Nady Systems SRM-12X AUX Send 1, 2 Controls, PAN Control, Peak LED Indicator, PFL Select Switch

C O N T R O L S A N D C O N N E C T I O N S

						Low Cut filter (3) is an integral
						part of the overall equalization
						of a mono channel. The chan-
						nel EQ is a valuable feature of
						the mixer as it allows the user
						to control the tonal characteris-
(5)						tics of each instrument sepa-
						rately. 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
			(6)			end. With the LOW set to
						boost, and the Low Cut switch
						activated, you get peak
				(7)		response rather than shelving
						at the bottom end. This is use-
	(8)					ful for adding warmth to vocals
						and instruments, and good for
						tight but deep bass (without
					(9)	losing control of your subwoofer
						speaker cones). 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 attenuat-
						ing the MID or LOW can elimi-
		(10)				nate feedback in a live perform-
						ance 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.]

The key to successful equaliza- tion is to avoid excess. Too

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

(6) AUX SEND 1, 2 CONTROLS

Both Aux Sends are mono and post-EQ and control the level of the signals sent to the AUX buses.

•Aux Send 1 is pre-fader and the signal sent to the AUX 1 bus will be unaffected by the channel fader setting.

•Aux Send 2 is post-fader and the signal level sent to the AUX 2 bus will be affected by the channel fader setting.

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. Most reverbs etc. internally sum the left and right inputs so that you can use AUX 2. You can also use this AUX 2 send to feed inputs to a multi-track recorder or any other unbalanced line level application.

On the other hand, for cueing purposes and monitor ampli- fiers, use the pre-fader AUX 1 (i.e. independent of the chan- nel fader)

(7) PAN 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.

(8) PEAK LED INDICATOR

The Peak LED illuminates when a channel is going into over- load. It detects the peak level after the EQ and will light at 3dB before clipping to warn that the signal is approaching overload. You do not want the Peak LED to light except very intermittently during a take or a mix. If it does light persistent- ly, reduce input gain with the TRIM control (4).

(9) PFL SELECT SWITCH

The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels though the headphone or control room monitor outputs [In order to monitor the PFL channels selected, you must also set the Master/PFL to Control Room switch (20) to the button depressed (PFL) position].

The signal is post EQ and independent of channel fader posi- tion. Selecting the PFL never interrupts the main stereo out or the AUX sends.

(10) CHANNEL FADER

The channel faders determine the output signal level to the Master Mix bus. They offer a smooth logarithmic taper more often associated with much more expensive consoles for opti- mum control of the signal.

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