CAUTION

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.
13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as when the power-supply cord or plug has been damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. This apparatus shall not be exposed to dripping or splashing, and no object lled with liquids, such as vases, shall be placed on the apparatus. 16. This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong). 17. This apparatus has been equipped with a single-pole rockerstyle AC mains power switch. This switch is located on the front panel and should remain readily accessible to the user. 18. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. ATTENTION Le 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. 19. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to suciently 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.

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 MIX FX Series 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. 0015483 Rev. A 6/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 CONTROLS:

1. Leave the POWER cord disconnected from the MIX FX Series mixer. 2. Turn down the channel strip GAIN, AUX SEND, and fader controls. 3. Center the channel strip EQ and PAN/BAL controls. 4. Turn down the MASTER AUX SENDS, AUX RETURN, FX RETURN and CTRL ROOM/ PHONES controls. 5. Leave all switches out (up). 6. Turn down the ALT 3/4 or SUB 1/2 faders, and the MAIN MIX faders.
SET THE LEVELS (Mic/Line Channels):
1. Choose one of the microphones or instruments you connected to the mono MIC or LINE input. Make some noise. If its a microphone, sing at your normal singing volume. If its an instrument, play it at its normal output level. 2. Push in the channels SOLO switch next to the fader (make sure the SOLO MODE switch above the meters is up, in PFL mode). While making noise, turn up that channels GAIN control until the +7 and +10 indicators on the meters are ashing. If the CLIP LEDs start blinking, turn down the GAIN control a bit. 3. Raise that channels fader to unity gain (U label). You should be hearing your noise now. 4. If necessary, apply channel EQ changes. (You may need to compensate for level changes afterward with the channel fader control.) 5. Repeat steps 1 through 4 for the other Mic/Line channel(s). 6. Stop making noise. Everyone: start making music. 7. Now turn up the MAIN MIX control to a comfortable listening level.

CONNECTIONS:

1. Connect your speakers to your ampliers outputs (unless, of course, you have powered speakers). 2. Using TR or TRS cables, make connections from your mixers MAIN OUTS to your amplication systems line inputs. 3. Connect your microphones and instruments to the mixer: Connect microphones to the mono channel MIC INPUT jacks. (For condenser microphones, turn on the PHANTOM POWER switch.) Connect line-level signal sources to the LINE input jacks. Note: Normally, you would plug in only one microphone or one instrument into each mono channel. 4. Zero the controls, as described above. 5. Connect the power cord supplied with your mixer to the AC socket on the back and plug it into an AC outlet properly congured for your model. 6. Plug all other sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 7. Turn all the power switches on, leaving the speakers ampliers switch for last. 8. Turn up the MAIN MIX fader to the 10 mark, for now. Well crank it up later on. 9. Now you are ready to set the levels.

Stage Monitors

RIGHT RIGH

LEFT LEF

100 - 120 VAC / 220 - 240 VAC 50 - 60 Hz 40W 40W
TAPCO Juice Power Amplifier
Mono in/Stereo out Reverb (optional)

Headphones

Microphones 1 and 2

(MON0 MON0)

PHONES

POWER POWE

FX MIC INPUT

AUX RETURN

(MONO MONO)

FX RETURN

R IN OUT

FOOTSW CD/TAPE

INPUT/OUTPU INPUT/OUTPUT

PHANTO PHANTOM 48V

MIC INPUT

AUX SEND

LINE LINE LINE LINE

BAL OR UNBAL

75Hz 75H

+4 -10

CD Player DAT Recorder Keyboard Drum Machine TAPCO S5 or other Active Studio Monitors

Computer set-up

TAPCO DB-1A Direct Box
Note: Push down the CD/ TAPE [21] switch in the CONTROL ROOM section to listen to the DAW output in the control room speakers and headphones. Leave it up to listen to the main mix. Do not press the TAPE TO MAIN [24] switch, or there will be feedback.
Digital Audio Workstation
Guitar Keyboard Drum Machine
TAPCO Link.USB or other Digital Audio Interface
80Hz -15 +15 (MONO MONO) U

