Duration Per Day Sound Level dBA, In Hours Slow Response Typical Example

SAFETY INSTRUCTIONS

1. 2. 3. 4. 5. 6. 7. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the thrid prong are provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachments/accessories specied by the manufacturer. 12. Use only with a cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

PORTABLE CART WARNING

Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer. A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.

2 1.0.5 0.25 or less

Packed garage concert VW Bus Peace Train Cranked psychedelic tunes High speed chase on C.H.I.P.s Loudest parts at a Heavy Metal
WARNING To reduce the risk of 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 MIX FX Series Features... 8 CHANNEL INPUTS.. 8 CHANNEL CONTROLS.. 9 AUXILIARY... 9 CONTROL ROOM SECTION.. 11 AUXILIARY SECTION... 13 INTERNAL EFFECTS.. 14 MAIN MIX, SUBS, and POWER LEDs.. 14 FRONT PANEL CONNECTORS.. 15 REAR PANEL FEATURES.. 16 Appendix A: Service Information.. 18 Appendix B: Connections... 20 Appendix C: MIX FX Series Specications. 21 Block Diagram Mix.220FX.. 23 Block Diagram Mix.260FX.. 24 TAPCO LIMITED WARRANTY.. 27

2. LINE INPUTS

U These inputs can accept 1/4" TRS balanced and TS unbalanced plugs from any line-level instrument, eects device, or tape player. They can be driven by virtually MON +15 any line-level signal, from 45 dBu up to +18 dBu. There are two line-inputs for each stereo channel, U a left and a PRE When connecting a stereo device right. (two cords), use both the left (mono) input and the right input. FX +15 When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. A trick called jack normalling causes the signal to appear on both sides.
Instead of a rotary gain 80Hz -15 +15 control, the stereo channels have a gain switch. This 16 USEND changes the input sensitivity U SOLO of the channel to match either 5 the 10 dBv consumer level or MON the +4 dBu professional level. 10 +15 Most consumer equipment with U 20 RCA connectors operate at PRE the 10 dBv level, while most 30 professional equipment with FX 40 1/4-inch phone jacks or XLR +connectors operate at the +O O dBu level. As you might expect, the +4 dBu level is higher (louder) Mix.220FX Stereo Channel L R than the 10 dBv level. If you have trouble getting enough volume from a signal connected to one of these stereo channels, push in the +4/10 switch to get more volume.

5. OL LED

This handy LED (Light Emitting Diode) lets you 10 know that the signals going into the mixer are OL adjusted to the correct level, not too strong to cause 5 distortion and not too weak to be lost in noise. After you connect a microphone or line-level U SOLO component to the mixer, do a sound test and adjust 5 the GAIN control until this handy LED ickers just occasionally. If it is glowing constantly, turn the GAIN 10 down. If the LED is doing almost nothing, turn it up.
4. +4/10 Switch (Stereo channels only)

ALT 3/4

2.5kHz +15

CHANNEL CONTROLS

The channel strips have various controls, depending on the model and whether it is a mic/line (mono) channel or a stereo channel. The output from each channel strip passes on to the left and right main mix. Two auxiliary signals can be tapped o and sent to monitors or eects processors. The block diagrams on pages 23-24 show how the signal ows through each mixer.
The U symbol on most of the controls, stands for unity gain, meaning there is no change CLOSER in signal level. Once you have adjusted the input signal to linelevel, you can set every control at U, and your signals will travel through the mixer at optimal levels.

UNITY GAIN

The 260FX has a sweepable MID EQ on the mono channels (see 9 next), and two discrete 7 MID EQ controls on the stereo channels, with center frequencies at 3 kHz and 500 Hz [8a]. The midrange frequencies 9 include the upper male and lower female vocal ranges, and the fundamentals 8 and harmonics for many instruments.

12kH 12kHz

MID FREQ 10 100
9. MID FREQ 10 (Mix.260FX Mono Channels only)
This allows you to change the center frequency for the MID EQ lter so you can zero in 11 more accurately on the precise narrow band of frequencies you want to boost or cut. It ranges from 100 Hz to 8 kHz.

80Hz 80H -15 +15

SEND SEN

(MONO)

EQUALIZATION
Each EQ control provides up to 15 dB of boost and cut, with no change to the signal (0 dB) in the center position. The Mix.220FX has three-band EQ on all the channels, while the Mix.260FX has threeband EQ with variable mid on the mono channels, and four-band EQ on the stereo channels. Although you can bring a sound to life with proper EQ, you can also mess things up. If you max the EQs on every channel, youll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost.

