owner’s manual
by
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Contents
Safety Instructions.........................................2
Getting Started.............................................4
Introduction ..................................................6
Hookup Diagrams ........................................7
Blend 6 Features...........................................8
Channel Inputs.........................................8
Channel Controls.....................................9
Equalization............................................9
Auxiliaries ................................................9
Master Section .......................................11
Output Connections .............................12
Rear Panel Features ..............................12
Appendix A: Service Information .............13
Appendix B: Connections .........................14
Appendix C: Blend 6 Specifications.........15
Gain Structure Diagram........................16
Block Diagram .......................................17
Track Sheets............................................18
TAPCO Limited Warranty ...........................19
for more information about this and other TAPCO products.
What me, read a manual?
Before you begin, please make sure you read the Safety Instructions on page 2 and
Getting Started on page 4.
Your new TAPCO® Blend 6 mixer is designed to set up quickly and operate easily.
We know 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. 0008813-90 Rev. A 1/04
©2004 LOUD Technologies Inc. All Rights Reserved.
3
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Getting Started
The following steps will help you set up your mixer, and get the
levels and adjustments just right.
4. If necessary, apply channel EQ changes. (You may
ZERO THE CONSOLE:
1. Turn everything off, including the mixer’s POWER
need to compensate for level changes afterward
with the channel LEVEL control.)
switch and PHANTOM POWER switch.
5. Repeat steps 1 through 4 for the other Mic/Line
2. Turn down the channel strip GAIN, AUX 1, AUX 2,
channel.
and LEVEL controls.
6. Stop making noise. Everyone: start making music.
3. Center the channel strip EQ and PAN controls.
7. Now turn up the MAIN MIX control to a
4. Turn down the AUX RETURNS, CONTROL ROOM,
comfortable listening level.
and PHONES controls.
5. Turn down the MAIN MIX control.
SET THE LEVELS (Channels 3/4 and 5/6):
1. Make some noise with the mono or stereo
instrument connected to the LINE IN jacks on
Channels 3/4. Play it at its normal output level.
CONNECTIONS:
1. Connect your speakers to your amplifier’s outputs
(unless, of course, you have powered speakers).
2. Raise that channel’s LEVEL control until it
is approximately equal in volume to the
microphones or instruments connected to
channels 1 and 2.
2. Plug all the sound system components into suitable
AC outlets, properly grounded and capable of
delivering adequate current.
3. Using TRS cables, make connections from your
mixer’s MAIN OUT to your amplification system’s
line inputs.
3. If necessary, apply channel EQ changes. (You may
need to compensate for level changes afterward
with the channel LEVEL control.)
4. Connect your microphones and instruments to the
mixer: Connect microphones to the mono channel
MIC jacks. (For condenser microphones, engage
the PHANTOM POWER switch.) Connect high-
impedance line-level instruments (electric guitar,
bass guitar) to the mono channel INST IN, or other
line-level signal source to the stereo channel LINE
IN jacks.
4. Repeat steps 1 through 3 for Channels 5/6.
TWEAK THE MIX:
1. If you are using an external processor connected
between the AUX SEND 2 and the AUX RETURN jacks,
use each channel’s AUX 2 FX control to send signal
to the processor, and add the processor’s signal to
the mix using the AUX RETURN TO MAIN MIX control.
Note: Normally, you would plug in only one
microphone or one instrument into each mono
channel.
2. Now that you have a rough mix going, you
may need to readjust the MAIN MIX control to
a comfortable listening level. The LED VU meters
should indicate by lighting most of the green LEDs
when music is playing, and occasionally light the
yellow LEDs.
5. Zero the console, as shown above.
6. Turn all the power switches on, leaving the
amplifier’s switch for last.
7. Turn up the MAIN MIX control to the 9 o’clock
3. Depending on how much time you have, keep
tweaking. Walk the room to see how it sounds
away from your mixer. Keep tweaking.
position, for now. We’ll crank it up later on.
8. Now you are ready to set the levels.
SET THE LEVELS (Channels 1 and 2):
1. Choose one of the microphones or instruments
you connected to the mono MIC or INST input.
Make some noise. If 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 adjacent LEVEL SET LED starts blinking.
3. Raise that channel’s LEVEL to unity gain (U label).
You should be hearing your noise now.
