owners manual

CAUTION
12. Damage Requiring Service This product should be serviced only by qualied service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this product; or C. This product has been exposed to rain; or D. This product does not appear to operate normally or exhibits a marked change in performance; or E. This product has been dropped, or its chassis damaged. 13. Servicing The user should not attempt to service this product beyond those means described in this operating manual. All other servicing should be referred to the Tapco Service Department. 14. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure. Pour prevenir les chocs lectriques ne pas utiliser cette che polarise avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert. 15. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this product is not defeated. 16. Power Precaution Unplug this product during lightning storms or when unused for long periods of time. 17. 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 prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada. 18. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufciently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specied 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.
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 products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de voltage dangereux non isol d'ampleur suffisante pour constituer un risque d'lctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

SAFETY INSTRUCTIONS

1. 2. 3. 4. 5. Read Instructions All the safety and operation instructions should be read before this product is operated. Retain Instructions The safety and operating instructions should be kept for future reference. Heed Warnings All warnings on this product and in these operating instructions should be followed. Follow Instructions All operating and other instructions should be followed. Water and Moisture This product should not be used near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, etc. Cleaning Clean only with a dry cloth. Ventilation This product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the ow of air through ventilation openings. Heat This product should be situated away from heat sources such as radiators, or other devices which produce heat. Power Sources This product should be connected to a power supply only of the type described in these operation instructions or as marked on this product.
Duration Per Day Sound Level dBA, In Hours Slow Response

2 1.0.5 0.25 or less 115

Typical Example
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 concert
10. Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this product. 11. Object and Liquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this product.
WARNING To reduce the risk of re or electric shock, do not expose this appliance to rain or moisture.

Contents

Safety Instructions...2 Getting Started..4 Introduction..6 Hookup Diagrams..7 Blend 6 Features..8 Channel Inputs...8 Channel Controls..9 Equalization..9 Auxiliaries..9 Master Section..11 Output Connections..12 Rear Panel Features..12 Appendix A: Service Information.13 Appendix B: Connections..14 Appendix C: Blend 6 Specications.15 Gain Structure Diagram.16 Block Diagram..17 Track Sheets..18 TAPCO Limited Warranty..19
Dont 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 Blend 6 mixer is designed to set up quickly and operate easily. We know its 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. 0008813-90 Rev. A 1/LOUD Technologies Inc. All Rights Reserved.

Getting Started

The following steps will help you set up your mixer, and get the levels and adjustments just right.

ZERO THE CONSOLE:

1. Turn everything off, including the mixers POWER switch and PHANTOM POWER switch. 2. Turn down the channel strip GAIN, AUX 1, AUX 2, and LEVEL controls. 3. Center the channel strip EQ and PAN controls. 4. Turn down the AUX RETURNS, CONTROL ROOM, and PHONES controls. 5. Turn down the MAIN MIX control. 4. If necessary, apply channel EQ changes. (You may need to compensate for level changes afterward with the channel LEVEL control.) 5. Repeat steps 1 through 4 for the other Mic/Line channel. 6. Stop making noise. Everyone: start making music. 7. Now turn up the MAIN MIX control to a comfortable listening level.
SET THE LEVELS (Channels 3/4 and 5/6):
1. Make some noise with the mono or stereo instrument connected to the LINE IN jacks on Channels 3/4. Play it at its normal output level. 2. Raise that channels LEVEL control until it is approximately equal in volume to the microphones or instruments connected to channels 1 and 2. 3. If necessary, apply channel EQ changes. (You may need to compensate for level changes afterward with the channel LEVEL control.) 4. Repeat steps 1 through 3 for Channels 5/6.

