Tapco Musical Instrument Mix100 User Manual

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CONTENTS

SAFETY INSTRUCTIONS................................................. 2

GETTING STARTED ............................................................ 4

INTRODUCTION.................................................................. 6

HOOKUP DIAGRAMS........................................................ 7

MIX SERIES FEATURES .................................................... 8

CHANNEL INPUTS....................................................... 8

CHANNEL CONTROLS............................................. 8

AUX RETURN SECTION.......................................... 10

TAPE SECTION............................................................ 10

MAIN SECTION........................................................... 12

OUTPUT CONNECTIONS .................................... 13

REAR PANEL FEATURES ....................................... 14

APPENDIX A: SERVICE INFORMATION .............. 15

APPENDIX B: CONNECTIONS ................................. 16

APPENDIX C: MIX SERIES SPECIFICATIONS .. 17

Block Diagram Mix.50............................................... 19

Block Diagram Mix.60............................................... 20

Block Diagram Mix.100............................................ 21

Block Diagram Mix.120............................................ 22

TAPCO LIMITED WARRANTY ................................... 23

Don’t forget to visit our website at www.tapcogear.com

for more information about this and other TAPCO products.

What me, read a manual?

Before you begin, please make sure you read the Safety Instructions on page 2 and Getting Started on

page 4.

Your new TAPCO^®MIX Series mixer is designed to set up quickly and operate easily. We know it’s often

seen as a sign of weakness to read a manual, along with asking for directions when lost, but maybe you can

read the rest when nobody is looking.

It is important to keep your receipt in a safe place, and not a bad idea to write your product information

here for future reference (i.e., insurance claims, tech support, return authorization, etc.).

Product Serial #:

Purchased at:

Date of purchase:

Part No. SW0208 Rev. A 5/05

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GETTING STARTED

The following steps will help you set up your mixer, and get the levels

and adjustments just right.

ZERO THE CONTROLS:

SET THE LEVELS (Mic/Line Channels):

1. Leave the POWER cord disconnected from the

MIX Series mixer.

2. Turn down the channel strip GAIN, AUX SEND,

and LEVEL controls.

3. Center the channel strip EQ and PAN/BAL

1. Choose one of the microphones or instruments

you connected to the mono MIC or LINE input.

Make some noise. If it’s a microphone, sing at your

normal singing volume. If it’s an instrument, play it

at its normal output level.

2. While making noise, turn up that channel’s GAIN

until the PEAK LED (next to the PAN control)

starts blinking.

controls.

4. Turn down the MASTER AUX SEND and CTRL

ROOM/PHONES controls.

5. Leave all switches out (up).

3. Raise that channel’s LEVEL to unity gain (U label).

You should be hearing your noise now.

6. 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.)

CONNECTIONS:

1. Connect your speakers to your ampliﬁer’s outputs

5. Repeat steps 1 through 4 for the other Mic/Line

(unless, of course, you have powered speakers).

channel(s).

3. Using TR or TRS cables, make connections from

your mixer’s MAIN OUT to your ampliﬁcation

system’s line inputs.

4. Connect your microphones and instruments to

the mixer: Connect microphones to the mono

channel MIC INPUT jacks. (For condenser

6. Stop making noise. Everyone: start making music.

7. Now turn up the MAIN MIX control to a

comfortable listening level.

SET THE LEVELS (Stereo LineChannels):

1. Make some noise with the mono or stereo

instrument connected to the LINE IN jacks on a

stereo line-input channel.

microphones, engage the PHANTOM POWER

switch — not available on the Mix.50.) Connect

line-level signal sources to the LINE input jacks.

2. Adjust the line-input signal level at the source until

the PEAK LED (next to the PAN control) starts

blinking.

Note: Normally, you would plug in only one

microphone or one instrument into each mono

channel.

Note: The Mix.50 does not have PEAK LEDs on

its two stereo channels. In that case, set the input

signal to its normal operating level, but listen

for any signs of distortion. If the signal sounds

distorted (and not on purpose!), then turn down

the input signal at the source.

5. Zero the controls, as described above.

6. Connect the power cord supplied with your mixer

to the POWER connection on the back and plug

it into an AC outlet properly conﬁgured for your

model.

7. Plug all other sound system components into

suitable AC outlets, properly grounded and

capable of delivering adequate current.

3. Raise that channel’s LEVEL control until

it is approximately equal in volume to the

microphones or instruments connected to

channels 1 and 2.

4. If necessary, apply channel EQ changes. (You may

need to compensate for level changes afterward

with the channel LEVEL control.)

8. Turn all the power switches on, leaving the

speaker’s ampliﬁer’s switch for last.

Note: There is no power switch on the MIX Series

mixers. They are powered up as soon as they are

plugged in to an AC outlet.

5. Repeat steps 1 through 4 for the remaining stereo

9. Turn up the MAIN MIX control to the 9 o’clock

position (for the Mix.50 and Mix.60) or to the –10

mark (for the Mix.100 and Mix.120), for now.

We’ll crank it up later on.

channels.