MIX FX SERIES FEATURES

CHANNEL INPUTS
2 1. MIC (MICROPHONE) INPUTS
The MIX FX Series is equipped with four rugged, low-noise, phantom-powered microphone preampliers, 1 providing up to 50 dB of crystal-clear amplication. Their balanced circuitry rejects all manner of extraneous interferMIC INPUT ence. Professional condenser, BAL/UNBAL dynamic, and ribbon mics all sound excellent through these 2 XLR inputs. You can plug in almost any LINE kind of balanced mic that has a standard XLR-type male mic connector. See Appendix B 3 for more information on XLR connectors. The MIX FX Series provides GAIN 75Hz 75H +48 VDC phantom powering Mix.220FX Mono Channel on pins 2 and 3 of the mono channels XLR MIC inputs. This U can be turned on and o using the PHANTOM [58] switch. 12kHz

BAL OR MON UNBAL +15 U

3. GAIN CONTROL (Mono Channels only)
If you havent already, please read SET THE LEVELS on page 4. 4 FX The GAIN control adjusts the +15 LINE +4 -10 input sensitivity of the MIC and 5 LINE inputs. This allows signals 6 EQ U from the outside world to be Mix.220FX Stereo Channel adjusted to optimal internal L R operating levels. 12kHz MUTE -15 +15 The GAIN control provides U 50 dB of gain with the knob 6 fully up.
CAUTION: DO NOT connect a linelevel device to a MIC input with the 2.5kHz phantom power switched on. This -15 +15 could damage the device. Use the U LINE IN [2] jacks instead. Do not use phantom power with tube or ribbon 80Hz microphones, as this may cause damage. -15 +15

2. LINE INPUTS

U These inputs can accept 1/4" TRS balanced and TS unbalanced plugs from any line-level instrument, 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

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
SET to show where the level should be when adjusting a channels gain in the solo mode, as described in Set the Levels on page 5. If nothing is selected in the CONTROL ROOM SOURCE SELECT and no channels are in SOLO, the meters wont do anything. To display a signal level, a source must be selected in the CONTROL ROOM SOURCE SELECT, which feeds the CONTROL ROOM [55] and PHONES [50] outputs. The meters reect the program level of the selected source prior to the CTRL ROOM/PHONES [23] level knob. The reason for this is because you want the meters to reect what the engineer is listening to, and the engineer is listening either to the CONTROL ROOM outputs or the PHONES outputs. The only dierence is that while the listening levels are controlled by the CTRL ROOM/PHONES knob, the meters indicate the SOURCE mix before those knobs, giving you the real facts at all times, even if youre not listening at all. When a channel is soloed, the meters change to reect the level of that channels signal level, pre- or post-fader, depending on the SOLO MODE [25] setting. You may already be an expert at the LOOK world of +4 (+4 dBu=1.23 V) and 10 (10 dBV=0.32 V) operating levels. What makes a mixer one or CLOSER the other is the relative 0 dB VU (or 0 VU) chosen for the meters. A +4 mixer, with +4 dBu pouring out the back will actually read 0 VU on its meters. A 10 mixer, with a 10 dBV signal trickling out will read, you guessed it, 0 VU on its meters. So when is 0 VU actually 0 dBu? Right now! TAPCO mixers show things as they really are. When 0 dBu (0.775 V) is at the outputs, it shows as 0 dB VU on the meters. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from. Thanks to the MIX FX Series wide dynamic range, you can get a good mix with peaks ashing anywhere between 20 and +10 dB on the meters. Most ampliers clip at about +10 dBu, and some recorders arent so forgiving either. For best real-world results, try to keep your peaks between 0 and +7 (+5 on the 220.FX). Remember, audio meters are just tools to help assure you that your levels are in the ballpark. You dont have to stare at them (unless you want to).

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.

