Nady Systems SRM-14X DJ Equipment User Manual
Contents
1. 13 STEREO AUX RETUANS 11 158 40 i O LIME aD LINE LD 15B R O 2 O a AUX Sends Returns Function and Operation 11 STEREO AUX RETURNS LEFT MONO RIGHT 19 AUX 1 2 RETURN CONTROLS The AUX Return jacks are the mono or stereo returns for AUX 1 and 2 If you connect a signal to the Left Mono Return jack only the AUX Return will operate in mono and the signal will be routed to the respective Aux Return Control 19 and then mixed into the left and right Master Mix Stereo Outputs 30 The separate left and right return jacks are provided for use with stereo signals such as those from the output of a stereo effects processor The left and right return signals will be routed to the Return level controls 19 and mixed into the left and right Stereo 30 while maintaining stereo sepa ration The Aux Returns are multi functional They may be used for returning the outputs of effect units as Tape Returns from a multi track recorder or as extra instrument inputs especially if your MIDI keyboard or rack supplies a pre mixed stereo sig nal Certain stereo effects produce a perceived imbalance between the left and right channel levels To correct for this you will have to bring your stereo effect back on a stereo channel which has a Balance control 16 When applying short left and right delays the shortest one will always seem loudest When pitch shifting up and down in wide stereo to thi2. 4 This product in combination with headphones or speakers may be capable of producing sound levels that could cause permanent hearing loss Do not operate for a long period of time at a high volume level or at a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist 5 The product should be positioned so that proper ventilation is maintained 6 The product should be located away from heat sources such as radiators heat vents or other devices including amplifiers that produce heat 7 The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product Replace the fuse only with one of the specified type size and correct rating 8 The power supply cord should 1 be undamaged 2 never share an outlet or extension cord with other devices so that the outlet s or extension cord s power rating is exceeded and 3 never be left plugged into the outlet when not being used for a long period of time 9 Care should be taken so that objects do not fall into and liquids are not spilled through the enclosure s openings 10 The product should be serviced by qualified service personnel if The power supply cord or the plug has been damaged Objects have fallen into or liquid has been spilled onto the product The product has been exposed to rain The product does not appear to operate normally or exhibits a
3. They offer a smooth logarithmic taper more often associated with much more expensive consoles for opti mum control of the signal CONTROLS AND CONNECTIONS 2 STEREO INPUT SECTION 15A L MONO LINE INPUT On stereo input channels 5 12 SRM 12X or 7 14 SRM 14X the 1 4 line inputs are designed for stereo or mono line level signals such as those from keyboards drum machines CD players tape decks or samplers However these inputs can also be used as standard mono line inputs by connecting the signal to the L MONO line in This signal will be routed equally to the BAL control and the left and right outputs in the same way as the standard line input channels For the stereo line inputs the mono channel PAN 7 control is replaced by the BAL Balance control See also BAL CON TROL 16 below 15B R LINE INPUT When using channels 5 6 7 8 9 10 11 12 SRM 12X or 7 8 9 10 11 12 13 14 SRM 14X as stereo input channels the left signal should be connected to the L input and the right signal to the R input These signals will be routed to the AUX EQ and Channel fader controls equally and will retain their stereo separation The AUX EQ BAL and Channel fader controls all function the same as those on the mono input channels When a stereo signal is input to a stereo input channel these controls will affect the left and right signals equally The Stereo Line Inputs jacks are 1 4 TRS balanced phone jacks Tip positiv