10. Now you are ready to set the levels.

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MAIN OUT

CTRL RM OUT

MIC

INPUT

BAL/UNBAL

MONO

LINE

AUX SEND

BAL/UNBAL

GAIN

PHONES

LINE

3/4

5/6

7/8

9/10

TAPE

MAIN

TAPE

MIX

POWER

PHANTTOM 488V

-15

+15

-15

+15

HIGH

12kHz

-20

TAPE TO

FX TO

MAX

+15

MID

OUT ^{CTRL RM /}CTRL

2.5kHz

PHONES

ROOM

AUX

CTRL ROOM/

PHONES

CD/TAPE

SEND

INPUT/OUTPUT

MAIN

MIX

3/4

5/6

7/8

9/10

LOW

80Hz

AUX

-10

AUX

-10

AUX

SEND

75Hz

-10

SEND

+15

PAN

+15

PAN

+15

BAL

+15

BAL

+15

BAL

+15

BAL

PEAK

LEVEL

O O

+15

A FEW PRECAUTIONS:

Never listen to loud music for

•

Before making connections to an external

ampliﬁer, or reconﬁguring an amp’s routing, turn

the amp’s level (gain) controls down, turn the

power oﬀ, make the changes, turn the power back

on, and then turn the level controls back up.

prolonged periods. Please

see the Safety Instructions

on page 2 for information on

hearing protection.

•

When you shut down your equipment, turn oﬀ any

external ampliﬁers ﬁrst. When powering up, turn

on the ampliﬁers last.

Save the shipping box and packing material! The

box can also be turned into a unique hat, lunch

box, or handbag to accessorize your mixer.

•

Never plug ampliﬁer speaker-level outputs into

anything except speakers.

Never use guitar cables to connect ampliﬁers to

speakers.

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INTRODUCTION

Thank you for choosing a TAPCO MIX Series mixer. The TAPCO family of mixers hails back to the days of

TAPCO Corporation, Greg Mackie’s ﬁrst company. TAPCO revolutionized the audio industry back in 1969

with the very ﬁrst 6-channel mixer speciﬁcally designed for keyboards and rock ‘N’ roll PA.

The ﬁrst TAPCO mixer, although primitive by today’s standards, was truly innovative for its time. It had

the headroom to handle screaming singers, was priced for the pocketbook of starving psychedelic musical

neophytes, and durable enough to withstand mammoth levels of wear and tear on the road, and at now-

legendary concerts.

In essence, TAPCO re-deﬁned the price performance ratio and made high-quality professional audio

mixers accessible to virtually anyone. Today, TAPCO is reborn with the same ideals and is backed by the

world-class engineering and manufacturing horsepower of LOUD Technologies.

These compact mixers are perfect for small to medium-sized live sound reinforcement applications,

keyboards and synths, video, and small-project studio applications.

HERE’S A QUICK GLANCE AT ALL THE FEATURES PACKED INTO THESE MIXERS:

Mono mic/line channels:

•

Stereo RCA tape out and tape in

Master +48V phantom power switch with LED

indicator (except Mix.50)

Left and Right 1/4" TRS Control Room outputs

and stereo 1/4" Phones output with rotary level

control (Phones only on Mix.50)

Tape to Control Room/Phones switch (Tape to

Phones on Mix.50)

FX to Control Room switch (Mix.100/Mix.120

only)

Tape to Mix switch

Power LED indicator

Inter-Planetary Space Drive control

•

Variable input trim (0 to +50 dB)

Phantom power, globally switched (except Mix.50)

Level Set/PEAK indicator LED

XLR microphone input jack

•

1/4" TRS line-input jack

•

Post-fader aux send (except Mix.50)

3-band EQ (2-band EQ on Mix.50)

75 Hz low-cut ﬁlter (Mix.100/Mix.120 only)

Pan control

•

Rotary level control

Stereo line channels:

OK, we made that last one up, but we can pencil it

in for next time

•

Left and right 1/4" TRS line input jacks

+4/–10 input level switch (Mix.100/Mix.120 only)

Post-fader aux send (except Mix.50)

3-band EQ (Mix.60 only)

Balance control

Rotary level control

Master section:

•

Rotary stereo Main Mix control (Mix.50/Mix.60)

60mm fader Main Mix control (Mix.100/Mix.120)

Balanced 1/4" TRS stereo main outputs

4-segment stereo LED VU metering

1/4" TRS Aux Send with rotary level control

(except Mix.50)

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MIC

HOOKUP DIAGRAMS

Mono in/Stereo out Reverb

(optional)

Small Club Gig

Microphones

1 and 2

MONO

Headphones

STEREO AUX

RETURN

INPUT

Active Speakers (Mackie SRM450s)

BAL/UNBAL

MONO

LINE

AUX SEND

BAL/UNBAL

GAIN

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

3/4

LINE

5/6

3/4

5/6

TAPE

HIGH

12kHz

TAPE TO

CTRL RM

PHONES

-15

+15

-15

+15

-15

+15

-15

+15

MID

2.5kHz

TAPE TO

MIX

OUT

-15

+15

-15

+15

CD/TAPE

INPUT/OUTPUT

LOW

80Hz

MAIN

CD Player

Keyboard

Drum Machine

Computer set-up

DAT Recorder

Sound Card

Mackie HR824 or other

Active Studio Monitors

LINE

OUT

Microphone

MIC

MONO

STEREO AUX

RETURN

INPUT

BAL/UNBAL

MONO

LINE

AUX SEND

Note: Push down the TAPE

TO CTRL RM/PHONES

(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 TAPE TO

MIX (21) switch, or there

will be feedback.

