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15. This apparatus shall not be exposed to dripping or splashing, CAUTION AVIS and no object fi lled with liquids, such as vases, shall be placed on the apparatus. RISK OF ELECTRIC SHOCK 16. This apparatus has been designed with Class-I construction DO NOT OPEN and must be connected to a mains socket outlet with a RISQUE DE CHOC ELECTRIQUE protective earthing connection (the third grounding prong). NE PAS OUVRIR 17. The MAINS plug or an appliance coupler is used as the CAUTION: TO REDU
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Contents Safety Instructions .....................................2 18. Aux Send FX ..............................17 Getting Started ..........................................4 19. Overload (OL) Led ...................17 Introduction ...............................................5 20. Channel Level ..........................17 Hookup Diagrams .....................................6 21. Gain Switch ..............................17 Rear Panel Features ................................10 Master Cont
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Getting Started We realize that you must be READY, STEADY, GO! really keen to try out your new 1. Turn down all the channel level, mon, powered mixer, but please and FX controls. read the safety instructions on page 2, and this page fi rst. 2. Set all the EQ controls to the center, including the graphic EQ sliders. SETUP 3. Turn down the main master level and monitor master level controls, and turn 1. Place the powered mixer in a position on the powered mixer. where it is easy to reach
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Introduction Thank you for choosing a TAPCO MIX10fxP powered mixer. We grin with happiness over all the fun you will have. The TAPCO product line hails back to the days of TAPCO Corporation, Greg Mackie’s fi rst company. TAPCO revolutionized the audio industry back in 1969 with the very fi rst 6- channel mixer specifi cally designed for keyboards and rock ‘n’ roll. In essence, TAPCO redefi ned the price/performance ratio, and made high-quality professional audio equipment accessible to virtually
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Hookup Diagrams Club System Microphones Electric Guitar Acoustic Guitar and Mic Amp Mode DB-1A switch set to DI Box Stereo Main 6915 Passive Speakers (plays stereo main mix) Recorder Keyboard TAPCO J-2500 Power Amplifier Pole Mount TAPCO Thump-15A Powered Speakers used as Stage Monitors 6918s Passive Subwoofers This diagram shows microphones attached to channels 1 to 4, an electric guitar connected via a TAPCO DB-1A DI box to channel 5, an acoustic guitar and mic to channel 6, and a keyboard at
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House of Worship 6912 Passive Speakers Microphones Electric Guitar Acoustic Guitar and Mic Amp Mode DB-1A switch set to DI Box Stereo Main 6912 Passive Speakers CD/DVD Player Keyboard 1 Thump TH-15A Powered Speakers in Overflow Room or Cry Room Keyboard 2 TAPCO J-2500 TAPCO Link.USB Power Amplifier USB Laptop Stage Monitors This diagram shows microphones attached to channels 1 to 4, an electric guitar connected via a TAPCO DB-1A DI box to channel 5, a guitar mic to channel 6, keyboards attached
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Band Practice Electric Guitar Floor Monitors Vocal (play monitor mix) Bass Microphones Guitar Drum Kit Mics Guitar Processor Amp Mode switch set to DI Box Main/Mon 6912 Passive Speakers (plays mono main mix) CD Player iPod Dock TAPCO Link.USB Digital Audio Interface USB Pole Mount Laptop Thump TH-18s Powered Subwoofers This diagram shows drum kit microphones connected to channels 1 to 4, a guitar connected via a TAPCO DI box to channel 5, a guitar processor connected to the line input of chann
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Outdoor gig Electric Guitar Acoustic Guitar and Mic Bass Guitar Vocal Microphones Drum Kit Mics DI Box Gtr Proc. Amp Mode switch set to Stereo Main 6912 Passive Speakers (play stereo main mix) TAPCO J-1400 TAPCO J-2500 Power Amplifier Power Amplifier Recorder Stage Monitors 6925 Passive Speakers (play stereo main mix) This diagram shows drum kit microphones connected to channels 1 to 4, a guitar connected via a TAPCO DI box to channel 5, a guitar processor connected to the line input of channel
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Rear Panel Features 2 3 4 1 1. POWER CONNECTION 2. POWER SWITCH This jack accepts the supplied 3-prong IEC Press the top of this rocker switch to turn AC power cord. on the mixer. The front panel power LED (22) will glow with happiness, or at least it will if Before you plug the AC power you have the mixer plugged into a suitable cord into the powered mixer, make live AC mains supply. sure that the voltage of your unit is the same voltage as your local Press the bottom of this switch to