38. FX BYPASS

Press this switch in to bypass the internal eects processor, and so prevent its output from appearing on the main mix or stage monitors. The LED next to the BYPASS switch reminds you whenever the processor is bypassed. Use BYPASS if you are not using the internal eects, or use it to quickly compare between the eective eect of eects and the eect of no eects.
34. Internal Eects Select Knob
The internal eects processor has 16 great preset eects to enhance your sound, confuse cats, and upset hamsters, if that is your idea of fun. Each has been carefully modeled to represent standard eects. Note that the eects output mutes momentarily when changing eects.
MAIN MIX, SUBS, and POWER LEDs
39. ALT 3-4 Master Faders (Mix.220FX)
These faders control the level of the signals sent to the ALT 3-4 OUTS [53]. Remember, channels are routed to the ALT 3-4 OUTS when their MUTE/ALT 3-4 switch is pushed in (Mix.220FX only).

35. VARIATIONS

As you rotate this control from position 1 through 16, the strength of the eect increases. For example, if using a reverb eect, a low number produces a short reverb time, and a larger number produces a longer reverb time.
40. SUB 1-2 Master Faders (Mix.260FX)
These faders control the level of the signals sent to the SUB OUTS [54]. All channels that have their Sub 1-2 assign switch [18] pushed in appear at the SUB OUTS (Mix.260FX only).

36. FX INPUT LEVEL

This knob allows you to adjust the signal level going into the internal eects processor. As a general rule, adjust the FX INPUT LEVEL knob until you just barely see the FX OL LED [37] blink. This will give you the best signal-to-noise ratio for the eects signal.

CLOSER

The ALT 3-4 and SUB 1-2 signal is o when the faders are fully down, the U marking is unity gain, and fully up provides 10 dB of additional gain. If you are using the two ALTS or SUBS as a stereo pair, make sure that both faders ride together to maintain the left/right balance.

SPRING SPRIN STAGE STAG TREMOL TREMOLD ROOM FLANGER+RE FLANGER+REV FLANGER FLANGE THEATE THEATER ROTARY ROTAR ECHO ECH ECHO+REV ECHO+RE STEREO DELAY DELA
41. SUB ASSIGN TO MAIN MIX Switches (Mix.260FX only)
One popular use of the subgroups is to use them as master faders for a group of channels on their way to the MAIN MIX. Lets say youve got a drum kit using several channels and youre going to want to adjust the overall volume of just the drums with two master faders. Just un-assign these channels from the MAIN MIX, reassign them to subgroups 1-2, engage the SUB ASSIGN TO MAIN MIX LEFT on subgroup 1 and SUB
CATHEDRAL STUDIO CHORUS CHORUS+RE CHORUS+REV HAL ALL

VARIATIONS

FX INPUT LEVEL

FX BYPASS

IN R OUT

PHONES FOOTSW

PHANTOM 48V

FX AUX SEND

CD/TAPE
ASSIGN TO MAIN MIX RIGHT on subgroup 2. Now you can ride the entire drum mix with two faders subgroups 1 and 2. If you engage just one SUB ASSIGN TO MAIN MIX button per subgroup (LEFT or RIGHT), the signal sent to the MAIN MIX will be the same level as the SUB OUTS. If you want the subgroup to appear in the center of the main mix, engage both the SUB ASSIGN TO MAIN MIX LEFT and RIGHT buttons. The signal will be sent to both sides.

43. POWER LED

This LED turns on when the mixers power cord is plugged into an AC outlet and the POWER [57] switch on the rear panel is turned on.

44. PHANTOM 48V LED

This LED turns on when the mixers PHANTOM Power [58] switch on the rear panel is turned on.

42. MAIN MIX Faders

This controls the nal level of main mix signals sent to the MAIN [52] outputs, TAPE [49] outputs, CONTROL ROOM [55], PHONES [50], and METERS [27]. So it all comes down to this one control. Typically, the faders will be positioned somewhere between 0 dB (U) and the +5 dB position. All active mono and stereo channels that are not turned down or muted will appear in the main mix (the L-R Assign button [19] must be engaged on the Mix.260FX). Other signals feeding this control include the STEREO AUX and FX RETURNS [46/47], and CD/TAPE IN [49] when TAPE TO MAIN [24] is pushed in.

