Mackie Blend 6 Owner's Manual

#MFOE#MFOE

16-CHANNEL 4-BUS MIXER w/ ONBOARD EFFECTS

owner’s manual

SAFETY INSTRUCTIONS

CAUTION AVIS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de “voltage dangereux” non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

14. Refer all servicing to qualiﬁed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufﬁciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁed the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these

permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliﬁers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not ﬁt into your outlet, consult an electrician for

replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories speciﬁed by the

12. Use only with the cart, stand, tripod, bracket, or table

manufacturer.

speciﬁed by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

WARNING — To reduce the risk of ﬁre or electric shock,

do not expose this appliance to rain or moisture.

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

8 90 Packed garage concert

6 92

4 95 VW Bus Peace Train

3 97

2 100 Cranked psychedelic tunes

1.5 102

1 105 High speed chase on C.H.I.P.s

0.5 110

0.25 or less 115 Loudest parts at a Heavy Metal concert

16. This device complies with Part 15 of the FCC Rules. This equipment also complies with the rules for Canada under ICES-003. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

• Please note that the words “lemon bundt cake” appear by special permission from the Galactic Lemon Bundt Cake Alliance.

Contents

Safety Instructions .....................................................2

Getting Started .........................................................4

Introduction ...............................................................6

Hookup Diagrams .....................................................7

Blend 16 Features ....................................................9

Mono Channels ...................................................9

Stereo Channels ................................................11

Aux Sends and Returns .....................................12

Master Section ...................................................12

Rear Panel Features .........................................17

Appendix A: Using the Blend 16 ............................18

Appendix B: Connections .....................................21

Appendix C: Speciﬁcations ..................................22

System Requirements ........................................23

Hard Drive Notes ...............................................23

Block Diagram ...................................................24

Appendix D: Service Information ..........................25

Warranty Service ...............................................25

Troubleshooting .................................................25

Repair .................................................................26

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 that you read the Safety Instructions on page 2 and Getting Started on

page 4. One will help you keep safe, and the other will get you started using your new TAPCO® Blend 16 mixer.

Your new mixer is designed to be set up quickly and to operate easily. We know it’s often seen as a sign of weakness to read a manual, along with asking for directions when lost, or admitting that it was you who painted

the dog purple and green when you were eight, ..er....but maybe you can read the rest of the manual when

nobody is looking.

Please keep your receipt in a safe sock drawer, and write your product information here for future reference (i.e., insurance claims, tech support, return authorization, etc.):

Product Serial #:

Purchased at:

Date of purchase:

Getting Started

The following steps will help you set up your mixer, and get the levels and adjustments just right. Please follow the instructions in the order they are presented, rather like following the instructions for mixing a lemon bundt cake, or running a nuclear power station, for example.

ZERO THE CONSOLE:

1. Turn everything off, including the mixer’s rear panel

POWER switch and PHANTOM POWER switch.

2. Turn down all channel strip GAIN, AUX SEND 1, and

AUX SEND 2 knobs.

3. Center the channel strip EQ and PAN knobs.

4. Turn down the MASTER FX RETURNs and AUX SENDs,

CONTROL ROOM, PHONES and other level knobs.

5. Move all FADERs fully down.

6. Center the Stereo Graphic EQ sliders.

7. Make sure all push buttons are in the up position.

CONNECTIONS:

1. Connect speakers to your ampliﬁer’s outputs

(unless you have powered speakers with built-in ampliﬁers).

2. Plug all the sound system components into suitable

AC outlets, properly grounded and capable of delivering correct voltage and adequate current.

3. Make connections from your mixer’s MAIN MIX

outputs to your ampliﬁcation system’s line inputs.

4. Connect your microphones and instruments to the

mixer: Connect microphones to the mono channel MIC jacks. (For condenser microphones, you may have to turn on the PHANTOM POWER switch, so read your Mic’s documentation.) Connect instruments directly to the INST 1/4" inputs, and linelevel sources (synthesizers, guitar effects, preamps) to the stereo channel LINE IN 1/4" inputs.

