OWNER’S MANUAL
MXE-612
MIXERS
6 Channel Mic/Line Mixer with Internal DSP Effects
MXE-612
6 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-612 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 # ___________________
TABLE OF 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. Main 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
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
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
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.
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.
FEATURES
The MXE-612 is compact, versatile console or rackmountable mixers with 16 built-in selectable DSP echo and reverb effects
that is ideal for any small venue live sound reinforcement applications where ultimate performance, advanced features, and
affordability are needed.
• Superb performance with low noise and smooth, transparent
audio across the full audio spectrum and natural sounding
selectable echo/reverb effects
• Built-in DSP (Digital Sound Processor) for ECHO (REVERB)
with 16 selectable preset level and echo intervals and separate
Effects Send and individual channel Effects Return controls,
and numeric LED display
• Input Trim controls on all channel inputs
• Peak LEDs on all input channels
• Pan pots on each mono channel and Balance pots on each
stereo input
• 3 band EQ for all input channels
• Aux Send and Aux Return with Aux Send and Aux Return
controls
• Switchable global 48V phantom power on mono channels
• Super accurate 10-segment LED display bargraph meters
• High-quality sealed pots with center detents for all Pan/Balance
and EQ controls
• Road-tough all steel construction. Optional rack ears available.
• Ultra-compact 2-bus mixer
• 2 mono input channels with balanced XLR Mic and 1/4" TRS
Line inputs for maximum signal integrity
• 4 stereo input channels with balanced 1/4" TRS jacks for
balanced or unbalanced inputs
• Aux Send for external effects and monitoring
• Stereo Aux returns with master Aux Return control
• Balanced 1/4" TRS L/R Stereo Outputs
• Separate Master Mix, Control Room and Headphone Outputs
• Tape In and Record Out RCA jacks with Tape inputs assignable
to Master Mix or stereo Control Room/Headphone outputs
• External AC supply for optimum signal integrity and superior
transient response
• Dimensions & Weight: 9"x 7"x 2.5" (229 x 178 x 63.5 mm),
3.7 lbs (1.7 Kg)
4
INSTALLATION
To ensure years of enjoyment from your NADY AUDIO MXE-612 mixing console, please read and understand this manual thoroughly
before using the unit.
1. INSPECTION
Your NADY AUDIO MXE-612 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
The MXE-612 can be rackmounted with the optional RMK-612 rackmount kit which can be ordered from your dealer or through the
Nady Service Department (see back page).
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-612 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-612 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/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, 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-612 :
GAIN FADERS (8/33) .................................................................................................................................................... SET TO MINIMUM
HI, MID & LOW EQ’S (4) AND PAN/BALANCE CONTROLS (6/14) ............................ TURNED TO THE CENTER DETENT POSITION
AUX/EFF CONTROLS & PHONES LEVEL CONTROLS (5/20)................................. 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,
page 11).
5
CONTROLS AND CONNECTIONS
1. MONO INPUT SECTION
(1) MIC INPUT
The Mic input is an electronically balanced XLR type designed to
accept signals from any balanced low impedance (Low Z)
(1)
(2)
(3)
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 (22) on
the front 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 (3) 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 power switched on, as
indicated by the Phantom Power On LED (25) in the Master
Section of the front panel. Never use unbalanced mic cables with
the Phantom Power switched on. Never short the +48VDC to
ground, as that can cause serious damage to your mixer. Also,
mute the Monitor/PA speakers when turning the phantom power
on or off.]
(4)
(5)
(6)
(8)
(7)
(2) LINE INPUT
The Line input is designed to accept balanced or unbalanced linelevel 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 (3)
to adjust for the desired level. If a balanced signal is to be
connected to the line input, then a 1/4" TRS (stereo) phone plug
should be wired for: Tip = positive (+), Ring = negative (-), Sleeve
= ground.
(Note: Only either 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) TRIM CONTROL
The trim control adjusts the input sensitivity (channel gain) of the
mic and line inputs on the mono input channels. This control can
be adjusted to accommodate input signals from a wide variety of
sources, from the high outputs from keyboards or drum machines
to the small signal outputs of microphones. This wide range
eliminates the need for Mic/Line switching. 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 (7) for that channel lights occasionally.
6
CONTROLS AND CONNECTIONS
(4) EQUALIZER CONTROLS
All mono 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 devices’
output level) after altering the amount of mixer equalization cut or
boost applied.]
(7) PEAK LED INDICATOR
The Peak LED illuminates when a channel is going into overload.
It detects the peak level after the EQ and will light at 3 dB 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 (3).
(8) CHANNEL GAIN CONTROL
The channel gain controls determine the output signal level to the
Master Mix bus. There is no PFL function on the MXE-612. In
order to audition any single channel for proper gain, you can turn
off the gain control of all the other channels (fully
counterclockwise), and set both the auditioned channel and
Master Mix control (29) to unity gain (0 dB). The LED Output
Meter (21) should read around 0 dB.