4
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AUX RETURN
AUX SENDS
CTRL ROOM
MAIN MIX
MIC
INPUT 1
MIC
INPUT 2
L
1
L
OUT
R
L
(MONO)
MON
IN
OUT
OUT
2
R
R
FX
INST
INPUT
INST
INPUT
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
LEVEL
SET
LEVEL
SET
L
L
L
(MONO)
(MONO)
MIC
U
MIC
U
R
+3
+50
+3
+50
IN
OUT
-22dB
+25dB
-22dB
+25dB
R
R
BAL/UNBAL
BAL/UNBAL
GAIN
GAIN
LEFT RIGHT
EQ
EQ
EQ
EQ
OL
16
12
8
POWER
HIGH
HIGH
HIGH
HIGH
12kHz
12kHz
12kHz
12kHz
-15
-15
-15
-15
-15
-15
-15
-15
+15
+15
+15
+15
+15
+15
+15
+15
4
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
NRM
0
PHANTOM 48V
4
AUX
AUX
AUX
AUX
AUX
12
U
U
U
U
U
U
U
U
U
RETURN
SEND
SEND
SEND
SEND
24
0 = +4dBu
TO
MAIN
MIX
1
1
1
1
MON
MON
MON
MON
PHONES
MAX
MAX
MAX
MAX
MAX
U
TO
AUX1
MON
2
2
2
2
FX
FX
FX
FX
MAX
MAX
MAX
MAX
MAX
MAX
PAN
PAN
PAN
PAN
MAIN
CD/TAPE
L
R
L
R
L
R
L
R
MAX
CTRL ROOM
1
2
3
4
MAIN MIX
U
U
U
U
U
OFF
MAIN
CD/TAPE
TO MAIN MIX
MAIN MMAIXX
MAX
MAX
MAX
MAX
LEVEL
LEVEL
LEVEL
LEVEL
A FEW PRECAUTIONS:
•
Before making connections to an external
•
Never listen to loud music for
prolonged periods. Please
see the Safety Instructions
on page 2 for information on
hearing protection.
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.
•
•
Never plug amplifier speaker-level outputs into
anything except speakers.
Never use guitar cables to connect amplifiers to
speakers.
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.
5
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Introduction
Thank you for choosing a TAPCO Blend 6 mixer by Mackie. The
TAPCO family of mixers hails back to the days of TAPCO Corporation,
Greg 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.
TAPCO version of Greg
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 Mackie.
This compact mixer is 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 this mixer:
2 mono mic/line channels, with:
Master section, with:
•
Variable input trim (+3 to +50 dB for microphones,
•
•
•
•
•
•
Rotary stereo Main Mix control
Balanced 1/4" TRS stereo main outputs
8-segment stereo LED VU metering
1/4" TRS Aux 1/Monitor send
and –22 to +25 dB for line-level inputs)
•
•
•
•
•
•
•
•
•
Phantom power (globally switched)
Level Set indicator LED
XLR microphone input jack
1/4" TRS instrument line input jack
Pre-fader aux (monitor) send
Post-fader aux (effects) send
2-band EQ
1/4" TRS Aux 2/Effects send
Two rotary stereo aux return controls (To Mains and
To Monitors)
•
•
•
RCA tape out
RCA tape in
Pan control
Master +48V phantom power switch with LED
indicator
Rotary level control
•
•
Left and Right 1/4" TRS Control Room outputs with
Level control
2 stereo line channels, with:
•
•
•
•
•
•
Left and right 1/4" TRS line input jacks
Pre-fader aux (monitor) send
Post-fader aux (effects) send
2-band EQ
Stereo 1/4" TRS Headphone output with Level
control
•
•
•
Power LED indicator
Inter-Planetary Space Drive control
OK, we made that last one up, but we can pencil
it in for next time
Pan control
Rotary level control
TAPCO van (a.k.a. micro bus)
6
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Hookup Diagrams
Small Club Gig
Active Monitor
Mono in/Stereo out Reverb
(optional)
Microphones
1 and 2
AURETUR
AUX SENDS
CTRL ROOM
MAIN MI
L
IN1
INT 2
L
1
L
OUT
R
(MONO)
MON
IN
OUT
T
2
R
R
FX
INST
INPUT
INST
INPUT
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
LEVEL
SET
LEVEL
SET
L
L
L
(MONO)
(MONO)
MIC
U
MIC
U
Active Speakers (Mackie SRM450s)
R
+3
-22dB
+50
+3
-22dB
+50
N
OUT
+25dB
+25dB
R
R
BAL/UNB
BAL/UNBA
GAIN
GAIN
Headphones
Tape Player
DAT Recorder
Keyboard
Drum Machine
Computer set-up
Sound Card
Mono in/Stereo out Reverb
(optional)
Mackie HR824 or other
Active Studio Monitors
LINE
IN
LINE
OUT
Microphone
AURETUR
AUX SENDS
CTRL O
MAIN MIX
L
I1
MIC
INPUT 2
MIC
IN
L
1
L
OUT
R
(MONO)
MON
IN
OUT
T
2
R
R
FX
INST
INPUT
INST
INPUT
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
LEVEL
SET
LEVEL
SET
L
L
L
(MONO)
(MONO)
MIC
U
MIC
U
Note: Push down the
CONTROL ROOM
(18) switch to listen
to the sound card
R
+3
-22dB
+50
+3
-22dB
+50
N
OUT
+25dB
+25dB
R
R
BAL/UNB
BAL/UNBA
GAIN
GAIN
output in the control
room speakers and
headphones. Leave it
up to listen to the main
mix. Do not press the
CD/TAPE TO MAIN MIX
(21) switch, or there
will be feedback.
