Tapco MIX.260FX User's Manual
Contents
1. 1 4 TS Unbalanced Wiring Sleeve Shield Tip Hot RCA Plugs and Jacks RCA type plugs also known as phono plugs and jacks are often used in home stereo and video equipment and in many other applications They are unbalanced and electrically equivalent to a 1 4 TS phone plug RCA Unbalanced Wiring Sleeve Shield Tip Hot ADDENDIX MIX FX SERIES SPECIFICATIONS Frequency Response Mic Input to Output Trim ot dB Distortion 0 1 dB 10 Hz to 150 kHz 3 dB 10 Hz to 200 kHz THD and SMPTE IMD 20Hz to 20kHz Mic Input to Main Output Noise lt 0 005 4 dBu output 20 Hz to 20 kHz BW 1509 source impedance Equivalent Input Noise EIN Residual Output Noise 129 dBu Channel and Main Mix levels off Main Ctrl Room Phones 105 dBu Common Mode Rejection Ratio CMRR Mic In Crosstalk 60 dB 1 kHz Gain maximum Adjacent Inputs or Input to Output Input Gain Control Range Phantom Power Equalization Mix 220FX High Mid Low Mix 260FX Mono Channels High Mid Low Mix 260FX Stereo Channels High Mid Mid Low Mixer Rated Output Main Aux Control Room Maximum Rated Output 90 dB 1 kHz O dB to 50 dB 48 VDC 15 dB 12 kHz 15 dB 2 5 kHz 15 dB 80 Hz 15 dB 12 kHz 15 dB sweepable from 100 Hz to 8 kHz 15 dB 80 Hz 15 dB 12 kHz 15 dB 3 kh2. iO 8 2 LR LR LR e 2 EO JE E Za Za Za Z Za Za ta o 40 40 40 40 40 a 50 50 50 50 50 50 50 50 50 s n 2 0 60 60 60 60 0 s e a E E E co E co co co co TAPCOLIMITED WARRANTY LOUD Technologies Inc warrants all materials workmanship and proper operation of this TAPCO product for a period of one year from the original date of purchase If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period LOUD Technologies at its option will repair or replace the product This warranty applies only to equipment sold and delivered within the U S by LOUD Technologies or its authorized dealers Failure to register online or return the product registration card will not void the one year warranty Service and repairs of TAPCO products are to be performed only at a factory authorized service center Unauthorized service repairs or modification will void this warranty To obtain repairs under warranty you must have a copy of your sales receipt from the authorized TAPCO de
3. 5 8 E mo m d gig z 4 8 222 2 Se EQ 9 MONO CHANNELS o 9 010 PHANTOM FADER gt gt B LOWMIDHIGH OL LEVEL 7 MAIN MIX LEFT A GAIN I1MUTE in O00 s x 4 X e 5 gt gt gt r T gt e 75Hz R 1 gt MAIN MIX RIGHT our HI PASS EQ 1 AUXZFX MAIN MIX TO LINE IN KA D 4 CTRL RM PHONES 4H a gt gt 41 4 0 1 1 1 lt 4 AUX 1 t TO lt N ALT3 4 TO t gt UD CTRL RM Ed PHONES t t lt 3 gt gt 4 t gt gt gt voc METERS I 4 J 4 SOLO STEREO CHANNELS 5 6 and 7 8 LOW HIGH EQ STEREO CONTROL ROOM LINE IN LEFT MONO 80 25K12K FADER LEVEL MUTE PHONES q gt o gt mete SALT 3 4 1 1 In i 10 i R t 1 4 gt gt 4 gt T D d gt ME FX 1 80 2 5K12K d gt 4 LINE IN RIGHT EQ AUX TON I1POST PRE i 4 voc 1 I A L SOLO MODE soto AUX RETURN LEFT gt 1 i SOLO Olea TO MAIN LR LEVEL TOALT3 4 gt Her t gt gt AUX RETURN RIGHT p FX RETURN LEFT tt SOLO LEVEL LEVEL v P gt 1 gt gt RTRN TO AUX 1 4 FX RETURN RIGHT gt FX BYPASS a 5 9 S a ale 5 2 z 2 2 ES z o 2 5 FX OL 3 2 2 2 lass Z o z sss ss 5 t al el ww T us 4 2 a 2 2 2 3
4. gt gt vx RTRN TO gt ns SEND FX RETURN i RIGHT cy 2 BYPASS aj 9 N S a ale 1 Xx az 2 3 2 T z lt 2 z 8 FXOL s 3 2 2 e z S z a 13 atl E 2 FX INPUT 0 5 S 5 5 5 3 LEVEL voc 4 x lt lt lt 3 ooo internat FX SELECT FX PROCESSOR C VARIATIONS coor FXBYPASS SWITCH m i444 v MIX 260FX BLOCK DIAGRAM 06 14 05 24 MIX lt X220Ex es f 100 120 VAC 220 240 50 60 Hz 40W POWER PHANTOM ON ON A CMAN A SERVICEABLE RISK OF ELECTRIC SHOCK DO NOT OPEN PARTS INSIDE REFER SERVICING TO PERSONNEL BROUGHT TO YOU BY THE GROD FOU WOOOMVLE WA Ske MANUFACTURED NASPATETSPEoNcecoPYRAT 2005 AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR SERIAL NUMBER MANUFACTURING DATE BAL UNBAL 4 3 NYC RIGHT e MAIN OUT ALT 3 4 OUTS CONTROL RM OUT BAL UNBAL RIGHT R IN OUT CD TAPE INPUT OUTPUT 22 LEN SZ FOOTSW MIDXSEXOEx J INTERNAL EFFECTS SPRING ECHO STAGE ECHOREV TREMOLD lt STEREO DELAY 14 ROOM 7 CATHEDRAL FLANGEP4REV sTUDI
5. e J ele p 100 420 vac 1 3 4 e e SZ SZ R PHONES FOOTSW MIC MIC MIC MIC INPUT INPUT INPUT BALAJNBAL BALAJNBAL BALAJNBAL INTERNAL EFFECTS ecd 14 ROOM CATHEDRAL FLANGER REV sTUDIO FLANGER E CHORUS THEATER N ROTARY 2 ean VARANONS INPUT x BYPASS LEVEL xd MAX CONTROL ROOM MAIN co SUB Max TAPETO SOLO MX TAPE 1 2 MAN MODE SOURCE SELECT ptr d RUDE soto MASTER AUX AUX SEND O gt o T 258 Ne Perlen o tia eco z om zm 940 SUB ASSIGN o I o s Od OdBu eee L R SUB SUB MAIN 1 2 MIX 9 9 9 9 9 E T 10 oL 10 OL 10 OL 10 OL 10 oL 10 OL 40 OL 10 oL 10 10 10 10 ef eFeci ec e i 42 42 42 42 U 42 u uU u
6. i C xt T PAN L LR MIC IN I x R was 1 Dl MUTE R 1 T gt RIGHT MAIN 75Hz 80 1008K 12K LL i MAIN MIX RIGHT plo HI PASS EQ LINE IN r MAIN MIX TO LEFT IHE CTRL RM PHONES 4 k SUB 1 2 L lt RIGHT 1 CD TO mE SUB 12 TO CTRL IONES LEFT gt 4 CTRLRW 4 PHONES CD TAPE IN AUX 1 MON lt lt RIGHT 1 gt amp TAPE TO MAIN post lt lt PRE lt lt gt A L T gt SUB1 rw J our 2 jen T gt gt SUB 2 R SUBASSIGN OUT 1 tat TO MAIN MIX 1 pA 1 R METERS 4 1 HE STEREO CHANNELS lt 5 8 5 6 7 8 9 10 and 11 12 LOW MID MIDHIGH SOLO EQ STEREO 8118 LINE IN LEFT MONO 80 500 3K 12K FADER LEVEL HIE pluries 8 8 1 gt t gt 1 P BAL L si DL t 7 RUDE SOLO 1 1 3 or f contro ROOM ye i R x T PHONES L qi poop P5 80 500 3K 12K MUTE rr 1 CONTROL LINE IN RIGHT EQ LL ROOM i AUX2FX i OUTPUTS SUB 1 2 8 gt md RIGHT SOLOLOGIC C 1 gt I1POST 1 SURE HEADPHONE r4 OUTPUT 4 gt 1 voc A u 11 J 4 AUX RETURN LEFT 500 SOLO MODE 1 l au 4 SOLO LEVEL 1 a TO MAIN UR LEVEL ZTOALT3 4 gt a E 4 T gt gt AUX SEND 1 AUX RETURN RIGHT 3 MON FX RETURN LEFT e E T LEVEL 1 LEVEL 4
7. turn down the GAIN control a bit Raise that channel s fader to unity gain U label You should be hearing your noise now If necessary apply channel EQ changes You may need to compensate for level changes afterward with the channel fader control Repeat steps 1 through 4 for the other Mic Line channel s Stop making noise Everyone start making music Now turn up the MAIN MIX control to a comfortable listening level SET THE LEVELS Stereo Line Channels 1 Make some noise with the mono or stereo instrument connected to the LINE IN jacks on a stereo line input channel Pushin the channel s SOLO switch next to the fader Adjust the line input signal level at the source until the 7 and 10 indicators on the meters are flashing If the CLIP LEDs start blinking turn down the signal level a bit Raise that channel s fader to unity gain U label You should be hearing your noise now If necessary apply channel EQ changes You may need to compensate for level changes afterward with the channel LEVEL control Repeat steps 1 through 4 for the remaining stereo channels FOOTSW TAPCO MIX220Fx 1 1 P MIC MIC INPUT INPUT BALAJNBAL BALAJNBAL Z Ay 22 SZ LINE LINE INTERNAL EFFECTS TC TREMOLD ROOM FLANGERHREV FLANGER ECHO Z EC
8. with LOUD Technologies Inc TAPCO products returned to one of the LOUD Technologies factory authorized service centers and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt LOUD Technologies and its authorized service centers may use refurbished parts for repair or replacement of any product Products returned to LOUD Technologies that do not meet the terms of this Warranty will not be repaired unless payment is received for labor materials return freight and insurance Products repaired under warranty will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the original warranty period This warranty does not extend to damage resulting from improper installation misuse neglect or abuse or to exterior appearance This warranty is recognized only if the inspection seals and serial number on the unit have not been defaced or removed LOUD Technologies assumes no responsibility for the quality or timeliness of repairs performed by Authorized TAPCO Service Centers This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period A copy of the sales receipt is required to obtain warranty repairs This is your sole warranty LOU
