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. 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, 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 FX Series Features ..................................................... 8 CHANNEL INPUTS .............................................................. 8 CHANNEL CONTROLS .................................................... 9 AUXILIARY ............................................................................... 9 CONTROL ROOM SECTION ..................................... 11 AUXILIARY SECTION ..................................................... 13 INTERNAL EFFECTS ....................................................... 14 MAIN MIX, SUBS, and POWER LEDs ...................... 14 FRONT PANEL CONNECTORS ................................ 15 REAR PANEL FEATURES ............................................... 16 Appendix A: Service Information ................................ 18 Appendix B: Connections .............................................. 20 Appendix C: MIX FX Series Specifications ........... 21 Block Diagram Mix.220FX ..................................... 23 Block Diagram Mix.260FX ..................................... 24 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 you read the Safety Instructions on page 2 and Getting Started on page 4. Your new TAPCO® MIX 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.). Product Serial #: Purchased at: Date of purchase: Part No. 0015483 Rev. A 6/05 ©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 FX Series mixer. 2. Turn down the channel strip GAIN, AUX SEND, and fader controls. 3. Center the channel strip EQ and PAN/BAL controls. 4. Turn down the MASTER AUX SENDS, AUX RETURN, FX RETURN and CTRL ROOM/ PHONES controls. 5. Leave all switches out (up). 6. Turn down the ALT 3/4 or SUB 1/2 faders, and the MAIN MIX faders. 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. Push in 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, turn down the GAIN control a bit. 3. Raise that channel's fader 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 fader 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). 2. Using TR or TRS cables, make connections from your mixer's MAIN OUTS to your amplification system's line inputs. 3. Connect your microphones and instruments to the 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. 4. Zero the controls, as described above. 5. 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. 6. Plug all other sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 7. Turn all the power switches on, leaving the speaker's amplifier's switch for last. 8. Turn up the MAIN MIX fader to the ­10 mark, for now. We'll crank it up later on. 9. 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. Push in 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. 3. Raise that channel's fader 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 remaining stereo channels. 4 ( ) ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· 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 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 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: · · · · · · · · · · · · · · XLR microphone input jack 1/4" TRS line-input jack Phantom power, globally switched Variable input trim (0 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 assign switches (260 FX only) 60 mm fader · · · · · · 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 · · · · · · · · · 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 3-band EQ Balance control Mute switch (Mute/Alt 3-4 switch on 220FX) Solo switch Sub 1-2 and L-R assign switches (260 FX only) 60 mm fader Rear panel: · · · · · · Main power switch Master +48V phantom power switch with LED indicator (except Mix.50) Left and Right XLR Main Outs Left and Right 1/4" Alt 3/4 Outs (220FX) or Sub 1-2 Outs (260FX) Left and Right 1/4" TRS Control Room outputs 1/4" Insert jacks for channels 1-4 (260FX