Headphones
Guitar
Drum Machine
7
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Blend 6 Features
AUX RETURN
AUX SENDS
CTRL ROOM
MAIN MIX
MIC
INPUT 1
MIC
INPUT 2
L
1
L
OUT
R
L
(MONO)
MON
IN
OUT
OUT
1
2
1
2
2
R
R
FX
INST
INPUT
INST
INPUT
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
LEVEL
SET
LEVEL
SET
5
5
5
L
L
L
4
4
(MONO)
(MONO)
MIC
U
MIC
U
R
3
3
5
+3
-22dB
+50
+3
-22dB
+50
IN
OUT
+25dB
+25dB
R
R
BAL/UNBAL
BAL/UNBAL
GAIN
GAIN
3. GAIN CONTROL
CHANNEL INPUTS
If you haven’t already, please read “SET THE
LEVELS” on page 4.
1. MIC (MICROPHONE) INPUTS
The GAIN control adjusts the input sensitivity of
the MIC and INST inputs. This allows signals from the
outside world to be adjusted to optimal internal
operating levels.
The Blend 6 is equipped with two 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.
Through the mono channels’ MIC (XLR) inputs,
there is 50 dB of gain with the knob fully up.
Through a mono channels’ INST IN (TRS) inputs,
there is 22 dB of attenuation fully down and 25 dB of
gain fully up, with a U (unity gain) mark halfway up.
Having 22 dB of line-level attenuation can be very
handy when you are injecting a signal that is very hot,
or when you want to add a lot of EQ boost, or both.
Without this “pad,” it would be very difficult to control
the line signal and might lead to channel clipping.
The TAPCO Blend 6 provides +48 VDC phantom
powering on pins 2 and 3 of the mono channels’ XLR
MIC inputs. This can be turned on and off using the
PHANTOM POWER (17) switch.
4. INPUT LEVEL SET LED
CAUTION: DO NOT connect a line-
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.
level device to a MIC input with the
phantom power switched on. This
could damage the device. Use the
INST IN (2) or LINE IN (5) jacks instead.
Do not use phantom power with
tube or ribbon microphones, as this
may cause damage.
2. INST (INSTRUMENT) INPUTS
These inputs can accept 1/4" TRS balanced and
TS unbalanced plugs from any line-level instrument,
effects device, or tape player. They can be driven by
virtually any line-level signal, from –45 dBu up to +18 dBu.
These inputs are specially designed to accept
signals from high-impedance pickups on guitars.
Normally, you must use a direct box between a
guitar and a mixer’s input, which serves to convert
the impedance of the guitar from high to low. The
INST inputs on Channels 1 and 2 make the need for a
direct box unnecessary.
5. LEFT (MONO) and RIGHT LINE IN
These inputs can accept 1/4" TRS balanced and
TS unbalanced plugs from any line-level instrument,
effects device, or tape player.
When connecting a stereo device (two cords), use
both the left (mono) input and the right input.
When connecting a mono device (just one cord),
always use the left (mono) input and plug nothing into
the right input. A trick called “jack normalling” causes
the signal to appear on both sides.
8
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AUXILIARIES
CHANNEL CONTROLS
In addition to the main mix output, the mixer
provides two auxiliary mixes, which you can send to
parallel effects processors or stage monitors.
The AUX knobs adjust how much of each channel is
tapped off, added to each aux mix, and sent out via
the AUX SEND (26, 27) jacks.
Channel 3/4 and 5/6 AUX knobs control a mono
sum of the channel’s stereo signals. For instance,
channel 3 (L) and 4 (R) mix together to feed that
channel’s AUX send knobs.
Channel strips 1 and 2 allow adjustment of EQ, Pan
and Level for mono signals. Channel strips 3/4, and
5/6 allow adjustment of stereo or mono signals. The
output from each strip passes onto the left and right
main mixes. Auxiliary signals can be tapped off and
sent to monitors or processors. The block diagram on
page 17 shows how the signal flows through the mixer.
UNITY GAIN
LOOK
The U symbol on most of the
controls, stands for “unity gain,”
meaning there is no change
8. AUX 1 MON
AUX 1 MON is designed to send a separate mono mix
to your stage monitors via the AUX 1 SEND (26) output
jack. The GAIN, EQ, and AUX 1 controls will affect the
output to your monitors, but PAN and LEVEL won’t. This
signal is tapped off before the channel LEVEL control.
CLOSER
in signal level. Once you have
adjusted the input signal to line-
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 shelving
boost, and –15 dB of shelving cut, with no change to
the signal (0 dB) in the center position.