MON MO

BAL OR PRE UNBAL

10. LOW EQ

6. 75Hz Low-Cut Switch (Mono Channels only)
This switch cuts the bass frequencies below 75 Hz. We recommend that you use the Low-Cut switch on every microphone application except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isnt much down there that you want to hear, and ltering it out makes the low stu you do want much more crisp and tasty.
+15 Turning this clockwise boosts the level of all frequencies Mix.260FX Mono Channel below 80 Hz. Turning it counterLINE +4 clockwise cuts the levels. -Frequencies of 80 Hz and L R 6 EQ below represent the punch U in bass drums, bass guitar, fat synth patches, and high7 HIGH 12kH 12kHz testosterone male singers. -15 +15

7. HI EQ

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

8. MID EQ

Turning this clockwise boosts the level of frequencies at and around 2.5 kHz on the 220FX. Turning it counter-clockwise cuts the levels.
8 In addition to the main mix output, the mixer provides two auxiliary mixes, which you can send to parallel eects 8a processors and stage monitors. The AUX SEND knobs adjust how much of each channel is 10 tapped o, added to the aux mix, and sent out via the AUX SEND [45] jacks. On the stereo channels, the AUX knob controls a mono sum of the channels stereo signals. 11 For instance, channel 5 (L) and 6 (R) mix together to feed that channels AUX send knobs. 13

AUXILIARY

3kHz 10 -15

500Hz 500H 1-2

10 -15 +15 20

LOW L-R 80Hz 80H

U 30 SEND SEN

60 MO MON

Mix.260FX Stereo Channel

11. AUX SEND 1 (MON)

The AUX SEND 1 can be used either as a monitor send (pre-fader) or an eects send (post-fader). Push in the PRE [12] switch to use AUX SEND 1 as a0 monitor send and feed the mono input of a stage monitor amplier via the AUX SEND 1 [45] output jack. 75Hz In pre-fader mode, the signal is tapped o after the EQ controls, but before the fader control, so the U monitor send is not aected by changes in the Main Mix. If you want to use the AUX SEND 1 as an eects send, leave the PRE switch up and use it as described 12kHz for the+15 SEND 2 [13]. AUX -15
For stereo channels, the BAL control works like 0 a home stereo balance control, by attenuating one side or the other. In the center position, the left and 75Hz right channel signals pass through to the main mix unaected. If it is turned left, the right channel is U attenuated; if turned right, the left side is attenuated.

15. MUTE/ALT 3-4

12. PRE
2.5kHz This switch determines whether the AUX SEND 1 -15 +15 is pre-fader (pushed in) or post-fader (out). Typically, U push this switch in when using AUX SEND 1 as a monitor send, and leave it out when using it as an 80Hz eects+15 send. -15

13. AUX SEND 2 (FX)

The AUX SEND 2 is used to feed the mono input of parallel eects devices via the AUX SEND 2 [45] output jack. All the channel controls (except PAN or BAL) will aect the AUX signal. The signal is tapped o after the fader control. The output from an external processor can come back in via the stereo FX RETURN [47] inputs, and can be added to either the main mix or the ALT 3-4 (on the 220FX) or the SUB 1-2 (on the 260FX).