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.
(5) AUX/EFF SEND CONTROL
The AUX/EFF controls are mono and post-EQ and post-fader and
the signal level sent to the AUX/EFFECTS bus will be affacted by
the channel fader setting. The AUX configurations is ideal for
almost all monitoring purpose: 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. The
EFF controls the adjustment of level sent by each channel to the
internal DSP (Digital Sound Processor). (See also Digital Echo
Effects Functions and Operations, page 10)
(6) P AN CONTROL
The Channel Pan positions the output of the channel in the stereo
field of the Master Mix. Its constant-power design ensures there
are no level discrepancies whether a signal is hard-panned,
center-stage, or somewhere in-between.
7
CONTROLS AND CONNECTIONS
2. STEREO INPUT SECTION
(13A) L (MONO) LINE INPUT
On stereo input channels 3-6, the 1/4" line inputs are designed for
(13A)
(13B)
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
inputs, the mono channel PAN (6) control is replaced by the BAL
(Balance) control. See also BAL CONTROL (14) below.
(13B) R LINE INPUT
When using channels 3-4, 5-6 as stereo input channels, the left
signal should be connected to the L input and the right signal to
the R input. These signals will be routed to the AUX, EQ and
Channel Gain controls equally and will retain their stereo
separation. The AUX, EQ, BAL, and Channel Gain controls all
function the same as those on the mono input channels.
(4)
(5)
(14)
(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 Inputs jacks are 1/4" TRS balanced phone jacks, Tip =
positive (+), Ring = negative (-), Sleeve = ground. The input
signals to these jacks can be either balanced or unbalanced.
(4) 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.
(5) AUX/EFF SEND
These are the same as for the mono channels. Note that a mono
sum is taken from the stereo input.
(14) BAL CONTROL
For a mono input to the L (MONO) input the function of the control
is the same as the P AN controls (6) 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.
(8) CHANNEL GAIN CONTROL
This has the same function as for the mono channels. See MONO
INPUT SECTION, page 6.
8
CONTROLS AND CONNECTIONS
3. MASTER SECTION
(9)
(10)
(11)
(17)(15) (16)
(12)
a. AUX Sends/Returns Function and Operation
(9) STEREO AUX RETURNS (LEFT/MONO, RIGHT)
(18) AUX RETURN CONTROL
The Aux Return jacks are the mono or stereo returns for Aux
Send. 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 Aux Return Control (18) and then mixed into the left and
right Master Mix Stereo Outputs (11). The separate left and right
return jacks are provided for use with stereo signals such as those
from the output of a stereo effects processor. The left and right
return signals will be routed to the Aux Return level control (18)
and mixed into the left and right Stereo Out (11), while
maintaining stereo separation.
The Aux Returns are multi-functional. They may be used for
returning the outputs of effect units, as Tape Returns from a multitrack recorder, or as extra instrument inputs, especially if your
MIDI keyboard or rack supplies a pre-mixed stereo signal.
Certain stereo effects produce a perceived imbalance between
the left and right channel levels. To correct for this you will have to
bring your stereo effect back on a stereo channel, which has a
Balance control (14). 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 control to compensate. When performing any
stereo imaging exercise, don’t 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 reverb field. To do this you will have to come back on
two mono channels to get independent pan for the left and right
signals.
(10) AUX SEND
The Aux Send jack is the output for the signal sent from the
channel AUX/EFF controls (5). They are 1/4" unbalanced phone
jacks wired: Tip = positive (+), Sleeve = ground. Aux Send 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
b. Main Mix Function and Operation
(11) STEREO OUTPUTS
(15) TAPE INPUTS
(16) REC OUTPUTS
(29) MASTER MIX GAIN CONTROL
(21) LED OUTPUT METER
(24) T APE/REC TO MASTER SWITCH
The Stereo Outputs are Left (L) and Right (R) unbalanced 1/4"
phone jacks, wired: Tip = positive (+), Sleeve = ground. The REC
Outputs (16) also provide an output of the Master Mix. These
outputs are RCA jacks, and designed primarily for inputs to tape
recorders, etc.
9
CONTROLS AND CONNECTIONS
(18)
(19)
(22)
(23)
(24)
(31)
(32)
(20)
(25)
(26)
(27)
(21)
(33)
The output level routed to the Stereo Outputs and REC Outputs is
determined ultimately by the setting of the Master Mix Gain
Control (29). 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 and the TAPE Input (15). Use the
T ape/Rec to Master switch (24) to route signals from the Tape
Input (15) to the Master Mix Gain Control (29). The level of
signal routed to the Master Mix Gain Control (29) from DAT, tape
decks, CD players, etc., input to the T ape Input (15) is
determined by the setting of the output volume control of the
audio device being connected, so care must be taken in adjusting
this level so as to achieve proper balance in the final mix and to
(28)
(29)
prevent overload distortion. The 10-stage LED Output Meter (21)
displays the Master Mix output level.