CONNECTIONS:

1. Connect your speakers to your ampliers outputs (unless, of course, you have powered speakers). 2. Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 3. Using TRS cables, make connections from your mixers MAIN OUT to your amplication systems line inputs. 4. Connect your microphones and instruments to the mixer: Connect microphones to the mono channel MIC jacks. (For condenser microphones, engage the PHANTOM POWER switch.) Connect highimpedance line-level instruments (electric guitar, bass guitar) to the mono channel INST IN, or other line-level signal source to the stereo channel LINE IN jacks. Note: Normally, you would plug in only one microphone or one instrument into each mono channel. 5. Zero the console, as shown above. 6. Turn all the power switches on, leaving the ampliers switch for last. 7. Turn up the MAIN MIX control to the 9 oclock position, for now. Well crank it up later on. 8. Now you are ready to set the levels.

TWEAK THE MIX:

1. If you are using an external processor connected between the AUX SEND 2 and the AUX RETURN jacks, use each channels AUX 2 FX control to send signal to the processor, and add the processors signal to the mix using the AUX RETURN TO MAIN MIX control. 2. Now that you have a rough mix going, you may need to readjust the MAIN MIX control to a comfortable listening level. The LED VU meters should indicate by lighting most of the green LEDs when music is playing, and occasionally light the yellow LEDs. 3. Depending on how much time you have, keep tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking.
SET THE LEVELS (Channels 1 and 2):
1. Choose one of the microphones or instruments you connected to the mono MIC or INST input. Make some noise. If its a microphone, sing at your normal singing volume. If its an instrument, play it at its normal output level. 2. While making noise, turn up that channels GAIN until the adjacent LEVEL SET LED starts blinking. 3. Raise that channels LEVEL to unity gain (U label). You should be hearing your noise now.

MIC INPUT

AUX RETURN

AUX SENDS DS

CTRL ROOM L R

MAIN MIX N

(MONO) IN

MON OUT

INST INPUT INST INPUT

LINE IN

CD/ TAPE

(MONO)

PHONES

LEVEL SET LEVEL SET

+25 dB

BAL /UNBAL UNBAL

HIGH 1 2kHz -15 +15 -15 +15

HIGH 1 2kHz -15 +15

HIGH 1 2kHz POWER

LEFT RIGHT OL 8 4

LOW 80Hz -15 U +15 -15 U +15

LOW 80Hz -15 U +15

LOW 80Hz PHANTOM 48V
U RETURN TO O MAIN MIX MAX U

MAX U U MAX

0 = + 4dBu

MAX MAX

TO X1 AUX1 MON MAX MA X

MAIN CD/ TAPE TA

CTRL ROOM

MAIN MIX

U OFF MAIN
CD/ TAPE TA O M N M TO MAIN MI X

A FEW PRECAUTIONS:

Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection. Never plug amplier speaker-level outputs into anything except speakers. Never use guitar cables to connect ampliers to speakers. Before making connections to an external amplier, or reconguring an amps routing, turn the amps level (gain) controls down, turn the power off, make the changes, turn the power back on, and then turn the level controls back up. When you shut down your equipment, turn off any external ampliers rst. When powering up, turn on the ampliers last. Save the shipping box and packing material! The box can also be turned into a unique hat, lunch box, or handbag to accessorize your mixer.

Introduction

Thank you for choosing a TAPCO Blend 6 mixer by Mackie. The TAPCO family of mixers hails back to the days of TAPCO Corporation, Greg Mackies rst company. TAPCO revolutionized the audio industry back in 1969 with the very rst 6-channel mixer specically designed for keyboards and rock N roll PA. The rst TAPCO mixer, although primitive by todays 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 TAPCO version of Greg wear and tear on the road, and at now-legendary concerts. In essence, TAPCO re-dened 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 Mackie. This compact mixer is perfect for small to medium-sized live sound reinforcement applications, keyboards and synths, video, and small-project studio applications.
Heres a quick glance at all the features packed into this mixer:
2 mono mic/line channels, with:
Variable input trim (+3 to +50 dB for microphones, and 22 to +25 dB for line-level inputs) Phantom power (globally switched) Level Set indicator LED XLR microphone input jack 1/4" TRS instrument line input jack Pre-fader aux (monitor) send Post-fader aux (effects) send 2-band EQ Pan control Rotary level control

Master section, with:

Rotary stereo Main Mix control Balanced 1/4" TRS stereo main outputs 8-segment stereo LED VU metering 1/4" TRS Aux 1/Monitor send 1/4" TRS Aux 2/Effects send Two rotary stereo aux return controls (To Mains and To Monitors) RCA tape out RCA tape in Master +48V phantom power switch with LED indicator Left and Right 1/4" TRS Control Room outputs with Level control Stereo 1/4" TRS Headphone output with Level control Power LED indicator Inter-Planetary Space Drive control OK, we made that last one up, but we can pencil it in for next time
2 stereo line channels, with:
Left and right 1/4" TRS line input jacks Pre-fader aux (monitor) send Post-fader aux (effects) send 2-band EQ Pan control Rotary level control
TAPCO van (a.k.a. micro bus)

Hookup Diagrams

Small Club Gig
Mono in/Stereo out Reverb (optional) Active Monitor

Microphones 1 and 2

CTRL R L ROOM
Active Speakers (Mackie SRM450s)

Headphones Tape Player

DAT Recorder Keyboard Drum Machine

Computer set-up

Sound Card Mono in/Stereo out Reverb (optional) Mackie HR824 or other Active Studio Monitors

LINE IN LINE OUT

Microphone

MIC IN

Headphones
Note: Push down the CONTROL ROOM (18) switch to listen to the sound card output in the control room speakers and headphones. Leave it up to listen to the main mix. Do not press the CD/TAPE TO MAIN MIX (21) switch, or there will be feedback.

Guitar Drum Machine

Blend 6 Features

INST INPUT

LEVEL SET

CHANNEL INPUTS

1. MIC (MICROPHONE) INPUTS
The Blend 6 is equipped with two rugged, lownoise, phantom-powered microphone preampliers, providing up to 50 dB of crystal-clear amplication. Their balanced circuitry rejects all manner of extraneous interference. Professional condenser, dynamic, and ribbon mics all sound excellent through these XLR inputs. You can plug in almost any kind of balanced mic that has a standard XLR-type male mic connector. See Appendix B for more information on XLR connectors. The TAPCO Blend 6 provides +48 VDC phantom powering on pins 2 and 3 of the mono channels XLR MIC inputs. This can be turned on and off using the PHANTOM POWER (17) switch. CAUTION: DO NOT connect a linelevel device to a MIC input with the phantom power switched on. This could damage the device. Use the INST IN (2) or LINE IN (5) jacks instead. Do not use phantom power with tube or ribbon microphones, as this may cause damage.

3. GAIN CONTROL

If you havent already, please read SET THE LEVELS on page 4. The GAIN control adjusts the input sensitivity of the MIC and INST inputs. This allows signals from the outside world to be adjusted to optimal internal operating levels. Through the mono channels MIC (XLR) inputs, there is 50 dB of gain with the knob fully up. Through a mono channels INST IN (TRS) inputs, there is 22 dB of attenuation fully down and 25 dB of gain fully up, with a U (unity gain) mark halfway up. Having 22 dB of line-level attenuation can be very handy when you are injecting a signal that is very hot, or when you want to add a lot of EQ boost, or both. Without this pad, it would be very difcult to control the line signal and might lead to channel clipping.

4. INPUT LEVEL SET LED

This handy LED (Light Emitting Diode) lets you know that the signals going into the mixer are adjusted to the correct level, not too strong to cause distortion and not too weak to be lost in noise. After you connect a microphone or line-level component to the mixer, do a sound test and adjust the GAIN control until this handy LED ickers just occasionally. If it is glowing constantly, turn the GAIN down. If the LED is doing almost nothing, turn it up.

