Nady Systems Speaker System CMX16A User Manual

O W N E R ’ S M A N U A L  
C M X - 1 6 A  
16-CHANNEL STEREO MIC/LINE MIXER  
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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  
voltagewithin the products 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  
Offering up to 20 channels (including aux returns) plus 2 RCA tape inputs, this compact console and rackmountable  
mixer delivers top performance, full-functioned flexibility, and ultimate value and is ideal for even the most demand-  
ing mixing applications.  
Tape In and Record Out RCA jacks with Tape inputs  
assignable to Master Mix or stereo Control  
Room/Headphone outputs  
Full frequency response, wide dynamic range and ultra low  
noise assures natural, transparent sound with maximum  
headroom  
Switchable +48V phantom power for all mono XLR Mic  
8 mono balanced (XLR and 1/4" TRS) and 8 stereo (1/4"  
inputs  
TRS) inputs (16 total)  
Pan pots on each mono channel and Balance pots on each  
stereo channel  
L-R Main Mix and G1-2 Group Submix buses, with L-R,  
and G1-2 functions selectable on all channels and sepa-  
rately assignable to master mixes with separate master  
faders  
60 mm faders on all channels and master L/R and G1-2  
bus mix for precise level control  
2 Aux Sends and 2 stereo Aux Returns with Aux Send and  
Aux Return controls  
High quality sealed pots with center detents for all  
Pan/Balance and EQ controls  
8 mono input channel Inserts allow independent connection  
of effects devices for each mono channel  
Peak LEDs on all input channels  
Super accurate 10-stage LED display bargraph meters  
switchable to display L/R or G1/G2 mix levels  
Tape In and Record Out RCA jacks with Tape Input Level  
control  
High strength steel casing and superior construction with  
only highest quality components for longest life and maxi-  
mum reliability. Rack ears for rackmounting supplied.  
Separate Control Room and Headphone Outputs  
PFL, L-R, and G1-2 mixes separately assignable to  
Headphone and Control Room outputs for versatile moni-  
toring capability  
External AC supply (PSU) for optimum signal integrity and  
superior transient response  
Input Trim controls on all channel inputs  
Balanced XLR and unbalanced 1/4" TRS Stereo Outputs  
3-band EQ on all channels  
Dimensions & Weight: 15" x 17.5" x 3.75" (381 x 495 x 95  
mm), 14.85 lbs (6.75 Kg)  
4
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INSTALLATION  
To ensure years of enjoyment from your NADY AUDIO CMX-16A mixing console, please read and understand this manual  
thoroughly before using the unit.  
3. POWER CONNECTION  
1. INSPECTION  
The CMX-16A 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 (120VAC/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.  
Your NADY AUDIO CMX-16A was carefully packed at the  
factory in packaging designed to protect the units in ship-  
ment. 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 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 manner.]  
Check to see that the PSU is set to the voltage for your  
area by referring to the table below:  
2. RACK MOUNTING  
Europe (except UK): 230V, 50Hz  
UK and Australia: 240V, 50Hz  
USA and Canada: 120V, 60 Hz  
Enclosed in the shipping box you will find a rackmount kit.  
If you want to make your CMX-16A 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).  
For other areas, please check with local authorities.  
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  
CMX-16A on high temperature devices such as power  
amplifiers etc. or the unit may overheat in operation.  
Do not connect the PSU to the CMX-16A while the PSU  
is connected to the AC mains supply. Connect the  
switched-off CMX-16A and PSU first before you connect  
the PSU to the mains supply. Lastly switch on the CMX-  
16A with the power switch on the front panel. Use only  
the correct NADY power supply unit to connect the CMX-  
16A to the Mains AC power.  
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.  
5
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CONTROLS AND CONNECTIONS  
1. MONO INPUT SECTION  
(1) MIC INPUT  
processor and/or EQ, then returned to the console at the  
The Mic input is an electroni- same point where it left. The insert point is normalized, i.e.  
cally balanced XLR type  
designed to accept signals  
from any balanced low  
impedance (Low Z) micro-  
phone. To accommodate  
the signal is only interrupted when a plug is plugged into it.  
The insert jack is located pre EQ in the channel and is config-  
ured 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,  
(1)  
condenser microphones, this insert a 1/4" phone plug halfway into the Insert jack so the tip  
input is also equipped with  
+48VDC phantom power  
globally switchable to all  
XLR input jacks with the  
Phantom Power switch  
(27) in the Master Section.  
