13.

Unplug this apparatus during lightning storms or when

CAUTION AVIS unused for long periods of time.
RISK OF ELECTRIC SHOCK 14. Refer all servicing to qualified service personnel. Servicing
DO NOT OPEN is required when the apparatus has been damaged in any
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
way, such as when the power-supply cord or plug has been
damaged, liquid has been spilled or objects have fallen into
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK) the apparatus, the apparatus has been exposed to rain or
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL moisture, does not operate normally, or has been dropped.
ATTENTION: POUR EVITER LES RISQUES DE CHOC 15. This apparatus shall not be exposed to dripping or splashing,
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER and no object filled with liquids, such as vases, shall be
L'ENTRETIEN AU PERSONNEL QUALIFIE. placed on the apparatus.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE 16. This apparatus has been designed with Class-I construction
A LA PLUIE OU A L'HUMIDITE
and must be connected to a mains socket outlet with a
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
protective earthing connection (the third grounding prong).
“dangerous voltage” within the product’s enclosure that may be 17. This apparatus has been equipped with a single-pole rocker-
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 style AC mains power switch. This switch is located on the
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de “voltage dangereux” non isolé d'ampleur front panel and should remain readily accessible to the user.
suffisante pour constituer un risque d'éléctrocution.
18. This apparatus does not exceed the Class A/Class
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance B (whichever is applicable) limits for radio noise
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
emissions from digital apparatus as set out in the radio
employé pour alerter les utilisateurs de la présence d'instructions interference regulations of the Canadian Department of
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil. Communications.
ATTENTION —Le présent appareil numérique n’émet pas de bruits
SAFETY INSTRUCTIONS radioélectriques dépassant las limites applicables aux appareils
1. Read these instructions. numériques de class A/de class B (selon le cas) prescrites dans le
2. Keep these instructions. règlement sur le brouillage radioélectrique édicté par les ministere
3. Heed all warnings. des communications du Canada.
4. Follow all instructions.
19. Exposure to extremely high noise levels may cause
5. Do not use this apparatus near water.
permanent hearing loss. Individuals vary considerably in
6. Clean only with a dry cloth.
susceptibility to noise-induced hearing loss, but nearly
7. Do not block any ventilation openings. Install in accordance
everyone will lose some hearing if exposed to sufficiently
with the manufacturer’s instructions.
intense noise for a period of time. The U.S. Government’s
8. Do not install near any heat sources such as radiators, heat
Occupational Safety and Health Administration (OSHA) has
registers, stoves, or other apparatus (including amplifiers)
specified the permissible noise level exposures shown in the
that produce heat.
following chart.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with According to OSHA, any exposure in excess of these
one wider than the other. A grounding-type plug has two permissible limits could result in some hearing loss. To
blades and a third grounding prong. The wide blade or the ensure against potentially dangerous exposure to high
thrid prong are provided for your safety. If the provided sound pressure levels, it is recommended that all persons
plug does not fit into your outlet, consult an electrician for exposed to equipment capable of producing high sound
replacement of the obsolete outlet. pressure levels use hearing protectors while the equipment
10. Protect the power cord from being walked on or pinched is in operation. Ear plugs or protectors in the ear canals or
particularly at plugs, convenience receptacles, and the point over the ears must be worn when operating the equipment
where they exit from the apparatus. in order to prevent permanent hearing loss if exposure is in
11. Only use attachments/accessories specified by the excess of the limits set forth here.
manufacturer.
12. Use only with a cart, stand, tripod, bracket, or table specified Duration Per Day Sound Level dBA, Typical
by the manufacturer, or sold with the apparatus. When a In Hours Slow Response Example
cart is used, use caution when moving the cart/apparatus 8 90 Packed garage concert
combination to avoid injury from tip-over. 6 92
4 95 VW Bus Peace Train
PORTABLE CART WARNING 3 97
2 100 Cranked psychedelic tunes
Carts and stands - The 1.5 102
Component should be used
1 105 High speed chase on C.H.I.P.s
only with a cart or stand
that is recommended by 0.5 110
the manufacturer. 0.25 or less 115 Loudest parts at a Heavy Metal
A Component and cart
combination should be
moved with care. Quick
WARNING — To reduce the risk
stops, excessive force, and
uneven surfaces may cause
of fire or electric shock, do not
the Component and cart expose this appliance to rain or
combination to overturn.
moisture.
2
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

©2005 LOUD Technologies Inc. All Rights Reserved.

3
 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 1. Choose one of the microphones or instruments
MIX FX Series mixer. you connected to the mono MIC or LINE input.
2. Turn down the channel strip GAIN, AUX SEND, Make some noise. If it’s a microphone, sing at your
and fader controls. normal singing volume. If it’s an instrument, play it
3. Center the channel strip EQ and PAN/BAL at its normal output level.
controls. 2. Push in the channel’s SOLO switch next to the
4. Turn down the MASTER AUX SENDS, AUX fader (make sure the SOLO MODE switch above
RETURN, FX RETURN and CTRL ROOM/ the meters is up, in PFL mode). While making
PHONES controls. noise, turn up that channel’s GAIN control until
the +7 and +10 indicators on the meters are
5. Leave all switches out (up).
flashing. If the CLIP LEDs start blinking, turn down
6. Turn down the ALT 3/4 or SUB 1/2 faders, and the GAIN control a bit.
the MAIN MIX faders.
3. Raise that channel’s fader to unity gain (U label).
You should be hearing your noise now.
CONNECTIONS:
4. If necessary, apply channel EQ changes. (You may
1. Connect your speakers to your amplifier’s outputs
need to compensate for level changes afterward
(unless, of course, you have powered speakers).
with the channel fader control.)
2. Using TR or TRS cables, make connections from
5. Repeat steps 1 through 4 for the other Mic/Line
your mixer’s MAIN OUTS to your amplification
channel(s).
system’s line inputs.
6. Stop making noise. Everyone: start making music.
3. Connect your microphones and instruments to
the mixer: Connect microphones to the mono 7. Now turn up the MAIN MIX control to a
channel MIC INPUT jacks. (For condenser comfortable listening level.
microphones, turn on the PHANTOM POWER
switch.) Connect line-level signal sources to the SET THE LEVELS (Stereo Line Channels):
LINE input jacks. 1. Make some noise with the mono or stereo
Note: Normally, you would plug in only one instrument connected to the LINE IN jacks on a
microphone or one instrument into each mono stereo line-input channel.
channel. 2. Push in the channel’s SOLO switch next to the
4. Zero the controls, as described above. fader. Adjust the line-input signal level at the
source until the +7 and +10 indicators on the
5. Connect the power cord supplied with your mixer
meters are flashing. If the CLIP LEDs start
to the AC socket on the back and plug it into an
blinking, turn down the signal level a bit.
AC outlet properly configured for your model.
3. Raise that channel’s fader to unity gain (U label).
6. Plug all other sound system components into
You should be hearing your noise now.
suitable AC outlets, properly grounded and
capable of delivering adequate current. 4. If necessary, apply channel EQ changes. (You may
need to compensate for level changes afterward
7. Turn all the power switches on, leaving the
with the channel LEVEL control.)
speaker’s amplifier’s switch for last.
5. Repeat steps 1 through 4 for the remaining stereo
8. Turn up the MAIN MIX fader to the –10 mark, for
channels.
now. We’ll crank it up later on.
9. Now you are ready to set the levels.

4
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A FEW PRECAUTIONS:
• Never listen to loud music for • Before making connections to an external
prolonged periods. Please amplifier, or reconfiguring an amp’s routing, turn
see the Safety Instructions the amp’s level (gain) controls down, turn the
on page 2 for information on power off, make the changes, turn the power back
hearing protection. on, and then turn the level controls back up.
• Never plug amplifier speaker-level outputs into • When you shut down your equipment, turn off any
anything except speakers. external amplifiers first. When powering up, turn
• Never use guitar cables to connect amplifiers to on the amplifiers last.
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
 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
• XLR microphone input jack • 12-segment stereo LED VU metering
• 1/4" TRS line-input jack • 1/4" TRS Aux Sends with rotary level controls
• Phantom power, globally switched • Stereo RCA tape out and tape in
• Variable input trim (0 to +50 dB) • Stereo 1/4" Phones output
• Overload (OL) indicator LED • Internal digital effects section with effects select
• Monitor Aux Send with Pre/Post switch control, variations control, input level control, FX
• Post-fader FX Aux Send overload LED, and FX bypass switch
• 3-band EQ • 1/4" Footswitch jack to bypass the internal
effects, duplicates the FX bypass switch
• 75 Hz low-cut filter
• Source select switches for Control Room/Phones
• Pan control
output
• Mute switch (Mute/Alt 3-4 switch on 220FX)
• Rotary Ctrl Room/Phones level control
• Solo switch
• Tape to Main switch
• Sub 1-2 and L-R assign switches (260 FX only)
• Solo mode switch (PFL/AFL)
• 60 mm fader
• Aux Return 1 level control with Main/Sub 1-2
assign switch
Stereo line channels:
• Aux Return 2 (FX) level control with Return to Aux
• Left and right 1/4" TRS line input jacks
1 level control
• +4/–10 input level switch
• Inter-Planetary Space Drive control
• Monitor Aux Send with Pre/Post switch
• OK, we made that last one up, but we can pencil it
• Post-fader FX Aux Send in for next time
• 3-band EQ
• Balance control Rear panel:
• Mute switch (Mute/Alt 3-4 switch on 220FX) • Main power switch
• Solo switch • Master +48V phantom power switch with LED
• Sub 1-2 and L-R assign switches (260 FX only) indicator (except Mix.50)
• 60 mm fader • Left and Right XLR Main Outs
• Left and Right 1/4" Alt 3/4 Outs (220FX) or
Master section: Sub 1-2 Outs (260FX)
• 60mm fader Main Mix controls • Left and Right 1/4" TRS Control Room outputs
• 60mm fader Alt 3-4 controls (220FX only) • 1/4" Insert jacks for channels 1-4 (260FX only)
• 60mm fader Sub 1-2 controls (260FX only) with
6 Assign to Main Mix switches
HOOKUP DIAGRAMS Active Speakers (Mackie SRM450s)

