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*1 1 • * Jfr f /'à - ▼ ▼ Jr "ORé# t? Zmi ^ w%■&wm W WA ▼1-'^ 16-channel live sound mixer * Available in 12-, 16- and 20-channel versions, the Mackie CFX Mkll mixer is primarily designed for use in small to medium live-sound systems, but has some potential recording applications too. Although compact, it is still spacious enough not to feel cluttered, and conforms pretty closely to what we've come to expect from Mackie, combining the familiar look and feel of the line with surface-mount circuitry, all-metal jack sockets, and a practical technical spec that offers better than adequate performance, but without the kind of stratospheric frequency response that might make the mixer more susceptible to interference in a live environment. The noise figures are low and the layout is both clear and intuitive. Although it's very similar to the original CFX model, the Mkll version has a lower price, new rubber end-cheeks, upgraded controls and improved graphics. This compact desk benefits from built-in effects, sturdy construction and low noise. Does it measure up to the Mackie name? We reviewed the 16-channel version of the desk, and before going further it's worth pointing out that, like most current small mixers, the input count of the CFX models is made up of both mono mic/line channels and stereo line-only channels, so, for the three sizes available, the mic-input counts are 8,12 and 16 respectively. Digital effects, mainly reverbs and delays, are built in, and although they're based on presets, two live' parameter knobs can be used to fine-tune them. This is a considerable advantage over those preset-only desks where most of the reverbs seem to be unusably long. However, I miss not having a tap-tempo button, and I feel that not being able to save your effect tweaks back to the preset with which they are associated is a bit of a missed opportunity, as it makes it very difficult to switch between effects during performance with any degree of precision, even if you write down the knob positions. On the up-side, the CFX mixers come with a 12V BNC socket for adding a gooseneck lamp, which I've found essential in many darker venues, and there's a nine-band graphic equaliser on the main output. All the CFX casework is metal, with stylish protective end-cheeks, and Mackie have placed all the connectors on the top panel, for Reviewed by Paul White Photographs by Mike Cameron 12 SOUND ON SOUND LIVE June 2006 At a glance r Mackie CFX16 Mkll r Pros • Good ergonomics. ■ Good sound quality ■ Sensible range of effects. ■ Compact without being cluttered. Cons ■ No means of monitoring the foldback sends on headphones. ■ Effect edits are not stored. • No inserts on the busses. Summary When you buy a Mackie mixer, you have certain expectations, in terms of build quality and technical design, and this range of mixers meets those expectations. The CFX Mkll mixers are fairly basic in what they offer but they are nicely built and well laid out, and they sound good. Their weakest point is their inability to monitor the foldback sends. Information E3 £586; 12-channel model £469; 20-channel model £704. Prices include VAT. □ Mackie UK +44 (0)1268 571212. Q +44 (0)1268 570809. K3 uk@mackie.com □ easy access. Power comes from the mains, rather than some awkward external adaptor. Insert points are provided for the mono Input channels and for the main stereo output, but not for the busses. This won't affect most users, but where an anti-feedback processor is being used, it can sometimes help to patch It Into a group Insert point and then route only the vocals and acoustic Instrument mics through that group. As the CFX's busses don't have insert points, you can't do that here. All the jack ins and outs, with the exception of the insert points and headphones, are balanced on TRS jacks, and the Insert points are also conventionally wired tip-send/rlng-return TRS jacks. The main outs and subwoofer outs are on balanced XLRs. Channel layout The layout of the mono channels starts out with the usual gain trim and low-cut switch (18dB/octave at 100Hz), but then departs from mainstream tradition by having the four aux sends positioned above the EQ section. The aux sends are arranged so that the first two may be switched pre-fade or post-fade as a pair, while the third Is a dedicated post-fade effects send feeding the outside world, and the fourth Is similar to the third but also feeds the internal digital effect section. The three-band EQ, with a swept mid section, has a range right down to 100Hz, which Is really good news, as most don't sweep down nearly far enough. Shelving equalisers, at the usual 80Hz and 10kHz, look after the spectral extremes, all bands having a +/-15dB gain range. I find the lack of an EQ bypass function mildly vexing but this Is probably less of an Issue live than it Is In the studio. At the bottom end of the channel strip are the usual pan and fader controls, accompanied by a mute...