Tapco Blend 16 Users Manual Owner's

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owner’s manual

16-CHANNEL 4-BUS MIXER w/ ONBOARD EFFECTS

SAFETY INSTRUCTIONS

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

manufacturer.

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

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.

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.

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.

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

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.

Part No. SW0426 Rev. A 08/2006

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.):

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.

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 line-

level 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 Billy-

Bob 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

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

Inserts

Instrument

Inputs

Level Set

Gain Knob

Low Cut

Aux 1 Send

EQ Section

Aux 2 Send

Pan

Mute

Ch Fader

OL LED

Assign

Solo

Mono Ch 1-8

See Page 9

Stereo Ch. 10-16

See Page 11

Master Section

See Page 12

Phones

Internal

Effects

Graphic EQ

Rude Solo

CD/Tape to

Main

Main Fader

Meters

Power

Phantom LEDs

USB

Master Aux

Sends

Subgroup

Faders

Subgroup

Assign

Control room/

phones

Stereo

Line

Inputs

Returns

CD/Tape

In Out

Aux

Sends

FX Returns

MIC

INST

INSERT

GAIN

MUTE

PAN

AUX

HIGH

MID

LOW

AUX

LINE

( )

MUTE

GAIN

CD/ TAPE

MUTE

( ) ( ) ( )

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

SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX

SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

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

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

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

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 easy-

to-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.

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

12345678

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

IN 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

UNBAL

(MONO)

MIC

INPUT

12345678

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

IN 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)

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

12345678

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

IN 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

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 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

8. MID FREQ EQ

This adjusts the frequency of the MID EQ

(9) control from 100 Hz to 8 kHz. This gives

you great ﬂexibility in shaping your sound.

Listen carefully for its effect.

9. MID EQ

Turn this clockwise to boost the level

of signals around the frequency set by

the MID FREQ (8) control. Turn it counter-

clockwise to cut the levels.

10. LOW EQ

Turn this clockwise to boost the level of

all frequencies below 80 Hz. Turn it counter-

clockwise to cut the levels. Try some boost

with the LOW CUT (6) switch on, so you

can boost useful bass, at the same time as

cutting unwanted subsonics.

Frequencies of 80 Hz and below

represent the punch in bass drums, bass

guitar, and wild Tuba raves.

11. AUX SEND 1 MON

This control taps the channel’s signal

before the channel FADER (17), and sends

it to the AUX 1 bus. The control ranges from

inﬁnity (off) to +15 dB.

AUX SEND 1 MON is normally used to

send a separate mono mix to your stage

monitors, via the AUX SEND 1 (22) output

jack. Use the MASTER AUX SEND 1 (43)

knob to control the overall level.

Most of the channel controls will affect

the output to your stage monitors, except

for PAN (13), AUX SEND 2 FX (12) and the

channel FADER (17).

12. AUX SEND 2 FX

This control taps the channel’s signal

after the channel FADER (17), and sends it

to the AUX 2 bus. The control ranges from

inﬁnity (off) to +15 dB.

The AUX SEND 2 FX bus feeds the

internal effects circuits, and optionally,

it can feed external effects devices (via

the AUX SEND 2 (23) output jack). Use the

MASTER AUX SEND 2 (44) to control the

overall effects level.

Most of the channel controls will affect

the output to the internal (or external)

processor, except for PAN (13) and AUX

SEND 1 MON (11).

13. PAN

This adjusts how much of the channel signal plays

in the left side of the main mix and subgroups, and

how much plays in the right. Careful use of PAN

allows you to set up a nice stereo image in the left

and right.

For the mono channels, if PAN is in the center

position, the mono signal appears equally in both

the left and right of the main mix. If the control is set

left, more of the signal appears in the left side. If the

control is set right, more of the signal appears in the

right side of the mix.

For stereo sources, where you are using two mono

channels, the standard convention is to plug in the

left signals into the odd-numbered channels, and

the right signals into even-numbered channels. Then

you can pan the odd channels hard left, and the

even channels hard right.

14. MUTE

Press this switch to prevent that channel’s signals

from reaching the main mix, aux, or subgroups.

(Soloed channels can still be heard in the control

room and phones.)

15. OL (OVERLOAD) LED

This will light when the channel’s signal is close to

clipping.

If this comes on, turn down the channel’s GAIN (4)

knob, or your EQ (7-10) settings. (The channel FADER

(17) or PAN (13) will have no effect.)

16. 1-2, 3-4, and L-R SWITCHES

These three switches are used to assign the

channel’s signal to the subgroups 1-2 and 3-4, and

the main mix L and R buses.

For example, if you want channel 1 to go to

the subgroup 1-2, and subgroup 3-4, press the 1-2

and 3-4 switches of channel 1. (The channel 1 PAN

(13) knob will pan the channel’s signal between

subgroup 1 and 2, and between subgroup 3 and 4.)

If you want channel 2 to appear on the main mix,

press L-R on channel 2.

17. FADER

This is the master level control for the channel’s

signal. Subtle adjustment of the channel faders is the

key to a ﬁnely-tuned mix.

Typically (providing the GAIN (4) is set correctly),

this will be somewhere near the 0 dB (U) position.

If you have the fader set all the way up, it’s usually

a sign that your GAIN (4) is set too low. If the fader is

set way down, your GAIN may be too high.

18. SOLO

Pressing this switch in will send the channel’s

signal to the control room and headphones output

for monitoring. The RUDE SOLO (47) light will ﬂash

on and off as long as any of the solo switches are

engaged.

MIC

INST

INSERT

GAIN

MUTE

PAN

AUX

HIGH

MID

LOW

17 16

For an example, suppose your

band is performing on stage, and

you hear something unusual (well,

more unusual than normal). Without

interrupting their performance, you

can Solo each channel in turn, and

listen in the headphones until you

identify the problem channel or

band member. The Solo signal is not

affected by that channel’s MUTE (14),

or FADER (17). The channel signals to

the Aux, main mix and subgroups are

not affected.

STEREO CHANNELS

The following details show the

differences from the Mono channels:

There are no microphone inputs,

inserts, or low cut ﬁlters, and the Mid

EQ frequency is ﬁxed at 2.5 kHz.

The 1/4” inputs are Line-Level, not

instrument level.

As AUX 1 and 2 buses are mono,

the stereo signals are summed before

reaching the AUX SEND (11,12) knobs.

SOLO (18) sends a sum of both

channels to the control room and

headphones.

GAIN (4), EQ (7-10), and MUTE (14),

and the channel FADERs (17) operate

equally on both left and right signals.

PAN (13) works rather like the

balance control on a home stereo,

adjusting the left and right balance

onto the main mix or subgroups.

19. LINE INPUTS

These inputs accept 1/4" TRS

balanced and TS unbalanced plugs

from any line-level instrument, effects

device, or tape player. They can be

driven by virtually any line-level signal.

Guitars and other instrument-level

sources should not be connected

directly to these inputs. Use the INST

(2) inputs of channel 1 to 8, or use a

preamp to give a line-level output,

and connect that to these inputs.

Mono sources should be

connected to the left input only. The

left signal will then be split equally to

the left and right. You can use the

PAN (13) control to change the left/

right balance of the main mix and

subgroups.

Stereo sources should be

connected to both left and right

inputs, where they will pass through

the channel strip separated. The

standard convention is to plug in the

left signals into the odd-numbered

channels, and the right signals into

even-numbered channels.

20. LINE/PHONO switch

(channels 13 and 14 only)

In the up position, channel 13 and

14 accept line-level signals.