2. INST (INSTRUMENT) INPUTS
These inputs can accept 1/4" TRS balanced and TS unbalanced plugs from any line-level instrument, effects device, or tape player. They can be driven by virtually any line-level signal, from 45 dBu up to +18 dBu. These inputs are specially designed to accept signals from high-impedance pickups on guitars. Normally, you must use a direct box between a guitar and a mixers input, which serves to convert the impedance of the guitar from high to low. The INST inputs on Channels 1 and 2 make the need for a direct box unnecessary.
5. LEFT (MONO) and RIGHT LINE IN
These inputs can accept 1/4" TRS balanced and TS unbalanced plugs from any line-level instrument, effects device, or tape player. When connecting a stereo device (two cords), use both the left (mono) input and the right input. When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. A trick called jack normalling causes the signal to appear on both sides.

CHANNEL CONTROLS

Channel strips 1 and 2 allow adjustment of EQ, Pan and Level for mono signals. Channel strips 3/4, and 5/6 allow adjustment of stereo or mono signals. The output from each strip passes onto the left and right main mixes. Auxiliary signals can be tapped off and sent to monitors or processors. The block diagram on page 17 shows how the signal ows through the mixer.

AUXILIARIES

In addition to the main mix output, the mixer provides two auxiliary mixes, which you can send to parallel effects processors or stage monitors. The AUX knobs adjust how much of each channel is tapped off, added to each aux mix, and sent out via the AUX SEND (26, 27) jacks. Channel 3/4 and 5/6 AUX knobs control a mono sum of the channels stereo signals. For instance, channel 3 (L) and 4 (R) mix together to feed that channels AUX send knobs.
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.

UNITY GAIN

8. AUX 1 MON
AUX 1 MON is designed to send a separate mono mix to your stage monitors via the AUX 1 SEND (26) output jack. The GAIN, EQ, and AUX 1 controls will affect the output to your monitors, but PAN and LEVEL wont. This signal is tapped off before the channel LEVEL control.

EQUALIZATION

Each EQ control provides up to +15 dB of shelving boost, and 15 dB of shelving cut, with no change to the signal (0 dB) in the center position. 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, youll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost.

9. AUX 2 FX

AUX 2 FX is used to feed the mono input of parallel effects devices via the AUX 2 SEND (27) output jack. All the channel controls (except PAN) will affect the AUX 2 signal. The signal is tapped off after the LEVEL control. The output from an external processor can come back in via the AUX RETURN (12) inputs, and be added to the main mix.

6. HI EQ

Turning this clockwise boosts the level of all frequencies above 12 kHz. Turning it counter-clockwise cuts the levels. Use this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or hide tape hiss.

10. PAN

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 channels, if PAN is in the center position, the mono signal appears equally in both the left and right of the main mix. If the control is set left, more of the signal appears in the left side. If the control is set right, more of the signal appears in the right side of the mix. For stereo channels, the PAN control works like a home stereo balance control, by attenuating one side or the other. In the center position, the left and right channel signals pass through to the main mix unaffected. If it is turned left, the right channel is attenuated; if turned right, the left side is attenuated.

MASTER SECTION

Before you read this section, have a read of the channel strip controls in the previous section.
LEFT RIGHT POWER OL 16 12

20. PHONES

This adjusts the headphone levels without disturbing the main mix. Turn this down before connecting and putting on your headphones, or engaging the CTRL ROOM (18) switch. Bring it up slowly. Please see page 2 for more information on hearing protection.

16. POWER LED

This LED turns on when the mixer is switched on, and (as you can probably guess) it turns off when the mixer is switched off.

PHANTOM 48V

21. CD/TAPE TO MAIN MIX 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 control to adjust the volume level. * We do not mean to imply that your band isnt entertaining, or that any other music could possibly ll in for them.

TO X1 AUX1 MON MAX

17. PHANTOM POWER SWITCH and LED
Push in this switch to provide phantom 19 power to the MIC 18 (1) input XLR jacks. MAIN MA X CD/ TAPE TA CTRL ROOM Phantom power is required to operate MAIN MIX U most condenser OFF MAIN 22 microphones 21 (some condenser CD/ TAPE TA O MAIN M TO M N MI X MA X microphones are MAIN MIX battery-powered). With the switch pushed in, the Blend 6 provides +48 VDC phantom powering on XLR pins 2 and 3. If you have ribbon mics, tube mics, or dynamic mics that do not require phantom power, leave the PHANTOM POWER switch out. If you are using both condenser and dynamic mics, dont worry. Phantom power will not hurt most dynamic mics. Check the microphones user manual if youre not sure. Caution: Turn all output levels down before operating this switch to avoid the possibility of a pop in your speakers. Do not use phantom power with tube or ribbon microphones, as this may cause damage.

