O W N E R ’ S M A N U A L
MXE-1212
12 Channel Mic/Line Mixer
with Internal DSP Effects
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WARNING
An equilateral triangle enclosing a lightening flash/arrowhead symbol is
intended to alert the user to the presence of uninsulated “dangerous
voltage” within the product’s enclosure which may be of sufficient
magnitude to constitute a risk of electric shock.
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
An equilateral triangle enclosing an exclamation point is intended to alert
the user to the presence of important operating and service instructions in
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.
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:
A.
B.
The power supply cord or the plug has been damaged.
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 in the user maintenance instructions. All
other servicing should be referred to qualified service personnel.
3
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FEATURES
The MXE-1212 is a compact, versatile console or rackmountable mixer with 16 built-in selectable DSP echo and reverb
effects that is ideal for many small venue, live sound reinforcement applications
• Superb performance with low noise and smooth, transpar-
ent audio across the full audio spectrum and natural sound-
ing selectable echo/reverb effects
• Built-in DSP (Digital Sound Processor) for ECHO
(REVERB) with 16 selectable preset level and echo inter-
vals and separate Repeat control, Effects Return and both
individual channel and master mix Effects Send controls,
master Effects fader, separate effects PFL monitoring, and
numeric LED display
• 4 mono balanced XLR mic and balanced 1/4” line and 8
stereo unbalanced 1/4” inputs (12 total)
• Balanced XLR and unbalanced 1/4”TRS Stereo Outputs
• Headphone output with separate volume adjust
• 3 band EQ for all input channels, 7 band stereo graphic EQ
for Master Mix
• PFL control for each channel allows headphone monitoring
independent of channel volume
• Aux Send and Aux Return with Aux Send and Aux Return
• Switchable +48V phantom power on mono channels
• Super accurate 10-segment LED display bargraph meters
• Erasable area above all faders for notations
controls
• Four 1/4” TRS inserts allow independent connection of
effects devices for each mono channel
• 60 mm faders on all channels and master L/R and Effect
bus mixes for precise level control
• Internal AC supply with 115/230V select switch
• Road-tough all steel construction. Rack ears supplied.
• High quality sealed pots with center detents
• Dimensions & Weight: 16”x17”x 3.5” (406 x 432 x 89 mm),
• Input Trim controls on all channel inputs with switchable
14.7 lbs (6.7 Kg)
20dB pad
• Peak LEDs on all input channels
• Pan pots on each mono channel and Balance pots on each
stereo input
• Tape In and Record Out RCA jacks with Tape level control
4
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INSTALLATION
To ensure years of enjoyment from your NADY AUDIO MXE-1212 mixing console, please read and understand this manual
thoroughly before using the unit.
1. INSPECTION
Your NADY AUDIO MXE-1212 was carefully packed at the factory in packaging designed to protect the units in shipment.
Before installing and using your unit, carefully 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. 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 manner.]
2. RACK MOUNTING
Enclosed in the shipping box you will find a rackmount kit. If you want to make your MXE-1212 a rack mixer, remove the
screws from the side panels and use them to attach the rack ears.
(Note: The rack rears are supplied as “left” and “right” and must be attached as such.)
3. SETUP AND OPERATION
Parts of the 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 MXE-1212 on high temperature devices such as
power amplifiers, etc., or the unit may overheat in operation.
Although the unit’s chassis is shielded against radio frequency (RF) and electromagnetic interference (EMI), extremely high
fields of RF and EMI should be avoided.
The MXE-1212 has an internal power supply and is designed to operate from an external AC source. Power requirements
for electrical equipment differ from area to area. Be sure to confirm that the voltage selected by the voltage selector switch
on the back panel is proper for your area (120VAC/60 Hz or 230VAC/50Hz) per the information 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.