Although you can bring a sound to life with proper
EQ, you can also mess things up. If you max the EQs
on every channel, 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. AUX 2 FX
AUX 2 FX is used to feed the mono input of parallel
effects devices via the AUX 2 SEND (27) output jack.
All the channel controls (except PAN) will affect the
AUX 2 signal. The signal is tapped off after the LEVEL
control. The output from an external processor can
come back in via the AUX RETURN (12) inputs, and be
added to the main mix.
10. PAN
EQ
6. HI EQ
HIGH
This adjusts how much of the channel signal plays in the
left side of the main mix, and how much plays in the right.
For mono channels, if PAN is in the center position,
the mono signal appears equally in both the left and
right of the main mix. If the control is set left, more of the
signal appears in the left side. If the control is set right,
more of the signal appears in the right side of the mix.
For stereo channels, the PAN control works like a
home stereo balance control, by attenuating one
side or the other. In the center position, the left and
right channel signals pass through to the main mix
unaffected. If it is turned left, the right channel is
attenuated; if turned right, the left side is attenuated.
Turning this clockwise boosts
12kHz
6
the level of all frequencies
-15
-15
+15
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.
LOW
7
80Hz
+15
AUX
U
U
SEND
8
9
1
MON
MAX
2
FX
7. LOW EQ
MAX
11. 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 the GAIN is set correctly), this
will be positioned somewhere between 0 dB (U) and
the 3 o’clock position.
If you have 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.
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.
PAN
10
L
R
1
U
11
Note: If this were a slide 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.
MAX
LEVEL
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AUX RETURN
AUX SENDS
CTRL ROOM
MAIN MIX
MIC
INPUT 1
MIC
INPUT 2
12
L
1
L
OUT
R
L
(MONO)
MON
IN
OUT
OUT
12
2
R
R
FX
INST
INPUT
INST
INPUT
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
LEVEL
SET
LEVEL
SET
L
15
L
L
(MONO)
(MONO)
MIC
U
MIC
U
R
15
+3
-22dB
+50
+3
-22dB
+50
+25dB
IN
OUT
+25dB
R
R
BAL/UNBAL
BAL/UNBAL
GAIN
GAIN
LEFT RIGHT
12. AUX RETURN INPUTS
Connect the outputs of an external parallel effects
device into these inputs.
OL
16
12
8
POWER
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 signals are added into the main mix, and
a summed mono signal is added to the monitor
mix. Adjustment is provided by the fascinating AUX
RETURN controls described below.
4
NRM
0
PHANTOM 48V
4
AUX
12
U
RETURN
24
0 = +4dBu
TO
13
14
MAIN
MIX
PHONES
MAX
U
TO
AUX1
MON
MAX
MAX
13. AUX RETURN TO MAIN MIX
This adjusts the amount of signal from the AUX
18
RETURN inputs that goes to the main mix.
MAIN
MAX
CTRL ROOM
CD/TAPE
14. AUX RETURN TO AUX 1 MON
MAIN MIX
This adjusts the amount of signal from the AUX RETURN
inputs that goes to the monitor mix (AUX 1 SEND).
CAUTION: Leave this control turned
all the way down if you are using
U
OFF
MAIN
21
CD/TAPE
TO MAIN MIX
MAIN MMAIXX
the AUX 1 SEND to go to an external
processor whose signal is returned
via the AUX RETURNS. Why? It would
create a feedback loop that would
cause the audience to howl as loud
as the speakers (ouch)!
15. CD/TAPE 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.
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 CD/TAPE TO MAIN MIX (21)
button is pushed in. The signals can also be routed
to the CONTROL ROOM (25) outputs when the CTRL
ROOM (18) switch is pushed in.
See Appendix B for more information about RCA
connectors.
10
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20. PHONES
This adjusts the headphone levels without disturbing
the main mix.
MASTER SECTION
Before you read this section, have a read of the
channel strip controls in the previous section.
Turn this down before connecting
and putting on your headphones,
or engaging the CTRL ROOM (18)
switch. Bring it up slowly.
Please see page 2 for more
information on hearing protection.
LEFT RIGHT
16. POWER LED
This LED turns on
when the mixer is
switched on, and (as
you can probably
OL
16
12
8
16
17
POWER
23
4
NRM
0
PHANTOM 48V
4
guess) it turns off when
the mixer is switched off.
AUX
12
U
RETURN
21. CD/TAPE TO MAIN MIX Switch
24
0 = +4dBu
TO
MAIN
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.
13
MIX
17. PHANTOM
POWER 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
PHONES
MAX
MAX
U
TO
14
18
AUX1
20
MON
MAX
19
MAIN
CD/TAPE
MAX
CTRL ROOM
MAIN MIX
22. MAIN MIX
U
OFF
This rotary knob controls the final level of main
mix signals sent to the MAIN outputs, TAPE outputs,
CONTROL ROOM, PHONES and METERS. So it all comes
down to this one control.
