Nady Systems Music Mixer PMX 1600 User Manual

O W N E R ’ S M A N U A L  
PMX SERIES  
PMX-600 — 6 Channel Powered Mixer w/DSP Effects  
PMX-1600 —16 Channel Powered Mixer w/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  
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 outlets or extension cords 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 enclosures  
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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INSTALLATION  
To ensure years of enjoyment from your NADY AUDIO PMX Series, please read and understand this manual thoroughly  
before using the unit.  
INSPECTION  
Your NADY AUDIO PMX Series powered mixer 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.]  
SETUP AND OPERATOIN  
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 PMX Series powered mixer on high temperature  
devices such as power amplifiers, etc., or the unit may overheat in operation.  
Although the units chassis is shielded against radio frequency (RF) and electromagnetic interference (EMI), extremely  
high fields of RF and EMI should be avoided.  
Please make sure that the power unit supplied is marked for the correct voltage in your area (120VAC/60 Hz or  
230VAC/50 Hz). 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.  
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. Set the Channel  
(13), Group (22), and Master Stereo Volume Faders (24) to minimum to further reduce the chance of undesired noise  
when first powering up. Turn on your PMX Series powered mixer by pressing on the rear panel Power On/Off Switch  
(38).  
For other areas, please check with local authorities.  
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CONTROLS AND CONNECTIONS  
1. CHANNEL SECTION  
(1) MIC INPUT  
This electronically balanced XLR input is designed to accept signals from any  
(1)  
balanced or unbalanced 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 (27). Dynamic or ribbon-type microphones do not require phantom  
power. The XLR jack is configured for: Pin1 = ground, Pin2 = positive (+), Pin3  
= negative (-). The Mic inputs are more sensitive than the Line inputs. It will  
be necessary to adjust the channel gain with the input Trim Control (4) to  
achieve a nominal operating level.  
(2)  
(3)  
[Note: Do not connect mics when phantom power is already switched on, as  
indicated by the Phantom Power LED (27) in the Master Section of the top  
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 Master Stereo Volume Faders (24) to prevent  
possible sharp transient noise from damaging the speakers when turning the  
phantom power on or off.]  
(4)  
(6)  
(2) LINE INPUT  
This 1/4input 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. If a balanced signal is  
to be connected to the line input, then a 1/4TRS (stereo) phone plug should  
be wired for: Tip = positive (+), Ring = negative (-), Sleeve = ground.  
(7)  
[Note: Only the Mic or the Line input of a given channel should be connected at  
one time. Do not connect both at the same time.]  
(3) INSERT  
All channels 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 or the mix. Unlike reverbs, etc., which  
are usually added to the dry signal, dynamic processing is normally applied  
across an entire signal. Here an Aux Send would be inappropriate. Instead, the  
signal is intercepted somewhere along the channel, fed through the dynamics  
processor and/or EQ, and 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. To use Inserts as a Send/Return, an insert cable is  
required which will split the 1/4TRS insert connection to two plugs, one for  
Send and one for Return. The insert jack is pre EQ in the channel and is  
configured as: Tip = send, Ring = return, Sleeve = ground.  
(8)  
(9)  
(10)  
(11)  
(12)  
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 1/4phone 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.  
(5)  
(4) TRIM CONTROL  
(13)  
The Trim control adjusts the input sensitivity (channel gain) of the Mic and Line  
inputs on the 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. The trim control  
adjusts the input sensitivity with 30dB of range. 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 Channel Peak LED (5) for that channel almost lights.  
5
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CONTROLS AND CONNECTIONS  
(5) CHANNEL PEAK LED  
monitor in recording applications, such as for a headphone cue  
The Peak LED illuminates when a channel input is overloading.  
It detects the peak level after the Equalizer Controls (7) and will  
light just before clipping to warn that the signal is approaching  
overload. You do not want the Peak LED to light except very  
intermittently. If it lights persistently, reduce the Trim Control (4).  
system.  
(9) AUX 2 / EFFECT CONTROL (POST-FADER)  
This control adjusts the level of signal sent to the Aux Send 2 or  
the internal DSP Echo Effects.  
(6) LOW CUT FILTER  
The channel Aux 2 control is mono, post-EQ, and post-fader  
meaning the signal level sent to the Aux 2 bus will be affected by  
the channel fader setting. For almost all effects send purposes,  
you will want to use the post-fader Aux 2, so that when a fader  
level is adjusted, any reverb send from that channel follows the  
fader. Otherwise, when the fader is pulled down, the reverb from  
that channel would still be audible. You can also use this Aux 2  
send to feed inputs of 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).  
