Tapco Mix 260FX User Manual Download Page 9

Page: 9 / 28

CHANNEL CONTROLS

The channel strips have various controls,

depending on the model and whether it is a mic/line
(mono) channel or a stereo channel.

The output from each channel strip passes on

to the left and right main mix. Two auxiliary signals
can be tapped oﬀ and sent to monitors or eﬀ ects
processors. The block diagrams on pages 23-24
show how the signal ﬂ ows through each mixer.

UNITY GAIN

The

symbol on most of the

controls, stands for “unity gain,”
meaning there is no change
in signal level. Once you have
adjusted the input signal to line-

level, you can set every control at

, and your signals

will travel through the mixer at optimal levels.

EQUALIZATION

Each EQ control provides up to 15 dB of boost

and cut, with no change to the signal (0 dB) in the
center position. The Mix.220FX has three-band EQ
on all the channels, while the Mix.260FX has three-
band EQ with variable mid on the mono channels,
and four-band EQ on the stereo channels.

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.

6. 75Hz Low-Cut Switch
(Mono Channels only)

This switch cuts the bass frequencies below 75 Hz.

We recommend that you use the Low-Cut switch
on every microphone application except kick drum,
bass guitar, bassy synth patches, or recordings of
earthquakes. These aside, there isn’t much down
there that you want to hear, and ﬁ ltering it out makes
the low stuﬀ you do want much more crisp and tasty.

7. HI EQ

Turning this clockwise boosts the level of all

frequencies above 12 kHz. Turning it counter-
clockwise cuts 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.

8. MID EQ

Turning this clockwise boosts the level of

frequencies at and around 2.5 kHz on the 220FX.
Turning it counter-clockwise cuts the levels.

The 260FX has a sweepable

MID EQ on the mono channels
(see 9 next), and two discrete
MID EQ controls on the stereo
channels, with center frequencies
at 3 kHz and 500 Hz [8a].

The midrange frequencies

include the upper male and
lower female vocal ranges,
and the fundamentals
and harmonics for many
instruments.

9. MID FREQ
(Mix.260FX Mono Channels
only)

This allows you to change

the center frequency for the
MID EQ ﬁ lter so you can zero in
more accurately on the precise
narrow band of frequencies you
want to boost or cut. It ranges
from 100 Hz to 8 kHz.

10. LOW EQ

Turning this clockwise boosts

the level of all frequencies
below 80 Hz. Turning it counter-
clockwise cuts the levels.

Frequencies of 80 Hz and

below represent the punch
in bass drums, bass guitar,
fat synth patches, and high-
testosterone male singers.

AUXILIARY

In addition to the main mix

output, the mixer provides
two auxiliary mixes, which you
can send to parallel eﬀ ects
processors and stage monitors.

The AUX SEND knobs adjust

how much of each channel is
tapped oﬀ , added to the aux
mix, and sent out via the AUX
SEND [45] jacks.

On the stereo channels, the

AUX knob controls a mono sum
of the channel’s stereo signals.
For instance, channel 5 (L) and
6 (R) mix together to feed that
channel’s AUX send knobs.

Mix.260FX Mono Channel

1-2

L-R

SOLO

PRE

MON

AUX

SEN

SEND

INPUT

BAL/UNBAL

HIGH