Dynamic or ribbon-type  
microphones do not require  
phantom powering. It will be  
necessary to adjust the  
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.  
(2)  
(3)  
(4) TRIM CONTROL  
The trim control adjusts the input sensitivity (channel gain) of  
the mic and line inputs on channels 1 through 8. 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.  
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.  
channel gain with the input  
Trim control (4) to achieve  
a nominal operating level. The XLR jack is configured for:  
Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).  
[Note: The Mic inputs are more sensitive than the Line inputs. (5) EQUALIZER CONTROLS  
Also, do not connect mics with the phantom power switched  
on, as indicated by the Phantom Power On LED (27A) next  
to the Phantom Power switch. 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.]  
All mono 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  
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.  
(4)  
(5)  
(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 The midrange control has a  
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.  
peaking response at 2.5KHz  
(Q fixed at 1 octave). The  
channel EQ is an important  
part of the mixer as it allows  
the user to control the tonal  
characteristics of each instru-  
ment separately. For example,  
(Note: Only either the Mic or the Line input of a given channel boosting the LOW can fatten  
can be connected at one time. Never connect both simultane- the sound and add punch to  
ously to the same channel.)  
the bass or drums; the MID  
control can be used to define  
the midrange or bring out the  
(6)  
(3) INSERT  
Channels 1-8 are equipped with insert jacks to connect exter- vocals; and adjusting the HIGH  
nal 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 or the mix. Unlike reverbs, etc.,  
which are usually added to the dry signal, dynamic process-  
ing is normally applied across an entire signal. Here an Aux  
control can provide a crisp  
sounding high end. A 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  
Send would be inappropriate. Instead the signal is intercepted the MID or LOW can eliminate feedback in a live performance  
somewhere along the channel, fed through the dynamics  
or clear up a muddy sounding mix.  
6
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CONTROLS AND CONNECTIONS  
mines the stereo position of any signal routed to the G1-2  
bus, when G1-2 bus is selected with the G1-2 button (11).  
[Note: Always reset a channel’s  
input Gain (or external devices’  
output level) after altering the  
amount of mixer equalization  
cut or boost applied.]  
(7)  
(8) PEAK LED INDICATOR  
(8)  
(9)  
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).  
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.  
(10)  
(11)  
(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. The signal is post EQ and independent of channel  
fader position. Selecting the PFL never interrupts the main  
stereo out or the AUX sends.  
(10) L-R SELECT SWITCH  
When the L-R switch is selected (button depressed), the post  
fader channel signal is fed to the master L-R faders.  
(6) AUX SEND 1, 2 CON-  
TROLS  
Both Aux Sends are mono and  
post-EQ and control the level  
of the signals sent to the AUX  
buses.  
(11) G1-2 (GROUP) SELECT SWITCH  
The G1-2 switch enables selecting (button depressed) the  
channel for routing to the G1-2 stereo bus, controlled by the  
master G1-2 fader. This signal is post channel fader and the  
stereo placement is adjusted by the Pan control. The G1-2  
Group bus offers you a second stereo submix with its own  
stereo G1-2 submaster fader. It can be used as a convenient  
mixing aid both live and in the studio; for example, to combine  
the outputs of all drum channels onto just 1 or 2 submaster  
faders, or to route to multi-track recorders. You can generate  
two mono subgroups in addition to the normal Main Mix  
stereo bus by patching the G1 and G2 OUT back into two  
mono channels, and use these as Subgroup masters  
(12)  
Aux Send 1 is pre-fader  
and the signal sent to the  
AUX 1 bus will be unaffect-  
ed by the channel fader  
setting.  
Aux Send 2 is post-fader  
and the signal level sent to  
the AUX 2 bus will be  
affected by the channel  
fader setting.  
(Note: the subgroup return channels must not be routed to  
the G1-2 bus themselves, by depressing their G1-2 select  
switch, as that would result in a feedback loop).  
For almost all effects send pur-  
poses, you will want to use the  
post-fader AUX 2, so that when  
a fader level is adjusted, any  
(12) CHANNEL FADER  
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  
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 amplifiers, use the pre-fader  
AUX 1 (i.e. independent of the channel fader)  
The channel faders determine the output signal level to the  
Master Mix or G1-2 buses. They offer a smooth logarithmic  
taper more often associated with much more expensive con-  
soles for optimum control of the signal.  