In the down position, these

two inputs accept phono-level

signals direct from turntables. An

internal phono preampliﬁer applies

the standard (RIAA) phono re-

equalization, and ampliﬁes the raw

cartridge signals to line-level.

Suppose you have a turntable

and a favorite record from when you

were young. Connect the phono-

level outputs of the turntable to the

Ch 13 and 14 1/4" inputs. (You might

need a pair of RCA to 1/4" adapters,

depending on your turntable.) Also

connect the turntable’s ground wire

to the mixer’s rear panel ground

screw. Play the record and adjust

the GAIN (4) as normal, so the LEVEL

SET LED (5) just lights. Select SOLO

(18) to hear it in the control room or

headphones, or press L-R to send it to

your main mix.

Caution: DO NOT press

the line/phono switch

down if you are putting in

a line-level signal (or if your

turntable already has line-

level outputs). This could overload the

mixer and damage your hearing.

21. LINE/USB switch

(channels 15 and 16 only)

In the up position, channel 15 and

16 accept line-level signals.

In the down position, the stereo

channel is not fed by its 1/4" inputs,

but by the rear panel USB port

connected to a computer.

In the mixer’s USB section, the

digital audio output from software

such as Tracktion is converted to line-

level, two-channel analog, that feeds

channels 15-16 just before the GAIN

(4) knob.

For example, suppose you have

recorded and mixed a lovely tune

using Tracktion software. You can

select Play in Tracktion, and press this

LINE/USB switch in to get the signals

into the mixer. Adjust the channel

GAIN (4) as normal, so the LEVEL SET

LED (5) just lights. Press L-R (16) to

send it to the main mix.

AUX

LINE

( )

MUTE

GAIN

CD/ TAPE

MUTE

( ) ( ) ( )

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

20 21

AUX SENDS and RETURNS

22. AUX 1 SEND MON OUTPUT

To create a stage monitor mix, connect this

1/4" TRS output to the input of your stage monitor

ampliﬁer (or powered monitors).

Each channel’s AUX SEND 1 MON (11) knob

adjusts how much of the channel’s signal appears

on the AUX 1 bus. The AUX 1 bus carries the sum of

all those active channels whose AUX SEND 1 MON

(11) knobs are set to more than minimum position.

The MASTER AUX SEND 1 (43) knob allows you

to adjust the overall output level to your stage

monitors.

You can use the internal 7-band graphic EQ (31)

to equalize the monitor mix, by pressing in the MAIN

MIX/AUX 1 (MON) (32) switch.

This output to your stage monitors is not affected

by the channel FADERs (17) or MAIN MIX FADER (52).

This is a good thing, as the monitors are not affected

by level changes to your main mix.

23. AUX 2 SEND FX OUTPUT

This 1/4" TRS output is intended to patch into an

external effects processor, hence the name FX.

Each channel’s AUX SEND 2 FX (12) knob adjusts

how much of that channel’s signal appears on

the AUX 2 bus. The AUX 2 bus carries the sum of all

active channels whose AUX 2 SEND FX (12) knobs

are set to more than minimum.

The MASTER AUX SEND 2 (44) knob affects the ﬁnal

output level to your external processor.

This output is affected by the channel FADERs

(17), but not the MAIN MIX FADER (52).

Note: Before the AUX 2 signals reach the MASTER

AUX SEND 2 FX (44) knob, a copy is tapped off to go

to the internal Effects processor, and from there onto

the main mix bus.

24. FX RETURN INPUTS

If you have an external effects processor, you can

plug it into these inputs.

The incoming signals are added into the main mix,

and a summed mono signal is added to the monitor

mix. Adjustment is provided by the fascinating FX

RETURN (45, 46) controls described in the Master

section.

When connecting a mono device (just one cord),

always use the left (mono) input and plug nothing

into the right input. The signal appears on both sides.

25. CD/TAPE INPUTS

This is where you connect the outputs of your

intermission entertainment. Any line-level mono or

stereo device can be used, such as: tape, DVD/CD

player, television audio, etc.

Signals coming into these inputs are routed

directly to the CD/TAPE TO MAIN MIX (49) control

and through to the main mix. You will need to MUTE

(14) all the other channels, if you just want to hear

the CD or Tape.

The signals can also be routed to the control room

and headphone when the control room/phones

source select CD/TAPE (42) switch is pushed in.

When connecting a mono device (just one cord),

you’ll need a “Y-splitter” RCA adapter. It turns a

mono output cord into two cords, so both the right

and left tape input jacks can be used. This adapter

is widely available. See Appendix B for more

information about RCA connectors.

Caution: There is a chance of feedback

if you have the tape inputs and outputs

connected to the same recorder, and the

recorder is in record mode.

26. CD/TAPE OUTPUTS

Use these RCA jacks to capture the entire

performance to tape. The output signal is a direct

copy of the main mix, as it appears at the MAIN

MIX (58) outputs and the USB (62) output to your

computer.

You could also use these outputs to connect

to the unbalanced RCA inputs of a home stereo

ampliﬁer, if you had a mind to.

Do not use long runs of unbalanced cables, or

there might be signal degradation and noise. Try

using good quality cables as sold in Hi-Fi stores.

Use the tape player’s record-level control to set

up the correct levels for recording. Take care if you

use the MAIN MIX FADER (52) to adjust the levels, as

this will affect your MAIN MIX (58) outputs as well as

these Tape outputs.

MASTER SECTION

So far, we have described the channels, and how

the signals from all of your microphones, instruments,

line-level sources and CDs or Tapes get onto the

main mix buses, subgroups 1 to 4, and the Aux

buses. Now we come to the Master section, that

controls what happens next.

27. POWER LED

This light glows when the mixer is turned on. If it is

off, the mixer will sulk and not work. Check that the

rear panel power switch is on, that the power cord

is plugged in, and any power strips or wall switches

are on. Also check if all the lights are out in your

neighborhood. You never know.

AUX

LINE

( )

MUTE

GAIN

CD/ TAPE

MUTE

( ) ( ) ( )

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

25 26

MAX

PHONESLAMP

BYPASS

EQ IN

FX OL

MAIN MIX

AUX1(MON)

POWER

PHANTOM 48V

MAIN

MIX

SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX

SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

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

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

28. PHANTOM POWER LED

This light comes on when the rear panel

PHANTOM POWER (54) switch is turned on. This

indicates that the XLR MIC (1) inputs are supplied

with 48 volts.

29. LAMP

This female BNC connector allows you to attach

a “Littlelite” brand gooseneck lamp or equivalent,

to shine a light on the control surface, and give you

that mysterious cool look, as you work in the dark.

30. PHONES

This is where you plug in a nice pair of stereo

headphones. It accepts 1/4" stereo plugs. Adjust the

level using the PHONES (40) knob.

Caution:

Always turn the PHONES knob

down when making connections, or when

pushing any switches. These precautions

will help protect your hearing.

31. 7-BAND STEREO GRAPHIC EQ

The magniﬁcent seven sliders allow you to

equalize the main mix, or the stage monitor mix.

Each slider varies the level by ±15 dB either side of

unity gain. The frequency bands are 64 Hz, 125 Hz,

400 Hz, 1 kHz, 2.5 kHz, 8 kHz and 16 kHz.

Adjust the EQ wisely and subtly. Do not overdo

the EQ gain, as this might lead to overloading or

clipping. Think of it like makeup, it should be applied

sparingly for a lovely effect, not caked on like wall

plaster.

32. MAIN MIX/AUX 1 MON

This switch lets you assign the EQ (31) to either the

main mix or the Aux 1 stage monitor mix.