only) Master section: · · · 60mm fader Main Mix controls 60mm fader Alt 3-4 controls (220FX only) 60mm fader Sub 1-2 controls (260FX only) with Assign to Main Mix switches 6 HOOKUP DIAGRAMS Active Speakers (Mackie SRM450s) Small Club Gig MAIN OUT POWER ON PHANTOM ON ALT 3/4 OUTS BAL/UNBAL CONTROL RM OUT BAL/UNBAL RIGH RIGHT LEFT LEF 4 Stage Monitors 3 RIGHT RIGH LEFT LEF 100 - 120 VAC / 220 - 240 VAC 50 - 60 Hz 40W 40W TAPCO Juice Power Amplifier Mono in/Stereo out Reverb (optional) Headphones Microphones 1 and 2 1 1 1 1 1 MON L L (MON0 MON0) L PHONES POWER POWE 2 FX MIC INPUT BAL/UNBAL R AUX RETURN (MONO MONO) R FX RETURN R IN OUT FOOTSW CD/TAPE INPUT/OUTPU INPUT/OUTPUT PHANTO PHANTOM 48V MIC INPUT BAL/UNBAL MIC INPUT BAL/UNBAL MIC INPUT BAL/UNBAL AUX SEND (MONO MONO) L LINE LINE LINE LINE BAL OR UNBAL L BAL OR UNBAL R 0 0 0 0 R GAIN 75Hz 75H GAIN 75Hz 75H GAIN 75Hz 75H GAIN 75Hz 75H LINE 1 EQ 1 EQ 1 EQ 1 EQ 5 6 +4 -10 LINE EQ 7 8 +4 -10 EQ CD Player DAT Recorder Keyboard Drum Machine TAPCO S·5 or other Active Studio Monitors Computer set-up MAIN OUT POWER ON PHANTOM ON ALT 3/4 OUTS BAL/UNBAL CONTROL RM OUT BAL/UNBAL RIGHT RIGH LEFT LEF 4 3 RIGHT RIGH LEFT LEF 100 - 120 VAC / 220 - 240 VAC 50 - 60 Hz 40W 40W Mono in/Stereo out Reverb (optional) Headphones Microphones 1 and 2 1 1 1 1 1 MON L L (MON0 MON0) L PHONES POWER POWE 2 FX MIC INPUT BAL/UNBAL R AUX RETURN (MONO MONO) R FX RETURN R IN OUT FOOTSW CD/TAPE INPUT/OUTPU INPUT/OUTPUT PHANTO PHANTOM 48V MIC INPUT BAL/UNBAL MIC INPUT BAL/UNBAL MIC INPUT BAL/UNBAL AUX SEND (MONO MONO) L LINE LINE LINE LINE BAL OR UNBAL L BAL OR UNBAL R 0 0 0 0 R TAPCO DB-1A Direct Box GAIN 75Hz 75H GAIN 75Hz 75H GAIN 75Hz 75H GAIN 75Hz 75H LINE 1 EQ 1 EQ 1 EQ 1 EQ 5 6 +4 -10 LINE EQ 7 8 +4 -10 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. Digital Audio Workstation EQ Guitar Keyboard Drum Machine TAPCO Link.USB or other Digital Audio Interface 7 -15 U +15 80Hz -15 +15 (MONO MONO) U MIX FX SERIES FEATURES CHANNEL INPUTS 2 1. MIC (MICROPHONE) INPUTS The MIX FX Series is equipped with four rugged, low-noise, phantom-powered microphone preamplifiers, 1 providing up to 50 dB of crystal-clear amplification. Their balanced circuitry rejects all manner of extraneous interferMIC INPUT ence. Professional condenser, BAL/UNBAL dynamic, and ribbon mics all sound excellent through these 2 XLR inputs. You can plug in almost any LINE kind of balanced mic that has a standard XLR-type male mic connector. See Appendix B 3 for more information on XLR 0 6 connectors. The MIX FX Series provides GAIN 75Hz 75H +48 VDC phantom powering Mix.220FX Mono Channel on pins 2 and 3 of the mono channels' XLR MIC inputs. This U can be turned on and off using the PHANTOM [58] switch. 12kHz SEND L BAL OR MON UNBAL +15 U 1 3. GAIN CONTROL (Mono Channels only) R PRE If you haven't already, please read "SET THE LEVELS" on page 4. 4 FX The GAIN control adjusts the +15 LINE +4 -10 input sensitivity of the MIC and 5 LINE inputs. This allows signals 6 EQ U from the outside world to be Mix.220FX Stereo Channel adjusted to optimal internal L R operating levels. 12kHz MUTE -15 +15 The GAIN control provides U 15 5 50 dB of gain with the knob 6 fully up. -15 U +15 CAUTION: DO NOT connect a linelevel device to a MIC input with the 2.5kHz phantom power switched on. This -15 +15 could damage the device. Use the U LINE IN [2] jacks instead. Do not use phantom power with tube or ribbon 80Hz microphones, as this may cause damage. -15 +15 2. LINE INPUTS U 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 MON +15 any line-level signal, from ­45 dBu up to +18 dBu. There are two line-inputs for each stereo channel, U a left and a PRE When connecting a stereo device right. (two cords), use both the left (mono) input and the right input. FX +15 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. SEND Instead of a rotary gain 80Hz -15 +15 control, the stereo channels 5 17 have a gain switch. This 16 USEND changes the input sensitivity U SOLO of the channel to match either 5 the ­10 dBv consumer level or MON the +4 dBu professional level. 