Small Club Gig

MAIN OUT ALT 3/4 OUTS CONTROL RM OUT

POWER PHANTOM
ON ON
RIGH
RIGHT LEFT
LEF BAL/UNBAL BAL/UNBAL

Stage Monitors 4 3 RIGHT

RIGH LEFT
LEF

100 - 120 VAC /

220 - 240 VAC
50 - 60 Hz 40W
40W

TAPCO Juice Mono in/Stereo out Reverb

Power Amplifier (optional)

Headphones

Microphones
1 and 2

1 1 1 1 L
1
MON L L
POWER
POWE
MON0)
(MON0 PHONES

2 R R R
PHANTO
PHANTOM
48V
FX IN OUT
MIC MIC MIC MIC CD/TAPE
AUX SEND AUX RETURN FX RETURN INPUT/OUTPU
INPUT/OUTPUT FOOTSW
INPUT INPUT INPUT INPUT
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL MONO)
(MONO MONO)
(MONO

L L
BAL BAL
OR OR
LINE LINE LINE LINE UNBAL UNBAL

R R

0 0 0 0

GAIN GAIN GAIN GAIN LINE +4

LINE +4
75Hz
75H 75Hz
75H 75Hz
75H 75Hz
75H -10 -10
5 7
1 EQ 1 EQ 1 EQ 1 EQ 6 EQ 8 EQ

CD Player

DAT Recorder

TAPCO S•5 or other

Keyboard Drum Machine
Active Studio Monitors

Computer set-up

MAIN OUT ALT 3/4 OUTS CONTROL RM OUT

POWER PHANTOM
ON ON
RI
RIGH
GHT LEFT
LEF BAL/UNBAL BAL/UNBAL

4 3 RIGHT
RIGH LEFT
LEF

100 - 120 VAC /

220 - 240 VAC
50 - 60 Hz 40W
40W

Mono in/Stereo out Reverb

(optional)

Headphones

Note: Push down the CD/

Microphones TAPE [21] switch in the
1 and 2
CONTROL ROOM section
1 1 1 1
1
L to listen to the DAW
L L
MON

MON0)
(MON0 PHONES
POWER
POWE output in the control room
2
FX
R R
IN
R
OUT
PHANTO
PHANTOM
48V
speakers and headphones.
MIC
INPUT
BAL/UNBAL
MIC
INPUT
BAL/UNBAL
MIC
INPUT
BAL/UNBAL
MIC
INPUT
BAL/UNBAL
AUX SEND

MONO)
(MONO
AUX RETURN

MONO)
(MONO
FX RETURN
CD/TAPE
INPUT/OUTPU
INPUT/OUTPUT FOOTSW
Leave it up to listen to the
L L main mix. Do not press
LINE LINE LINE LINE
BAL
OR
UNBAL
BAL
OR
UNBAL the TAPE TO MAIN [24]
R R
switch, or there will be
TAPCO DB-1A
0

GAIN
0

GAIN
0

GAIN
0

GAIN LINE +4
LINE +4
feedback.
75Hz
75H 75Hz
75H 75Hz
75H 75Hz
75H -10 -10
5 7
Direct Box 1 EQ 1 EQ 1 EQ 1 EQ 6 EQ 8 EQ
Digital Audio Workstation

Guitar TAPCO Link.USB or other

Digital Audio Interface
Keyboard Drum Machine
7
 -15 +15
U

80Hz
-15 +15

MIX FX SERIES FEATURES U

SEND
MONO)
(MONO

L
CHANNEL INPUTS BAL
OR
2 MON
UNBAL
1. MIC (MICROPHONE) INPUTS 3. GAIN CONTROL +15

The MIX FX Series is (Mono Channels only) R

1 U

equipped with four rugged, If you haven’t already, please

PRE

low-noise, phantom-powered read “SET THE LEVELS” on page 4. 4

FX
microphone preamplifiers, The GAIN control adjusts the LINE +15
1 providing up to 50 dB of crys- input sensitivity of the MIC and
+4
-10
5
tal-clear amplification. Their LINE inputs. This allows signals 6 EQ
balanced circuitry rejects all from the outside world to be U
Mix.220FX Stereo Channel
MIC manner of extraneous interfer- adjusted to optimal internal
INPUT L R
ence. Professional condenser, operating levels. 12kHz
BAL/UNBAL
dynamic, and ribbon mics all MUTE
The GAIN control provides -15 +15
sound excellent through these 50 dB of gain with the knob 15 5U
2 XLR inputs. fully up. 6
You can plug in almost any ALT 2.5kHz
3/4
LINE kind of balanced mic that has 4. +4/–10 Switch -15
U
+15

a standard XLR-type male mic (Stereo channels only) dB

5
connector. See Appendix B 10 OL
3 Instead of a rotary gain 80Hz
for more information on XLR control, the stereo channels -15 +15
5
0
6 connectors. have a gain switch. This 16 17
GAIN The MIX FX Series provides changes the input sensitivity USEND
U SOLO
75Hz
75H +48 VDC phantom powering of the channel to match either
Mix.220FX Mono Channel on pins 2 and 3 of the mono the –10 dBv consumer level or
5

U channels’ XLR MIC inputs. This the +4 dBu professional level. MON
10
+15
can be turned on and off using Most consumer equipment with
12kHz
the PHANTOM [58] switch. RCA connectors operate at U 20
PRE
-15
U
+15
the –10 dBv level, while most 30
CAUTION: DO NOT connect a line- professional equipment with FX
level device to a MIC input with the 1/4-inch phone jacks or XLR 40
+15
2.5kHzphantom power switched on. This 50

-15 +15
connectors operate at the +4 60
U
could damage the device. Use the dBu level.
OO

LINE IN [2] jacks instead. As you might expect, the

Do not use phantom power with tube or ribbon +4 dBu level is higher (louder)
80Hz
microphones, as this may cause damage. Mix.220FX
L Stereo
R Channel
-15 +15 than the –10 dBv level. If you
have trouble getting enough volume from a signal
2. LINE INPUTS
U
SEND connected to one of these stereo channels, push in
These inputs can accept 1/4" TRS balanced and TS the +4/–10 switch to get more volume.
unbalanced plugs from any line-level instrument, effects
device, or tape
MONplayer. They can be driven by virtually 5. OL LED
any line-level
+15
signal, from –45 dBu up to +18 dBu. This handy LED (Light Emitting Diode) lets you
There
U
are two line-inputs for each stereo channel, know that the signals going into the mixer are10 OL
a left and a PRE
right. When connecting a stereo device adjusted to the correct level, not too strong to cause
(two cords), use both the left (mono) input and the distortion and not too weak to be lost in noise.
5

right input. FX
+15 After you connect a microphone or line-level U
When connecting a mono device (just one cord), SOLO
component to the mixer, do a sound test and adjust
always use the left (mono) input and plug nothing the GAIN control until this handy LED flickers5 just
into the right input. A trick called “jack normalling” occasionally. If it is glowing constantly, turn the GAIN
10
causes the signal to appear on both sides. down. If the LED is doing almost nothing, turn it up.
L R
20

30

40
50

8 OO
60

10 OL
 0

75Hz

CHANNEL CONTROLS The 260FX has a sweepable 1 EQ

MID EQ on the mono channels U
The channel strips have various controls,
(see 9 next), and two discrete
depending on the model and whether it is a mic/line
MID EQ controls on the stereo 7 HIGH
(mono) channel or a stereo channel. 12kH
12kHz
channels, with center frequencies -15 +15
The output from each channel strip passes on
at 3 kHz and 500 Hz [8a].
to the left and right main mix. Two auxiliary signals
The midrange frequencies 9
MID
can be tapped off and sent to monitors or effects FREQ
include the upper male and
processors. The block diagrams on pages 23-24 10
100 8k
lower female vocal ranges,
show how the signal flows through each mixer. U

and the fundamentals

UNITY GAIN and harmonics for many 8 MID
LOOK instruments.
The U symbol on most of the -15
U
+15

controls, stands for “unity gain,” 9. MID FREQ

meaning there is no change 10 LOW
CLOSER in signal level. Once you have (Mix.260FX Mono Channels 80Hz
80H
-15 +15
adjusted the input signal to line- only)
level, you can set every control at U, and your signals This allows you to change AUX
U
SEND
SEN
will travel through the mixer at optimal levels. the center frequency for the
MID EQ filter so you can zero in 11
EQUALIZATION 1
(MONO)
more accurately on the precise MON
MO
Each EQ control provides up to 15 dB of boost narrow band of frequencies you +15 L
and cut, with no change to the signal (0 dB) in the want to boost or cut. It ranges
U BAL
12
center position. The Mix.220FX has three-band EQ from 100 Hz to 8 kHz. OR
PRE
UNBAL
on all the channels, while the Mix.260FX has three- 13 2
band EQ with variable mid on the mono channels, 10. LOW EQ R
FX
+15
and four-band EQ on the stereo channels. Turning this clockwise boosts
Although you can bring a sound to life with proper the level of all frequencies Mix.260FX Mono Channel
EQ, you can also mess things up. If you max the EQs below 80 Hz. Turning it counter-
LINE
on every channel, you’ll get mix mush, not to mention clockwise cuts the levels. +4
-10
driving your mix levels near or beyond clipping. So Frequencies of 80 Hz and L
5 R
6 EQ
equalize subtly; use cut as well as boost. below represent the punch U
in bass drums, bass guitar,
6. 75Hz Low-Cut Switch fat synth patches, and high- 7 HIGH
12kH
12kHz
(Mono Channels only) testosterone male singers.
-15 +15
This switch cuts the bass frequencies below 75 Hz. U

