Tapco Mixer MIX220FX User Manual

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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 Speciﬁcations ........... 21

Block Diagram Mix.220FX ..................................... 23

Block Diagram Mix.260FX ..................................... 24

TAPCO LIMITED WARRANTY ................................... 27

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

for more information about this and other TAPCO products.

What me, read a manual?

Before you begin, please make sure 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 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. 0015483 Rev. A 6/05

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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 FX Series mixer.

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

and fader 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. Push in the channel’s 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 channel’s GAIN control until

the +7 and +10 indicators on the meters are

ﬂashing. If the CLIP LEDs start blinking, turn down

the GAIN control a bit.

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.

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

You should be hearing your noise now.

CONNECTIONS:

1. Connect your speakers to your ampliﬁer’s outputs

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

need to compensate for level changes afterward

with the channel fader control.)

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

2. Using TR or TRS cables, make connections from

your mixer’s MAIN OUTS to your ampliﬁcation

system’s 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.

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.

SET THE LEVELS (StereoLine Channels):

1. Make some noise with the mono or stereo

instrument connected to the LINE IN jacks on a

stereo line-input channel.

2. Push in the channel’s SOLO switch next to the

fader. Adjust the line-input signal level at the

source until the +7 and +10 indicators on the

meters are ﬂashing. If the CLIP LEDs start

blinking, turn down the signal level a bit.

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 conﬁgured 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

speaker’s ampliﬁer’s switch for last.

8. Turn up the MAIN MIX fader to the –10 mark, for

3. Raise that channel’s 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 LEVEL control.)

5. Repeat steps 1 through 4 for the remaining stereo

channels.

now. We’ll crank it up later on.

9. Now you are ready to set the levels.

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A FEW PRECAUTIONS:

•

Never listen to loud music for

prolonged periods. Please

see the Safety Instructions

on page 2 for information on

hearing protection.

•

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.

•

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 FX 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:

•

Balanced 1/4" TRS stereo main outputs

12-segment stereo LED VU metering

1/4" TRS Aux Sends with rotary level controls

Stereo RCA tape out and tape in

•

XLR microphone input jack

1/4" TRS line-input jack

Phantom power, globally switched

Variable input trim (0 to +50 dB)

Overload (OL) indicator LED

Monitor Aux Send with Pre/Post switch

Post-fader FX Aux Send

3-band EQ

75 Hz low-cut ﬁlter

Pan control

Mute switch (Mute/Alt 3-4 switch on 220FX)

Solo switch

Sub 1-2 and L-R assign switches (260 FX only)

60 mm fader

Stereo 1/4" Phones output

Internal digital eﬀects section with eﬀects select

control, variations control, input level control, FX

overload LED, and FX bypass switch

1/4" Footswitch jack to bypass the internal

eﬀects, duplicates the FX bypass switch

Source select switches for Control Room/Phones

output

Rotary Ctrl Room/Phones level control

Tape to Main switch

Solo mode switch (PFL/AFL)

Aux Return 1 level control with Main/Sub 1-2

assign switch

Aux Return 2 (FX) level control with Return to Aux

1 level control

Inter-Planetary Space Drive control

•

Stereo line channels:

•

Left and right 1/4" TRS line input jacks

+4/–10 input level switch

Monitor Aux Send with Pre/Post switch

Post-fader FX Aux Send

3-band EQ

Balance control

Mute switch (Mute/Alt 3-4 switch on 220FX)

Solo switch

Sub 1-2 and L-R assign switches (260 FX only)

60 mm fader

•

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

in for next time

Rear panel:

•

Main power switch

Master +48V phantom power switch with LED

indicator (except Mix.50)

Left and Right XLR Main Outs

Left and Right 1/4" Alt 3/4 Outs (220FX) or

Sub 1-2 Outs (260FX)

•

Master section:

•

60mm fader Main Mix controls

60mm fader Alt 3-4 controls (220FX only)

60mm fader Sub 1-2 controls (260FX only) with

Assign to Main Mix switches

•

Left and Right 1/4" TRS Control Room outputs

1/4" Insert jacks for channels 1-4 (260FX only)

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HOOKUP DIAGRAMS

Active Speakers (Mackie SRM450s)

Small Club Gig

MAIN OUT

RIGHT LEFT

ALT 3/4 OUTS

BAL/UNBAL

CONTROL RM OUT

POWER

PHANTOM

BAL/UNBAL

Stage Monitors

RIGHT

LEFT

100 - 120 VAC /

220 - 240 VAC

50 - 60 Hz 40W

Mono in/Stereo out Reverb

(optional)

TAPCO Juice

Power Amplifier

Headphones

Microphones

1 and 2

MON

POWER

(MON0)

PHONES

PHANTOM

48V

OUT

CD/TAPE

MIC

FOOTSW

AUX SEND

AUX RETURN

FX RETURN

INPUT//OUTPUUT

INPUT

BAL/UUNBAL

BAL/UNBAL

BAL/UUNBAL

(MONO)

BAL

LINE

UNBAL

GAIN

LINE

75Hz

-10

CD Player

DAT Recorder

TAPCO S•5 or other

Active Studio Monitors

Keyboard

Drum Machine

Computer set-up

MAIN OUT

RIGHT LEFT

ALT 3/4 OUTS

CONTROL RM OUT

POWER

PHANTOM

BAL/UNBAL

RIGHT

LEFT

100 - 120 VAC /

220 - 240 VAC

50 - 60 Hz 40W

Mono in/Stereo out Reverb

(optional)

Headphones

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.