5. Connect the USB port to an open USB port on

your computer, using the cable provided. Two channels of audio can be sent to your computer for recording, and two channels can return onto the main mix from your Tracktion or other DAW software. See “USB and the Blend 16” on page 19, for more details about using the mixer with a computer.

6. Zero the console, as described above.

7. Turn on your components’ power switches, leaving

the ampliﬁer (or powered speakers) until last.

8. Now you are ready to set the levels.

SET THE LEVELS:

1. You can set the levels without hearing the sounds,

but if you prefer, connect a set of headphones to the PHONES jack.

2. Choose one of the microphones or instruments

connected to the mono MIC or INST inputs.

3. Press that channel’s SOLO switch in.

4. Have a wandering musician make some noise. If

it’s a microphone connected to that channel, sing sweetly at the normal volume. If it’s a synthesizer, play it at its normal output level.

5. While making music, turn up that channel’s GAIN

knob until the nearby LEVEL SET LED starts blinking.

6. With SOLO pushed in, you should see the meters

grooving along with the music (and the RUDE SOLO light blinking).

7. If the GAIN is set correctly, the sound level should

be nicely hovering around the 0 dB LEDs. If the average seems to be higher, turn down the GAIN. If it seems too low, turn it up.

8. Carefully turn up the PHONES knob and listen.

9. If necessary, apply channel EQ changes.

10. Turn down the PHONES knob.

11. Release the SOLO switch for that channel.

12. Repeat steps 2 through 11 for all other active

channels, until all the GAINs are set correctly. You can repeat this procedure later, if needed. Once you get going, you will be surprised how quickly you can set up all the levels.

MAKING THE MIX:

1. Make sure all levels are set correctly, as described in

the previous section.

2. Set the SOURCE SELECT switch to MAIN MIX, so your

meters (and headphones) will receive the main mix.

3. Add an active channel to the main mix by pressing

the L-R switch near the bottom of that channel strip.

4. Turn that channel’s FADER up to the U mark (0 dB).

5. Carefully turn up the MAIN MIX FADER and listen to

the glorious sounds in your main speakers.

6. Repeat steps 3 and 4 until all active channels are

added to the main mix. As you add each instrument, shout out its name loudly like this: “Introducing BillyBob Beauregarde-Baker on Big Bass Banjo.”

7. Carefully adjust the channel FADERs and the Graphic

EQ to suit the main mix to your delicate audio senses.

8. To use the internal processor, adjust each channel’s

AUX SEND 2 FX control to send signals to the processor. Adjust the FX INPUT LEVEL knob so the internal processor is not overloaded (FX OL LED off). Add the processed signal to the main mix using the FX RETURN TO MAIN MIX knob.

9. Now that you have a rough mix going, you

MIC

INST

INSERT

GAIN

MUTE

PAN

AUX

HIGH

MID

LOW

AUX

LINE

( )

MUTE

GAIN

CD/TAPE

15 16

MUTE

13 14

11 12

MUTE

11 12

( ) ( ) ( )

GAIN

MUTE

PANPANPAN

LINE LINE LINE

GAIN GAIN

PAN

MID

EQ EQ

AUX

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOW

MID

HIGH

LOW

( )

UUUU

MAX

PHONESLAMP

BYPASS

EQ IN

FX OL

MAIN MIX AUX1(MON)

POWER

PHANTOM 48V

MAIN

MIX

SUB2SUB3SUB4SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

TO AUX1 MON

INTERNAL EFFECTS

SUBS

1-2

SUBS

3-4

MAIN

MIX

CD/

TAPE

BYPASS

SOURCE

SELECT

RUDE SOLO

0dB = 0dBu

OUTPUT LEVEL

USB

SOURCE

MAX

MAX MAX

MAX

L R L R L R L R

MON

+15

RETURN

+15

15+

+15

STEREO GRAPHIC EQ

64Hz 125Hz 400Hz 1kHz 2.5kHz 8kHz 16kHz

LEVEL

SET

-4

-12

-24

FX INPUT LEVEL

SPRING

M DELAY

ST DELAY

CHORUS

REV + FLANGER

REV + CHORUS

REV + DELAY

FLANGER

TAPE REV

PLATE

SM HALL

LG ROOM

LG HALL

VOCAL 1

SM ROOM

VOCAL 2

VARIATIONS

MAIN MIX

SUBS 1-2

(PRE-FADER)

USB OUTPUT

UUUUU

may need to readjust the MAIN MIX FADER to a comfortable listening level. The meters should indicate by lighting most of the green LEDs when music is playing, and occasionally light the yellow.

