Tapco Musical Instrument Blend 16 User Manual

#MFOEꢀꢁꢂ

16-CHANNEL 4-BUS MIXER w/ ONBOARD EFFECTS

owner’s manual

Download from Www.Somanuals.com. All Manuals Search And Download.

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. SW0426 Rev. A 08/2006

ꢁ

Download from Www.Somanuals.com. All Manuals Search And Download.

Getting Started

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 lemon bundt cake, or running a nuclear power station, for example.

ꢀ. Choose one of the microphones or instruments

ZERO THE CONSOLE:

1. Turn everything off, including the mixer’s rear panel

connected to the mono MIC or INST inputs.

ꢁ. Press that channel’s SOLO switch in.

POWER switch and PHANTOM POWER switch.

ꢂ. 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.

ꢀ. Turn down all channel strip GAIN, AUX SEND 1, and

AUX SEND 2 knobs.

ꢁ. Center the channel strip EQ and PAN knobs.

ꢂ. Turn down the MASTER FX RETURNs and AUX SENDs,

5. While making music, turn up that channel’s GAIN

CONTROL ROOM, PHONES and other level knobs.

knob until the nearby LEVEL SET LED starts blinking.

5. Move all FADERs fully down.

6. With SOLO pushed in, you should see the meters

grooving along with the music (and the RUDE

SOLO light blinking).

6. Center the Stereo Graphic EQ sliders.

7. Make sure all push buttons are in the up position.

7. If the GAIN is set correctly, the sound level 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.

CONNECTIONS:

1. Connect speakers to your ampliﬁer’s outputs

(unless you have powered speakers with built-in

ampliﬁers).

8. Carefully turn up the PHONES knob and listen.

9. If necessary, apply channel EQ changes.

10.Turn down the PHONES knob.

ꢀ. Plug all the sound system components into suitable

AC outlets, properly grounded and capable of

delivering correct voltage and adequate current.

11.Release the SOLO switch for that channel.

ꢁ. Make connections from your mixer’s MAIN MIX

1ꢀ. 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.

outputs to your ampliﬁcation system’s line inputs.

ꢂ. 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 line-

level sources (synthesizers, guitar effects, preamps)

to the stereo channel LINE IN 1/4" inputs.

MAKING THE MIX:

1. Make sure all levels are set correctly, as described in

the previous section.

ꢀ. Set the SOURCE SELECT switch to MAIN MIX, so your

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 “USB and the Blend 16” on page

19, for more details about using the mixer with a

computer.

meters (and headphones) will receive the main mix.

ꢁ. Add an active channel to the main mix by pressing

the L-R switch near the bottom of that channel strip.

ꢂ. 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 Billy-

Bob Beauregarde-Baker on Big Bass Banjo.”

6. Zero the console, as described above.

7. Turn on your components’ power switches, leaving

the ampliﬁer (or powered speakers) until last.

8. Now you are ready to set the levels.

7. Carefully adjust the channel FADERs and the Graphic

EQ to suit the main mix to your delicate audio senses.

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.

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.

ꢂ

Download from Www.Somanuals.com. All Manuals Search And Download.

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.

•

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

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.

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.

A FEW PRECAUTIONS:

Never listen to loud music for prolonged

periods. Please see the Safety Instructions

on page 2 for information on hearing

protection.

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.

Aux

CD/Tape

In Out

Sends Returns

Power

Phantom LEDs

Phones

POWER

(

)

PHANTOM 48V

LAMP

PHONES

STEREO GRAPHIC EQ

Mic Inputs

+15

15+

AUX

CD/TAPE

MIC

Graphic EQ

(

)

(

)

(

)

(

)

Instrument

Inputs

Stereo

Line

Inputs

64Hz 125Hz 400Hz

16kHz

1kHz 2.5kHz 8kHz

INST

MAIN MIX

BYPASS

EQ IN

AUX1(MON)

Inserts

INTERNAL EFFECTS

INSERT

LINE

REV

CHORUS

FLANGER

DELAY

CHORUS

VOCAL

Level Set

Gain Knob

Low Cut

REV

LG HALL

SM HALL

LG ROOM

SM ROOM

PLATE

Internal

Effects

FLANGER

ST DELAY

DELAY

GAIN

SPRING

TAPE REV

VARIATIONS

INPUT

BYPASS

LEVEL

HIGH

FX OL

MAX

HIGH

USB OUTPUT

MAIN MIX

SUBS 1-2

(PRE-FADER)

USB

Rude Solo

Meters

RUDE SOLO

MID

EQ Section

USB

MAX

OUTPUT LEVEL

SOURCE

MID

LEVEL

SET

SOURCE

SELECT

Control room/

phones

LOW

MAX

PHONES

CTRL RM

MAIN

MIX

-4

-12

MASTER

AUX

RETURN

SEND

CD/

Master Aux

Sends

TAPE

Aux 1 Send

Aux 2 Send

AUX1

MON

-24

MON

0dB = 0dBu

+15

SUBS

1-2

MAIN

MIX

CD/Tape to

Main

FX Returns

MAX

SUBS

3-4

+15

CD/TAPE IN

TO MAIN MIX

PAN

SUB ASSIGN

TO MAIN MIX

PAN

Subgroup

Assign

Pan

Mute

MUTE

SUB

MAIN

MIX

OL LED

Ch Fader

Assign

Subgroup

Faders

Main Fader

Solo

Mono Ch 1-8

See Page 9

Stereo Ch. 10-16

See Page 11

Master Section

See Page 1ꢀ

Download from Www.Somanuals.com. All Manuals Search And Download.

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 easy-

to-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:

Master section, with:

•

XLR microphone input jack

1/4" TRS instrument input jack

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

•

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 Aux 1 control (monitor)

FX Return to main mix control

CD/Tape to main mix control

8-segment stereo LED VU metering

Solo LED

•

ꢂ 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

Each subgroup can be assigned to Left and/or

Right of main mix

•

60 mm fader for each subgroup and main mix

Rear Panel section, with:

•

AC Power Switch and Phantom Power Switch

IEC AC Power Cord Socket

Universal power supply accepts AC mains

voltages from 100 to 240 VAC

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.

•

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

•

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.

•

Download from Www.Somanuals.com. All Manuals Search And Download.

Hookup Diagrams

Stereo PA system

Download from Www.Somanuals.com. All Manuals Search And Download.

Studio tracking and overdubbing

Tape Player/Recorder

Rhythm Guitar

Mono in/Stereo out Reverb

(optional)

Vocal Mics

Drum Mics

Bass Guitar

MON

(MON0)

POWER

PHANTOM 48V

Lead Guitar

LAMP

PHONES

OUT

STEREO GRAPHIC EQ

AUX

CD/TAPE

INPUT/OUTPUT

SENDS

RETURN

MIC

INPUT

(MONO)

BAL/UNBAL

BAL

INST

INPUT

UNBAL

MAIN MIX

AUX1(MON)

BYPASS

EQ IN

LINE

INSERT

INPUT

RCA

1/4" to RCA

adapters

Headphones

RCA

Keyboard

Stereo Gate/Compressor

Drum

Machine

Gate/Compressor

(optional)

Stereo Equalizer

(optional)

Gate/Compressor

(optional)

Turntable

with phono

level output

MAIN OUT

Mixer's

Ground

Screw

RIGHT

LEFT

Active Monitors

(Tapco S-5)

Laptop

MAIN INSERT

CONTROL RM OUT

SUB OUTS

BAL/UNBAL

USB IN/OUT

TIP SEND

RING RETURN

BAL/UNBAL

RIGHT

LEFT

RIGHT

LEFT

USB Connection

Transferring records, while yodelling and playing along

Vocal Mic

MON

(MON0)

POWER

PHANTOM 48V

Guitar

LAMP

PHONES

OUT

STEREO GRAPHIC EQ

AUX

CD/TAPE

INPUT/OUTPUT

SENDS

RETURN

MIC

INPUT

(MONO)

BAL/UNBAL

BAL

INST

INPUT

UNBAL

MAIN MIX

AUX1(MON)

BYPASS

EQ IN

LINE

INSERT

INPUT

RCA

1/4" to RCA

adapters

Headphones

RCA

Turntable

with phono

level output

MAIN OUT

Mixer's

Ground

Screw

RIGHT

LEFT

Active Monitors

(Tapco S-5)

Laptop

MAIN INSERT

CONTROL RM OUT

SUB OUTS

BAL/UNBAL

USB IN/OUT

TIP SEND

RING RETURN

BAL/UNBAL

RIGHT

LEFT

RIGHT

LEFT

USB Connection

Download from Www.Somanuals.com. All Manuals Search And Download.