9. 5 4 Outs 220FX or Sub 1 2 Outs 260F X Left and Right 1 4 TRS Control Room outputs 1 4 Insert jacks for channels 1 4 260FX only HOOKUP DIAGRAMS Small Club Gig BALUNBAL Stage Monitors i 0 e 7 Juice Mono in Stereo out Reverb Power Amplifier optional Microphones 1and2 a gt Headphones CDPlayer _ BE DAT Recorder m TAPCO 5 5 or other Drum Machine Active Studio Monitors Computer set up NENNT T if air aaoure Mono in Stereo out Reverb optional Headphones Note Push down the CD TAPE 21 switch in the CONTROL ROOM section to listen to the DAW output in the control room speakers and headphones Leave it up to listen to the main mix Do not press the TAPE TO MAIN 24 switch or there will be feedback Microphones 1and2 s TAPCO DB 1A Direct Box Digital Audio Workstation Link USB or other Digital Audio Interface Keyboard Drum Machine MIX FX SERIESFEATURES CHANNEL INPUTS 1 MIC MICROPHONE INPUTS The MIX FX Series is equipped with four rugged low noise phantom powered microphone preamplifiers prov
10. 8 8 8 ES INTERNAL FX SELECT FX T PROCESSOR VARIATIONS FOOT FXBYPASS 1 SWITCH e V MIX 220FX BLOCK DIAGRAM 06 14 05 LEFT CD TAPE OUT RIGHT LEFT CD TAPE IN RIGHT OUT OUT LEFT CONTROL ROOM OUTPUTS RIGHT HEADPHONE OUTPUT AUX SEND 1 MON AUX SEND 2 FX 23 Block Diagram Mix 260FX E Sa 244 4 a bea S 5K eg my uy pa t S al al x x 29 0 SI 3 us 5 5 5 3 5 S a 3 2 2 2 9 9 PA t gt gt LEFT MAIN 7 MAIN MIX LEFT INSERT MONO CHANNELS 2 1 through 4 x UD FADER ies ee GAIN LOW FREQMID HIGH OL LEVEL 245 RIGHT MAIN s OUT
11. SOLO th los the meters are MX 3 4 MAIN MODE ree colors to not controlled SOURCE SELECT P ONES indicate different by the CTRL ROOM PHONES knob you wouldn t want that You want to see the actual channel level on the meters regardless of how loud you re listening MASTER AUX SEND ranges of signal level traffic light radicem style They range from 30 at the LeveL bottom 20 on O SET the Mix 220FX O O toO in the middle to CLIP 18 at the top O50 The OLED 20 in the middle is OdB OdBu labeled LEVEL SET to show where the level should be when adjusting a channel s gain in the solo mode as described in Set the Levels on page 5 If nothing is selected the CONTROL ROOM SOURCE SELECT and no channels are in SOLO the meters won t do anything To display a signal level a source must be selected in the CONTROL ROOM SOURCE SELECT which feeds the CONTROL ROOM 55 and PHONES 50 outputs The meters reflect the program level of the selected source prior to the CTRL ROOM PHONES 23 level knob The reason for this is because you want the meters to reflect what the engineer is listening to and the engineer is listening either to the CONTROL ROOM outputs or the PHONES outputs The only difference is that while the listening levels are controlled by the CTRL ROOM PHONES knob the meters indicate the SOURCE mix before those knobs giving you the real
12. effects processor graphic equalizer for example 49 CD TAPE IN OUT TAPE OUTPUTS Use these jacks to capture the entire performance to tape The signal at these jacks is a sample of the main mix as it appears at the MAIN 52 output The TAPE OUTPUT level is affected by the MAIN MIX 42 faders TAPE INPUTS This is where you connect the outputs of your intermission entertainment Any line level mono or stereo device can be used such as tape DVD CD player television audio etc Signals coming into these inputs are routed directly to the main mix when the TAPE TO MAIN 24 switch is pushed in The signals can also be routed to the CONTROL ROOM 55 and PHONES 50 outputs when the CD TAPE 21 switch is engaged in the CONTROL ROOM SOURCE SELECT section When connecting a mono device just one cord you ll need a Y splitter RCA adapter It turns a mono output cord into two cords so both the right and left tape input jacks can be used This adapter is widely available Note There is a chance of feedback if you have the tape inputs and outputs connected to the same recorder and the recorder is in record mode 50 PHONES The stereo signal at this output jack is the same as the CTRL RM OUTS 55 outputs and is controlled by the same CTRL ROOM PHONES level control knob 23 You can listen to the Main Mix the CD TAPE or the ALT 3 4 Mix 220FX or SUB 1 2 Mix 260FX depending upon the CONTROL ROOM SOURCE SELECT s
13. me read a manual Before you begin please make sure you read the Safety Instructions on page 2 and Getting Started on page 4 Your new TAPCO FX Series mixer is designed to set up quickly and operate easily We know it s often seen as a sign of weakness to read a manual along with asking for directions when lost but maybe you can read the rest when nobody is looking It is important to keep your receipt in a safe place and not a bad idea to write your product information here for future reference i e insurance claims tech support return authorization etc Part No 0015483 Rev A 6 05 2005 LOUD Technologies Inc All Rights Reserved 24 2 odjustments just right ZERO THE CONTROLS N Leove the cord disconnected from the MIX FX Series mixer Turn down the channel strip GAIN AUX SEND and fader controls Center the channel strip EQ and PAN BAL controls Turn down the MASTER AUX SENDS AUX RETURN FX RETURN and CTRL ROOM PHONES controls Leave all switches out up 6 Turn down the ALT 3 4 or SUB 1 2 faders and the MAIN MIX faders CONNECTIONS 1 2 Connect your speakers to your omplifier s outputs unless of course you have powered speakers Using TR or TRS cables make connections from your mixer s MAIN OUTS to your amplification systems line inputs Connect your microphones and instruments to the
14. was received This paragraph does not necessarily apply to non warranty repair Note You must have a sales receipt from an Authorized TAPCO Dealer to qualify for a warranty repair Lonely Looking for that special someone Do you have a question about your TAPCO Mixer Please call our Technical Support chaps at 1 877 827 2669 Monday to Friday from 7 am to 5 pm PST After hours visit www tapcogear com and look under Support or e mail us at techmail tapcogear com APPENDIX CONNECTIONS XLR Connectors The Mic Line Channels use 3 pin female XLR connectors on the MIC inputs They are wired as follows according to standards specified by the AES Audio Engineering Society XLR Balanced Wiring Pin 1 Shield Pin 2 Hot Pin 3 Cold 1 4 TRS Phone Plugs and Jacks TRS stands for Tip Ring Sleeve the three connections available on a stereo 1 4 or balanced phone jack or plug TRS jacks and plugs are used for balanced signals and stereo headphones Balanced Mono r gt amp 1 4 TRS Balanced Mono wiring Sleeve Shield Tip Hot Ring Cold Stereo Headphones peda 1 4 TRS Stereo Unbalanced Wiring Sleeve Shield Tip Left Ring Right 20 1 4 TS Phone Plugs and Jacks TS stands for Tip Sleeve the two connections available on a mono 1 4 phone jack or plug They are used for unbalanced signals
15. 0FX only are defeated to allow the soloed signal to do just that solo 18 Sub 1 2 Assign Switch Mix 260FX only This switch assigns the channel to the Sub 1 and 2 buses The PAN BAL 14 control adjusts how much of the signal is sent to each bus When the PAN BAL control is centered Sub 1 and 2 receive equal signal levels while full left is Sub 1 only and full right is Sub 2 only 19 L R Assign Switch Mix 260FX only This switch assigns the channel to the Left and Right Main Mix buses This switch must be pushed in to get the channels signal through to the main outs An alternative routing is to push in the SUB 1 2 assign switch and the SUB ASSIGN TO MAIN MIX 41 switches CONTROL ROOM SECTION 20 MAIN MIX Switch Use this switch to route the Main Mix signals to the CONTROL ROOM outputs PHONES and METERS When this switch is pushed in they all receive the main mix signal tapped after the MAIN MIX control 21 CD TAPE Switch Push this switch to route the CD TAPE input signal to the CONTROL ROOM outputs PHONES and METERS 22 ALT 3 4 Mix 220FX or SUB 1 2 Mix 260F X Switch Push this switch to route the ALT 5 4 signal or the SUB 1 2 signal to the CONTROL ROOM outputs PHONES and METERS CTRL ROOM PHONES 11 12 23 CTRL ROOM PHONES This adjusts the signal level going to the CONTROL ROOM 55 and PHONES 50 outputs It has no effect on the Main Mix output WARNING The h
