User manual TAPCO MIX

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. 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-I 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 rockerstyle 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 interference regulations of the Canadian Department of Communications. ATTENTION --Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada. 18. 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 Typical Example SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. 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 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. Protect the 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 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. 1. 2. 3. 4. 5. 6. 7. 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. 8 6 4 3 2 1.5 1 0.5 0.25 or less 90 92 95 97 100 102 105 110 115 Packed garage concert VW Bus Peace Train Cranked psychedelic tunes High speed chase on C.H.I.P.s 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. 2 CONTENTS SAFETY INSTRUCTIONS ................................................. 2 GETTING STARTED ............................................................ 4 INTRODUCTION .................................................................. 6 HOOKUP DIAGRAMS ........................................................ 7 MIX SERIES FEATURES .................................................... 8 CHANNEL INPUTS ....................................................... 8 CHANNEL CONTROLS ............................................. 8 AUX RETURN SECTION.......................................... 10 TAPE SECTION............................................................ 10 MAIN SECTION ........................................................... 12 OUTPUT CONNECTIONS .................................... 13 REAR PANEL FEATURES ....................................... 14 APPENDIX A: SERVICE INFORMATION .............. 15 APPENDIX B: CONNECTIONS ................................. 16 APPENDIX C: MIX SERIES SPECIFICATIONS .. 17 Block Diagram Mix.50............................................... 19 Block Diagram Mix.60............................................... 20 Block Diagram Mix.100............................................ 21 Block Diagram Mix.120............................................ 22 TAPCO LIMITED WARRANTY ................................... 23 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 you read the Safety Instructions on page 2 and Getting Started on page 4. Your new TAPCO® MIX 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.). Product Serial #: Purchased at: Date of purchase: Part No. SW0208 Rev. A 5/05 ©2005 LOUD Technologies Inc. All Rights Reserved. 3 GETTING STARTED The following steps will help you set up your mixer, and get the levels and adjustments just right. ZERO THE CONTROLS: 1. Leave the POWER cord disconnected from the MIX Series mixer. 2. Turn down the channel strip GAIN, AUX SEND, and LEVEL controls. 3. Center the channel strip EQ and PAN/BAL controls. 4. Turn down the MASTER AUX SEND and CTRL ROOM/PHONES controls. 5. Leave all switches out (up). 6. Turn down the MAIN MIX control. 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. 2. While making noise, turn up that channel's GAIN until the PEAK LED (next to the PAN control) starts blinking. 3. Raise that channel's LEVEL to unity gain (U label). You should be hearing your noise now. 4. If necessary, apply channel EQ changes. (You may need to compensate for level changes afterward with the channel LEVEL control.) 5. Repeat steps 1 through 4 for the other Mic/Line channel(s). 6. Stop making noise. Everyone: start making music. 7. Now turn up the MAIN MIX control to a comfortable listening level. CONNECTIONS: 1. Connect your speakers to your amplifier's outputs (unless, of course, you have powered speakers). 3. Using TR or TRS cables, make connections from your mixer's MAIN OUT to your amplification system's line inputs. 4. Connect your microphones and instruments to the mixer: Connect microphones to the mono channel MIC INPUT jacks. (For condenser microphones, engage the PHANTOM POWER switch -- not available on the Mix.50.) 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. 5. Zero the controls, as described above. 6. Connect the power cord supplied with your mixer to the POWER connection on the back and plug it into an AC outlet properly configured for your model. 7. Plug all other sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 8. Turn all the power switches on, leaving the speaker's amplifier's switch for last. Note: There is no power switch on the MIX Series mixers. They are powered up as soon as they are plugged in to an AC outlet. 