BAL/UNBAL

GAIN

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

3/4

LINE

5/6

3/4

5/6

TAPE

Headphones

HIGH

12kHz

TAPE TO

CTRL RM

PHONES

-15

+15

-15

+15

-15

+15

-15

+15

MID

Guitar

2.5kHz

TAPE TO

MIX

OUT

-15

+15

-15

+15

CD/TAPE

INPUT/OOUTPUT

LOW

80Hz

MAIN

Drum Machine

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MIC

MONO

STEREO AUX

RETURN

INPUT

BAL/UNBAL

MONO

LINE

AUX SEND

BAL/UNBAL

GAIN

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

3/4

5/6

When connecting a mono device (just one cord),

MIX SERIES FEATURES

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 INPUTS

3. GAIN CONTROL

If you haven’t already, please read “SET THE

LEVELS” on page 4.

The GAIN control adjusts the input sensitivity of

the MIC and LINE inputs. This allows signals from

the outside world to be adjusted to optimal internal

operating levels.

The GAIN control provides 50 dB of gain with the

knob fully up.

1. MIC (MICROPHONE) INPUTS

The MIX Series is equipped with one or more

rugged, low-noise, phantom-powered microphone

preampliﬁers, providing up to 50 dB of crystal-clear

ampliﬁcation. Their balanced circuitry rejects all

manner of extraneous interference. Professional

condenser, dynamic, and ribbon mics all sound

excellent through these XLR inputs.

You can plug in almost any kind of balanced mic

that has a standard XLR-type male mic connector.

See Appendix B for more information on XLR

connectors.

4. PEAK 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 ﬂickers just

occasionally. If it is glowing constantly, turn the GAIN

down. If the LED is doing almost nothing, turn it up.

The MIX Series provides +48 VDC phantom

powering on pins 2 and 3 of the mono channels’ XLR

MIC inputs (except Mix.50). This can be turned on

and oﬀ using the PHANTOM (19) switch.

CAUTION: DO NOT connect a line-

level device to a MIC input with the

phantom power switched on. This

could damage the device. Use the

LINE IN (2) jacks instead.

Do not use phantom power with tube or ribbon

microphones, as this may cause damage.

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.

2. LINE INPUTS

The output from each channel strip passes on to

the left and right main mix. An auxiliary signal can

be tapped oﬀ and sent to monitors or processors

(except Mix.50). The block diagrams on pages 19-22

show how the signal ﬂows through each mixer.

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.

There are two line-inputs for each stereo channel,

a left and a right. When connecting a stereo device

(two cords), use both the left (mono) input and the

right input.

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UNITY GAIN

8. 75Hz Low-Cut Switch

(Mix.100/Mix.120 only)

LOOK

The U symbol on most of the

controls, stands for “unity gain,”

meaning there is no change

in signal level. Once you have

adjusted the input signal to line-

This switch cuts the bass frequencies below 75 Hz.

We recommend that you use the Low-Cut switch

on every microphone application except kick drum,

bass guitar, bassy synth patches, or recordings of

earthquakes. These aside, there isn’t much down

there that you want to hear, and ﬁltering it out makes

the low stuﬀ you do want much more crisp and tasty.

CLOSER

level, you can set every control at U, and your signals

will travel through the mixer at optimal levels.

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 mic/line channels have EQ

controls on all models. Only the Mix.60 has EQ

controls on the stereo channels.

Although you can bring a sound to life with proper

EQ, you can also mess things up. If you max the EQs

on every channel, you’ll get mix mush, not to mention

driving your mix levels near or beyond clipping. So

equalize subtly; use cut as well as boost.

9. +4/–10 Switch (Mix.100/Mix.120 only)

This switch changes the input sensitivity of the

channel to match either the –10 dBv consumer level

or the +4 dBu professional level. Most consumer

equipment with RCA connectors operate at the –10

dBv level, while most professional equipment with

1/4-inch phone jacks or XLR connectors operate at

the +4 dBu level.

As you might expect, the +4 dBu level is higher

(louder) 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. HI EQ

Turning this clockwise boosts the level of all

frequencies above 12 kHz. Turning it counter-

clockwise cuts the levels.

AUXILIARY (all except Mix.50)

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.

In addition to the main mix output, the mixer

provides an auxiliary mix, which you can send to

parallel eﬀects

TAPE

processors or

stage monitors.

The AUX

6. MID EQ (all except

Mix.50)

Turning this clockwise

SEND knobs

-15

+15

HIGH

adjust how much

of each channel is

tapped oﬀ, added

to the aux mix,

and sent out via

the AUX SEND

(26) jack.