10 +15 Most consumer equipment with U 20 RCA connectors operate at PRE the ­10 dBv level, while most 30 professional equipment with FX 40 1/4-inch phone jacks or XLR +15 50 connectors operate at the +4 60 O O dBu level. As you might expect, the +4 dBu level is higher (louder) Mix.220FX Stereo Channel L R 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. OL LED This handy LED (Light Emitting Diode) lets you 10 know that the signals going into the mixer are OL adjusted to the correct level, not too strong to cause 5 distortion and not too weak to be lost in noise. After you connect a microphone or line-level U SOLO component to the mixer, do a sound test and adjust 5 the GAIN control until this handy LED flickers just occasionally. If it is glowing constantly, turn the GAIN 10 down. If the LED is doing almost nothing, turn it up. 20 30 40 50 60 L R 8 10 O O OL Bd 4. +4/­10 Switch (Stereo channels only) -15 ALT 3/4 2.5kHz +15 U 5 10 OL 0 75Hz 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. 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. 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 The 260FX has a sweepable MID EQ on the mono channels (see 9 next), and two discrete 7 MID EQ controls on the stereo channels, with center frequencies at 3 kHz and 500 Hz [8a]. The midrange frequencies 9 include the upper male and lower female vocal ranges, and the fundamentals 8 and harmonics for many instruments. 1 U EQ HIGH 12kH 12kHz -15 +15 MID FREQ 10 100 U 8k MID -15 U +15 9. MID FREQ 10 (Mix.260FX Mono Channels only) This allows you to change the center frequency for the MID EQ filter so you can zero in 11 more accurately on the precise narrow band of frequencies you want to boost or cut. It ranges from 100 Hz to 8 kHz. LOW 80Hz 80H -15 +15 AUX U SEND SEN (MONO) 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 EQ on all the channels, while the Mix.260FX has threeband 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. 1 MON MO +15 L BAL OR PRE UNBAL U 12 10. LOW EQ 13 2 FX R 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 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. +15 Turning this clockwise boosts the level of all frequencies Mix.260FX Mono Channel below 80 Hz. Turning it counterLINE +4 clockwise cuts the levels. -10 5 Frequencies of 80 Hz and L R 6 EQ below represent the punch U in bass drums, bass guitar, fat synth patches, and high7 HIGH 12kH 12kHz testosterone male singers. -15 +15 U 7. 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. 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. 8 In addition to the main mix output, the mixer provides two auxiliary mixes, which you can send to parallel effects 8a processors and stage monitors. The AUX SEND knobs adjust how much of each channel is 10 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. 11 For instance, channel 5 (L) and 6 (R) mix together to feed that channel's AUX send knobs. 13 AUXILIARY MID 3kHz 10 -15 U OL +15 5 U -15 U MID 500Hz 500H 1-2 +15 5 10 -15 +15 20 LOW L-R 80Hz 80H AUX U 30 SEND SEN SOLO O O 40 50 60 MO MON 1 +15 U PRE 12 2 FX +15 Mix.260FX Stereo Channel 9 L R BAL/UNBAL 11. AUX SEND 1 (MON) The AUX SEND 1 can be used either as a monitor send (pre-fader) or an effects send (post-fader). Push in the PRE [12] switch to use AUX SEND 1 as a0 monitor send and feed the mono input of a stage monitor amplifier via the AUX SEND 1 [45] output jack. 75Hz In pre-fader mode, the signal is tapped off after the EQ controls, but before the fader control, so the U 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 12kHz for the+15 SEND 2 [13]. AUX -15 U For stereo channels, the BAL control works like 0 a home stereo balance control, by attenuating one side or the other. In the center position, the left and 75Hz right channel signals pass through to the main mix unaffected. If it is turned left, the right channel is U attenuated; if turned right, the left side is attenuated. 