16. 0FX only Connect these outputs to the inputs of an amplifier powered speakers or recording device 56 CHANNEL INSERTS 1 4 Mix 260FX only These 1 4 TRS jacks provide a send and return point for channels 1 4 Use the CHANNEL INSERT jacks to connect serial effects devices such as compressors equalizers de essers or filters to each individual channel The INSERT points are after the GAIN and Low Cut controls but before the EQ and Fader controls The send tip is low impedance capable of driving any device The return ring is high impedance and can be driven by almost any device Special insert cables are available specially designed for this kind of insert jack They are wired as follows SEND to processor ring tip tip sleeve TRS plug gt This plug connects to the ing Channel Insert jack RETURN from processor Tip Send output to effects device Ring Return input from effects device Sleeve Common ground connect shield to all three sleeves Besides being used for inserting external devices these jacks can also be used as channel direct outputs post GAIN post LOW CUT and pre EQ MIX260rx A CAUTION E WARNING Jon AVS mar rome MANUFACT 57 POWER ON This one is self explanatory When the POWER switch is turned ON power is supplied to the MIX FX Series mixer and t
17. 1 in 384 mm TAPCO is a registered trademark of LOUD Weight 9 8 16 4 4 kg Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective 1 holders and are hereby acknowledged MPX amp amp O 2 a 2005 LOUD Technologies Inc All Rights Reserved SHO B BNO Ono O A amO fa 14 2 in 360 mm XE 15 1 in 384 mm Block Diagram Mix 220FX LEFT MAIN OUT RIGHT MAIN
18. B ASSIGN TO MAIN MIX LEFT and RIGHT buttons The signal will be sent to both sides 42 MAIN MIX Faders This controls the final level of main mix signals sent to the MAIN 52 outputs TAPE 49 outputs CONTROL ROOM 55 PHONES 50 and METERS 27 So it all comes down to this one control Typically the faders will be positioned somewhere between dB U and the 5 dB position All active mono and stereo channels that are not turned down or muted will appear in the main mix the L R Assign button 19 must be engaged on the Mix 260FX Other signals feeding this control include the STEREO AUX and FX RETURNS 46 47 and CD TAPE IN 49 when TAPE TO MAIN 24 is pushed in S 8 8 Baa Mix 220FX ALT 3 4 and MAIN MIX 2 e MAIN OUT 43 o 44 EM e R PHONES FOOTSW OUT D TAPE INPUT OUTPUT 43 POWER LED This LED turns on when the mixer s power cord is plugged into an AC outlet and the POWER 57 switch on the rear panel is turned on 44 PHANTOM 48V LED This LED turns on when the mixer s PHANTOM Power 58 switch on the rear panel is turned on FRONT PANEL CONNECTORS 45 AUX SEND OUT 1 and 2 Connect these 1 4 TRS outputs to the inputs of an external effects processor or stage monitor amplifier Each channel strip has an AUX SEND 1 MON 11 and AUX SEND 2 FX 13 control knob that adjusts how much of that channel s signal appears at each of these outp
19. CO MIX FX Series mixer The TAPCO family of mixers hails back to the days of TAPCO Corporation Greg Mackie s first company TAPCO revolutionized the audio industry back in 1969 with the very first 6 channel mixer specifically designed for keyboards and rock N roll PA The first TAPCO mixer although primitive by today s standards was truly innovative for its time It had the headroom to handle screaming singers was priced for the pocketbook of starving psychedelic musical neophytes and durable enough to withstand mammoth levels of wear and tear on the road and at now legendary concerts In essence TAPCO re defined the price performance ratio and made high quality professional audio mixers accessible to virtually anyone Today TAPCO is reborn with the same ideals and is backed by the world class engineering and manvfacturing horsepower of LOUD Technologies These compact mixers are perfect for small to medium sized live sound reinforcement applications keyboards and synths video and small project studio applications HERE S A QUICK GLANCE AT ALL THE FEATURES PACKED INTO THESE MIXERS Mono mic line channels XLR microphone input jack 1 4 TRS line input jack Phantom power globally switched Variable input trim O to 50 dB Overload OL indicator LED Monitor Aux Send with Pre Post switch Post fader FX Aux Send 3 band EQ 75 Hz low cut filter Pan control Mute switch Mute Alt 3 4 switch on 220FX Solo switch Sub 1 2 and L R assi
20. Channel in bass drums bass guitar fat synth patches and high testosterone male singers AUXILIARY In addition to the main mix output the mixer provides two auxiliary mixes which you can send to parallel effects processors and stage monitors The AUX SEND knobs adjust how much of each channel is tapped off added to the aux mix and sent out via the AUX SEND 45 jacks On the stereo channels the AUX knob controls a mono sum of the channel s stereo signals For instance channel 5 L and 6 R mix together to feed that channel s AUX send knobs Mix 260FX Stereo Channel 9 11 AUX SEND 1 MON The AUX SEND 1 be used either as a monitor send pre fader or an effects send post foder Push in the PRE 12 switch to use AUX SEND 1 as a monitor send and feed the mono input of a stage monitor amplifier via the AUX SEND 1 45 output jack In pre fader mode the signal is tapped off after the EQ controls but before the fader control so the monitor send is not affected by changes in the Main Mix If you want to use the AUX SEND 1 as an effects send leave the PRE switch up and use it as described for the AUX SEND 2 13 12 PRE This switch determines whether the AUX SEND 1 is pre fader pushed in or post fader out Typically push this switch in when using AUX SEND 1 asa monitor send and leave it out when using it as an effects send 13 AUX SEND 2 FX The AUX SEND 2 is used to feed the
21. D Technologies Inc does not authorize any third party including any dealer or sales representative to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY LOUD TECHNOLOGIES INC AND IS IN LIEU OF ALL OTHER WARRANTIES EXPRESS AND IMPLIED INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED TAPCO DEALER UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD LOUD TECHNOLOGIES INC SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND LOUD TECHNOLOGIES INC SHALL NOT BE LIABLE FOR ANY INCIDENTAL SPECIAL OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE TAPCO PRODUCT OR ANY WARRANTY CLAIM Some states do not allow exclusion or limitation of incidental special or consequential damages or a limitation on how long warranties last so some of the above limitations and exclusions may not apply to you This warranty provides specific legal rights and you may have other rights which vary from state to state Please keep your sales receipt in a safe place 27 gt TOTAL AUDIO PRODUCTION
22. HO REV CATHEDRAL STUDIO CHORUS rcc 14 d 13 THEATER Sa Ad ROTARY EX INPUT LEVEL FXOL CONTROL ROOM MAN CO ALT MX 3 4 MAIN MODE ROOM SOURCE SELECT MASTER ll g 8 B 8 8 8 e a 8 B 8lilil 8 B 8 8 B FEW PRECAUTIONS Never listen to loud music for prolonged periods Please see the Safety Instructions on page 2 for information on hearing protection Never plug amplifier speaker level outputs into anything except speakers Never use guitar cables to connect amplifiers to speakers Before making connections to an external amplifier or reconfiguring an amps routing turn the amps level gain controls down turn the power off make the changes turn the power back on and then turn the level controls back up When you shut down your equipment turn off any external amplifiers first When powering up turn on the amplifiers last Save the shipping box and packing material The box can also be turned into a unique hat lunch box or handbag to accessorize your mixer INTRODUCTION Thank you for choosing a TAP