L MUTE R

14. PAN/BAL 5

Mix.220FX Mono Channel

This adjusts how much of the channel signal plays in the left side of the main mix, and how much plays in the right. For mono mic/line channels, if PAN is in the center position, the mono signal appears equally in both the left and right of the main mix. If the control is set left, more of the signal appears in the left side. If the control is set right, more of the signal appears in the right side of the mix.
The Mix.260FX has a simple MUTE -15 +15 switch. Engaging a channels MUTE switch provides (almost) MID the same results as turning the fader all the way FREQ down (a pre-aux send is not aected by the channel 8k 100 U fader, but it is by the MUTE switch). Any channel assignments to L-R MAIN MIX and SUB 1-2 will be interrupted, all the AUX sends will be silenced (both pre- and post-fader), as will the AFL SOLO. The -15 +15 PFL SOLO will continue to provide a signalUwhen a channel is muted. 80Hz The LED next to the MUTE switch lights to let you -15 +15 know when the MUTE function is AUX active. SEND SEN U The Mix.220FX has a dualpurpose MUTE/ALT 3-4 switch. This is a Mackie signature, and MON MO now a TAPCO signature. When +15 Greg was designing one of the 12 U rst Mackie products, he had PRE to include a mute switch for each channel. Mute switches do FX +15 just what they sound like they PAN do. They turn o the signal by routing it into oblivion. Gee, what a waste, Greg reasoned. 14 Why not have the mute button L R route the signal somewhere else MUTE useful, like a separate stereo 15 bus? So MUTE/ALT 3-4 really serves two functionsmuting (often used during mixdown or live shows), and signal routing (for 5 multitrack and live work) where it OL 10 acts as an extra stereo bus. To use this as a MUTE switch, all you have to do is not use the 16 U ALT 3-4 outputs [53]. Then, 1-2 1whenever you assign a channel 5 to these unused outputs, youll also be disconnecting it from the LL-R MAIN MIX, eectively muting the 20 channel. The MUTE switch also 17 disconnects the channel from the 30 SOL SOLO AUX SEND 2 bus (and the AUX 40 SEND 1 bus when the PRE [12] switch is up). The channels signal O O is still present on the AUX SEND 1 bus when the PRE switch is Mix.260FX Mono Channel engaged.

To use this as an ALT 3-4 switch, all you have to do is connect the ALT 3-4 outputs [53] to whatever destination you desire. Two popular examples: When doing multitrack recording, you can use the ALT 3-4 outputs as a stereo or dual-mono feed to your multitrack. When doing live sound or mixdown, its often handy to control the level of several channels with one knob. Thats called subgrouping. Simply assign these channels to the ALT 3-4 mix, engage ALT 3-4 [22] in the CONTROL ROOM/PHONES SOURCE matrix, and the signals will appear at the CONTROL ROOM [55] and PHONES [50] outputs. If you want the ALT 3-4 signals to go back into the MAIN MIX, patch the ALT 3-4 OUT [53] back into an unused stereo channel (5-6 or 7-8). If thats your choice, dont ever engage the MUTE/ALT 3-4 switch on that stereo channel, or youll have every dog in the neighborhood howling at your feedback loop. Another benet of the ALT 3-4 feature is that it can act as an AFL (After Fader Listen). Just engage a channels MUTE/ALT 3-4 switch and the ALT 3-4 [22] switch in the CONTROL ROOM SOURCE matrix and youll get that channel, all by itself, in the CONTROL ROOM [55] and PHONES [50]. MUTE/ALT 3-4 is one of those features that can bewilder newcomers, so take your time and play around with it. Once youve got it down, youll probably think of a hundred uses for it!
up, youll get PFL (Pre-Fader Listen), which is after the GAIN and EQ controls, but before the channel fader. With the switch down, youre in AFL (AfterFader Listen), which is post-fader and post-PAN/ BAL, making it ideal for mixdown soloing. Soloed channels are sent to the CONTROL ROOM, PHONES, and Meters. Whenever SOLO is engaged, all CONTROL ROOM SOURCE selections MAIN MIX, CD/TAPE, ALT 3-4 (Mix.220FX only), and SUB 1-2 (Mix.260FX only) are defeated, to allow the soloed signal to do just thatsolo!
18. Sub 1-2 Assign Switch (Mix.260FX only)
This switch assigns the channel to the Sub 1 and 2 buses. The PAN/BAL [14] control adjusts how much of the signal is sent to each bus. When the PAN/ BAL control is centered, Sub 1 and 2 receive equal signal levels, while full left is Sub 1 only and full right is Sub 2 only.
19. L-R Assign Switch (Mix.260FX only)
This switch assigns the channel to the Left and Right Main Mix buses. This switch must be pushed in to get the channels signal through to the main outs. An alternative routing is to push in the SUB 1-2 assign switch and the SUB ASSIGN TO MAIN MIX [41] switches.

CONTROL ROOM SECTION

20. MAIN MIX Switch
Use this switch to route the Main Mix signals to the CONTROL ROOM outputs, PHONES, and METERS. When this switch is pushed in, they all receive the main mix signal tapped after the MAIN MIX control.

16. Fader

This is the master level control for the channels signal. Subtle adjustment of the channels fader control is the key to a nely-tuned mix. Typically (providing the GAIN is set correctly), this will be positioned somewhere around 0 dB (U). If you have the fader set all the way up, its usually a sign that your GAIN is set too low. If fader is set way down, your GAIN may be too high.

21. CD/TAPE Switch

Push this switch to route the CD/TAPE input signal to the CONTROL ROOM outputs, PHONES, and METERS.

