Nady Systems SPM-835 N T R O L S a N D C O N N E C T I O N S, Mono Input Section, MIC Input

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

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) 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 (28) on the back panel. Dynamic or ribbon-type micro- phones 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 phantom power switched on, as indicated by the Phantom Power On LED (12) 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, turn down the Master Mix (17) to prevent possible sharp transient noise from damaging the speakers when turning the phantom power on or off.]

(2) LINE INPUT

The Line input is designed to accept unbalanced line-level high impedance 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.

(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.)

(1)

(2)

(3)

(4)

(5)

(6)

(7)

(3) TRIM (PAD CONTROL)

The trim control adjusts the input sensitivity (channel gain) of the mic 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. The trim control adjusts the input sensitivity from -5dB to - 55dB.

(4)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 elimi- nate 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.

6