ꢁ. INSERTS

Blend 16 Features

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.

MONO CHANNELS

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.

MIC

Auxiliary signals can be tapped off and

ꢂ. 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) and INST (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.

sent to Aux bus 1 (monitors) and Aux bus 2

(effects).

ꢀ

ꢁ

The U symbol on most of the controls

INST

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.

INSERT

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.

ꢂ

GAIN

See Appendix B for more information on

XLR, 1/4" TRS, and TS connectors.

HIGH

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 XLR-

type 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

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.

MID

LOW

AUX

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).

PAN

a line-level device to an

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.

MUTE

XLR input with the phantom

power switched on. This could

damage the device. Use the

stereo channel LINE (19) jacks instead.

Do not use phantom power with tube or

ribbon microphones, as this may cause

damage.

7. HIGH EQ

Turn this clockwise to boost the level of all

frequencies above 12 kHz. Turn it counter-clockwise

to cut 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.

ꢀ. INST INPUTS

The INST (instrument) inputs accept 1/4"

TRS balanced and TS unbalanced plugs.

These high-impedance inputs are

suitable for the direct connection of

instruments such as guitars, without the

need for a direct box or guitar preamp.

Download from Www.Somanuals.com. All Manuals Search And Download.

8. MID FREQ EQ

1ꢁ. PAN

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.

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.

MIC

9. MID EQ

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.

Turn this clockwise to boost the level

of signals around the frequency set by

the MID FREQ (8) control. Turn it counter-

clockwise to cut the levels.

INST

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.

10. LOW EQ

Turn this clockwise to boost the level of

all frequencies below 80 Hz. Turn it counter-

clockwise 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.

INSERT

GAIN

1ꢂ. MUTE

Frequencies of 80 Hz and below

Press this switch to prevent that channel’s signals

from reaching the main mix, aux, or subgroups.

(Soloed channels can still be heard in the control

room and phones.)

represent the punch in bass drums, bass

guitar, and wild Tuba raves.

HIGH

11. AUX SEND 1 MON

This control taps the channel’s signal

before the channel FADER (17), and sends

it to the AUX 1 bus. The control ranges from

inﬁnity (off) to +15 dB.

AUX SEND 1 MON is normally used to

send a separate mono mix to your stage

monitors, via the AUX SEND 1 (22) output

jack. Use the MASTER AUX SEND 1 (43)

knob to control the overall level.

Most of the channel controls will affect

the output to your stage monitors, except

for PAN (13), AUX SEND 2 FX (12) and the

channel FADER (17).

15. OL (OVERLOAD) LED

This will light when the channel’s signal is close to

clipping.

MID

If this comes on, turn down the channel’s GAIN (4)

knob, or your EQ (7-10) settings. (The channel FADER

(17) or PAN (13) will have no effect.)

LOW

AUX

16. 1-ꢀ, ꢁ-ꢂ, and L-R SWITCHES

These three switches are used to assign the

channel’s signal to the subgroups 1-2 and 3-4, and

the main mix L and R buses.

For example, if you want channel 1 to go to

the subgroup 1-2, and subgroup 3-4, press the 1-2

and 3-4 switches of channel 1. (The channel 1 PAN

(13) knob will pan the channel’s signal between

subgroup 1 and 2, and between subgroup 3 and 4.)

If you want channel 2 to appear on the main mix,

press L-R on channel 2.

1ꢀ

1ꢀ. AUX SEND ꢀ FX

PAN

This control taps the channel’s signal

after the channel FADER (17), and sends it

to the AUX 2 bus. The control ranges from

inﬁnity (off) to +15 dB.

1ꢁ

MUTE

1ꢂ

The AUX SEND 2 FX bus feeds the

internal effects circuits, and optionally,

it can feed external effects devices (via

the AUX SEND 2 (23) output jack). Use the

MASTER AUX SEND 2 (44) to control the

overall effects level.

Most of the channel controls will affect

the output to the internal (or external)

processor, except for PAN (13) and AUX

SEND 1 MON (11).

17. FADER

This is the master level control for the channel’s

signal. Subtle adjustment of the channel faders is the

key to a ﬁnely-tuned mix.

Typically (providing the GAIN (4) is set correctly),

this will be somewhere near the 0 dB (U) position.

If you have the fader set all the way up, it’s usually

a sign that your GAIN (4) is set too low. If the fader is

set way down, your GAIN may be too high.

18. SOLO

Pressing this switch in will send the channel’s

signal to the control room and headphones output

for monitoring. The RUDE SOLO (47) light will ﬂash

on and off as long as any of the solo switches are

engaged.

Download from Www.Somanuals.com. All Manuals Search And Download.

For an example, suppose your

band is performing on stage, and

you hear something unusual (well,

more unusual than normal). Without

interrupting their performance, you

can Solo each channel in turn, and

listen in the headphones until you

identify the problem channel or

band member. The Solo signal is not

affected by that channel’s MUTE (14),

or FADER (17). The channel signals to

the Aux, main mix and subgroups are

not affected.

channels, and the right signals into

even-numbered channels.

(

)

(

)

ꢀ0. LINE/PHONO switch

(channels 1ꢁ and 1ꢂ only)

In the up position, channel 13 and

14 accept line-level signals.

In the down position, these

two inputs accept phono-level

signals direct from turntables. An

internal phono preampliﬁer applies

the standard (RIAA) phono re-

equalization, and ampliﬁes the raw

cartridge signals to line-level.

Suppose you have a turntable

and a favorite record from when you

were young. Connect the phono-

level outputs of the turntable to the

Ch 13 and 14 1/4" inputs. (You might

need a pair of RCA to 1/4" adapters,

depending on your turntable.) Also

connect the turntable’s ground wire

to the mixer’s rear panel ground

screw. Play the record and adjust

the GAIN (4) as normal, so the LEVEL

SET LED (5) just lights. Select SOLO

(18) to hear it in the control room or

headphones, or press L-R to send it to

your main mix.

LINE

STEREO CHANNELS

GAIN

The following details show the

differences from the Mono channels:

There are no microphone inputs,

inserts, or low cut ﬁlters, and the Mid

EQ frequency is ﬁxed at 2.5 kHz.

The 1/4” inputs are Line-Level, not

instrument level.

ꢀ0

ꢀ1

HIGH

As AUX 1 and 2 buses are mono,

the stereo signals are summed before

reaching the AUX SEND (11,12) knobs.

SOLO (18) sends a sum of both

channels to the control room and

headphones.

GAIN (4), EQ (7-10), and MUTE (14),

and the channel FADERs (17) operate

equally on both left and right signals.

PAN (13) works rather like the

MID

LOW

Caution: DO NOT press

the line/phono switch

down if you are putting in

a line-level signal (or if your

AUX

balance control on a home stereo,

adjusting the left and right balance

onto the main mix or subgroups.

turntable already has line-

level outputs). This could overload the

mixer and damage your hearing.

19. LINE INPUTS

These inputs 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.

Guitars and other instrument-level

sources should not be connected

directly to these inputs. Use the INST

(2) inputs of channel 1 to 8, or use a

preamp to give a line-level output,

and connect that to these inputs.

Mono sources should be

connected to the left input only. The

left signal will then be split equally to

the left and right. You can use the

PAN (13) control to change the left/

right balance of the main mix and

subgroups.

ꢀ1. LINE/USB switch

(channels 15 and 16 only)

In the up position, channel 15 and

16 accept line-level signals.

PAN

In the down position, the stereo

channel is not fed by its 1/4" inputs,

but by the rear panel USB port

connected to a computer.

In the mixer’s USB section, the

digital audio output from software

such as Tracktion is converted to line-

level, two-channel analog, that feeds

channels 15-16 just before the GAIN

(4) knob.

For example, suppose you have

recorded and mixed a lovely tune

using Tracktion software. You can

select Play in Tracktion, and press this

LINE/USB switch in to get the signals

into the mixer. Adjust the channel

GAIN (4) as normal, so the LEVEL SET

LED (5) just lights. Press L-R (16) to

send it to the main mix.