17. SOLO

This handy switch allows you to hear signals 22. ALT 3-4 (Mix.220FX) or through your headphones or control room outputs SUB 1-2 (Mix.260FX) Switch without having to route them to the MAIN or ALT 3-4 mixes. Folks use solo in live work to preview channels Push this switch to route the ALT 3-4 signal or the before they are let into the mix, or just to check out SUB 1-2 signal to the CONTROL ROOM outputs, what a particular channel is up to anytime during PHONES, and METERS. a session. You can solo as many channels at a time as you like. The OL LED [5] lights continuously to indicate when the SOLO switch is active (as well as the RUDE SOLO LED located just CONTROL ROOM 25 above the meters). 22 Your MIX FX Series has Dual-Mode PFL PF AFL AF Solo. A switch in the master section, MAX CD/ MAIN TAPE TO SOLO ALT SOLO MODE [25] determines which TAPE MIX MAIN MODE 3-4 mode youll be hearing. With the switch CTRL ROOM/

SOURCE SELECT PHONES

RETURN

CLIP +10

23. CTRL ROOM/PHONES Knob
This adjusts the signal level going to the CONTROL ROOM [55] and PHONES [50] outputs. It has no eect on the Main Mix output. WARNING: The headphone amp is designed to drive any standard headphones to a very loud level. Were not kidding! It can cause permanent hearing damage. Even intermediate levels may be painfully loud with some headphones. BE CAREFUL! Always start with the CTRL ROOM/PHONE knob turned all the way down before connecting headphones to the PHONES jack. Keep it down until youve put on the headphones. The turn it up slowly. Why? Always remember: Engineers who fry their ears, nd themselves with short careers.

24. TAPE TO MAIN Switch

If you have a CD or Tape Deck connected to the CD/TAPE inputs, push down this switch to add the CD/TAPE signal to the main mix. This is useful if you want to play some entertainment* while the band is taking a break. Use the MAIN MIX controls to adjust the volume level. * We do not mean to imply that your band isnt entertaining, or that any other music could possibly ll in for them.

With the SOLO MODE switch in the up position, youre in PFL mode, meaning Pre-Fader Listen (postEQ). This mode is required for the Set the Levels procedure and is handy for quick spot-checks of channels, especially ones that have their faders turned down. With the switch down, youre in AFL mode, meaning After-Fader Listen. Youll hear the output of the soloed channelit will follow the channels GAIN, EQ, FADER and PAN settings. Its similar to muting all the other channels, but without the hassle. Use AFL mode during mixdown. In either mode, SOLO will not be aected by a channels MUTE/ALT switch position. Note: Be careful when switching LOOK from AFL to PFL mode. If you have the channel fader turned down very much below unity gain (U) while in CLOSER AFL mode, switching to PFL mode will cause a sudden and startling increase in volume level.

26. RUDE SOLO LED

This large LED lights when a channels solo is active, as an additional reminder beyond the indicating LEDs on each channel. If you work on a mixer that has a solo function with no indicator lights and you happen to forget youre in solo mode, you can easily be tricked into thinking that something is wrong with your mixer. Hence, the RUDE SOLO light. Its especially handy at about 3 am when no sound is coming out of your monitors but your multitrack is playing back like mad. Note: In PFL Solo Mode, the RUDE SOLO LED is green. In AFL Solo Mode, the LED is red.

25. SOLO MODE PFL/AFL

Engaging a channels SOLO switch will cause this dramatic turn of events: Any existing CONTROL ROOM SOURCE selections are replaced by the SOLO signal, appearing at the CONTROL ROOM OUTPUTS, PHONES and at the RIGHT METER (LEFT and RIGHT METERS when in AFL SOLO MODE). The audible SOLO levels are then controlled by the CTRL CONTROL ROOM ROOM/PHONES knob [23]. The PFL PF SOLO levels AFL AF appearing on MAX CD/ MAIN TAPE TO SOLO ALT TAPE MIX MAIN MODE 3-4 the meters are CTRL ROOM/ SOURCE SELECT not controlled PHONES by the CTRL 26 AUX MASTER ROOM/PHONES RUDE SOLO RETURN AUX SEND U knobyou wouldnt CLI LIP want that. You +10 +LEVE LEVEL want to see the MON MO +5 SE SET SOLO MAIN MAI +15 +15 actual channel ALT 33-4 FX +28 level on the meters RETURN 27 U 32 regardless of RTRN RTR -2 how loud youre TO 2 AUX 1 -5 FX listening. SOLO
+15 +15 +15 -2 -20 0dB = 0dB 0dBu