10. Depending on how much time you have, keep

tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking FADERS and EQ as needed. Watch out for any OL overload LEDS blinking, as the band plays on.

A FEW PRECAUTIONS:

Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection.

• Only plug your ampliﬁer’s speaker-level outputs into speakers, never to the mixer.

• Never use guitar cables to connect ampliﬁers to speakers.

• 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 for attending Audio Society meetings, or stepping out in style.

Mic Inputs

Instrument

Gain Knob

EQ Section

Aux 1 Send

Aux 2 Send

Inputs

Inserts

Level Set

Low Cut

Mute

OL LED

Assign

Solo

Pan

Mono Ch 1-8

See Page 9

Ch Fader

Stereo

Line

Inputs

Aux

Sends

Returns

Stereo Ch. 10-16

See Page 11

CD/Tape

In Out

Power

Phantom LEDs

USB

Control room/

phones

Master Aux

Sends

FX Returns

Subgroup

Assign

Subgroup

Faders

Master Section

See Page 12

Phones

Graphic EQ

Internal Effects

Rude Solo

Meters

CD/Tape to Main

Main Fader

Introduction

Thank you for choosing a TAPCO Blend 16 mixer, with 16 channels of pure goodness. It has even more

channels than an 8 channel mixer, and not quite as many as most 20 channel mixers.

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 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.

This compact mixer is perfect for small to medium-sized live sound reinforcement applications, keyboards and synths, video, and project studio applications.

The USB port on the Blend 16 makes it easy to get audio from your mixer to your computer-based DAW. And just in case you don’t have the software, we’ve included a CD-ROM with the full version of Tracktion, our easyto-use multitrack recording and sequencing software (for the PC or Mac). Refer to the installation instructions on the Blend 16 software CD to install Tracktion on your computer.

Here’s a quick glance at all the features packed into this mixer:

8 mono mic/line channels, with:

• XLR microphone input jack

• 1/4" TRS instrument input jack

• 1/4" TRS insert jack

• Variable input gain with Level Set indicator LED

• Low Cut switch

• Phantom power (globally switched to all XLR)

• 3-band EQ with variable mid frequency

• Pre-fader aux (monitor) send

• Post-fader aux (effects) send

• Pan control

• Mute

• Overload LED

• Assign to subgroup 1-2, 3-4, and main mix bus

• Solo

• 60 mm level fader control

4 stereo line channel pairs, with:

• Left and right 1/4" TRS line input jacks

• Variable input gain with Level Set indicator LED

• 3-band EQ

• Pre-fader aux (monitor) send

• Post-fader aux (effects) send

• Pan (balance) control

• Mute

• Overload LED

• Assign to subgroup 1-2, 3-4, and main mix bus

• Solo

• 60 mm level fader control

• Ch 13/14 has a switchable internal phono preamp for converting phono-level signals from turntables into line-level and adding it to the main mix.

• Ch 15/16 can route the USB stereo output from your computer’s DAW output to the main mix. For example, you can add the audio output from Tracktion onto the main mix.

Master section, with:

• 1/4" TRS Aux 1/Mon and Aux 2/Effects send outputs and controls

• RCA tape in and tape out

• Power LED and Phantom power LED indicator

• BNC Lamp connector

• 1/4" Stereo Headphones jack

• Stereo Graphic EQ with bypass, assignable to main mix or monitors

• 16 Internal effects (each with 16 variations) with bypass, bypass LED, input level and overload LED

• USB Output Level control with overload LED, and assign from main mix or Subs1-2

• Control room and Headphones select from: main mix, CD/Tape, Sub 1-2, or Sub 3-4

• FX Return to Aux 1 control (monitor)

