User manual TAPCO BLEND16

CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT 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 QUALIFIED 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 to persons. Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution. 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 à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil. SAFETY INSTRUCTIONS 1. 2. 3. 4. 5. 6. 7. 8. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not 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 third 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. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over. 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 power-supply cord or plug is 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. 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, In Hours Slow Response 8 6 4 3 2 1.5 1 0.5 0.25 or less 90 92 95 97 100 102 105 110 115 Loudest parts at a Heavy Metal concert High speed chase on C.H.I.P.s Cranked psychedelic tunes VW Bus Peace Train Typical Example Packed garage concert 9. · Please note that the words "Lemon Bundt Cake" do not appear in this manual. 10. 11. 12. 2 WARNING -- To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. Contents Safety Instructions .....................................................2 Getting Started .........................................................4 Introduction...............................................................6 Hookup Diagrams.....................................................7 Blend 16 Features ....................................................9 Mono Channels ...................................................9 Stereo Channels ................................................11 Aux Sends and Returns .....................................12 Master Section...................................................12 Rear Panel Features .........................................17 Appendix A: Using the Blend 16............................18 Appendix B: Connections .....................................21 Appendix C: Specifications ..................................22 System Requirements........................................23 Hard Drive Notes ...............................................23 Block Diagram ...................................................24 Appendix D: Service Information..........................25 Warranty Service ...............................................25 Troubleshooting .................................................25 Repair .................................................................26 Tapco Limited Warranty.........................................27 Don't forget to visit our website at www.tapcogear.com for more information about this and other TAPCO products. What me, read a manual? Before you begin, please make sure that you read the Safety Instructions on page 2 and Getting Started on page 4. One will help you keep safe, and the other will get you started using your new TAPCO® Blend 16 mixer. Your new mixer is designed to be set up quickly and to operate easily. We know it's often seen as a sign of weakness to read a manual, along with asking for directions when lost, or admitting that it was you who painted the dog purple and green when you were eight, ..er....but maybe you can read the rest of the manual when nobody is looking. Please keep your receipt in a safe sock drawer, and write your product information here for future reference (i.e., insurance claims, tech support, return authorization, etc.): Product Serial #: Purchased at: Date of purchase: Part No. 0011732 Rev. A 05/2004 ©2004 LOUD Technologies Inc. All Rights Reserved. Printed in China. 3 Getting Startled The following steps will help you set up your mixer, and get the levels and adjustments just right. Please follow the instructions in the order they are presented, rather like following the instructions for mixing a cake, or running a nuclear power station for example. ZERO THE CONSOLE: 1. Turn everything off, including the mixer's rear panel POWER switch and PHANTOM POWER switch. 2. Turn down each channel strip GAIN, AUX SEND 1, and AUX SEND 2 knob. 3. Center the channel strip EQ and PAN knobs. 4. Turn down the MASTER FX RETURNs and AUX SENDs, CONTROL ROOM, PHONES and other level knobs. 5. Move all FADERs fully down. 6. Center the Stereo Graphic EQ sliders. 7. Make sure all push buttons are in the up position. 2. Choose one of the microphones or instruments connected to the mono MIC, INST or LINE inputs. 