Microphones

1 and 2

MON

POWER

(MON0)

PHONES

PHANTOM

48V

OUT

CD/TAPE

MIC

FOOTSW

AUX SEND

AUX RETURN

FX RETURN

INPUT//OUTPUUT

INPUT

BAL/UUNBAL

BAL/UNBAL

BAL/UUNBAL

(MONO)

BAL

LINE

UNBAL

GAIN

LINE

TAPCO DB-1A

Direct Box

75Hz

-10

Digital Audio Workstation

TAPCO Link.USB or other

Digital Audio Interface

Guitar

Keyboard

Drum Machine

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(MONO)

MIX FX SERIES FEATURES

CHANNEL INPUTS

BAL

UNBAL

1. MIC (MICROPHONE) INPUTS

The MIX FX Series is

3. GAIN CONTROL

(Mono Channels only)

equipped with four rugged,

low-noise, phantom-powered

microphone preampliﬁers,

providing up to 50 dB of crys-

tal-clear ampliﬁcation. Their

balanced circuitry rejects all

manner of extraneous interfer-

ence. Professional condenser,

dynamic, and ribbon mics all

sound excellent through these

XLR inputs.

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.

LINE

-10

Mix.220FX Stereo Channel

MIC

INPUT

BAL/UNBAL

MUTE

The GAIN control provides

50 dB of gain with the knob

fully up.

ALT

3/4

You can plug in almost any

kind of balanced mic that has

a standard XLR-type male mic

connector. See Appendix B

for more information on XLR

connectors.

The MIX FX Series provides

+48 VDC phantom powering

on pins 2 and 3 of the mono

channels’ XLR MIC inputs. This

can be turned on and oﬀ using

the PHANTOM [58] switch.

LINE

4. +4/–10 Switch

(Stereo channels only)

Instead of a rotary gain

control, the stereo channels

have a gain switch. This

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.

GAIN

SOLO

75Hz

Mix.220FX Mono Channel

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.

O O

As you might expect, the

+4 dBu level is higher (louder)

than the –10 dBv level. If you

Do not use phantom power with tube or ribbon

microphones, as this may cause damage.

Mix.220FX Stereo Channel

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.

2. LINE INPUTS

These inputs can accept 1/4" TRS balanced and TS

unbalanced plugs from any line-level instrument, eﬀects

device, or tape player. They can be driven by virtually

any line-level signal, from –45 dBu up to +18 dBu.

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.

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.

5. OL 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.

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The 260FX has a sweepable

MID EQ on the mono channels

(see 9 next), and two discrete

MID EQ controls on the stereo

channels, with center frequencies

at 3 kHz and 500 Hz [8a].

The midrange frequencies

include the upper male and

lower female vocal ranges,

and the fundamentals

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.

HIGH

12kHz

-15

100

-15

+15

The output from each channel strip passes on

to the left and right main mix. Two auxiliary signals

can be tapped oﬀ and sent to monitors or eﬀects

processors. The block diagrams on pages 23-24

show how the signal ﬂows through each mixer.

MID

FREQ

MID

and harmonics for many

instruments.

UNITY GAIN

LOOK

+15

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-

9. MID FREQ

(Mix.260FX Mono Channels

only)

This allows you to change

the center frequency for the

MID EQ ﬁlter so you can zero in

more accurately on the precise

narrow band of frequencies you

want to boost or cut. It ranges

from 100 Hz to 8 kHz.

LOW

80Hz

CLOSER

-15

+15

AUX

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

will travel through the mixer at optimal levels.

SEND

EQUALIZATION

MON

+15

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 three-

band 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, 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.

PRE

10. LOW EQ

+15

Turning this clockwise boosts

the level of all 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.

Mix.260FX Mono Channel

LINE

-10

6. 75Hz Low-Cut Switch

(Mono Channels only)

HIGH

12kHz

-15

+15

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.

AUXILIARY

MID

3kHz

In addition to the main mix

output, the mixer provides

two auxiliary mixes, which you

can send to parallel eﬀects

processors and stage monitors.

The AUX SEND knobs adjust

how much of each channel is

tapped oﬀ, 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 channel’s stereo signals. 11

For instance, channel 5 (L) and

6 (R) mix together to feed that

channel’s AUX send knobs.

-15

MID

500Hz

7. HI EQ

LOW

Turning this clockwise boosts the level of all

frequencies above 12 kHz. Turning it counter-

clockwise cuts the levels.

Use this wisely to add sizzle to cymbals or an

overall sense of transparency or edge to keyboards,

vocals, guitar, and bacon frying. Turn it down a little

to reduce sibilance or hide tape hiss.

80Hz

AUX

SEND

MON

+15

8. MID EQ

PRE

Turning this clockwise boosts the level of

frequencies at and around 2.5 kHz on the 220FX.

