Nady Systems MXE-1212 User Manual

MXE-1212

12 Channel Mic/Line Mixer

with Internal DSP Effects

OWNER’S MANUAL

2

MXE-1212

12-CHANNEL MIC/LINE MIXER WITH INTERNAL DSP EFFECTS

Congratulations on your choice of mixers — you have pur­chased one of the finest compact mixing consoles on the
market today. This unit was developed using the expertise of
professional sound engineers and working musicians. You
will find that your new NADY AUDIO MXE-1212 has superior
performance and greater flexibility than any other mixer in its
price range. Please read this manual carefully to get the
most out of your new unit.

Thanks for selecting NADY AUDIO as your choice in mixing
consoles.

Date of Purchase

Dealer’s Name

City

State

Zip

Model #

Serial #

CONTENTS

WARNING ..........................................................................................................................................................3

FEATURES ...................................................................................................................................................... 4

INSTALLATION.................................................................................................................................................. 5

1. Inspection ...................................................................................................................................................... 5

2. Rack Mounting .............................................................................................................................................. 5

3. Setup and Operation...................................................................................................................................... 5

CONTROLS AND CONNECTIONS .................................................................................................................. 6

1. Mono Input Section ........................................................................................................................................6

2. Stereo Input Section........................................................................................................................................8

3. Master Section ................................................................................................................................................9

a. Aux Sends/Returns Function and Operation .......................................................................................... 9

b. Master Mix Function and Operation ........................................................................................................9

c. Digital Echo Effects Function Operation ..................................................................................... ...........10

d. Monitor Function and Operation ............................................................................................................10

e. Power Connection, Indicators, and Switches ........................................................................................10

4. Connections ................................................................................................................................................12

SPECIFICATIONS............................................................................................................................................ 13

BLOCK DIAGRAM ..........................................................................................................................................14

WARNING

3

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. The power supply cord or the plug has been damaged.
B. Objects have fallen into, or liquid has been spilled onto the product.
C. The product has been exposed to rain.
D. The product does not appear to operate normally or exhibits a marked change in performance.
E. The product has been dropped, or the enclosure damaged.

11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All
other servicing should be referred to qualified service personnel.

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

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.

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.

FEATURES

4

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, transpar­ent audio across the full audio spectrum and natural sound­ing selectable echo/reverb effects

• 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

• 3 band EQ for all input channels, 7 band stereo graphic EQ

for Master Mix

• Aux Send and Aux Return with Aux Send and Aux Return
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

• High quality sealed pots with center detents

• Input Trim controls on all channel inputs with switchable

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 RCAjacks with Tape level control

• Built-in DSP (Digital Sound Processor) for ECHO

(REVERB) with 16 selectable preset level and echo inter­vals 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

• Headphone output with separate volume adjust

• PFL control for each channel allows headphone monitoring

independent of channel volume

• Switchable +48V phantom power on mono channels

• Super accurate 10-segment LED display bargraph meters

• Erasable area above all faders for notations

• Internal AC supply with 115/230V select switch

• Road-tough all steel construction. Rack ears supplied.

• Dimensions & Weight: 16”x17”x 3.5” (406 x 432 x 89 mm),

14.7 lbs (6.7 Kg)

5

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 mon­itoring 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).

CONTROLS AND CONNECTIONS

6

(1) MIC INPUT

The Mic input is an elec­tronically balanced XLR
type designed to accept
signals from any bal­anced 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

require phantom power­ing. 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 (-).

[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.]

(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.

(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.)

(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

processing or
equalization to a
channel or the mix.
Unlike reverbs,
etc., which are usu­ally added to the
dry signal, dynamic
processing is nor­mally applied
across an entire
signal. Here an Aux Send would be inappropriate. Instead,
the signal is intercepted somewhere along the channel, fed
through the dynamics processor and/or EQ, then returned to
the console at the same point where it left. The insert point is
normalized, i.e., the signal is only interrupted when a plug is
plugged into it. The insert jack is located pre EQ in the chan­nel and is configured as: Tip = send, Ring = return, Sleeve =
ground.
The Insert can also be used as a channel direct output by
sending the signal from the ring. To use the Insert as a direct
output, insert a 1/4” phone plug halfway into the Insert jack
so the tip of the plug connects with the ring of the insert jack.
The jack will click into place when the connection to the ring
is made.

