Specifically designed for easy operation onstage
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 the DFX-6's big, color-coded faders. Plus you can see the fader positions from halfway across the stage. The philosophy of the DFX-6 is to 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 on the DFX-6 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.

A great combination of inputs and outputs
For a small mixer, the DFX-6 gives you plenty of I/O options. 2 mono mic/line inputs have switchable phantom power and balanced/unbalanced line in capabilities. 2 stereo line in channels can double as mic ins, with XLR connectors built in. 2 auxiliary sends with dual stereo returns can be routed to outboard effects or a monitor feed. and CD/tape inputs and outputs let you connect an intermission music source or record your set. The DFX-6's main outs can be balanced or unbalanced, with XLT and TRS jacks.

Built-in digital effects and EQ
With your DFX-6 you might not need to pack any outboard gear to the gig! Its built-in 32-bit effects section (derived from Mackie's considerable digital mixer technology) gives you 9 reverbs - including a great spring reverb emulation - and 4 delays, optimized for live use. Plus, the DFX-6 gives you chorus, flange and phaser effects for special sonic treatments. And your DFX-6 mix can be shaped to the room using the built-in 5-band master EQ.

High-headroom preamps deliver quality sound
The DFX-6 is an inexpensive mixer but it certainly doesn't sound cheap! While other economy mixers suffer from excessive noise and marginal dynamic headroom, anyone who's upgraded to a Mackie mixer will tell you the first noticeable difference is that they can load it with hot, high-volume inputs without hearing a lot of distortion. And the DFX-6 is no different. That's due to Mackie's special negative gain mix amp architecture. This higher headroom is especially apparent with mics plugged into the preamps. The DFX-6's circuitry can handle screaming vocalists and close-miked drums without "breaking up." Low noise is the other difference between the DFX•6 and any comparably-priced competition. The mic preamps are quiet, the mixer's main circuitry is quiet and the digital effects and equalizer are quiet. In fact, you probably won't be able to tell if your DFX-6 mixer is turned on unless you look at the LED indicators.

Effects-to-Monitor, Break Switch and vocal eliminator features
Mackie built the DFX-6 with lots of musician-friendly features you won't find on other mixers. The Effects-to-Monitor switch gives you separate control over the level of effects you hear through your stage monitors, regardless of the settings going to your main speakers. And something every gigging musician has needed at one time or another - the DFX-6 has a "Break Switch" that mutes all mic and line inputs, so you don't have to worry about that, uh, over-lubricated customer commandeering your stage when you're on break. It leaves the CD/tape inputs open for intermission music. Plus, for rehearsal or for the karaoke set, the DFX-6 even includes a vocal eliminator circuit that removes most lead vocals from commercial CDs or tapes.

Features:

• Up to 4 mic inputs with phantom power
• 2 stereo line inputs for keyboards or other instruments
• Big, easy-to-read faders with signal and clip LEDs for onstage use
• 32-bit effects processor with 16 presets
• Low noise, high headroom preamps
• 2 auxiliary sends for outboard effects or monitor use
• Break Switch and vocal eliminator circuit

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