In the up position, the main mix will pass through

the EQ, and the monitor mix is not affected. You

can then adjust the sound of your main speakers,

and compensate for the effects of the room

environment.

In the down position, the stage monitor mix passes

through one side of the stereo EQ, and the main mix

is not affected. You can adjust the EQ to prevent

mic or guitar feedback from the stage monitors, or

allow the band to hear the monitors more clearly, or

less clearly if that helps any.

33. EQ BYPASS

This switch allows you to quickly bypass the EQ

(31) so you can judge its effect without having to set

the sliders back to center. Push it in to hear the EQ,

and leave it up to bypass.

29 30

32 33

INTERNAL EFFECTS

The internal effects circuit receives mono signals

from the AUX 2 FX bus, and it outputs stereo signals

onto the main mix buses. It also adds a summed

mono signal to the stage monitor mix (AUX 1 bus).

The outputs are controlled by two FX RETURN (45, 46)

knobs described on the next page.

Inside the processor, the analog audio is

converted to digital, this is processed, and the result

converted into stereo analog signals.

Spicy curry can also result in some remarkable

internal effects, many in the audio frequency range.

34. EFFECTS SELECTOR

The internal effects processor has 16 great preset

effects to enhance your sound, confuse cats, and

upset hamsters, if that is your idea of fun. Each has

been carefully modeled to represent standard

effects. Note that the output mutes momentarily

when changing effects.

35. EFFECTS VARIATIONS

As you rotate this control from position 1 through

to 16, the “strength” of the effect will increase.

For an example: for a reverb effect, a low number

will have a short reverb time, and a larger number

will have a longer reverb time.

36. FX INPUT LEVEL and OL LED

This knob allows you to adjust the signal level

going into the internal effects processor. This is

useful if the signal is too strong, and the processor

becomes overloaded.

If you see the FX OL overload light come on, turn

down the knob until it just turns off during the louder

passages, riffs, chords, yells, etc.

37. FX BYPASS and LED

Press this switch in to bypass the internal effects

processor, and so prevent its output from appearing

on the main mix or stage monitors. The LED reminds

you whenever the processor is bypassed.

Use BYPASS if you are not using the internal

effects, as it will reduce any extraneous interstellar

noise, or use it to quickly compare between the

effective effect of effects and the effect of no

effects.

VOCAL 1 SPRING REVERB

VOCAL 2 MONO DELAY

LARGE HALL STEREO DELAY

SMALL HALL FLANGER

LARGE ROOM CHORUS

SMALL ROOM REVERB + DELAY

PLATE REVERB + FLANGER

TAPE REVERB REVERB + CHORUS

MAX

PHONESLAMP

BYPASS

EQ IN

FX OL

MAIN MIX

AUX1(MON)

POWER

PHANTOM 48V

MAIN

MIX

SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX

SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

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

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

40 41 42

34 35

38. USB OUTPUT: MAIN MIX/SUBS 1-2

This switch allows you to choose if the main mix or

if subgroups 1 and 2, are sent out of the mixer’s USB

(62) output to your computer.

If pressed in, the A/D converters of the USB

section receive the output from subgroups 1 and 2

(before the SUB FADERS (50)). This is a good position

for studio recording and overdubbing with your

computer.

If pressed out, the A/D converters receive the

main mix (after the MAIN MIX FADER (52)), just

the same program as your main speakers and

tape deck will receive. This is a good position

for recording the main performance onto your

computer.

Further details of the USB connections and

operation are described on page 19.

39. USB OUTPUT LEVEL and OL LED

The USB section has an A/D converter that

converts the selected analog channels into a digital

stream.

This knob allows you to adjust the signal level

before it reaches the A/D converters. Turn it down If

you see the OL light come on.

Like all OL overload LEDs, this is an important one

to keep an eye on, so the outputs to your computer

are not distorted.

40. PHONES

This adjusts the headphone levels without

disturbing the main mix or control room levels.

Turn this down before connecting and putting on

your headphones, or before engaging any switches.

Bring it up slowly.

Caution: Be very careful because the

PHONES (30) output can drive any

standard headphones to very loud levels.

Please see page 2 for information on

hearing protection.

41. CONTROL ROOM

This adjusts the output level to your control

room, from the source selected using the SOURCE

SELECT (42) switches below. It does not affect the

headphones level or the main mix level.

42. SOURCE SELECT Switches

Use these four switches to select the signal source

for the control room outputs, headphones, and

meters.

Caution:

Turn down the CTRL ROOM (41)

and PHONES (40) knobs before pushing

these switches.

When the switches are up, the control room

outputs, headphones, and meters receive no signals

(unless any channels have SOLO (18) engaged).

Push MAIN MIX to hear the main mix.

Push CD/TAPE to hear your CD or Tape player.

Push SUBS 1-2 to hear subgroup 1 and 2 outputs.

Push SUBS 3-4 to hear subgroup 3 and 4 outputs.

Note: If any channel has its SOLO (18) switch in, then

only the SOLOed channels are heard in the control

room or headphones.

43. AUX 1 (MON) MASTER SEND

This knob is the master level control of the AUX

SEND 1 MON (22) output jack. Adjust this knob to

control the overall level of your stage monitor mix.

44. AUX 2 (FX) MASTER SEND

This knob is the master level control of the AUX

SEND 2 FX (23) output jack. Adjust this knob to

control the level sent to your external processors.

45. FX RETURN TO AUX 1 MON

This knob allows you to adjust the level of the

effects going onto the AUX 1 MON bus and out to

your stage monitors.

Signals (from external processors) coming into the

AUX FX RETURN (24) jacks, and the internal effects

processor output (unless bypassed), are summed to

mono and added to the AUX 1 Monitor bus through

this level control.

The control ranges from minimum fully counter-

clockwise, to unity gain at the center, to +15 dB fully

clockwise.

46. FX RETURN TO MAIN MIX

This knob allows you to adjust the level of effects

going onto the main mix bus and out to your main

speakers.

Signals (from external processors) coming into the

AUX FX RETURN (24) jacks, and the internal effects

processor output (unless it is bypassed) are added to

the main mix bus through this level control.

The control ranges from minimum fully counter-

clockwise, unity gain at the center, to +15 dB fully

clockwise.

47. RUDE SOLO LED

This rather annoying light ﬂashes on and off as

a reminder when any of the channel SOLO (18)

switches are pushed in. When ﬂashing, you will hear

the SOLOed channel(s) in the control room and

headphones.

48. METERS

These LEDS show the level of the control room and

headphone signals, before the control room and

headphones level controls.

As the control room/phones source select

switches are engaged, you can view the levels of

the different sources (main mix, CD/Tape, Sub 1-2

and Sub 3-4).

The calibrations are: –24, –12, –4, 0, +4, +8, +12

and +16 dB (Clip), where 0 dB = 0 dBu.

You can get a good mix with the meter’s peaks

ﬂashing anywhere between –24 and +8 dB. Most

ampliﬁers clip at about +10 dB, and some recorders

aren’t so forgiving either. For best real-world results,

try to keep your peaks between 0 dB and +8 dB.

If your meters are too high, you will get distortion.

If they are too low, then your signal-to-noise will

suffer. Use the meters to help you adjust the mixer for

optimum performance without distortion or noise.

Then you can adjust your ampliﬁer’s level controls for

good overall volume.

49. CD/TAPE TO MAIN MIX

This knob is used to control the level of the signal

that goes onto the main mix bus from your CD

player or tape deck. If the band is taking a break,

you can play some intermission music, and MUTE

(14) all active channels.