(4) TRIM CONTROL

The trim control adjusts the
input sensitivity (channel
gain) of the Mic and Line
inputs on the input chan­nels. This control can be
adjusted to accommodate
input signals from a wide
variety of sources, from the
high outputs from key­boards or drum machines
to the small signal outputs
of microphones. 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 (but­ton depressed) position.
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
(4A) for that channel lights
occasionally.

(4A) The Peak LED illumi-

(1)

(2)

(4A)

(5)

(6)

(4)

1. MONO INPUT SECTION

BACK PANEL

(3)

CONTROLS AND CONNECTIONS

nates when a channel is
going into overload. It
detects the peak level
after the EQ and will light
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
a take or a mix. If it does
light persistently, reduce
input gain with the TRIM

control (4) or PAD (5).

(5) PAD

This control attenuates
the input signal -20dB
when set to the IN (but­ton depressed) position.

(6) EQUALIZER CON­TROLS

All input channels are fit­ted 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. 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.

For example, boosting the LOW can fatten the sound and add
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

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
mid range boost!

[Note: Always reset a channel’s input Gain (or external
device’s output level) after altering the amount of mixer equal­ization cut or boost applied.]

The key to successful equalization is to avoid excess. Too
much equalization on the input channels will result in a mix
that is smeared together with nothing specifically defined.
During rehearsals, experiment with the equalizer controls on
various instruments, vocals and combinations of these mixed
together to become familiar with various equalizer settings.

(7) AUX ( POST ) SEND CONTROLS

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 mon­itor in recording applications, such as for a headphone cue
system.

(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)

(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 sig­nal 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

The channel faders determine the output signal level to the
Master Mix Left, Right busses. They offer a smooth logarith­mic taper for optimum control of the signal, more often asso­ciated with much more expensive consoles.

(7)

(8)

(9)

(10)

(11)

7

CONTROLS AND CONNECTIONS

8

2. STEREO INPUT SECTION

(12A) L (MONO) LINE
INPUT

On stereo input channels
5-12, the 1/4” line inputs
are designed for stereo
or mono line-level signals
such as those from key­boards, drum machines,
CD players, tape decks,
or samplers. However,
these inputs can also be
used as standard mono
line inputs by connecting
the signal to the L
(MONO) line in. This sig­nal will be routed equally
to the BAL control and
the left and right outputs
in the same way as the
standard line input chan­nels. For the stereo line
inputs the mono channel
PAN (9) control is
replaced by the BAL
(Balance) control. See
also BAL CONTROL

(13) below.

(12B) R LINE INPUT

When using channels 5­6, 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

TRIM (4), PAD (5), EQ
(6), AUX (7), EFF (8) and
Channel fader (11) con-

trols equally and will
retain their stereo sepa­ration. The AUX, EQ,
EFF, BAL, and Channel
fader controls all function
the same as those on the

mono input channels.
When a stereo signal is input to a stereo input channel, these
controls will affect the left and right signals equally.
The Stereo Line Inputs jacks are 1/4” TRS unbalanced phone
jacks, Tip = hot, Ring open, Sleeve = ground. The input sig­nals to these jacks, however, can be either balanced or
unbalanced.

(6) EQUALIZERS

The stereo channel EQ’s operate in the same manner as
those in the mono channels. The left and right signals will be
affected equally. A stereo equalizer is generally preferable
anyhow to using two mono equalizers when equalizing a
stereo signal as it avoids possible discrepancies between the
left and right settings.

(7) AUX SENDS

These are the same as
for the mono channels.
Note that a mono sum is
taken from the stereo
input.

(13) BAL CONTROL

For a mono input to the L
(MONO) input the func­tion of the control is the
same as the PAN con-
trols (9) of the mono
channels. However, when
a channel is run in stereo,
this control functions as a
balance control, determin­ing the relative balance of
the left and right channel
signals being sent to the
left and right Master Mix
buses. For example, with
the balance control
turned fully clockwise,
only the right portion of
the channel’s stereo sig­nal will be routed to the
Master Mix.