On the stereo

channels, the

AUX knob

12kHz

HIGH

boosts the level of

12kHz

frequencies at and around

2.5 kHz. Turning it counter-

clockwise cuts the levels.

The midrange frequencies

include the upper male and

lower female vocal ranges,

and the fundamentals

and harmonics for many

instruments.

-15

+15

MID

OUT

2.5kHz

MID

CD/TAPE

2.5kHz

INPUT/OOUTPUT

5/6

LOW

80Hz

LOW

80Hz

AUX

-10

AUX

75Hz

controls a mono

sum of the

channel’s stereo

signals. For

SEND

AUX

U SEND

7. LOW EQ

Turning this clockwise

boosts the level of all

+15

instance, on the

Mix.60, channel 3

(L) and 4 (R) mix

together to feed

that channel’s

AUX send knob.

+15

BAL

PAN

frequencies below 80 Hz.

Turning it counter-clockwise

cuts the levels.

Frequencies of 80 Hz and

below represent the punch

in bass drums, bass guitar,

fat synth patches, and high-

testosterone male singers.

PAN

PEAK

LEVEL

+15

Mix.60 Mono Channel

Mix.120 Mono and Stereo Channels

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10. AUX SEND (all except Mix.50)

The AUX SEND is used to feed the mono input

of parallel eﬀects devices or the input of a stage

monitor ampliﬁer via the AUX SEND (27) output

jack. All the channel controls (except PAN or BAL)

will aﬀect the AUX signal. The signal is tapped oﬀ

after the LEVEL control. The output from an external

processor can come back in via the STEREO AUX

RETURN (13) inputs (on the Mix.60) or a stereo

channel (Mix.100/Mix.120), and be added to the

main mix.

MONO

STEREO AUX

RETURN

MONO

AUX SEND

BAL/UNBAL

11. PAN/BAL

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

This adjusts how much of the channel signal plays

in the left side of the main mix, and how much plays in

the right.

3/4

5/6

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.

For stereo channels, the BAL 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.

AUX RETURN SECTION

13. STEREO AUX RETURN INPUTS

(Mix.60 only)

Connect the outputs of an external parallel eﬀects

device into these inputs.

When connecting a mono device (just one cord),

always use the left (mono) input and plug nothing

into the right input. The signal will appear on both

sides.

The signal is added directly into the main mix.

There is no level control for the aux return signal,

but most external processors have an output level

control that you can use to adjust the signal being

returned to the mixer.

12. LEVEL

This is the master level

control for the channel’s

signal. Subtle adjustment of

the channels’ level control is

the key to a ﬁnely-tuned mix.

Typically (providing

HIGH

12kHz

For the Mix.50, Mix.100, and Mix.120, connect the

aux return signal to the inputs of an unused stereo

channel. This has the added beneﬁt of providing a

level control for the aux return signal.

CAUTION: When using a stereo

-15

+15

MID

2.5kHz

the GAIN is set correctly),

this will be positioned

channel as an aux return, TURN

THE AUX SEND CONTROL ALL

THE WAY DOWN on that channel.

If you have the Aux Send control

somewhere between 0 dB

(U) and the 3 o’clock position.

If you have the LEVEL set

all the way up, it’s usually a

sign that your GAIN is set too

low. If LEVEL is set way down,

your GAIN may be too high.

Note: If this were a slide

LOW

80Hz

turned up even a little, it can create

AUX

U SEND

a feedback loop. This would be very bad for your

speakers and for your ears.

+15

TAPE SECTION

control instead of a rotary

one, it would be called a fader.

It still serves as the reference

point when talking about pre-

fader and post-fader.

PAN

14. CD/TAPE INPUTS

PEAK

This is where you connect the outputs of your

intermission entertainment. Any line-level mono or

stereo device can be used, such as: tape, DVD/CD

player, television audio, etc.

Signals coming into these inputs are routed

directly to the main mix when the TAPE TO MIX (15)

switch is pushed in. The signals can also be routed to

LEVEL

+15

Mix.60 Mono Channel

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the CONTROL ROOM/PHONES (25/28) outputs

when the TAPE TO CTRL RM/PHONES (16) switch is

pushed in (TAPE TO PHONES only on the Mix.50).

See Appendix B for more information about RCA

connectors.

When connecting a mono device (just one cord),

you’ll need a “Y-splitter” RCA adapter. It turns a

mono output cord into two cords, so both the right

and left tape input jacks can be used. This adapter is

widely available.

16. TAPE TO CTRL RM/PHONES Switch

(TAPE TO PHONES on Mix.50)

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

CD/TAPE Input signal. Turn down the CTRL ROOM/

PHONES (21) control (just PHONES on the Mix.50)

before engaging.

Note: There is a chance of feedback if you have

the tape inputs and outputs connected to the same

recorder, and the recorder is in record mode.

17. FX TO CTRL ROOM Switch

(Mix.100/Mix.120 only)

Push this switch to monitor the aux send signal in

the Control Room and Phones outputs. This overides

the TAPE TO CTRL RM/PHONES switch and

replaces whatever signal is present at the Control

Room and Phones outputs with the aux send signal.