We recommend that you use the Low-Cut switch AUXILIARY MID

In addition to the main mix 8 3kHz
on every microphone application except kick drum, 10 OL
bass guitar, bassy synth patches, or recordings of output, the mixer provides -15 +15
U
earthquakes. These aside, there isn’t much down two auxiliary mixes, which you 5

there that you want to hear, and filtering it out makes can send to parallel effects 8a MID
U
the low stuff you do want much more crisp and tasty. processors and stage monitors. 500Hz
500H
1-2
-15 +15
The AUX SEND knobs adjust U 5
7. HI EQ how much of each channel is
Turning this clockwise boosts the level of all tapped off, added to the aux 10 10 LOW
L-R
80Hz
80H
frequencies above 12 kHz. Turning it counter- mix, and sent out via the AUX -15 +15
20
clockwise cuts the levels. SEND [45] jacks.
AUX
Use this wisely to add sizzle to cymbals or an On the stereo channels, the 30SEN
SEND
U SOLO
overall sense of transparency or edge to keyboards, AUX knob controls a mono sum
40
vocals, guitar, and bacon frying. Turn it down a little of the channel’s stereo signals. 11 50 1
to reduce sibilance or hide tape hiss. For instance, channel 5 (L) and OO
60 MO
MON
+15
6 (R) mix together to feed that
8. MID EQ channel’s AUX send knobs. U
12
PRE
Turning this clockwise boosts the level of
frequencies at and around 2.5 kHz on the 220FX.
13 2
FX
Turning it counter-clockwise cuts the levels. +15

Mix.260FX Stereo Channel

9
L R
 BAL/UNBAL

11. AUX SEND 1 (MON) For stereo channels, the BAL control works like
0
The AUX SEND 1 can be used either as a monitor a home stereo balance control, by attenuating one
send (pre-fader) or an effects send (post-fader). side or the other. In the center position, the left and
75Hz
Push in the PRE [12] switch to use AUX SEND 1 as right channel signals pass through to the main mix
a 0monitor send and feed the mono input of a stage unaffected. If it is turned left, the right channel is
monitor amplifier via the AUX SEND 1 [45] output jack. attenuated; if turned right, the left side is attenuated.
U

In pre-fader
75Hz mode, the signal is tapped off after

the EQ controls, but before the fader control, so the 15. MUTE/ALT 3-4 12kHz

monitorU send is not affected by changes in the Main Mix. The Mix.260FX has a simple MUTE -15 switch.
+15

If you want to use the AUX SEND 1 as an effects Engaging a channel’s MUTE switch provides (almost)
MID
send, leave12kHz
the PRE switch up and use it as described the same results as turning the fader all the way FREQ
for
-15the+15
AUX SEND 2 [13]. down (a pre-aux send is not affected by the channel
100 8k
U
fader, but it is by the MUTE switch). Any channel
U

12. PRE assignments to L-R MAIN MIX and SUB 1-2 will be
This switch determines whether the AUX SEND 1
2.5kHz interrupted, all the AUX sends will be silenced (both
is-15 U
+15
pre-fader (pushed in) or post-fader (out). Typically, pre- and post-fader), as will the AFL SOLO.
-15 The
+15

push this switch in when using AUX SEND 1 as a PFL SOLO will continue to provide a signalUwhen a
monitor send, and leave it out when using it as an channel is muted.
eff ects+15
80Hz
send. The LED next to the MUTE switch lights to let you80Hz
-15 -15 +15
know when the MUTE function is
AUX 13. AUX SEND 2 (FX) active. AUX
U
SEND
SEN SEND
SEN
The AUX SEND 2 is used The Mix.220FX has a dual- U

11 to feed the mono input of purpose MUTE/ALT 3-4 switch.

1 11 1
MON
MO parallel effects devices via This is a Mackie signature, and MON
MO
+15
the AUX SEND 2 [45] output now a TAPCO signature. When +15
12 jack. All the channel controls Greg was designing one of the 12
U U
PRE (except PAN or BAL) will affect first Mackie products, he had PRE
13 2 the AUX signal. The signal is to include a mute switch for 13 2
FX
tapped off after the fader each channel. Mute switches do FX
+15 +15
control. The output from an just what they sound like they
PAN do. They turn off the signal by PAN
external processor can come
back in via the stereo FX “routing” it into oblivion. “Gee,
14 what a waste,” Greg reasoned. 14
RETURN [47] inputs, and can
L R be added to either the main mix “Why not have the mute button L R
MUTE or the ALT 3-4 (on the 220FX) route the signal somewhere else MUTE
useful, like a separate stereo
15 1 or the SUB 1-2 (on the 260FX).
bus?” So MUTE/ALT 3-4 really
15 1
ALT 14. PAN/BAL serves two functions—muting
3/4
This adjusts how much of (often used during mixdown or
5 the channel signal plays in the live shows), and signal routing (for
dB 5
OL left side of the main mix, and multitrack and live work) where it dB
10 10 OL
how much plays in the right. acts as an extra stereo bus.
5
For mono mic/line channels, To use this as a MUTE switch, 5
16 17 all you have to do is not use the 16 18
U
if PAN is in the center position,
SOLO ALT 3-4 outputs [53]. Then, U
the mono signal appears 1-2
1-

5 equally in both the left and whenever you assign a channel 5

right of the main mix. If the to these unused outputs, you’ll 19
10
control is set left, more of the also be disconnecting it from the 10
L-
L-R
20
signal appears in the left side. MAIN MIX, effectively muting the
20
If the control is set right, more channel. The MUTE switch also
17
30
of the signal appears in the disconnects the channel from the 30
SOL
SOLO
40 right side of the mix. AUX SEND 2 bus (and the AUX
40
50 SEND 1 bus when the PRE [12] 50
OO
60
switch is up). The channel’s signal OO
60

is still present on the AUX SEND

1 bus when the PRE switch is
Mix.220FX Mono Channel engaged. Mix.260FX Mono Channel
10
 To use this as an ALT 3-4 switch, all you have to up, you’ll get “PFL” (Pre-Fader Listen), which is after
do is connect the ALT 3-4 outputs [53] to whatever the GAIN and EQ controls, but before the channel
destination you desire. Two popular examples: fader. With the switch down, you’re in “AFL” (After-
When doing multitrack recording, you can use the Fader Listen), which is post-fader and post-PAN/
ALT 3-4 outputs as a stereo or dual-mono feed to BAL, making it ideal for mixdown soloing.
your multitrack. Soloed channels are sent to the CONTROL
When doing live sound or mixdown, it’s often ROOM, PHONES, and Meters. Whenever SOLO is
handy to control the level of several channels with engaged, all CONTROL ROOM SOURCE selections
one knob. That’s called subgrouping. Simply assign — MAIN MIX, CD/TAPE, ALT 3-4 (Mix.220FX only),
these channels to the ALT 3-4 mix, engage ALT 3-4 and SUB 1-2 (Mix.260FX only) — are defeated, to
[22] in the CONTROL ROOM/PHONES SOURCE allow the soloed signal to do just that—solo!
matrix, and the signals will appear at the CONTROL
ROOM [55] and PHONES [50] outputs. 18. Sub 1-2 Assign Switch (Mix.260FX only)
If you want the ALT 3-4 signals to go back into the This switch assigns the channel to the Sub 1 and 2
MAIN MIX, patch the ALT 3-4 OUT [53] back into buses. The PAN/BAL [14] control adjusts how much
an unused stereo channel (5-6 or 7-8). If that’s your of the signal is sent to each bus. When the PAN/
choice, don’t ever engage the MUTE/ALT 3-4 switch BAL control is centered, Sub 1 and 2 receive equal
on that stereo channel, or you’ll have every dog in the signal levels, while full left is Sub 1 only and full right
neighborhood howling at your feedback loop. is Sub 2 only.
Another benefit of the ALT 3-4 feature is that it can
act as an “AFL” (After Fader Listen). Just engage a 19. L-R Assign Switch (Mix.260FX only)
channel’s MUTE/ALT 3-4 switch and the ALT 3-4 [22] This switch assigns the channel to the Left and
switch in the CONTROL ROOM SOURCE matrix and Right Main Mix buses. This switch must be pushed
you’ll get that channel, all by itself, in the CONTROL in to get the channels’ signal through to the main
ROOM [55] and PHONES [50]. outs. An alternative routing is to push in the SUB 1-2
MUTE/ALT 3-4 is one of those features that assign switch and the SUB ASSIGN TO MAIN MIX
can bewilder newcomers, so take your time and [41] switches.
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
This is the master level control for the channel’s 20. MAIN MIX Switch
signal. Subtle adjustment of the channels’ fader Use this switch to route the Main Mix signals to the
control is the key to a finely-tuned mix. CONTROL ROOM outputs, PHONES, and METERS.
Typically (providing the GAIN is set correctly), this When this switch is pushed in, they all receive the
will be positioned somewhere around 0 dB (U). main mix signal tapped after the MAIN MIX control.
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 21. CD/TAPE Switch
down, your GAIN may be too high. Push this switch to route the CD/TAPE input
signal to the CONTROL ROOM outputs, PHONES,
17. SOLO and METERS.
This handy switch allows you to hear signals
through your headphones or control room outputs 22. ALT 3-4 (Mix.220FX) or
without having to route them to the MAIN or ALT 3-4 SUB 1-2 (Mix.260FX) Switch
mixes. Folks use solo in live work to preview channels Push this switch to route the ALT 3-4 signal or the
before they are let into the mix, or just to check out SUB 1-2 signal to the CONTROL ROOM outputs,
what a particular channel is up to anytime during PHONES, and METERS.
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
as the RUDE SOLO LED located just CONTROL ROOM
above the meters). 23 24 25
20 21 22
Your MIX FX Series has “Dual-Mode PFL
PF
Solo.” A switch in the master section, AFL
AF