MUTE

Stereo sources should be

connected to both left and right

inputs, where they will pass through

the channel strip separated. The

standard convention is to plug in the

left signals into the odd-numbered

Download from Www.Somanuals.com. All Manuals Search And Download.

ꢀ5. CD/TAPE INPUTS

AUX SENDS and RETURNS

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.

ꢀꢀ

ꢀꢁ

ꢀꢂ

Signals coming into these inputs are routed

directly to the CD/TAPE TO MAIN MIX (49) control

and through to the main mix. You will need to MUTE

(14) all the other channels, if you just want to hear

the CD or Tape.

(

)

ꢀ6

ꢀ5

AUX

CD/TAPE

The signals can also be routed to the control room

and headphone when the control room/phones

source select CD/TAPE (42) switch is pushed in.

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. See Appendix B for more

information about RCA connectors.

ꢀꢀ. AUX 1 SEND MON OUTPUT

To create a stage monitor mix, connect this

1/4" TRS output to the input of your stage monitor

ampliﬁer (or powered monitors).

Each channel’s AUX SEND 1 MON (11) knob

adjusts how much of the channel’s signal appears

on the AUX 1 bus. The AUX 1 bus carries the sum of

all those active channels whose AUX SEND 1 MON

(11) knobs are set to more than minimum position.

The MASTER AUX SEND 1 (43) knob allows you

to adjust the overall output level to your stage

monitors.

You can use the internal 7-band graphic EQ (31)

to equalize the monitor mix, by pressing in the MAIN

MIX/AUX 1 (MON) (32) switch.

This output to your stage monitors is not affected

by the channel FADERs (17) or MAIN MIX FADER (52).

This is a good thing, as the monitors are not affected

by level changes to your main mix.

Caution: 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.

ꢀ6. CD/TAPE OUTPUTS

Use these RCA jacks to capture the entire

performance to tape. The output signal is a direct

copy of the main mix, as it appears at the MAIN

MIX (58) outputs and the USB (62) output to your

computer.

You could also use these outputs to connect

to the unbalanced RCA inputs of a home stereo

ampliﬁer, if you had a mind to.

ꢀꢁ. AUX ꢀ SEND FX OUTPUT

Do not use long runs of unbalanced cables, or

there might be signal degradation and noise. Try

using good quality cables as sold in Hi-Fi stores.

Use the tape player’s record-level control to set

up the correct levels for recording. Take care if you

use the MAIN MIX FADER (52) to adjust the levels, as

this will affect your MAIN MIX (58) outputs as well as

these Tape outputs.

This 1/4" TRS output is intended to patch into an

external effects processor, hence the name FX.

Each channel’s AUX SEND 2 FX (12) knob adjusts

how much of that channel’s signal appears on

the AUX 2 bus. The AUX 2 bus carries the sum of all

active channels whose AUX 2 SEND FX (12) knobs

are set to more than minimum.

The MASTER AUX SEND 2 (44) knob affects the ﬁnal

output level to your external processor.

This output is affected by the channel FADERs

(17), but not the MAIN MIX FADER (52).

Note: Before the AUX 2 signals reach the MASTER

AUX SEND 2 FX (44) knob, a copy is tapped off to go

to the internal Effects processor, and from there onto

the main mix bus.

MASTER SECTION

So far, we have described the channels, and how

the signals from all of your microphones, instruments,

line-level sources and CDs or Tapes get onto the

main mix buses, subgroups 1 to 4, and the Aux

buses. Now we come to the Master section, that

controls what happens next.

ꢀꢂ. FX RETURN INPUTS

ꢀ7. POWER LED

If you have an external effects processor, you can

plug it into these inputs.

This light glows when the mixer is turned on. If it is

off, the mixer will sulk and not work. Check that the

rear panel power switch is on, that the power cord

is plugged in, and any power strips or wall switches

are on. Also check if all the lights are out in your

neighborhood. You never know.

The incoming signals are added into the main mix,

and a summed mono signal is added to the monitor

mix. Adjustment is provided by the fascinating FX

RETURN (45, 46) controls described in the Master

section.

When connecting a mono device (just one cord),

always use the left (mono) input and plug nothing

into the right input. The signal appears on both sides.

1ꢀ

Download from Www.Somanuals.com. All Manuals Search And Download.

ꢀ8. PHANTOM POWER LED

This light comes on when the rear panel

PHANTOM POWER (54) switch is turned on. This

indicates that the XLR MIC (1) inputs are supplied

with 48 volts.

ꢀ9

ꢁ0

POWER

ꢀ7

ꢀ8

PHANTOM 48V

LAMP

PHONES

STEREO GRAPHIC EQ

ꢀ9. LAMP

+15

15+

This female BNC connector allows you to attach

a “Littlelite” brand gooseneck lamp or equivalent,

to shine a light on the control surface, and give you

that mysterious cool look, as you work in the dark.

ꢁ1

-15

ꢁ0. PHONES

This is where you plug in a nice pair of stereo

headphones. It accepts 1/4" stereo plugs. Adjust the

level using the PHONES (40) knob.

64Hz 125Hz 400Hz

1kHz 2.5kHz 8kHz

16kHz

ꢁꢁ

MAIN MIX

AUX1(MON)

BYPASS

EQ IN

ꢁꢀ

INTERNAL EFFECTS

Caution: Always turn the PHONES knob

down when making connections, or when

pushing any switches. These precautions

will help protect your hearing.

REV + CHORUS

REV + FLANGER

REV + DELAY

CHORUS

VOCAL 1

VOCAL 2

LG HALL

SM HALL

LG ROOM

SM ROOM

PLATE

FLANGER

ST DELAY

M DELAY

ꢁ1. 7-BAND STEREO GRAPHIC EQ

SPRING

TAPE REV

VARIATIONS

The magniﬁcent seven sliders allow you to

equalize the main mix, or the stage monitor mix.

Each slider varies the level by 15 dB either side of

unity gain. The frequency bands are 64 Hz, 125 Hz,

400 Hz, 1 kHz, 2.5 kHz, 8 kHz and 16 kHz.

BYPASS

INPUT

LEVEL

FX OL

MAX

USB OUTPUT

Adjust the EQ wisely and subtly. Do not overdo

the EQ gain, as this might lead to overloading or

clipping. Think of it like makeup, it should be applied

sparingly for a lovely effect, not caked on like wall

plaster.

MAIN MIX

SUBS 1-2

(PRE-FADER)

RUDE SOLO

USB

MAX

OUTPUT LEVEL

SOURCE

LEVEL

SET

SOURCE

SELECT

MAX

ꢁꢀ. MAIN MIX/AUX 1 MON

PHONES

CTRL RM

MAIN

MIX

This switch lets you assign the EQ (31) to either the

main mix or the Aux 1 stage monitor mix.

In the up position, the main mix will pass through

the EQ, and the monitor mix is not affected. You

can then adjust the sound of your main speakers,

and compensate for the effects of the room

environment.

In the down position, the stage monitor mix passes

through one side of the stereo EQ, and the main mix

is not affected. You can adjust the EQ to prevent

mic or guitar feedback from the stage monitors, or

allow the band to hear the monitors more clearly, or

less clearly if that helps any.

-4

-12

MASTER

AUX

RETURN

SEND

CD/

TAPE

AUX1

MON

-24

MON

0dB = 0dBu

+15

SUBS

1-2

MAIN

MIX

MAX

SUBS

3-4

+15

CD/TAPE IN

TO MAIN MIX

SUB ASSIGN

TO MAIN MIX

SUB

MAIN

MIX

ꢁꢁ. EQ BYPASS

This switch allows you to quickly bypass the EQ

(31) so you can judge its effect without having to set

the sliders back to center. Push it in to hear the EQ,

and leave it up to bypass.

1ꢁ

Download from Www.Somanuals.com. All Manuals Search And Download.

INTERNAL EFFECTS

The internal effects circuit receives mono signals

from the AUX 2 FX bus, and it outputs stereo signals

onto the main mix buses. It also adds a summed

mono signal to the stage monitor mix (AUX 1 bus).

The outputs are controlled by two FX RETURN (45, 46)

knobs described on the next page.

POWER

PHANTOM 48V

LAMP

PHONES

STEREO GRAPHIC EQ

+15

15+

Inside the processor, the analog audio is

converted to digital, this is processed, and the result

converted into stereo analog signals.