(4A) PEAK LED INDI­CATOR
(10) PFL SELECT
SWITCH
(11) CHANNEL FADER

All these have the same
function as for the mono
channels. See MONO

INPUT SECTION.

(12A)

(12B)

(4)

(5)

(4A)

(6)

(7)

(8)

(13)

(10)

(11)

CONTROLS AND CONNECTIONS

9

3. MASTER SECTION

a. AUX Send/Return Function and Operation

(18) AUX RETURN
(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
Return jack, the Aux Return will operate in mono and the sig­nal 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
effect units such as Tape Returns from a multi-track recorder,
or as extra instrument inputs such as from a MIDI keyboard.

(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
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).

b. Master Mix Function and Operation

(14) STEREO OUTPUTS
(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

(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.

The output level routed to the Stereo Outputs and REC out­puts is determined ultimately by the setting of the Stereo
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
busses and the TAPE Input (15). The level input from the

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 adjust­ing these levels so as to achieve proper balance in the final
mix and to prevent overload distortion. The 10-stage LED
Output Meter (19) can be used to maintain proper levels in
the master mix.

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).

(14)

(17)

(18)

(15)

(16)

CONTROLS AND CONNECTIONS

10

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

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 pre­sets has been selected. The DSP processes the sig­nal 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).

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 dis­tortion.) If desired, this output can also be connected

instead to an amplifier and speakers for control room
or stage monitoring.

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

(22)

(19)

(20)

(24)

(23)

(25A)

(25B)

(26)

(21)

BACK PANEL

CONTROLS AND CONNECTIONS

11

Check the power
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 con­nected 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 power­ing up for the system
to reach equilibrium
before setting input
gains and other levels.
You can leave the
MXE-1212 on all the
time. It is conservative­ly 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
Conditioner PCL­800/810/815 or a good

quality power strip, for
one-button turn-on.

The MXE-1212 is
fused for your (and its
own) protection. If a
fuse blows, disconnect
the AC cord, and
replace the fuse with a

2.0A (5x20mm, 250V)
type, available at elec­tronics stores or
through your dealer. If
the fuse blows continu­ously upon replace­ment, unplug the unit
and refer to qualified
personnel for servicing
before further use.

(38) PHANTOM POWER SWITCH
(21) PHANTOM POWER ON LED INDICATOR

When using condenser mics, +48VDC can be switched glob­ally 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.

[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 center­grounded 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.]

(27)

(28)

(29)

(30)

(31)

(32)

(33)

(34)

(35)

(36)

(38)

(37)

(39)

(40)

CONNECTIONS

This NADY AUDIO mixer uses 4 different types of audio connectors for the various input/output connections: (1) XLR bal­anced; (2) 1/4” TRS phone jacks for balanced, unbalanced, stereo, or in/out inserts; (3) 1/4” TS unbalanced;
(4) RCA pin unbalanced

1

2

3

2

1

3

Figures

1. Balanced XLR input/output connections

2. Stereo headphone connection with 1/4" TRS
plug

3. 1/4" mono (TRS) plug used as unbalanced
input/output

4. 1/4" stereo (TRS) plug used as balanced
input/output

5. 1/4" TRS plug used as Insert Send/Return

6. RCA pin plug for unbalanced input/ouput

Ground (Screen)

Cold

(Out of Phase Signal)

Hot

(In Phase Signal)

MICROPHONE INPUTS

GROUP & MIX OUTPUTS

Socket (female) Plug (male)

HEADPHONES

Tip =
Left signal

Ring =
Right signal

Sleeve =
Ground/Shield

Tip

Ring

Sleeve
Strain relief

clamp

UNBALANCED USE OF

MONO 1/4” PLUGS

Tip =
Signal

Sleeve =
Ground/Shield

Tip

Sleeve
Strain relief

clamp

BALANCED USE OF

STEREO 1/4” PLUGS

Tip =
hot (+ve)

Ring =
cold (-ve)

Sleeve =
Ground/Shield

Tip

Ring

Sleeve

Strain relief
clamp

1/4” STEREO PLUG USED AS INSERT SEND/RETURN

TIP

Send to External

Device

RING

Return from External Device

SLEEVE

Ground (Screen)

12

RCA PIN PLUG

1.