50. SUBGROUP FADERS

If the SUB ASSIGN TO MAIN MIX L and R (51)

switches above each fader are engaged, these

faders will affect the subgroup levels reaching the

main mix bus.

These faders also control the signal level out of

the rear panel SUB OUTS (61).

They also affect the level to the control room/

phones if the SOURCE SELECT (42) switches SUB 1-2 or

SUB 3-4 are engaged.

The faders range from minimum at the bottom, to

unity gain at 75% up, and to +10 at the top.

For an example of subgroups, suppose you have

a group of microphones to record a drum kit:

• Each drum microphone could be assigned to

subgroup 1-2 by pressing the channel 1-2 switches.

• Use the channel Pan controls to create a delicate

stereo mix between subgroup 1 and 2.

• Assign this to the main mix.

• Use the subgroup faders 1 and 2 to adjust the

sound of all drum mics in the main mix, instead

of having to tweak each individual drum mic

channel fader.

51. SUB ASSIGN TO MAIN MIX L and R

These switches allow you to assign a subgroup to

the main mix bus. The rear panel subgroup outputs

are not affected.

52. MAIN MIX FADER

This 60 mm stereo fader adjusts the level of the

main mix as it is sent out of the MAIN MIX (58) outputs

for audience entertainment, and TAPE (26) outputs

for recording for posterity/archiving/evidence.

It also adjusts the levels to the USB (62) outputs,

and control room/phones, if the main mix is set to be

their source.

This fader is what you use for the long drawn-out

fade out or fade-in. It ranges from minimum at the

bottom, to unity gain at 75% up, to +10 dB at the

top.

MAX

PHONESLAMP

BYPASS

EQ IN

FX OL

MAIN MIX

AUX1(MON)

POWER

PHANTOM 48V

MAIN

MIX

SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX

SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

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

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

REAR PANEL FEATURES

53. POWER SWITCH

Push the top of the switch labeled “ON” to turn

the mixer on; you should see the POWER LED (27)

glow with happiness. To turn the mixer off, push the

bottom of the switch.

As a rule, turn the mixer on ﬁrst, before any amp

or powered speakers. At the end of a show, turn it

off last. This will prevent any turn-on/turn-off thumps

from being heard in the speakers.

54. PHANTOM POWER

Turn on this switch to provide +48 VDC phantom

power to the MIC (1) input XLR jacks (pins 2 and 3).

Phantom power is required to operate most

condenser microphones (some condenser

microphones are battery-powered).

If you have ribbon mics, tube mics, or dynamic

mics that do not require phantom power, leave the

switch out. If you are using both condenser and

dynamic mics, don’t worry. Phantom power will not

hurt most dynamic mics. Check the microphone’s

user manual if you’re not sure.

Caution: Turn all output levels down

before operating this switch to avoid the

possibility of a “pop” in your speakers.

Do not use phantom power with tube or

ribbon microphones, as this may cause

damage. Always turn off phantom power when

connecting or disconnecting your microphones.

55. AC POWER IN

This standard IEC connection is where you

connect the supplied power cord.

Connect the power supply cord to the Blend 16

ﬁrst, then plug the power supply into a suitable and

properly rated AC outlet.

The Blend 16 has a universal power supply that

will operate with AC mains voltages from 100 VAC to

240 VAC.

56. AC FUSE

If you suspect a blown fuse, disconnect the power

cord, pull the fuse drawer out (located just below

the cord receptacle) and replace the fuse with

the same type and current rating. If two fuses blow

in a row, something is very wrong, and you should

unplug the mixer and call technical support.

LEFTRIGHT 1234

SUB OUTS

MAIN INSERT

LEFT

BAL/UNBAL BAL/UNBAL

TIP SEND / RING RETURN

RIGHT

CONTROL RM OUT USB IN/OUT

POWER

PHANTOM

MAIN OUT

RIGHT LEFT

PHONO

GROUND

57. PHONO GROUND

If you have a turntable connected, use this screw

terminal to connect the turntable’s ground wire. This

will prevent a hum in your system.

58. MAIN OUTPUTS

These 1/4" TRS jacks and XLR jacks represent the

end of the mixer chain, where your fully mixed stereo

signal entertains your audience.

Connect these outputs to the inputs of your

ampliﬁers, powered speakers, or serial effects

processor (graphic equalizer, for example).

59. MAIN INSERTS

These allow you to insert an external device such

as the Tapco SQUEEZE compressor/limiter or TWEEQ

graphic EQ into the main mix signal path.

You will need “Insert Cables” that allow the main

mix signals to go out to your external device, and

have the processed signals come back into the

mixer on the same plug (see Appendix B).

The inserts are taken directly from the main mix

bus, before the 7-Band EQ (31) and the MAIN MIX

FADER (52).

60. CONTROL ROOM OUTPUTS

These 1/4" TRS jacks can be used to monitor the

main mix, CD/Tape inputs, subgroups, or SOLOed

channels.

Use the control room SOURCE SELECT (42) switches

to select what you want to hear, all independent of

what the main mix outputs are playing.

Connect these outputs to the inputs of an

ampliﬁer with speakers, or powered speakers for

monitoring.

61. SUBGROUP OUTS

These 1/4" TRS jacks represent the output from

your subgroups. You can connect them to ampliﬁers

or powered speakers, or send the outputs off to an

ADAT recorder (or not use them at all).

62. USB IN/OUT

One end of the supplied USB cable connects

here, and the other end connects to the USB port of

your computer. The USB cable can simultaneously

send and receive two channels of audio to and

from any Mac or PC audio software.

53 55

58 59 60 6261

Appendix A: Using the Blend 16

At ﬁrst glance, the controls on the front panel of the

Blend 16 may seem more at home in a space movie,

right next to the Navigation ofﬁcer. Like most things,

it’s worse than that really. Here is a brief overview that

may help you understand the basic functions and

mysterious inner workings of the Blend 16.

Buses

A public transportation bus takes many passengers

and delivers them to various destinations. In a similar

way, an audio bus combines multiple audio signals

and delivers them to an output.

The Blend 16 has two main mix buses, two auxiliary

buses, and four subgroup buses.

Main Mix Buses

The audio signals from the microphones, guitars,

instruments and keyboards of your wonder-band can

be combined in the main mix bus and sent to your

main ampliﬁers and speakers (or powered speakers).

This could be your Club speaker system, or Uncle

Ernie’s garage.

To get the channel signals onto the left and right

main mix buses, press the L-R buttons near the bottom

of each channel strip.

The channel PAN knobs adjust the signal balance

onto the buses. Mono signals are shared equally to

the left and right bus if the PAN is centered. With PAN

fully left, the signals just go onto the left bus, and with

PAN fully right, they go onto the right bus.

Each channel can be tweaked in EQ and level,

and the MAIN MIX FADER used to adjust the overall

volume level. The main mix can also be assigned to

the USB output, and sent to a computer for recording.

In addition to the channel inputs, the main mix can

receive the following:

• Each of the four subgroups has an L and R switch

to assign the output onto the main mix. See below

for more subgroup details.

• The CD/Tape input has a level control to adjust the

amount of signal going onto the main mix.

• The FX RETURN input has a similar control to adjust

the level of internal and external effects going on

to the main mix.

• Channels 15 and 16 can switch the audio output

from your computer’s software (such as Tracktion)

onto the main mix.

• Channels 13 and 14 can accept the signals from a

turntable onto the main mix.