Turning it counter-clockwise cuts the levels.

+15

Mix.260FX Stereo Channel

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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.

11. AUX SEND 1 (MON)

The AUX SEND 1 can be used either as a monitor

send (pre-fader) or an eﬀects send (post-fader).

Push in the PRE [12] switch to use AUX SEND 1 as

a monitor send and feed the mono input of a stage

monitor ampliﬁer via the AUX SEND 1 [45] output jack.

In pre-fader mode, the signal is tapped oﬀ after

the EQ controls, but before the fader control, so the

monitor send is not aﬀected by changes in the Main Mix.

If you want to use the AUX SEND 1 as an eﬀects

send, leave the PRE switch up and use it as described

for the AUX SEND 2 [13].

15. MUTE/ALT 3-4

The Mix.260FX has a simple MUTE switch.

Engaging a channel’s MUTE switch provides (almost)

the same results as turning the fader all the way

down (a pre-aux send is not aﬀected by the channel

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

PFL SOLO will continue to provide a signal when a

channel is muted.

12. PRE

This switch determines whether the AUX SEND 1

is pre-fader (pushed in) or post-fader (out). Typically,

push this switch in when using AUX SEND 1 as a

monitor send, and leave it out when using it as an

eﬀects send.

The LED next to the MUTE switch lights to let you

know when the MUTE function is

AUX

active.

The Mix.220FX has a dual-

13. AUX SEND 2 (FX)

SEND

The AUX SEND 2 is used

purpose MUTE/ALT 3-4 switch.

This is a Mackie signature, and

now a TAPCO signature. When

Greg was designing one of the

ﬁrst Mackie products, he had

to include a mute switch for

each channel. Mute switches do

just what they sound like they

do. They turn oﬀ the signal by

“routing” it into oblivion. “Gee,

what a waste,” Greg reasoned.

“Why not have the mute button

route the signal somewhere else

useful, like a separate stereo

bus?” So MUTE/ALT 3-4 really

serves two functions—muting

(often used during mixdown or

live shows), and signal routing (for

multitrack and live work) where it

acts as an extra stereo bus.

To use this as a MUTE switch,

all you have to do is not use the

ALT 3-4 outputs [53]. Then,

whenever you assign a channel

to these unused outputs, you’ll

also be disconnecting it from the

MAIN MIX, eﬀectively muting the

channel. The MUTE switch also

disconnects the channel from the

AUX SEND 2 bus (and the AUX

SEND 1 bus when the PRE [12]

switch is up). The channel’s signal

is still present on the AUX SEND

1 bus when the PRE switch is

engaged.

to feed the mono input of

parallel eﬀects devices via

the AUX SEND 2 [45] output

jack. All the channel controls

MON

+15

PRE

(except PAN or BAL) will aﬀect

PRE

the AUX signal. The signal is

tapped oﬀ 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).

+15

PAN

MUTE

14. PAN/BAL

ALT

3/4

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.

SOLO

1-2

L-R

SOLO

O O

Mix.220FX Mono Channel

Mix.260FX Mono Channel

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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.

up, you’ll get “PFL” (Pre-Fader Listen), which is after

the GAIN and EQ controls, but before the channel

fader. With the switch down, you’re in “AFL” (After-

Fader Listen), which is post-fader and post-PAN/

BAL, making it ideal for mixdown soloing.

Soloed channels are sent to the CONTROL

When doing live sound or mixdown, it’s often

handy to control the level of several channels with

one knob. That’s 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 that’s your

choice, don’t ever engage the MUTE/ALT 3-4 switch

on that stereo channel, or you’ll have every dog in the

neighborhood howling at your feedback loop.

Another beneﬁt of the ALT 3-4 feature is that it can

act as an “AFL” (After Fader Listen). Just engage a

channel’s MUTE/ALT 3-4 switch and the ALT 3-4 [22]

switch in the CONTROL ROOM SOURCE matrix and

you’ll get that channel, all by itself, in the CONTROL

ROOM [55] and PHONES [50].

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 that—solo!

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.

MUTE/ALT 3-4 is one of those features that

can bewilder newcomers, so take your time and

play around with it. Once you’ve got it down, you’ll

probably think of a hundred uses for it!

CONTROL ROOM SECTION

16. Fader

20. MAIN MIX Switch

This is the master level control for the channel’s

signal. Subtle adjustment of the channels’ fader

control is the key to a ﬁnely-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, it’s usually

a sign that your GAIN is set too low. If fader is set way

down, your GAIN may be too high.

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.

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

through your headphones or control room outputs

without having to route them to the MAIN or ALT 3-4

mixes. Folks use solo in live work to preview channels

before they are let into the mix, or just to check out

what a particular channel is up to anytime during

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

22. ALT 3-4 (Mix.220FX) or

SUB 1-2 (Mix.260FX) Switch

Push this switch to route the ALT 3-4 signal or the

SUB 1-2 signal to the CONTROL ROOM outputs,

PHONES, and METERS.

as the RUDE SOLO LED located just

above the meters).