Spicy curry can also result in some remarkable

internal effects, many in the audio frequency range.

16kHz

64Hz 125Hz 400Hz

1kHz 2.5kHz 8kHz

ꢁꢂ. EFFECTS SELECTOR

MAIN MIX

AUX1(MON)

BYPASS

EQ IN

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 output mutes momentarily

when changing effects.

INTERNAL EFFECTS

REV + CHORUS

REV + FLANGER

REV + DELAY

CHORUS

VOCAL 1

VOCAL 2

LG HALL

ꢁ5

SM HALL

FLANGER

LG ROOM

ꢁꢂ

ST DELAY

M DELAY

SPRING

SM ROOM

PLATE

VOCAL 1

SPRING REVERB

MONO DELAY

STEREO DELAY

FLANGER

TAPE REV

VARIATIONS

VOCAL 2

ꢁ7

BYPASS

LARGE HALL

SMALL HALL

LARGE ROOM

SMALL ROOM

PLATE

INPUT

LEVEL

ꢁ6

FX OL

MAX

CHORUS

USB OUTPUT

ꢁ9

REVERB + DELAY

REVERB + FLANGER

REVERB + CHORUS

MAIN MIX

ꢂ7

RUDE SOLO

SUBS 1-2

ꢁ8

ꢂ0

(PRE-FADER)

USB

MAX

OUTPUT LEVEL

SOURCE

TAPE REVERB

LEVEL

SET

SOURCE

SELECT

ꢁ5. EFFECTS VARIATIONS

ꢂ1

ꢂꢀ

MAX

As you rotate this control from position 1 through

to 16, the “strength” of the effect will increase.

For an example: for a reverb effect, a low number

will have a short reverb time, and a larger number

will have a longer reverb time.

PHONES

CTRL RM

MAIN

MIX

ꢂ8

-4

MASTER

AUX

RETURN

-12

-24

SEND

CD/

TAPE

AUX1

MON

ꢂꢁ

ꢂꢂ

1 ꢂ5

MON

0dB = 0dBu

+15

SUBS

1-2

MAIN

MIX

ꢁ6. FX INPUT LEVEL and OL LED

ꢂ6

ꢂ9

This knob allows you to adjust the signal level

going into the internal effects processor. This is

useful if the signal is too strong, and the processor

becomes overloaded.

MAX

SUBS

3-4

+15

CD/TAPE IN

TO MAIN MIX

SUB ASSIGN

TO MAIN MIX

If you see the FX OL overload light come on, turn

down the knob until it just turns off during the louder

passages, riffs, chords, yells, etc.

SUB

MAIN

MIX

ꢁ7. FX BYPASS and LED

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 reminds

you whenever the processor is bypassed.

Use BYPASS if you are not using the internal

effects, as it will reduce any extraneous interstellar

noise, or use it to quickly compare between the

effective effect of effects and the effect of no

effects.

5ꢀ

1ꢂ

Download from Www.Somanuals.com. All Manuals Search And Download.

Push SUBS 1-2 to hear subgroup 1 and 2 outputs.

Push SUBS 3-4 to hear subgroup 3 and 4 outputs.

Note: If any channel has its SOLO (18) switch in, then

only the SOLOed channels are heard in the control

room or headphones.

ꢁ8. USB OUTPUT: MAIN MIX/SUBS 1-ꢀ

This switch allows you to choose if the main mix or

if subgroups 1 and 2, are sent out of the mixer’s USB

(62) output to your computer.

If pressed in, the A/D converters of the USB

section receive the output from subgroups 1 and 2

(before the SUB FADERS (50)). This is a good position

for studio recording and overdubbing with your

computer.

If pressed out, the A/D converters receive the

main mix (after the MAIN MIX FADER (52)), just

the same program as your main speakers and

tape deck will receive. This is a good position

for recording the main performance onto your

computer.

ꢂꢁ. AUX 1 (MON) MASTER SEND

This knob is the master level control of the AUX

SEND 1 MON (22) output jack. Adjust this knob to

control the overall level of your stage monitor mix.

ꢂꢂ. AUX ꢀ (FX) MASTER SEND

This knob is the master level control of the AUX

SEND 2 FX (23) output jack. Adjust this knob to

control the level sent to your external processors.

Further details of the USB connections and

operation are described on page 19.

ꢂ5. FX RETURN TO AUX 1 MON

This knob allows you to adjust the level of the

effects going onto the AUX 1 MON bus and out to

your stage monitors.

Signals (from external processors) coming into the

AUX FX RETURN (24) jacks, and the internal effects

processor output (unless bypassed), are summed to

mono and added to the AUX 1 Monitor bus through

this level control.

ꢁ9. USB OUTPUT LEVEL and OL LED

The USB section has an A/D converter that

converts the selected analog channels into a digital

stream.

This knob allows you to adjust the signal level

before it reaches the A/D converters. Turn it down If

you see the OL light come on.

The control ranges from minimum fully counter-

clockwise, to unity gain at the center, to +15 dB fully

clockwise.

Like all OL overload LEDs, this is an important one

to keep an eye on, so the outputs to your computer

are not distorted.

ꢂ6. FX RETURN TO MAIN MIX

This knob allows you to adjust the level of effects

going onto the main mix bus and out to your main

speakers.

Signals (from external processors) coming into the

AUX FX RETURN (24) jacks, and the internal effects

processor output (unless it is bypassed) are added to

the main mix bus through this level control.

The control ranges from minimum fully counter-

clockwise, unity gain at the center, to +15 dB fully

clockwise.

ꢂ0. PHONES

This adjusts the headphone levels without

disturbing the main mix or control room levels.

Turn this down before connecting and putting on

your headphones, or before engaging any switches.

Bring it up slowly.

Caution: Be very careful because the

PHONES (30) output can drive any

standard headphones to very loud levels.

Please see page 2 for information on

hearing protection.

ꢂ7. RUDE SOLO LED

ꢂ1. CONTROL ROOM

This rather annoying light ﬂashes on and off as

a reminder when any of the channel SOLO (18)

switches are pushed in. When ﬂashing, you will hear

the SOLOed channel(s) in the control room and

headphones.

This adjusts the output level to your control

room, from the source selected using the SOURCE

SELECT (42) switches below. It does not affect the

headphones level or the main mix level.

ꢂꢀ. SOURCE SELECT Switches

Use these four switches to select the signal source

for the control room outputs, headphones, and

meters.

ꢂ8. METERS

These LEDS show the level of the control room and

headphone signals, before the control room and

headphones level controls.

As the control room/phones source select

switches are engaged, you can view the levels of

the different sources (main mix, CD/Tape, Sub 1-2

and Sub 3-4).

The calibrations are: –24, –12, –4, 0, +4, +8, +12

and +16 dB (Clip), where 0 dB = 0 dBu.

Caution: Turn down the CTRL ROOM (41)

and PHONES (40) knobs before pushing

these switches.

When the switches are up, the control room

outputs, headphones, and meters receive no signals

(unless any channels have SOLO (18) engaged).

Push MAIN MIX to hear the main mix.

You can get a good mix with the meter’s peaks

ﬂashing anywhere between –24 and +8 dB. Most

Push CD/TAPE to hear your CD or Tape player.

Download from Www.Somanuals.com. All Manuals Search And Download.

ampliﬁers clip at about +10 dB, and some recorders

aren’t so forgiving either. For best real-world results,

try to keep your peaks between 0 dB and +8 dB.

If your meters are too high, you will get distortion.

If they are too low, then your signal-to-noise will

suffer. Use the meters to help you adjust the mixer for

optimum performance without distortion or noise.

Then you can adjust your ampliﬁer’s level controls for

good overall volume.

POWER

PHANTOM 48V

LAMP

PHONES

STEREO GRAPHIC EQ

+15

15+

ꢂ9. CD/TAPE TO MAIN MIX

This knob is used to control the level of the signal

that goes onto the main mix bus from your CD

player or tape deck. If the band is taking a break,

you can play some intermission music, and MUTE

(14) all active channels.

16kHz

64Hz 125Hz 400Hz

1kHz 2.5kHz 8kHz

MAIN MIX

AUX1(MON)

BYPASS

EQ IN

INTERNAL EFFECTS

50. SUBGROUP FADERS

REV + CHORUS

REV + FLANGER

REV + DELAY

CHORUS

VOCAL 1

VOCAL 2

If the SUB ASSIGN TO MAIN MIX L and R (51)

switches above each fader are engaged, these

faders will affect the subgroup levels reaching the

main mix bus.

