Tapco MIX.220FX - Manual (Page 13)

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