Use this Low-Cut (high-pass) filter (18 dB/octave, -3 dB at 75Hz)  
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 (7).  
(7) EQUALIZER CONTROLS  
All channels are fitted with a three-band EQ High, Mid and  
Low controls. The Mid control has a parametric Mid Freq control  
with a 250Hz-6KHz range. 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 High and Low shelving controls have their  
frequencies fixed at 12 KHz and 80Hz respectively. The Mid  
control has a parametric Frequency Control. This control can be  
used to locate the frequency of the midrange tones that you want  
to accentuate or cut. The channel EQ is a valuable feature of  
the mixer as it allows the user to control the tonal characteristics  
of each channel separately. For example, boosting the Low can  
fatten the sound, add bass to vocals, or extra punch to bass,  
drums and synths. The Mid control, with the Mid Freq set to  
The Aux 2 Effect Send controls also adjust the level sent by each  
channel to the internal DSP (Digital Sound Processor) Echo  
Effects. Either the Aux Send 2 or internal Echo Effects can be  
selected with the Aux 2 / Eff Enable Button (15).  
(10) PAN  
The channel Pan positions the output of the channel in the  
left/right stereo field of the Master mix and also pans between 1  
and 2 in the Group mix. Its constant-power design ensures there  
are no level discrepancies whether a signal is hard-panned,  
higher frequencies, can be used to define percussive instruments center-stage, or somewhere in-between.  
or bring out the edge of vocals; when set to lower frequencies  
the Mid can boost low midrange frequencies to fatten up guitars,  
toms, or bring warmth to vocals. 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 sibilance,  
hiss, cymbals, or high frequency feedback, while attenuating the  
Mid or Low can also eliminate feedback or clear up a muddy  
sounding mix. The Mid Freq control can also be used to reduce  
any feedback from 250Hz to 6Khz. Cutting the High and Low,  
then pushing up the Channel Fader (13) is equivalent to mid  
range boost!  
(11) L-R SELECT SWITCH  
When the L-R switch is selected (button depressed), the post  
fader channel signal is fed to the Master Stereo Volume Faders  
(24).  
(12) GROUP SELECT SWITCH  
When the G1-2 switch is selected (button depressed), the  
channel signal is fed to the G1-2 bus, controlled by the Group 1-  
2 Volume Faders (22). This signal is post channel fader and the  
stereo placement is adjusted by the Pan control. The Group bus  
offers you a second stereo submix with its own stereo G1-2  
submaster faders. This submix can be sent to the Master Stereo  
Volume Faders (24) by enabling the Group To Main Switch  
(23). The Group Mix 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 mix  
together a vocal quartet and then control their combined level in  
the Master Mix, or to route separately to multi-track recorders.  
The Group Select Switch can also be used to monitor the  
channel signal in the headphones, without sending the signal to  
the main outputs, with the L-R Select Switch (11) off.  
[Note: Always reset a channel’s input Trim Control (4) (or  
external device’s output level) after altering the amount of  
equalization.]  
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.  
(13) CHANNEL FADER  
(8) AUX 1 CONTROL (PRE-FADER)  
The channel faders determine the output signal level to the  
Master Mix or Group 1-2 buses. They offer a smooth logarithmic  
taper more often associated with much more expensive consoles  
for optimum control of the signal.  
The channel Aux 1 control is mono, post-EQ, and pre-fader  
meaning the signal level sent to the Aux Send 1 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  
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CONTROLS AND CONNECTIONS  
(16)  
(18) (17)  
(19)  
2. AUX EFFECTS SECTION  
(29)  
(28)  
(15)  
(14)  
(14) AUX SEND 1 & 2 LEVEL CONTROLS  
These controls adjust the final mixed level of the channel  
Aux 1 and Aux 2 auxiliary signals separately. These  
signals are then sent to the Aux Send 1 & 2 Outputs (30)  
respectively. These signals can be sent to the input of an  
effects processor, multi-track recorder, or used for any  
other line-level auxiliary purpose, such as monitor feeds. If  
the signal is going to be used for an external reverb/delay  
device, preferred instead of the internal Echo Effects, Aux  
Send 2 should be used and the Aux 2 / Effects Enable  
Switch (15) should be set to Aux 2 (button out). This will  
disable the internal Echo Effects. When the switch is  
depressed, the Aux 2 level control and output are disabled.  