27. Meters

The peak meters are made up of two columns of LEDs, with three colors to indicate dierent ranges of signal level, trac light style. They range from 30 at the bottom (20 on the Mix.220FX), to 0 in the middle, to CLIP (+18) at the top. The 0 LED in the middle is labeled LEVEL

AUXILIARY SECTION

28. MASTER AUX SEND Knobs
The Master AUX SEND knobs provide overall control for the aux send levels, just before the signal is delivered to the Aux Send outputs. It ranges from o when fully counter-clockwise, to unity gain at the center detent position, to +15 dB gain when fully up.
29. MASTER AUX SEND SOLO Switches
These allow you to monitor the aux send signals in the CONTROL ROOM and PHONES outputs. This is especially handy for listening to an aux send being used to feed on-stage monitors.
30. Master AUX RETURN Level Control
This adjusts the amount of the Aux Return signal that is added to the Left and Right Main Mix buses just before the MAIN MIX [42] faders. (Note: For additional routing options for the AUX RETURN signal, see Assign Switch next).
31. MAIN/ALT 3-4 Assign Switch (Mix.220FX) MAIN/SUB 1-2 Assign Switch (Mix.260FX)
When this switch is up, the Aux Return signal is routed to the Left and Right Main Mix bus. When the switch is down, the signal is routed to the Alt 3-4 (Mix.220FX) or Sub 1-2 (Mix.260FX) buses instead of the Main Mix bus.
32. Master FX RETURN Level Control
This adjusts the amount of the FX Return signal that is added to the Left and Right Main Mix buses just before the MAIN MIX [42] faders. If there is nothing plugged into the FX RETURN Inputs, the FX Return signal comes from the Internal Eects module. If the output from an external eects processor is plugged into the FX RETURN Inputs, the Internal Eects is disconnected and only the external eects signal is routed through the FX RETURN level control.
33. RTRN TO AUX 1 Level Control
This routes the FX RETURN signal to the AUX 1 SEND. This is not aected by the FX RETURN level control, so you can use this control to add the FX RETURN to the monitor mix independently. The stereo eects return signal is summed to mono and routed to the AUX SEND 1 (MON) bus via this control where it is combined with the other signals at the AUX SEND 1 (MON) bus, prior to the MASTER AUX SEND 1 control [28].

INTERNAL EFFECTS

The internal eects circuit receives a mono signal from the AUX 2 FX bus, and it outputs a stereo signal onto the main mix buses. The input signal is controlled by the MASTER AUX SEND 2 knob [28] and the FX INPUT LEVEL knob [36], while the outputs are controlled by the FX RETURN [32] knob. Inside the processor, the analog audio is converted to digital, this is processed by the internal DSP eects processor, and the result converted into a stereo analog signal.

37. FX OL

This LED indicates when you are approaching the clipping point for the digital eects processor. If you see the FX OL overload light blinking frequently, turn down the FX INPUT LEVEL knob until it just turns o during the louder passages, ris, chords, yells, etc.

53. ALT 3/4 OUTS (Mix.220FX)
These 1/4" TRS jacks provide the outputs for the ALT 3 and 4 signals. These can be connected to the inputs of a recording device, or to secondary ampliers for an alternate mix.

54. SUB OUTS (Mix.260FX)

These 1/4" TRS jacks provide the outputs for the SUB 1 and 2 signals. These can be connected to the inputs of a recording device, or to secondary ampliers for an alternate mix.

57. POWER ON

This one is self-explanatory. When the POWER switch is turned ON, power is supplied to the MIX FX Series mixer and the power LED on the front panel lights up.

55. CTRL RM OUT

These 1/4" TRS jacks can be used to provide another main mix output, or to monitor the CD/TAPE Inputs (CD/TAPE switch pushed in), or to monitor the ALT 3-4 (Mix.220FX only) or the SUB 1-2 output (Mix.260FX only). Connect these outputs to the inputs of an amplier, powered speakers, or recording device.