22. MAIN MIX

This rotary knob controls the nal level of main mix signals sent to the MAIN outputs, TAPE outputs, CONTROL ROOM, PHONES and METERS. So it all comes down to this one control. All active mono and stereo channels that are not turned down will appear in the main mix. Other signals feeding this control include AUX RETURN TO MAIN MIX (13), and CD/TAPE when CD/TAPE TO MAIN MIX (21) is pushed in.

23. METERS

These left and right meters have eight LEDs each, with thresholds ranging from 24 dB up to +16 dB (OL = overload). The 0 dB LED corresponds to an output level of +4 dBu (1.23 V RMS). The OL LEDs turn on when the output reaches +20 dBu. There is a fair margin of safety before actual clipping distortion occurs, but you should turn things down if the OL LEDs come on. Normally, the meters display the level of the main mix, after the MAIN MIX (22) control. If the CTRL ROOM (18) switch is pushed in, the meters display the raw level of the CD/TAPE signal, and not the main mix. You can get a good mix with the meters peaks ashing anywhere between 24 and +8 dB. Most ampliers clip at about +10 dB, and some recorders arent so forgiving either. For best real-world results, try to keep your peaks between 0 NRM (normal) and +8. 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 ampliers level controls for good overall volume.

18. CTRL ROOM Switch

Use this switch to select the signal source for the CONTROL ROOM outputs, PHONES, and METERS. When the switch is up, they all receive the main mix signal tapped after the MAIN MIX control. When the switch is pushed in, they all receive the raw CD/TAPE Input signal. Turn down the CTRL ROOM (19) control, and PHONES (20) before engaging.

19. CTRL ROOM Knob

This adjusts the signal level going to the CONTROL ROOM (25) outputs. Note: When the CTRL ROOM (18) switch is up, the CONTROL ROOM output is also affected by the MAIN MIX (22) control.

AUX RETURN INPUT INPUT

It is intended to patch into an effects devices input, hence the name FX.

28. TAPE OUTPUTS

Use these jacks to capture the entire performance to tape. The signal at these jacks is a sample of the main mix, as it appears at the MAIN (24) output. The TAPE OUTPUT level is affected by the MAIN MIX (22) control.

INPUT INPUT

29. PHONES OUTPUT
The stereo signal at this output jack is the same as the CTRL ROOM (25) outputs, but it is not affected by the position of the CTRL ROOM (19) knob. You can listen to the main mix, or the CD/TAPE, depending upon the position of the CTRL ROOM (18) switch. The PHONES (20) control allows you to set the levels in your headphones as desired, without disturbing the main mix or control room levels. Note: Be very careful because the PHONES jack can drive any standard headphones to very loud levels. Please see page 2 for information on hearing protection. See Appendix B for information about 1/4" TRS stereo connectors.

Appendix C: Blend 6 Specications

Frequency Response

Mic Input to any Output (Trim at 0 dB): +0, 1 dB, 20 Hz to 20 kHz 3 dB, 10 Hz to 80 kHz

Maximum Voltage Gain

Mic Input to: Main Output: Tape Output: Aux Sends: Control Room Output: Phones Output: Inst Input to: Main Output: Tape Output: Aux Sends: 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: Tape Output: Control Room Output: Phones Output: Aux Return to: Main Output: Tape Output: Aux Send: Control Room Output: Phones Output: 74 dB 74 dB 74 dB 84 dB 84 dB 49 dB 49 dB 49 dB 59 dB 59 dB 20 dB 20 dB 20 dB 30 dB 30 dB 10 dB 10 dB 10 dB 10 dB 20 dB 20 dB 20 dB 30 dB 30 dB