23. O FLANGER CHORUS THEATER cuonueimev ROTARY HALL EX INPUT LEVEL FXOL MAX 18 15 e o i 13 7 4 18 5 nt c 228 10 s 7 VARIATIONS BYPASS CONTROL ROOM MAIN CO ALT MX TAPE 34 SOURCE SELECT CTRL ROOM AFL SOLO MAIN PHONES MASTER AUX AUX SEND RETURN RUDE soto 1 500 oo 15 MAIN 87 Her eal zt en 229 2 CS Rz E o Oo els SAN AL 15 4115 oo 15 20 E OdB OdBu a E jams raa ALT ALT IMAIN 5 7 a 4 MIX a J 2 2 OL OL 10 5 0 scio 9 soo B 8 888 B 28 8 25 K OF ELEC DO NOT OPEN PANTS INSIDE REE SERVICING QUALIFIED PERSONNEL NOST o aT as Wot IRE CANA PATENTS PENDING COPYRIGHT 2005 AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR SERIAL NUMBER MANUFACTURING DATE IMIX260ex Acme Eur MAIN OUTS SUB OUTS CTRL RM OUT CHANNEL INSERTS POWER PHANTOM BAL UNBAL BAL UNBAL TIP SEND RING RETURN RIGHT LEFT
24. Peace Train 97 100 Cranked psychedelic tunes 102 105 High speed chase on C H I P s 110 0 25 orless 115 Loudest parts at a Heavy Metal WARNING To reduce the risk of fire or electric shock do not expose this appliance to rain or moisture CONTENTS SAFETY INSTRUCT IONS istituto PG 2 Getting Storted 4 Ne AIG eet Hookup Diogroms a Haad teri 7 MIX FX Series Features rennen 8 CHANNELINDUTS ud otis nter 8 CHANNEL CONTROLS quuin ini ait 9 AUXILIAR 9 CONTROL ROOM 11 AUXILIARY SECTION 13 INTERNAL EFFECTS ecce l4 MAIN MIX SUBS and POWER LEDs 14 FRONT PANEL CONNECTORS 15 REAR PANEL 16 Appendix A Service Informaotion 18 Appendix B Connections 20 Appendix C MIX FX Series Specifications 21 Block Diagram 22 25 Block Diagram 26 24 TAPCO LIMITED WARRANTY e 27 Don t forget to visit our website at www tapcogear com for more information about this and other TAPCO products What
25. R MAIN MIX and SUB 1 2 will be interrupted all the AUX sends will be silenced both pre and post fader as will the AFL SOLO The PFL SOLO will continue to provide a signal when a channel is muted The LED next to the MUTE switch lights to let you know when the MUTE function is active The Mix 220F X has a dual purpose MUTE ALT 3 4 switch This is a Mackie signature and now a TAPCO signature When Greg was designing one of the first Mackie products he had to include a mute switch for each channel Mute switches do just what they sound like they do They turn off the signal by routing it into oblivion Gee what a waste Greg reasoned Why not have the mute button route the signal somewhere else useful like a separate stereo bus So MUTE ALT 3 4 really serves two functions muting often used during mixdown or live shows and signal routing for multitrack and live work where it acts as an extra stereo bus To use this as a MUTE switch all you have to do is not use the ALT 3 4 outputs 53 Then whenever you assign a channel to these unused outputs you ll also be disconnecting it from the MAIN MIX effectively muting the channel The MUTE switch also disconnects the channel from the AUX SEND 2 bus and the AUX SEND 1 bus when the PRE 12 switch is up The channel s signal is still present on the AUX SEND 1 bus when the PRE switch is engaged Mix 260FX Mono Channel To use this on ALT 3 4 switch ol
26. S when their MUTE ALT 5 4 switch is pushed in Mix 220F X only 40 SUB 1 2 Master Faders Mix 260FX These faders control the level of the signals sent to the SUB OUTS 54 All channels that have their Sub 1 2 assign switch 18 pushed in appear at the SUB OUTS Mix 260F X only The ALT 3 4 and SUB 1 2 signal is off when the faders are fully down the U marking is unity gain and fully up provides 10 dB of additional gain If you are using the two ALTS or SUBS as a stereo pair make sure that both faders ride together to maintain the left right balance 41 SUB ASSIGN TO MAIN MIX Switches Mix 260FX only One popular use of the subgroups is to use them as master faders for a group of channels on their way to the MAIN MIX Let s say you ve got a drum kit using several channels and yov re going to want to adjust the overall volume of just the drums with two master faders Just un assign these channels from the MAIN MIX reassign them to subgroups 1 2 engage the SUB ASSIGN TO MAIN MIX LEFT on subgroup 1 and SUB AUX SEND AUX RETURN FX RETURN N lt 6 ASSIGN TO MAIN MIX RIGHT subgroup 2 Now you con ride the entire drum mix with two faders subgroups 1 2 If you engage just one SUB ASSIGN TO MAIN MIX button per subgroup LEFT or RIGHT the signal sent to the MAIN MIX will be the same level as the SUB OUTS If you want the subgroup to appear in the center of the main mix engage both the SU
27. aler where you purchased the product It is necessary to establish purchase date and determine whether your TAPCO product is within the warranty period To obtain factory authorized service 1 Call TAPCO Technical Support at 877 827 2669 7 AM to 5 PM Monday through Friday Pacific Time to get a Service Request Number Products returned without a Service Request Number will be refused 2 Pack the product in its original shipping carton Also include a note explaining exactly how to duplicate the problem a copy of the sales receipt with price and date showing and your return stree address no boxes or route numbers please If we cannot duplicate the problem or establish the starting date of your Limited Warranty we may at our option charge for service time 3 Ship the product in its original shipping carton freight prepaid to the authorized service center The address of your closest authorized service center will be given to you by Technical Support IMPORTANT Make sure that the Service Request Number is plainly written on the shipping carton LOUD Technologies Inc reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out LOUD Technologies may at our option require proof of the original date of purchase in the form of a dated copy of the original dealer s invoice or sales receipt Final determination of warranty coverage lies solely
28. ar bassy synth patches or recordings of earthquakes These aside there isn t much down there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty 7 HI EQ Turning this clockwise boosts the level of all frequencies above 12 kHz Turning it counter clockwise cuts the levels Use this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilance or hide tape hiss 8 MID EQ Turning this clockwise boosts the level of frequencies at and around 2 5 kHz on the 220FX Turning it counter clockwise cuts the levels The 260FX has a sweepable MID EQ on the mono channels see 9 next and two discrete MID EQ controls on the stereo channels with center frequencies at 5 kHz and 500 Hz The midrange frequencies include the upper male and lower female vocal ranges and the fundamentals and harmonics for many instruments 9 MID FREQ Mix 260FX Mono Channels only This allows you to change the center frequency for the MID EQ filter so you can zero in more accurately on the precise narrow band of frequencies you want to boost or cut It ranges from 100 Hz to 8 kHz 10 LOW EQ Turning this clockwise boosts the level of all frequencies below 80 Hz Turning it counter clockwise cuts the levels Frequencies of 80 Hz and below represent the punch Mix 260FX Mono