Auxiliary 1 Stage Monitor bus

The Aux 1 Mon bus is normally used for sending

an output to your stage monitors, so the band can

clearly hear what they are playing, amidst the wild

frenzy of the audience.

To get signals onto the Aux 1 Mon bus, rotate the

AUX SEND 1 controls located just below the EQ section

of each channel strip.

The stage monitors receive a mix that is

independent from the main mix, and not affected by

the channel faders or Main Mix fader.

The mixer has a separate AUX SEND 1 output, that

allows you to send the feed to your stage monitors.

Auxiliary 2 Effects bus

The Aux 2 FX bus is normally used to send an output

through the internal effects processor and onto the

main mix, and to send an output to external effects

via the AUX SEND 2 output.

To get signals onto the Aux 2 FX bus, rotate the AUX

SEND 2 controls located just below the EQ section of

each channel strip.

Unlike Aux Send 1, the levels going to Aux Send 2

are affected by the channel faders. (As the channel

faders are changed, the signal levels going to the

internal and external processors change.)

MAIN MIX BUS LEFT

MAIN MIX BUS RIGHT

MIC

BASS

MIC

GUITAR

KEYBOARD L

KEYBOARD R

MIC MAIN OUT R

MAIN OUT L

AUX 1 MONITOR BUS

MIC

BASS

MIC

GUITAR

MIC

AUX SEND 1

MIC

KEYBOARD L

KEYBOARD R

AUX 2 EFFECTS BUS

MIC

BASS

MIC

GUITAR

AUX SEND 2

MIC

KEYBOARD L

KEYBOARD R

TO INTERNAL FX

Three controls conﬁgure how the USB connection

will work in different scenarios:

USB Source switch:

This lets you

choose whether

your computer

is fed by the

main mix, or by a

prefader tap of subgroups 1-2.

USB Output Level: The selected channels of analog

audio pass through this control, allowing you to

adjust the gain if needed, and to stop the USB OL

(overload) LED from coming on.

Then the analog audio is converted to a serial

stream of digital data, and sent through the USB

cable to your computer where you can record it

into your DAW software (Digital Audio Workstation).

LINE/USB switch (CH 15/16): Two stereo

channels can return from your

computer to channels 15-16 by pushing

this switch at the top of the channel.

Recording Live

In a live situation, you can capture a recording of

exactly what the audience heard to your computer’s

hard drive, perhaps to burn a CD later.

Conﬁguration:

• Set up your mixer for your live show as you normally

would. Be sure the USB SOURCE button is in the up

position; your computer will receive a copy of the

mixer’s stereo main mix signals.

• Adjust the USB Level Control so the USB OL

LED does not light during the sound tests or

performance, encores etc.

• Open your recording software of choice and

begin recording the Blend 16 USB input. This can

be done in either mono or stereo, depending on

how you are mixing your live show (there’s no

reason to record in stereo if you are mixing the

show in mono).

• Be sure the USB button is not engaged on channels

15-16 as this may cause a feedback loop with

some DAW setups.

Studio Recording and Overdubbing

In your studio, you can record two channels

or selected groups of channels to your computer,

playback your recording, and perform overdubs by

adding new material.

There are two different methods for monitoring the

recording:

• Direct monitoring (listening to the direct sounds as

you record).

• Software monitoring (listening through the

recording software). For example, you might want

to listen as you play your guitar through a new

“warm amp tones” software simulator plug-in.

Note: Use either monitoring method, but not both

at the same time, or you may hear an undesirable

echo of your recording.

Subgroups

The channel audio signals can also be sent to the

subgroups. These let you group together similar or

related sources.

For example, your drum kit microphones can be

sent to subgroups 1 and 2. The output from each

subgroup can be adjusted with its own SUB FADER,

assigned to the main mix, and/or sent out of the sub

output jacks for recording.

To get signals onto the subgroups, press the 1-2, or

3-4 buttons near the bottom of each channel strip.

Careful use of each channel’s PAN can create a

nice stereo image in subgroups 1 and 2, or in 3 and 4.

If you want a channel to only go to 1 (or 3), pan fully

left; for 2 (or 4), pan fully right.

To get subgroups onto the main mix, press the L

and/or R buttons above each SUB FADER.

Control Room and Phones Section

The control room section lets you select and

monitor the main mix, the CD/Tape player, subgroups

and listen to individual SOLOed channels, all without

interrupting the main mix. You can set up a separate

ampliﬁer and speakers for a studio control room,

Uncle Ernie’s control shed, or headphones.

Solo

Any channels with their SOLO button engaged, will

have their signals sent (pre fader) to the control room

output and headphones for monitoring. This does not

affect the main mix, so your band can still play on

while you check individual channels and weed out

Mr. Out-of-Tune from the boy band.

USB and the Blend 16

One of the cool features of the Blend 16 is its

integrated USB input and output. Among other things,

this allows you to record your live shows, perform

recording sessions in your home studio, or use your

computer as a jukebox/band member during live

performances, with only your mixer, a computer and

a USB cable. No extra computer audio interface

hardware is needed.

Before you can get started, you may need to install

the drivers. See the instructions included on the Blend

16 software CD.

MAX

PHONESLAMP

BYPASS

EQ IN

FX OL

MAIN MIX

AUX1(MON)

POWER

PHANTOM 48V

MAIN

MIX

SUB

SUB ASSIGN

TO MAIN MIX

MASTER

AUX

SEND

CTRL RMPHONES

CD/TAPE IN

TO MAIN MIX

MAIN

MIX

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

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

MIC

Subgroup 1

KICK MIC 1

SNARE MIC 2

OH LEFT MIC 3

OH RIGHT MIC 4

Subgroup 2

SUB 1 OUT

SUB 2 OUT

TO MAIN MIX

AUX

LINE

( )

MUTE

GAIN

CD/ TAPE

MUTE

( ) ( ) ( )

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

Studio: Direct Monitoring

Conﬁguration:

1. Connect your mics and instruments to the mixer’s

inputs (leave channels 15-16 unused).

2. Connect your ampliﬁer/speaker system (or

powered speakers) to the Control Room outputs,

or connect headphones to the Phones output.

Keep the Control Room and Phones level controls

down for now. Press Main Mix in the Control Room

source section, (you’ll be monitoring the main mix).

3. Assign those channels you want to record to

subgroups 1-2, but NOT to L-R main mix (i.e., press

down the 1-2 switch on each channel, but leave

each L-R switch up).

4. Use PAN on each channel to select if the mics or

instruments go to subgroup 1 or 2. For example, to

record a vocal microphone and an electric guitar

at once, route the mic to subgroup 1 (PAN fully left,

and 1-2 down) and the guitar to subgroup 2 (PAN

fully right, 1-2 down).

5. Press the USB SOURCE switch down; copies of

subgroups 1-2 are fed to the USB’s A/D converter

and sent to your computer’s DAW software.

6. Sing or play, at normal performance levels and

adjust the USB OUTPUT LEVEL knob to avoid

clipping the USB A/D converter.

Here is where Direct Monitoring comes in:

7. To listen to the direct sounds as you record, assign

subgroups 1-2 to the main mix, using the L and R

switches above the subgroup faders. Carefully turn

up the Control Room level and/or Phones level

a little, then use the subgroup faders to control

the volume of what you are hearing. (They do

not affect the signal levels sent to the computer,

since the signals are tapped before the subgroup

faders.)

8. To perform an overdub and hear some previously

recorded material (such as a drum beat) to play

along to while recording, press the USB button on

channels 15-16 and assign 15-16 to the main mix.