Distortion

THD and SMPTE IMD; 20Hz to 20kHz Mic Input to Main Output: < 0.025% @ +4 dBu output
20 Hz to 20 kHz BW (150 source impedance) Equivalent Input Noise (EIN): 128 dBu Residual Output Noise: Channel and Main Mix levels off Main, Ctrl Room, Phones: 102 dBu Aux 1 Mon out 82 dBu Aux 2 FX out 92 dBu
Common Mode Rejection Ratio (CMRR)
Mic In: 60 dB @ 1 kHz Gain @ maximum

Crosstalk

Adjacent Inputs or Input to Output: 85 dB @ 1 kHz

Input Impedance

Mic Input: Inst Input: Stereo Line Input: Stereo Aux Returns: CD/Tape In: 2.3 k, balanced 1 M 20 k, balanced 20 k, balanced 24 k, unbalanced

Input Gain Control Range

Mic In: Line In: +3 dB to +50 dB 22 dB to + 25 dB

Phantom Power

+48 VDC

Output Impedance

Main, Ctrl Room, Aux Sends: Tape Output: Phones Output: k 25

Equalization

Mono Channel EQ: High Low Stereo Channel EQ: High Low 15 dB @ 12 kHz 15 dB @ 80 Hz 15 dB @ 12 kHz 15 dB @ 80 Hz
Channel Level Set LED (Sensitivity)
0 dBu (normal operating level)

Mixer Rated Output

Main, Aux, Control Room: Maximum Rated Output: +4 dBu +18 dBu

VU Meters

Main Left and Right 8 segments: Clip (+16), +12, +8, +4, 0, 2, 4, 12, LED = +4 dBu

Maximum Input Levels

Mic Input: +18 dBu, Gain @ +3 dB Inst Input: +18 dBu, Gain @ 22 dB Stereo Line Input, Tape Input, and Aux Return: +18 dBu

AC Power Requirements

External Power Supply output: 9.0 VAC @ 1500 mA (2.5 mm AC coaxial power connection) External Power Supply AC input U.S. 120 VAC, 60 Hz Europe 240 VAC, 50 Hz Japan 100 VAC, 50/60 Hz Korea 220 VAC, 60 Hz
Physical Dimensions and Weight
Height: Width: Depth: Weight: 2.6 in/66.7 mm 8.3 in/209.6 mm 10.5 in/266.7 mm 3.5 lb/1.58 kg

Disclaimer

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 specications at any time without notice.

During a recent Garden Fete put on by the Society for the Prevention of Misunderstandings (SRSoF), this mixer was accidentally awarded rst prize in the Lemon Bundt Cake category.

Gain Structure Diagram

dBu 10
15 STEREO INPUT LINE INPUT GAIN MINIMUM
+15 LOW HIGH EQ EQ PAN (STEREO) 1 PAN (MONO) 3 STEREO LEVEL CHANNEL LEVEL 6 MAIN SUM

MIC INPUT GAIN MAXIMUM

MAIN LEVEL
This diagram shows the gain levels in dBu, and the range of adjustment of the signal level as it wanders through the various circuitry inside the mixer. The left side is the input, where the signals enter the mixer, and the right side is the main output.

MONO CHANNELS

1 and 2

LOW HIGH LEVEL

PHANTOM L

+48 VDC LEVEL SET

PAN L R R 12K 80 SHELVING EQ AUX 2/FX MAIN MIX

LEFT MAIN MIX OUT

RIGHT MAIN MIX OUT

INST IN

AUX 1/MON

Block Diagram

CD/TAPE OUT
METERS AND PATENTED HAMPSTER HYPNOTIZER

STEREO CHANNELS

CD/TAPE IN

3/4 and 5/6

LINE IN LEFT (MONO)

PAN L HIGH R AUX 2/FX

MAIN or CD/TAPE TO CTRL ROOM

CD/TAPE TO MAIN MIX

LINE IN RIGHT

12K 80 SHELVING EQ

SUM THING AUX 1/MON

CONTROL ROOM

CONTROL ROOM OUTPUTS RIGHT

AUX RETURNS

AUX RETURN LEFT (MONO)
This shows an outline of the strange goings on inside the mixer.