3. Press that channel's SOLO switch in. 4. Have a wandering musician make some noise. If it's a microphone connected to that channel, sing sweetly at the normal volume. If it's a synthesizer, play it at its normal output level. 5. While making music, turn up that channel's GAIN knob until the nearby LEVEL SET LED starts blinking. 6. With SOLO pushed in, you should see the METERS grooving along with the music (and the RUDE SOLO light blinking). 7. If the GAIN is set correctly, the sounds should be nicely hovering around the 0 dB LEDs. If the average seems to be higher, turn down the GAIN. If it seems too low, turn it up. 8. Carefully turn up the PHONES knob and listen. 9. If necessary, apply channel EQ changes. 10. Turn down the PHONES knob. 11. Release the SOLO switch for that channel. 12. Repeat steps 2 through 11 for all other active channels, until all the GAINs are set correctly. You can repeat this procedure later, if needed. Once you get going, you will be surprised how quickly you can set up all the levels. CONNECTIONS: 1. Connect speakers to your amplifier's outputs (unless you have powered speakers with built-in amplifiers). 2. Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering correct voltage and adequate current. 3. Make connections from your mixer's MAIN MIX outputs to your amplification system's line inputs. 4. Connect your microphones and instruments to the mixer: Connect microphones to the mono channel MIC jacks. (For condenser microphones, you may have to turn on the PHANTOM POWER switch, so read your Mic's documentation.) Connect instruments directly to the INST 1/4" inputs, and linelevel sources (synthesizers, guitar effects, preamps) to the mono or stereo channel LINE IN 1/4" inputs. 5. Connect the USB port to an open USB port on your computer, using the cable provided. Two channels of audio can be sent to your computer for recording, and two channels can return onto the main mix from your Tracktion or other DAW software. See page 19 for more details about using the mixer with a computer. 6. Zero the console, as shown above. 7. Turn on all of your component's power switches, leaving the amplifier (or powered speakers) until last. 8. Now you are ready to set the levels. MAKING THE MIX: 1. Make sure all the Levels are set correctly, as shown in the previous section. 2. Set the SOURCE SELECT switch to MAIN MIX, so your METERS (and headphones) will receive the main mix. 3. Add an active channel to the main mix by pressing the L-R switch near the bottom of that channel strip. 4. Turn that channel's FADER up to the U mark (0 dB). 5. Carefully turn up the MAIN MIX FADER and listen to the glorious sounds in your main speakers. 6. Repeat steps 3 and 4 until all active channels are added to the main mix. As you add each instrument, shout out its name loudly like this: "Introducing BillyBob Beauregarde-Baker on Big Bass Banjo." 7. Carefully adjust the channel FADERs and the Graphic EQ to suit the main mix to your delicate audio senses. 8. To use the internal processor, adjust each channel's AUX SEND 2 FX control to send signals to the processor. Adjust the FX INPUT LEVEL knob so the internal processor is not overloaded (FX OL LED off). Add the processed signal to the main mix using the FX RETURN TO MAIN MIX knob. SET THE LEVELS: 1. You can set the levels without hearing the sounds, but if you prefer, connect a set of headphones to the PHONES jack. 4 9. Now that you have a rough mix going, you may need to readjust the MAIN MIX FADER to a comfortable listening level. The METERS should indicate by lighting most of the green LEDs when music is playing, and occasionally light the yellow. 10. Depending on how much time you have, keep tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking FADERS and EQ as needed. Watch out for any OL overload LEDS blinking, as the band plays on. · Only plug your amplifier's speaker-level outputs into speakers, never to the mixer. · Never use guitar cables to connect amplifiers to speakers. · Before making connections to an external amplifier, or reconfiguring an amp's routing, turn the amp's 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 for attending Audio Society meetings, or stepping out in style with the lead singer. A FEW PRECAUTIONS: Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection. Aux Sends 1 FX Returns L ( ) CD/Tape In Out Power Phantom LEDs CD/ TAPE Phones 2 R FX Mic Inputs AUX Graphic EQ ( ) ( ) ( ) ( ) Line Inputs Inserts Stereo Line Inputs LINE LINE LINE LINE ( ) INTERNAL EFFECTS Level Set Gain Knob Low Cut GAIN GAIN GAIN GAIN Internal Effects 9 10 EQ HIGH 11 12 EQ HIGH 13 14 EQ HIGH 15 16 EQ HIGH EQ Section MID MID MID MID USB Control room/ phones ( ) RUDE SOLO Rude Solo LOW LOW LOW LOW Meters MASTER TO AUX1 MON AUX AUX AUX AUX Aux 1 Send Aux 2 Send Pan Mute OL LED Ch Fader Assign 1 1 1 1 Master Aux Sends FX Returns Subgroup Assign 2 PAN 2 PAN 2 PAN 2 PAN TO MAIN MIX CD/Tape to Main SUB ASSIGN TO MAIN MIX MUTE 9 10 MUTE 11 12 MUTE 13 14 MUTE 15 16 SUB 1 SUB 2 SUB 3 SUB 4 MAIN MIX Subgroup Faders Main Fader Solo Mono Ch 1-8 See Page 9 Stereo Ch. 10-16 See Page 11 Master Section See Page 12 5 Introduction Thank you for choosing a TAPCO Blend 16 mixer, with 16 channels of pure goodness. It has even more channels than an 8 channel mixer, and not quite as many as most 20 channel mixers. 