LG HALL

SM HALL

FLANGER

LG ROOM

ST DELAY

SM ROOM

M DELAY

PLATE

SPRING

TAPE REV

These faders also control the signal level out of

the rear panel SUB OUTS (61).

They also affect the level to the control room/

phones if the SOURCE SELECT (42) switches SUB 1-2 or

SUB 3-4 are engaged.

VARIATIONS

INPUT

BYPASS

LEVEL

FX OL

MAX

USB OUTPUT

The faders range from minimum at the bottom, to

unity gain at 75% up, and to +10 at the top.

For an example of subgroups, suppose you have

a group of microphones to record a drum kit:

Each drum microphone could be assigned to

subgroup 1-2 by pressing the channel 1-2 switches.

Use the channel Pan controls to create a delicate

stereo mix between subgroup 1 and 2.

Assign this to the main mix.

Use the subgroup faders 1 and 2 to adjust the

sound of all drum mics in the main mix, instead

of having to tweak each individual drum mic

channel fader.

MAIN MIX

SUBS 1-2

(PRE-FADER)

RUDE SOLO

USB

MAX

OUTPUT LEVEL

SOURCE

LEVEL

SET

•

SOURCE

SELECT

MAX

PHONES

CTRL RM

MAIN

MIX

ꢂ8

-4

MASTER

•

AUX

RETURN

-12

-24

SEND

CD/

AUX1

MON

TAPE

MON

0dB = 0dBu

+15

SUBS

1-2

MAIN

MIX

ꢂ9

MAX

SUBS

3-4

+15

51. SUB ASSIGN TO MAIN MIX L and R

These switches allow you to assign a subgroup to

the main mix bus. The rear panel subgroup outputs

are not affected.

CD/TAPE IN

TO MAIN MIX

SUB ASSIGN

TO MAIN MIX

SUB

MAIN

MIX

5ꢀ. MAIN MIX FADER

This 60 mm stereo fader adjusts the level of the

main mix as it is sent out of the MAIN MIX (58) outputs

for audience entertainment, and TAPE (26) outputs

for recording for posterity/archiving/evidence.

It also adjusts the levels to the USB (62) outputs,

and control room/phones, if the main mix is set to be

their source.

5ꢀ

This fader is what you use for the long drawn-out

fade out or fade-in. It ranges from minimum at the

bottom, to unity gain at 75% up, to +10 dB at the

top.

Download from Www.Somanuals.com. All Manuals Search And Download.

MAIN OUT

POWER

PHANTOM

5ꢁ

RIGHT

LEFT

MAIN INSERT

CONTROL RM OUT

SUB OUTS

BAL/UNBAL

USB IN/OUT

TIP SEND

RING RETURN

BAL/UNBAL

5ꢂ

PHONO

GROUND

RIGHT

LEFT

RIGHT

LEFT

6ꢀ

57. PHONO GROUND

If you have a turntable connected, use this screw

terminal to connect the turntable’s ground wire. This

will prevent a hum in your system.

REAR PANEL FEATURES

5ꢁ. POWER SWITCH

Push the top of the switch labeled “ON” to turn

the mixer on; you should see the POWER LED (27)

glow with happiness. To turn the mixer off, push the

bottom of the switch.

58. MAIN OUTPUTS

These 1/4" TRS jacks and XLR jacks represent the

end of the mixer chain, where your fully mixed stereo

signal entertains your audience.

Connect these outputs to the inputs of your

ampliﬁers, powered speakers, or serial effects

processor (graphic equalizer, for example).

As a rule, turn the mixer on ﬁrst, before any amp

or powered speakers. At the end of a show, turn it

off last. This will prevent any turn-on/turn-off thumps

from being heard in the speakers.

5ꢂ. PHANTOM POWER

59. MAIN INSERTS

Turn on this switch to provide +48 VDC phantom

power to the MIC (1) input XLR jacks (pins 2 and 3).

Phantom power is required to operate most

condenser microphones (some condenser

microphones are battery-powered).

These allow you to insert an external device such

as the Tapco SQUEEZE compressor/limiter or TWEEQ

graphic EQ into the main mix signal path.

You will need “Insert Cables” that allow the main

mix signals to go out to your external device, and

have the processed signals come back into the

mixer on the same plug (see Appendix B).

The inserts are taken directly from the main mix

bus, before the 7-Band EQ (31) and the MAIN MIX

FADER (52).

If you have ribbon mics, tube mics, or dynamic

mics that do not require phantom power, leave the

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

60. CONTROL ROOM OUTPUTS

These 1/4" TRS jacks can be used to monitor the

main mix, CD/Tape inputs, subgroups, or SOLOed

channels.

possibility of a “pop” in your speakers.

Do not use phantom power with tube or

ribbon microphones, as this may cause

Use the control room SOURCE SELECT (42) switches

to select what you want to hear, all independent of

what the main mix outputs are playing.

Connect these outputs to the inputs of an

ampliﬁer with speakers, or powered speakers for

monitoring.

damage. Always turn off phantom power when

connecting or disconnecting your microphones.

55. AC POWER IN

This standard IEC connection is where you

connect the supplied power cord.

Connect the power supply cord to the Blend 16

ﬁrst, then plug the power supply into a suitable and

properly rated AC outlet.

The Blend 16 has a universal power supply that

will operate with AC mains voltages from 100 VAC to

240 VAC.

61. SUBGROUP OUTS

These 1/4" TRS jacks represent the output from

your subgroups. You can connect them to ampliﬁers

or powered speakers, or send the outputs off to an

ADAT recorder (or not use them at all).

6ꢀ. USB IN/OUT

56. AC FUSE

One end of the supplied USB cable connects

here, and the other end connects to the USB port of

your computer. The USB cable can simultaneously

send and receive two channels of audio to and

from any Mac or PC audio software.

If you suspect a blown fuse, disconnect the power

cord, pull the fuse drawer out (located just below

the cord receptacle) and replace the fuse with

the same type and current rating. If two fuses blow

in a row, something is very wrong, and you should

unplug the mixer and call technical support.

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix A: Using the Blend 16

At ﬁrst glance, the controls on the front panel of the

Blend 16 may seem more at home in a space movie,

right next to the Navigation ofﬁcer. Like most things,

it’s worse than that really. Here is a brief overview that

may help you understand the basic functions and

mysterious inner workings of the Blend 16.

•

The FX RETURN input has a similar control to adjust

the level of internal and external effects going on

to the main mix.

Channels 15 and 16 can switch the audio output

from your computer’s software (such as Tracktion)

onto the main mix.

Channels 13 and 14 can accept the signals from a

turntable onto the main mix.

Buses

A public transportation bus takes many passengers

and delivers them to various destinations. In a similar

way, an audio bus combines multiple audio signals

and delivers them to an output.

Auxiliary 1 Stage Monitor bus

The Aux 1 Mon bus is normally used for sending

an output to your stage monitors, so the band can

clearly hear what they are playing, amidst the wild

frenzy of the audience.

The Blend 16 has two main mix buses, two auxiliary

buses, and four subgroup buses.

Main Mix Buses

The audio signals from the microphones, guitars,

instruments and keyboards of your wonder-band can

be combined in the main mix bus and sent to your

main ampliﬁers and speakers (or powered speakers).

This could be your Club speaker system, or Uncle

AUX 1 MONITOR BUS

To get signals onto the Aux 1 Mon bus, rotate the

AUX SEND 1 controls located just below the EQ section

of each channel strip.

The stage monitors receive a mix that is

independent from the main mix, and not affected by

the channel faders or Main Mix fader.

MAIN MIX BUS LEFT

MAIN MIX BUS RIGHT

The mixer has a separate AUX SEND 1 output, that

allows you to send the feed to your stage monitors.

Ernie’s garage.

Auxiliary ꢀ Effects bus

To get the channel signals onto the left and right

main mix buses, press the L-R buttons near the bottom

of each channel strip.

The Aux 2 FX bus is normally used to send an output

through the internal effects processor and onto the

main mix, and to send an output to external effects

via the AUX SEND 2 output.