SOLO MODE [25] determines which MAIN CD/ ALT MAX TAPE TO SOLO
MIX TAPE 3-4 MAIN MODE
mode you’ll be hearing. With the switch CTRL ROOM/
SOURCE SELECT PHONES

11
U AUX SEND RETURN
CLIP

+10
 23. CTRL ROOM/PHONES Knob With the SOLO MODE switch in the up position,
This adjusts the signal level going to the you’re in PFL mode, meaning Pre-Fader Listen (post-
CONTROL ROOM [55] and PHONES [50] outputs. EQ). This mode is required for the “Set the Levels”
It has no effect on the Main Mix output. procedure and is handy for quick spot-checks of
WARNING: The headphone amp channels, especially ones that have their faders
is designed to drive any standard turned down.
headphones to a very loud level. With the switch down, you’re in AFL mode,
We’re not kidding! It can cause meaning After-Fader Listen. You’ll hear the output of
permanent hearing damage. Even the soloed channel—it will follow the channel’s GAIN,
intermediate levels may be painfully EQ, FADER and PAN settings. It’s similar to muting all
loud with some headphones. BE CAREFUL! Always the other channels, but without the hassle. Use AFL
start with the CTRL ROOM/PHONE knob turned mode during mixdown.
all the way down before connecting headphones to In either mode, SOLO will not be affected by a
the PHONES jack. Keep it down until you’ve put on channel’s MUTE/ALT switch position.
the headphones. The turn it up slowly. Why? Always Note: Be careful when switching
LOOK from AFL to PFL mode. If you have
remember: “Engineers who fry their ears, find
themselves with short careers.” the channel fader turned down very
much below unity gain (U) while in
24. TAPE TO MAIN Switch CLOSER AFL mode, switching to PFL mode
If you have a CD or Tape Deck connected to the will cause a sudden and startling
CD/TAPE inputs, push down this switch to add the increase in volume level.
CD/TAPE signal to the main mix. This is useful if you
want to play some entertainment* while the band is 26. RUDE SOLO LED
taking a break. Use the MAIN MIX controls to adjust This large LED lights when a channel’s solo
the volume level. is active, as an additional reminder beyond the
* We do not mean to imply that your band isn’t indicating LEDs on each channel. If you work on a
entertaining, or that any other music could possibly mixer that has a solo function with no indicator lights
fill in for them. and you happen to forget you’re in solo mode, you
can easily be tricked into thinking that something is
25. SOLO MODE PFL/AFL wrong with your mixer. Hence, the RUDE SOLO light.
Engaging a channel’s SOLO switch will cause this It’s especially handy at about 3 am when no sound
dramatic turn of events: Any existing CONTROL is coming out of your monitors but your multitrack is
ROOM SOURCE selections are replaced by the playing back like mad.
SOLO signal, appearing at the CONTROL ROOM Note: In PFL Solo Mode, the RUDE SOLO LED is
OUTPUTS, PHONES and at the RIGHT METER green. In AFL Solo Mode, the LED is red.
(LEFT and RIGHT METERS when in AFL SOLO
MODE). The audible SOLO levels are then controlled
by the CTRL 27. Meters
CONTROL ROOM The peak
ROOM/PHONES 23 24 25
knob [23]. The 20 21 22 meters are made
SOLO levels PFL
PF up of two columns
AFL
AF
appearing on of LEDs, with
MAIN CD/ ALT MAX TAPE TO SOLO
the meters are MIX TAPE 3-4 MAIN MODE three colors to
CTRL ROOM/
not controlled SOURCE SELECT PHONES
indicate different
by the CTRL ranges of signal
MASTER AUX 26 level, traffic light
ROOM/PHONES RETURN RUDE SOLO
AUX SEND
knob—you wouldn’t U style. They range
CLI
LIP
want that. You 30 31 from –30 at the
1 +10
+1
bottom (–20 on
want to see the MON
MO
+5
LEVE
LEVEL
SE
SET
actual channel +15 SOLO +15 MAIN
MAI the Mix.220FX),
ALT 3-
3-4
28 29 FX +2
to 0 in the middle,
level on the meters U RETURN 27
regardless of 32 33 0 to CLIP (+18) at
how loud you’re 2
RTRN
RTR
TO
-2 the top.
listening. FX
SOLO
AUX 1
-5 The 0 LED
+15 +15 +15
-2
-20 in the middle is
0dB = 0dB
0dBu labeled LEVEL

12
SET to show where the level should be when AUXILIARY SECTION
adjusting a channel’s gain in the solo mode, as
described in “Set the Levels” on page 5. 28. MASTER AUX SEND Knobs
If nothing is selected in the CONTROL ROOM The Master AUX SEND knobs provide overall
SOURCE SELECT and no channels are in SOLO, the control for the aux send levels, just before the signal
meters won’t do anything. To display a signal level, is delivered to the Aux Send outputs.
a source must be selected in the CONTROL ROOM It ranges from off when fully counter-clockwise, to
SOURCE SELECT, which feeds the CONTROL unity gain at the center detent position, to +15 dB
ROOM [55] and PHONES [50] outputs. The meters gain when fully up.
reflect the program level of the selected source prior
to the CTRL ROOM/PHONES [23] level knob. 29. MASTER AUX SEND SOLO Switches
The reason for this is because you want the meters These allow you to monitor the aux send signals in
to reflect what the engineer is listening to, and the the CONTROL ROOM and PHONES outputs. This
engineer is listening either to the CONTROL ROOM is especially handy for listening to an aux send being
outputs or the PHONES outputs. The only difference used to feed on-stage monitors.
is that while the listening levels are controlled by the
CTRL ROOM/PHONES knob, the meters indicate the 30. Master AUX RETURN Level Control
SOURCE mix before those knobs, giving you the real This adjusts the amount of the Aux Return signal
facts at all times, even if you’re not listening at all. that is added to the Left and Right Main Mix buses
When a channel is soloed, the meters change to just before the MAIN MIX [42] faders.
reflect the level of that channel’s signal level, pre- or (Note: For additional routing options for the AUX
post-fader, depending on the SOLO MODE [25] RETURN signal, see “Assign Switch” next).
setting.
You may already be an expert at the 31. MAIN/ALT 3-4 Assign Switch (Mix.220FX)
LOOK world of “+4” (+4 dBu=1.23 V) and MAIN/SUB 1-2 Assign Switch (Mix.260FX)
“–10” (–10 dBV=0.32 V) operating
When this switch is up, the Aux Return signal is
levels. What makes a mixer one or
routed to the Left and Right Main Mix bus. When
CLOSER the other is the relative 0 dB VU (or the switch is down, the signal is routed to the Alt 3-4
0 VU) chosen for the meters. A “+4”
(Mix.220FX) or Sub 1-2 (Mix.260FX) buses instead
mixer, with +4 dBu pouring out the back will actually
of the Main Mix bus.
read 0 VU on its meters. A “–10” mixer, with a –10
dBV signal trickling out will read, you guessed it, 0 32. Master FX RETURN Level Control
VU on its meters. So when is 0 VU actually 0 dBu?
This adjusts the amount of the FX Return signal
Right now!
that is added to the Left and Right Main Mix buses
TAPCO mixers show things as they really are.
just before the MAIN MIX [42] faders.
When 0 dBu (0.775 V) is at the outputs, it shows as
If there is nothing plugged into the FX RETURN
0 dB VU on the meters. What could be easier? By
Inputs, the FX Return signal comes from the Internal
the way, the most wonderful thing about standards is
Effects module.
that there are so many to choose from.
If the output from an external effects processor
Thanks to the MIX FX Series’ wide dynamic range,
is plugged into the FX RETURN Inputs, the Internal
you can get a good mix with peaks flashing anywhere
Effects is disconnected and only the external effects
between –20 and +10 dB on the meters. Most
signal is routed through the FX RETURN level
amplifiers clip at about +10 dBu, and some recorders
control.
aren’t so forgiving either. For best real-world results,
try to keep your peaks between “0” and “+7” (“+5” on 33. RTRN TO AUX 1 Level Control
the 220.FX).
This routes the FX RETURN signal to the AUX 1
Remember, audio meters are just tools to help
SEND. This is not affected by the FX RETURN level
assure you that your levels are “in the ballpark.” You
control, so you can use this control to add the FX
don’t have to stare at them (unless you want to).
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].

13
 INTERNAL EFFECTS 37. FX OL
The internal effects circuit receives a mono signal This LED indicates when you are approaching the
from the AUX 2 FX bus, and it outputs a stereo signal clipping point for the digital effects processor. If you
onto the main mix buses. see the FX OL overload light blinking frequently, turn
The input signal is controlled by the MASTER down the FX INPUT LEVEL knob until it just turns off
AUX SEND 2 knob [28] and the FX INPUT LEVEL during the louder passages, riffs, chords, yells, etc.
knob [36], while the outputs are controlled by the FX
RETURN [32] knob. 38. FX BYPASS
Inside the processor, the analog audio is Press this switch in to bypass the internal effects
converted to digital, this is processed by the internal processor, and so prevent its output from appearing
DSP effects processor, and the result converted into on the main mix or stage monitors. The LED next
a stereo analog signal. to the BYPASS switch reminds you whenever the
processor is bypassed.
34. Internal Effects Select Knob Use BYPASS if you are not using the internal
The internal effects processor has 16 great effects, or use it to quickly compare between the
preset effects to enhance your sound, confuse effective effect of effects and the effect of no effects.
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 MAIN MIX, SUBS, and POWER
momentarily when changing effects. LEDs
35. VARIATIONS 39. ALT 3-4 Master Faders (Mix.220FX)
As you rotate this control from position 1 These faders control the level of the signals sent
through 16, the “strength” of the effect increases. to the ALT 3-4 OUTS [53]. Remember, channels are
For example, if using a reverb effect, a low number routed to the ALT 3-4 OUTS when their MUTE/ALT
produces a short reverb time, and a larger number 3-4 switch is pushed in (Mix.220FX only).
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
This knob allows you to adjust the signal level the SUB OUTS [54]. All channels that have their Sub
going into the internal effects processor. As a general 1-2 assign switch [18] pushed in appear at the SUB
rule, adjust the FX INPUT LEVEL knob until you just OUTS (Mix.260FX only).
barely see the FX OL LED [37] blink. This will give
you the best signal-to-noise ratio for the effects The ALT 3-4 and SUB 1-2 signal is off
LOOK when the faders are fully down, the
signal.
“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