All active mono and stereo channels that are not
turned down will appear in the main mix. Other signals
feeding this control include AUX RETURN TO MAIN MIX
(13), and CD/TAPE when CD/TAPE TO MAIN MIX (21) is
pushed in.
MAIN
22
microphones
21
(some condenser
microphones are
battery-powered). With
CD/TAPE
TO MAIN MIX
MAIN MMAIXX
the switch pushed in, the Blend 6 provides +48 VDC
phantom powering on XLR pins 2 and 3.
If you have ribbon mics, tube mics, or dynamic
mics that do not require phantom power, leave the
PHANTOM POWER switch out. If you are using both
condenser and dynamic mics, 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
23. METERS
These left and right meters have eight LEDs each,
with thresholds ranging from –24 dB up to +16 dB
(OL = overload).
The 0 dB LED corresponds to an output level of
+4 dBu (1.23 V RMS). The OL LEDs turn on when the
output reaches +20 dBu. There is a fair margin of
safety before actual clipping distortion occurs, but
you should turn things down if the OL LEDs come on.
Normally, the meters display the level of the main
mix, after the MAIN MIX (22) control.
If the CTRL ROOM (18) switch is pushed in, the
meters display the raw level of the CD/TAPE signal,
and not the main mix.
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.
18. CTRL ROOM Switch
Use this switch to select the signal source for the
CONTROL ROOM outputs, PHONES, and METERS.
When the switch is up, they all receive the main mix
signal tapped after the MAIN MIX control.
You can get a good mix with the meter’s peaks
flashing anywhere between –24 and +8 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 NRM” (normal) and “+8.”
If your meters are too high, you will get distortion.
If they are too low, then your signal-to-noise will
suffer. Use the meters to help you adjust the mixer for
optimum performance without distortion or noise.
Then you can adjust your amplifier’s level controls for
good overall volume.
When the switch is pushed in, they all receive the
raw CD/TAPE Input signal. Turn down the CTRL ROOM
(19) control, and PHONES (20) before engaging.
19. CTRL ROOM Knob
This adjusts the signal level going to the CONTROL
ROOM (25) outputs.
Note: When the CTRL ROOM (18) switch is up, the
CONTROL ROOM output is also affected by the MAIN
MIX (22) control.
11
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It is intended to patch into an effects device’s input,
AUX RETURN
AUX SENDS
CTRL ROOM
MAIN MIX
hence the name FX.
25
26
24
L
1
L
OUT
R
L
OUT
R
(MONO)
MON
28. TAPE OUTPUTS
IN
OUT
Use these jacks to capture the entire performance to
tape. The signal at these jacks is a sample of the main
mix, as it appears at the MAIN (24) output. The TAPE
OUTPUT level is affected by the MAIN MIX (22) control.
25
27
24
2
R
FX
LINEIN
LINEIN
CD/TAPE
3/4
5/6
PHONES
28
L
L
(MONO)
(MONO)
29. PHONES OUTPUT
29
The stereo signal at this output jack is the same as
the CTRL ROOM (25) outputs, but it is not affected by
the position of the CTRL ROOM (19) knob. You can
listen to the main mix, or the CD/TAPE, depending
upon the position of the CTRL ROOM (18) switch.
The PHONES (20) control allows you to set the levels
in your headphones as desired, without disturbing the
main mix or control room levels.
28
IN
OUT
R
R
BAL/UNBAL
BAL/UNBAL
OUTPUT CONNECTIONS
24. MAIN OUTPUTS
These 1/4" TRS jacks represent the end of the mixer
chain, where your fully mixed stereo signal enters the
real world.
Note: Be very careful because
the PHONES jack can drive any
Connect these outputs to the inputs of your
amplifiers, powered speakers, or serial effects
processor (graphic equalizer, for example).
standard headphones to very
loud levels. Please see page 2 for
information on hearing protection.
25. CTRL ROOM OUTPUTS
See Appendix B for information about 1/4" TRS
stereo connectors.
These 1/4" TRS jacks can be used to provide
another main mix output (with the CTRL ROOM (18)
switch set to MAINS), or to monitor the CD/Tape Inputs
(CTRL ROOM switch set to CD/TAPE).
REAR PANEL FEATURES
Connect these outputs to the inputs of an amplifier,
powered speakers, or recording device.
6 CHAN
26. AUX SEND 1 MON OUTPUT
9 VAC
POWER
31POWER IN
To create a stage monitor mix, connect this 1/4" TRS
output into your monitor amplifier’s input, or powered
monitor’s input. This jack can also be used to feed the
inputs of an effects device.
30
ON
BROUGHT TO YOU
THE FOLLOWING AR
"TAPCO", "MACKIE",
Each channel strip has an AUX 1 MON (8) 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 1 knobs set to more than the minimum position.