The channel PAN knobs adjust the signal balance

onto the buses. Mono signals are shared equally to

the left and right bus if the PAN is centered. With PAN

fully left, the signals just go onto the left bus, and with

PAN fully right, they go onto the right bus.

Each channel can be tweaked in EQ and level,

and the MAIN MIX FADER used to adjust the overall

volume level. The main mix can also be assigned to

the USB output, and sent to a computer for recording.

AUX ꢀ EFFECTS BUS

In addition to the channel inputs, the main mix can

receive the following:

To get signals onto the Aux 2 FX bus, rotate the AUX

SEND 2 controls located just below the EQ section of

each channel strip.

•

Each of the four subgroups has an L and R switch

to assign the output onto the main mix. See below

for more subgroup details.

Unlike Aux Send 1, the levels going to Aux Send 2

are affected by the channel faders. (As the channel

faders are changed, the signal levels going to the

internal and external processors change.)

•

The CD/Tape input has a level control to adjust the

amount of signal going onto the main mix.

Download from Www.Somanuals.com. All Manuals Search And Download.

Three controls conﬁgure how the USB connection

will work in different scenarios:

Subgroups

The channel audio signals can also be sent to the

subgroups. These let you group together similar or

related sources.

USB Source switch:

USB OUTPUT

This lets you

choose whether

your computer

MAIN MIX

SUBS 1-2

(PRE-FADER)

USB

MAX

SOURCE

is fed by the

OUTPUT LEVEL

main mix, or by a

prefader tap of subgroups 1-2.

USB Output Level: The selected channels of analog

audio pass through this control, allowing you to

adjust the gain if needed, and to stop the USB OL

(overload) LED from coming on.

Then the analog audio is converted to a serial

stream of digital data, and sent through the USB

cable to your computer where you can record it

into your DAW software (Digital Audio Workstation).

LINE/USB switch (CH 15/16): Two stereo

Subgroup 1

Subgroup ꢀ

For example, your drum kit microphones can be

sent to subgroups 1 and 2. The output from each

subgroup can be adjusted with its own SUB FADER,

assigned to the main mix, and/or sent out of the sub

output jacks for recording.

channels can return from your

computer to channels 15-16 by pushing

this switch at the top of the channel.

GAIN

To get signals onto the subgroups, press the 1-2, or

3-4 buttons near the bottom of each channel strip.

Recording Live

Careful use of each channel’s PAN can create a

nice stereo image in subgroups 1 and 2, or in 3 and 4.

If you want a channel to only go to 1 (or 3), pan fully

left; for 2 (or 4), pan fully right.

In a live situation, you can capture a recording of

exactly what the audience heard to your computer’s

hard drive, perhaps to burn a CD later.

Conﬁguration:

•

Set up your mixer for your live show as you normally

would. Be sure the USB SOURCE button is in the up

position; your computer will receive a copy of the

mixer’s stereo main mix signals.

Adjust the USB Level Control so the USB OL

LED does not light during the sound tests or

performance, encores etc.

Open your recording software of choice and

begin recording the Blend 16 USB input. This can

be done in either mono or stereo, depending on

how you are mixing your live show (there’s no

reason to record in stereo if you are mixing the

show in mono).

Be sure the USB button is not engaged on channels

15-16 as this may cause a feedback loop with

some DAW setups.

To get subgroups onto the main mix, press the L

and/or R buttons above each SUB FADER.

Control Room and Phones Section

•

The control room section lets you select and

monitor the main mix, the CD/Tape player, subgroups

and listen to individual SOLOed channels, all without

interrupting the main mix. You can set up a separate

ampliﬁer and speakers for a studio control room,

Uncle Ernie’s control shed, or headphones.

Solo

•

Any channels with their SOLO button engaged, will

have their signals sent (pre fader) to the control room

output and headphones for monitoring. This does not

affect the main mix, so your band can still play on

while you check individual channels and weed out

Mr. Out-of-Tune from the boy band.

Studio Recording and Overdubbing

In your studio, you can record two channels

or selected groups of channels to your computer,

playback your recording, and perform overdubs by

adding new material.

USB and the Blend 16

One of the cool features of the Blend 16 is its

integrated USB input and output. Among other things,

this allows you to record your live shows, perform

recording sessions in your home studio, or use your

computer as a jukebox/band member during live

performances, with only your mixer, a computer and

a USB cable. No extra computer audio interface

hardware is needed.

There are two different methods for monitoring the

recording:

•

Direct monitoring (listening to the direct sounds as

you record).

•

Software monitoring (listening through the

recording software). For example, you might want

to listen as you play your guitar through a new

“warm amp tones” software simulator plug-in.

Note: Use either monitoring method, but not both

Before you can get started, you may need to install

the drivers. See the instructions included on the Blend

16 software CD.

at the same time, or you may hear an undesirable

echo of your recording.

Download from Www.Somanuals.com. All Manuals Search And Download.

Studio: Direct Monitoring

Conﬁguration:

Studio: Software Monitoring

Conﬁguration:

1. Connect your mics and instruments to the mixer’s

1. Follow steps 1 to 6 above to get your sounds into

the computer, using subgroups 1-2. Do not assign

the subgroups to the main mix.

inputs (leave channels 15-16 unused).

2. Connect your ampliﬁer/speaker system (or

powered speakers) to the Control Room outputs,

or connect headphones to the Phones output.

Keep the Control Room and Phones level controls

down for now. Press Main Mix in the Control Room

source section, (you’ll be monitoring the main mix).

3. Assign those channels you want to record to

subgroups 1-2, but NOT to L-R main mix (i.e., press

down the 1-2 switch on each channel, but leave

each L-R switch up).

4. Use PAN on each channel to select if the mics or

instruments go to subgroup 1 or 2. For example, to

record a vocal microphone and an electric guitar

at once, route the mic to subgroup 1 (PAN fully left,

and 1-2 down) and the guitar to subgroup 2 (PAN

fully right, 1-2 down).

Here is where Software Monitoring comes in:

2. To listen through the software as you record,

engage software monitoring in your DAW for the

Blend 16 inputs. You will then be able to listen to

the tracks while you are recording, including any

software effects you might have added. This is

done differently for each DAW, so consult your

software’s manual if you are unsure how to do this.

In Tracktion, you would enable “end to end” on

the Blend 16 inputs.

5. Press the USB SOURCE switch down; copies of

subgroups 1-2 are fed to the USB’s A/D converter

and sent to your computer’s DAW software.

6. Sing or play, at normal performance levels and

adjust the USB OUTPUT LEVEL knob to avoid

clipping the USB A/D converter.

Ch 15-16

Subgroup 1-2

USB

Main Mix

Laptop

Faders

Channel

15 and 16

Here is where Direct Monitoring comes in:

7. To listen to the direct sounds as you record, assign

subgroups 1-2 to the main mix, using the L and R

switches above the subgroup faders. Carefully turn

up the Control Room level and/or Phones level

a little, then use the subgroup faders to control

the volume of what you are hearing. (They do

not affect the signal levels sent to the computer,

since the signals are tapped before the subgroup

faders.)

3. On your DAW, place any software effects you

would like to “monitor through while recording”

onto the tracks coming in from the Blend 16.

4. Press the USB button on channels 15-16 and assign

15-16 to the L-R, but not to subgroups 1-2.

5. Press Main Mix in the Control Room source section

and you will hear the signals you will record

(through their effects) along with playback from

any previously recorded tracks.

DJ Music Playback

Main aim:

Use the computer as a sound source for playback

during a live performance, or as the main sound

source for their DJ set.

Subgroup

Subgroup 1-2

USB

Main Mix

Laptop

Faders

Conﬁguration:

•

Setup your mixer for your live show as you normally

would, but leaving channels 15-16 unused.

Open your music software on your computer and

conﬁgure it to output to the Blend 16.

Press the USB button on channels 15-16. The

output of your computer will now feed these

channels.

Using the channel 15-16 controls, route the

incoming audio from your computer to the Auxes,

Effects sends, subgroups, and/or Main L-R as

needed, just as you would any other channel.

If you would also like to record your show, you

can send your main mix back to your computer

for recording. Be sure software monitoring is NOT

enabled in your DAW or you might get a feedback

loop and could damage your ears and speakers.

8. To perform an overdub and hear some previously

recorded material (such as a drum beat) to play

along to while recording, press the USB button on

channels 15-16 and assign 15-16 to the main mix.