4. marked change in performance The product has been dropped or the enclosure damaged 11 Do not attempt to service the product beyond what is described in the user maintenance instructions All other servicing should be referred to qualified service personnel a i FEATURES ar PLENEN ME ES z mn m i eeee ee PLL a a a FL LE TE u rr ee ee ee ee u in m i m m LI b b A eon dh oon dk om dh ag Dg Dg E S amp Y i 4525252523233 5 4 de de dd 0 dd Pel EO ee Y a MM MM Em ML EE oe eee eee EE a FELL nme Se om EEE PE PE PE dee EF IF F Ll A D EL Es eK om I ee Tl 4 0 0 0 0 0 dm E E E E E E ES SRM SERIES STEREO MIC LINE MIXERS The SRM 12X and SRM 14X are the ultimate value in compact professional stereo mic line mixers Rackmounted with supplied rack ears or as compact desk consoles these high quality units are perfect for home and project studios live club main and monitor mixing video post production studios remote broadcasting in fact anywhere superior performance rugged reliability and ultra versatility are needed in an audio mixer The operating instructions in this manual are for the SRM 12X and SRM 14X stereo rack mixers For brevity in most of this manual the copy refers to the SRM 14X as this model has the most inputs but the instructions apply to the operation of the SRM 12X as well With 12 and 14 channels respectively as well as 2 stereo AUX returns and 2
5. the Master Mix the Master PFL to Control Room switch 20 must be in the up unpressed position Press the switch down to enable PFL function In this mode you can now monitor any channel s by pressing the channel PFL Select switch 9 In either case the signal level is adjusted with the Phones Control Room control 22 and routed to both the Control Room 17 and Headphones 18 outputs The L R Control Room Outputs 17 can be connected to an amp to power stereo control room or other monitor speakers and are 1 4 unbalanced phone jacks wired Tip positive Sleeve ground 28 MASTER MIX The Phones Output will feed headphones and is a 1 4 TRS jack wired tip left signal ring right signal sleeve ground d Power Switches 31 AC POWER IN SOCKET 23 MAIN POWER SWITCH 24 POWER ON LED INDICATOR Once the external PSU is connected to the AC Power In socket 31 and then to the AC power source you may switch on your mixers with the Power On switch 23 The Power ON LED 24 will light up Allow 1 minute after powering up for the system to reach equilibrium before setting inputs gains and other levels 25 PHANTOM POWER SWITCH 26 PHANTOM POWER ON LED INDICATOR When using condenser mics 48VDC can be switched glob ally on or off to the XLR mic inputs for all mono channels also see MONO INPUT SECTION MIC INPUTS When this switch is in the ON position The Phantom Power On LED Indicator 26 wil
6. this AUX 2 send to feed inputs to a multi track recorder or any other unbalanced line level application On the other hand for cueing purposes and monitor ampli fiers use the pre fader AUX 1 i e independent of the chan nel fader 7 PAN CONTROL The Channel Pan positions the output of the channel in the stereo field of the Master Mix Its constant power design ensures there are no level discrepancies whether a signal is hard panned center stage or somewhere in between 8 PEAK LED INDICATOR The Peak LED illuminates when a channel is going into over load It detects the peak level after the EQ and will light at 3dB before clipping to warn that the signal is approaching overload You do not want the Peak LED to light except very intermittently during a take or a mix If it does light persistent ly reduce input gain with the TRIM control 4 9 PFL SELECT SWITCH The PFL pre fader listen switch enables monitoring the mono signal of any channel s selected button depressed at nominal levels though the headphone or control room monitor outputs In order to monitor the PFL channels selected you must also set the Master PFL to Control Room switch 20 to the button depressed PFL position The signal is post EQ and independent of channel fader posi tion Selecting the PFL never interrupts the main stereo out or the AUX sends 10 CHANNEL FADER The channel faders determine the output signal level to the Master Mix bus
