Nady Systems SRM-10X Music Mixer User Manual
Contents
1. Input Impedance Nominal Level Max Level MONO CH LINE 1 4 TRS 10 dBm STEREO CH LINE 1 4 TRS 10 dBm STEREO TAPE IN RCA PIN JACKS dem 2 OUTPUT SECTION _ UR 114 TS 4 6 dBm 20 dBm 222d8m dBm R OUT 1 4 TS 19 4 dBm 20 dBm REC OUT RCA PIN JACKS 10 6 dBm 4 8 dBm PHONES O 1 4 TRS 19 4 dBm 22mW X2 3 FREQUENCY RESPONSE 8 HUM AND NOISE ANY INPUT TO Residual Output 73 7 dBm ANY OUTPUT eere 20Hz 20kHz 3 dB S N Ratio 93 3 dBm 4 TOTAL HARMONIC DISTORTION 9 VU METERS ANY INPUT TO 6 segment LED X 2 7 to 10 L R ANY OUTPUT 52 ndr rede 0 08 10 PHANTOM POWER 5 INPUT CHANNEL EQUALIZATION 48 VDC globally selected High eee 12k 15 dB Q fixed at 2 oct 2 80 Hz 15 dB Q fixed at2 oct 11 POWER REQUIREMENTS Low Cut High Pass External PSU 120 VAC 60Hz or 230 VAC 50Hz filter Mono channels only 75 Hz 3 dB 18 dB octave 12 POWER CONSUMPTION 6 GAIN CONTROL RANGE 16 2 Watts External PSU Mono input channel IM CONTON Eo 40 dB 13 DIMENSIONS AND WEIGHT Channel Master gain controls 14 dB from 0 dBm 8 125 X 1 625 x97 206 MMX 41 MM x 228 6 mm Auk sando DN RUMOR MM 12 dB from 4 4 85 lbs 2 2 Kg 7 CROSSTALK 1KHZ ADJACENT CHANNEL INPUTS2. 6 1 MONO Input SECTION 2 6 VAS Seneffe 8 3 Master Section DER 9 a Aux Sends Returns Function and Operation 9 b Main Mix Function and Operation 9 c Monitor Function and Operation nnne enne nnn nnne 10 9 eai uec e 10 aee c 11 SPECIFICATIONS 2 itte tte ERRARE ARS etx abut 12 BLOCK DIAGRAM 13 alegyzcc C 14 WARNING An equilateral triangle enclosing a lightening flash arrowhead symbol is CAUTION intended to alert the user to the presence of uninsulated dangerous RISK OF ELECTRIC SHOCK voltage within the product s enclosure which may be of sufficient DO NOT OPEN 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 lateral ios lamati intis intended te alert DO NOT REMOVE COVER OR BACK n equilateral triangle enclosing an exclamation point is intended to ale 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 INSTRU
3. 100 dB ee 40 6 dB 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 12 BLOCK DIAGRAM Tad lt biy i uj 10 0195 mod yowms dv D 4 ye1 T3A313dVL 01 6 8 SjouueYyd euoud S3NOHd Y THIO pue uoyMws jno ouo 9 8 Mm ES 6 1SOd 3 d T uS 04 ede pues xnv 3451H 6 1SOd 3Nd T 110 HDHH RES 4 NIVO 3 Jope4 JL mdu OIN 7 338 y pul Jead e e EE Y97 INO 091916 x 13 NOTES ONE YEAR LIMITED WARRANTY Nady Systems Inc warrants to the original consumer purchaser that the unit is free from any defects in material or workman ship for a period of one year from the date of original retail purchase If any such defect is discovered within the warranty period Nady Systems Inc will repair or replace the unit free of charge subject to verification of the defect or malfunction upon return to Nady Systems Please do not return your Nady product to the store where it was purchased as Nady System
4. AN a gt lt gt OWNER S MANUAL MIC LINE MIC LINE SRM 1O0NK MIC LINE MIXER INSERT TAPE IN REC OUT PHANTOM PHANTOM POWER 0 o o CUPIO 0 MASTER MIX 2 STEREO L R 0 MASTER AUX SEND 1 AUXTO METER DISPLAY AND CTRL R PHONES HEADPHONE CONTROL ROOM LEVEL E JI STEREO L R MONO 10 CHANNEL STEREO MIC LINE MIXER SRM 10X 10 Channel Stereo Mic Line Mixer NADY AN UJS LOIC gt Congratulations on your choice of mixers you have Date of Purchase purchased 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 SRM 10X has superior City performance and greater flexibility than any other mixer in its price range Please read this manual carefully to get the state most out of your new unit Zip Thanks for selecting NADY AUDIO as your choice in mixing Model consoles Serial CONTENTS WARNING 3 FEATURES 4 INSTALLATION m 5 1 INSPECCION 5 VARI POWOP COMMS CUON E 5 CONTROLS AND CONNECTIONS
5. Tape In RCA jacks with level control and PFL switch Tape Record Out RCA jacks Individual channel Aux Send Pre Post selectable and Master control Left and Right Main unbalanced outputs with slider control Mono output with slider level control and AFL switch Dual 6 segment LED display bargraph meters Ultra low noise mic preamps Full spectrum frequency response Wide dynamic range with superior headroom Separate Master Mix Control Room and Headphone Outputs Mic and Line Balanced inputs for optimum audio integrity 1 4 TRS Stereo Control Room and Headphone outputs Switchable global 48V phantom power on all mono inputs Input Trim control on each mono channel