• FX Return to main mix control

• CD/Tape to main mix control

• 8-segment stereo LED VU metering

• Solo LED

• Each subgroup can be assigned to Left and/or Right of main mix

• 60 mm fader for each subgroup and main mix

Rear Panel section, with:

• AC Power Switch and Phantom Power Switch

• IEC AC Power Cord Socket

• Universal power supply accepts AC mains voltages from 100 to 240 VAC

• Balanced 1/4" TRS and XLR stereo main outputs

• 1/4" TRS main inserts

• 1/4" TRS control room outputs

• Four 1/4" TRS subgroup outputs

• USB connection

• Internal antique steam-powered calliope for authentic circus/carnival atmosphere

• OK, we made that last one up

LEFTRIGHT 1234

SUB OUTS

MAIN INSERT

LEFT

BAL/UNBAL BAL/UNBAL

TIP SEND / RING RETURN

RIGHT

CONTROL RM OUT

USB IN/OUT

MAIN OUT

RIGHT LEFT

AUX

SENDS

LINE

INPUT

BAL

UNBAL

(MONO)

MIC

INPUT

1 2 3 4 5 6 7 8

INST

INPUT

INSERT

MON

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

PHONESLAMP

BYPASS

EQ IN

MAIN MIX

AUX1(MON)

POWER

PHANTOM 48V

CD/TAPE

INPUT/OUTPUT

BAL

UNBAL

(MONO)

BAL

UNBAL

(MONO)

BAL

UNBAL

(MONO)

LINE

INPUT

LINE

INPUT

LINE

INPUT

STEREO GRAPHIC EQ

OUT

RETURN

(MON0)

Mono in/Stereo out Reverb

(optional)

Drum MicsVocal Mics

Active Stage Monitors

Tape Player/Recorder

Drum

Machine

Keyboard

Stereo Equalizer

(optional)

Stereo Gate/Compressor

Gate/Compressor

(optional)

Gate/Compressor

(optional)

Active Speakers (Mackie SRM450s)

Lead Guitar

Bass Guitar

Rhythm Guitar

Headphones

Turntable

with phono-level

output

1/4" to RCA

adapters

RCA

Mixer's Ground Screw

USB Connection

Laptop

Hookup Diagrams

Stereo PA system

LEFTRIGHT 1234

SUB OUTS

MAIN INSERT

LEFT

BAL/UNBAL BAL/UNBAL

TIP SEND / RING RETURN

RIGHT

CONTROL RM OUT

USB IN/OUT

MAIN OUT

RIGHT LEFT

AUX

SENDS

LINE

INPUT

BAL OR

UNBAL

(MONO)

MIC

INPUT

1 2 3 4 5 6 7 8

INST

INPUT

INSERT

MON

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

PHONESLAMP

BYPASS

EQ IN

MAIN MIX AUX1(MON)

POWER

PHANTOM 48V

CD/TAPE

INPUT/OUTPUT

BAL OR

UNBAL

(MONO)

BAL OR

UNBAL

(MONO)

BAL OR

UNBAL

(MONO)

LINE

INPUT

LINE

INPUT

LINE

INPUT

STEREO GRAPHIC EQ

OUT

RETURN

(MON0)

Mono in/Stereo out Reverb (optional)

Drum Mics

Vocal Mics

Tape Player/Recorder

Drum Machine

Keyboard

Stereo Equalizer

(optional)

Stereo Gate/Compressor

Gate/Compressor (optional)

Active Monitors (Tapco S-5)

Lead Guitar

Bass Guitar

Rhythm Guitar

Headphones

Turntable

with phono

level output

1/4" to RCA adapters

RCA

Mixer's Ground Screw

USB Connection

Laptop

LEFTRIGHT 1234

SUB OUTS

MAIN INSERT

LEFT

BAL/UNBAL BAL/UNBAL

TIP SEND / RING RETURN

RIGHT

CONTROL RM OUT

USB IN/OUT

MAIN OUT

RIGHT LEFT

AUX

SENDS

LINE

INPUT

BAL

UNBAL

(MONO)