Your MIX FX Series has “Dual-Mode

Solo.” A switch in the master section,

SOLO MODE [25] determines which

mode you’ll be hearing. With the switch

CONTROL ROOM

PFL

AFL

MAX

MAIN

MIX

CD/

TAPE TO

MAIN

SOLO

MODE

ALT

3-4

TAPE

CTRL ROOM/

PHONES

SOURCE SELECT

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With the SOLO MODE switch in the up position,

you’re in PFL mode, meaning Pre-Fader Listen (post-

EQ). 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.

23. CTRL ROOM/PHONES Knob

This adjusts the signal level going to the

CONTROL ROOM [55] and PHONES [50] outputs.

It has no eﬀect on the Main Mix output.

WARNING: The headphone amp

is designed to drive any standard

With the switch down, you’re in AFL mode,

meaning After-Fader Listen. You’ll hear the output of

the soloed channel—it will follow the channel’s GAIN,

EQ, FADER and PAN settings. It’s similar to muting all

the other channels, but without the hassle. Use AFL

mode during mixdown.

headphones to a very loud level.

We’re 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 you’ve put on

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

remember: “Engineers who fry their ears, ﬁnd

themselves with short careers.”

In either mode, SOLO will not be aﬀected by a

channel’s MUTE/ALT switch position.

Note: Be careful when switching

from AFL to PFL mode. If you have

LOOK

the channel fader turned down very

much below unity gain (U) while in

AFL mode, switching to PFL mode

will cause a sudden and startling

increase in volume level.

24. TAPE TO MAIN Switch

CLOSER

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 isn’t

entertaining, or that any other music could possibly

ﬁll in for them.

26. RUDE SOLO LED

This large LED lights when a channel’s 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 you’re in solo mode, you

can easily be tricked into thinking that something is

wrong with your mixer. Hence, the RUDE SOLO light.

It’s especially handy at about 3 am when no sound

is coming out of your monitors but your multitrack is

playing back like mad.

25. SOLO MODE PFL/AFL

Engaging a channel’s 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

Note: In PFL Solo Mode, the RUDE SOLO LED is

green. In AFL Solo Mode, the LED is red.

27. Meters

by the CTRL

CONTROL ROOM

The peak

ROOM/PHONES

knob [23]. The

SOLO levels

meters are made

up of two columns

of LEDs, with

PFL

AFL

appearing on

the meters are

not controlled

by the CTRL

MAX

MAIN

MIX

CD/

TAPE

TAPE TO

MAIN

SOLO

MODE

ALT

3-4

three colors to

indicate diﬀerent

ranges of signal

level, traﬃc 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.

CTRL ROOM/

PHONES

SOURCE SELECT

AUX

MASTER

ROOM/PHONES

knob—you wouldn’t

want that. You

want to see the

actual channel

level on the meters

regardless of

RUDE SOLO

RETURN

AUX SEND

CLIP

+10

LEVEL

SET

MON

SOLO

MAIN

ALT 3-4

+15

3^R2^ETURN

RTRN

AUX 1

-2

-5

how loud you’re

listening.

The 0 LED

SOLO

+15

in the middle is

labeled LEVEL

-20

0dB = 0dBu

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SET to show where the level should be when

adjusting a channel’s gain in the solo mode, as

described in “Set the Levels” on page 5.

AUXILIARY SECTION

28. MASTER AUX SEND Knobs

If nothing is selected in the CONTROL ROOM

SOURCE SELECT and no channels are in SOLO, the

meters won’t 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

reﬂect 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 reﬂect what the engineer is listening to, and the

engineer is listening either to the CONTROL ROOM

outputs or the PHONES outputs. The only diﬀerence

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 you’re not listening at all.

When a channel is soloed, the meters change to

reﬂect the level of that channel’s signal level, pre- or

post-fader, depending on the SOLO MODE [25]

setting.

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 oﬀ 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).

You may already be an expert at the

world of “+4” (+4 dBu=1.23 V) and

“–10” (–10 dBV=0.32 V) operating

levels. What makes a mixer one or

the other is the relative 0 dB VU (or

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.

LOOK

CLOSER

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 ﬂashing anywhere

between –20 and +10 dB on the meters. Most

ampliﬁers clip at about +10 dBu, and some recorders

aren’t 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

don’t have to stare at them (unless you want to).

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

Eﬀects module.

If the output from an external eﬀects processor

is plugged into the FX RETURN Inputs, the Internal

Eﬀects is disconnected and only the external eﬀects

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 aﬀected by the FX RETURN level

control, so you can use this control to add the FX

RETURN to the monitor mix independently.

The stereo eﬀects 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].

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37. FX OL

INTERNAL EFFECTS

This LED indicates when you are approaching the

clipping point for the digital eﬀects processor. If you

see the FX OL overload light blinking frequently, turn

down the FX INPUT LEVEL knob until it just turns oﬀ

during the louder passages, riﬀs, chords, yells, etc.

The internal eﬀects 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.

38. FX BYPASS

Press this switch in to bypass the internal eﬀects

processor, and so prevent its output from appearing

on the main mix or stage monitors. The LED next

to the BYPASS switch reminds you whenever the

processor is bypassed.

Inside the processor, the analog audio is

converted to digital, this is processed by the internal

DSP eﬀects processor, and the result converted into

a stereo analog signal.