7. LU Y A E SRM SERIES MIXING CONSOLE 5 h M ZN 12 Channel Stereo Mic Line Mixer 5 h M SIAN 14 Channel Stereo Mic Line Mixer SRM SERIES STEREO MIC LINE MIXERS SRM 12N 8 SRM 14K N JL OIQ gt Congratulations on your choice of mixers you have pur Date of Purchase chased one of the finest compact mixing consoles on the market today This unit was developed using the expertise of Dealer s Name professional sound engineers and working musicians You will find that your new NADY AUDIO mixer has superior per City formance and greater flexibility than any other mixer in its price range Please read this manual carefully to get the Stalp most out of your new unit Zip Thanks for selecting NADY AUDIO as your choice in mixing Model consoles Serial CONTENTS WARNING oaae ee ee an ee Re ee 3 FEATURES u tallas 4 INSTALLATION 2 2 diiniita 5 Ms AA e ee O 5 2 BER CUMMING Eee RER ee 5 De FOWE GONNEGlON nee ee eu en Re ea 5 CONTROLS AND CONNECTIONS 2 ee 6 ie MONO DPULSEC LION E AA o E EATS 6 2 Slereo INPULSECUON ee ee leitenden lei ticas 8 Oe Master S ECU ON ea nee ee une een A ee E e 9 a Aux Sends Returns Function and Operation oooocncccnncccccnnncnnnnnocononancnnnnncnnnnonnnnnnnnnonnnnnanennnnnonnnnannnnnos 9 b Main Mix Function and Operation cccccccccsssseececceecceeeeeeeceeeeeeeueeseceeeeeesseeaseeeeeeesssseaseeeeeeessesaaaaeeeeeeees 9 c Monitor Functio
8. cken a sound the signal shifted upwards will seem louder than one that goes down In both cases use the Balance con trol to compensate When performing any stereo imaging exercise don t just rely on the control room monitors Get a pair of headphones and listen in stereo and in reverse stereo just in case you have any significant hearing discrepancies Sometimes you might want to narrow the stereo width of a reverb field To do this you will have to come back on two mono channels to get independent pan for the left and right 14 TAPE RECORD NADY CTAL A OMT PH NFS 17 En 18 12 AUX SENDS The Aux Send 1 and 2 jacks are the outputs for the signals sent from the channel Aux controls 6 The Aux Sends and Aux Returns are all 1 4 unbalanced phone jacks wired Tip positive Sleeve ground AUX 1 is pre fader and AUX 2 is post fader These signals can be sent to the input of an effects processor multi track recorder or used for any other line level auxiliary purpose Master Aux Send levels are adjusted by the Aux Send controls 19 b Main Mix Function and Operation 30 STEREO OUTPUTS 13 TAPE INPUTS 14 REC OUTPUTS 28 MASTER MIX FADER 27 LED OUTPUT METER 21 TAPE REC TO MASTER SWITCH The Stereo Outputs consist of both Left L and Right R bal anced XLR s wired pin 1 ground pin 2 hot pin 3 cold and unbalanced 1 4 phone jacks wired Tip posi tive Sleeve g
9. e Ring negative Sleeve ground The input signals to these jacks can be either balanced or unbalanced 5 EQUALIZERS The stereo channel EQ s operate in the same manner as those in the mono channels The left and right signals will be affected equally A stereo equalizer is generally preferable anyhow to using two mono equalizers when equalizing a stereo signal as it avoids possible discrepancies between the left and right settings 6 AUX SENDS o These are the same as for w i P Ff 4 the mono channels Note that a HIGH a mono sum is taken from the at ta stereo input i i MIO 16 BAL CONTROL 5 A For a mono input to the L 15 q 5 the control is the same as the MONO input the function of PAN controls 7 of the mono channels However when a 4 waw channel is run in stereo this O control functions as a Balance a a control determining the rela 6 ais tive Balance of the left and Eo right channel signals being POST sent to the left and right i Master Mix buses For exam De ple with the Balance control erm turned fully clockwise only 1 6 the right portion of the chan nel s stereo signal will be routed to the Master Mix 9 9 PFL SELECT SWITCH 10 CHANNEL FADER This has the same function as for the mono channels See MONO INPUT SECTION 10 geen dB CONTROLS AND CONNECTIONS 3 MASTER SECTION 12 AUX SEND
10. l light and 48VDC will be provided between pins 2 and 3 on all the mono Mic input XLR connec tors If you don t need phantom power be sure to turn this switch to the OFF position Note It is safe to connect balanced dynamic mics or line level devices even if this switch is on but connecting unbal anced devices or devices whose transformers are center grounded will cause hum or malfunctions Shorting the 48VDC can also damage your mixer Also mute the Monitor PA speakers when turning the phantom power on or off 23 Dumm a a a a a a e BACK PANEL k m e e e e e e ii e ME o o e ME ME ME ee mil 31 30 CONNECTIONS This NADY AUDIO console uses 4 different types of audio connectors for the various input output connections 1 XLR bal anced 2 1 4 TRS phone jacks for balanced unbalanced stereo or in out inserts 3 1 4 TRS unbalanced 4 RCA pin unbalanced Figures 1 Balanced XLR input output connections 2 Stereo headphone connection with 1 4 TRS plug 3 1 4 mono TRS plug used as unbalanced input output 4 1 4 stereo TRS plug used as balanced input output 5 1 4 TRS plug used as Insert Send Return 6 RCA pin plug for unbalanced input ouput HEADPHONES Left signal Ring Right signal Sleeve Ground Shield Tip Ring Sleeve Strain relief clamp UNBALANCED USE OF MONO 1 4 PLUGS Tip Signal Sleeve Ground Shield Tip Sleeve Strain re