This output is not affected by the channel LEVEL
(11), or MAIN MIX (22) controls.
30. POWER SWITCH
Push the side of the switch labeled “ON” to turn the
mixer on; you should see the POWER LED (16) glow
with happiness. To turn the mixer off, push the switch
the other way.
As a general rule, turn the mixer on first, before any
amplifiers or powered speakers. At the end of a show,
turn it off last. This will prevent any turn-on or turn-off
thumps from being heard in the speakers.
27. AUX SEND 2 FX OUTPUT
This 1/4" TRS output can be used to connect to the
input of an external effects device.
Each channel strip has an AUX 2 FX (9) control that
adjusts how much of that channel’s signal appears
at this output. The output from this jack is the mix of all
those active channels that have their AUX 2 knobs set
more than minimum.
31. 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
Blend 6 first, then plug the power supply into a suitable
and properly rated AC outlet.
This output is affected by the channel LEVEL (11),
but not the MAIN MIX (22) control.
WARNING: Make sure you use the correct external
power supply capable of providing 9 VDC at 1.5 amps.
Note: Since this output is post-channel EQ and
LEVEL, it is not used as a traditional stage monitor cue.
12
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Appendix A: Service Information
Warranty Service
Repair
Details concerning Warranty Service are spelled
Service for TAPCO mixers is available at our factory,
out in the Warranty section on page 19.
located in sunny Woodinville, Washington. 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.
If you think your TAPCO Blend 6 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.
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 request an RA
(Return Authorization) number. Have your mixer’s
serial number ready. You must have an RA number
before you can obtain service at the factory.
Troubleshooting
Bad Channel
•
•
•
Is the channel GAIN turned up?
3. Keep this owner’s manual. We don’t need it to
Is the channel LEVEL turned up?
repair the mixer.
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 RA number, please let Tech
Support know if you need new packaging. LOUD
Technologies is not responsible for any damage
that occurs due to non-factory packaging.
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.
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.
Noise
6. Write the RA number in BIG PRINT on top of the box.
Units sent to us without the RA number will be refused.
•
Turn the channel LEVEL, AUX RETURN, and AUX
SEND 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.
7. Ship the mixer to us. We suggest insurance for all
forms of cartage. Ship to this address:
TAPCO
Power
SERVICE DEPARTMENT
16220 Wood-Red Road NE
Woodinville, WA 98072
•
Our favorite question: Is the POWER switch on?
•
Is the external power supply securely plugged into
the POWER IN connector on the back of the Blend 6?
•
•
Is the external power supply plugged into an AC
power strip? Make sure the power to the power
strip is turned on.
8. We’ll try to fix the mixer within three to five business
days. Ask Tech Support for the latest turn-around
times when you call for your RA number. The mixer
must be packaged in its original packing box,
and must have the RA 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.
Are all the lights out in your building?
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.
13
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Appendix B: Connections
XLR Connectors
1/4" TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections
available on a mono 1/4" phone jack or plug. They
are used for unbalanced signals.
Channels 1 and 2 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).
SLEEVE
SLEEVE
TIP
2
SHIELD
TIP
HOT
TIP
1
SLEEVE
3
COLD
SHIELD
1
1/4" TS Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
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 (–)
TIP
SLEEVE TIP SLEEVE
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
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