58. PHANTOM ON

Turn on this switch to provide phantom power to all four MIC INPUT [1] XLR jacks. Phantom power is required to operate most condenser microphones (some condenser microphones are battery-powered). With the switch turned on, the mixer 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.
56. CHANNEL INSERTS 1-4 (Mix.260FX only)
These 1/4" TRS jacks provide a send and return point for channels 1-4. Use the CHANNEL INSERT jacks to connect serial eects devices such as compressors, equalizers, de-essers, or lters to each individual channel. The INSERT points are after the GAIN and Low Cut controls, but before the EQ and Fader controls. The send (tip) is low-impedance, capable of driving any device. The return (ring) is high-impedance and can be driven by almost any device. Special insert cables are available, specially designed for this kind of insert jack. They are wired as follows:

ring tip sleeve

59. Power Receptacle and Fuse
This is a standard 3-prong IEC power connector. Connect the detachable linecord (included in the box with your MIX FX Series mixer) to the power receptacle, and plug the other end of the linecord into an AC outlet properly congured with the voltage required for your particular model (100-120 VAC or 220-240 VAC). The fuse is located behind the fuse cover, at the bottom of the IEC socket. See the Troubleshooting section on page 12 for information about replacing the fuse.

SEND to processor

(TRS plug)
This plug connects to the Channel Insert jack

RETURN from processor

Tip = Send (output to eects device) Ring = Return ( input from eects device) Sleeve = Common ground (connect shield to all three sleeves) Besides being used for inserting external devices, these jacks can also be used as channel direct outputs; post-GAIN, post-LOW CUT, and pre-EQ.
60. Kensington Security Slot
To help prevent theft, all the MIX FX Series mixers have a security slot designed to t the popular Kensington security locks. A variety of models are available from their website at www.kensington.com.

MIX.220 FX

BAL/UNBA BAL/UNBAL
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
BROUGHT TO YOU BY THE GROOVY FOLKS IN WOODINVILLE, WA, USA MANUFACTURED IN CHINAPATENTS PENDINGCOPYRIGHT 2005

SERIAL NUMBER

AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

MANUFACTURING DATE

MAIN OUTS

RIGHT LEFT 2 1

SUB OUTS

CHANNEL INSERTS

TIP SEND / RING RETURN

CTRL RM OUT

BAL/UNBAL BAL/UNBA
100 - 120 VAC / 220 - 240 VAC 50 - 60 Hz 40W
APPENDIX A: SERVICE INFORMATION

Warranty Service

Details concerning Warranty Service are spelled out in the Warranty section on page 27. If you think your TAPCO mixer has a problem, please do everything you can to conrm it before calling for service. Doing so might save you from the deprivation of your mixer and the associated suering. These may sound obvious to you, but here are some things you can check. Read on. 4. Replace the fuse drawer by pushing it all the way back into the IEC socket. 5. Reconnect the line cord and turn the POWER switch on. If two fuses blow in a row, then something is wrong. See the Repair section on the next page to nd out what to do.

Bad Channel

Is the channel GAIN turned up? Is the channel LEVEL turned up? Try the same source signal in another channel, set up exactly like the suspect channel.

Troubleshooting

Crosstalk

Adjacent Inputs or Input to Output: 90 dB @ 1 kHz

Input Gain Control Range

0 dB to +50 dB

AC Power Requirements

Power Consumption: U.S. Europe Japan Korea AC Connector: 40 watts 120 VAC, 60 Hz 240 VAC, 50 Hz 100 VAC, 50/60 Hz 220 VAC, 60 Hz 3-pin IEC 250 VAC

Phantom Power

+48 VDC

Equalization

Mix.220FX: High Mid Low Mix.260FX (Mono Channels): High Mid Low Mix.260FX (Stereo Channels): High Mid Mid Low 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz 15 dB @ 12 kHz 15 dB, sweepable from 100 Hz to 8 kHz 15 dB @ 80 Hz 15 dB @ 12 kHz 15 dB @ 3 kHz 15 dB @ 500 Hz 15 dB @ 80 Hz

Mixer Rated Output

Main, Aux, Control Room: Maximum Rated Output: +4 dBu +22 dBu
Physical Dimensions and Weight
Mix.220FX Height: Width: Depth: Weight: Mix.260FX Height: Width: Depth: Weight: 3.8 in/96 mm 11.5 in/292 mm 14.2 in/360 mm Approx. 8.8 lb/4.0 kg 3.8 in/96 mm 13.7 in/348 mm 15.1 in/384 mm 9.8 lb/4.4 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.
The TAPCO Mix mixers were recently accidentally awarded rst prize by the Society of Juicers, Mixers and Blenders in the Quadruple Planetary Mixers category.
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. 2005 LOUD Technologies Inc. All Rights Reserved.