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 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. This compact mixer is perfect for small to medium-sized live sound reinforcement applications, keyboards and synths, video, and project studio applications. The USB port on the Blend 16 makes it easy to get audio from your mixer to your computer-based DAW. And just in case you don't have the software, we've included a CD-ROM with the full version of Tracktion, our easyto-use multitrack recording and sequencing software (for the PC or Mac). Refer to the installation instructions on the Blend 16 software CD to install Tracktion on your computer. Here's a quick glance at all the features packed into this mixer: 8 mono mic/line channels, with: · · · · · · · · · · · · · · · · XLR microphone input jack 1/4" TRS instrument input jack (on Ch 1 and 2) 1/4" TRS line-level input jack (on Ch 3 to 8) 1/4" TRS insert jack Variable input gain with Level Set indicator LED Low Cut switch Phantom power (globally switched to all XLR) 3-band EQ with variable mid frequency Pre-fader aux (monitor) send Post-fader aux (effects) send Pan control Mute Overload LED Assign to subgroup 1-2, 3-4, and main mix bus Solo 60 mm level fader control Master section, with: · 1/4" TRS Aux 1/Mon and Aux 2/Effects send outputs and controls · RCA tape in and tape out · Power LED and Phantom power LED indicator · BNC Lamp connector · 1/4" Stereo Headphones jack · Stereo Graphic EQ with bypass, assignable to main mix or monitors · 16 Internal effects (each with 16 variations) with bypass, bypass LED, input level and overload LED · USB Output Level control with overload LED, and assign from main mix or Subs1-2 · Control room and Headphones select from: main mix, CD/Tape, Sub 1-2, or Sub 3-4 · FX Return to Aux1 control (monitor) · FX Return to main mix control · CD/Tape to main mix control · 8-segment stereo LED VU metering · Solo LED · Each subgroup can be assigned to Left and/or Right of main mix · 60 mm fader for each subgroup and main mix 4 stereo line channel pairs, with: · · · · · · · · · · · · Left and right 1/4" TRS line input jacks Variable input gain with Level Set indicator LED 3-band EQ Pre-fader aux (monitor) send Post-fader aux (effects) send Pan (balance) control Mute Overload LED Assign to subgroup 1-2, 3-4, and main mix bus Solo 60 mm level fader control Ch 13/14 has a switchable internal phono preamp for converting phono-level signals from turntables into line-level and adding it to the main mix. · Ch 15/16 can route the USB stereo output from your computer's DAW output to the main mix. For example, you can add the audio output from Tracktion onto the main mix. Rear Panel section, with: · · · · · · · · · AC Power Switch and Phantom Power Switch IEC AC Power Cord Socket AC Voltage Selector Balanced 1/4" TRS and XLR stereo main outputs 1/4" TRS main inserts 1/4" TRS control room outputs Four 1/4" TRS subgroup outputs USB connection Internal Antique Steam-Powered Calliope for authentic circus/carnival atmosphere · OK, we made that last one up 6 Stereo PA system ( ) Hookup Diagrams ( ) ( ) ( ) ( ) ( ) MAIN OUT MAIN INSERT CONTROL RM OUT SUB OUTS USB IN/OUT 7 Studio tracking and overdubbing ( ) ( ) ( ) ( ) ( ) ( ) MAIN OUT MAIN INSERT CONTROL RM OUT SUB OUTS USB IN/OUT Transferring records, while yodelling and playing along ( ) ( ) ( ) ( ) ( ) ( ) MAIN OUT MAIN INSERT CONTROL RM OUT SUB OUTS USB IN/OUT 8 Blend 16 Features MONO CHANNELS 1 2 3 5 4 6 Mono channels 1 to 8 allow adjustment of EQ, Pan, and Level for mono signals. The output from each channel strip can be assigned to the main mix and subgroups. Auxiliary signals can be tapped off and sent to Aux bus 1 (monitors) and Aux bus 2 (effects). 