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

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

1. CHANNEL SECTION

(1)

(1) MIC INPUT

This electronically balanced XLR input is designed to accept signals from any

balanced or unbalanced low impedance (Low Z) microphone. To accommodate

(2)

condenser microphones, this input is also equipped with +48VDC phantom

power globally switchable to all XLR input jacks with the Phantom Power

Switch (27). Dynamic or ribbon-type microphones do not require phantom

(3)

power. The XLR jack is configured for: Pin1 = ground, Pin2 = positive (+), Pin3

= negative (-). The Mic inputs are more sensitive than the Line inputs. It will

be necessary to adjust the channel gain with the input Trim Control (4) to

achieve a nominal operating level.

[Note: Do not connect mics when phantom power is already switched on, as

indicated by the Phantom Power LED (27) in the Master Section of the top

panel. Never use unbalanced mic cables with the Phantom Power switched on.

(4)

Never short the +48VDC to ground, as that can cause serious damage to your

mixer. Also, turn down the Master Stereo Volume Faders (24) to prevent

possible sharp transient noise from damaging the speakers when turning the

(6)

phantom power on or off.]

(2) LINE INPUT

This 1/4” 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. If a balanced signal is

(7)

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 should be connected at

one time. Do not connect both at the same time.]

(3) INSERT

All channels are equipped with insert jacks to connect external signal

(8)

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

(9)

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, and 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

(10)

plug is plugged into it. To use Inserts as a Send/Return, an insert cable is

required which will split the 1/4” TRS insert connection to two plugs, one for

(11)

Send and one for Return. The insert jack is pre EQ in the channel and is

configured as: Tip = send, Ring = return, Sleeve = ground.

(12)

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

(5)

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.

(13)

(4) TRIM CONTROL

The Trim control adjusts the input sensitivity (channel gain) of the Mic and Line

inputs on the 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 with 30dB of range. 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 Channel Peak LED (5) for that channel almost lights.

Nady Systems PMX-1600, PMX-600 6 N T R O L S a N D C O N N E C T I O N S, Channel Section