3.8 in/ 96 mm

11.5 in/292 mm
SPRING SPRIN STAGE STAG TREMOL TREMOLD ECHO ECH ECHO+REV ECHO+RE STEREO DELA DELAY CATHEDRAL STUDIO CHORUS CHORUS+RE CHORUS+REV HAL ALL
ROOM FLANGER+RE FLANGER+REV
FLANGER FLANGE THEATER THEATE ROTARY ROTAR

WEIGHT

Approx. 8.8 lb/4.0 kg

FX BYPASS FX OL

CONTROL ROOM

2.5kHz 2.5kH

2.5kHz 2.5kH -15

14.2 in/360 mm

PFL PF AFL AF MAIN MIX CD/ TAPE ALT 3-4

80Hz 80H -15 +15 -15 +15

80Hz 80H

TAPE TO MAIN

SOLO MODE

SOURCE SELECT

CTRL ROOM/ PHONES

MASTER

RUDE SOLO CLI LIP

+15 U PRE U +15

+15 U PRE

SOLO +15

+10 +1 MAIN MAI ALT 33-4 +5 +LEVE LEVEL SE SET

+15 +15

RTRN RTR TO AUX 1
-2 -5 +15 -2 -20 0dB = 0dB 0dBu

L MUTE

ALT 3/4 OL

LEFT RIGHT LEFT 2 1

13.7 in/348 mm
SPRING SPRIN STAGE STAG ECHO ECH ECHO+REV ECHO+RE STEREO DELAY DELA CATHEDRAL STUDIO CHORUS CHORUS+RE CHORUS+REV HAL ALL

TREMOL TREMOLD

ROOM FLANGER+RE FLANGER+REV FLANGE FLANGER THEATER THEATE

ROTARY ROTAR

RUDE SOLO CONTROL ROOM/ PHONES LEFT

3K 12K EQ

CONTROL ROOM OUTPUTS RIGHT

VARIATIONS R

TAPCO MIX.260FX BLOCK DIAGRAM 06.14.05

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 a factory-authorized service center. Unauthorized service, repairs, or modication will void this warranty. To obtain repairs under warranty, you must have a copy of your sales receipt from the authorized TAPCO dealer where you purchased the product. It is necessary to establish purchase date and determine whether your TAPCO product is within the warranty period. D. To obtain factory-authorized service: 1. Call TAPCO Technical Support at 877/827-2669, 7 AM to 5 PM Monday through Friday (Pacic Time) to get a Service Request Number. Products returned without a Service Request Number will be refused. 2. Pack the product in its original shipping carton. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return stree address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. 3. Ship the product in its original shipping carton, freight prepaid, to the authorized service center. The address of your closest authorized service center will be given to you by Technical Support. IMPORTANT: Make sure that the Service Request Number is plainly written on the shipping carton. E. LOUD Technologies Inc. reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies may, at our 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. F. TAPCO products returned to one of the LOUD Technologies factory-authorized service centers 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 and its authorized service centers may use refurbished parts for repair or replacement of any product. 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 will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA. LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the original 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. LOUD Technologies assumes no responsibility for the quality or timeliness of repairs performed by Authorized TAPCO Service Centers. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. A copy of the sales receipt is required to obtain warranty repairs. 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 Inc. 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 INC. SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC. 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.

APPENDIX C: MIX FX SERIES SPECIFICATIONS

Frequency Response

Mic Input to any Output (Trim at 0 dB): +0, 1 dB, 10 Hz to 150 kHz 3 dB, 10 Hz to 200 kHz

Maximum Input Levels

Mic Input: Line Input: Tape Input and Aux Returns: +12 dBu, Gain @ +10 dB +30 dBu, Gain @ +10 dB +22 dBu 2.6 k, balanced 20 k, balanced 20 k, balanced 24 k, unbalanced 240 , balanced 120 , unbalanced k 25

Distortion

THD and SMPTE IMD; 20Hz to 20kHz Mic Input to Main Output: < 0.005% @ +4 dBu output

Input Impedance

Mic Input: Line Input: Stereo Aux Returns: CD/Tape In:
20 Hz to 20 kHz BW (150 source impedance) Equivalent Input Noise (EIN): 129 dBu Residual Output Noise: Channel and Main Mix levels o Main, Ctrl Room, Phones: 105 dBu

Output Impedance

Main Ctrl Room, Aux Sends: Tape Output: Phones Output:
Common Mode Rejection Ratio (CMRR)
Mic In: 60 dB @ 1 kHz Gain @ maximum