(7) PAN CONTROL  
The Channel Pan positions the output of the channel in the  
stereo field of the main mix if the L-R Select switch (10) is  
depressed. Its constant-power design ensures there are no  
level discrepancies whether a signal is hard-panned, center-  
stage, or somewhere in-between. Channel Pan also deter-  
7
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CONTROLS AND CONNECTIONS  
2. STEREO INPUT SECTION  
(5) EQUALIZERS  
(13) L (MONO) LINE INPUT  
On stereo input channels 9-  
16, 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 connect-  
ing 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  
The stereo channel EQs  
operate in the same manner  
as those in the mono chan-  
nels. 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 set-  
tings.  
(13)  
(14)  
(4)  
(15)  
(8)  
(9)  
(10)  
(11)  
(6) AUX SENDS  
These are the same as for the  
mono channels. Note that a  
mono sum is taken from the  
stereo input.  
(15) BAL CONTROL  
For a mono input to the  
(Balance) control. See also  
BAL CONTROL (15) above.  
(5)  
L(MONO) input the function of  
the control is the same as the  
PAN (7) controls of the mono  
channels. However, when a  
channel is run in stereo, this  
control functions as a Balance  
control, determining the rela-  
tive Balance of the left and  
right channel signals being  
sent to the left and right  
Master Mix buses. For exam-  
ple, with the Balance control  
turned fully clockwise, only the  
right portion of the channels  
stereo signal will be routed to  
the Master Mix. Balance also  
(14) R LINE INPUT  
When using channels 9-10,  
11-12, 13-14, or 15-16 as  
stereo input channels, the  
left signal should be con-  
nected 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 sepa-  
ration. The AUX, EQ, BAL,  
and Channel fader controls  
all function the same as  
(12)  
(6)  
determines the relative amount of left and right channel sig-  
nals being sent to buses G1, G2 respectively when the G1-2  
Select switch (11) is engaged.  
those on mono input channels 1-8.  
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" TRS balanced phone jacks,  
Tip = positive (+), Ring = negative (-), Sleeve = ground.  
(8) PEAK LED INDICATOR  
(9) PFL SELECT SWITCH  
(10) L-R SELECT SWITCH  
(11) G1-2 (GROUP) SELECT SWITCH  
(12) CHANNEL FADER  
(4) TRIM CONTROL  
The stereo Trim control operates in the same manner as the  
mono Trim control. The stereo inputs are designed for any  
line level signal. Most line level sources such as MIDI instru-  
ments and effects units will have their own output level con-  
trol. However any added adjustment necessary for proper lev-  
eling can be done with the Trim control.  
This has the same function as for the mono channels. See  
MONO INPUT SECTION.  
8
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CONTROLS AND CONNECTIONS  
(22)  
(21)  
3. MASTER SECTION  
(19)  
(17)  
(18)  
(16)  
a. AUX Sends/Returns Function and Operation  
(23)  
(16) STEREO AUX RETURNS (LEFT/MONO, RIGHT)  
(32) AUX 1,2 MASTER SEND CONTROLS  
(36) AUX 1,2 RETURN CONTROLS  
(20)  
(37) AUX RETURN BALANCE CONTROLS  
(38) L-R AUX RETURN ASSIGN SWITCH  
(39) G1-2 AUX RETURN ASSIGN SWITCH  
Certain stereo effects produce a perceived imbalance  
between the left and right channel levels. To correct for this  
The AUX Return jacks are the mono or stereo returns for AUX you will have to bring your stereo effect back on a stereo  
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 (36) and  
then mixed into the left and right Main Mix Stereo Outputs  
(20) and/or G1-G2 Outputs (18), depending on whether you  
selected either or both outputs with the L-R (38) or G1-2 (39)  
AUX Return Assign switches. 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 con-  
channel, which has a Balance control (15). When applying  
short left and right delays, the shortest one will always seem  
loudest. When pitch shifting up and down in wide stereo to  
thicken 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, dont 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  
trols (36) and mixed into the left and right Stereo (20) or G1- reverb field. To do this you will have to come back on two  
G2 (18) Outputs separately [depending on the outputs select- mono channels to get independent pan for the left and right  
ed with the AUX Return Assign switches (38,39)], while  
signals.  