Use BYPASS if you are not using the internal

eﬀects, or use it to quickly compare between the

eﬀective eﬀect of eﬀects and the eﬀect of no eﬀects.

34. Internal Eﬀects Select Knob

The internal eﬀects processor has 16 great

preset eﬀects to enhance your sound, confuse

cats, and upset hamsters, if that is your idea of

fun. Each has been carefully modeled to represent

standard eﬀects. Note that the eﬀects output mutes

momentarily when changing eﬀects.

MAIN MIX, SUBS, and POWER

LEDs

39. ALT 3-4 Master Faders (Mix.220FX)

35. VARIATIONS

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).

As you rotate this control from position 1

through 16, the “strength” of the eﬀect increases.

For example, if using a reverb eﬀect, 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)

36. FX INPUT LEVEL

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).

This knob allows you to adjust the signal level

going into the internal eﬀects 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 eﬀects

signal.

The ALT 3-4 and SUB 1-2 signal is oﬀ

LOOK

when the faders are fully down, the

“U” marking is unity gain, and fully up

provides 10 dB of additional gain. If

CLOSER 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.

41. SUB ASSIGN TO MAIN MIX

Switches (Mix.260FX only)

One popular use of the subgroups

INTERNAL EFFECTS

SPRING

STAGE

ECHO

is to use them as master faders for

a group of channels on their way to

the MAIN MIX. Let’s say you’ve got a

drum kit using several channels and

you’re 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

ECHO+REV

STEREO DELAY

CATHEEDRAL

STUDIO

TREMOLD

ROOM

¹3³5

FLANGER+REV

FLANGER

THEATER

ROTARY

CHORUS

CHORUS+REV

HALL

VARIATIONS

FX OL

INPUT

BYPASS

LEVEL

MAX

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(MON0)

MON

POWER

PHANTOM

48V

PHONES

FOOTSW

OUT

CD/TAPE

AUX SEND

AUX RETURN

FX RETURN

MAIN OUT

INPUT/OUTPUT

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 mixer’s 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 mixer’s PHANTOM

Power [58] switch on the rear panel is turned on.

FRONT PANEL CONNECTORS

42. MAIN MIX Faders

This controls the ﬁnal 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.

45. AUX SEND OUT 1 and 2

Connect these 1/4" TRS outputs to the inputs

of an external eﬀects processor or stage monitor

ampliﬁer.

Each channel strip has an AUX SEND 1 MON [11]

and AUX SEND 2 FX [13] control knob that adjusts

how much of that channel’s 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

-30

0dB = 0dBu

ALT

MAIN

MIX

SUB

MAIN

MIX

O O

Mix.220FX ALT 3-4 and MAIN MIX

Mix.260FX SUB 1-2 and MAIN MIX

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[50] outputs when the CD/TAPE [21] switch is

engaged in the CONTROL ROOM SOURCE

SELECT section.

46. STEREO AUX RETURN Inputs

Connect the outputs of an external parallel eﬀects

device into these inputs.

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.

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.

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 (or

Sub 1-2 bus on the Mix.260FX when the MAIN/SUB

1-2 switch [31] is pushed in) via the Master AUX

RETURN level control [30].

47. STEREO FX RETURN Inputs

Connect the outputs of an external parallel eﬀects

device into these inputs.

50. PHONES

The stereo signal at this output jack is the same as

the CTRL RM OUTS [55] outputs, and is controlled

by the same CTRL ROOM/PHONES level control

knob [23]. You can listen to the Main Mix, the

CD/TAPE, or the ALT 3-4 (Mix.220FX) or SUB 1-2

(Mix.260FX) depending upon the CONTROL ROOM

SOURCE SELECT switches.

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.

Plugging a 1/4" plug into these jacks disconnects

the Internal Eﬀects processor. Note that if you plug

into just the left input, the right internal eﬀects is

still connected, and vice versa. This gives you the

ﬂexibility to create some very unusual eﬀects.

The signal is added directly into the main mix via

the Master FX RETURN level control [32].

48. 1/4" MAIN OUT (Mix.260FX only)

These 1/4" TRS jacks provide a balanced or

unbalanced line-level signal, where your fully mixed

stereo signal enters the real world. This is the same

signal that appears at the XLR MAIN OUTS [52] on

the rear panel.

Connect these outputs to the inputs of your

ampliﬁers, powered speakers, or serial eﬀects

processor (graphic equalizer, for example).

51. FOOTSW

This 1/4 TS jack allows you to connect a standard

footswitch for engaging the Internal FX BYPASS [38]

function. Note that the indicator light next to the FX

BYPASS switch illuminates when the bypass function

is engaged.

49. CD/TAPE IN/OUT

TAPE OUTPUTS

REAR PANEL FEATURES

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 [52] output. The

TAPE OUTPUT level is aﬀected by the MAIN MIX

[42] faders.

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 ampliﬁers, powered speakers, or serial eﬀects

processor (like a graphic equalizer or compressor/

limiter).

TAPE INPUTS

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 MAIN

[24] switch is pushed in. The signals can also be

routed to the CONTROL ROOM [55] and PHONES

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 ampliﬁers

for an alternate mix.