VU Meters

Main Left and Right Mix.220FX 8 segments: Clip (+18), +10, +5, +2, 0, 2, 5, LED = 0 dBu Mix.260FX 12 segments: Clip (+18), +10, +7, +4, +2, 0, 2, 4, 7, 10, 20, LED = 0 dBu

Crosstalk

Adjacent Inputs or Input to Output: 90 dB @ 1 kHz

Input Gain Control Range

0 dB to +50 dB

AC Power Requirements

Power Consumption: U.S. Europe Japan Korea AC Connector: 40 watts 120 VAC, 60 Hz 240 VAC, 50 Hz 100 VAC, 50/60 Hz 220 VAC, 60 Hz 3-pin IEC 250 VAC

Phantom Power

+48 VDC

Equalization

Mix.220FX: High Mid Low Mix.260FX (Mono Channels): High Mid Low Mix.260FX (Stereo Channels): High Mid Mid Low 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz 15 dB @ 12 kHz 15 dB, sweepable from 100 Hz to 8 kHz 15 dB @ 80 Hz 15 dB @ 12 kHz 15 dB @ 3 kHz 15 dB @ 500 Hz 15 dB @ 80 Hz +4 dBu +22 dBu

Mixer Rated Output

Main, Aux, Control Room: Maximum Rated Output:
Physical Dimensions and Weight
Mix.220FX Height: Width: Depth: Weight: Mix.260FX Height: Width: Depth: Weight: 3.8 in/96 mm 11.5 in/292 mm 14.2 in/360 mm Approx. 8.8 lb/4.0 kg 3.8 in/96 mm 13.7 in/348 mm 15.1 in/384 mm 9.8 lb/4.4 kg
WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

MANUFACTURING DATE

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.
The TAPCO Mix mixers were recently accidentally awarded rst prize by the Society of Juicers, Mixers and Blenders in the Quadruple Planetary Mixers category.
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. 2005 LOUD Technologies Inc. All Rights Reserved.
BROUGHT TO YOU BY THE GROOVY FOLKS IN WOODINVILLE, WA, USA MANUFACTURED IN CHINAPATENTS PENDINGCOPYRIGHT 2005

SERIAL NUMBER

3.8 in/ 96 mm

POWER ON

PHANTOM ON

MAIN OUT

RIGHT LEFT

ALT 3/4 OUTS

BAL/UNBAL

CONTROL RM OUT

100 - 120 VAC / 220 - 240 VAC 50 - 60 Hz 40W

11.5 in/292 mm

(MON0)

PHONES

MIC INPUT

AUX RETURN

(MONO)

FX RETURN

AUX SEND

INPUT/OUTPUT

CD/TAPE

FOOTSW

PHANTOM 48V

BAL OR UNBAL

INTERNAL EFFECTS
SPRING STAGE TREMOLD ROOM ECHO ECHO+REV STEREO DELAY CATHEDRAL STUDIO CHORUS CHORUS+REV HALL

+4 -10

FLANGER+REV

FLANGER THEATER ROTARY

FX INPUT LEVEL

VARIATIONS

FX BYPASS

CONTROL ROOM

14.2 in/360 mm

2.5kHz

Approx. 8.8 lb/4.0 kg

WEIGHT

MAIN MIX CD/ TAPE ALT 3-4
PFL AFL TAPE TO MAIN SOLO MODE

-15 +15

SOURCE SELECT

CTRL ROOM/ PHONES

MASTER

RETURN

RUDE SOLO

MAIN ALT 3-4

+5 +-2

LEVEL SET

RTRN TO AUX 1

-5 -20

0dB = 0dBu

MAIN MIX

ALT 3/4

MAIN OUTS

SUB OUTS

CTRL RM OUT

CHANNEL INSERTS

TIP SEND / RING RETURN

13.7 in/348 mm

FX AUX SEND

SPRING STAGE ECHO ECHO+REV STEREO DELAY CATHEDRAL STUDIO CHORUS CHORUS+REV HALL
TREMOLD ROOM FLANGER+REV FLANGER THEATER ROTARY

MID FREQ

WEIGHT 9.8 lb/ 4.4 kg

15.1 in/384 mm

MAIN MIX CD/ TAPE SUB 1-2

PFL AFL

TAPE TO MAIN

SOLO MODE

CLIP +10 +7 +4

MAIN SUB 1-2

+-2 -4

-7 -10 -20 -30

SUB ASSIGN TO MAIN MIX