AUX RETURN TO MAIN MIX

HEADPHONE OUTPUT

AUX 1/MON SEND

SUM THING ELSE AUX RETURN TO AUX 1 MON

AUX RETURN RIGHT

AUX 2 /FX SEND

LEFT MAIN BUS

RIGHT MAIN BUS

AUX 1 (MON) BUS

TAPCO BLEND 6 BLOCK DIAGRAM SSE 01/04

AUX 2 (FX) BUS

Track Sheets
Use these sheets to record some of your favorite settings.

MIC U MIC U

TAPCO Blend 6

+3 +50 -22dB +25dB

HIGH 12kHz -15 +15
U RETURN O TO MAIN MIX MAX U

MAX U MAX

TO X1 AUX1 MON MAX MAX
CD/ TAPE TA O MAIN MI TO M N M X

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. B. Failure to register online or return the product registration card will not void the one-year warranty. C. Service and repairs of TAPCO products are to be performed only at the factory, or a factoryauthorized service center. Unauthorized service, repairs, or modication will void this warranty. D. To obtain factory service, please follow the instructions found on page 14. 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 dealers invoice or sales receipt. Final determination of warranty coverage lies solely with LOUD Technologies Inc. or its Authorized Service Centers. 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 by LOUD Technologies at our rainforest factory complex. 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 be repaired and returned C.O.D. with billing 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. 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. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. 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. 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 MACKIE 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 specic legal rights and you may have other rights which vary from state to state.

AVT Rental Rates
2011 Applied Video Technology, Inc 2008 Rental Price Sheet 20 Liberty Blvd Malvern, PA

610-407-0776

Call for weekly & monthly rental rates.

Video Switchers

Delivery & Pickup available at additional fee.

Daily Rate

NewTek TCXD850

Communications

Kenwood Wireless Protalk XLS Kit
(4 TK-3130 radios, 4 Chargers, 2 boom mic headsets, 1 director kit)

HD Cameras Sony PMW-EX1R

(1) 8GB ExpressCard SxS Memory Card (up to 35 min record time)

Sony HXR-NX5U

NXCAM Professional Camcorder Recorder

SD Cameras

Sony VX-2100
3ccd DV camera, 2 batteries, AC charger

Tripods

Bogen 501, Light/Medium duty Miller VJ-20, Medium Cameras support

Lighting Videssence Kit

3 triple tube floresent lights with stands
Lowel Softlight Rifa-light with stand & diffuser screen LitePanels On-Camera Light
2011 Applied Video Technology, Inc 20 Liberty Blvd, Malvern, PA 19355 610-407-0776 250
Anchor Complete Audio System
Includes self-powered speaker, built in CD player & wireless mic receiver with handheld mic, speaker stand, separate line & mic inputs, AC powered. Can be used with iPod
Handheld Microphones Shure SM-58 Lavalier Microphones 3 wired lavs / 1 wireless Audio Technica Pro70 Shotgun Microphones Sennheiser K6/ME-66 Wireless System Sennheiser ex100ENGG2
(includes Lav and handheld transmitter, handheld mic separate)
Mixers Tapco Blend 6 (6 inputs) Samson Powered Speakers (set of 2) Audio Accessories 50 XLR cable 100 XLR Cable Sony Headset Shure Tabletop Mic Stand Adjustable Mic Floor Stand 60 40

Presentation

LCD Projector NEC:NP-905-NEC Portable LCD Projector - 3000 Lumens XGA Flat Screen brands & sizes are subject to availability Pioneer Professional DVD player Projector Screens Da-Lite 96x96 Fast Fold Snap on Front Screen Draper Ultimate Folding screen, 16:9, rear projection 185 Call 45

Green Screen

Reflec-Media Kit Reflec-Media 7x7 portable curtain Green Light Ring 250