maintaining stereo separation. Use the AUX Return Balance  
Controls (37) to adjust the balance of the AUX Return signal. (17) AUX SENDS  
The Aux Send 1 and 2 jacks are the outputs for the signals  
sent from the channel Aux controls (6). They are 1/4" unbal-  
For example, if these knobs are turned all the way to the left,  
the signal will be sent only to the L and/or G1 bus, and turned anced phone jacks wired: Tip = positive (+), Sleeve = ground.  
all they way right, only to the R and/or G2 bus, and in the  
center equally to both the L, R, and/or G1, G2 buses [again  
depending on the outputs selected with the AUX Return  
Assign switches (38,39)]. The Aux Returns are multi-func-  
tional. They may be used for returning the outputs of effect  
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 Master  
units, as Tape Returns from a multi-track recorder, or as extra Send controls (32).  
instrument inputs, especially if your MIDI keyboard or rack  
supplies a pre-mixed stereo signal.  
9
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CONTROLS AND CONNECTIONS  
b. G1-2 Group Functions and Operation  
(18) G1-G2 OUTPUTS  
(25) G1-2 MASTER FADER  
(31) G1-2 MONITOR SELECT SWITCH  
(35) L/G1-R/G2 METER SELECT SWITCHES  
(39) G1-2 AUX RETURN ASSIGN SWITCH  
A channels output will be routed to the G1G2 Group Outputs  
(34)  
(18) by depressing the G1-2 Select switch (11). These outputs  
are 1/4" TRS balanced phone jacks, wired: Tip = positive (+),  
Ring = negative (-), Sleeve = ground. Level to the G1-G2  
Outputs is adjusted by the G1-2 Master Fader (25). You can  
also monitor the G1-2 signal via headphone (23) or control  
room (19) outputs by the G1-2 Monitor Select switch (31). The  
G1-2 AUX Return Assign switches (39) can be selected to  
(35)  
route the AUX return signal to the G1-2 bus and the G1-2  
Master fader (25). The signal level of all signals on the G1-2  
bus can be monitored by the 10-stage LED Output meter by  
selecting either or both G1 and G2 on the Meter Select switch-  
es (35). The G1-2 Group can be a very useful feature if used  
(36)  
effectively. Subgroups are commonly used as a mixing aid both  
live and in the studio. For example, you can combine the outputs  
from all drum channels onto just 1 or 2 submaster faders. They  
(37)  
are also used to route to multi-track recorders. There are no  
dedicated subgroups on the CMX-16A. However, the G1-2 bus  
offers you a second independent stereo submix with its own  
submaster stereo fader. You can generate two mono subgroups  
in addition to the normal Master Mix stereo bus by patching G1-  
G2 Outputs back into two mono channels, and use these as  
(38)  
Subgroup masters  
(39)  
(Note: The subgroup return channels must not be routed to the  
G1-2 bus themselves, as this would result in a feedback loop.)  
c. Main Mix Function and Operation  
(20) STEREO OUTPUTS  
(21) TAPE INPUTS  
(22) REC OUTPUTS  
(24) L/R MASTER FADERS  
(33) TAPE IN LEVEL CONTROL  
(34) LED OUTPUT METER  
(35) L/G1-R/G2 METER SELECT SWITCHES  
(38) L-R AUX RETURN ASSIGN SWITCHES  
The Stereo Outputs consist of both Left (L) and Right (R) bal-  
anced XLRs, wired: pin 1 = ground, pin 2 = hot (+), pin 3 = cold  
(-), and unbalanced 1/4" phone jacks, wired: Tip = positive (+),  
Sleeve = ground.  
(24)  
The REC Outputs (22) 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 L,R Master Faders  
(24). 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 (if either or both the L-R AUX Return  
10  
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CONTROLS AND CONNECTIONS  
Assign switches (38) are depressed) and the TAPE Input. The  
(26)  
level of signal routed to the L-R Master faders (24) from tape  
decks, CD players, etc., input to the Tape Input (21) is determined  
by the Tape In Level Control (33). The 10-stage LED Output  
Meter (34) can be selected with the Meter Select Switches (35) to  
display the Master Mix output level.  