15. TAPE TO 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 isn’t

entertaining, or that any other music could possibly

ﬁll in for them.

TAPE

MAIN

TAPE

MIX

POWER

PHANTOOM 48V

-20

TAPE TO

CTRL RM /

PHONES

FX TO

CTRL

ROOM

MAX

+15

OUT

AUX

CTRL ROOM/

PHONES

CD/TAPE

SEND

INPUT/OOUTPUT

MAIN

MIX

5/6

7/8

9/10 11/12

AUX

-10

AUX

-10

SEND

+15

BAL

+15

BAL

+15

BAL

PEAK

LEVEL

O O

+15

Mix.120 Main Section

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20. METERS

MAIN SECTION

These left and right meters have four LEDs each,

with thresholds ranging from –20 dBu up to +18

dBu (OL = overload).

The 0 dB LED corresponds to an output level of 0

dBu (0.775 V RMS). The OL LEDs turn on when the

output reaches +18 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 (23) control.

If the TAPE TO CTRL RM/PHONES (16) switch

is pushed in, the meters display the level of the CD/

TAPE signal, and not the main mix.

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

ﬂashing anywhere between –20 and +6 dB. Most

ampliﬁers clip at about +10 dB, and some recorders

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

to keep your peaks between “0” and “+6.”

18. POWER LED

This LED turns on when the mixer’s power cord is

plugged into an AC outlet. Since there is no power

switch on the MIX Series mixers, the mixer is always

on when it is connected to AC power.

19. PHANTOM 48V Switch and LED

Push in this switch to provide phantom power

to the MIC (1) input XLR jacks. Phantom power is

required to operate most condenser microphones

(some condenser microphones are battery-powered).

With the switch pushed in, 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, don’t worry. Phantom

power will not hurt most dynamic mics. Check the

microphone’s user manual if you’re not sure.

Caution: Turn all output levels down

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

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

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

optimum performance without distortion or noise.

Then you can adjust your ampliﬁer’s level controls

for good overall volume. This will give you the best

overall signal-to-noise ratio for your system.

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.

TAPE

MAIN

TAPE

MIX

POWER

PHANTOOM 48V

-20

TAPE TO

CTRL RM /

PHONES

FX TO

CTRL

ROOM

MAX

+15

OUT

AUX

CTRL ROOM/

PHONES

CD/TAPE

SEND

INPUT/OOUTPUT

MAIN

MIX

5/6

7/8

9/10 11/12

AUX

-10

AUX

-10

SEND

+15

BAL

+15

BAL

+15

BAL

PEAK

LEVEL

O O

+15

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21. CTRL ROOM/PHONES Knob (PHONES

Knob on the Mix.50)

This adjusts the signal level going to the

CONTROL ROOM (25) and PHONES (28) outputs.

It has no eﬀect on the Main Mix output.

WARNING: The headphone amp

25. CTRL ROOM OUT

These 1/4" TRS jacks can be used to provide

another main mix output, or to monitor the CD/Tape

Inputs (TAPE TO CTRL RM/PHONES switch pushed

in), or to monitor the aux send signal (Mix.100/

Mix.120 only with FX TO CTRL ROOM switch

pushed in).

is designed to drive any standard

headphones to a very loud level.

We’re not kidding! It can cause

Connect these outputs to the inputs of an

ampliﬁer, powered speakers, or recording device.

permanent hearing damage. Even

intermediate levels may be painfully

26. AUX SEND OUT

Connect this 1/4" TRS output to the input of an

external eﬀects processor.

loud with some headphones. BE CAREFUL! Alsways

start with the CTRL ROOM/PHONE knob turned

all the way down before connecting headphones to

the PHONES jack. Keep it down until you’ve put on

the headphones. The turn it up slowly. Why? Always

remember: “Engineers who fry their ears, ﬁnd

themselves with short careers.”

Each channel strip has an AUX SEND control

knob that adjusts how much of that channel’s signal

appears at this output. The output from this jack is the

sum of all those active channels that have their AUX

SEND knobs set to more than the minimum position.

This output is aﬀected by the channel LEVEL (12),

but not the MAIN MIX (23) control.

Note: Since this output is post-channel EQ and

LEVEL, it is not used as a traditional stage monitor cue.

It is intended to patch into an eﬀects device’s input.

That said, we’re not going to stop you from using

it as a monitor feed if you want to. To create a stage

monitor mix, connect this 1/4" TRS output to your

monitor ampliﬁer’s input, or powered monitor’s input.

22. MASTER AUX SEND Knob

(all except Mix.50)

The Master AUX SEND knob provides overall

control for the aux send level, just before it is

delivered to the Aux Send output.

It ranges from oﬀ when fully counter-clockwise, to

unity gain at the center detent position, to +15 dB

gain when fully up.

27. TAPE OUTPUTS

23. MAIN MIX

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

(23) control.

This controls the ﬁnal level of main mix signals

sent to the MAIN (24) outputs, TAPE (27) outputs,

CONTROL ROOM (25), PHONES (28) and METERS

(20). So it all comes down to this one control.

