Tapco MIX.220FX, MIX.260FX 11. AUX SEND 1 (MON), 12. PRE, 13. AUX SEND 2 (FX), 14. PAN/BAL, 15. MUTE/ALT 3-4, 14, 18 19

11. AUX SEND 1 (MON)

The AUX SEND 1 can be used either as a monitor

send (pre-fader) or an eﬀ ects send (post-fader).

Push in the PRE [12] switch to use AUX SEND 1 as

a monitor send and feed the mono input of a stage

monitor ampliﬁ er via the AUX SEND 1 [45] output jack.

In pre-fader mode, the signal is tapped oﬀ after

the EQ controls, but before the fader control, so the

monitor send is not aﬀ ected by changes in the Main Mix.

If you want to use the AUX SEND 1 as an eﬀ ects

send, leave the PRE switch up and use it as described

for the AUX SEND 2 [13].

12. PRE

This switch determines whether the AUX SEND 1

is pre-fader (pushed in) or post-fader (out). Typically,

push this switch in when using AUX SEND 1 as a

monitor send, and leave it out when using it as an

eﬀ ects send.

13. AUX SEND 2 (FX)

The AUX SEND 2 is used

to feed the mono input of

parallel eﬀ ects devices via

the AUX SEND 2 [45] output

jack. All the channel controls

(except PAN or BAL) will aﬀ ect

the AUX signal. The signal is

tapped oﬀ after the fader

control.

The output from an

external processor can come

back in via the stereo FX

RETURN [47] inputs, and can

be added to either the main mix

or the ALT 3-4 (on the 220FX)

or the SUB 1-2 (on the 260FX).

14. PAN/BAL

This adjusts how much of

the channel signal plays in the

left side of the main mix, and

how much plays in the right.

For mono mic/line 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 channels, the BAL control works like

a home stereo balance control, by attenuating one

side or the other. In the center position, the left and

right channel signals pass through to the main mix

unaﬀ ected. If it is turned left, the right channel is

attenuated; if turned right, the left side is attenuated.

15. MUTE/ALT 3-4

The Mix.260FX has a simple MUTE switch.

Engaging a channel’s MUTE switch provides (almost)

the same results as turning the fader all the way

down (a pre-aux send is not aﬀ ected by the channel

fader, but it is by the MUTE switch). Any channel

assignments to L-R MAIN MIX and SUB 1-2 will be

interrupted, all the AUX sends will be silenced (both

pre- and post-fader), as will the AFL SOLO. The

PFL SOLO will continue to provide a signal when a

channel is muted.

The LED next to the MUTE switch lights to let you

know when the MUTE function is

active.

The Mix.220FX has a dual-

purpose MUTE/ALT 3-4 switch.

This is a Mackie signature, and

now a TAPCO signature. When

Greg was designing one of the

ﬁ rst Mackie products, he had

to include a mute switch for

each channel. Mute switches do

just what they sound like they

do. They turn oﬀ the signal by

“routing” it into oblivion. “Gee,

what a waste,” Greg reasoned.

“Why not have the mute button

route the signal somewhere else

useful, like a separate stereo

bus?” So MUTE/ALT 3-4 really

serves two functions—muting

(often used during mixdown or

live shows), and signal routing (for

multitrack and live work) where it

acts as an extra stereo bus.

To use this as a MUTE switch,

all you have to do is not use the

ALT 3-4 outputs [53]. Then,

whenever you assign a channel

to these unused outputs, you’ll

also be disconnecting it from the

MAIN MIX, eﬀ ectively muting the

channel. The MUTE switch also

disconnects the channel from the

AUX SEND 2 bus (and the AUX

SEND 1 bus when the PRE [12]

switch is up). The channel’s signal

is still present on the AUX SEND

1 bus when the PRE switch is

engaged.

OLOL

SOLOSOLO

PREPRE

MUTEMUTE

ALT

3/4

MOMON

AUX

SENSEND

INPUT

BAL/UNBAL

75Hz

PAN

+15-15

2.5kHz

12kHz

80Hz

+15+15

3030

2020

1010

4040

5050