11. lief clamp 1 4 STEREO PLUG USED AS INSERT SEND RETURN TIP Send to External Device RING Return from External Device Strain relief clamp 5 11 MICROPHONE INPUTS Socket female GROUP amp MIX OUTPUTS Ground Screen Cold Out of Phase Signal Hot In Phase Signal Plug male 1 BALANCED USE OF STEREO 1 4 PLUGS Tip hot ve Ring cold ve Sleeve Ground Shield Tip Ring Sleeve Strain relief clamp RCA PIN PLUG Sleeve Ground Shield 1 INPUT SECTION MONO CH LINE 1 4 TRS 2 QUTPUT SECTION STEREO OUT L R XLR amp 1 4 TS Max Level 14 dBm 22 dBm 22 dBm 22 dBm 22 dBm 22 dBm Max Level 4 6 dBm 120 Q 22 dBm AUX SENDS 1 2 1 4 TS 4 46 dBm 20 dBm INSERT OUT 1 4 TRS 44 46 dBm CNTRL R OUT REC OUT 1 4 TRS 3 FREQUENCY RESPONSE ANY INPUT TO ANY OUTPUT un 20 Hz to 20 KHz 3dB 0 dBm 4 TOTAL HARMONIC DISTORTION ANY INPUT TO ANY OUTPUT 0 02 20 Hz 20 KHz 1Khz 0 dBm 5 INPUT CHANNEL EQUALIZATION High shelving 12 kHz 15 dB Q fixed at 2 oct Mid bell 2 5 khZ 15 dB Q fixed at 1 oct Low shelving 2220000 80 Hz 15 dB Q fixed at 2 oct Low Cut High Pass filter Mono channels only 75 Hz 3 dB 18 dB octave 6 GAIN CONTROL RANGE Mono input channel trim control Stop
12. n and Operation oooncccnnccccccoonnccnnnccnononnnonnnnnonononnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnrnnnnnnns 10 PONS SWICHES ee ee en ee ee nen ee 10 AG OPEC NOS a ee E Em eta A 11 SPECIFICATIONS comtes e o etc en enge 12 BLOCK DIAGRAM 2 225 a ht tr tet cde ik cr Sone teak edd cit 13 NOTES nee Seen tica esgota 14 An equilateral triangle enclosing a lightening flash arrowhead symbol is CAUTION intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure which may be of sufficient DO NDTOBEN magnitude to constitute a risk of electric shock ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK A iia FR sl A en DO NOT REMOVE COVER OR BACK n equilateral triangle enclosing an exclamation point is intended to alert NO USER SERVICEABLE PARTS INSIDE the user to the presence of important operating and service instructions in REFER SERVICING TO QUALIFIED SERVICE PERSONNEL the literature enclosed with this unit IMPORTANT SAFETY INSTRUCTIONS When using this electronic device basic precautions should always be taken including the following 1 Read all instructions before using the product 2 Do not use this product near water e g near a bathtub washbowl kitchen sink in a wet basement or near a swimming pool etc 3 This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling
13. nuat ing the MID or LOW can elimi nate feedback in a live perform ance or clear up a muddy sounding mix Cutting away the top and bottom then pushing up the Gain is equivalent to mid range boost 10 Note Always reset a channel s input Gain or external devices output level after altering the amount of mixer equalization cut or boost applied The key to successful equaliza tion is to avoid excess Too much equalization on the input channels will result in a mix that is smeared together with nothing specifically defined During rehearsals experiment with the equalizer controls on various instruments vocals and combinations of these mixed together to become familiar with various equalizer settings 6 AUX SEND 1 2 CONTROLS Both Aux Sends are mono and post EQ and control the level of the signals sent to the AUX buses e Aux Send 1 is pre fader and the signal sent to the AUX 1 bus will be unaffected by the channel fader setting e Aux Send 2 is post fader and the signal level sent to the AUX 2 bus will be affected by the channel fader setting For almost all effects send purposes you will want to use the post fader AUX 2 so that when a fader level is adjusted any reverb send from that channel follows the fader Otherwise when the fader is pulled down the reverb from that channel would still be audible Most reverbs etc internally sum the left and right inputs so that you can use AUX 2 You can also use