(26A)  
(27)  
d. Monitor Function and Operation  
(19) CONTROL ROOM OUTPUTS  
(23) HEADPHONES OUTPUT  
(28) PHONES/CONTROL ROOM CONTROL  
(29) PFL MONITOR SELECT SWITCH  
(27A)  
(28)  
(30) L-R MONITOR SELECT SWITCH  
(31) G1-2 MONITOR SELECT SWITCH  
(29)  
(30)  
(31)  
The CMX-16A allows you to monitor singly the L-R Main Mix , the  
G1-2 Group mix or the pre-fader PFL signal by selecting one of the  
appropriate Monitor Select switches (29,30,31). The level of the  
selected signals is adjusted with the Phones/Control Room con-  
trol (28) and routed to both the Control Room (19) and  
Headphones (23) outputs. The L-R Control Room Outputs (19)  
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. The Phones Output will  
feed headphones and is a 1/4" TRS jack, wired: tip = left signal,  
ring = right signal, sleeve = ground.  
(32)  
(33)  
e. Power Switches  
(40) AC POWER IN SOCKET  
(26) MAIN POWER SWITCH  
(26A) POWER ON LED INDICATOR  
Once the external PSU is connected to the AC Power In Socket  
(40) and then to the AC power source, you may switch on your  
mixers with the Power On switch (26). The Power "ON" LED  
(26A) will light up. Allow 1 minute after powering up for the system  
to reach equilibrium before setting inputs gains and other levels.  
(27) PHANTOM POWER SWITCH  
(27A) PHANTOM POWER ON LED INDICATOR  
When using condenser mics, +48VDC can be switched 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 (27A) will light,  
and +48VDC will be provided between pins 2 and 3 of all the mono  
Mic input XLR connectors (Ch 1-8). If you dont need phantom  
power, be sure to turn this switch to the "OFF" position.  
(25)  
[
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 dam-  
age your mixer. Also, mute the Monitor/PA speakers when turning  
the phantom power on or off.]  
(40)  
BACK PANEL  
11  
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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  
GROUP & MIX OUTPUTS  
MICROPHONE INPUTS  
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.  
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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  
>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" TRS  
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 1,2  
G1-G2 OUT  
XLR & 1/4" TS  
1/4" TS  
120 Ω  
120 Ω  
120 Ω  
120 Ω  
1K Ω  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
–––  
+22 dBm  
+20 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
40mW X 2  
1/4"TRS  
INSERT OUT  
CNTRL R. OUT  
REC OUT  
1/4" TRS  
1/4" TS  
RCA PIN JACKS  
1/4" TRS  
1K Ω  
PHONES  
200 Ω  
3. FREQUENCY RESPONSE  
ANY INPUT TO  
8. HUM AND NOISE  
20 Hz-20 Khz, Rs=150 ohms, input TRIM @ 0 dB, input sensi-  
ANY OUTPUT ....................20 Hz to 20 KHz =/- 3dB @ 0 dBm tivity at 60 dB  
EQUIVALENT INPUT NOISE ....................................-129 dBm  
RESIDUAL OUTPUT NOISE........................................-85 dBm  
4. TOTAL HARMONIC DISTORTION  
ANY INPUT TO  
ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm  
9. VU METERS  
10-segment LED X 2, L/G1, R/G2  
5. INPUT CHANNEL EQUALIZATION  
10. 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  
11. POWER REQUIREMENTS  
External PSU, 120 VAC/60Hz or 230 VAC/50Hz  
6. GAIN CONTROL RANGE  
Input channel trim control....Stop to stop- Mic +10 dB~+60 dB,  
Line ..................................................................+10 dB~+40 dB  
Channel/Master Faders ...................................... -to +15 dB  
Aux Send/Aux Master Send ................................Off to +15 dB  
Aux Return ..............................................Off to Unity to +20 dB  
Tape In Level Control ..........................................Off to +15 dB  
12. POWER CONSUMPTION  
40 Watts, External PSU  
13. DIMENSIONS AND WEIGHT  
15" x 17.5" x 3.75" (381 x 495 x 95 mm), 14.85 lbs (6.75 Kg),  
External PSU not included  
7. 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  
Tel: 510.652.2411 • Fax: 510.652.5075 • www.nadywireless.com  
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