1/4" TRS Balanced Mono wiring:
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
Stereo Headphones
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
1/4" TRS Stereo Unbalanced Wiring:
Sleeve = Shield
Tip = Left
Ring = Right
14
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Appendix C: Blend 6 Specifications
Frequency Response
Mic Input to any Output (Trim at 0 dB):
Maximum Voltage Gain
Mic Input to:
+0, –1 dB,
20 Hz to 20 kHz
–3 dB,
Main Output:
Tape Output:
Aux Sends:
74 dB
74 dB
74 dB
84 dB
84 dB
10 Hz to 80 kHz
Control Room Output:
Phones Output:
Inst Input to:
Distortion
Main Output:
Tape Output:
Aux Sends:
49 dB
49 dB
49 dB
59 dB
59 dB
THD and SMPTE IMD; 20Hz to 20kHz
Mic Input to Main Output:
< 0.025%
@ +4 dBu output
Control Room Output:
Phones Output:
Stereo Line Input to:
Main Output:
Tape Output:
Aux Send:
Control Room Output:
Phones Output:
Tape Input to:
Main Output:
Noise
20 dB
20 dB
20 dB
30 dB
30 dB
20 Hz to 20 kHz BW (150Ω source impedance)
Equivalent Input Noise (EIN):
Residual Output Noise:
–128 dBu
Channel and Main Mix levels off
Main, Ctrl Room, Phones:
Aux 1 Mon out
–102 dBu
–82 dBu
–92 dBu
10 dB
10 dB
10 dB
10 dB
Aux 2 FX out
Tape Output:
Control Room Output:
Phones Output:
Aux Return to:
Main Output:
Common Mode Rejection Ratio
(CMRR)
20 dB
20 dB
20 dB
30 dB
30 dB
Mic In:
60 dB @ 1 kHz
Gain @ maximum
Tape Output:
Aux Send:
Control Room Output:
Phones Output:
Crosstalk
Adjacent Inputs or Input to Output:
–85 dB @ 1 kHz
Input Impedance
Mic Input:
2.3 kΩ, balanced
1 MΩ
20 kΩ, balanced
20 kΩ, balanced
24 kΩ, unbalanced
Input Gain Control Range
Inst Input:
Mic In:
Line In:
+3 dB to +50 dB
Stereo Line Input:
Stereo Aux Returns:
CD/Tape In:
–22 dB to + 25 dB
Phantom Power
+48 VDC
Output Impedance
Main, Ctrl Room, Aux Sends:
Tape Output:
120 Ω
1 kΩ
25 Ω
Equalization
Mono Channel EQ:
Phones Output:
High
Low
15 dB @ 12 kHz
15 dB @ 80 Hz
Channel Level Set LED (Sensitivity)
Stereo Channel EQ:
0 dBu
High
Low
15 dB @ 12 kHz
15 dB @ 80 Hz
(normal operating
level)
Mixer Rated Output
Main, Aux, Control Room:
Maximum Rated Output:
VU Meters
Main Left and Right
8 segments:
+4 dBu
+18 dBu
Clip (+16), +12, +8, +4, 0, –2, –4, –12, –24
0 LED = +4 dBu
Maximum Input Levels
Mic Input:
+18 dBu,
Gain @ +3 dB
+18 dBu,
Inst Input:
Gain @ –22 dB
Stereo Line Input, Tape Input, and Aux Return:
+18 dBu
15
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AC Power Requirements
External Power Supply output:
9.0 VAC @ 1500 mA
(2.5 mm AC coaxial power connection)
External Power Supply AC input
U.S.
120 VAC, 60 Hz
240 VAC, 50 Hz
100 VAC, 50/60 Hz
220 VAC, 60 Hz
Europe
Japan
Korea
Physical Dimensions and Weight
Height:
Width:
Depth:
Weight:
2.6 in/66.7 mm
8.3 in/209.6 mm
10.5 in/266.7 mm
3.5 lb/1.58 kg
Disclaimer
Since we are always striving to make our products
better by incorporating new and improved materials,
components, and manufacturing methods, we
reserve the right to change these specifications at
any time without notice.
During a recent Garden Fete put on by the Society for the Prevention of
Misunderstandings (SRSoF), this mixer was accidentally awarded first prize in the
“Lemon Bundt Cake” category.
Gain Structure Diagram
30
20
LINE INPUT
GAIN MINIMUM
+15
10
0
LOW HIGH
EQ EQ
STEREO INPUT
PAN (STEREO) –1
–3
PAN (MONO)
STEREO LEVEL
CHANNEL LEVEL
–6
–10
–14
–10
–20
–30
–40
–50
–60
–70
–80
–90
–100
MAIN SUM
–15
–16
MAIN LEVEL
MIC INPUT
GAIN MAXIMUM
This diagram shows the gain levels in dBu, and the range of adjustment of the signal level
as it wanders through the various circuitry inside the mixer. The left side is the input, where
the signals enter the mixer, and the right side is the main output.
16
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Block Diagram
This shows an outline of the strange goings on inside the mixer.
S U ) B X ( F 2 X U A
S U ) B N O ( M 1 X U A
S U B I N A M T H I G R
S U B I N A M T F E L
17
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Track Sheets
Use these sheets to record some of your favorite settings.