29. ding troubleshooting suggestions Please 2 Call Tech Support at 1 877 827 2669 7 am to 5 pm PST to explain the problem and obtain a Service Request Number Have your mixer s serial number ready You must have a Service Request Number before you can obtain factory authorized 3 Keep this owner s manual We don t need it to repair the mixer 4 Packthe mixer in its original package including endcaps and box This is VERY IMPORTANT When you call for the Service Request Number please let Tech Support know if you need new packaging You can order new packaging through our parts department TAPCO is not responsible for any damage that occurs due to non factory packaging 5 Include a legible note stating your name shipping address no boxes daytime phone number RA number and a detailed description of the problem including how we can duplicate it Write the Service Request Number in BIG PRINT on top of the box Units sent to us without the Service Request Number will be refused Tech Support will tell you where to ship the amplifier for repair We suggest insurance for all forms of cartage Well try to fix the mixer within five business days Ask Tech Support for the latest turn around times when you call for your Service Request Number The mixer must be packaged in its original packing box and must have the Service Request Number on the box Once it s repaired we ll ship it back the same way in which it
30. e it is possible the fuse has blown To remove and replace the fuse 1 Disconnect the linecord from the IEC socket 2 Remove the fuse drawer by prying it open with a small screwdriver It will slide all the way out 3 Remove the fuse and replace it with an equivalent type fuse 1 6 amp slo blo T1 6 A 250V 4 Replace the fuse drawer by pushing it all the way back into the IEC socket 5 Reconnect the line cord and turn the POWER switch on If two fuses blow in a row then something is wrong See the Repair section on the next page to find out what to do Bad Channel Is the channel GAIN turned up Is the channel LEVEL turned up Try the same source signal in another channel set up exactly like the suspect channel Bad Output Sthe MAIN MIX control turned up If it s a stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the left speaker is still dead it s not the mixer Noise Turn the channel LEVEL controls down one by one If the noise disappears it s either that channel or whatever is plugged into it so unplug whatever that is Repair Service for TAPCO mixers is available at o foctory authorized service center Service for TAPCO mixers living outside the United States can be obtained through local dealers or distributors If your mixer needs service follow these instructions 1 Review the prece
31. e Master AUX SEND knobs provide overall control for the aux send levels just before the signal is delivered to the Aux Send outputs It ranges from off when fully counter clockwise to unity gain at the center detent position to 15 dB gain when fully up 29 MASTER AUX SEND SOLO Switches These allow you to monitor the aux send signals in the CONTROL ROOM and PHONES outputs This is especially handy for listening to an aux send being used to feed on stage monitors 30 Master AUX RETURN Level Control This adjusts the amount of the Aux Return signal that is added to the Left and Right Main Mix buses just before the MAIN MIX 42 faders Note For additional routing options for the AUX RETURN signal see Assign Switch next 51 MAIN ALT 3 4 Assign Switch Mix 220FX MAIN SUB 1 2 Assign Switch Mix 260FX When this switch is up the Aux Return signal is routed to the Left and Right Main Mix bus When the switch is down the signal is routed to the Alt 3 4 Mix 220FX or Sub 1 2 Mix 260FX buses instead of the Main Mix bus 32 Master FX RETURN Level Control This adjusts the amount of the FX Return signal that is added to the Left and Right Main Mix buses just before the MAIN MIX 42 faders If there is nothing plugged into the FX RETURN Inputs the FX Return signal comes from the Internal Effects module If the output from an external effects processor is plugged into the FX RETURN Inputs the Internal Effects is disconn
32. eadphone amp is designed to drive any standard headphones to a very loud level We re not kidding It can cause permanent hearing damage Even intermediate levels may be painfully loud with some headphones BE CAREFUL Always start with the CTRL ROOM PHONE knob turned all the way down before connecting headphones to the PHONES jack Keep it down until you ve put on the headphones The turn it up slowly Why Always remember Engineers who fry their ears find themselves with short careers 24 TAPE TO MAIN Switch If you have a CD or Tape Deck connected to the CD TAPE inputs push down this switch to add the CD TADE signal to the main mix This is useful if you want to play some entertainment while the band is taking a break Use the MAIN MIX controls to adjust the volume level We do not mean to imply that your band isn t entertaining or that any other music could possibly fill in for them 25 SOLO MODE PFL AFL Engaging a channel s SOLO switch will cause this dramatic turn of events Any existing CONTROL ROOM SOURCE selections are replaced by the SOLO signal appearing at the CONTROL ROOM OUTPUTS PHONES and at the RIGHT METER LEFT and RIGHT METERS when in AFL SOLO MODE The audible SOLO levels are then controlled With the SOLO MODE switch in the up position you re in PFL mode meaning Pre Fader Listen post EQ This mode is required for the Set the Levels procedure and is handy for quick spot checks o
33. ected and only the external effects signal is routed through the FX RETURN level control 33 RTRN TO AUX 1 Level Control This routes the FX RETURN signal to the AUX 1 SEND This is not affected by the FX RETURN level control so you can use this control to add the FX RETURN to the monitor mix independently The stereo effects return signal is summed to mono and routed to the AUX SEND 1 MON bus via this control where it is combined with the other signals at the AUX SEND 1 MON bus prior to the MASTER AUX SEND 1 control 28 13 INTERNAL EFFECTS The internal effects circuit receives a mono signal from the AUX 2 FX bus and it outputs a stereo signal onto the main mix buses The input signal is controlled by the MASTER AUX SEND 2 knob 28 and the FX INPUT LEVEL knob 36 while the outputs are controlled by the FX RETURN 32 knob Inside the processor the analog audio is converted to digital this is processed by the internal DSP effects processor and the result converted into a stereo analog signal 34 Internal Effects Select Knob The internal effects processor has 16 great preset effects to enhance your sound confuse cats and upset hamsters if that is your idea of fun Each has been carefully modeled to represent standard effects Note that the effects output mutes momentarily when changing effects 35 VARIATIONS As you rotate this control from position 1 through 16 the strength of the effect increas
34. es For example if using a reverb effect a low number produces a short reverb time and a larger number produces a longer reverb time 36 FX INPUT LEVEL This knob allows you to adjust the signal level going into the internal effects processor As a general rule adjust the FX INPUT LEVEL knob until you just barely see the FX OL LED 37 blink This will give you the best signal to noise ratio for the effects signal TAPCO MIX 20rx SPRING STAGE N s ECHO REV e STEREO DELAY 1 CHORUS REV HALL THEATER ROTARY VARIATIONS 37 FX OL This LED indicates when you are approaching the clipping point for the digital effects processor If you see the FX OL overload light blinking frequently turn down the FX INPUT LEVEL knob until it just turns off during the louder passages riffs chords yells etc 38 FX BYPASS Press this switch in to bypass the internal effects processor and so prevent its output from appearing on the main mix or stage monitors The LED next to the BYPASS switch reminds you whenever the processor is bypassed Use BYPASS if you are not using the internal effects or use it to quickly compare between the effective effect of effects and the effect of no effects MAIN MIX SUBS and POWER LEDs 39 ALT 3 4 Master Faders 220 These faders control the level of the signals sent to the ALT 3 4 OUTS 53 Remember channels are routed to the ALT 3 4 OUT