FRONT PANEL CONNECTORS

45. AUX SEND OUT 1 and 2
Connect these 1/4" TRS outputs to the inputs of an external eects processor or stage monitor amplier. Each channel strip has an AUX SEND 1 MON [11] and AUX SEND 2 FX [13] control knob that adjusts how much of that channels signal appears at each of these outputs. The output from these jacks is the sum of all those active channels that have their AUX SEND knobs set to more than the minimum position.
-10 SUB ASSIGN TO MAIN MIX -20 -2 -30 -3 0dBu 0dB = 0dB

L R L R

MAIN MIX
Mix.220FX ALT 3-4 and MAIN MIX
Mix.260FX SUB 1-2 and MAIN MIX
46. STEREO AUX RETURN Inputs

REAR PANEL FEATURES

52. XLR MAIN OUTS
These male XLR connectors provide a balanced line-level signal that represent the end of the mixer chain, where your fully mixed stereo signal enters the real world. Connect these to the inputs of your main power ampliers, powered speakers, or serial eects processor (like a graphic equalizer or compressor/ limiter).
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.

Input Impedance

Mic Input: Line Input: Stereo Aux Returns: CD/Tape In: 2.6 k, balanced 20 k, balanced 20 k, balanced 24 k, unbalanced
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: 240 , balanced 120 , unbalanced k 25
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

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

FX INPU INPUT LEVEL LEVE

MID FREQ 100 10

3kHz -15

500Hz 500H

15.1 in/384 mm

500Hz 500H -15

+15 MAIN MIX CD/ TAPE SUB 1-2

MAX MA

RUDE SOLO

SUB ASSIGN TO MAIN MIX

1-2 1-

L-R L-

L-R L20 30

SOLO SOL

FOOTSW

FX BYPASS BYPAS FX OL O

WEIGHT 9.8 lb/ 4.4 kg
PFL AFL TAPE TO MAIN SOLO MODE
CLI LIP +10 +7 +4 LEVEL LEVE SE SET

MAIN MAI SUB 11-2

-4 +15 -7 -10 -2 -20 -3 -30 0dB = 0dBu 0dB

Block Diagram Mix.220FX

RIGHT MAIN BUS AUX 1 MON BUS LEFT MAIN BUS

AUX 2 FX BUS

SOLO L (AFL)

SOLO R (AFL)

ALT 3 BUS
MONO CHANNELS 1 through 4

ALT 4 BUS

SOLO (PFL)

SOLO LOGIC

PHANTOM +48 VDC GAIN

LOW MID HIGH

FADER LEVEL PAN L

L MAIN MIX LEFT

MUTE/ ALT 3-4 R

LEFT MAIN OUT

MIC IN 75Hz HI PASS LINE IN

80 2.5K 12K EQ

R AUX 2 FX

MAIN MIX RIGHT

RIGHT MAIN OUT

LEFT CD/TAPE OUT RIGHT

MAIN MIX TO CTRL RM/PHONES

AUX 1 MON POST/ PRE

ALT 3-4 TO CTRL RM/ PHONES
CD/TAPE TO CTRL RM/PHONES

LEFT CD/TAPE IN RIGHT

3 ALT ALT 4

ALT 3 OUT ALT 4 OUT

METERS
SOLO STEREO CHANNELS 5/6 and 7/8

LINE IN LEFT (MONO)

LOW MID HIGH EQ 80 2.5K 12K
STEREO FADER LEVEL BAL L R

MUTE/ ALT 3-4

CONTROL ROOM/ PHONES LEFT CONTROL ROOM OUTPUTS

AUX 2 FX

LINE IN RIGHT

HEADPHONE OUTPUT

PFL AFL

AUX RETURN LEFT

TO MAIN L/R TO ALT 3-4
AUX RETURN RIGHT FX RETURN LEFT SOLO