(27)  
(26)  
(15) AUX 2 / EFFECTS ENABLE SWITCH  
(21)  
(23)  
This push button switch determines if the Channel Aux 2  
Eff Send signals are sent to Aux Send 2 (button out) or to  
the internal Echo Effects section (button depressed). The  
Aux 2 Level Control (16) and output are disabled when  
this button is set to enable the internal Echo Effects. Note  
the Aux Return 2 is operational regardless of this switch  
setting.  
(25)  
(16) AUX RETURN 1 & 2 LEVEL CONTROLS  
These controls adjust the signal level from the Aux Return  
1 & 2 Inputs, which are then mixed into the Left and Right  
Master bus. These can be used to return effected signals  
into the PMX Series powered mixer or they can be used  
as auxiliary inputs from line level devices such as  
keyboards or Tape Returns of multi-track recorders. The  
internal Echo Effects cannot be applied to these auxiliary  
returns. Note, Aux Return 2 is operational regardless of  
the Aux 2 / Effects Enable Switch (15) setting.  
(22)  
(20)  
(17) ECHO EFFECTS TIME DELAY  
This control sets the time interval, in milliseconds, of the  
built-in Echo Effects DSP (Digital Sound Processor). Lower  
settings select the shortest echo time to emulate plate  
effects whereas higher settings enable the longest echo time for  
stadium reverbs and delay sounds with up to 200mS delays.  
Settings around 100mS emulate medium room and hall reverbs  
by adjusting the channel Effect Control (9) and Echo Depth  
(19) to nine oclock, Echo Input Level (18) to 12 oclock, and  
Effect Volume Fader (20) to approximately -10dB.  
(24)  
3. MASTER CONTROL AND EQ SECTION  
(21) DUAL CHANNEL GRAPHIC EQUALIZER  
The 7-band graphic equalizers allow you to adjust the frequency  
response of the Master L and R mix providing a maximum of +/-  
12dB of cut and boost for each frequency band from the center  
détente flat position. The top EQ is for the Left channel and the  
bottom EQ is for the Right channel. This EQ can be used to  
shape and mold the tone of your audio and easily eliminate  
feedback at notch frequencies without overly affecting your  
sound.  
(18) ECHO EFFECTS INPUT LEVEL  
This adjusts the level of signal input into the Echo Effects DSP.  
(19) ECHO EFFECTS DEPTH  
This control adjusts the number of repeats and feedback/depth of  
the echo effect. Turning the control clockwise sets the repeats to  
maximum for lengthy echoes or plate effects. Turning the control  
counter-clockwise sets less repeats.  
(22) GROUP 1 & 2 VOLUME FADERS  
(20) EFFECT VOLUME FADERS  
These faders adjust the final level of the effected tone applied to  
the Master bus.  
These faders adjust the level of the Group 1 & 2 submix signals  
that are sent to the Group Outputs (35) and can also be  
selected for the Headphone (33) and Control Room (34)  
7
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CONTROLS AND CONNECTIONS  
(32)  
(34)  
(36)  
outputs for easy monitoring. The Group can be a very useful  
feature if used effectively. For stage applications the Group mix  
can be sent to a monitor amplifier so the performers will only  
hear the audio that is not already loud enough on stage.  
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 the two Group faders. This submix can  
also be added to the Main/Master mix by depressing the Group  
to Main Switch (23).  
(23) GROUP TO MAIN SWITCH  
When this push-button switch is depressed, the Group submix is  
added to the Main/Master bus. This allows controlling the  
combined volume of multiple channels with only two faders,  
which can be useful when mixing a vocal quartet or multiple mics  
for grouped instruments like percussion or drum kits.  
(35)  
(31)  
(33)  
(30)  
(24) MASTER STEREO VOLUME FADERS  
4. MASTER INPUT / OUTPUT SECTION  
This adjusts the final level of the Master Left & Right signals, that  
are sent to the Main (36), Headphone (33), and Control Room  
(34) Outputs and also to the Speaker Stereo Outputs (37).  
(30) AUX SEND 1 & 2 OUTPUTS  
These mono unbalanced 1/4jacks output the auxiliary signals  
which can be adjusted by the Aux Send 1 & 2 Level Controls  
(14).  
(25) DUAL CHANNEL LED VU METER  
These 10-stage stereo output LED meter displays will display the  
relative output level of the Left and Right Main (36) and  
Speaker Outputs (37). They can be used to maintain proper  
levels in the master mix. The top red Peak LED will light when  
the powered output signal is just below clipping. It is acceptable  
if the red LED lights occasionally. If the red LED lights more than  
occasionally, you should turn down the Master Stereo Volume  
Faders (24) to avoid audible distortion and clipping, which can  
cause damage to your speakers and even the internal amplifier.  