14. rning the phantom power on or off 2 LINE INPUT The Line input is designed to accept balanced or unbalanced line level signals such as those from keyboards drum machines or samplers There is enough gain available on the line input to accept even lower level signals such as those from an unbalanced microphone or guitar output Use the Trim control 4 to adjust for the desired level If a balanced signal is to be connected to the line input then a 1 4 TRS stereo phone plug should be wired for Tip positive Ring negative Sleeve ground Note Only either the Mic or the Line input of a given channel can be connected at one time Never connect both simultane ously to the same channel 29 29 INSERTS Channels 1 4 SRM 12X and 1 6 SRM 14X are equipped with rear panel insert jachs to connect external signal proces sors such as compressors noise reduction systems or effects devices to the individual input channels Insert points are useful for adding dynamic processing or equalization to a channel or the mix Unlike reverbs etc which are usually added to the dry signal dynamic processing is normally applied across an entire signal Here an Aux Send would be inappropriate Instead the signal is intercepted somewhere along the channel fed through the dynamics processor and or EQ then returned to the console at the same point where it left The insert point is normalized i e the signal is only inte
15. round The REC Outputs 14 also provide an output of the Master Mix These outputs are RCA jacks and designed primarily for inputs to tape recorders etc The output level routed to the Stereo Outputs and REC Outputs is determined ultimately by the setting of the Master Mix fader 28 The Master Mix signal on the master bus is the sum of the signals routed from all the channels and also the inputs from the AUX return bus and the TAPE Input 13 Use the Tape Rec to Master switch 21 to route signals from the Tape Input 13 to the Master Mix Fader 28 The level of signal routed to the Master Mix fader 28 from DAT tape decks CD players signals CONTROLS AND CONNECTIONS 22 etc input to the Tape Input 13 is determined by the setting of the output volume control of the audio device being connected so care must be taken in adjusting this level so as to achieve proper bal ance in the final mix 24 26 O 1 0 27 and to prevent over o oO load distortion O 0 The 10 stage LED CONTROL Room O O Output Meter 27 O O displays the Master i Mix output level L A TAPE i REC TO HATTER c Monitor 21 Function and Operation 17 CONTROL ROOM OUTPUTS 18 HEAD PHONES OUTPUT 22 PHONES CONTROL ROOM CONTROL 20 MASTER PFL TO CONTROL ROOM SWITCH The SRM 12X 14X allows you to moni tor either the Master Mix or any chan nel s selected by the channel PFL Select switch 9 To monitor
16. rrupted when a jack is plugged into it The insert jack is located pre EQ in the channel and is configured as Tip send Ring return Sleeve ground The Insert can also be used as a channel direct output by sending the signal from the ring To use the Insert as a direct output insert a 1 4 phone plug halfway into the Insert jack so the tip of the plug connects with the ring of the insert jack The jack will click into place when the connection to the ring is made 4 TRIM CONTROL The trim control adjusts the input sensitivity channel gain of the mic and line inputs on the mono input channels This con trol can be adjusted to accommodate input signals from a wide variety of sources from the high outputs from keyboards or drum machines to the small signal outputs of microphones This wide range eliminates the need for Mic Line switching The best balance of S N and dynamic range will be achieved if you adjust the TRIM control on each channel separately so that the Peak Indicator LED 8 for that channel lights occa sionally 3 LOW CUT FILTER Use this Low Cut high pass filter 18 dB octave 3 dB at 75 Hz for reducing floor rumble popping breathing noises woolly bottom end and to tighten up channels in a mix etc It is most effective when used carefully in conjunction with the Equalizer Controls 5 5 EQUALIZER CONTROLS All mono input channels are fitted with a three band EQ All three bands have up to 15 dB of cu
