight Dream Console If you intend to record a full band in your studio, you need a board that can handle lots of mics and instruments simultaneously and let you listen to tracks already recorded.  Remember the drum kit might take 4-5 mics itself.  You'll probably need to send a monitor mix out one of the busses, have inserts on every channel for patching stuff in during mixdown, generous sends and returns.  Mixing is like sculpting.  Something the hands do on a board.  This is why analog boards remain popular.  While these craftsmen may be the last to think they need a digital mixer, they are probably the most suited to realize their benefits, the biggest of which is to be able save and collect these beautiful, hand carved mixdown configurations, with all the send and returns set just right, recallable when the need arises.  Professionals doing film scores already know this.  They don't want to waste time remaking the scenes that come up again and again in their work.  It allows them to have templates for the may types of music they are called upon to make.   To sum up for now, mixing music is an art form. It is the control surface for your musical ear. Consider that first.  Be careful not to take on more technology than your vision inspires, yet remember with mixers you want to cover your future needs as well as your current needs. Yet if you envision a music that takes the most sophisticated of tools to get where you want it to be, follow your flow.  After all, its just a flow of electrons disturbing the air in ways we have associated with pleasure.  Ads by Google Noise barriers Development, production and supply of noise barriers www.campen.nl Acoustics Engineers RSA Architectural, Environmental and Noise Control Acoustics Engineering www.machoy-acoustics.com/ Wood-plastic composite Decking, Railing, Wall Cladding, Fening. CE certification in Europe ChinaWpc.com.cn Metal Wall Information Find Metal Wall Mfrs, AIA/CEU units Designs, Projects, Industry Info www.DesignandBuildwithMetal.com    Description This article is from the Audio Professional FAQ, by with numerous contributions by Gabe M. Wiener others. 10.3 - How do I soundproof a room? Despite what you may have seen in the movies or elsewhere, egg crates on the wall don't work! First, understand what's meant by "soundproofing". Here we mean the means and methods to prevent sound from the outside getting in, or sound from the inside getting out. The acoustics within the room are another matter altogether. There are three very important requirements for soundproofing: mass, absorption, and isolation. Actually, there are also three others: mass, absorption, and isolation. And to finish the job, you should also use: mass, absorption, and isolation. Sound is the mechanical vibration propagating through a material. The level of the sound is directly related to the size of those vibrations. The more massive an object is, the harder it is to move and the smaller the amplitude of the vibration set up in it under the influence of an external sound. That's why well-isolated rooms are very massive rooms. A solid concrete wall will transmit much less sound then a standard wood-framed, gypsum board wall. And a thicker concrete wall transmits less than a thinner one: not so much because of the distance, but mostly because it's heavier. Secondly, sound won't be transmitted between two objects unless it's mechanically coupled. Air is not the best coupling mechanism. But solid objects usually are. That's why well isolated rooms are often set on springs and rubber isolators. It's also why you may see rooms-within rooms: The inner room is isolated from the outer, and there may be a layer of absorptive material in the space between the two. That's also why you'll also see two sets of doors into a recording studio: so the sound does not couple directly through the door (and those doors are also very heavy!). If you are trying to isolate the sound in one room from an adjoining room, one way is to build a second wall, not attached to the first. This can go a long way to increasing the mechanical isolation. Try using two sheets of drywall instead of one on each wall, and use 5/8" drywall instead of 3/8", it's heavier. But remember: make it heavy, and isolate it. Absorptive materials like foam wedges or Sonex and such can only control the acoustics in the room: they will do nothing to prevent sound from getting in or out to begin with. [Dick]