When ready to operate, plug the AC cord into the power source. Make sure that the unit is turned off before connecting to
the AC power source to avoid possible loud transients which can damage your speakers or your ears, especially when mon-
itoring with headphones. Set the noted controls to the positions indicated below to further minimize the chance of undesired
noise when first powering up your MXE-1212 :
LEVEL FADERS (11,25A,25B,26) ................................................................................................................SET TO MINIMUM
HI, MID & LOW EQ’S (6) AND PAN/BALANCE CONTROLS (9/13) ..........TURNED TO THE CENTER DETENT POSITION
AUX , EFF CONTROLS & PHONES LEVEL CONTROLS (7,8,34) ..........TURNED COMPLETELY COUNTERCLOCKWISE
ALL OTHER CONTROLS SHOULD ALSO BE TURNED COMPLETELY COUNTERCLOCKWISE
Power up the unit as noted in Power Connections, Indicators, and Switches (Section 3e in CONTROLS AND
CONNECTIONS).
5
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CONTROLS AND CONNECTIONS
1. MONO INPUT SECTION
(1) MIC INPUT
processing or
The Mic input is an elec-
tronically balanced XLR
type designed to accept
signals from any bal-
anced low impedance
(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
(38) on the back panel.
Dynamic or ribbon-type
microphones do not
equalization to a
channel or the mix.
Unlike reverbs,
etc., which are usu-
ally added to the
dry signal, dynamic
processing is nor-
mally applied
(3)
(1)
(2)
BACK PANEL
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 interrupted when a plug is
plugged into it. The insert jack is located pre EQ in the chan-
nel and is configured as: Tip = send, Ring = return, Sleeve =
ground.
require phantom power-
ing. It will be necessary to adjust the channel gain with the
input Trim control (4) and/or Pad switch (5) to achieve a
nominal operating level. The XLR jack is configured for: Pin1
= ground, Pin2 = positive (+), Pin3 = negative (-).
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.
[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 (21) 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, turn down the Stereo Master faders (25A,
25B) to prevent possible sharp transient noise from damaging
the speakers when turning the phantom power on or off.]
(4) TRIM CONTROL
The trim control adjusts the
input sensitivity (channel
gain) of the Mic and Line
inputs on the input chan-
(4A)
nels. This control can be
adjusted to accommodate
(4)
input signals from a wide
variety of sources, from the
high outputs from key-
(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) and/or Pad switch (5) 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.
(5)
boards or drum machines
to the small signal outputs
of microphones. The trim
control adjusts the input
sensitivity from -20dB to -
60dB with the -20dB Pad
switch (5) in the OUT
position, and -40dB to 0dB
with the pad in the IN (but-
ton depressed) position.
The best balance of S/N
(6)
(Note: Only the Mic or the Line input of a given channel can
be connected at one time. Never connect both simultaneously
to the same channel.)
and dynamic range will be
achieved if you adjust the
TRIM control on each
channel separately so that
the Peak Indicator LED
(4A) for that channel lights
occasionally.
(3) INSERTS
Channels 1-4 are equipped with rear panel 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
(4A) The Peak LED illumi-
6
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CONTROLS AND CONNECTIONS
nates when a channel is
going into overload. It
detects the peak level
after the EQ and will light mid range boost!
at approximately 5dB
before clipping to warn
that the signal is
approaching overload.
You do not want the
Peak LED to light except
very intermittently during
attenuating the MID or 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
(7)
(8)
[Note: Always reset a channel’s input Gain (or external
device’s output level) after altering the amount of mixer equal-
ization 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
a take or a mix. If it does that is smeared together with nothing specifically defined.
light persistently, reduce
input gain with the TRIM
control (4) or PAD (5).
During rehearsals, experiment with the equalizer controls on
various instruments, vocals and combinations of these mixed
together to become familiar with various equalizer settings.
(9)
(5) PAD
(7) AUX ( POST ) SEND CONTROLS
This control attenuates
the input signal -20dB
when set to the IN (but-
ton depressed) position.
The Aux send controls are mono and post-EQ and pre-fader
and the signal level sent to the AUX bus will be unaffected by
the channel fader setting. This configuration is ideal for
almost all monitoring purposes: for example, for a separate
stage monitor mix in live performances or a studio room mon-
itor in recording applications, such as for a headphone cue
system.