(31) AUX RETURN 1 & 2 INPUTS  
These mono unbalanced 1/4jacks enable convenient inputs to  
the Master/Main busses. If you connect a signal to the return  
jacks, the signal will be routed to the Aux Return 1 or 2 Level  
Controls (16) and then mixed into the left and right Master/Main  
bus.  
(32) TAPE INPUT / RECORD OUTPUT  
The Left and Right Tape Input RCA jacks allow cassette  
recorders, CD players, or MP3 players to be added to the  
Master/Main mix outputs. The input signals can be adjusted by  
the Tape Level Control (29). The Record Output RCA jacks  
provide a stereo signal output to recording devices, home audio  
equipment, or external amplifiers. These outputs are post Master  
Stereo Volume Faders (24).  
(26) POWER LED  
This LED will illuminate when the unit is switched on.  
(27) PHANTOM POWER  
When this switch is depressed, +48V of phantom power will be  
supplied to the mic channels. The yellow LED will illuminate  
when the switch is depressed to ON.  
(33) HEADPHONE OUTPUT  
[Note: When turning on the Phantom Power switch, turn the  
Master Volumes to minimum.]  
The Headphone 1/4stereo output can be used to monitor either  
the Master or Group mix. It will power headphones with  
impedances of 8or greater.  
(28) HEADPHONE / CONTROL ROOM  
The volume control adjusts the level of the Headphone and  
Control Room Outputs. The push-button selector switch will  
determine which signal is sent to these outputs - depressed for  
Group 1 & 2, out for Master Stereo.  
(34) CONTROL ROOM L-R OUTPUTS  
These separate Left and Right 1/4jacks output the line level  
signals from the Headphone/Control Room (28).  
(35) GROUP 1 & 2 OUTPUTS  
(29) TAPE LEVEL CONTROL  
These 1/4jacks output the Group 1 and 2 line level signals.  
This control adjusts the level of the Tape Input signal applied to  
Master/Main bus.  
(36) MAIN OUTPUTS  
These balanced XLR and unbalanced 1/4jacks output the final  
Master/Main Mix line level signals.  
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CONTROLS AND CONNECTIONS  
(38)  
(40)  
(41)  
(37)  
(39)  
5. REAR PANEL  
(37) SPEAKER OUTPUTS  
RIGHT - These two 1/4speaker output jacks are paralleled together for the Master Right output signal and can deliver up to 200W  
RMS to a 4load.  
LEFT - These two 1/4speaker output jacks are paralleled together for the Left output and can deliver up to 200W RMS to a 4Ω  
load.  
[Caution: Never use less than 4Total impedance for either channel as this can cause the amplifier to overheat and create thermal  
runaway.]  
(38) POWER ON/OFF SWITCH  
To turn the unit on, press the side of the rocker switch closest to the side of the mixer. To turn the unit off, press the rocker switch  
towards the middle of the mixer.  
(39) POWER CONNECTOR  
The IEC jack is used to connect the power cord to the AC Power Source.  
[Caution: Never remove the center grounding pin as this can cause a serious safety hazard and will immediately void your warranty.]  
(40) FUSE COMPARTMENT  
Replace with only the same type fuse. If the fuse blows continuously, have the unit serviced by qualified personnel. The PMX Series  
powered mixer uses 20mm glass tube Fast Blow fuses: 8A 250V for 115VAC, 4A 250V for 230VAC.  
(41) AC VOLTAGE SELECTOR SWITCH  
Before plugging in the power cord, check to see that the unit is set for the proper voltage for your area: ~115V (60Hz) or ~230V  
(50Hz).  