c. Digital Echo Effects Function and Operation
(27) EFFECTS DISPLAY
(28) ECHO EFFECT SELECT BUTTONS
(31) EFFECT SEND
(32) EFFECT (ECHO) RETURN
(33) EFFECT GAIN
The built-in DSP (Digital Sound Processor) offers 16 different
preset level and echo intervals selectable by the Echo Effect
Select UP/DOWN buttons (28). Press either button to scroll in
10
Back panel
CONTROLS AND CONNECTIONS
(34) (35)
either direction through the 16 presets. The numeric Effects
Display (27) 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 (5). The EFFECT SEND control
(31) adjusts the level of the signal on the EFFECTS bus fed to the
DSP. The EFFECT (ECHO) RETURN control (31) adjusts the
number of repeats of the echo effect selected with the UP/DOWN
buttons (28) and the EFFECTS GAIN fader (33) controls the
signal level sent to the Master Mix busses.
d. Monitor Function and Operation
(17) CONTROL ROOM OUTPUTS
(12) HEADPHONES OUTPUT
(20) PHONES/CONTROL ROOM CONTROL
(23) TAPE/REC T O CONTROL ROOM SWITCH
The MXE-612 allows you to monitor the Master Mix. The signal
level is adjusted with the Phones/Control Room control (20) and
routed to both the Control Room (17) and Headphones (12)
outputs. The L-R Control Room Outputs (17) 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 (12) will feed
headphones and is a 1/4" TRS jack, wired: tip = left signal, ring =
right signal, sleeve = ground.
MONO INPUT SECTION, MIC INPUTS). When this switch is in the
“ON” position, The Phantom Power On LED Indicator (25) will
light , and +48VDC will be provided between pins 2 and 3 on all
the mono Mic input XLR connectors. If you don’t need phantom
power, be sure to turn this switch to the “OFF” position.
[Note: It is safe to connect balanced dynamic mics or line level
devices even if this switch is on, but connecting unbalanced
devices or devices whose transformers are center-grounded will
cause hum or malfunctions. Shorting the +48VDC can also
damage your mixer. Also, mute the Monitor/PA speakers when
turning the phantom power on or off.]
e. Power Switches
(34) AC POWER IN SOCKET
(35) MAIN POWER SWITCH
(26) POWER ON LED INDICA TOR
Once the external PSU is connected to the AC Power In socket
(34) and then to the AC power source, you may switch on your
mixers with the Power On switch (35). The Power “ON” LED (26)
will light up. Allow 1 minute after powering up for the system to
reach equilibrium before setting inputs gains and other levels.
(22) PHANTOM POWER SWITCH
(25) 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
11
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
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
12
SPECIFICATIONS
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” TRS >10K Ω +4 dBm +22 dBm
TAPE IN RCA PIN JACKS >10K Ω +2 dBm +22 dBm
AUX RETURNS 1/4” TRS >10K Ω +4 dBm +22 dBm
2. OUTPUT SECTION
Output Connector Output Impedance Nominal Level Max Level
STEREO OUT L/R 1/4” TRS 120 Ω +4~+6 dBm +22 dBm
AUX SENDS 1/4” TRS 120 Ω +4~+6 dBm +20 dBm
CTRL R 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 200K Ω —— 40mW X 2
3. FREQUENCY RESPONSE
ANY INPUT TO
ANY OUTPUT .......................................20 Hz to 20 KHz =/- 3dB @ 0 dBm
4. TOT AL HARMONIC DISTORTION
ANY INPUT TO
ANY OUTPUT .................................0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm
5. INPUT CHANNEL EQUALIZA TION
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. 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
7. CROSST ALK @ 1KHZ
ADJACENT CHANNEL INPUTS.......................................... -78 dB~-68 dB
INPUT TO OUTPUT ............................................................ -78 dB~-68 dB
8. 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
9. VU METERS
10-segment LED X 2
10. PHANTOM POWER
+48 VDC, globally selected
1 1. POWER REQUIREMENTS
Voltage selectable, 120VAC/60Hz or 230VAC/50Hz
12. POWER CONSUMPTION
12W
13. DIMENSIONS AND WEIGHT
9” x 7” x 2.5” (229 x 178 x 63.5 mm), 3.7 lbs (1.7 Kg)
The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications
for this unit, including design and apperance, are subject to change without prior notice.
13
BLOCK DIAGRAM
14
SERVICE FOR YOUR NADY AUDIO PRODUCT
(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via telephone
at (510) 652-2411, or e-mail at service@nady.com.
(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from
whom you purchased this product.
DO NOT ATTEMPT TO SERVICE THIS UNIT
YOURSELF AS IT CAN BE DANGEROUS AND
WILL ALSO VOID THE WARRANTY.
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608
Tel: 510.652.2411 • Fax: 510.652.5075 • www.nady.com
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