LOW CUT Filter, Equalizer Controls | Nady Systems SRM-10X specification

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

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 (9) for that channel lights occasionally.

(4) LOW CUT FILTER

Use this Low-Cut (high-pass) filter (18 dB/octave, -3 dB at 75 Hz) 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 (5).

(5) EQUALIZER CONTROLS

All mono input channels are fitted with a two-band EQ. All EQs have up to 15 dB of cut and boost, with a center detent for "off". The frequency response is flat when 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. Remember that the Low Cut filter (4) is an integral part of the overall equalization of a mono channel. 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 and adjusting the HIGH control can provide a crisp sounding high end. With the LOW set to boost, and the Low Cut switch activated, you get peak response rather than shelving at the bottom end. This is useful for adding warmth to vocals and instruments, and good for tight but deep bass (without 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 attenuating the 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.]

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.

(6) AUX SEND CONTROLS

The Channel AUX SEND is selectable Pre or Post Gain control. For almost all effects send purposes, you will want to use the Post Gain selection, so that when a Gain level is adjusted, any reverb send from that channel will follow the fader. Otherwise, when the fader is pulled down, the reverb from that channel will still be audible.

(7) PRE/POST SWITCH

This switch selects whether the AUX SEND signal is Pre or Post Gain control. (Up = Pre, Depressed = Post)

(8) 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.

(9) 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 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 persistently, reduce input gain with the TRIM control (4).

(10) CHANNEL GAIN CONTROL

The channel gain controls determine the output signal level to the Master Mix bus.

(11 & 13) PFL SWITCH

Channels 1-10 and TAPE IN channels all have PFL (Pre- Fader Listen). This allows the Meter Display and CONTROL ROOM/HEADPHONE outputs to monitor channel signals Pre channel Gain controls.

[Note: When the PFL buttons are depressed, the AUX To Meter switch should be in the off (up) position]