INTERNAL EFFECTS Switches (Mix.260FX only)
SPRING
SPRIN ECHO
ECH 16
One popular use of the subgroups
1
STAGE
STAG ECHO+REV
ECHO+RE 15 2 is to use them as master faders for
14 3
TREMOL
TREMOLD STEREO DE
DELA
LAY a group of channels on their way to
ROOM 13 4
34
CATHEDRAL
35 the MAIN MIX. Let’s say you’ve got a
FLANGER+RE
FLANGER+REV STUDIO 12 5
drum kit using several channels and
FLANGER
FLANGE CHORUS 11 6
THEATE
THEATER CHORUS+RE
CHORU S+REV
you’re going to want to adjust the
10 7
ROTARY
ROTAR HAL
ALL
9 8 overall volume of just the drums with
VARIATIONS
two master faders. Just un-assign
36 these channels from the MAIN MIX,
FX
INPUT
37 38 FX
LEVEL
FX OL
BYPASS reassign them to subgroups 1-2,
MAX engage the SUB ASSIGN TO MAIN
MIX LEFT on subgroup 1 and SUB
14
 L 50 51
1 L L L 43
45
MON
46 MON0)
(MON0
47 48 49 POWER

44
PHANTOM
R R R R PHONES FOOTSW
2 IN OUT
48V

FX
CD/TAPE
AUX SEND AUX RETURN FX RETURN MAIN OUT INPUT/OUTPU
INPU T/OUTPUT

ASSIGN TO MAIN MIX RIGHT on subgroup 2. Now 43. POWER LED

you can ride the entire drum mix with two faders— This LED turns on when the mixer’s power cord
subgroups 1 and 2. is plugged into an AC outlet and the POWER [57]
If you engage just one SUB ASSIGN TO MAIN MIX switch on the rear panel is turned on.
button per subgroup (LEFT or RIGHT), the signal
sent to the MAIN MIX will be the same level as the 44. PHANTOM 48V LED
SUB OUTS. If you want the subgroup to appear in This LED turns on when the mixer’s PHANTOM
the center of the main mix, engage both the SUB Power [58] switch on the rear panel is turned on.
ASSIGN TO MAIN MIX LEFT and RIGHT buttons.
The signal will be sent to both sides.
FRONT PANEL CONNECTORS
42. MAIN MIX Faders
This controls the final level of main mix signals 45. AUX SEND OUT 1 and 2
sent to the MAIN [52] outputs, TAPE [49] outputs, Connect these 1/4" TRS outputs to the inputs
CONTROL ROOM [55], PHONES [50], and METERS of an external effects processor or stage monitor
[27]. So it all comes down to this one control. amplifier.
Typically, the faders will be positioned somewhere Each channel strip has an AUX SEND 1 MON [11]
between 0 dB (U) and the +5 dB position. and AUX SEND 2 FX [13] control knob that adjusts
All active mono and stereo channels that are not how much of that channel’s signal appears at each
turned down or muted will appear in the main mix of these outputs. The output from these jacks is the
(the L-R Assign button [19] must be engaged on sum of all those active channels that have their AUX
the Mix.260FX). Other signals feeding this control SEND knobs set to more than the minimum position.
include the STEREO AUX and FX RETURNS [46/47],
and CD/TAPE IN [49] when TAPE TO MAIN [24] is
pushed in.
-10
SUB ASSIGN
TO MAIN MIX -20
-2

-30
-3
41 0dBu
0dB = 0dB
L R L R

ALT ALT MAIN SUB SUB MAIN

3 4 MIX 1 2 MIX

dB dB dB dB
10 10 10 10
dB dB dB dB
10 10 10 10
5 5 5 5
5 5 5 5 40 U
42
U U U
39 U U
42 U U
5 5 5 5
5 5 5 5
10 10 10 10
10 10 10 10
20 20 20 20
20 20 20 20
30 30 30 30
30 30 30 30
40 40 40 40
50 50 50 50
40 40 40 40
60 60 60 60
50 50 50 50 OO OO OO OO
60 60 60 60
OO OO OO OO

Mix.220FX ALT 3-4 and MAIN MIX Mix.260FX SUB 1-2 and MAIN MIX
15
 46. STEREO AUX RETURN Inputs [50] outputs when the CD/TAPE [21] switch is
Connect the outputs of an external parallel effects engaged in the CONTROL ROOM SOURCE
device into these inputs. SELECT section.
When connecting a mono device (just one cord), When connecting a mono device (just one cord),
always use the left (mono) input and plug nothing into you’ll need a “Y-splitter” RCA adapter. It turns a
the right input. The signal will appear on both sides. mono output cord into two cords, so both the right
The signal is added directly into the main mix (or and left tape input jacks can be used. This adapter is
Sub 1-2 bus on the Mix.260FX when the MAIN/SUB widely available.
1-2 switch [31] is pushed in) via the Master AUX Note: There is a chance of feedback if you have
RETURN level control [30]. the tape inputs and outputs connected to the same
recorder, and the recorder is in record mode.
47. STEREO FX RETURN Inputs
Connect the outputs of an external parallel effects 50. PHONES
device into these inputs. The stereo signal at this output jack is the same as
Plugging a 1/4" plug into these jacks disconnects the CTRL RM OUTS [55] outputs, and is controlled
the Internal Effects processor. Note that if you plug by the same CTRL ROOM/PHONES level control
into just the left input, the right internal effects is knob [23]. You can listen to the Main Mix, the
still connected, and vice versa. This gives you the CD/TAPE, or the ALT 3-4 (Mix.220FX) or SUB 1-2
flexibility to create some very unusual effects. (Mix.260FX) depending upon the CONTROL ROOM
The signal is added directly into the main mix via SOURCE SELECT switches.
the Master FX RETURN level control [32]. Note: Be very careful because the PHONES jack
can drive any standard headphones to very loud
48. 1/4" MAIN OUT (Mix.260FX only) levels. Please see page 2 for information on hearing
These 1/4" TRS jacks provide a balanced or protection.
unbalanced line-level signal, where your fully mixed
stereo signal enters the real world. This is the same 51. FOOTSW
signal that appears at the XLR MAIN OUTS [52] on This 1/4" TS jack allows you to connect a standard
the rear panel. footswitch for engaging the Internal FX BYPASS [38]
Connect these outputs to the inputs of your function. Note that the indicator light next to the FX
amplifiers, powered speakers, or serial effects BYPASS switch illuminates when the bypass function
processor (graphic equalizer, for example). 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 52. XLR MAIN OUTS
main mix, as it appears at the MAIN [52] output. The These male XLR connectors provide a balanced
TAPE OUTPUT level is affected by the MAIN MIX line-level signal that represent the end of the mixer
[42] faders. chain, where your fully mixed stereo signal enters the
real world. Connect these to the inputs of your main
TAPE INPUTS power amplifiers, powered speakers, or serial effects
This is where you connect the outputs of your processor (like a graphic equalizer or compressor/
intermission entertainment. Any line-level mono or limiter).
stereo device can be used, such as tape, DVD/CD
player, television audio, etc.
53. ALT 3/4 OUTS (Mix.220FX)
Signals coming into these inputs are routed These 1/4" TRS jacks provide the outputs for the
directly to the main mix when the TAPE TO MAIN ALT 3 and 4 signals. These can be connected to the
[24] switch is pushed in. The signals can also be inputs of a recording device, or to secondary amplifiers
routed to the CONTROL ROOM [55] and PHONES for an alternate mix.

L 50 51
1 L L L 43
45
MON
46 MON0)
(MON0
47 48 49 POWER

44
PHANTOM
R R R R PHONES FOOTSW
2 IN OUT
48V

FX
CD/TAPE
AUX SEND AUX RETURN FX RETURN MAIN OUT INPUT/OUTPU
INPU T/OUTPUT

16
54. SUB OUTS (Mix.260FX) 57. POWER ON
These 1/4" TRS jacks provide the outputs for the This one is self-explanatory. When the POWER
SUB 1 and 2 signals. These can be connected to the 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 is required to operate most condenser microphones
the ALT 3-4 (Mix.220FX only) or the SUB 1-2 output (some condenser microphones are battery-powered).
(Mix.260FX only). With the switch turned on, the mixer provides +48
Connect these outputs to the inputs of an VDC phantom powering on XLR pins 2 and 3.
amplifier, powered speakers, or recording device. If you have ribbon mics, tube mics, or dynamic
mics that do not require phantom power, leave the
56. CHANNEL INSERTS 1-4 (Mix.260FX only) PHANTOM POWER switch out. If you are using both
These 1/4" TRS jacks provide a send and return condenser and dynamic mics, don’t worry. Phantom
point for channels 1-4. Use the CHANNEL INSERT power will not hurt most dynamic mics. Check the
jacks to connect serial effects devices such as microphone’s user manual if you’re not sure.
compressors, equalizers, de-essers, or filters to each Caution: Turn all output levels down before operating
individual channel. this switch to avoid the possibility of a “pop” in your
The INSERT points are after the GAIN and Low speakers. Do not use phantom power with tube or
Cut controls, but before the EQ and Fader controls. ribbon microphones, as this may cause damage.
The send (tip) is low-impedance, capable of driving
any device. The return (ring) is high-impedance and 59. Power Receptacle and Fuse
can be driven by almost any device. This is a standard 3-prong IEC power connector.
Special insert cables are available, specially Connect the detachable linecord (included in the
designed for this kind of insert jack. They are wired box with your MIX FX Series mixer) to the power
as follows: receptacle, and plug the other end of the linecord
into an AC outlet properly configured with the
SEND to processor
tip
ring
(TRS plug)
“tip” voltage required for your particular model (100-120
sleeve
VAC or 220-240 VAC).
The fuse is located behind the fuse cover, at the
This plug connects to the
“ring”
bottom of the IEC socket. See the “Troubleshooting”
Channel Insert jack RETURN from processor section on page 12 for information about replacing
Tip = Send (output to effects device) the fuse.
Ring = Return ( input from effects device)
Sleeve = Common ground (connect shield to all 60. Kensington Security Slot
three sleeves) To help prevent theft, all the MIX FX Series mixers
have a security slot designed to fit the popular
Besides being used for inserting external devices, Kensington security locks. A variety of models are
these jacks can also be used as channel direct available from their website at www.kensington.com.
outputs; post-GAIN, post-LOW CUT, and pre-EQ.
MIX.220 FX