9. Turn up the MAIN MIX control to the 9 o'clock position (for the Mix.50 and Mix.60) or to the ­10 mark (for the Mix.100 and Mix.120), for now. We'll crank it up later on. 10. Now you are ready to set the levels. 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. 2. Adjust the line-input signal level at the source until the PEAK LED (next to the PAN control) starts blinking. Note: The Mix.50 does not have PEAK LEDs on its two stereo channels. In that case, set the input signal to its normal operating level, but listen for any signs of distortion. If the signal sounds distorted (and not on purpose!), then turn down the input signal at the source. 3. Raise that channel's LEVEL control until it is approximately equal in volume to the microphones or instruments connected to channels 1 and 2. 4. If necessary, apply channel EQ changes. (You may need to compensate for level changes afterward with the channel LEVEL control.) 5. Repeat steps 1 through 4 for the remaining stereo channels. 4 L R L R MAIN OUT MIC INPUT BAL/UNBA BAL/UNBAL CTRL RM OUT MONO MONO MONO MIC INPUT BAL/UNBA BAL/UNBAL MONO L L L L LINE LINE BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL AUX SEND SEN R R R R 0 0 GAIN GAIN LINE LINE LINE LINE PHONES 1 2 3/4 5/6 7/8 9/10 1 U 2 EQ U TAPE EQ L TAPE TO MIX MAIN OL POWER POWE PHANTOM 48V 48 +6 -15 +15 HIGH U 12kHz 12kH -15 +15 HIGH U 12kHz 12kH U 0 -20 -2 -15 U +15 MID 2.5kHz 2.5kH -15 U +15 MID 2.5kHz 2.5kH R IN OUT CD/TAPE INPUT/OUTPU INPUT/OUTPUT TAPE TO CTRL RM / PHONES FX TO CTRL ROOM MAX +15 L R CTRL ROOM/ PHONES AUX SEND -15 +15 LOW 80Hz 80H -15 +15 LOW 80Hz 80H 3/4 +4 -10 U 5/6 AUX SEND +4 -10 U 7/8 AUX SEND +4 -10 U 9/10 AUX SEND +4 -10 U MAIN MIX Bd 10 75Hz 75H U AUX SEND 75Hz 75H U AUX SEND AUX SEND 5 U +15 +15 +15 +15 +15 +15 5 PAN PAN BAL BAL BAL BAL 10 20 PEAK PEA PEAK PEA PEAK PEA PEAK PEA PEAK PEA PEAK PEA L U R LEVEL L U R LEVEL L U R LEVEL L U R LEVEL L U R LEVEL L U R LEVEL 30 40 50 60 O O +15 +15 +15 +15 +15 +15 A FEW PRECAUTIONS: · Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection. · 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, lunch box, or handbag to accessorize your mixer. · · Never plug amplifier speaker-level outputs into anything except speakers. Never use guitar cables to connect amplifiers to speakers. · · 5 INTRODUCTION Thank you for choosing a TAPCO MIX 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 nowlegendary 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 manufacturing 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: · · · · · · · · · · Variable input trim (0 to +50 dB) Phantom power, globally switched (except Mix.50) Level Set/PEAK indicator LED XLR microphone input jack 1/4" TRS line-input jack Post-fader aux send (except Mix.50) 3-band EQ (2-band EQ on Mix.50) 75 Hz low-cut filter (Mix.100/Mix.120 only) Pan control Rotary level control · · · Stereo RCA tape out and tape in Master +48V phantom power switch with LED indicator (except Mix.50) Left and Right 1/4" TRS Control Room outputs and stereo 1/4" Phones output with rotary level control (Phones only on Mix.50) Tape to Control Room/Phones switch (Tape to Phones on Mix.50) FX to Control Room switch (Mix.100/Mix.120 only) Tape to Mix switch Power LED indicator Inter-Planetary Space Drive control OK, we made that last one up, but we can pencil it in for next time · · · · · · Stereo line channels: · · · · · · Left and right 1/4" TRS line input jacks +4/­10 input level switch (Mix.100/Mix.120 only) Post-fader aux send (except Mix.50) 3-band EQ (Mix.60 only) Balance control Rotary level control Master section: · · · · · Rotary stereo Main Mix control (Mix.50/Mix.60) 60mm fader Main Mix control (Mix.100/Mix.120) Balanced 1/4" TRS stereo main outputs 4-segment stereo LED VU metering 1/4" TRS Aux Send with rotary level control (except Mix.50) 6 HOOKUP DIAGRAMS Small Club Gig Microphones 1 and 2 Mono in/Stereo out Reverb (optional) MONO L R Headphones MIC INPUT BAL/UNBA BAL/UNBAL MIC INPUT BAL/UNBA BAL/UNBAL MONO MONO STEREO AUX RETURN Active Speakers (Mackie SRM450s) L L L L LINE LINE BAL/UNBA BAL/UNBAL BAL/UNBA BAL/UNBAL SEND AUX SEN R R R R 0 0 GAIN GAIN LINE LINE 1 2 3/4 5/6 CTRL RM OUT MAIN OUT PHONES 1 U 2 EQ HIGH 12kHz 12kH U 3/4 EQ HIGH 12kHz 12kH U 5/6 EQ HIGH 12kHz 12kH U TAPE EQ HIGH 12kHz 12kH L -15 U +15 -15 U +15 -15 U +15 -15 U +15 TAPE TO CTRL RM / PHONES MID 2.5kHz 2.5kH -15 U MID 2.5kHz 2.5kH -15 U MID 2.5kHz 2.5kH -15 U MID 2.5kHz 2.5kH R +15 +1 +15 +15 -15 U +15 TAPE TO MIX IN OUT CD/TAPE INPUT/OUTPU INPUT/OUTPUT LOW 80Hz 80H LOW 80Hz 80H LOW 80Hz 