9
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CONNECTIONS  
8  
8Ω  
8Ω  
8Ω  
MONITOR  
SPEAKERS &  
POWER AMP  
OR USE  
SEPARATE CABLE  
REVERB  
PA or RECORDING  
DEVICE  
EFX  
TAPE/DISK  
RECORDER  
10  
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SPECIFICATIONS  
1. INPUT SECTION  
Input  
Connector  
Input Impedance  
2.8KΩ  
Max Level  
MONO CH MIC  
XLR BALANCED  
+13dBu, 3.6V RMS*  
+17dBu, 5.5V RMS  
+23dBu, 11V RMS  
+11dBu, 2.8V RMS  
+18dBu, 6V RMS  
+22dBu, 10V RMS  
MONO CHANNEL LINE  
1/4UNBALANCED  
1/4TRS BALANCED  
1/4UNBALANCED  
STEREO RCA JACKS  
1/4UNBALANCED  
10KΩ  
20KΩ  
AUX RETURN  
TAPE IN  
INSERT INPUT  
10KΩ  
10KΩ  
10KΩ  
With Trim, Tape In, and Aux Return Level controls set to Mid (50%)  
*With Trim set to Min (0%)  
Phantom Power on XLR inputs ....................................................................................................................................................48VDC, globally selected  
2. MIXER SECTION  
Trim ....................................................................................................................................................................................................................Range 28dB  
Channel High EQ +/-15dB..................................................................................................................................................................12KHz, Rotary control  
Channel Mid EQ +/-15dB ................................................................................................................................Variable 250Hz - 6KHz, Two Rotary controls  
Channel Low EQ +/-15dB ....................................................................................................................................................................80Hz, Rotary control  
Channel Aux 1, Aux 2 Eff, Pan ......................................................................................................................................................................Rotary controls  
Low Cut, L-R Select, G1-2 Select........................................................................................................................................................Push-button switches  
Channel faders............................................................................................................................................................................-to +10dB, 60mm sliders  
Echo Effect Time Delay ......................................................................................................................................................................................0 to 200mS  
Dual 7-Band EQ +/-12dB............................................................................................63Hz, 250Hz, 630Hz, 1KHz, 2.5KHz, 6.3KHz, 15KHz 20mm sliders  
Master and Group dual faders, Effect single fader ....................................................................................................................-to +10dB, 60mm sliders  
3. MASTER OUTPUT SECTION  
Channel Input to Main Output  
Frequency Response ..................................................................................................................................................................20Hz~25KHz (+/- 3dB)  
THD + Noise ..........................................................................................................................................................................................................0.04%  
S/N Ratio ............................................................................................................................ -85dB (gain controls @ unity), -94dB (gain controls down)  
Noise Floor ........................................................................................................................350uV (gain controls @ unity), 150uV (gain controls down)  
Output  
Connector  
1/4UNBALANCED  
1/4UNBALANCED  
1/4UNBALANCED  
STEREO RCA JACKS  
1/4UNBALANCED  
XLR BALANCED  
1/4STEREO  
Output Impedance  
Max Level  
AUX SEND 1 & 2  
GROUP 1 & 2  
CONTROL ROOM L-R  
RECORD OUT  
MAIN L-R  
200Ω  
200Ω  
200Ω  
1.4KΩ  
200Ω  
400Ω  
12Ω  
+21dBu, 9V RMS  
+18dBu, 6V RMS  
+8dBu, 1.9V RMS  
+21dBu, 8.5V RMS  
+21dBu, 8.5V RMS  
+27dBu, 17V RMS  
2 x 50mW, 1.75V RMS**  
HEADPHONE  
**When connected to 32output  
4. POWER OUTPUT SECTION  
Power Output  
8Both Channels Driven (1% THD) ....................................................................................................................................................150W RMS per side  
4Both Channels Driven (1% THD) ....................................................................................................................................................200W RMS per side  
Channel Input to Speaker Output  
Frequency Response ..................................................................................................................................................................25Hz~22KHz (+/- 3dB)  
THD........................................................................................................................................................................................................................0.09%  
S/N Ratio ............................................................................................................................-72dB (gain controls @ unity), -85dB (gain controls down)  
Noise Floor ..............................................................................................................................9mV (gain controls @ unity), 2mV (gain controls down)  
Amplifier Protection ..................................................Fan cooling, short circuit protection, current limiting, Speaker DC protection circuits, clip indicators,  
Power ON/OFF relays for anti-thump circuit  
5. GENERAL  
Power Requirements ..........................................................................................................................Voltage selectable, 115VAC/60Hz or 230VAC /50Hz  
Fuse Requirements ......................................................................................................................................5x20mm glass tube F.B. 8A 250V @ 115VAC  
4A 250V @ 230VAC  
PMX-1600  
Weight ...................................................................................................................................................................................................... 35.25 lbs. (16 Kg)  
Dimensions (HWD) ............................................................................................................................................6.4x 28.7x 17.2(163 x 729 x 437mm)  
PMX-600  
Weight ......................................................................................................................................................................................................24.5 lbs. (11.1 Kg)  
Dimensions (HWD) ..............................................................................................................................................6.4x 16.9x 17.2(163 x 430 x 437mm)  
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.  
11  
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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  
telephone 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 nady.com  
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