(MON0)

MON

POWER

PHANTOM

48V

PHONES

FOOTSW

CD/TAPE

OUT

AUX SEND

AUX RETURN

FX RETURN

MAIN OUT

INPUT/OUTPUT

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54. SUB OUTS (Mix.260FX)

57. POWER ON

These 1/4" TRS jacks provide the outputs for the

SUB 1 and 2 signals. These can be connected to the

This one is self-explanatory. When the POWER

switch is turned ON, power is supplied to the MIX FX

inputs of a recording device, or to secondary ampliﬁers Series mixer and the power LED on the front panel

for an alternate mix.

lights up.

55. CTRL RM OUT

58. PHANTOM ON

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

Turn on this switch to provide phantom power to

another main mix output, or to monitor the CD/TAPE all four MIC INPUT [1] XLR jacks. Phantom power

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

ampliﬁer, powered speakers, or recording device.

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, don’t worry. Phantom

power will not hurt most dynamic mics. Check the

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

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 eﬀects devices such as

compressors, equalizers, de-essers, or ﬁlters 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.

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.

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 conﬁgured with the

voltage required for your particular model (100-120

VAC or 220-240 VAC).

Special insert cables are available, specially

designed for this kind of insert jack. They are wired

as follows:

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

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.

This plug connects to the

Channel Insert jack

“ring”

RETURN from processor

Tip = Send (output to eﬀects device)

Ring = Return ( input from eﬀects device)

Sleeve = Common ground (connect shield to all

three sleeves)

60. Kensington Security Slot

To help prevent theft, all the MIX FX 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.

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.

MIX.220 FX

ALT 3/4 OUTS

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•

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NE PAS OUVRIR

SERIAL NUMBER

MANUFACTURING DATE

57 58

MAIN OUTS

SUB OUTS

BAL/UNBAL

CTRL RM OUT

BAL/UNBAL

CHANNEL INSERTS

TIP SEND / RING RETUURRNN

POWER

PHANTOM

RIGHT

LEFT

RIGHT

LEFT

100 - 1120 VAC

220 - 240 VAC

50 - 60 Hz 40W

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APPENDIX A: SERVICE INFORMATION

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

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 conﬁrm it before

calling for service. Doing so might save you from

the deprivation of your mixer and the associated

suﬀering.

switch on.

If two fuses blow in a row, then something is wrong.

See the “Repair” section on the next page to ﬁnd

out what to do.

These may sound obvious to you, but here are

some things you can check. Read on.

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

No Power

•

Our favorite question: Is it plugged in? Make sure

the AC outlet is live (check with a tester or lamp).

Our next favorite question: Is the POWER switch

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.

on? If not, try turning it on.

Is the red POWER LED illuminated? If not, make

sure the AC outlet is live. If so, refer to “Bad

Channel” and “Bad Output” below.

•

Is the fuse blown? If the POWER LED on the front

panel is not illuminated and you are certain that

the AC outlet is live, it is possible the fuse has

blown.

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.

To remove and replace the fuse:

1. Disconnect the linecord from the IEC socket.

2. Remove the fuse drawer by prying it open with a

small screwdriver. It will slide all the way out.

3. Remove the fuse and replace it with an equivalent

type fuse:

1.6 amp slo-blo (T1.6 A/250V)

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Repair

Service for TAPCO mixers is available at a factory- 6. Write the Service Request Number in BIG PRINT on

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.

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.

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.

4. Pack the mixer in its original package, including

Note: You must have a sales receipt from an Authorized

endcaps and box. This is VERY IMPORTANT. When TAPCO Dealer to qualify for a warranty repair.

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.

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 Support, 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 FX SERIES SPECIFICATIONS

Frequency Response

Maximum Input Levels

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

Mic Input:

+12 dBu,

Gain @ +10 dB

+30 dBu,

Gain @ +10 dB

+22 dBu

+0, –1 dB,

10 Hz to 150 kHz

–3 dB,

10 Hz to 200 kHz

Line Input:

Tape Input and Aux Returns:

Distortion

Input Impedance

THD and SMPTE IMD; 20Hz to 20kHz

Mic Input to Main Output:

Mic Input:

2.6 kΩ, balanced

20 kΩ, balanced

24 kΩ, unbalanced

Line Input:

Stereo Aux Returns:

CD/Tape In:

< 0.005%

@ +4 dBu output

Noise

Output Impedance

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

Main

240 Ω, balanced

120 Ω, unbalanced

120 Ω

Equivalent Input Noise (EIN):

Residual Output Noise:

–129 dBu

Ctrl Room, Aux Sends:

Tape Output:

Phones Output:

Channel and Main Mix levels oﬀ

Main, Ctrl Room, Phones:

1 kΩ

–105 dBu

25 Ω

Common Mode Rejection Ratio (CMRR)

VU Meters

Main Left and Right

Mix.220FX

Mic In:

60 dB @ 1 kHz

Gain @ maximum

8 segments: Clip (+18), +10, +5, +2, 0, –2, –5, –20

0 LED = 0 dBu

Crosstalk

Mix.260FX

Adjacent Inputs or Input to Output:

12 segments: Clip (+18), +10, +7, +4, +2, 0, –2, –4,

–7, –10, –20, –30

0 LED = 0 dBu

–90 dB @ 1 kHz

Input Gain Control Range

Phantom Power

0 dB to +50 dB

+48 VDC

AC Power Requirements

Power Consumption: 40 watts

U.S.