Pan pots on each mono channel and Balance pots on each stereo input Peak LEDs on Mono channels High quality pots for all controls with Pan Balance and EQ controls having center detents High strength steel casing and superior construction with only highest quality components for longest life and maximum reliability External AC supply for optimum signal integrity and superior transient response INSTALLATION To ensure years of enjoyment from your NADY AUDIO SRM 10X mixing console please read and understand this manual thoroughly before using the unit 1 INSPECTION Your NADY AUDIO SRM 10X was carefully packed at the factory in packaging designed to protect the units in shipment Before installing and using your unit ca
6. SR 10 36 AUX TO METER DISPLAY AND CTRL R PHONES 30 40 HEADPHONE n CONTROL ROOM LEVEL AFL 42 E STEREO L R AL MONO Note It is safe to connect balanced dynamic mics or line level devices even if this switch is on but connecting unbalanced devices or devices whose transformers are center grounded will cause hum or malfunctions Shorting the 48VDC can also damage your mixer Also mute the c Monitor Function and Operation Monitor PA speakers when turning the phantom power on or 38 AUX TO METER AND CTRL R PHONES off 42 AFL SWITCH 22 CONTROL ROOM OUTPUT 21 PHONES OUTPUT 39 PHONES CONTROL ROOM CONTROL 44 43 Depressing the AUX TO METER AND CTRL R PHONES button 38 allows the Aux Send output signal to be directly monitored by the Meter Display and the Control Room Headphone outputs This button overrides the AFL switch WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTU DO NOT REMOVE CHASSIS OR BAC NO USER SERVICEABLE PARTS INSI REFER SERVICING TO QUALIFIED Note When this button is depressed all PFL switches should be in the off up position When depressing the AFL switch 42 the Meter SERVICE PERSONNEL Display and Control Room Headphone outputs will CAUTION monitor the Mono output signal USE THE SUPPLIED POWER SUPPLY ONLY BACK PANEL CONNECTIO
7. The SRM 10X allows you to monitor the Master Mix The signal level is adjusted with the Headphone Control Room level 39 and routed to both the Control Room 22 and 31 33 Phones 21 output The Control Room Output 22 can be PHANTOM connected to an amp to power stereo control room or other 32 monitor speakers and is 1 4 stereo jack Both Control Room PONER 22 and Phones 21 outputs are wired Tip left signal ring 34 35 right signal sleeve ground d Power Switches 43 AC POWER IN SOCKET 44 MAIN POWER SWITCH 35 POWER ON LED INDICATOR Once the external PSU is connected to the AC Power In socket 43 and then to the AC power source you may switch on your mixer with the Power On switch 44 The Power ON LED 35 will light up Allow 1 minute after powering up for the system to reach equilibrium before setting inputs gains and other levels 40 33 PHANTOM POWER SWITCH 34 PHANTOM POWER ON LED INDICATOR When using condenser mics 48VDC can be switched 41 globally 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 34 will light and 48VDC will be provided between pins 2 and 3 on all the mono Mic input XLR connectors If you don t need phantom power be sure to turn this switch to the OFF position 2 o NADY 6 2 9 SUP I S MASTER mix O 2 O
8. below 25 R LINE INPUT When using channels 3 6 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 Gain controls equally and will retain their stereo separation The AUX EQ BAL and Channel Gain 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 Input jacks are 1 4 unbalanced phone jacks Tip positive Sleeve ground The input signals to these jacks can be either balanced or unbalanced 14 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 to using two mono equalizers when equalizing a stereo signal as it avoids possible discrepancies between the left and right settings 15 AUX SENDS These are the same as for the mono channels Note that a mono sum is taken from the stereo input 16 PRE POST SWITCH This switch selects whether the AUX SEND signal is Pre or Post Gain control 17 BAL CONTROL For a mono input to the L MONO input the function of the control is the same as the PAN controls 8 of the mono channels However when a channel is run in stereo this control functions as a Balance control determin