15. MUTE/ALT 3-4 12kHz 12. PRE 2.5kHz This switch determines whether the AUX SEND 1 -15 +15 is pre-fader (pushed in) or post-fader (out). Typically, U push this switch in when using AUX SEND 1 as a monitor send, and leave it out when using it as an 80Hz effects+15 send. -15 AUX U SEND SEN 13. AUX SEND 2 (FX) The AUX SEND 2 is used to feed the 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 260FX). 11 +15 U 1 MON MO 12 PRE 13 +15 2 FX PAN 14 L MUTE R 15 1 ALT 3/4 14. PAN/BAL 5 Bd 10 5 16 U 5 17 SOLO 10 20 30 40 50 60 O O Mix.220FX Mono Channel 10 Bd OL 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. The Mix.260FX has a simple MUTE -15 +15 switch. Engaging a channel's MUTE switch provides (almost) MID the same results as turning the fader all the way FREQ down (a pre-aux send is not affected by the channel 8k 100 U fader, but it is by the MUTE switch). Any channel assignments to L-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 -15 +15 PFL SOLO will continue to provide a signalUwhen a channel is muted. 80Hz The LED next to the MUTE switch lights to let you -15 +15 know when the MUTE function is AUX active. SEND SEN U The Mix.220FX has a dualpurpose MUTE/ALT 3-4 switch. 11 1 This is a Mackie signature, and MON MO now a TAPCO signature. When +15 Greg was designing one of the 12 U first Mackie products, he had PRE to include a mute switch for 13 2 each channel. Mute switches do FX +15 just what they sound like they PAN do. They turn off the signal by "routing" it into oblivion. "Gee, what a waste," Greg reasoned. 14 "Why not have the mute button L R route the signal somewhere else MUTE useful, like a separate stereo 15 bus?" So MUTE/ALT 3-4 really serves two functions--muting (often used during mixdown or live shows), and signal routing (for 5 multitrack and live work) where it OL 10 acts as an extra stereo bus. To use this as a MUTE switch, 5 18 all you have to do is not use the 16 U ALT 3-4 outputs [53]. Then, 1-2 1whenever you assign a channel 5 to these unused outputs, you'll 19 10 also be disconnecting it from the LL-R MAIN MIX, effectively muting the 20 channel. The MUTE switch also 17 disconnects the channel from the 30 SOL SOLO AUX SEND 2 bus (and the AUX 40 SEND 1 bus when the PRE [12] 50 60 switch is up). The channel's signal O O is still present on the AUX SEND 1 bus when the PRE switch is Mix.260FX Mono Channel engaged. 1 To use this as an ALT 3-4 switch, all you have 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 3-4 mix, engage ALT 3-4 [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 3-4 OUT [53] 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! up, you'll get "PFL" (Pre-Fader Listen), which is after the GAIN and EQ controls, but before the channel fader. With the switch down, you're in "AFL" (AfterFader 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.260FX 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. 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 finely-tuned mix. Typically (providing the GAIN is set correctly), this will be positioned somewhere around 0 dB (U). If you have the fader set all the way up, it's usually a sign that your GAIN is set too low. If fader is set way down, your GAIN may be too high. 21. CD/TAPE Switch Push this switch to route the CD/TAPE input signal to the CONTROL ROOM outputs, PHONES, and METERS. 17. SOLO This handy switch allows you to hear signals 22. ALT 3-4 (Mix.220FX) or through your headphones or control room outputs SUB 1-2 (Mix.260FX) Switch without having to route them to the MAIN or ALT 3-4 mixes. Folks use solo in live work to preview channels Push this switch to route the ALT 3-4 signal or the before they are let into the mix, or just to check out SUB 1-2 signal to the CONTROL ROOM outputs, what a particular channel is up to anytime during PHONES, and METERS. 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 CONTROL ROOM 23 24 25 above the meters). 