120 VAC, 60 Hz

240 VAC, 50 Hz

100 VAC, 50/60 Hz

220 VAC, 60 Hz

3-pin IEC 250 VAC

Europe

Japan

Korea

AC Connector:

Equalization

Mix.220FX:

High

±15 dB @ 12 kHz

±15 dB @ 2.5 kHz

±15 dB @ 80 Hz

Mid

Low

Mix.260FX (Mono Channels):

High

Mid

±15 dB @ 12 kHz

±15 dB, sweepable

from 100 Hz to 8 kHz

±15 dB @ 80 Hz

Low

Mix.260FX (Stereo Channels):

High

Mid

Low

±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

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Physical Dimensions and Weight

Disclaimer

Mix.220FX

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.

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

The TAPCO Mix mixers were recently accidentally awarded ﬁrst prize

by the Society of Juicers, Mixers and Blenders in the “Quadruple

Planetary Mixers” category.

Mix.260FX

Height:

Width:

3.8 in/96 mm

13.7 in/348 mm

15.1 in/384 mm

9.8 lb/4.4 kg

Depth:

“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.

Weight:

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•

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

SERIAL NUMBER

MANUFACTURING DATE

MAIN OUT

ALT 3/4 OUTS

BAL/UUNBAL

CONTROL RM OUT

POWER

PHANTOM

BAL/UUNBAL

RIGHT

LEFT

RIGHT

LEFT

100

220

120 VAC

240 VAC

60 Hz 40W

11.5 in/292 mm

MON

POWER

(MON0)

PHONES

PHANTOM

48V

OUT

CD/TAPE

MIC

FOOTSW

AUX SEND

AUX RETURN

FX RETURN

INPUT/OOUTPUUT

INPUT

BAL/UNBAL

(MONO)

BAL

LINE

INTERNAL EFFECTS

UNBAL

SPRING

STAGE

ECHO

ECHO+REV

STEREO DELAY

CATHEDRAL

STUDIO

TREMOLD

ROOM

FLANGER+REV

FLANGER

THEATER

ROTARY

GAIN

LINE

CHORUS

75Hz

-10

CHORUS+REV

HALL

WEIGHT

Approx.

8.8 lb/4.0 kg

VARIATIONS

INPUT

LEVEL

HIGH

BYPASS

12kHz

FX OL

MAX

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

CONTROL ROOM

MID

2.5kHz

PFL

AFL

MAIN

MIX

CD/

ALT

3-4

MAX

TAPE TO

MAIN

SOLO

MODE

TAPE

LOW

CTRL ROOM/

PHONES

80Hz

SOURCE SELECT

AUX

MASTER

RUDE SOLO

SEND

RETURN

AUX SEND

CLIP

+10

LEVEL

SET

MON

SOLO

MAIN

ALT 3-4

+15

RETURN

PRE

RTRN

-2

-5

AUX

SOLO

+15

-20

PAN

BAL

0dB = 0dBu

ALT

MAIN

MIX

MUTE

ALT

3/4

ALT

3/4

ALT

3/4

ALT

3/4

ALT

3/4

ALT

3/4

SOLO

O O

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•

AVIS: RISQUE DE CHOC ELECTRIQUE

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NE PAS OUVRIR

SERIAL NUMBER

MANUFACTURING DATE

MAIN OUTS

SUB OUTS

BAL/UNBAL

CTRL RM OUT

BAL/UNBAL

CHANNEL INSERTS

POWER

PHANTOM

TIP SEND

RING RETURN

RIGHT

LEFT

RIGHT

LEFT

100 - 120 VAC

220 - 240 VAC

50 - 60 Hz 40W

13.7 in/348 mm

(MON0)

MON

POWER

PHANTOM

48V

PHONES

FOOTSW

OUT

MIC

CD/TAPE

INPUT/OOUTPUUT

INPUT

AUX SEND

AUX RETURN

FX RETURN

MAIN OUT

BAL/UNBAL

(MONO)

