Nady Systems SRM-14X, SRM-12X owner manual Stereo Input Section

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

2. STEREO INPUT SECTION

(15A)

(15B)

(15A) L (MONO) LINE INPUT

On stereo input channels 5-12 (SRM-12X) or 7-14 (SRM- 14X), 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 (7) control is replaced by the BAL (Balance) control. See also BAL CON- TROL (16) below.

(15B) R LINE INPUT

When using channels 5-6, 7-8, 9-10,11-12 (SRM-12X) or 7-8, 9-10,11-12, 13-14 (SRM-14X) 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 fader controls equally and will retain their stereo separation. The AUX, EQ, 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 balanced phone jacks, Tip = positive (+), Ring = negative (-), Sleeve = ground. The input signals to these jacks can be either balanced or unbalanced.

(5) 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.

(6) AUX SENDS

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

(16)BAL CONTROL For a mono input to the L (MONO) input the function of the control is the same as the PAN controls (7) of the mono channels. However, when a channel is run in stereo, this control functions as a Balance control, determining the rela- tive Balance of the left and right channel signals being sent to the left and right Master Mix buses. For exam- ple, with the Balance control turned fully clockwise, only the right portion of the chan- nel’s stereo signal will be routed to the Master Mix.

(9)PFL SELECT SWITCH

(10)CHANNEL FADER

This has the same function as for the mono channels. See

MONO INPUT SECTION.

(5)

(6)

(16)

(9)

(10)

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Contents SRM Series SRM Series Stereo MIC/LINE Mixers N T E N T SImportant Safety Instructions WA R N I N GSeparate features include AT U R E SSRM Series Stereo MIC/LINE Mixers SRM-12XPower Connection S TA L L AT I O NInspection Rack MountingN T R O L S a N D C O N N E C T I O N S Mono Input SectionPeak LED Indicator PFL Select SwitchAUX Send 1, 2 Controls PAN ControlStereo Input Section Master Section AUX Sends/Returns Function and OperationStereo AUX Returns LEFT/MONO, Right AUX 1,2 Return Controls Main Mix Function and OperationPower Switches MonitorFunction OperationN N E C T I O N S Stereo Plug Used AS Insert SEND/RETURNE C I F I C AT I O N S O C K D I a G R a M T E S Service for Your Nady Audio Product

SRM-14X, SRM-12X specifications

Nady Systems is a pioneering name in the world of wireless audio technology, and their SRM-12X and SRM-14X models exemplify their commitment to delivering high-quality wireless systems suitable for a wide range of applications. Both units are designed for musicians, performers, and presenters who demand reliability and superior sound quality.

The Nady SRM-12X is a versatile, dual-channel wireless receiver. It operates within the UHF frequency range, ensuring minimal interference and enhanced sound clarity. With sixteen selectable frequencies, users can easily switch channels to find the clearest signal available, making it ideal for crowded use situations like concerts or corporate events. The SRM-12X features a unique scanning function that automatically identifies and selects the best operating frequency.

Another significant advantage of the SRM-12X is its compatibility with various Nady transmitters, including lavalier, handheld, and bodypack options. This flexibility allows performers to choose the best type of transmitter for their specific needs, whether they require hands-free capabilities or a traditional handheld microphone.

On the other hand, the Nady SRM-14X takes wireless audio a step further. This model includes all the essential features of the SRM-12X, but it also adds additional advanced technologies for improved performance. One notable characteristic is the enhanced audio processing capabilities, which help to uplift the sound dynamic range, producing richer tones and clearer highs.

Both systems support a wide dynamic range and low total harmonic distortion, confirming that audio fidelity is never compromised. The built-in LED indicators provide real-time monitoring of audio and RF signal strength, ensuring that users can always identify any potential issues before they impact performances.

Moreover, both the SRM-12X and SRM-14X embody Nady's robust construction and reliability. The durable metal chassis stands up to the rigors of touring and extensive use, making these systems dependable for professional applications.

In conclusion, the Nady Systems SRM-12X and SRM-14X offer powerful wireless solutions equipped with sophisticated technologies, versatile compatibility, and excellent audio quality. These systems are well-suited for both novice users and seasoned professionals, reflecting Nady's dedication to innovation in the audio industry. With these models, performers gain confidence in their wireless setup, allowing them to focus on delivering exceptional performances.
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