•

ꢀ0

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix B: Connections

XLR Connectors

1/ꢂ" 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.

Channels 1 and 2 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).

SLEEVE

TIP

SHIELD

HOT

TIP

COLD

SLEEVE

SHIELD

1/4" TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

COLD

HOT

SHIELD

COLD

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.

XLR Balanced Wiring

Pin 1 = Shield

Pin 2 = Hot (+)

Pin 3 = Cold (–)

TIP

SLEEVE TIP SLEEVE

1/ꢂ" 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:

RCA Unbalanced Wiring:

Sleeve = Shield

Tip = Hot

Balanced Mono

1/ꢂ" TRS Insert Plugs and Jacks

RING SLEEVE

SLEEVE RING TIP

When patching an external device into a

channel’s insert jack, or the main insert jacks, you

may need to use a special 1/4" TRS connector

called an “Insert plug.” These use the tip to send the

signal to the external device, and the ring to return

the signal to the mixer. The sleeve is the common

ground (earth) for both signals. These are both

unbalanced signals.

TIP

RING

TIP

SLEEVE

1/4" TRS Balanced Mono wiring:

Sleeve = Shield

Tip = Hot (+)

Ring = Cold (–)

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

This plug connects to the

Channel Insert jack

Stereo Headphones

“ring”

RETURN from processor

RING SLEEVE

SLEEVE RING TIP

1/4" TRS Insert Wiring:

Sleeve = Ground

Tip = Send

TIP

RING

TIP

Ring = Return

SLEEVE

1/4" TRS Stereo Unbalanced Wiring:

Sleeve = Shield

Tip = Left

Ring = Right

ꢀ1

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix C: Speciﬁcations

Frequency Response

Mic Input to any Output (Trim at 0 dB):

Maximum Voltage Gain

Mic Input to:

+0, –1 dB,

20 Hz to 20 kHz

–3 dB,

Main Output:

Tape Output:

Aux Sends:

74 dB

84 dB

10 Hz to 80 kHz

Control Room Output:

Phones Output:

Inst Input to:

Distortion

Main Output:

Tape Output:

Aux Sends:

49 dB

59 dB

THD and SMPTE IMD; 20Hz to 20kHz

Mic Input to Main Output:

< 0.005%

@ +4 dBu output

Control Room Output:

Phones Output:

Stereo Line Input to:

Main Output:

Tape Output:

Aux Send:

Control Room Output:

Phones Output:

Tape Input to:

Main Output:

Noise

20 dB

30 dB

20 Hz to 20 kHz BW (150 Ω source impedance)

Equivalent Input Noise (EIN):

Residual Output Noise:

–128 dBu

Channel and Main Mix levels off

Main, Ctrl Room, Phones:

Aux 1 Monitor out

Aux 2 EFX out

–102 dBu

–82 dBu

–92 dBu

10 dB

Tape Output:

Control Room Output:

Phones Output:

Aux Return to:

Main Output:

Common Mode Rejection Ratio

(CMRR)

20 dB

30 dB

Mic In:

60 dB @ 1 kHz

Gain @ maximum

Tape Output:

Aux Send:

Control Room Output:

Phones Output:

Crosstalk

Adjacent Inputs or Input to Output:

–85 dB @ 1 kHz

Input Impedance

Mic Input:

2.3 kΩ, balanced

1 MΩ

20 kΩ, balanced

24 kΩ, unbalanced

Input Gain Control Range

Inst Input:

Mic In:

Line In:

+3 dB to +50 dB

Stereo Line Input:

Stereo Aux Returns:

CD/Tape In:

–22 dB to + 25 dB

Phantom Power

+48 VDC

Output Impedance

Main, Ctrl Room, Aux Sends:

Tape Output:

120 Ω

1 kΩ

25 Ω

Equalization

Mono Channel EQ:

Phones Output:

High

Mid

Low

15 dB @ 12 kHz

15 dB 100 Hz–8 kHz

15 dB @ 80 Hz

Channel Level Set LED (Sensitivity)

0 dBu

(normal operating

level)

Stereo Channel EQ:

High

Mid

Low

15 dB @ 12 kHz

15 dB @ 2.5 kHz

15 dB @ 80 Hz

VU Meters

Main Left and Right

8 segments:

Mixer Rated Output

Main, Aux, Control Room:

Maximum Rated Output:

+4 dBu

+18 dBu

–24, –12, –4, 0, +4, +8, +12, Clip (+16)

0 LED = 0 dBu

Maximum Input Levels

AC Power Requirements

Mic Input:

+18 dBu,

Gain @ +3 dB

+18 dBu,

Internal Universal Power Supply, standard IEC

connector

Inst Input:

Voltage Range:

Gain @ –22 dB

100 VAC to 240 VAC, 50/60 Hz

Stereo Line Input, Tape Input, and Aux Return:

+18 dBu

ꢀꢀ

Download from Www.Somanuals.com. All Manuals Search And Download.

Physical Dimensions and Weight

System Requirements

Height:

Back: 5.0” (127 mm)

Front: 2.5” (64 mm)

18.5” (469 mm)

Here are some of the computer requirements in

order to use the mixer with a computer and to run the

Tracktion software.

Width:

Depth:

Weight:

16.6” (422 mm)

11.5 lbs (5.2 kg)

PC Requirements

Internal Effects

•

WINDOWS XP

32 bit EMAC processing, 2-channel

•

Intel Pentium 3 or 4, or AMD Athlon (750 MHz or

better is recommended for Tracktion)

Sample Rate:

Bandwidth:

Number of presets:

Parameters:

31.25 kHz

15.6 kHz

•

At least 256 MB RAM (512 MB is recommended )

2 controls

Super VGA (1024 x 768) or higher-resolution video

adapter and monitor

Digital I/O

USB

Bit Depth:

Sample Rates:

Output:

•

CD-ROM or DVD drive

24 bit/16 bit

44.1 kHz, 48 kHz,

Main L and R output signal or

Subgroup 1-2

Keyboard and Wheel Mouse or compatible

pointing device

•

USB port

Input:

Alternate source to stereo

channel 15-16

Macintosh Requirements

•

Macintosh OSX v 10.9 (or higher)

Disclaimer

G4 (or better)

Since we are always striving to make our products

better by incorporating new and improved materials,

components, and manufacturing methods, we

reserve the right to change these speciﬁcations at

any time without notice.

256 MB RAM (512 MB is recommended)

Keyboard and Wheel Mouse or compatible

pointing device

•

USB port

Hard Drive Notes

•

To record a one minute 24-bit/44.1 kHz mono track

requires approximately 8 MB of hard drive space.

Preferably, use a second drive for recording audio,

not your main drive with the operating system.

It is best if you can start with a freshly de-

fragmented drive before recording.

Backup your ﬁles and de-fragment your drive

often.

•

Did we mention backing up your ﬁles often?

We do not want you to be sitting back relaxing in

the pub after a long day's recording session of your

ﬁnest work, when all along there is a doubt in the

back of your mind about having backed up your

ﬁles.

ꢀꢁ

Download from Www.Somanuals.com. All Manuals Search And Download.

C I G O L

O L O S

2 X U A

S O L O L O G I C

S U B O L O S

C I G O L

O L O S

2 X U A

1 X U A

X U B A U S 2 ( F X )

U A X B U S 1 ( M O N )

S U B G R

1 X U A

O U P

B U S

S U B G R

B U S

S U B G R

O U P

S U B G R

S U B X I M N I A M T H G I

S U B X I M N I A M T F E L

M A I N

ꢀꢂ

Download from Www.Somanuals.com. All Manuals Search And Download.

Appendix D: Service Information

No Audio into your Computer:

Warranty Service

•

Conﬁrm the mixer is receiving mic or instrument

input signals.

Details concerning Warranty Service are spelled

out in the Warranty section on page 27.

If you think your TAPCO Blend 16 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.

Make sure you have selected the right driver in

your DAW. In Tracktion, this is in the Settings menu.

If the mixer seems ﬁne, click Restart Device in the

Tracktion Settings menu.

In Tracktion, be sure the correct inputs are selected

and the tracks are armed.

Here are some things you can check:

Troubleshooting

Echo or phasing from input while

recording:

Bad Channel

•

Is the channel GAIN turned up?

•

It sounds like you are monitoring both through

software and directly. You should only do one or

the other. See page 19 to help you decide which is

best for your situation.

