Mixers for hands-on musicans.
We designed the new DFX Series mixers for folks who
don't have the luxury of a front-of-house sound technician.
Working professionals who have to control their own
mix while making music - and have to do their own set-up
What does that mean? It means that we've
made the DFX•12 and DFX•6 extremely easy to
use. For example, if you have a front-of-house sound
person to control your effects levels, they can locate
a small knob and tweak it.
But if you're on stage, it's a lot easier
to grab a big, color-coded fader. Plus you can see the
fader positions from halfway across the stage.
That's the philosophy of the DFX Series:
make it easy to control a mixer when you're busy
on stage. Channel faders are white. Effects and
Monitor Sends are red, master levels faders are blue.
The Tape/CD level fader is also white but separated
from the channel faders. You get "mixing at a glance."
Every channel has both a Level Set and Overload
LED so you can tell at a glance on a dark stage if one
of your inputs is too hot.
And of course, both digital effects and
a graphic equalizer are built in, so you don't have
to mess with an extra rack of outboard gear.
Above all, superb sound
What makes an inexpensive mixer sound cheap? Excessive
noise and marginal dynamic headroom. Ask anyone who's
upgraded to a Mackie mixer and they'll tell you the
difference is that they can load their new Mackie mixer
with hot, high-volume inputs without
hearing a lot of distortion.That's due to our special
negative gain mix amp architecture. This "higher headroom"
is especially apparent with mics plugging into our microphone
preamps. Our circuitry can handle screaming vocalists
and close-miked drums without "breaking up."
Low noise is the other
difference between the DFX Series and any comparably-priced
competition. Our mic preamps are quiet. The mixer's
main circuitry is quiet. The digital effects and equalizer
are quiet. In fact, we'll bet that you won't be able
to tell if your DFX mixer is turned on unless you look
at the LED indicators.
Long, logarithmic taper faders.
Instead of little stubby faders, the DFX•6 and
DFX•12 have generious 60mm faders. And their log-taper
design means that the sound doesn't drop to zero abruptly
as you lower the volume - you have full level control
over the complete length of fader travel.
Accurate 32-bit effects.
Unlike a lot of our competitors, we also make digital
audio components for recording studios. Our Digital
Engineering division applied some of the same technology
to the DFX Series' effects that we use in our $10,000
Digital 8•Bus console.
You get reverb, delay, chorus and thirteen
effects with ultra-realism that not only sounds
better than other effects mixers but also rivals outboard
processors costing more than either of these mixers.
Even the features have features.
Greg Mackie is a rabid keyboard player who loves to
jam with other musical Mackoids. So he's developed some
features that could only result from hands-on live sound
Effects to Monitor BR. Rarely do you want
the same amount of effects in your main PA mix as you
do in your stage monitors. The DFX•6 and DFX•12
let you control the level of stage monitor effects with
a dedicated rotary control.
Break Switch CL. You finish a set and get
ready to leave the stage. But first you have to mute
your mic input channels one-by-one so that some idiot
doesn't climb on stage, grab a microphone and start
singing "Happy Birthday." With the DFX Series,
you just push the Break Switch. Mic input channels*
are automatically muted and the CD/Tape input is live,
so you can play music during the break.
Graphic equalizer assign *. A graphic EQ
is twice as handy when you can either assign
it to the main mix (to improve that sound of that aging
passive PA system) or to your stage monitors (to cut
feedback and/or boost audibility).
The Vocal Eliminator. Backing tracks
If you perform with pre-recorded music - or if your
application includes audience karaoke but not often
enough that you carry a whole library of special CDs,
the DFX Series can come to your rescue.
The DFX•12 and DFX•6 have a Vocal
Eliminator circuit that can remove the existing lead
singer from most songs. We're not saying it totally
eliminates the vocal on every track on every
But it works amazingly well under most circumstances.
Those circumstances have to do with how
the Vocal Eliminator works. Using phase inversion, it
"nulls" sounds that are panned to the exact center of
the mix - which covers about 99% of all vocals. Plus
it uses an 18dB per octave filter to "notch out" frequencies
between 160Hz and 5Khz - the normal range for most male
and female signers. So if the singer on the recording
is a 900-pound basso profundo or can hit higher notes
than a canary (or an artsy producer who
insisted on panning the lead vocal to the extreme left
or right) , the DFX•6/DFX•12's Vocal Eliminator
won't knock out the whole vocal. But most of the time,
the Vocal Eliminator will give you a karaoke-ready soundtrack
from a regular pop, country-western or Christian contemporary
So what's up with the channel
The DFX•6 is pretty straight-forward: you can plug
microphones or mono line level sources such as guitars
or bass into channels 1 and 2. And you can plug mono
or stereo line level sources (keyboards, tone modules,
etc.) into Channels 3/4, and 5/6. Mics can also be plugged
into Channels 3 and 5.
The DFX•12 actually includes three
flavors of channel strips. Channels 1 through 4 accept
microphones or mono line level sources, just like Channels
1 and 2 on its little brother. Channels 5/6 and 7/8
accept microphones or stereo line level sources. Channels
9/10 and 11/12 accept stereo line level sources.
This combination gives you maximum versatility:
you can run up to four microphones and four stereo instruments…or
you could run one microphone and use all the rest of
the input for instruments and tone modules. Or combinations
Those little extras that make
a Mackie mixer a better value - now and in the longrun…
Low Cut infrasonic filters keep your PA system from
getting a woofer hernia. The 75Hz Low Cut filters on
the DFX Series' mono mic channels work wonders at minimizing
mic thumps, stage rumble, wind noise and P-pops - subsonic
frequencies that rob amplifier power and make woofer
cones undulate like belly dancers.
Easy level setting. Correctly
setting a mixer's input levels before a gig is critical
to optimizing headroom and minimizing background noise.
We make it easy by putting a yellow level setting LED
on each channel strip. Soundcheck the channel, tweak
the Trim control until the light flickers and you're
Sweet, musical EQ. The
12kHz High and 80Hz Low shelving EQ on the DFX Series
are placed at the far ends of the audible musical spectrum
(instead of the traditional 100Hz and 10kHz). They're
based on the design in our CFX and PPM Series, which
for their natural sound. And you can actually use them
as a midrange control - gently cutting both high and
low EQ on a channnel has the audible effect of boosting
midrange, and vice versa.
No wall wart! Even our
lowest-priced mixers have built-in power supplies. The
DFX•6 and DFX•12 use a universal power cord
and internal power supply instead of outlet-eating external
power supply modules.
Built to last.
Finally, the DFX Series maintains our track record of
built-like-a-tank durability. Sealed rotary controls
keep out dust, liquids and smoke. Thick fiberglass circuit
boards and metal main chassis resist impacts that send
our competitors' mixers to the service department. Special
wear-resistant wiper surfaces in the faders won't turn
scratchy even after years of use.
If you're an in-the-trenches working musician
- or just want to sound better when you gig at home,
check out the new ultra-affordable DFX•6 and DFX•12
at your authorized Mackie Designs Dealer today.