35. f channels especially ones that have their faders turned down With the switch down you re in AFL mode meaning After Fader Listen You ll hear the output of the soloed channel it will follow the channel s GAIN EQ FADER and PAN settings It s similar to muting all the other channels but without the hassle Use AFL mode during mixdown In either mode SOLO will not be affected by a channel s MUTE ALT switch position Note Be careful when switching from AFL to PFL mode If you have the channel fader turned down very much below unity gain U while in AFL mode switching to PFL mode will cause a sudden and startling increase in volume level 26 RUDE SOLO LED This large LED lights when channel s solo is active as an additional reminder beyond the indicating LEDs on each channel If you work on a mixer that has a solo function with no indicator lights and you happen to forget you re in solo mode you can easily be tricked into thinking that something is wrong with your mixer Hence the RUDE SOLO light It s especially handy at about 5 am when no sound is coming out of your monitors but your multitrack is playing back like mad Note In PFL Solo Mode the RUDE SOLO LED is green In AFL Solo Mode the LED is red by the CTRL 27 Meters ROOM PHONES CONTROL ROOM 23 24 25 The peak knob 23 The 20 21 4 meters are made SOLO levels O mp Up of two columns appearing on Q of LEDs with MAIN CD ALT MAX TO
36. f you haven t already please read SET THE LEVELS on page 4 The GAIN control adjusts the input sensitivity of the MIC and LINE inputs This allows signals from the outside world to be adjusted to optimal internal operating levels The GAIN control provides 50 dB of gain with the knob fully up Mix 220FX Stereo Channel 4 4 10 Switch Stereo channels only Instead of a rotary gain control the stereo channels have a gain switch This changes the input sensitivity of the channel to match either the 10 dBv consumer level or the 4 dBu professional level Most consumer equipment with RCA connectors operate at the 10 dBv level while most professional equipment with 1 4 inch phone jacks or XLR connectors operate at the 4 dBu level As you might expect the 4 dBu level is higher louder than the 10 dBv level If you have trouble getting enough volume from a signal connected to one of these stereo channels push in the 4 10 switch to get more volume Mix 220FX Stereo Channel 5 OLLED This handy LED Light Emitting Diode lets you know thot the signals going into the mixer are adjusted to the correct level not too strong to cause distortion and not too weqk to be lost in noise After you connect a microphone or line level component to the mixer do a sound test and adjust the GAIN control until this handy LED flickers just occasionally If it is glowing constantly turn the GAIN down If the LED is doing a
37. facts at all times even if you re not listening at all When a channel is soloed the meters change to reflect the level of that channel s signal level pre or post fader depending on the SOLO MODE 25 setting You may already be an expert at the world of 4 4 dBu2 1 25 V and N 10 10 dBV 0 32 V operating levels What makes a mixer CLOSER the other is the relative dB VU or VU chosen for the meters A 4 mixer with 4 dBu pouring out the back will actually read O VU on its meters 10 mixer with a 10 dBV signal trickling out will read you guessed it VU on its meters So when is 0 VU actually dBu Right now TAPCO mixers show things as they really are When dBu 0 775 V is at the outputs it shows as 0 dB VU on the meters What could be easier By the way the most wonderful thing about standards is that there are so many to choose from Thanks to the MIX FX Series wide dynamic range you can get a good mix with peaks flashing anywhere between 20 and 10 dB on the meters Most amplifiers clip at about 10 dBu and some recorders aren t so forgiving either For best real world results try to keep your peaks between and 7 5 on the 220 FX Remember audio meters are just tools to help assure you that your levels are in the ballpark You don t have to stare at them unless you want to AUXILIARY SECTION 28 MASTER AUX SEND Knobs Th
38. finely tuned mix Typically providing the GAIN is set correctly this will be positioned somewhere around O dB U If you have the fader set all the way up it s usually asign that your GAIN is set too low If fader is set way down your GAIN may be too high 17 SOLO This handy switch allows you to hear signals through your headphones or control room outputs without having to route them to the MAIN or ALT 3 4 mixes Folks use solo in live work to preview channels before they are let into the mix or just to check out what a particular channel is up to anytime during a session You can solo as many channels at a time as you like The OL LED 5 lights continuously to indicate when the SOLO switch is active as well as the RUDE SOLO LED located just above the meters Your MIX FX Series has Dual Mode Solo A switch in the master section SOLO MODE 25 determines which mode yov ll be hearing With the switch MAIN MIX CONTROL ROOM 23 24 25 CD TAPE SOURCE SELECT up you ll get Pre Fader Listen which is after the GAIN and EQ controls but before the channel fader With the switch down you re in AFL After Fader Listen which is post fader and post PAN BAL making it ideal for mixdown soloing Soloed channels are sent to the CONTROL ROOM PHONES and Meters Whenever SOLO is engaged all CONTROL ROOM SOURCE selections MAIN MIX CD TAPE ALT 3 4 Mix 220FX only and SUB 1 2 Mix 26
39. gle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil SAFETY INSTRUCTIONS 1 Readthese instructions 2 Keep these instructions 5 Heed all warnings 4 Follow all instructions 5 Donotusethis apparatus near water 6 Clean only with a dry cloth 7 Donotblock any ventilation openings Install in accordance with the manufacturer s instructions 8 Donotinstall near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heot 9 Donot defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the thrid prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protectthe power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a cart stand tripod bracket or table specified by the manvfacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination t
40. gn switches 260 FX only 60 mm fader Stereo line channels Left and right 1 4 TRS line input jacks 4 10 input level switch Monitor Aux Send with Pre Post switch Post fader FX Aux Send 5 EQ Balance control Mute switch Mute Alt 5 4 switch on 220F X Solo switch Sub 1 2 and L R assign switches 260 FX only 60 mm fader Master section 60mm fader Main Mix controls 60mm fader Alt 3 4 controls 220F X only 60mm fader Sub 1 2 controls 260F X only with Assign to Main Mix switches Balanced 1 4 TRS stereo main outputs 12 segment stereo LED VU metering 1 4 TRS Aux Sends with rotary level controls Stereo RCA tape out and tape in Stereo 1 4 Phones output Internal digital effects section with effects select control variations control input level control FX overload LED and FX bypass switch 1 4 Footswitch jack to bypass the internal effects duplicates the FX bypass switch Source select switches for Control Room Phones output Rotary Ctrl Room Phones level control Tape to Main switch Solo mode switch PFL AFL Aux Return 1 level control with Main Sub 1 2 assign switch Aux Return 2 FX level control with Return to Aux 1 level control Inter Planetary Space Drive control OK we made that last one up but we can pencil it in for next time Rear panel Main power switch Master 48V phantom power switch with LED indicator except 50 Left and Right XLR Main Outs Left and Right 1 4 Alt