Is the channel FADER turned up?

Try the same source signal in another channel, set

up exactly like the suspect channel.

•

If you are overdubbing (or recording a new track

alongside other tracks already recorded), try

disabling your new track’s output to the mixer and

monitoring the signal you are recording directly.

Adjust the channel 15-16 fader and the subgroup

1-2 faders so you can hear both your new input

signal as well as the playback from the computer.

•

If your microphone requires phantom power, make

sure you engage the Phantom Power button

(48V) on the rear panel of the mixer. Conﬁrm the

need to use phantom power by reading your

microphone's documentation.

Bad Output

•

Is the MAIN MIX FADER at minimum perchance?

Glitchy/Distorted Playback from

Computer:

•

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. Perhaps it’s a

bad cable, speaker, or ampliﬁer channel.

Increase the Buffer Size/Latency Setting:

•

Tracktion (PC): choose the Settings Tab and Audio

Devices. Click the “show ASIO control panel”

button and try a larger buffer size.

Noise

•

Tracktion (Mac): choose the Settings Tab and

Audio Devices and increase the Latency slider.

•

Turn down the channel FADER, and AUX SEND

controls, one by one. If the noise disappears, it’s

either that channel or whatever is plugged into it,

so unplug whatever that is.

In other applications, ﬁnd the control panel to

increase the ASIO (PC) or Core Audio (Mac) buffer

size or latency.

•

Be sure the mixer is the only device on the USB

chain. The easiest way to do this is to be sure the

mixer is connected directly to your computer’s USB

port; we do not recommend using USB Hubs.

Power

•

Our favorite question: Is the POWER switch on?

Is the power cord securely plugged in

Is the power supply cord securely plugged into

an AC power strip? Make sure the power to the

power strip is turned on.

Try a song with fewer tracks, effects, and virtual

instruments. If it plays ﬁne, then you may be

pushing your computer above its limits. Try

increasing your latency settings as described

above.

•

If you suspect a blown fuse, disconnect the power

cord, pull the fuse drawer out (located just below

the cord receptacle) and replace the fuse with

the same type and current rating. If two fuses blow

in a row, something is very wrong, and you should

contact technical support.

Large latency (delay) from input

signal to output:

•

Change the latency/buffer setting to a lower

setting, as described above.

Are all the lights out in your building?

•

Try using direct monitoring instead of software

monitoring. See page 19 for details.

ꢀ5

Download from Www.Somanuals.com. All Manuals Search And Download.

No Communication with the mixer:

Repair

•

The PC driver may not be installed correctly.

Make sure your computer meets the system

requirements. Uninstall the driver from the Add/

Remove Programs control panel, restart your

computer, and reinstall the driver.

Service for Tapco products is available at a

factory-authorized service center. Service for Tapco

products living outside the United States can be

obtained through local dealers or distributors.

If your unit needs service, follow these instructions:

1. Review the preceding troubleshooting suggestions.

Please.

•

Restart your computer and the mixer.

2. Call Tech Support at 1-877-827-2669, 7 am to 5 pm

PST, to explain the problem and request a Service

Request Number. Have your serial number ready.

You must have an Service Request Number before

you can obtain warranty service.

I hear my Windows/Mac sounds

through my mixer, but I don’t want to:

The mixer should not be selected as your computer’s

sound system default device. To disable it:

•

On a PC, go to Control Panel>Sound and Audio

Devices. In the Audio tab, be sure the Blend 16

is not selected as the default device for sound

playback.

3. Keep this owner’s manual and the detachable

linecord. We don’t need them to repair the unit.

4. Pack the unit in its original package, including

endcaps and box. This is VERY IMPORTANT. Tapco

is not responsible for any damage that occurs due

to non-factory packaging.

On a Mac, go to Applications>Utilities>Audio

MIDI Setup. In the Audio Devices tab, be sure the

Blend 16 is not selected for your default or system

outputs. You can also change this in the Sounds

Preferences pane of the OS X System Preferences

application.

5. Include a legible note stating your name, shipping

address (no P.O. boxes), daytime phone number,

Service Request Number, a copy of your sales

receipt, and a detailed description of the problem,

including how we can duplicate it.

My guitar (or other instrument)

doesn’t sound as good as I expect:

6. Write the Service Request Number in BIG PRINT on

top of the box. Units sent without the SR number

will be refused.

•

If your guitar is connected directly to the mixer

(i.e., without a direct box or preamp), be sure you

are using the INST input on channels 1-8.

7. Tech Support will tell you where to ship the unit

for repair. We suggest insurance for all forms of

cartage.

Check the mixer Gain and EQ settings, and make

sure you have not overdone the EQ or the audio is

clipping.

8. You will need to contact the authorized service

center for their latest turn-around times. The unit

should be packaged in its original packing box,

and must have the Service Request Number on

the box. Once it’s repaired, the authorized service

center will ship it back by ground shipping, pre-

paid (if it was a warranty repair).

Could we suggest you might need more practice?

Can I transfer my classic record

collection?

•

Yes, but please follow all copyright rules.

•

Mixer channels 13 and 14 can accept phono

level signals from a turntable. The internal phono

preamp equalizes and boosts your turntable

phono-level signals to line-level.

Note: Under the terms of the warranty, you must

ship or drop-off the unit to an authorized service

center. The return ground shipment is covered for

those units deemed by us to be under warranty.

•

It is most likely that your turntable has RCA

outputs, so you will need to buy adapters from

RCA (female) to 1/4" (male). These adapters are

commonly stocked in most electronics and audio

stores.

Note: You must have a sales receipt from

an authorized Tapco dealer for your unit to be

considered for warranty repair.

Lonely? Looking for that special

someone? Do you have a question

about your TAPCO Mixer?

Some companies provide software plug-ins that

remove pops and clicks from the recordings. This

kind of spoils some of the fun though.

Please call our Technical Support chaps at 1-877-

8ꢀ7-ꢀ669, Monday to Friday, from 7 am to 5 pm PST.

After hours, visit www.tapcogear.com and look under

Still having USB problems?

•

Be sure you are running the latest drivers.

•

If after updating, you still are having problems,

please call tech support.

ꢀ6

Download from Www.Somanuals.com. All Manuals Search And Download.

TAPCO LIMITED WARRANTY

A. 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.

G. LOUD Technologies warrants all repairs performed

for 90 days or for the remainder of the 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.

H. LOUD Technologies assumes no responsibility for

the quality or timeliness of repairs performed by

TAPCO Authorized Service Centers.

B. Failure to register online or return the product

registration card will not void the one-year warranty.

I. This warranty is extended to the original purchaser

and to anyone who may subsequently purchase

this product within the applicable warranty period.

C. 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.

J. This is your sole warranty. LOUD 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.

D. To obtain factory service, please follow the

instructions found on page 26.

E. LOUD Technologies Inc. and Authorized TAPCO

Service Centers reserve the right to inspect any

products that may be the subject of any warranty

claims before repair or replacement is carried

out. LOUD Technologies and Authorized TAPCO

Service Centers may, at their 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 with LOUD Technologies Inc. or

its Authorized Service Centers.

K. 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 SHALL HAVE NO

FURTHER WARRANTY OBLIGATION OF ANY KIND.

LOUD TECHNOLOGIES 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.

F. TAPCO products returned to LOUD Technologies

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 may use refurbished parts for repair

or replacement of any products. 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 at the

factory will be returned freight prepaid by LOUD

Technologies to any location within the boundaries

of the USA.

Please keep your sales receipt in a safe place.

“TAPCO” is a registered trademark of LOUD

Technologies Inc.

All other brand names mentioned are trademarks

or registered trademarks of their respective holders,

and are hereby acknowledged.

ꢀ7

Download from Www.Somanuals.com. All Manuals Search And Download.

Sharp Flat Panel Television LC 22SV2U User Manual
Sharp Flat Panel Television LC 26SB27UT User Manual
Shure Stereo System UA844SWB User Manual
Sony Projector KP 61HS10 User Manual
Sony Projector VPL CS20 User Manual
Sony Satellite Radio AIR SA17TI User Manual
Sony Stereo Amplifier XM 1252GTR User Manual
Sony Universal Remote RMF CD003 User Manual
Swisher Log Splitter LS11534 User Manual
Synopsys Webcam A 200712 User Manual