Studio: Software Monitoring

Conﬁguration:

1. Follow steps 1 to 6 above to get your sounds into

the computer, using subgroups 1-2. Do not assign

the subgroups to the main mix.

Here is where Software Monitoring comes in:

2. To listen through the software as you record,

engage software monitoring in your DAW for the

Blend 16 inputs. You will then be able to listen to

the tracks while you are recording, including any

software effects you might have added. This is

done differently for each DAW, so consult your

software’s manual if you are unsure how to do this.

In Tracktion, you would enable “end to end” on

the Blend 16 inputs.

3. On your DAW, place any software effects you

would like to “monitor through while recording”

onto the tracks coming in from the Blend 16.

4. Press the USB button on channels 15-16 and assign

15-16 to the L-R, but not to subgroups 1-2.

5. Press Main Mix in the Control Room source section

and you will hear the signals you will record

(through their effects) along with playback from

any previously recorded tracks.

DJ Music Playback

Main aim:

Use the computer as a sound source for playback

during a live performance, or as the main sound

source for their DJ set.

Conﬁguration:

• Setup your mixer for your live show as you normally

would, but leaving channels 15-16 unused.

• Open your music software on your computer and

conﬁgure it to output to the Blend 16.

• Press the USB button on channels 15-16. The

output of your computer will now feed these

channels.

• Using the channel 15-16 controls, route the

incoming audio from your computer to the Auxes,

Effects sends, subgroups, and/or Main L-R as

needed, just as you would any other channel.

• If you would also like to record your show, you

can send your main mix back to your computer

for recording. Be sure software monitoring is NOT

enabled in your DAW or you might get a feedback

loop and could damage your ears and speakers.

Laptop

Channel

15 and 16

Main Mix

Ch 15-16

Faders

Subgroup 1-2

USB

Main Mix

Laptop

Subgroup

Faders

Subgroup 1-2

USB

Appendix B: Connections

XLR Connectors

Channels 1 and 2 use 3-pin female XLR

connectors on the MIC inputs. They are wired as

follows, according to standards speciﬁed by the AES

(Audio Engineering Society).

XLR Balanced Wiring

Pin 1 = Shield

Pin 2 = Hot (+)

Pin 3 = Cold (–)

1/4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a stereo 1/4" or balanced

phone jack or plug. TRS jacks and plugs are used for

balanced signals and stereo headphones:

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

1/4" TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connections

available on a mono 1/4" phone jack or plug. They

are used for unbalanced signals.

1/4" TS Unbalanced Wiring:

Sleeve = Shield

Tip = Hot (+)

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs)

and jacks are often used in home stereo and video

equipment and in many other applications. They are

unbalanced and electrically equivalent to a 1/4" TS

phone plug.

RCA Unbalanced Wiring:

Sleeve = Shield

Tip = Hot

1/4" TRS Insert Plugs and Jacks

When patching an external device into a

channel’s insert jack, or the main insert jacks, you

may need to use a special 1/4" TRS connector

called an “Insert plug.” These use the tip to send the

signal to the external device, and the ring to return

the signal to the mixer. The sleeve is the common

ground (earth) for both signals. These are both

unbalanced signals.

“tip”

This plug connects to the

Channel Insert jack “ring”

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

1/4" TRS Insert Wiring:

Sleeve = Ground

Tip = Send

Ring = Return

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

SLEEVE

TIPSLEEVE

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

Appendix C: Speciﬁcations

Frequency Response

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

+0, –1 dB,

20 Hz to 20 kHz

–3 dB,

10 Hz to 80 kHz

Distortion

THD and SMPTE IMD; 20Hz to 20kHz

Mic Input to Main Output:

< 0.005%

@ +4 dBu output

Noise

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

Equivalent Input Noise (EIN): –128 dBu

Residual Output Noise:

Channel and Main Mix levels off

Main, Ctrl Room, Phones: –102 dBu

Aux 1 Monitor out –82 dBu

Aux 2 EFX out –92 dBu

Common Mode Rejection Ratio

(CMRR)

Mic In: 60 dB @ 1 kHz

Gain @ maximum

Crosstalk

Adjacent Inputs or Input to Output:

–85 dB @ 1 kHz

Input Gain Control Range

Mic In: +3 dB to +50 dB

Line In: –22 dB to + 25 dB

Phantom Power

+48 VDC

Equalization

Mono Channel EQ:

High ±15 dB @ 12 kHz

Mid ±15 dB 100 Hz–8 kHz

Low ±15 dB @ 80 Hz

Stereo Channel EQ:

High ±15 dB @ 12 kHz

Mid ±15 dB @ 2.5 kHz

Low ±15 dB @ 80 Hz

Mixer Rated Output

Main, Aux, Control Room: +4 dBu

Maximum Rated Output: +18 dBu

Maximum Input Levels

Mic Input: +18 dBu,

Gain @ +3 dB

Inst Input: +18 dBu,

Gain @ –22 dB

Stereo Line Input, Tape Input, and Aux Return:

+18 dBu

Maximum Voltage Gain

Mic Input to:

Main Output: 74 dB

Tape Output: 74 dB

Aux Sends: 74 dB

Control Room Output: 84 dB

Phones Output: 84 dB

Inst Input to:

Main Output: 49 dB

Tape Output: 49 dB

Aux Sends: 49 dB

Control Room Output: 59 dB

Phones Output: 59 dB

Stereo Line Input to:

Main Output: 20 dB

Tape Output: 20 dB

Aux Send: 20 dB

Control Room Output: 30 dB

Phones Output: 30 dB

Tape Input to:

Main Output: 10 dB

Tape Output: 10 dB

Control Room Output: 10 dB

Phones Output: 10 dB

Aux Return to:

Main Output: 20 dB

Tape Output: 20 dB

Aux Send: 20 dB

Control Room Output: 30 dB

Phones Output: 30 dB

Input Impedance

Mic Input: 2.3 kΩ, balanced

Inst Input: 1 MΩ

Stereo Line Input: 20 kΩ, balanced

Stereo Aux Returns: 20 kΩ, balanced

CD/Tape In: 24 kΩ, unbalanced

Output Impedance

Main, Ctrl Room, Aux Sends: 120 Ω

Tape Output: 1 kΩ

Phones Output: 25 Ω

Channel Level Set LED (Sensitivity)

0 dBu

(normal operating

level)

VU Meters

Main Left and Right

8 segments:

–24, –12, –4, 0, +4, +8, +12, Clip (+16)

0 LED = 0 dBu

AC Power Requirements

Internal Universal Power Supply, standard IEC

connector

Voltage Range:

100 VAC to 240 VAC, 50/60 Hz

Physical Dimensions and Weight

Height: Back: 5.0” (127 mm)

Front: 2.5” (64 mm)

Width: 18.5” (469 mm)

Depth: 16.6” (422 mm)

Weight: 11.5 lbs (5.2 kg)

Internal Effects

32 bit EMAC processing, 2-channel

Sample Rate: 31.25 kHz

Bandwidth: 15.6 kHz

Number of presets: 16

Parameters: 2 controls

Digital I/O

USB

Bit Depth: 24 bit/16 bit

Sample Rates: 44.1 kHz, 48 kHz,

Output: Main L and R output signal or

Subgroup 1-2

Input: Alternate source to stereo

channel 15-16

Disclaimer

Since we are always striving to make our products

better by incorporating new and improved materials,

components, and manufacturing methods, we

reserve the right to change these speciﬁcations at

any time without notice.

System Requirements

Here are some of the computer requirements in

order to use the mixer with a computer and to run the

Tracktion software.