41. he power LED on the front panel lights up 58 PHANTOM ON Turn on this switch to provide phantom power to all four MIC INPUT 1 XLR jacks Phantom power is required to operate most condenser microphones some condenser microphones are battery powered With the switch turned on the mixer provides 48 VDC phantom powering on XLR pins 2 and 3 If you have ribbon mics tube mics or dynamic mics that do not require phantom power leave the PHANTOM POWER switch out If you are using both condenser and dynamic mics don t worry Phantom power will not hurt most dynamic mics Check the microphone s user manual if you re not sure Caution Turn all output levels down before operating this switch to avoid the possibility of a pop in your speakers Do not use phantom power with tube or ribbon microphones as this may cause damage 59 Power Receptacle and Fuse This is a standard 3 prong IEC power connector Connect the detachable linecord included in the box with your MIX FX Series mixer to the power receptacle and plug the other end of the linecord into an AC outlet properly configured with the voltage required for your particular model 100 120 VAC or 220 240 VAC The fuse is located behind the fuse cover at the bottom of the IEC socket See the Troubleshooting section on page 12 for information about replacing the fuse 60 Kensington Security Slot To help prevent theft all the MIX FX Series mixers have a security s
42. iding up to 50 dB of crys tal clear amplification Their balanced circuitry rejects all manner of extraneous interfer ence Professional condenser dynamic and ribbon mics all sound excellent through these XLR inputs You can plug in almost any kind of balanced mic that has a standard XLR type male mic connector See Appendix B for more information on XLR connectors The MIX FX Series provides 48 VDC phantom powering on pins 2 and 3 of the mono channels XLR MIC inputs This can be turned on and off using the PHANTOM 58 switch Mix 220FX Mono Channel CAUTION DO NOT connect a line level device to a MIC input with the phantom power switched on This could damage the device Use the LINE IN 2 jacks instead Do not use phantom power with tube or ribbon microphones as this may cause damage 2 LINE INPUTS These inputs can accept 1 4 TRS balanced and TS unbalanced plugs from any line level instrument effects device or tape player They can be driven by virtually any line level signal from 45 dBu up to 18 dBu There are two line inputs for each stereo channel a left and a right When connecting a stereo device two cords use both the left mono input and the right input When connecting a mono device just one cord always use the left mono input and plug nothing into the right input A trick called jack normalling causes the signal to appear on both sides 3 GAIN CONTROL Mono Channels only I
43. interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 19 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure against potentially dangerous exposure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here Duration Per Day Sound Level dBA Typical In Hours Slow Response Example 90 Packed garage concert 92 95 VW Bus
44. l you to do is connect the ALT 3 4 outputs 53 to whatever destination you desire Two popular examples When doing multitrack recording you can use the ALT 3 4 outputs as a stereo or dual mono feed to your multitrack When doing live sound or mixdown it s often handy to control the level of several channels with one knob That s called subgrouping Simply assign these channels to the ALT 5 4 mix engage ALT 5 4 22 in the CONTROL ROOM PHONES SOURCE matrix and the signals will appear at the CONTROL ROOM 55 and PHONES 50 outputs If you want the ALT 3 4 signals to go back into the MAIN MIX patch the ALT 5 4 OUT 55 back into an unused stereo channel 5 6 or 7 8 If that s your choice don t ever engage the MUTE ALT 3 4 switch on that stereo channel or you ll have every dog in the neighborhood howling at your feedback loop Another benefit of the ALT 3 4 feature is that it can act as an AFL After Fader Listen Just engage a channel s MUTE ALT 3 4 switch and the ALT 3 4 22 switch in the CONTROL ROOM SOURCE matrix and you ll get that channel all by itself in the CONTROL ROOM 55 and PHONES 50 MUTE ALT 3 4 is one of those features that can bewilder newcomers so take your time and play around with it Once you ve got it down you ll probably think of a hundred uses for it 16 Fader This is the master level control for the channel s signal Subtle adjustment of the channels fader control is the key to a
45. lmost nothing turn it up CHANNEL CONTROLS The chonnel strips hove vorious controls depending on the model and whether it is a mic line mono channel or a stereo channel The output from each channel strip passes on to the left and right main mix Two auxiliary signals can be tapped off and sent to monitors or effects processors The block diagrams on pages 23 24 show how the signal flows through each mixer UNITY GAIN The U symbol on most of the controls stands for unity gain meaning there is no change in signal level Once you have adjusted the input signal to line level you can set every control at U and your signals will travel through the mixer at optimal levels EQUALIZATION Each EQ control provides up to 15 dB of boost and cut with no change to the signal 0 dB in the center position The Mix 220FX has three band E on all the channels while the Mix 260FX has three band EQ with variable mid on the mono channels and four band EQ on the stereo channels Although you can bring a sound to life with proper EQ you can also mess things up If you max the EQs on every channel you ll get mix mush not to mention driving your mix levels near or beyond clipping So equalize subtly use cut as well as boost 6 75Hz Low Cut Switch Mono Channels only This switch cuts the bass frequencies below 75 Hz We recommend that you use the Low Cut switch on every microphone application except kick drum bass guit
46. lot designed to fit the popular Kensington security locks A variety of models are available from their website at www kensington com MIX 220 rx ALT 3 4 OUTS BAL UNBAL 1223 SERIAL 2 ee 6 POWER PHANTOM ON ON MAIN OUTS tate CHANNEL INSERTS BAL UNBAL BAL UNBAL TIP SEND RING RETURN 4 RIGHT LEFT 4 3 2 1 e eee 22 YZ 2 e e 22 RZ w 17 18 APPENDIX A SERVICE INFORMATION Warranty Service Details concerning Warranty Service are spelled out in the Warranty section on page 27 If you think your TAPCO mixer has a problem please do everything you can to confirm it before calling for service Doing so might save you from the deprivation of your mixer and the associated suffering These may sound obvious to you but here are some things you can check Read on Troubleshooting No Power Our favorite question Is it plugged in Make sure the AC outlet is live check with a tester or lamp Our next favorite question Is the POWER switch on If not try turning it on Is the red POWER LED illuminated If not make sure the AC outlet is live If so refer to Bad Channel and Bad Output below Is the fuse blown If the POWER LED on the front panelis not illuminated and you are certain that the AC outlet is liv
47. mixer Connect microphones to the mono channel MIC INPUT jacks For condenser microphones turn on the PHANTOM POWER switch Connect line level signal sources to the LINE input jacks Note Normally you would plug in only one microphone or one instrument into each mono channel Zerothe controls as described above Connect the power cord supplied with your mixer to the AC socket on the back and plug it into an AC outlet properly configured for your model Plug all other sound system components into suitable AC outlets properly grounded and capable of delivering adequate current Turn all the power switches on leaving the speaker s amplifier s switch for last Turn up the MAIN MIX fader to the 10 mark for now Well crank it up later on Now you are ready to set the levels GETTING STARTED p P The following steps will help you set up your mixer and get the levels SET THE LEVELS Mic Line Channels 1 Choose one of the microphones or instruments you connected to the mono MIC or LINE input Make some noise If it s a microphone sing at your normal singing volume If it s an instrument play it at its normal output level Pushin the channel s SOLO switch next to the fader make sure the SOLO MODE switch above the meters is up in PFL mode While making noise turn up that channel s GAIN control until the 7 and 10 indicators on the meters are flashing If the CLIP LEDs start blinking