BAL

LINE

UNBAL

INTERNAL EFFECTS

SPRING

STAGE

ECHO

ECHO+REV

STEREO DELAY

CATHEDRAL

STUDIO

TREMOLD

ROOM

GAIN

LINE

75Hz

-10

FLANGER+REV

FLANGER

THEATER

ROTARY

CHORUS

WEIGHT

9.8 lb/

4.4 kg

CHORUS+REV

HALL

HIGH

VARIATIONS

12kHz

-15

100

-15

+15

-15

100

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

INPUT

LEVEL

BYPASS

FX OL

MID

MAX

FREQ

3kHz

100

-15

100

-15

+15

CONTROL ROOM

MID

500Hz

PFL

AFL

+15

MAIN

MIX

CD/

SUB

1-2

MAX

TAPE TO

MAIN

SOLO

MODE

TAPE

CTRL ROOM/

PHONES

LOW

SOURCE SELECT

80Hz

-15

+15

-15

+15

RUDE SOLO

CLIP

AUX

MASTER

SEND

RETURN

AUX SEND

+10

LEVEL

SET

MON

SOLO

MAIN

SUB 1-2

+15

RETURN

PRE

-2

RTRN

-4

AUX

SOLO

-7

+15

-10

-20

PAN

BAL

SUB ASSIGN

TO MAIN MIX

-30

0dB = 0dBu

MUTE

SUB

MAIN

MIX

1-2

L-R

1-2

L-R

1-2

L-R

1-2

L-R

1-2

L-R

1-2

L-R

1-2

L-R

1-2

L-R

SOLO

O O

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Block Diagram Mix.220FX

MONO CHANNELS

1 through 4

PHANTOM

+48 VDC

–

LEFT MAIN

OUT

FADER

LEVEL

MAIN MIX LEFT

MAIN MIX RIGHT

MID HIGH

LOW

MUTE/

GAIN

ALT 3-4

PAN

MIC IN

–

RIGHT MAIN

OUT

75Hz

2.5K12K

HI PASS

AUX 2 FX

MAIN MIX TO

LEFT

CD/TAPE OUT

RIGHT

LINE IN

CTRL RM/PHONES

CD/TAPE TO

AUX 1 MON

CTRL RM/PHONES

ALT 3-4 TO

CTRL RM/

PHONES

LEFT

CD/TAPE IN

RIGHT

POST/

PRE

TAPE TO MAIN

ALT 3

OUT

ALT 3

ALT 4

OUT

METERS

VDC

SOLO

STEREO CHANNELS

5/6 and 7/8

MID HIGH

RUDE SOLO

LOW

STEREO

CONTROL ROOM/

PHONES

2.5K12K

FADER LEVEL

LINE IN LEFT (MONO)

MUTE/

ALT 3-4

BAL

LEFT

CONTROL

ROOM

–10

OUTPUTS

RIGHT

AUX 2 FX

2.5K12K

LINE IN RIGHT

SOLO LOGIC

AUX 1 MON

HEADPHONE

OUTPUT

POST/

PRE

PFL

AFL

VDC

SOLO MODE

SOLO

AUX RETURN LEFT

SOLO

LEVEL

TO MAIN L/R

TO ALT 3-4

AUX SEND 1

(MON)

AUX RETURN RIGHT

FX RETURN LEFT

SOLO

LEVEL

AUX SEND 2

(FX)

RTRN TO

AUX 1

FX RETURN

RIGHT

FX BYPASS

FX OL

FX INPUT

LEVEL

VDC

INTERNAL

FX SELECT

PROCESSOR

VARIATIONS

FOOT

SWITCH

FX BYPASS

TAPCO MIX.220FX

BLOCK DIAGRAM

06.14.05

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Block Diagram Mix.260FX

LEFT MAIN

OUT

MAIN MIX LEFT

INSERT

–

LEFT MAIN

OUT

MONO CHANNELS

1 through 4

PHANTOM

+48 VDC

FADER

LEVEL

MID

–

RIGHT MAIN

OUT

LOW FREQ MID HIGH

GAIN

L-R

PAN

MIC IN

RIGHT MAIN

OUT

MUTE

MAIN MIX RIGHT

75Hz

100-8K 12K

HI PASS

MAIN MIX TO

LEFT

CD/TAPE OUT

RIGHT

LINE IN

CTRL RM/PHONES

SUB 1-2

CD/TAPE TO

AUX 2 FX

CTRL RM/PHONES

SUB 1-2 TO

CTRL RM/

PHONES

LEFT

CD/TAPE IN

RIGHT

AUX 1 MON

TAPE TO MAIN

POST/

PRE

SUB 1

OUT

SUB 2

OUT

SUB ASSIGN

TO MAIN MIX

METERS

VDC

STEREO CHANNELS

5/6, 7/8, 9/10, and 11/12

SOLO

MID MIDHIGH

LOW

STEREO

FADER LEVEL

500 3K 12K

LINE IN LEFT (MONO)

L-R

BAL

RUDE SOLO

CONTROL ROOM/

PHONES

–10

LEFT

CONTROL

ROOM

MUTE

500 3K 12K

LINE IN RIGHT

OUTPUTS

AUX 2 FX

SUB 1-2

RIGHT

AUX 1 MON

SOLO LOGIC

POST/

PRE

HEADPHONE

OUTPUT

VDC

PFL

AFL

SOLO

AUX RETURN LEFT

SOLO MODE

SOLO

LEVEL

TO MAIN L/R

TO ALT 3-4

AUX SEND 1

(MON)

AUX RETURN RIGHT

FX RETURN LEFT

SOLO

LEVEL

AUX SEND 2

(FX)

RTRN TO

AUX 1

FX RETURN

RIGHT

FX BYPASS

FX OL

FX INPUT

LEVEL

VDC

INTERNAL

FX SELECT

PROCESSOR

VARIATIONS

FOOT

SWITCH

FX BYPASS

TAPCO MIX.260FX

BLOCK DIAGRAM

06.14.05

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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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