80H LOW 80Hz 80H MAIN Keyboard Drum Machine CD Player Computer set-up DAT Recorder Sound Card Mackie HR824 or other Active Studio Monitors LINE IN LINE OUT MIC IN Microphone MONO L R MIC INPUT BAL/UNBA BAL/UNBAL MIC INPUT BAL/UNBA BAL/UNBAL MONO MONO STEREO AUX RETURN L L L L LINE LINE BAL/UNBA BAL/UNBAL BAL/UNBA BAL/UNBAL SEND AUX SEN R R R R 0 0 GAIN GAIN LINE LINE 1 2 3/4 5/6 CTRL RM OUT MAIN OUT PHONES 1 U 2 EQ HIGH 12kHz 12kH U 3/4 EQ HIGH 12kHz 12kH U 5/6 EQ HIGH 12kHz 12kH U TAPE EQ HIGH 12kHz 12kH L Headphones -15 U +15 -15 U +15 -15 U +15 -15 U +15 TAPE TO CTRL RM / PHONES Guitar -15 U Note: Push down the TAPE TO CTRL RM/PHONES (18) switch to listen to the sound card output in the control room speakers and headphones. Leave it up to listen to the main mix. Do not press the TAPE TO MIX (21) switch, or there will be feedback. MID 2.5kHz 2.5kH +15 +1 -15 U MID 2.5kHz 2.5kH +15 -15 U MID 2.5kHz 2.5kH +15 -15 U MID 2.5kHz 2.5kH R +15 TAPE TO MIX IN OUT CD/TAPE INPUT/OUTPU INPUT/OUTPUT LOW 80Hz 80H LOW 80Hz 80H LOW 80Hz 80H LOW 80Hz 80H MAIN 7 Drum Machine MONO L R 1 MIC INPUT BAL/UNBA BAL/UNBAL 1 MIC INPUT BAL/UNBA BAL/UNBAL MONO MONO STEREO AUX RETURN L L L L 2 LINE 2 LINE 2 BAL/UNBAL BAL/UNBA BAL/UNBAL BAL/UNBA AUX SEND SEN R R R R 3 0 3 0 2 GAIN LINE LINE GAIN 1 2 3/4 5/6 CTRL RM OUT MAIN OUT PHONES MIX SERIES FEATURES CHANNEL INPUTS 1. MIC (MICROPHONE) INPUTS The MIX Series is equipped with one or more rugged, low-noise, phantom-powered microphone preamplifiers, providing up to 50 dB of 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 XLR-type male mic connector. See Appendix B for more information on XLR connectors. The MIX Series provides +48 VDC phantom powering on pins 2 and 3 of the mono channels' XLR MIC inputs (except Mix.50). This can be turned on and off using the PHANTOM (19) switch. CAUTION: DO NOT connect a linelevel 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. 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 If 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. 4. PEAK LED This handy LED (Light Emitting Diode) lets you know that the signals going into the mixer are adjusted to the correct level, not too strong to cause distortion and not too weak 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 almost nothing, turn it up. CHANNEL CONTROLS The channel strips have various 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. An auxiliary signal can be tapped off and sent to monitors or processors (except Mix.50). The block diagrams on pages 19-22 show how the signal flows through each mixer. 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. 8 The U symbol on most of the controls, stands for "unity gain," meaning there is no change CLOSER in signal level. Once you have adjusted the input signal to linelevel, you can set every control at U, and your signals will travel through the mixer at optimal levels. LOOK UNITY GAIN 8. 75Hz Low-Cut Switch (Mix.100/Mix.120 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 guitar, 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. 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 mic/line channels have EQ controls on all models. Only the Mix.60 has EQ controls 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. 9. +4/­10 Switch (Mix.100/Mix.120 only) This switch 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. 5. HI EQ Turning this clockwise boosts the level of all frequencies above 12 kHz. Turning it counterclockwise 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. AUXILIARY (all except Mix.50) In addition to the main mix output, the mixer provides an auxiliary mix, which you can send to parallel effects TAPE 4 processors or U EQ stage monitors. L The AUX 5 SEND knobs -15 +15 HIGH adjust how much U 12kH 12kHz of each channel is tapped off, added 6 R to the aux mix, -15 +15 MID OUT IN U 2.5kHz 2.5kH and sent out via CD/TAPE INPUT/OUTPU INPUT/OUTPUT the AUX SEND 7 (26) jack. 5/6 -15 +15 LOW On the stereo 80Hz 80H channels, the 9 8 AUX knob +4 AUX AUX 75Hz 75H -10 controls a mono SEND SEND U U sum of the channel's stereo 10 signals. For +15 +15 instance, on the BAL PAN Mix.60, channel 3 (L) and 4 (R) mix 4 11 together to feed PEAK PEA PEAK PEA L R L R that channel's U U LEVEL LEVEL AUX send knob. 1 U EQ HIGH 12kH 12kHz 6. MID EQ (all except Mix.50) Turning this clockwise boosts the level of frequencies at and around 2.5 kHz. Turning it counterclockwise cuts the levels. The midrange frequencies include the upper male and lower female vocal ranges, and the fundamentals and harmonics for many instruments. 5 -15 U +15 6 -15 U MID 2.5kHz 2.5kH +15 +1 7 -15 +15 LOW 80Hz 80H