53 ALT 3/4 OUTS

BAL/UNBA
BA L/UNBAL

2 1
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•
MANUFACTURED IN CHINA•PATENTS PENDING•COPYRIGHT ©2005 AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER MANUFACTURING DATE

60 57 58 52 55 56
MAIN OUTS SUB OUTS CTRL RM OUT CHANNEL INSERTS
POWER PHANTOM
ON ON BAL/UNBA
BA L/UNBAL BA
BAL/UNBA
L/UNBAL TIP SEND / RING RETURN
RIGHT LEFT

2 1 RIGHT LEFT 4 3 2 1
59

100 - 120 VAC /

220 - 240 VAC
50 - 60 Hz 40W
54

17
 APPENDIX A: SERVICE INFORMATION
Warranty Service 4. Replace the fuse drawer by pushing it all the way
Details concerning Warranty Service are spelled back into the IEC socket.
out in the Warranty section on page 27. 5. Reconnect the line cord and turn the POWER
If you think your TAPCO mixer has a problem, switch on.
please do everything you can to confirm it before If two fuses blow in a row, then something is wrong.
calling for service. Doing so might save you from See the “Repair” section on the next page to find
the deprivation of your mixer and the associated out what to do.
suffering.
These may sound obvious to you, but here are Bad Channel
some things you can check. Read on. • Is the channel GAIN turned up?
• Is the channel LEVEL turned up?
Troubleshooting
• Try the same source signal in another channel, set
No Power up exactly like the suspect channel.
• Our favorite question: Is it plugged in? Make sure
Bad Output
the AC outlet is live (check with a tester or lamp).
• IS the MAIN MIX control turned up?
• Our next favorite question: Is the POWER switch
on? If not, try turning it on. • If it’s a stereo pair, try switching them around. For
example, if a left output is presumed dead, switch
• Is the red POWER LED illuminated? If not, make
the left and right cords, at the mixer end. If the left
sure the AC outlet is live. If so, refer to “Bad
speaker is still dead, it’s not the mixer.
Channel” and “Bad Output” below.
• Is the fuse blown? If the POWER LED on the front Noise
panel is not illuminated and you are certain that
• Turn the channel LEVEL controls down, one
the AC outlet is live, it is possible the fuse has
by one. If the noise disappears, it’s either that
blown.
channel or whatever is plugged into it, so unplug
To remove and replace the fuse: whatever that is.
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)

18
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 top of the box. Units sent to us without the Service
living outside the United States can be obtained Request Number will be refused.
through local dealers or distributors. 7. Tech Support will tell you where to ship the
If your mixer needs service, follow these instructions: amplifier for repair. We suggest insurance for all
1. Review the preceding troubleshooting forms of cartage.
suggestions. Please. 8. We’ll try to fix the mixer within five business days.
2. Call Tech Support at 1-877-827-2669, 7 am to Ask Tech Support for the latest turn-around times
5 pm PST, to explain the problem and obtain a when you call for your Service Request Number.
Service Request Number. Have your mixer’s serial The mixer must be packaged in its original
number ready. packing box, and must have the Service Request
You must have a Service Request Number before Number on the box. Once it’s repaired, we’ll ship it
you can obtain factory-authorized. back the same way in which it was received. This
3. Keep this owner’s manual. We don’t need it to paragraph does not necessarily apply to non-
repair the mixer. 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]

19
 APPENDIX B: CONNECTIONS
XLR Connectors 1/4" TS Phone Plugs and Jacks
The Mic/Line Channels use 3-pin female XLR “TS” stands for Tip-Sleeve, the two connections
connectors on the MIC inputs. They are wired as available on a mono 1/4" phone jack or plug. They
follows, according to standards specified by the AES are used for unbalanced signals.
(Audio Engineering Society).
2

3 1
1
1/4" TS Unbalanced Wiring:
Sleeve = Shield
3 2 Tip = Hot (+)

RCA Plugs and Jacks

XLR Balanced Wiring: RCA-type plugs (also known as phono plugs)
Pin 1 = Shield and jacks are often used in home stereo and video
Pin 2 = Hot (+) equipment and in many other applications. They are
Pin 3 = Cold (–) unbalanced and electrically equivalent to a 1/4" TS
phone plug.

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 RCA Unbalanced Wiring:
balanced signals and stereo headphones: 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

20
APPENDIX C: MIX FX SERIES SPECIFICATIONS
Frequency Response Maximum Input Levels
Mic Input to any Output (Trim at 0 dB): Mic Input: +12 dBu,
+0, –1 dB, Gain @ +10 dB
10 Hz to 150 kHz Line Input: +30 dBu,
–3 dB, Gain @ +10 dB
10 Hz to 200 kHz Tape Input and Aux Returns: +22 dBu

Distortion Input Impedance

THD and SMPTE IMD; 20Hz to 20kHz Mic Input: 2.6 kΩ, balanced
Mic Input to Main Output: Line Input: 20 kΩ, balanced
< 0.005% Stereo Aux Returns: 20 kΩ, balanced
@ +4 dBu output CD/Tape In: 24 kΩ, unbalanced

Noise Output Impedance

20 Hz to 20 kHz BW (150Ω source impedance) Main 240 Ω, balanced
Equivalent Input Noise (EIN): –129 dBu 120 Ω, unbalanced
Residual Output Noise: Ctrl Room, Aux Sends: 120 Ω
Channel and Main Mix levels off Tape Output: 1 kΩ
Main, Ctrl Room, Phones: –105 dBu Phones Output: 25 Ω

Common Mode Rejection Ratio (CMRR) VU Meters

Mic In: 60 dB @ 1 kHz Main Left and Right
Gain @ maximum Mix.220FX
8 segments: Clip (+18), +10, +5, +2, 0, –2, –5, –20
Crosstalk 0 LED = 0 dBu
Adjacent Inputs or Input to Output: Mix.260FX
–90 dB @ 1 kHz 12 segments: Clip (+18), +10, +7, +4, +2, 0, –2, –4,
–7, –10, –20, –30
0 LED = 0 dBu
Input Gain Control Range
0 dB to +50 dB
AC Power Requirements
Power Consumption: 40 watts
Phantom Power U.S. 120 VAC, 60 Hz
+48 VDC Europe 240 VAC, 50 Hz
Japan 100 VAC, 50/60 Hz
Equalization Korea 220 VAC, 60 Hz
Mix.220FX: AC Connector: 3-pin IEC 250 VAC
High ±15 dB @ 12 kHz
Mid ±15 dB @ 2.5 kHz
Low ±15 dB @ 80 Hz
Mix.260FX (Mono Channels):
High ±15 dB @ 12 kHz
Mid ±15 dB, sweepable
from 100 Hz to 8 kHz
Low ±15 dB @ 80 Hz
Mix.260FX (Stereo Channels):
High ±15 dB @ 12 kHz
Mid ±15 dB @ 3 kHz
Mid ±15 dB @ 500 Hz
Low ±15 dB @ 80 Hz

Mixer Rated Output

Main, Aux, Control Room: +4 dBu
Maximum Rated Output: +22 dBu

21
 Physical Dimensions and Weight Disclaimer
Mix.220FX Since we are always striving to make our products
Height: 3.8 in/96 mm better by incorporating new and improved materials,
Width: 11.5 in/292 mm components, and manufacturing methods, we reserve
Depth: 14.2 in/360 mm the right to change these specifications at any time
Weight: Approx. 8.8 lb/4.0 kg without notice.
The TAPCO Mix mixers were recently accidentally awarded first prize
Mix.260FX by the Society of Juicers, Mixers and Blenders in the “Quadruple
Height: 3.8 in/96 mm Planetary Mixers” category.
Width: 13.7 in/348 mm
Depth: 15.1 in/384 mm “TAPCO” is a registered trademark of LOUD
Weight: 9.8 lb/4.4 kg Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective
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
holders, and are hereby acknowledged.
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
BROUGHT TO YOU BY THE GROOVY FOLKS IN WOODINVILLE, WA, USA•
MANUFACTURED IN CHINA•PATENTS PENDING•COPYRIGHT ©2005 AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER MANUFACTURING DATE
96 mm
3.8 in/

MAIN OUT ALT 3/4 OUTS CONTROL RM OUT

©2005 LOUD Technologies Inc.

POWER PHANTOM
ON ON
RI
RIGH
GHT LEFT
LEF BAL/UNBAL BAL/UNBAL

4 3 RIGHT
RIGH LEFT
LEF

All Rights Reserved.