48. mono input of parallel effects devices via the AUX SEND 2 45 output jack All the channel controls except PAN or BAL will affect the AUX signal The signal is tapped off after the fader control The output from an external processor can come back in via the stereo FX RETURN 47 inputs and can be added to either the main mix or the ALT 3 4 on the 220FX or the SUB 1 2 on the 260F X 14 PAN BAL This adjusts how much of the channel signal plays in the left side of the main mix and how much plays in the right For mono mic line channels if PAN is in the center position the mono signal appears equally in both the left and right of the main mix If the control is set left more of the signal appears in the left side If the control is set right more of the signal appears in the right side of the mix Mix 220FX Mono Channel 10 For stereo channels the BAL control works like a home stereo balance control by attenuating one side or the other In the center position the left and right channel signals pass through to the main mix unaffected If it is turned left the right channel is attenuated if turned right the left side is attenuated 15 MUTE ALT 3 4 The Mix 260F X has a simple MUTE switch Engaging a channel s MUTE switch provides almost the same results as turning the fader all the way down a pre aux send is not affected by the channel fader but it is by the MUTE switch Any channel assignments to L
49. o avoid injury from tip over PORTABLE CART WARNING Carts and stands The Component should be used only with a cart or stand that is recommended by the manufacturer A Component and cart combination should be moved with care Quick stops excessive force and uneven surfaces may cause the Component and cart combination to overturn 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as when the power supply cord or plug has been damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 This apparatus shall not be exposed to dripping or splashing and no object filled with liquids such as vases shall be placed on the apparatus 16 This apparatus has been designed with Class l construction and must be connected to a mains socket outlet with a protective earthing connection the third grounding prong 17 This apparatus has been equipped with a single pole rocker style AC mains power switch This switch is located on the front panel and should remain readily accessible to the user 18 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio
50. owners manual MIX 220FX MIX 260FX Q KE J gt C x gt lt AE AJ TOTAL AUDIO PRODUCTION CAUTION AVIS RISK OF ELECTRIC SHOCK DO OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO UALIFIED PERSONNEL ATTENTION POUR EVITER LES RISQUES DE CHOC ELECTRIQUE NE PAS ENLEVER LE COUVERCLE AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L USAGER CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCENDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock fo persons Le symbole clair avec point de fl che l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance Le point d exclamation l int rieur d un trian
51. uts The output from these jacks is the sum of all those active channels that have their AUX SEND knobs set to more than the minimum position SUB ASSIGN TO MAIN MIX Mix 260FX SUB 1 2 and MAIN 15 46 STEREO AUX RETURN Inputs Connect the outputs of on externol porallel effects device into these inputs When connecting o mono device just one cord always use the left mono input and plug nothing into the right input The signal will appear on both sides The signal is added directly into the main mix or Sub 1 2 bus on the Mix 260FX when the MAIN SUB 1 2 switch 31 is pushed in via the Master AUX RETURN level control 30 47 STEREO FX RETURN Inputs Connect the outputs of an external parallel effects device into these inputs Plugging a 1 4 plug into these jacks disconnects the Internal Effects processor Note that if you plug into just the left input the right internal effects is still connected and vice versa This gives you the flexibility to create some very unusual effects The signal is added directly into the main mix via the Master FX RETURN level control 32 48 1 4 MAIN OUT Mix 260FX only These 1 4 TRS jacks provide a balanced or unbalanced line level signal where your fully mixed stereo signal enters the real world This is the same signal that appears at the XLR MAIN OUTS 52 on the rear panel Connect these outputs to the inputs of your amplifiers powered speakers or serial
52. witches Note Be very careful because the PHONES jack can drive any standard headphones to very loud levels Please see page 2 for information on hearing protection 51 FOOTSW This 1 4 TS jack allows you to connect a standard footswitch for engaging the Internal FX BYPASS 38 function Note that the indicator light next to the FX BYPASS switch illuminates when the bypass function is engaged REAR PANEL FEATURES 52 XLR MAIN OUTS These male XLR connectors provide a balanced line level signal that represent the end of the mixer chain where your fully mixed stereo signal enters the real world Connect these to the inputs of your main power amplifiers powered speakers or serial effects processor like a graphic equalizer or compressor limiter 53 ALT 3 4 OUTS Mix 220FX These 1 4 TRS jacks provide the outputs for the ALT 3 and 4 signals These can be connected to the inputs of a recording device or to secondary amplifiers for an alternate mix 2 R PHONES OUT CD TAPE INPUT OUTPUT 54 SUB OUTS Mix 260FX These 1 4 TRS jacks provide the outputs for the SUB 1 and 2 signals These can be connected to the inputs of a recording device or to secondary amplifiers for an alternate mix 55 CTRL RM OUT These 1 4 TRS jacks can be used to provide another main mix output or to monitor the CD TAPE Inputs CD TAPE switch pushed in or to monitor the ALT 3 4 Mix 220FX only or the SUB 1 2 output Mix 26
53. z 15 dB 500 Hz 15 dB 80 Hz 4 dBu 22 dBu Maximum Input Levels Mic Input 12 dBu Gain 10 dB Line Input 50 dBu Gain 10 dB Tape Input and Aux Returns 22 dBu Input Impedance Mic Input 2 6 balanced Line Input 20 balanced Stereo Aux Returns 20 balanced CD Tape In 24 unbalanced Output Impedance Main 240 balanced 120 9 unbalanced Ctrl Room Aux Sends 1200 Output 1kQ Phones Output 250 VU Meters Moin Left ond Right Mix 220FX 8 segments Clip 18 10 5 2 0 2 5 20 O LED O dBu Mix 260FX 12 segments Clip 18 10 7 4 2 O 2 4 7 10 20 30 OLED OdBu AC Power Requirements Power Consumption 40 watts U S 120 VAC 60 Hz Europe 240 VAC 50 Hz Japan 100 VAC 50 60 Hz Korea 220 VAC 60 Hz AC Connector 3 pin IEC 250 VAC 21 Physical Dimensions and Weight Disclaimer Mix 220FX Since we are always striving to make our products Height 3 8 in 96 mm better by incorporating new and improved materials Width 11 5 in 292 mm components and manufacturing methods we reserve Depth 14 2 in 360 mm the right to change these specifications at any time Weight Approx 8 8 1 4 0 kg without notice The TAPCO Mix mixers were recently accidentally awarded first prize Mix 260FX by the Society of Juicers Mixers and Blenders in the Quadruple Height 3 8 in 96 mm Planetary Mixers category Width 13 7 in 348 mm Depth 15
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