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 GAIN control correctly, you can set every control at U, and your signals will travel through the mixer at optimal levels. Use the XLR inputs, or the 1/4" inputs, but not both on the same channel at the same time. Dedicate each mono channel to only one input at a time. See Appendix B for more information on XLR, 1/4" TRS, and TS connectors. Channels 3 to 8 accept inputs from any line-level instrument, effects device, or tape player. They can be driven by virtually any line-level signal. Guitars and other instrument level sources should not be connected directly to inputs 3-8. You should use a preamp to provide a line-level output first. 3. INSERTS These 1/4" TRS inputs allow you to insert external processing equipment into the channel signal path (after the LOW CUT (6) switch and before the EQ). Using a special Insert plug, the mono signal can be sent out to a processor, and the processed signal returned, all on the same plug (see Appendix B). Nice. 4. GAIN CONTROL If you haven't already, please read "SET THE LEVELS" on page 4. This control allows you to adjust the input sensitivity of the MIC (1), INST and LINE (2) inputs. This allows signals from the outside world to be adjusted to the correct level, not too strong to cause distortion and not too weak to be lost in noise. 7 1. MICROPHONE INPUTS Channels 1 to 8 each have a real butch and rugged, low-noise, phantom-powered microphone preamplifier, providing crystal-clear amplification. Their balanced circuitry rejects all manner of extraneous interference. 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 XLRtype male mic connector. See Appendix B for more information on XLR connectors. These XLR inputs can provide +48 VDC phantom powering on pins 2 and 3. This can be turned on and off using the rear panel PHANTOM POWER (54) switch. Caution: DO NOT connect a line-level device to an XLR input with the phantom power switched on. This could damage the device. Use the INST or LINE (2) jacks instead. Do not use phantom power with tube or ribbon microphones, as this may cause damage. 5. INPUT LEVEL SET LED This handy LED lets you know that the signals going into the mixer are adjusted correctly. After you connect a microphone or line-level component to the mixer, do a sound test and adjust the GAIN (4) control until this LED flickers just occasionally. If it glows constantly, turn the GAIN (4) down. If the LED is doing almost nothing, turn it up. 6. LOW CUT FILTER SWITCH This inserts a low cut filter into the signal path, reducing the bass level (below 75 Hz, at 12 dB per octave, if specs are your thing). This occurs after the GAIN (4) level, but before the INSERT (3), EQ (7-10) and AUX (11-12) sections. Use this to cut down the low bass from things like stage rumble, mumble, bumble, and any low sounds that seem to come from two apartments down. We recommend you use this on all channels unless they have low frequency signals such as kick drums and bass guitars. EQUALIZATION Each EQ control provides up to +15 dB of boost, and ­15 dB of cut, with no change to the signal in the center position (0 dB). 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. 2. INST and LINE INPUTS These inputs accept 1/4" TRS balanced and TS unbalanced plugs. The 1/4" inputs on channels 1 and 2 are labeled INST (Instrument). These highimpedance inputs are suitable for the direct connection of instruments such as guitars, without the need for a direct box or guitar preamp. 7. HIGH EQ Turn this clockwise to boost the level of all frequencies above 12 kHz. Turn it counter-clockwise to cut the levels. 9 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. 13. PAN This adjusts how much of the channel signal plays in the left side of the main mix and subgroups, and how much plays in the right. Careful use of PAN allows you to set up a nice stereo image in the left and right. For the mono 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. For stereo sources, where you are using two mono channels, the standard convention is to plug in the left signals into the odd-numbered channels, and the right signals into even-numbered channels. Then you can pan the odd channels hard left, and the even channels hard right. 8. MID FREQ EQ This adjusts the frequency of the MID EQ (9) control from 100 Hz to 8 kHz. This gives you great flexibility in shaping your sound. Listen carefully for its effect. 9. MID EQ Turn this clockwise to boost the level of signals around the frequency set by the MID FREQ (8) control. Turn it counterclockwise to cut the levels. 10. LOW EQ 7 8 9 10 Turn this clockwise to boost the level of all frequencies below 80 Hz. Turn it counterclockwise to cut the levels. Try some boost with the LOW CUT (6) switch on, so you can boost useful bass, at the same time as cutting unwanted subsonics. Frequencies of 80 Hz and below represent the punch in bass drums, bass guitar, and wild Tuba raves.