100 - 120 VAC /
220 - 240 VAC
50 - 60 Hz 40
40W
W

11.5 in/292 mm
1 1 1 1 L
1
MON L L
POWER
POWE
MON0)
(MON0 PHONES

2 R R R
PHANTO
PHANTOM
48V
FX IN OUT
MIC MIC MIC MIC CD/TAPE
AUX SEND AUX RETURN FX RETURN INPUT/OUTPU
INPU T/OUTPUT FOOTSW
INPUT INPUT INPUT INPUT
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL MONO)
(MONO MONO)
(MONO

L L
BAL BAL
OR OR
LINE LINE LINE LINE UNBAL UNBAL INTERNAL EFFECTS

SPRING
SPRIN ECHO
ECH 16
R R STAGE
STAG ECHO+REV
ECHO+RE 15
1
2

TREMOL
TREMOLD STEREO DELA
DELAY 14 3

0 0 0 0 ROOM CATHEDRAL 13 4

FLANGER+RE
FLANGER+REV STUDIO 12 5
GAIN GAIN GAIN GAIN LINE +4
LINE +4 FLANGER
FLANGE CHORUS 11 6

WEIGHT
75Hz
75H 75Hz
75H 75Hz
75H 75Hz
75H -10 -10
5 7 THEATER
THEATE CHORUS+RE
CHORU S+REV 10 7
1 EQ 1 EQ 1 EQ 1 EQ 6 EQ 8 EQ ROTARY
ROTAR HAL
ALL
9 8
VARIATIONS
U U U U U U

-15 +15
HIGH
12kH
12kHz
-15 +15
12kH
HIGH
12kHz
-15 +15
12kH
HIGH
12kHz
-15 +15
12kH
HIGH
12kHz
-15 +15
HIGH
12kH
12kHz
-15 +15
HIGH
12kH
12kHz
FX
INPUT
LEVEL
MAX
FX OL
FX
BYPASS Approx.
U

MID
2.5kHz
2.5kH
U

MID
2.5kHz
2.5kH
U

MID
2.5kHz
2.5kH
U

MID
2.5kHz
2.5kH
U

MID
2.5kHz
2.5kH
U

MID
2.5kHz
2.5kH
CONTROL ROOM 8.8 lb/4.0 kg
14.2 in/360 mm

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 PFL
PF
U U U U U U AFL
AF

MAIN CD/ ALT MAX TAPE TO SOLO

MIX TAPE 3-4 MAIN MODE
LOW LOW LOW LOW LOW LOW
80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H CTRL ROOM/
SOURCE SELECT PHONES
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

AUX AUX AUX AUX AUX AUX MASTER AUX

SEND
SEN SEND
SEN SEND
SEN SEND
SEN SEND
SEN SEND
SEN AUX SEND RETURN RUDE SOLO
U U U U U U U
CLI
LIP

1 1 1 1 1 1 1 +10
+1
MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO LEVE
LEVEL
SOLO MAIN
MAI +5 SE
SET
+15 +15 +15 +15 +15 +15 +15 +15
ALT 3-
3-4
FX +2
U U U U U U U RETURN
0
PRE PRE PRE PRE PRE PRE
RTR
RTRN -2
2 2 2 2 2 2 2 TO
AUX 1
FX FX FX FX FX FX FX -5
SOLO
+15 +15 +15 +15 +15 +15 +15 +15 +15
-2
-20
PAN PAN PAN PAN BAL BAL 0dB = 0dB
0dBu

L R L R L R L R L R L R
MUTE MUTE MUTE MUTE MUTE MUTE
ALT ALT MAIN
1 2 3 4 5
6
7
8
3 4 MIX
ALT ALT ALT ALT ALT ALT
3/4 3/4 3/4 3/4 3/4 3/4

dB dB dB dB dB dB dB dB dB dB
10 OL 10 OL 10 OL 10 OL 10 OL 10 OL 10 10 10 10

5 5 5 5 5 5 5 5 5 5

U U U U U U U U U U
SOLO SOLO SOLO SOLO SOLO SOLO

5 5 5 5 5 5 5 5 5 5

10 10 10 10 10 10 10 10 10 10

20 20 20 20 20 20 20 20 20 20

30 30 30 30 30 30 30 30 30 30

40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO

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•
MANUFACTURED IN CHINA•PATENTS PENDING•COPYRIGHT ©2005 AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER MANUFACTURING DATE
96 mm
3.8 in/

MAIN OUTS SUB OUTS CTRL RM OUT CHANNEL INSERTS

POWER PHANTOM
ON ON BAL/UNBA
BA L/UNBAL BA
BAL/UNBA
L/UNBAL TIP SEND / RING RETURN
RIGHT LEFT

2 1 RIGHT LEFT 4 3 2 1

100 - 120 VAC /

220 - 240 VAC
50 - 60 Hz 40W

13.7 in/348 mm
1 2 3 4 L

1 L L L
MON POWER
MON0)
(MON0

PHANTOM
R R R R PHONES FOOTSW
2 IN OUT
48V

FX
MIC MIC MIC MIC CD/TAPE
INPUT INPUT INPUT INPUT AUX SEND AUX RETURN FX RETURN MAIN OUT INPUT/OUTPU
INPU T/OUTPUT

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL MONO)

(MONO MONO)
(MONO MONO)
(MONO MONO)
(MONO

L L L L
BAL BAL BAL BAL
OR OR OR OR
LINE LINE LINE LINE UNBAL UNBAL UNBAL UNBAL

R R R R INTERNAL EFFECTS

SPRING
SPRIN ECHO
ECH 16
0 0 0 0 1
STAGE
STAG ECHO+REV
ECHO+RE 15 2
14 3
GAIN GAIN GAIN GAIN LINE +4
LINE +4
LINE +4
LINE +4
TREMOL
TREMOLD STEREO DE
DELA
LAY
75Hz
75H 75Hz
75H 75Hz
75H 75Hz
75H -10 -10 -10 -10 ROOM CATHEDRAL 13 4
5 7 9 11
1
U
EQ 2
U
EQ 3
U
EQ 4
U
EQ 6
U
EQ 8
U
EQ 10
U
EQ 12
U
EQ
FLANGER+RE
FLANGER+REV
FLANGE
FLANGER
THEATER
THEATE
STUDIO
CHORUS
CHORUS+RE
CHORU S+REV
12

11
10 7
6
5

WEIGHT
9.8 lb/
9 8
ROTARY
ROTAR HAL
ALL
HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH VARIATIONS
12kH
12kHz 12kH
12kHz 12kH
12kHz 12kH
12kHz 12kH
12kHz 12kH
12kHz 12kH
12kHz 12kH
12kHz
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 FX

4.4 kg
U U U U FX
INPU
INPUT
LEVEL
LEVE BYPAS
BYPASS
FX OL
O
MID MID MID MID MID MID MID MID
FREQ FREQ FREQ FREQ 3kHz 3kHz 3kHz 3kHz MAX

100
10 8k 100
10 8k 100
10 8k 100
10 8k -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U CONTROL ROOM
15.1 in/384 mm

MID MID MID MID MID MID MID MID

500Hz
500H 500Hz
500H 500Hz
500H 500Hz
500H
PFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 AFL
U U U U U U U U
MAIN CD/ SUB MAX
MA TAPE TO SOLO
MIX TAPE 1-2 MAIN MODE
LOW LOW LOW LOW LOW LOW LOW LOW CTRL ROOM/
80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H 80Hz
80H SOURCE SELECT PHONES
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 RUDE SOLO

AUX AUX AUX AUX AUX AUX AUX AUX AUX CLI
LIP
MASTER
U
SEND
SEN U
SEND
SEN U
SEND
SEN U
SEND
SEN U
SEND
SEN U
SEND
SEN U
SEND
SEN U
SEND
SEN U AUX SEND RETURN +10
LEVE
LEVEL
+7 SE
SET
1 1 1 1 1 1 1 1 1 +4
MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO MON
MO
+15 +15 +15 +15 +15 +15 +15 +15 +15 SOLO +15 MAIN
MAI
+2
SUB 1-
1-2
FX
RETURN 0
U U U U U U U U U
PRE PRE PRE PRE PRE PRE PRE PRE -2
RTRN
RTR
2 2 2 2 2 2 2 2 2 TO
AUX 1
-4
FX FX FX FX FX FX FX FX FX
SOLO -7
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

-10
PAN PAN PAN PAN BAL BAL BAL BAL SUB ASSIGN
TO MAIN MIX -2
-20

-3
-30
0dB = 0dBu
0dB
L R L R L R L R L R L R L R L R
L R L R
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
SUB SUB MAIN
1 2 3 4 5
6
7
8
9
10
11
12 1 2 MIX

dB dB dB dB dB dB dB dB dB dB dB dB
10 OL 10 OL 10 OL 10 OL 10 OL 10 OL 10 OL 10 OL 10 10 10 10

5 5 5 5 5 5 5 5 5 5 5 5

U U U U U U U U U U U U
1-2
1- 1-2
1- 1-2
1- 1-2
1- 1-2
1- 1-2
1- 1-2
1- 1-2
1-

5 5 5 5 5 5 5 5 5 5 5 5

10 10 10 10 10 10 10 10 10 10 10 10
L-R
L- L-R
L- L-R
L- L-R
L- L-R
L- L-R
L- L-R
L- L-R
L-

20 20 20 20 20 20 20 20 20 20 20 20

30 30 30 30 30 30 30 30 30 30 30 30
SOLO
SOL SOLO
SOL SOLO
SOL SOLO
SOL SOLO
SOL SOLO
SOL SOLO
SOL SOLO
SOL
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO

22
 Block Diagram Mix.220FX

RIGHT MAIN BUS

AUX 1 MON BUS

LEFT MAIN BUS

AUX 2 FX BUS

SOLO R (AFL)
SOLO L (AFL)

SOLO LOGIC
SOLO (PFL)
ALT 3 BUS

ALT 4 BUS
MONO CHANNELS
1 through 4
PHANTOM L
FADER + 2
1 LEFT MAIN
–
+48 VDC LEVEL MAIN MIX LEFT OUT
LOW MID HIGH OL MUTE/
3