17. t and boost with a center detent for off The frequency response is flat when all three EQ knobs are in the center detent position The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively The midrange control has a peaking response at 2 5KHz Q fixed at 1 octave Remember that the CONTROLS AND CONNECTIONS Low Cut filter 3 is an integral part of the overall equalization of a mono channel The chan E nel EQ is a valuable feature of 18 218 the mixer as it allows the user a to control the tonal characteris Jj mo 5 tics of each instrument sepa ni rately For example boosting TE Fi the LOW can fatten the sound EN qe and add punch to the bass or P drums the MID control can be bl g IE used to define the midrange or i t bring out the vocals and PRE adjusting the HIGH control can provide a crisp sounding high OT L g end With the LOW set to gt 2 un boost and the Low Cut switch A ji activated you get peak response rather than shelving Lo E PH O 1 at the bottom end This is use OP sen 8 ful for adding vvarmth to vocals E Fe and instruments and good for vert ker tight but deep bass without agi 9 losing control of your subwoofer speaker cones Another very important yet often overlooked technique is to use the EQ to subtract from the mix Cutting the HIGH control can reduce unwanted hiss during multi track recording while atte
18. tape inputs the SRM 12X offers 16 and the SRM 14X 18 total inputs in all Common features include e Ultra low noise mic preamps e Wide dynamic range with superior headroom e Separate Master Mix Control Room and Headphone Outputs e 3 band EQ on all channels e Mic and Line Balanced inputs for optimum audio integrity e Tape In and Record Out RCA jacks with Tape inputs assign able to Master Mix or stereo Control Room Headphone out puts e Switchable global 48V phantom power on all mono inputs e Input Trim control on each mono channel e Pan pots on each mono channel and Balance pots on each stereo input e Pre and post fader Aux Sends for external effects and moni toring e 2 multifunction stereo Aux Returns with Aux Return controls Separate features include SRM 12X e 12 Channel Stereo Mic Line Mixer e 4 mono input channels with balanced XLR Mic and 1 4 TRS line inputs e 8 stereo input channels with balanced 1 4 TRS jacks for balanced or unbalanced inputs e Four 1 4 TRS inserts allow independent connection of effects devices for each mono channel e Dimensions amp Weight 13 5 x 11 5 x 3 mm 7 9 Ibs 3 6 Kg 343 x 292 x 76 e Switchable Low Cut filters 18 dB octave 75 Hz on mono channels e PFL Pre Fader Listen function on all channels e 60 mm faders on all channels and Master Mix for precise level control e 1 4 TRS and XLR Stereo Outputs e Peak LEDs on input channels e Dual 10 segment LED displa
19. the NADY AUDIO distributor in your country through the dealer from whom you purchased this product DO NOT ATTEMPT TO SERVICE THIS UNIT YOURSELF AS IT CAN BE DANGEROUS AND WILL ALSO VOID THE WARRANTY NADY SYSTEMS INC e 6701 SHELLMOUND STREET EMERYVILLE CA 94608 Tel 510 652 2411 e Fax 510 652 5075 e www nadywireless com
20. to stop Mic 10 dB 60 dB Channel Master Faders ooccccccccocccnccccconcnnnnnnos co to 15 dB AU SEN Offto 15 dB AUX ROI secan Off to Unity to 15 dB 7 CROSSTALK 1KHZ ADJACENT CHANNEL INPUTS 78 dB 68 dB INPUT TOOUTRUT anessin era 78 dB 68 dB 1 4 TS 4 6 dBm RCA PIN JACKS 4 6 dBm ee 22 dBm 22 dBm 22 dBm 40mW X 2 8 HUM AND NOISE 20 Hz 20 Khz Rs 150 ohms input TRIM O dB input sensi tivity at 60 dB EQUIVALENT INPUT NOISE ssuiioiinaic nadia 129 dBm RESIDUAL OUTPUT NOISE sacada cas 85 dBm 9 VU METERS 10 segment LED X 2 10 PHANTOM POWER 48 VDC globally selected 11 POWER REQUIREMENTS External PSU 120 VAC 60Hz or 230 VAC 50Hz 12 POWER CONSUMPTION 25 Watts External PSU 13 DIMENSIONS AND WEIGHT SRM 12X 13 5 x 11 5 x 3 343 x 292 x 76 mm 7 9 lbs 3 7 Kg SRM 14X 13 5 x 13 5 x 3 343 x 343 x 76 mm 9 3 lbs 4 2 Kg External PSU not included The specifications above are correct at the time of printing of this manual For improvement purposes all specifications for this unit including design and appearance are subject to change without prior notice BLOCK DIAGRAM shh A A A NOTES SERVICE FOR YOUR NADY AUDIO PRODUCT U S Should your NADY AUDIO product require service please contact the Nady Service Department via tele phone at 510 652 2411 or e mail at service nadywireless com International For service please contact