On the Mix.50 and Mix.60, this is a rotary control.

Typically (providing the GAIN is set correctly), this will

be positioned somewhere between 0 dB (U) and the

3 o’clock position.

On the Mix.100 and Mix.120, this is a slide

control (fader). Typically, the fader will be positioned

somewhere between 0 dB (U) and the +5 dB position.

All active mono and stereo channels that are

not turned down will appear in the main mix. Other

signals feeding this control include the STEREO AUX

RETURN (13) (Mix.60), and CD/TAPE IN (14) when

TAPE TO MIX (15) is pushed in.

28. PHONES OUTPUT

The stereo signal at this output jack is the same as

the CTRL ROOM (25) outputs, and is controlled by

the same CTRL ROOM/PHONES level control knob

(21). You can listen to the main mix, the CD/TAPE,

or the Aux Send (Mix.100/Mix.120 only) depending

MONO

STEREO AUX

OUTPUT CONNECTIONS

RETURN

MONO

24. MAIN OUT

These 1/4" TRS jacks represent the end of the

mixer chain, where your fully mixed stereo signal

enters the real world.

AUX SEND

BAL/UNBAL

Connect these outputs to the inputs of your

ampliﬁers, powered speakers, or serial eﬀects

processor (graphic equalizer, for example).

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

3/4

5/6

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upon the position of the TAPE TO CTRL RM/

PHONES (16) switch and the FX TO CTRL ROOM

(17) switch.

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.

REAR PANEL FEATURES

29. POWER IN

This connection is where you connect the supplied

external AC power supply to provide AC power to

the mixer. Connect the external power supply to the

MIX Series mixer ﬁrst, then plug the power supply

into a suitable and properly rated AC outlet.

WARNING: Make sure you use the correct

external power supply capable of providing 18.5

VACx2 at 150 milliamps.

30. Kensington Security Slot

To help prevent theft, all the MIX Series mixers have

a security slot designed to ﬁt the popular Kensington

security locks. A variety of models are available from

their website at www.kensington.com.

POWER

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APPENDIX A: SERVICE INFORMATION

Warranty Service

Repair

Details concerning Warranty Service are spelled

out in the Warranty section on page 23.

If you think your TAPCO mixer has a problem,

please do everything you can to conﬁrm it before

calling for service. Doing so might save you from

the deprivation of your mixer and the associated

suﬀering.

Service for TAPCO mixers is available at a factory-

authorized service center. Service for TAPCO mixers

living outside the United States can be obtained

through local dealers or distributors.

If your mixer needs service, follow these instructions:

1. Review the preceding troubleshooting

suggestions. Please.

These may sound obvious to you, but here are

some things you can check. Read on.

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

5 pm PST, to explain the problem and obtain a

Service Request Number. Have your mixer’s serial

number ready.

You must have a Service Request Number before

you can obtain factory-authorized.

3. Keep this owner’s manual. We don’t need it to

repair the mixer.

Troubleshooting

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.

4. Pack the mixer in its original package, including

endcaps and box. This is VERY IMPORTANT. When

you call for the Service Request Number, please

let Tech Support know if you need new packaging.

You can order new packaging through our parts

department. TAPCO is not responsible for any

damage that occurs due to non-factory packaging.

5. Include a legible note stating your name, shipping

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

RA number, and a detailed description of the

problem, including how we can duplicate it.

6. Write the Service Request Number in BIG PRINT on

top of the box. Units sent to us without the Service

Request Number will be refused.

7. Tech Support will tell you where to ship the

ampliﬁer for repair. We suggest insurance for all

forms of cartage.

8. We’ll try to ﬁx the mixer within ﬁve business days.

Ask Tech Support for the latest turn-around times

when you call for your Service Request Number.

The mixer must be packaged in its original

packing box, and must have the Service Request

Number on the box. Once it’s repaired, we’ll ship it

back the same way in which it was received. This

paragraph does not necessarily apply to non-

warranty repair.

Bad Output

•

IS the MAIN MIX control turned up?

•

If it’s a stereo pair, try switching them around. For

example, if a left output is presumed dead, switch

the left and right cords, at the mixer end. If the left

speaker is still dead, it’s not the mixer.

Noise

Turn the channel LEVEL controls down, one

•

by one. If the noise disappears, it’s either that

channel or whatever is plugged into it, so unplug

whatever that is.

Power

•

Our favorite question: Is the POWER switch on?

Ha! Fooled you. There is no POWER switch.

•

Is the external power supply securely plugged into

the POWER connector on the back of the Mix Series

mixer?

•

Is the external power supply plugged into an AC

power strip? Make sure the power to the power

strip is turned on.

Are all the lights out in your building?

Note: You must have a sales receipt from an Authorized

TAPCO Dealer to qualify for a warranty repair.

Lonely? Looking for that special someone?

Do you have a question about your TAPCO Mixer?

Please call our Technical Support chaps at 1-877-827-2669, Monday to Friday, from 7 am to 5 pm PST.