(10)
(6) EQUALIZER CON-
TROLS
All input channels are fit-
ted with a three-band
EQ. All three bands have
up to 15 dB of cut and
boost, with a center
(8) EFF (EFFECTS) CONTROLS
The EFF controls are mono, post-EQ and pre-fader and the
signal level sent to the EFFECTS bus will be unaffected by
the channel fader setting. These controls adjust the level sent
by each channel to the internal DSP (Digital Sound
Processor). (See also Digital Echo Effects Functions and
Operation)
detent for “off”. The fre-
quency 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). The channel EQ
is a valuable feature of
the mixer as it allows the
user to control the tonal
characteristics of each
instrument separately.
(11)
(9) PAN
The Channel Pan positions the output of the channel in the
stereo field of the main mix. Its constant-power design
ensures there are no level discrepancies whether a signal is
hard-panned, center-stage, or somewhere in-between.
(10) PFL SELECT SWITCH
The PFL (pre-fader listen) switch enables monitoring the sig-
nal of any channel(s) selected (button depressed) at nominal
levels through the headphone output. The signal is post EQ
and independent of channel fader position. Selecting the PFL
never interrupts the main stereo out or the AUX sends.
(11) CHANNEL FADER
For example, boosting the LOW can fatten the sound and add The channel faders determine the output signal level to the
punch to the bass or drums; the MID control can be used to
define the midrange or bring out the vocals; and adjusting the
HIGH control can provide a crisp sounding high end. 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
Master Mix Left, Right busses. They offer a smooth logarith-
mic taper for optimum control of the signal, more often asso-
ciated with much more expensive consoles.
7
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CONTROLS AND CONNECTIONS
2. STEREO INPUT SECTION
(6) EQUALIZERS
(12A) L (MONO) LINE
INPUT
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.
On stereo input channels
5-12, the 1/4” line inputs
are designed for stereo
or mono line-level signals
such as those from key-
boards, 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
(12A)
(12B)
(7) AUX SENDS
These are the same as
for the mono channels.
Note that a mono sum is
taken from the stereo
(7)
input.
(MONO) line in. This sig-
nal will be routed equally
to the BAL control and
the left and right outputs
in the same way as the
standard line input chan-
nels. For the stereo line
inputs the mono channel
PAN (9) control is
replaced by the BAL
(Balance) control. See
also BAL CONTROL
(13) below.
(13) BAL CONTROL
For a mono input to the L
(MONO) input the func-
tion of the control is the
same as the PAN con-
trols (9) of the mono
(8)
(4A)
(4)
channels. However, when
a channel is run in stereo, (13)
this control functions as a
balance control, determin-
ing the relative balance of
the left and right channel
(5)
signals being sent to the
(10)
left and right Master Mix
buses. For example, with
the balance control
(12B) R LINE INPUT
When using channels 5-
6, 7-8, 9-10,11-12 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
turned fully clockwise,
only the right portion of
the channel’s stereo sig-
nal will be routed to the
Master Mix.
(6)
(4A) PEAK LED INDI-
CATOR
(10) PFL SELECT
SWITCH
TRIM (4), PAD (5), EQ
(6), AUX (7), EFF (8) and
Channel fader (11) con-
trols equally and will
(11) CHANNEL FADER
All these have the same
function as for the mono
channels. See MONO
INPUT SECTION.
retain their stereo sepa-
ration. The AUX, EQ,
EFF, BAL, and Channel
fader controls all function
the same as those on the
(11)
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 unbalanced phone
jacks, Tip = hot, Ring open, Sleeve = ground. The input sig-
nals to these jacks, however, can be either balanced or
unbalanced.
8
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CONTROLS AND CONNECTIONS
3. MASTER SECTION
(15)
(16)
(18)
(17)
(14)
a. AUX Send/Return Function and Operation
(18) AUX RETURN
(16) jacks output the Master Mix post-Stereo Master faders
(25A, 25B) and are pre-Master EQ (24). These outputs are
RCA jacks, and designed primarily for inputs to tape
recorders, etc.