MIC

INPUT

1 2 3 4 5 6 7 8

INST

INPUT

INSERT

MON

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

MIC

INPUT

INST

INPUT

INSERT

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

PHONESLAMP

BYPASS

EQ IN

MAIN MIX AUX1(MON)

POWER

PHANTOM 48V

CD/TAPE

INPUT/OUTPUT

BAL

UNBAL

(MONO)

BAL

UNBAL

(MONO)

BAL OR

UNBAL

(MONO)

LINE

INPUT

LINE

INPUT

LINE

INPUT

STEREO GRAPHIC EQ

OUT

RETURN

(MON0)

Vocal Mic

Active Monitors (Tapco S-5)

Guitar

Headphones

Turntable

with phono

level output

1/4" to RCA adapters

RCA

Mixer's Ground Screw

USB Connection

Laptop

Studio tracking and overdubbing

Transferring records, while yodelling and playing along

MIC

INST

INSERT

GAIN

MUTE

PAN

AUX

HIGH

MID

LOW

Blend 16 Features

MONO CHANNELS

Mono channels 1 to 8 allow adjustment of EQ, Pan, and Level for mono signals. The output from each channel strip can be assigned to the main mix and subgroups. Auxiliary signals can be tapped off and sent to Aux bus 1 (monitors) and Aux bus 2 (effects).

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 GAIN control correctly, you can set every control at U, and your signals will travel through the mixer at optimal levels.

Use the XLR inputs, or the 1/4" inputs, but not both on the same channel at the same time. Dedicate each mono channel to only one input at a time.

See Appendix B for more information on XLR, 1/4" TRS, and TS connectors.

1. MICROPHONE INPUTS

Channels 1 to 8 each have a real butch and rugged, low-noise, phantom-powered microphone preampliﬁer, providing 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 XLRtype male mic connector. See Appendix B for more information on XLR connectors.

These XLR inputs can provide +48 VDC phantom powering on pins 2 and 3. This can be turned on and off using the rear panel PHANTOM POWER (54) switch.

Caution: DO NOT connect a line-level device to an XLR input with the phantom power switched on. This could

damage the device. Use the stereo channel LINE (19) jacks instead. Do not use phantom power with tube or ribbon microphones, as this may cause damage.

2. INST INPUTS

The INST (instrument) inputs accept 1/4"

TRS balanced and TS unbalanced plugs.

These high-impedance inputs are suitable for the direct connection of instruments such as guitars, without the need for a direct box or guitar preamp.

3. INSERTS

These 1/4" TRS inputs allow you to insert external processing equipment into the channel signal path (after the LOW CUT (6) switch and before the EQ).

Using a special Insert plug, the mono signal can be sent out to a processor, and the processed signal returned, all on the same plug (see Appendix B). Nice.

4. GAIN CONTROL

If you haven’t already, please read “SET THE LEVELS” on page 4.

This control allows you to adjust the input sensitivity of the MIC (1) and INST (2) inputs. This allows signals from the outside world to be adjusted to the correct level, not too strong to cause distortion and not too weak to be lost in noise.

5. INPUT LEVEL SET LED

This handy LED lets you know that the signals going into the mixer are adjusted correctly.

After you connect a microphone or line-level component to the mixer, do a sound test and adjust the GAIN (4) control until this LED ﬂickers just occasionally. If it glows constantly, turn the GAIN (4) down. If the LED is doing almost nothing, turn it up.

6. LOW CUT FILTER SWITCH

This inserts a low cut ﬁlter into the signal path, reducing the bass level (below 75 Hz, at 12 dB per octave, if specs are your thing). This occurs after the GAIN (4) level, but before the INSERT (3), EQ (7-10) and AUX (11-12) sections. Use this to cut down the low bass from things like stage rumble, mumble, bumble, and any low sounds that seem to come from two apartments down. We recommend you use this on all channels unless they have low frequency signals such as kick drums and bass guitars.

EQUALIZATION

Each EQ control provides up to +15 dB of boost, and –15 dB of cut, with no change to the signal in the center position (0 dB).

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.

7. HIGH EQ

Turn this clockwise to boost the level of all frequencies above 12 kHz. Turn it counter-clockwise to cut 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.

+ 19 hidden pages