Tapco BLEND16 Owner'S Manual Download

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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

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

, 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 p48 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 INST or LINE (2) jacks instead. Do not
use phantom power with tube or ribbon
microphones, as this may cause damage.

2. INST and LINE INPUTS

These inputs accept 1/4" TRS balanced

and TS unbalanced plugs.

The 1/4" inputs on channels 1 and 2

are labeled INST (Instrument). 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.

Channels 3 to 8 accept inputs 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 inputs 3-8. You should use a
preamp to provide a line-level output first.

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), INST and LINE (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.

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