(29) AUX RETURN CONTROL
The Aux Return jack enables a convenient input to the left
and right Master Mix busses. If you connect a signal to the
The output level routed to the Stereo Outputs and REC out-
Return jack, the Aux Return will operate in mono and the sig- puts is determined ultimately by the setting of the Stereo
nal will be routed to the Aux Return Control (29) and then
mixed into the left and right Master Mix bus. The Aux Return
is multi-functional. It may be used for returning the outputs of
Master faders (25A, 25B). The Master Mix (signal on the
main L/R busses) is the sum of the signals routed from all the
channels and also the inputs from the EFFECTS and AUX
effect units such as Tape Returns from a multi-track recorder, busses and the TAPE Input (15). The level input from the
or as extra instrument inputs such as from a MIDI keyboard.
Tape Input(15) is adjusted with the Tape In Level control
(27). The level of signal routed to the Stereo Master faders
(25A, 25B) from DAT, tape decks, CD players, etc., input to
the Tape Input (15) is determined by the setting of the output
volume control of the audio device being connected and the
Tape In Level Control (27), so care must be taken in adjust-
(17) AUX SEND
(28) MASTER AUX SEND CONTROL
The Aux Send jack is the unbalanced output for the signals
from the Aux bus. It is pre-fader. This signal can be sent to
the input of an effects processor, multi-track recorder, or used ing these levels so as to achieve proper balance in the final
for any other line-level auxiliary purpose, such as monitor
feeds. The Aux Send level is adjusted by the channel Aux
Send controls (7) and the Master Aux Send control (28).
mix and to prevent overload distortion. The 10-stage LED
Output Meter (19) can be used to maintain proper levels in
the master mix.
b. Master Mix Function and Operation
(14) STEREO OUTPUTS
The MXE-1212 is equipped with a 7-band Stereo Graphic
Equalizer (24), allowing final tonal adjustments on the Master
Mix. This Master EQ is post-Stereo Master faders (25A,25B)
so you must exercise care in the proper use of these EQs for
best overall sound (see also MONO INPUT SECTION, (6) EQ
above).
(15) TAPE INPUTS
(16) REC OUTPUTS
(27) TAPE IN LEVEL CONTROL
(25A, 25B) STEREO MASTER MIX FADERS
(19) LED OUTPUT METER DISPLAY
(24) 7 BAND MASTER MIX GRAPHIC EQUALIZER
The Stereo Outputs (14) consist of both Left (L) and Right
(R) balanced XLR’s, wired: pin 1 = ground, pin 2 = hot (+),
pin 3 = cold (-), and unbalanced 1/4” TRS phone jacks, wired:
Tip =signal, Ring open, Sleeve = ground. The Record Out
9
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CONTROLS AND CONNECTIONS
c. Digital Echo Effects Function and Operation
(22) EFFECTS DISPLAY
(23) ECHO EFFECT SELECT BUTTONS
(30) EFFECT SEND
(31) EFFECT (ECHO) REPEAT
(32) EFFECT PAN
(33) EFFECT PFL
(26) EFFECT FADER
(22)
(23)
(19)
The built-in DSP (Digital Sound Processor) offers 16
different preset level and echo intervals selectable by
the Echo Effect Select UP/DOWN buttons (23).
Press either button to scroll in either direction
through the 16 presets. The numeric Effects
Display (22) will indicate which of the 16 effect pre-
sets has been selected. The DSP processes the sig-
nal on the EFFECTS bus, which is the sum of the 4
mono and 8 stereo channel inputs controlled by the
EFF control (8). The EFFECT SEND control (30)
adjusts the level of the signal on the EFFECTS bus
fed to the DSP. The EFFECT (ECHO) REPEAT con-
trol (31) adjusts the number of repeats of the echo
effect selected with the UP/DOWN buttons (23) and
the EFFECTS fader (26) controls the signal level
sent to the Master Mix busses. The output of the
DSP is sent proportionately to the Left and Right
Master Mix busses as adjusted by the EFFECT PAN
control (32). The EFFECT PFL button (33) can be
depressed to monitor the pre-EFFECTS fader (26)
DSP output through the Monitor Headphones jack
(35).