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3. SPEAKER-LEVEL OUTPUTS 4. VENTILATION These output connections provide Do not obstruct these ventilation slots, or speaker-level output power from the the internal amplifi ers may overheat and internal power amplifi ers to your passive shut down. speakers. The peak power output is 500 Allow at least six inches of free space watts per channel into 4 ohms. behind the powered mixer when in use. Only passive loudspeakers should be connected to these speaker- level outputs. The outputs can be se
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Front Panel Features 24 23 22 14 15 25 26 27 16 28 17 30 29 18 31 19 32 20 21 34 33 7 8 8 7 35 6 6 6 6 6 6 13 5 5 5 5 5 5 5 5 5 5 12 9 10 11 Connector Section This is where you plug things in, such as: Microphone-level signals are passed microphones, line-level instruments, guitar through the mixer's splendid microphone preamps and effects, recorders, external preamplifi ers to become line-level signals. amplifi ers, powered monitors, powered Because more gain is required to boost the subwoof
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The mixer's phantom power is globally Stage monitors allow the talented controlled by the phantom (23) switch on musicians in your band to hear themselves the front panel. (Phantom power for all mics clearly on stage, and this can often be a is turned on and off together.) good thing. The monitor output can be carefully adjusted in level using the channel Never plug single-ended aux mon controls (17). If they want "more (unbalanced) micro phones, or me, and less Keith," you can turn u
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24 23 22 14 15 25 26 27 16 28 17 30 29 18 31 19 32 20 21 34 33 7 7 8 8 35 6 6 6 6 6 6 13 5 5 5 5 5 5 5 5 5 5 12 9 10 11 world. The master level (28), graphic EQ 12. POWER AMP MODE SWITCH (25), and amp mode switch [12] will have This two-position switch no effect, and the meters (26) will not show lets you choose which signal the levels. Only the series 69 EQ switch [33] paths from the mixer section will affect the output. Plugging anything into are sent to the internal power these input
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Stereo Channels 7 to 10 Channel Controls • Channels 7 and 8 are stereo channels, and their controls affect both the mono The 10 vertical channel strips look very mic input (5), and stereo line-level input similar, with only a few differences between (7). (The mono mic input of each stereo them. Each channel works independently, channel is split equally to left and right). and controls the signals plugged into the inputs directly below it. • Channels 9 and 10 are stereo channels, and the
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24 23 22 14 15 25 26 27 16 28 17 30 29 18 31 19 32 20 21 34 33 7 7 8 8 35 6 6 6 6 6 6 13 5 5 5 5 5 5 5 5 5 5 12 9 10 11 14. HIGH EQ CHANNEL EQUALIZATION (EQ) The high EQ provides up to 15 dB of boost Each channel has 3-band equalization: or cut above 12 kHz, and is fl at at the center low shelving, mid peaking, and high detent. Use it to add sizzle to cymbals, an shelving. It’s probably all the EQ you’ll ever overall sense of transparency, or an edge to need! Shelving means that the circui
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17. AUX SEND MON 20. CHANNEL LEVEL This control allows you set up a nice This adjusts the level of each channel sent monitor mix, independent of the main mix. to the main mix. The “U” mark indicates unity Adjust these controls on each channel until gain, meaning no increase or decrease your band is happy with the stage monitor of signal level. All the way up provides an mix. The controls are off when turned fully additional 15 dB, should you need to boost down, deliver unity gain at the ce
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Most modern professional condenser mics require phantom power. Semi-pro condenser mics often have batteries to 24 23 22 accomplish the same thing. “Phantom” owes its name to an ability to be “unseen” by dynamic mics which don’t need external power and aren’t affected by it anyway. 25 26 Never plug single-ended 27 (unbalanced) micro phones, or ribbon mics into the mic input jacks 28 if phantom power is on. Do not plug instrument outputs into the mic input 30 jacks with phantom powe
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rather than boost the wanted range. You and fully up provides 12 dB of additional can reduce the level of some frequency gain. This additional gain will typically never bands where feedback occurs. be needed, but once again, it’s nice to know it’s there. The level control is stereo, as it affects both the left and right of the main 26. MAIN MIX METERS mix equally. This is the control to turn down Developed from a harmless ex-NATO at the end of the song when you want a hamster hypnotizer,
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33. SERIES 69 EQ If you are using TAPCO Series 69 passive 24 23 22 speakers such as the wonderful 6912, 6915, and 6925, then press this switch for enhanced clarity and low-frequency response. 25 26 If you are not using TAPCO speakers, 27 then press it anyway and listen for an improvement. The circuit does not affect the line-level outputs. Only loudspeakers 28 connected to the rear panel speaker-level outputs (3) will be affected. 30 29 31 Internal Effects 32 The internal effects proce
