Tapco Blend 16 User Manual

Blend 16 Features 

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 

U 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 

U, 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.

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 provide +48 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 

stereo channel LINE (19)  jacks instead. 
Do not use phantom power with tube or 
ribbon microphones, as this may cause 
damage.

The INST (instrument) inputs accept 1/4" 

TRS balanced and TS unbalanced plugs.

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.

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.

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) and INST (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.

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.

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. 

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.

Turn this clockwise to boost the level of all 

frequencies above 12 kHz. Turn it counter-clockwise 
to cut 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.

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