9. the LOW can eliminate feedback in a live performance or clear up a muddy sounding mix Cutting away the top and bottom then pushing up the Gain is equivalent to mid range boost 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 equalization 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 CONTROLS The Channel AUX SEND is selectable Pre or Post Gain control For almost all effects send purposes you will want to use the Post Gain selection so that when a Gain level is adjusted any reverb send from that channel will follow the fader Otherwise when the fader is pulled down the reverb from that channel will still be audible 7 PRE POST SWITCH This switch selects whether the AUX SEND signal is Pre or Post Gain control Up Pre Depressed Post 8 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 9 PEAK LED INDICATOR The Peak LED
10. CTIONS 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 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 Car
11. NS This NADY AUDIO console uses 4 different types of audio connectors for the various input output connections 1 XLR balanced 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 Tip Left signal Ring Right signal Sleeve Ground Shield Strain relief clamp 1 4 STEREO PLUG USED AS INSERT SEND RETURN TIP Send to External Device RING Return from External Device MICROPHONE INPUTS GROUP amp MIX OUTPUTS Ground Screen Cold Out of Phase Signal Hot In Phase Signal Socket female Plug male 1 UNBALANCED USE OF MONO 1 4 PLUGS BALANCED USE OF STEREO 1 4 PLUGS Tip hot ve Ring cold ve Sleeve Ground Shield Sleeve Ground Shield Ring Sleeve Sleeve Strain relief clamp Strain relief clamp RCA PIN PLUG SLEEVE Ground Screen Strain relief clamp Sleeve Ground Shield Sleeve 5 Tip 11 SPECIFICATIONS Setting MONO OUT 4dBm 400Hz All Pots at MID Master at MAX 1 INPUT SECTION Input
12. e 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 A The power supply cord or the plug has been damaged B Objects have fallen into or liquid has been spilled onto the product C The product has been exposed to rain D The product does not appear to operate normally or exhibits a marked change in performance E The product has been dropped or the enclosure damaged 11 Do not attempt to service the product beyond what is described the user maintenance instructions other servicing should be referred to qualified service personnel FEATURES The SRM 10X is the ultimate value in compact professional stereo mic line mixers This high quality unit is 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 With 10 channels including 2 stereo AUX returns and 2 tape inputs the SRM 10X offers 12 total inputs in all Features include Two mono channels with Trim Bass Treble Aux Send Pan and Level controls Low Cut Pre Post PFL switches and Inserts Four Stereo channels two with Level controls Bass T reble Balance controls Pre Post Aux Send and PFL switches two with Level controls and PFL switches
13. e 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 two band EQ All EQs have up to 15 dB of cut and boost with a center detent for off The frequency response is flat when 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 Remember that the Low Cut filter 4 is an integral part of the overall equalization of a mono channel The channel EQ is a valuable feature of the mixer as it allows the user to control the tonal characteristics of each instrument separately For example boosting the LOW can fatten the sound and add punch to the bass or drums and adjusting the HIGH control can provide a crisp sounding high end With the LOW set to boost and the Low Cut switch activated you get peak response rather than shelving at the bottom end This is useful for adding warmth to vocals and instruments and good for tight but deep bass without 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 attenuating
14. he Aux Send jack is the output for the signal sent from the channel Aux controls 7 15 It is a 1 4 unbalanced phone jack wired Tip positive Sleeve ground Master Aux Send levels are adjusted by the Master Aux Send control 37 22 OUT STEREO OUT TAPE IN REC OUT 30 27 28 b Main Mix Function and Operation 23 MONO OUTPUT 26 STEREO OUTPUTS 27 TAPE INPUTS 28 REC OUTPUTS 40 MASTER MIX MONO CONTROL 41 MASTER MIX STEREO CONTROL 36 LED OUTPUT METER The mono sum signal of the Left and Right buses is sent to the Mono output which is controlled by the Mono fader 40 The Stereo Outputs are Left L and Right R unbalanced 1 4 TRS phone jacks wired Tip positive Sleeve ground The REC Outputs 28 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 Stereo Control 41 The Master Mix is the sum of the signals routed from all the channels and also the inputs from the AUX return bus and the Tape Input 27 The level of signal from DAT tape decks CD players etc input to the Tape In 27 is determined by the setting of the Tape In 31 level control The 6 stage LED Output Meter 36 displays the Master Mix Stereo Mono PFL or AUX send output level CONTROLS AND CONNECTIONS