20 21 22 Your MIX FX Series has "Dual-Mode PFL PF AFL AF Solo." A switch in the master section, MAX CD/ MAIN TAPE TO SOLO ALT SOLO MODE [25] determines which TAPE MIX MAIN MODE 3-4 mode you'll be hearing. With the switch CTRL ROOM/ SOURCE SELECT PHONES 11 U AUX SEND RETURN CLIP +10 23. CTRL ROOM/PHONES Knob 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 headphone 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/TAPE 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. With the SOLO MODE switch in the up position, you're in PFL mode, meaning Pre-Fader Listen (postEQ). This mode is required for the "Set the Levels" procedure and is handy for quick spot-checks of 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 LOOK from AFL to PFL mode. If you have the channel fader turned down very much below unity gain (U) while in CLOSER 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 a 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 3 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. 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 by the CTRL CONTROL ROOM ROOM/PHONES 23 24 25 20 21 22 knob [23]. The PFL PF SOLO levels AFL AF appearing on MAX CD/ MAIN TAPE TO SOLO ALT TAPE MIX MAIN MODE 3-4 the meters are CTRL ROOM/ SOURCE SELECT not controlled PHONES by the CTRL 26 AUX MASTER ROOM/PHONES RUDE SOLO RETURN AUX SEND U knob--you wouldn't CLI LIP 31 30 want that. You +10 +1 1 LEVE LEVEL want to see the MON MO +5 SE SET SOLO MAIN MAI +15 +15 actual channel ALT 33-4 FX +2 29 28 level on the meters RETURN 27 U 0 33 32 regardless of RTRN RTR -2 how loud you're TO 2 AUX 1 -5 FX listening. SOLO +15 +15 +15 -2 -20 0dB = 0dB 0dBu 27. Meters The peak meters are made up of two columns of LEDs, with three colors to indicate different ranges of signal level, traffic light style. They range from ­30 at the bottom (­20 on the Mix.220FX), to 0 in the middle, to CLIP (+18) at the top. The 0 LED in the middle is labeled LEVEL 12 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 in 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 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 LOOK world of "+4" (+4 dBu=1.23 V) and "­10" (­10 dBV=0.32 V) operating levels. What makes a mixer one or CLOSER the other is the relative 0 dB VU (or 0 VU) chosen for the meters. A "+4" mixer, with +4 dBu pouring out the back will actually read 0 VU on its meters. A "­10" mixer, with a ­10 dBV signal trickling out will read, you guessed it, 0 VU on its meters. So when is 0 VU actually 0 dBu? Right now! TAPCO mixers show things as they really are. When 0 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 "0" 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 The 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). 31. 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 disconnected 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. 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. 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. MAIN MIX, SUBS, and POWER LEDs 39. ALT 3-4 Master Faders (Mix.220FX) 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 OUTS when their MUTE/ALT 3-4 switch is pushed in (Mix.220FX only). 35. VARIATIONS As you rotate this control from position 1 through 16, the "strength" of the effect increases. For example, if using a reverb effect, a low number produces a short reverb time, and a larger number produces a longer reverb time. 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.260FX only). 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. LOOK CLOSER 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. INTERNAL EFFECTS SPRING SPRIN STAGE STAG TREMOL TREMOLD ROOM FLANGER+RE FLANGER+REV FLANGER FLANGE THEATE THEATER ROTARY ROTAR ECHO ECH ECHO+REV ECHO+RE STEREO DELAY DELA 14 13 15 16 1 2 3 4 5 6 10 9 8 7 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 you'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 34 CATHEDRAL STUDIO CHORUS CHORUS+RE CHORUS+REV HAL ALL 12 35 11 VARIATIONS FX INPUT LEVEL 36