(20)
(21)
(24)
d. Monitor Function and Operation
(35) HEADPHONES OUTPUT
(34) HEADPHONES LEVEL CONTROL
The MXE-1212 allows you to monitor the Stereo
Master Mix or any signals selected by the channel
PFL (10) or EFFECTS PFL (33). The signal level is
adjusted with the Phones Level control (34) and
routed to the Headphones (35) output. The Phones
Output (35) will feed headphones and is a 1/4” TRS
jack, wired: tip = left signal, ring = right signal, sleeve
= ground. (Note: Use only headphones with an
impedance >50 Ω or you may experience some dis-
tortion.) If desired, this output can also be connected
instead to an amplifier and speakers for control room
or stage monitoring.
(26)
e. Power Connection, Indicators, and Switches
(39) AC POWER CORD
(36) MAIN POWER SWITCH
(40) 115/230VAC POWER SELECTOR
SWITCH
(20) POWER ON LED INDICATOR
(37) FUSE HOLDER
(25A)
(25B)
10
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CONTROLS AND CONNECTIONS
(38) PHANTOM POWER SWITCH
Check the power
(21) PHANTOM POWER ON LED INDICATOR
source for the voltage
(115VAC or 230VAC) in
your area and switch
the Power Selector
switch (40) to select
the proper voltage.
Once you have con-
nected the AC power
cord (39) to the AC
power source, switch
on your mixer with the
Power On switch (36).
The Power ON LED
(20) will light up. Allow
1 minute after power-
ing up for the system
to reach equilibrium
before setting input
gains and other levels.
You can leave the
When using condenser mics, +48VDC can be switched glob-
ally on or off to the XLR mic inputs for all six channels (also
see MONO INPUT SECTION, MIC INPUTS). When this
switch is in the ''ON'' position (button depressed), the
Phantom Power On LED Indicator (21) will light, and
+48VDC will be provided between pins 2 and 3 of all the Mic
input XLR connectors. If you don’t need phantom power, be
sure to turn this switch to the ''OFF'' position.
(27)
[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, turn down the
Stereo Master faders (25A, 25B) to prevent possible sharp
transient noise from damaging the speakers when turning the
phantom power on or off.]
(28)
(29)
MXE-1212 on all the
time. It is conservative-
ly designed, so heat
build-up isn’t a problem
even in 24-hour-a-day
operation. There’s
nothing that will burn
out or get used up.
Alternatively, you can
just plug every unit in
your total system into a
Nady Power
(38)
(36)
(30)
(31)
Conditioner PCL-
800/810/815 or a good
quality power strip, for
one-button turn-on.
(32)
(33)
The MXE-1212 is
fused for your (and its
own) protection. If a
fuse blows, disconnect
the AC cord, and
(37)
(39)
replace the fuse with a
2.0A (5x20mm, 250V)
type, available at elec-
tronics stores or
(40)
(34)
(35)
BACK PANEL
through your dealer. If
the fuse blows continu-
ously upon replace-
ment, unplug the unit
and refer to qualified
personnel for servicing
before further use.
11
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CONNECTIONS
This NADY AUDIO mixer 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” TS unbalanced;
(4) RCA pin unbalanced
Figures
1. Balanced XLR input/output connections
2. Stereo headphone connection with 1/4" TRS
plug
MICROPHONE INPUTS
GROUP & MIX OUTPUTS
3. 1/4" mono (TRS) plug used as unbalanced
input/output
2
1
1
2
Ground (Screen)
3
3
4. 1/4" stereo (TRS) plug used as balanced
input/output
Cold
(Out of Phase Signal)
5. 1/4" TRS plug used as Insert Send/Return
6. RCA pin plug for unbalanced input/ouput
Hot
(In Phase Signal)
Socket (female)
Plug (male)
1.