GAIN
PAN L ALT 3-4

MIC IN
R
+
–
2
1 RIGHT MAIN
R MAIN MIX RIGHT 3
OUT
75Hz 80 2.5K 12K
HI PASS EQ
AUX 2 FX MAIN MIX TO LEFT
LINE IN
CTRL RM/PHONES
CD/TAPE OUT
RIGHT

AUX 1 MON CD/TAPE TO

ALT 3-4 TO CTRL RM/PHONES
LEFT
CTRL RM/
POST/ PHONES CD/TAPE IN
PRE RIGHT
TAPE TO MAIN

3
ALT 3
ALT 3
OUT

4
ALT 4
ALT 4 OUT
METERS
VDC

SOLO
STEREO CHANNELS
5/6 and 7/8 LOW MID HIGH RUDE SOLO
EQ STEREO CONTROL ROOM/
LINE IN LEFT (MONO) 80 2.5K 12K FADER LEVEL MUTE/ PHONES
ALT 3-4
BAL L LEFT

+4 OL CONTROL
–10 ROOM
R OUTPUTS

AUX 2 FX RIGHT

80 2.5K 12K
LINE IN RIGHT EQ
SOLO LOGIC
AUX 1 MON

POST/ HEADPHONE
PRE OUTPUT

PFL
AFL

VDC
SOLO MODE

SOLO
AUX RETURN LEFT

SOLO
LEVEL
LEVEL TO MAIN L/R
TO ALT 3-4

AUX SEND 1
AUX RETURN RIGHT (MON)
FX RETURN LEFT
SOLO
LEVEL
LEVEL

AUX SEND 2
RTRN TO (FX)
AUX 1
FX RETURN
RIGHT
RIGHT MAIN BUS

FX BYPASS
AUX 1 MON BUS
LEFT MAIN BUS

AUX 2 FX BUS

SOLO R (AFL)
SOLO L (AFL)

SOLO LOGIC
SOLO (PFL)
ALT 3 BUS

ALT 4 BUS

FX OL

FX INPUT +5
LEVEL VDC
L

INTERNAL
FX SELECT FX
PROCESSOR

FX
VARIATIONS FOOT
FX BYPASS SWITCH
R

TAPCO MIX.220FX
BLOCK DIAGRAM
06.14.05

23
 Block Diagram Mix.260FX

RIGHT MAIN BUS

AUX 1 MON BUS

LEFT MAIN BUS

AUX 2 FX BUS

SOLO R (AFL)
SOLO L (AFL)

SOLO LOGIC
SOLO (PFL)
SUB 1 BUS

SUB 2 BUS
L
LEFT MAIN
MAIN MIX LEFT
OUT

INSERT + 2
1 LEFT MAIN
–
MONO CHANNELS 3 OUT
1 through 4
PHANTOM FADER
MID 2
RIGHT MAIN
+48 VDC LOW FREQ MID HIGH OL LEVEL
+
–
1

GAIN 3
OUT
PAN L L-R

MIC IN
R
RIGHT MAIN
MUTE R MAIN MIX RIGHT
75Hz 80 100-8K 12K OUT
HI PASS EQ
MAIN MIX TO LEFT
LINE IN
CTRL RM/PHONES
CD/TAPE OUT
SUB 1-2 RIGHT

CD/TAPE TO
AUX 2 FX CTRL RM/PHONES
SUB 1-2 TO LEFT
CTRL RM/
PHONES CD/TAPE IN
RIGHT
AUX 1 MON
TAPE TO MAIN
POST/
PRE
1 SUB 1
L SUB 1
OUT

2 SUB 2
SUB 2
R SUB ASSIGN OUT
TO MAIN MIX
R METERS
VDC

STEREO CHANNELS
5/6, 7/8, 9/10, and 11/12 SOLO
LOW MID MID HIGH
EQ STEREO
LINE IN LEFT (MONO) 80 500 3K 12K FADER LEVEL
L-R
BAL L
RUDE SOLO
+4 OL CONTROL ROOM/
–10 PHONES
R
LEFT
MUTE CONTROL
80 500 3K 12K
ROOM
LINE IN RIGHT EQ
AUX 2 FX OUTPUTS
SUB 1-2
RIGHT

AUX 1 MON SOLO LOGIC

POST/
PRE HEADPHONE
OUTPUT

VDC
PFL
AFL

SOLO
AUX RETURN LEFT
SOLO MODE
SOLO
LEVEL
LEVEL TO MAIN L/R
TO ALT 3-4

AUX SEND 1
AUX RETURN RIGHT (MON)
FX RETURN LEFT
SOLO
LEVEL
LEVEL

AUX SEND 2
RTRN TO (FX)
AUX 1
FX RETURN
RIGHT
RIGHT MAIN BUS

FX BYPASS
AUX 1 MON BUS
LEFT MAIN BUS

AUX 2 FX BUS

SOLO R (AFL)
SOLO L (AFL)

SOLO LOGIC
SOLO (PFL)
ALT 3 BUS

ALT 4 BUS

FX OL

FX INPUT +5
LEVEL VDC
L

INTERNAL
FX SELECT FX
PROCESSOR

FX
VARIATIONS FOOT
FX BYPASS SWITCH
R

TAPCO MIX.260FX
BLOCK DIAGRAM
06.14.05

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26
TAPCO LIMITED WARRANTY
A. LOUD Technologies Inc. warrants all materials, authorized service centers may use refurbished parts for
workmanship and proper operation of this TAPCO repair or replacement of any product. Products returned
product for a period of one year from the original to LOUD Technologies that do not meet the terms of this
date of purchase. If any defects are found in the Warranty will not be repaired unless payment is received
materials or workmanship, or if the product fails to for labor, materials, return freight, and insurance.
function properly during the applicable warranty Products repaired under warranty will be returned
period, LOUD Technologies, at its option, will repair freight prepaid by LOUD Technologies to any location
or replace the product. This warranty applies only within the boundaries of the USA.
to equipment sold and delivered within the U.S. by G. LOUD Technologies warrants all repairs performed for
LOUD Technologies or its authorized dealers. 90 days or for the remainder of the original warranty
B. Failure to register online or return the product period. This warranty does not extend to damage
registration card will not void the one-year warranty. resulting from improper installation, misuse, neglect
C. Service and repairs of TAPCO products are to be or abuse, or to exterior appearance. This warranty is
performed only at a factory-authorized service center. recognized only if the inspection seals and serial number
Unauthorized service, repairs, or modification will on the unit have not been defaced or removed.
void this warranty. To obtain repairs under warranty, H. LOUD Technologies assumes no responsibility for
you must have a copy of your sales receipt from the the quality or timeliness of repairs performed by
authorized TAPCO dealer where you purchased the Authorized TAPCO Service Centers.
product. It is necessary to establish purchase date I. This warranty is extended to the original purchaser
and determine whether your TAPCO product is within and to anyone who may subsequently purchase this
the warranty period. product within the applicable warranty period. A copy
D. To obtain factory-authorized service: of the sales receipt is required to obtain warranty
1. Call TAPCO Technical Support at 877/827-2669, repairs.
7 AM to 5 PM Monday through Friday (Pacific Time) J. This is your sole warranty. LOUD Technologies Inc.
to get a Service Request Number. Products returned does not authorize any third party, including any
without a Service Request Number will be refused. dealer or sales representative, to assume any liability
2. Pack the product in its original shipping carton. Also on behalf of LOUD Technologies or to make any
include a note explaining exactly how to duplicate warranty for LOUD Technologies Inc.
the problem, a copy of the sales receipt with price K. THE WARRANTY GIVEN ON THIS PAGE IS
and date showing, and your return stree address (no THE SOLE WARRANTY GIVEN BY LOUD
P.O. boxes or route numbers, please!). If we cannot TECHNOLOGIES INC. AND IS IN LIEU OF
duplicate the problem or establish the starting date of ALL OTHER WARRANTIES, EXPRESS AND
your Limited Warranty, we may, at our option, charge IMPLIED, INCLUDING THE WARRANTIES
for service time. OF MERCHANTABILITY AND FITNESS FOR
3. Ship the product in its original shipping carton, A PARTICULAR PURPOSE. THE WARRANTY
freight prepaid, to the authorized service center. The GIVEN ON THIS PAGE SHALL BE STRICTLY
address of your closest authorized service center will LIMITED IN DURATION TO ONE YEAR FROM
be given to you by Technical Support. THE DATE OF ORIGINAL PURCHASE FROM
IMPORTANT: Make sure that the Service Request AN AUTHORIZED TAPCO DEALER. UPON
Number is plainly written on the shipping carton. EXPIRATION OF THE APPLICABLE WARRANTY
PERIOD, LOUD TECHNOLOGIES INC. SHALL
E. LOUD Technologies Inc. reserves the right to inspect
HAVE NO FURTHER WARRANTY OBLIGATION
any products that may be the subject of any warranty
OF ANY KIND. LOUD TECHNOLOGIES INC.
claims before repair or replacement is carried out.
SHALL NOT BE LIABLE FOR ANY INCIDENTAL,
LOUD Technologies may, at our option, require proof
SPECIAL, OR CONSEQUENTIAL DAMAGES
of the original date of purchase in the form of a dated
THAT MAY RESULT FROM ANY DEFECT IN THE
copy of the original dealer’s invoice or sales receipt.
TAPCO PRODUCT OR ANY WARRANTY CLAIM.
Final determination of warranty coverage lies solely
Some states do not allow exclusion or limitation of
with LOUD Technologies Inc.
incidental, special, or consequential damages or
F. TAPCO products returned to one of the LOUD a limitation on how long warranties last, so some
Technologies factory-authorized service centers and of the above limitations and exclusions may not
deemed eligible for repair or replacement under the apply to you. This warranty provides specific legal
terms of this warranty will be repaired or replaced rights and you may have other rights which vary
within thirty days of receipt. LOUD Technologies and its from state to state.

Please keep your sales receipt in a safe place. 27