2. 3.

4.

5.

6.

Pin =
Signal

Sleeve =
Ground
(Shield)

Tip

Ring

Sleeve

Strain relief clamp

SPECIFICATIONS

13

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.

3. FREQUENCY RESPONSE

ANY INPUT TO

ANY OUTPUT ....................20 Hz to 20 KHz =/- 3dB @ 0 dBm

4. TOTAL HARMONIC DISTORTION

ANY INPUT TO

ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm

5. INPUT CHANNEL EQUALIZATION

High shelving ....................12 KHz, +/- 15 dB, Q fixed at 2 oct.

Mid bell ............................2.5 KhZ, +/- 15 dB, Q fixed at 1 oct.

Low shelving ......................80 Hz, +/- 15 dB, Q fixed at 2 oct.

6. MASTER MIX EQUALIZATION

7 band (63Hz,150Hz,400Hz,1KHz,2.5KHz,6.4KHz,15KHz),
+/-12dB

7. GAIN CONTROL RANGE

Input channel trim control ....Stop to stop- Mic +10 dB~+60 dB,

Line +10 dB~+40 dB

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

8. CROSSTALK @ 1KHZ

ADJACENT CHANNEL INPUTS ......................-78 dB~-68 dB

INPUT TO OUTPUT.......................................... -78 dB~-68 dB

9. HUM AND NOISE

20 Hz-20 KHz, Rs=150 ohms, input TRIM @ 0 dB, input sen­sitivity at –60 dB

EQUIVALENT INPUT NOISE ....................................-129 dBm

RESIDUAL OUTPUT NOISE......................................< 90 dBm

10. VU METERS

10-segment LED X 2

11. PHANTOM POWER

+48 VDC, globally selected

12. POWER REQUIREMENTS

Voltage selectable, 120VAC/60Hz or 230VAC/50Hz

13. FUSE

115VAC Operation ......................................2A, 5x20mm, 250V

230VAC Operation ......................................1A, 5x20mm, 250V

14. POWER CONSUMPTION

12W

15. DIMENSIONS AND WEIGHT

16” x 17” x 3.5” (406 x 432 x 89 mm), 14.7 lbs (6.7 Kg)

1. INPUT SECTION

Input Connector Input Impedance Nominal Level Max Level

MONO CH MIC XLR >1.3K Ω +2 dBm +14 dBm
MONO CH LINE 1/4" TRS >10K Ω +4 dBm +22 dBm
STEREO CH LINE 1/4" TS >10K Ω +4 dBm +22 dBm
TAPE IN RCA PIN JACKS >10K Ω +2 dBm +22 dBm
AUX RETURNS 1/4" TS >10K Ω +4 dBm +22 dBm
INSERT IN 1/4" TRS >10K Ω +4 dBm +22 dBm

2. OUTPUT SECTION

Output Connector Output Impedance Nominal Level Max Level

STEREO OUT L/R XLR & 1/4" TRS 120 Ω +4~+6 dBm +22 dBm
AUX SENDS 1/4" TS 120 Ω +4~+6 dBm +20 dBm
INSERT OUT 1/4" TRS 120 Ω +4~+6 dBm +22 dBm
REC OUT RCA PIN JACKS 1K Ω +4~+6 dBm +22 dBm
PHONES 1/4" TRS 200 Ω ––– 40mW X 2

BLOCK DIAGRAM

14

NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608

Tel: [phone] • Fax: [phone] • www.nadywireless.com

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 [phone], or e-mail at [e-mail].
(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from

whom you purchased this product.

DO NOT ATTEMPTTO SERVICE THIS UNIT
YOURSELF AS IT CAN BE DANGEROUS
AND WILL ALSO VOID THE WARRANTY.