Tapco Blend 16 User Manual download pdf (Page 9)

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 su/jointfilesconvert/1337712/bgroups.

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 XLR-

type 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.

MIC

INST

INSERT

GAIN

MUTE

PAN

AUX

HIGH

MID

LOW

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Tapco Blend 16 User Manual Page 9

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