PC Requirements

• WINDOWS XP

• Intel Pentium 3 or 4, or AMD Athlon (750 MHz or

better is recommended for Tracktion)

• At least 256 MB RAM (512 MB is recommended )

• Super VGA (1024 x 768) or higher-resolution video

adapter and monitor

• CD-ROM or DVD drive

• Keyboard and Wheel Mouse or compatible

pointing device

• USB port

Macintosh Requirements

• Macintosh OSX v 10.9 (or higher)

• G4 (or better)

• 256 MB RAM (512 MB is recommended)

• Keyboard and Wheel Mouse or compatible

pointing device

• USB port

Hard Drive Notes

• To record a one minute 24-bit/44.1 kHz mono track

requires approximately 8 MB of hard drive space.

• Preferably, use a second drive for recording audio,

not your main drive with the operating system.

• It is best if you can start with a freshly de-

fragmented drive before recording.

• Backup your ﬁles and de-fragment your drive

often.

• Did we mention backing up your ﬁles often?

• We do not want you to be sitting back relaxing in

the pub after a long day's recording session of your

ﬁnest work, when all along there is a doubt in the

back of your mind about having backed up your

ﬁles.

Block Diagram This shows an outline of the strange goings on inside the mixer.

AUX 1

AUX 2

SOLO

LOGIC

SUB

CONTROL

ROOM LEVEL

MAIN

FADER

MAIN

/MON

BYPASS

PHONES

LEVEL

SUB 1 FADER

ASSIGN

TO MAIN

SUB 1

SUB 2

SUB 3

SUB 4

MONITOR

SUB 4

AUX 1 (MON) MASTER

AUX 2 (FX) MASTER

TO FX INPUT LEVEL

FROM AUX 2 FX

MAIN

AUX 1

AUX 2

SOLO

LOGIC

SUB

MAIN

LEVEL

PAN ASSIGN

ASSIGN

SOLO

MON

MUTE

PAN

MON

SOLO SUM

LEFT SUM

RIGHT SUM

LEFT

INSERT

GAIN

LOW CUT

RIGHT

INSERT

SOLO LOGIC

FX LEVEL

TO MAIN

FX LEVEL TO MON

MAIN

CD/TAPE

SUB

1 2 34

SUB

O/L

SUB 2

SUB 3

BYPASS

VARIATIONS

EFFECTS

FX INPUT

LEVEL

LEVEL TO

MAIN MIX

TO C/R SELECT

DIGITAL

EFFECTS

LO MID

80 100~8K 12K

GAIN

LINE/PHONO

LINE/USB

GAIN

USB

GAIN

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

GLOBAL SWITCH

48V

MIC

HI-Z CH1-8

3-BAND EQ

CH15-16

EQ IN

CH15-16

CH13-14

CH9-12

CH13-14

EQ IN

FROM USB INPUT

D/A CONVERTER

USB

SOURCE

MONO

CHANNELS 1-8

STEREO

CHANNELS 9 - 12

STEREO

CHANNELS 13 - 14

STEREO

CHANNELS 15-16

FX RETURN

CD/TAPE INPUT

ADC

TO C/R SELECT

RIAA

PHONO

PREAMP

PHANTOM POWER

TO C/R SELECT

(MAIN MIX)

LEFT MAIN MIX BUS

RIGHT MAIN MIX BUS

SUB GROUP 1

SUB GROUP 2

SUB GROUP 3

AUX BUS 1 (MON)

AUX BUS 2 (FX)

SOLO BUS

SOLO LOGIC

SUB GROUP 3

METERS

AND

WOMBAT

WORRIER

CONTROL ROOM/

PHONES SELECT

PHONES

CONTROL

ROOM

OUT

LEFT

MAIN MIX

OUT

RIGHT

MAIN MIX

OUT

USB

OUT

SUB 1

OUTPUT

SUB 2

OUTPUT

SUB 3

OUTPUT

SUB 4

OUTPUT

AUX 1

OUT(MON)

AUX 2

OUT (FX)

TAPE OUT

80 3K 12K

HIMID

80 2.5K 12K

HIMID

NOTE1: THESE NUMBERS CORRESPOND TO THE

NUMBERED DESCRIPTIONS IN THE MANUAL.

NOTE 2: THE WOMBAT WORRIER HAS ONLY BEEN GENTLY

TESTED ON PROFESSIONAL UNION STUNT WOMBATS.

10 8 9 7

14 15

13 16

40 30

32 58

5150

18 16

9 7

Appendix D: Service Information

No Audio into your Computer:

• Conﬁrm the mixer is receiving mic or instrument

input signals.

• Make sure you have selected the right driver in

your DAW. In Tracktion, this is in the Settings menu.

• If the mixer seems ﬁne, click Restart Device in the

Tracktion Settings menu.

• In Tracktion, be sure the correct inputs are selected

and the tracks are armed.

Echo or phasing from input while

recording:

• It sounds like you are monitoring both through

software and directly. You should only do one or

the other. See page 19 to help you decide which is

best for your situation.

• If you are overdubbing (or recording a new track

alongside other tracks already recorded), try

disabling your new track’s output to the mixer and

monitoring the signal you are recording directly.

Adjust the channel 15-16 fader and the subgroup

1-2 faders so you can hear both your new input

signal as well as the playback from the computer.

Glitchy/Distorted Playback from

Computer:

Increase the Buffer Size/Latency Setting:

• Tracktion (PC): choose the Settings Tab and Audio

Devices. Click the “show ASIO control panel”

button and try a larger buffer size.

• Tracktion (Mac): choose the Settings Tab and

Audio Devices and increase the Latency slider.

• In other applications, ﬁnd the control panel to

increase the ASIO (PC) or Core Audio (Mac) buffer

size or latency.

• Be sure the mixer is the only device on the USB

chain. The easiest way to do this is to be sure the

mixer is connected directly to your computer’s USB

port; we do not recommend using USB Hubs.

• Try a song with fewer tracks, effects, and virtual

instruments. If it plays ﬁne, then you may be

pushing your computer above its limits. Try

increasing your latency settings as described

above.

Large latency (delay) from input

signal to output:

• Change the latency/buffer setting to a lower

setting, as described above.

• Try using direct monitoring instead of software

monitoring. See page 19 for details.

Warranty Service

Details concerning Warranty Service are spelled

out in the Warranty section on page 27.

If you think your TAPCO Blend 16 has a problem,

please do everything you can to conﬁrm it before

calling for service. Doing so might save you from

the deprivation of your mixer and the associated

suffering.

Here are some things you can check:

Troubleshooting

Bad Channel

• Is the channel GAIN turned up?

• Is the channel FADER turned up?

• Try the same source signal in another channel, set

up exactly like the suspect channel.

• If your microphone requires phantom power, make

sure you engage the Phantom Power button

(48V) on the rear panel of the mixer. Conﬁrm the

need to use phantom power by reading your

microphone's documentation.

Bad Output

• Is the MAIN MIX FADER at minimum perchance?

• If it’s a stereo pair, try switching them around. For

example, if a left output is presumed dead, switch

the left and right cords, at the mixer end. If the left

speaker is still dead, it’s not the mixer. Perhaps it’s a

bad cable, speaker, or ampliﬁer channel.

Noise

• Turn down the channel FADER, and AUX SEND

controls, one by one. If the noise disappears, it’s

either that channel or whatever is plugged into it,

so unplug whatever that is.

Power

• Our favorite question: Is the POWER switch on?