HEADPHONES
UNBALANCED USE OF
MONO 1/4” PLUGS
BALANCED USE OF
STEREO 1/4” PLUGS
Tip =
Left signal
Tip =
Signal
Tip =
hot (+ve)
Ring =
Right signal
Ring =
cold (-ve)
Sleeve =
Ground/Shield
Sleeve =
Ground/Shield
Sleeve =
Ground/Shield
Tip
Ring
Tip
Tip
Ring
Sleeve
Sleeve
Sleeve
Strain relief
clamp
Strain relief
clamp
Strain relief
clamp
2.
3.
4.
1/4” STEREO PLUG USED AS INSERT SEND/RETURN
RCA PIN PLUG
TIP
SLEEVE
Ground (Screen)
Send to External
Device
Strain relief clamp
Sleeve =
Ground
(Shield)
Pin =
Signal
Ring
Sleeve
Tip
RING
Return from External Device
5.
6.
12
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SPECIFICATIONS
1. INPUT SECTION
Input
Connector
Input Impedance
Nominal Level
Max Level
MONO CH MIC
MONO CH LINE
STEREO CH LINE
TAPE IN
XLR
1/4" TRS
>1.3K Ω
>10K Ω
>10K Ω
>10K Ω
>10K Ω
>10K Ω
+2 dBm
+4 dBm
+4 dBm
+2 dBm
+4 dBm
+4 dBm
+14 dBm
+22 dBm
+22 dBm
+22 dBm
+22 dBm
+22 dBm
1/4" TS
RCA PIN JACKS
1/4" TS
AUX RETURNS
INSERT IN
1/4" TRS
2. OUTPUT SECTION
Output
Connector
Output Impedance
Nominal Level
Max Level
STEREO OUT L/R
AUX SENDS
INSERT OUT
REC OUT
XLR & 1/4" TRS
1/4" TS
120 Ω
120 Ω
120 Ω
1K Ω
+4~+6 dBm
+4~+6 dBm
+4~+6 dBm
+4~+6 dBm
–––
+22 dBm
+20 dBm
+22 dBm
+22 dBm
40mW X 2
1/4" TRS
RCA PIN JACKS
1/4" TRS
PHONES
200 Ω
3. FREQUENCY RESPONSE
ANY INPUT TO
9. HUM AND NOISE
20 Hz-20 KHz, Rs=150 ohms, input TRIM @ 0 dB, input sen-
ANY OUTPUT ....................20 Hz to 20 KHz =/- 3dB @ 0 dBm sitivity at –60 dB
EQUIVALENT INPUT NOISE ....................................-129 dBm
RESIDUAL OUTPUT NOISE......................................< 90 dBm
4. TOTAL HARMONIC DISTORTION
ANY INPUT TO
ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm
10. VU METERS
10-segment LED X 2
5. INPUT CHANNEL EQUALIZATION
11. PHANTOM POWER
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 ......................80 Hz, +/- 15 dB, Q fixed at 2 oct.
+48 VDC, globally selected
12. POWER REQUIREMENTS
Voltage selectable, 120VAC/60Hz or 230VAC/50Hz
6. MASTER MIX EQUALIZATION
7 band (63Hz,150Hz,400Hz,1KHz,2.5KHz,6.4KHz,15KHz),
+/-12dB
13. FUSE
115VAC Operation ......................................2A, 5x20mm, 250V
230VAC Operation ......................................1A, 5x20mm, 250V
7. GAIN CONTROL RANGE
Input channel trim control....Stop to stop- Mic +10 dB~+60 dB,
Line +10 dB~+40 dB
14. POWER CONSUMPTION
12W
Channel/Master/Effect Faders ............................ -∞ to +15 dB
Aux Send/Aux Master Send ................................Off to +15 dB
Aux Return............................................................Off to +20 dB
Channel and Master Effect Sends........................Off to +15 dB
15. DIMENSIONS AND WEIGHT
16” x 17” x 3.5” (406 x 432 x 89 mm), 14.7 lbs (6.7 Kg)
8. CROSSTALK @ 1KHZ
ADJACENT CHANNEL INPUTS ......................-78 dB~-68 dB
INPUT TO OUTPUT.......................................... -78 dB~-68 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.
13
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BLOCK DIAGRAM
14
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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 [email protected].
(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.
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608
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