MIC
U
MIC
U
TAPCO Blend 6
NOTES
+3
+50
+3
+50
-22dB +25dB
-22dB +25dB
GAIN
GAIN
LEFT RIGHT
EQ
EQ
EQ
EQ
OL
16
12
8
POWER
HIGH
HIGH
HIGH
HIGH
12kHz
12kHz
12kHz
12kHz
-15
-15
-15
-15
-15
-15
-15
-15
+15
+15
+15
+15
+15
+15
+15
+15
4
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
NRM
0
PHANTOM 48V
4
AUX
AUX
AUX
AUX
AUX
12
U
U
U
U
U
U
U
U
RETURN
SEND
SEND
SEND
SEND
24
0 = +4dBu
TO
MAIN
MIX
1
1
1
1
MON
MON
MON
MON
PHONES
MAX
MAX
MAX
MAX
MAX
U
TO
AUX1
MON
2
2
2
2
FX
FX
FX
FX
MAX
MAX
MAX
MAX
MAX
MAX
PAN
PAN
PAN
PAN
MAIN
CD/TAPE
L
R
L
R
L
R
L
R
MAX
CTRL ROOM
1
2
3
4
MAIN MIX
U
U
U
U
U
OFF
MAIN
CD/TAPE
TO MAIN MIX
MAX
MAX
MAX
MAX
MAX
MAIN MIX
LEVEL
LEVEL
LEVEL
LEVEL
MIC
U
MIC
U
TAPCO Blend 6
NOTES
+3
+50
+3
+50
-22dB +25dB
-22dB +25dB
GAIN
GAIN
LEFT RIGHT
EQ
EQ
EQ
EQ
OL
16
12
8
POWER
HIGH
HIGH
HIGH
HIGH
12kHz
12kHz
12kHz
12kHz
-15
-15
-15
-15
-15
-15
+15
+15
+15
+15
+15
+15
+15
+15
4
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz
80Hz
NRM
0
PHANTOM 48V
-15
-15
4
AUX
AUX
AUX
AUX
AUX
12
U
U
U
U
U
U
U
U
RETURN
SEND
SEND
SEND
SEND
24
0 = +4dBu
TO
MAIN
MIX
1
1
1
1
MON
MON
MON
MON
PHONES
MAX
MAX
MAX
MAX
MAX
U
TO
AUX1
MON
2
2
2
2
FX
FX
FX
FX
MAX
MAX
MAX
MAX
MAX
MAX
PAN
PAN
PAN
PAN
MAIN
CD/TAPE
L
R
L
R
L
R
L
R
MAX
CTRL ROOM
1
2
3
4
MAIN MIX
U
U
U
U
U
OFF
MAIN
CD/TAPE
TO MAIN MIX
MAX
MAX
MAX
MAX
MAX
MAIN MIX
LEVEL
LEVEL
LEVEL
LEVEL
18
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TAPCO LIMITED WARRANTY
G. LOUD Technologies warrants all repairs performed
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this TAPCO
product for a period of one year from the original
date of purchase. If any defects are found in the
materials or workmanship, or if the product fails to
function properly during the applicable warranty
period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only
to equipment sold and delivered within the U.S. by
LOUD Technologies or its authorized dealers.
for 90 days or for the remainder of the warranty
period. This warranty does not extend to damage
resulting from improper installation, misuse, neglect
or abuse, or to exterior appearance. This warranty
is recognized only if the inspection seals and serial
number on the unit have not been defaced or
removed.
H. LOUD Technologies assumes no responsibility for
the quality or timeliness of repairs performed by
TAPCO Authorized Service Centers.
B. Failure to register online or return the product
registration card will not void the one-year warranty.
I. This warranty is extended to the original purchaser
and to anyone who may subsequently purchase
this product within the applicable warranty period.
C. Service and repairs of TAPCO products are to
be performed only at the factory, or a factory-
authorized service center. Unauthorized service,
repairs, or modification will void this warranty.
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.
D. To obtain factory service, please follow the
instructions found on page 14.
E. LOUD Technologies Inc. and Authorized TAPCO
Service Centers reserve the right to inspect any
products that may be the subject of any warranty
claims before repair or replacement is carried
out. LOUD Technologies and Authorized TAPCO
Service Centers may, at their option, require
proof of the original date of purchase in the form
of a dated copy of the original dealer’s invoice
or sales receipt. Final determination of warranty
coverage lies solely with LOUD Technologies Inc. or
its Authorized Service Centers.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO ONE
YEAR FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY
PERIOD, LOUD TECHNOLOGIES SHALL HAVE NO
FURTHER WARRANTY OBLIGATION OF ANY KIND.
LOUD TECHNOLOGIES SHALL NOT BE LIABLE FOR
ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL
DAMAGES THAT MAY RESULT FROM ANY DEFECT IN
THE TAPCO PRODUCT OR ANY WARRANTY CLAIM.
Some states do not allow exclusion or limitation of
incidental, special, or consequential damages or
a limitation on how long warranties last, so some
of the above limitations and exclusions may not
apply to you. This warranty provides specific legal
rights and you may have other rights which vary
from state to state.
F. TAPCO products returned to LOUD Technologies
and deemed eligible for repair or replacement
under the terms of this warranty will be repaired
or replaced within thirty days of receipt by LOUD
Technologies at our rainforest factory complex.
LOUD Technologies may use refurbished parts for
repair or replacement of any products. Products
returned to LOUD Technologies that do not meet
the terms of this Warranty will be repaired and
returned C.O.D. with billing for labor, materials,
return freight, and insurance. Products repaired
under warranty at the factory will be returned
freight prepaid by LOUD Technologies to any
location within the boundaries of the USA.
Please keep your sales receipt in a safe place.
“TAPCO” and “Mackie” are registered trademarks
of LOUD Technologies Inc. All other brand names
mentioned are trademarks or registered trademarks
of their respective holders, and are hereby
acknowledged.
©2004 LOUD Technologies Inc. All Rights Reserved.
19
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