15. held responsible for any units returned without proper identification return address and RA number clearly marked on the package 3 Per the above Nady will perform all warranty service and return the unit to you at no charge Nady Systems will inform the buyer if product sent in does not meet the terms of this warranty and will provide a quote for fixing the unit and or shipping it back exclusively at the buyer s expense SERVICE FOR YOUR NADY AUDIO PRODUCT U S Should your NADY AUDIO product require service please contact the Nady Service Department via telephone at 510 652 2411 or e mail at service nady com International For service please contact 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 AUGE NADY SYSTEMS INC 6701 SHELLMOUND STREET EMERYVILLE CA 94608 Tel 510 652 2411 Fax 510 652 5075 www nady com
16. illuminates when a channel is going into overload 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 persistently reduce input gain with the TRIM control 4 10 CHANNEL GAIN CONTROL The channel gain controls determine the output signal level to the Master Mix bus 11 amp 13 PFL SWITCH Channels 1 10 and TAPE IN channels all have PFL Pre Fader Listen This allows the Meter Display and CONTROL ROOM HEADPHONE outputs to monitor channel signals Pre channel Gain controls Note When the PFL buttons are depressed the AUX To Meter switch should be in the off up position CONTROLS AND CONNECTIONS 2 STEREO INPUT SECTION 12 13 14 15 16 17 18 19 24 L MONO LINE INPUT On stereo input channels 3 6 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 mono input channels For the stereo inputs the mono channel PAN 8 control is replaced by the BAL Balance control See also BAL Control 17
17. ing the relative Balance of the left and right channel signals being sent to the left and right Master Mix buses For example with the Balance control turned fully clockwise only the right portion of the channel s stereo signal will be routed to the Master Mix 18 CHANNEL GAIN CONTROL This has the same function as for the mono channels See MONO INPUT SECTION CONTROLS AND CONNECTIONS 3 MASTER SECTION 21 CTRL Fi 25 29 a AUX Sends Returns Function and Operation 29 STEREO AUX RETURNS LEFT MONO 30 STEREO AUX RETURNS RIGHT 12 AUX RETURN CONTROLS The Aux Return jacks are the mono or stereo returns for AUX 7 10 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 12 and then mixed into the left and right Stereo Outputs 26 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 AUX Return level controls 12 and mixed into the left and right Stereo Out 26 while maintaining stereo separation 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 signal 20 AUX SEND T
18. it in transit from the factory by the shipper Nady Systems is not responsible for such damage and all such claims must be made against the shipping company by the consignee defects caused by normal wear of the product expendable parts are typically connectors cables potentiometers switches and similar components damage or defects caused by abuse neglect accident failure to connect or operate the unit in any way that does not comply with applicable technical or safety regulations or improper repair excessive heat or humidity alteration or unreasonable use of the unit causing cracks broken cases housings or parts damage caused by leaking batteries finish or appearance items items damaged in shipment en route to Nady Systems Inc for repair The warranty is null and void if any Nady serial number has been removed or defaced How To Obtain Service 1 If factory service is required you must contact our Service Department at 510 652 2411 for a return authorization RA number Make sure the RA number is clearly marked on the outside of your package Please note if an RA number is not included our shipping department cannot accept your package 2 Send the unit back to Nady Systems 6701 Shellmound Street Emeryville CA 94608 freight pre paid You must include proof of date and place of purchase i e photocopy of your bill of sale or Nady cannot be responsible for repair or replacement Nady Systems Inc will not repair nor be