•

Is the power cord securely plugged in

• Is the power supply cord securely plugged into

an AC power strip? Make sure the power to the

power strip is turned on.

• If you suspect a blown fuse, disconnect the power

cord, pull the fuse drawer out (located just below

the cord receptacle) and replace the fuse with

the same type and current rating. If two fuses blow

in a row, something is very wrong, and you should

contact technical support.

• Are all the lights out in your building?

No Communication with the mixer:

• The PC driver may not be installed correctly.

Make sure your computer meets the system

requirements. Uninstall the driver from the Add/

Remove Programs control panel, restart your

computer, and reinstall the driver.

• Restart your computer and the mixer.

I hear my Windows/Mac sounds

through my mixer, but I don’t want to:

The mixer should not be selected as your computer’s

sound system default device. To disable it:

• On a PC, go to Control Panel>Sound and Audio

Devices. In the Audio tab, be sure the Blend 16

is not selected as the default device for sound

playback.

• On a Mac, go to Applications>Utilities>Audio

MIDI Setup. In the Audio Devices tab, be sure the

Blend 16 is not selected for your default or system

outputs. You can also change this in the Sounds

Preferences pane of the OS X System Preferences

application.

My guitar (or other instrument)

doesn’t sound as good as I expect:

• If your guitar is connected directly to the mixer

(i.e., without a direct box or preamp), be sure you

are using the INST input on channels 1-8.

• Check the mixer Gain and EQ settings, and make

sure you have not overdone the EQ or the audio is

clipping.

• Could we suggest you might need more practice?

Can I transfer my classic record

collection?

• Yes, but please follow all copyright rules.

• Mixer channels 13 and 14 can accept phono

level signals from a turntable. The internal phono

preamp equalizes and boosts your turntable

phono-level signals to line-level.

• It is most likely that your turntable has RCA

outputs, so you will need to buy adapters from

RCA (female) to 1/4" (male). These adapters are

commonly stocked in most electronics and audio

stores.

• Some companies provide software plug-ins that

remove pops and clicks from the recordings. This

kind of spoils some of the fun though.

Still having USB problems?

• Be sure you are running the latest drivers.

• If after updating, you still are having problems,

please call tech support.

Repair

Service for Tapco products is available at a

factory-authorized service center. Service for Tapco

products living outside the United States can be

obtained through local dealers or distributors.

If your unit needs service, follow these instructions:

1. Review the preceding troubleshooting suggestions.

Please.

2. Call Tech Support at 1-877-827-2669, 7 am to 5 pm

PST, to explain the problem and request a Service

Request Number. Have your serial number ready.

You must have an Service Request Number before

you can obtain warranty service.

3. Keep this owner’s manual and the detachable

linecord. We don’t need them to repair the unit.

4. Pack the unit in its original package, including

endcaps and box. This is VERY IMPORTANT. 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,

Service Request Number, a copy of your sales

receipt, and a detailed description of the problem,

including how we can duplicate it.

6. Write the Service Request Number in BIG PRINT on

top of the box. Units sent without the SR number

will be refused.

7. Tech Support will tell you where to ship the unit

for repair. We suggest insurance for all forms of

cartage.

8. You will need to contact the authorized service

center for their latest turn-around times. The unit

should be packaged in its original packing box,

and must have the Service Request Number on

the box. Once it’s repaired, the authorized service

center will ship it back by ground shipping, pre-

paid (if it was a warranty repair).

Note: Under the terms of the warranty, you must

ship or drop-off the unit to an authorized service

center. The return ground shipment is covered for

those units deemed by us to be under warranty.

Note: You must have a sales receipt from

an authorized Tapco dealer for your unit to be

considered for warranty repair.

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

TAPCO LIMITED WARRANTY

A. LOUD Technologies Inc. warrants all materials,

workmanship and proper operation of this TAPCO

product for a period of one year from the original

date of purchase. If any defects are found in the

materials or workmanship, or if the product fails to

function properly during the applicable warranty

period, LOUD Technologies, at its option, will repair

or replace the product. This warranty applies only

to equipment sold and delivered within the U.S. by

LOUD Technologies or its authorized dealers.

B. Failure to register online or return the product

registration card will not void the one-year warranty.

C. Service and repairs of TAPCO products are to

be performed only at a factory-authorized

service center. Unauthorized service, repairs, or

modiﬁcation will void this warranty.

D. To obtain factory service, please follow the

instructions found on page 26.

E. LOUD Technologies Inc. and Authorized TAPCO

Service Centers reserve the right to inspect any

products that may be the subject of any warranty

claims before repair or replacement is carried

out. LOUD Technologies and Authorized TAPCO

Service Centers may, at their option, require

proof of the original date of purchase in the form

of a dated copy of the original dealer’s invoice

or sales receipt. Final determination of warranty

coverage lies solely with LOUD Technologies Inc. or

its Authorized Service Centers.

TAPCO products returned to

LOUD Technologies

and deemed eligible for repair or replacement

under the terms of this warranty will be repaired

or replaced within thirty days of receipt. LOUD

Technologies may use refurbished parts for repair

or replacement of any products. Products returned

LOUD Technologies

that do not meet the terms

of this warranty will not be repaired unless payment

is received for labor, materials, return freight, and

insurance. Products repaired under warranty at the

factory will be returned freight prepaid by LOUD

Technologies to any location within the boundaries

of the USA.

LOUD Technologies warrants all repairs performed

for 90 days or for the remainder of the warranty

period. This warranty does not extend to damage

resulting from improper installation, misuse, neglect

or abuse, or to exterior appearance. This warranty

is recognized only if the inspection seals and serial

number on the unit have not been defaced or

removed.

H. LOUD Technologies assumes no responsibility for

the quality or timeliness of repairs performed by

TAPCO Authorized Service Centers.

I. This warranty is extended to the original purchaser

and to anyone who may subsequently purchase

this product within the applicable warranty period.

J. This is your sole warranty. LOUD Technologies Inc.

does not authorize any third party, including any

dealer or sales representative, to assume any

liability on behalf of LOUD Technologies or to make

any warranty for LOUD Technologies.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE

WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.

AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS

AND IMPLIED, INCLUDING THE WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A PARTICULAR

PURPOSE. THE WARRANTY GIVEN ON THIS PAGE

SHALL BE STRICTLY LIMITED IN DURATION TO ONE

YEAR FROM THE DATE OF ORIGINAL PURCHASE

FROM AN AUTHORIZED TAPCO DEALER. UPON

EXPIRATION OF THE APPLICABLE WARRANTY

PERIOD, LOUD TECHNOLOGIES SHALL HAVE NO

FURTHER WARRANTY OBLIGATION OF ANY KIND.

LOUD TECHNOLOGIES SHALL NOT BE LIABLE FOR

ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL

DAMAGES THAT MAY RESULT FROM ANY DEFECT IN

THE TAPCO PRODUCT OR ANY WARRANTY CLAIM.

Some states do not allow exclusion or limitation of

incidental, special, or consequential damages or

a limitation on how long warranties last, so some

of the above limitations and exclusions may not

apply to you. This warranty provides speciﬁc legal

rights and you may have other rights which vary

from state to state.

Please keep your sales receipt in a safe place.

“TAPCO” is a registered trademark of LOUD

Technologies Inc.

All other brand names mentioned are trademarks

or registered trademarks of their respective holders,

and are hereby acknowledged.

#MFOE#MFOE

owner’s manual

16-CHANNEL 4-BUS MIXER w/ ONBOARD EFFECTS

Tapco Blend 16 Users Manual Owner's

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