Tapco Blend 16 User Manual

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.

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. 

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.

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).   

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).

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.

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.)

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.)

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.

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. 

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.

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