After hours, visit www.tapcogear.com and look under Contact Us, or e-mail us at [email protected]

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APPENDIX B: CONNECTIONS

XLR Connectors

1/4" TS Phone Plugs and Jacks

The Mic/Line Channels use 3-pin female XLR

connectors on the MIC inputs. They are wired as

follows, according to standards speciﬁed by the AES

(Audio Engineering Society).

“TS” stands for Tip-Sleeve, the two connections

available on a mono 1/4" phone jack or plug. They

are used for unbalanced signals.

1/4" TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs)

and jacks are often used in home stereo and video

equipment and in many other applications. They are

unbalanced and electrically equivalent to a 1/4" TS

phone plug.

XLR Balanced Wiring:

Pin 1 = Shield

Pin 2 = Hot (+)

Pin 3 = Cold (–)

1/4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a stereo 1/4" or balanced

phone jack or plug. TRS jacks and plugs are used for

balanced signals and stereo headphones:

RCA Unbalanced Wiring:

Sleeve = Shield

Tip = Hot

Balanced Mono

1/4" TRS Balanced Mono wiring:

Sleeve = Shield

Tip = Hot (+)

Ring = Cold (–)

Stereo Headphones

1/4" TRS Stereo Unbalanced Wiring:

Sleeve = Shield

Tip = Left

Ring = Right

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APPENDIX C: MIX SERIES SPECIFICATIONS

Frequency Response

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

Mixer Rated Output

Main, Aux, Control Room:

Maximum Rated Output:

+4 dBu

+22 dBu

+0, –1 dB,

10 Hz to 150 kHz

–3 dB,

10 Hz to 200 kHz

Maximum Input Levels

Mic Input:

+12 dBu,

Gain @ +10 dB

+30 dBu,

Gain @ +10 dB

+22 dBu

Distortion

THD and SMPTE IMD; 20Hz to 20kHz

Mic Input to Main Output:

Line Input:

Tape Input and Aux Return:

< 0.005%

@ +4 dBu output

Input Impedance

Mic Input:

2.6 kΩ, balanced

20 kΩ, balanced

24 kΩ, unbalanced

Noise

Line Input:

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

Stereo Aux Returns:

CD/Tape In:

Equivalent Input Noise (EIN):

Residual Output Noise:

–129 dBu

Channel and Main Mix levels oﬀ

Main, Ctrl Room, Phones:

Output Impedance

Main

–106 dBu

240 Ω, balanced

120 Ω, unbalanced

120 Ω

1 kΩ

25 Ω

Common Mode Rejection Ratio (CMRR)

Mic In:

Ctrl Room, Aux Sends:

Tape Output:

Phones Output:

60 dB @ 1 kHz

Gain @ maximum

Crosstalk

Adjacent Inputs or Input to Output:

VU Meters

Main Left and Right

4 segments:

–90 dB @ 1 kHz

Clip (+18), +6, 0, –20

0 LED = 0 dBu

Input Gain Control Range

Phantom Power

0 dB to +50 dB

+48 VDC

AC Power Requirements

External Power Supply output:

18.5 VAC x 2 @ 150 mA

(3-pin AC power connection)

External Power Supply AC input

Equalization

Mono Channel EQ (Mix.50 only):

U.S.

120 VAC, 60 Hz

240 VAC, 50 Hz

100 VAC, 50/60 Hz

220 VAC, 60 Hz

Europe

Japan

Korea

High

Low

±15 dB @ 12 kHz

±15 dB @ 80 Hz

Mono Channel EQ (Mix.60, Mix.100, Mix.120)

Stereo Channel EQ (Mix.60):

High

Mid

Low

±15 dB @ 12 kHz

±15 dB @ 2.5 kHz

±15 dB @ 80 Hz

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MIC

Physical Dimensions and Weight

Mix.50

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.

Height:

Width:

Depth:

Weight:

1.6 in/41 mm

5.2 in/133 mm

8.0 in/203 mm

1.6 lb/0.7 kg

DESIGNED IN WOODINVILLE, WA, USA

PATENTS PENDING

•

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

SERIAL NUMBER

MANUFACTURING DATE

POWER

5.2 in/133 mm

WEIGHT

1.6 lb/

0.7 kg

MONO

MIC

Mix.60

Height:

Width:

Depth:

Weight:

INPUT

BAL/UNBAL

1.6 in/41 mm

7.4 in/188 mm

9.9 in/252 mm

2.7 lb/1.2 kg

LINE

2/3

LINE

4/5

MAIN

OUT

PHONES

TAPE

MAIN

GAIN

POWER

TAPE TO

PHONES

+50

+15

HIGH

TAPE TO

MIX

12kHz

-15

OUT

-20

CD/TAPE

INPUT/OOUTPUUT

LOW

80Hz

Mix.100

Height:

Width:

Depth:

Weight:

2/3

4/5

-15

+15

PHONES

PAN

BAL

PEAK

1.6 in/41 mm

8.5 in/215 mm

10.2 in/259 mm

3.1 lb/1.4 kg

MAX

LEVEL

MAIN

MIX

+15

7.4 in/188 mm

MONO

Mix.120

Height:

Width:

Depth:

Weight:

STEREO AUX

RETURN

INPUT

1.6 in/41 mm

10.7 in/272 mm

10.2 in/259 mm

3.9 lb/1.8 kg

WEIGHT

2.7 lb/

1.2 kg

BAL/UNBAL

MONO

LINE

AUX SEND

BAL/UNBAL

GAIN

CTRL RM

OUT

MAIN

OUT

PHONES

LINE

3/4

LINE

5/6

3/4

5/6

TAPE

Disclaimer

HIGH

12kHz

TAPE TO

CTRL RM /

PHONES

-15

+15

-15

+15

-15

+15

-15

+15

MID

2.5kHz

Since we are always striving to make our

products better by incorporating new and

improved materials, components, and

manufacturing methods, we reserve the right to

change these speciﬁcations at any time without

notice.

TAPE TO

MIX

OUT

CD/TAPE

INPUT/OUTPUT

MASTER

POWER

AUX

LOW

80Hz

MAIN

AUX

SEND

AUX

SEND

AUX

SEND

+15

PAN

+15

PAN

+15

BAL

PHANTOM 48V

-20

PEAK

CTRL RM

PHONES

MAIN

MIX

LEVEL

+15

The TAPCO Mix mixers were recently accidentally awarded

ﬁrst prize by the Society of Juicers, Mixers and Blenders in

the “Quadruple Planetary Mixers” category.

8.5 in/215 mm

MAIN OUT

CTRL RM OUT

MIC

INPUT

BAL/UNBAL

MONO

WEIGHT

3.1 lb/

1.4 kg

“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.

LINE

AUX SEND

BAL/UUNBAL

GAIN

PHONES

LINE

3/4

5/6

7/8

9/10

TAPE

MAIN

TAPE

MIX

POWER

PHANTOM 48V

-15

+15

-15

+15

HIGH

12kHz

-20

TAPE TO

FX TO

OUT ^{CTRL RM /}CTRL

PHONES

ROOM

MAX

+15

MID

2.5kHz

CTRL ROOM/

PHONES

AUX

CD/TAPE

SEND

INPUT/OUTPUT

MAIN

MIX

3/4

5/6

7/8

9/10

LOW

80Hz

AUX

-10

AUX

-10

AUX

SEND

75Hz

-10

SEND

+15

PAN

+15

PAN

+15

BAL

+15

BAL

PEAK

LEVEL

O O

+15

10.7 in/272 mm

MAIN OUT

CTRL ROOM OUT

MIC

INPUT

BAL/UUNBAL

MONO

WEIGHT

3.9 lb/

1.8 kg

LINE

AUX SEND

BAL/UUNBAL

GAIN

LINE

PHONES

5/6

7/8

9/10

11/12

TAPE

MAIN

PHANTOM 48V

MAX

TAPE

MIX

POWER

-15

+15

-15

+15

-15

+15

-15

+15

HIGH

12kHz

-20

TAPE TO

FX TO

OUT ^{CTRL RM /}CTRL

PHONES

ROOM

-15

+15

MID

2.5kHz

CTRL ROOM/

PHONES

AUX

CD/TAPE

SEND

INPUT/OUTPUT

MAIN

MIX

5/6

7/8

9/10

11/12

LOW

-15

80Hz

AUX

-10

AUX

-10

AUX

SEND

75Hz

-10

SEND

+15

PAN

+15

PAN

+15

PAN

+15

BAL

+15

BAL

+15

BAL

+15

BAL

PAN

PEAK

LEVEL

O O

+15

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Block Diagram Mix.50

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

S U B I N A M T F L E

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Block Diagram Mix.60

S U B X U A

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

S U B I N A M T F L E

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Block Diagram Mix.100

S U B X U A

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

S U B I N A M T F L E

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Block Diagram Mix.120

S U B X U A

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

S U B I N A M T F L E

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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

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.

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

G. 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.

H. LOUD Technologies assumes no responsibility for

the quality or timeliness of repairs performed by

Authorized TAPCO 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. A copy

of the sales receipt is required to obtain warranty

repairs.

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 Inc.

K. THE WARRANTY GIVEN ON THIS PAGE IS

THE SOLE WARRANTY GIVEN BY LOUD

TECHNOLOGIES INC. AND IS IN LIEU OF

ALL OTHER WARRANTIES, EXPRESS AND

IMPLIED, INCLUDING THE WARRANTIES

OF MERCHANTABILITY AND FITNESS FOR

A PARTICULAR PURPOSE. THE WARRANTY

GIVEN ON THIS PAGE SHALL BE STRICTLY

LIMITED IN DURATION TO ONE YEAR FROM

THE DATE OF ORIGINAL PURCHASE FROM

AN AUTHORIZED TAPCO DEALER. UPON

EXPIRATION OF THE APPLICABLE WARRANTY

PERIOD, LOUD TECHNOLOGIES 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.

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 modiﬁcation 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 (Paciﬁc 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 dealer’s 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

Please keep your sales receipt in a safe place.

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