19. refully 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 shipping damage 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 manner 2 POWER CONNECTION The SRM 10X is designed to operate with the supplied external power supply unit PSU Please make sure that the power unit supplied is marked for the correct voltage in your area 120V AC 60 Hz or 230VAC 50Hz Power requirements for electrical equipment differ from area to area In new installations and portable sound systems or any situation in which the AC power is in question it is wise to confirm the voltage and use the appropriate 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 authorities Do not connect the PSU to the SRM 10X while the PSU is connected to the AC mains supply Connect the switched off SRM 10X and PSU first before you connect the PSU to the mains supply Lastly switch on the SRM 10X with the power switch on the back panel Use only the correct NADY power supply unit to connect the SRM 10X
20. rim control 3 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 2 INSERTS Channels 1 and 2 are equipped with insert jacks to connect external signal processors 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 The signal is intercepted post Trim and pre EQ fed through the external device then returned to the console at the same point where it left The insert point is normalized i e the signal is only interrupted when a connector is plugged into it The insert jack is configured as Tip send Ring return Sleeve ground 3 TRIM CONTROL The trim control adjusts the input sensitivity channel gain of the mic and line inputs on the mono input channels This control 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 CONTROLS AND CONNECTIONS 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 9 for that channel lights occasionally 4 LOW CUT FILTER Us
21. s handles your warranty service directly Communication with our Service Department is the most efficient means of servicing your unit and we are dedicated to keeping you a satisfied customer To the extent permitted by law any applicable implied warranties including warranties of merchantability and fitness are hereby limited to one year from the date of purchase Consequential or incidental damages resulting from a breach of any applicable express or implied warranties are hereby excluded This warranty is in lieu of all other agreements and warranties general or special express or implied and no representative or person including a Nady dealer agent or employee is authorized to assume for us any other liability in connection with the sale or use of this Nady Systems product Whereas some states do not allow limitations on how long implied warranties last and do not allow exclusion of incidental or consequential damages the above limitations and exclusions may not apply to you This warranty gives you specific legal rights and you may also have other rights which may vary from state to state This warranty is subject to the following conditions 1 This system must have been purchased from an authorized Nady dealer and all warranty service must be performed by Nady s service department Any service not performed by Nady will automatically void this warranty 2 Items not covered physical damage resulting from improper handling of the un
22. to the Mains AC power CONTROLS AND CONNECTIONS MIC LINE 1 MONO INPUT SECTION 1 COMBINED MIC XLR 1 4 LINE INPUT The Mic input is an electronically balanced XLR type designed to accept signals from any balanced low impedance 1 Low Z microphone To accommodate condenser microphones this input is also equipped with 48VDC phantom power globally switchable to all XLR input jacks with the Phantom Power switch 33 Dynamic or ribbon type microphones do not require phantom powering It will be necessary to adjust the channel gain with the input Trim control 3 to achieve a nominal operating level The XLR jack is configured for Pin1 ground Pin2 positive Pin3 2 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 34 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 turning the phantom power on or off INSERT The 1 4 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 T
Download Pdf Manuals
Related Search