21. u will find a rackmount kit If you want to make your SRM 12X 14X a rack mixer remove the screws from the side panels and use them to fix the rack ears note that there is a left and a right one Parts of the mixer and the power supply unit can become very warm during use This is normal during operation Care should be taken to ensure that there is enough space around the unit for cooling Also do not place the SRM 12X 14X on high temperature devices such as power amplifiers etc or the unit may overheat in opera tion Although the unit s chassis is shielded against radio fre quency RF and electromagnetic interference EMI extremely high fields of RF and EMI should be avoided 3 POWER CONNECTION The SRM 12X 14X is designed to operate with the sup plied external power supply unit PSU Please make sure that the power unit supplied is marked for the correct volt age in your area 120VAC 60 Hz or 230VAC 50HZ Power requirements for electrical equipment differ from area to area In new installations and portable sound sys tems or any situation in which the AC power is in ques tion it is wise to confirm the voltage and use the appropri ate power supply unit before connecting it to power sources Check to see that the unit is set to the voltage for your area by referring to the table below Europe except UK 230V 50Hz UK and Australia 240V 50Hz USA and Canada 120V 60 Hz For other areas please check with local a
22. uthorities Do not connect the PSU to the SRM 12X 14X while the PSU is connected to the AC mains supply Connect the switched off SRM 12X 14X and PSU first before you con nect the PSU to the mains supply Lastly switch on the SRM 12X 14X with the power switch on the back panel Use only the correct NADY power supply unit to connect the SRM 12X 14X to the Mains AC power CONTROLS AND CONNECTIONS 1 MONO INPUT SECTION sal 1 MIC INPUT The Mic input is an electroni cally balanced XLR type designed to accept signals from any balanced low imped ance Low Z microphone To accommodate condenser microphones this input is also equipped with 48VDC phan tom power globally switchable to all XLR input jacks with the Phantom Power switch 25 on the back panel Dynamic or ribbon type microphones do not require phantom pow ering It will be necessary to adjust the channel gain with the input Trim control 4 to au neve a nunmal operating level The XLR jack is configured for Pint ground Pin2 positive Pin3 negative Note The Mic inputs are more sensitive than the Line inputs Also do not connect mics with the phantom power switched on as indicated by the Phantom Power On LED 26 in the Master Section of the front panel Never use unbalanced mic cables with the Phantom Power switched on Never short the 48VDC to ground as that can cause serious damage to your mixer Also mute the Monitor PA speakers when tu
23. y bargraph meters e High quality sealed pots with center detents e High strength steel casing and superior construction with only highest quality components for longest life and maxi mum reliability e External AC supply for optimum signal integrity and superior transient response SRM 14X e 14 Channel Stereo Mic Line Mixer e 6 mono input channels with balanced XLR Mic and 1 4 TRS line inputs e 8 stereo input channels with balanced 1 4 TRS jacks for balanced or unbalanced inputs e Six 1 4 TRS inserts allow independent connection of effects devices for each mono channel e Dimensions amp Weight 13 5 x 13 5 x 3 343 x 343 x 76 mm 9 3 lbs 4 2 Kg INSTALLATION To ensure years of enjoyment from your NADY AUDIO SRM Series mixing console please read and understand this manual thoroughly before using the unit 1 INSPECTION Your NADY AUDIO SRM 12X 14X was carefully packed at the factory in packaging designed to protect the units in shipment Before installing and using your unit careful ly examine the packaging and all contents for any signs of physical damage that may have occurred in transit Please note Nady Systems is not responsible for ship ping damage If your unit is damaged do not return to Nady but notify your dealer and the shipping company if shipped to you immediately to make a claim Such claims must be made by the consignee in a timely man ner 2 RACK MOUNTING Enclosed in the shipping box yo
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