Main Mix Function and Operation | Nady Systems CMX16A manual

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

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(24)

b. G1-2 Group Functions and Operation (18) G1-G2 OUTPUTS

(25) G1-2 MASTER FADER

(31) G1-2 MONITOR SELECT SWITCH

(35) L/G1-R/G2 METER SELECT SWITCHES

(39) G1-2 AUX RETURN ASSIGN SWITCH

A channel’s output will be routed to the G1— G2 Group Outputs

(18)by depressing the G1-2 Select switch (11). These outputs are 1/4" TRS balanced phone jacks, wired: Tip = positive (+), Ring = negative (-), Sleeve = ground. Level to the G1-G2 Outputs is adjusted by the G1-2 Master Fader (25). You can also monitor the G1-2 signal via headphone (23) or control room (19) outputs by the G1-2 Monitor Select switch (31). The G1-2 AUX Return Assign switches (39) can be selected to route the AUX return signal to the G1-2 bus and the G1-2 Master fader (25). The signal level of all signals on the G1-2 bus can be monitored by the 10-stage LED Output meter by selecting either or both G1 and G2 on the Meter Select switch- es (35). The G1-2 Group can be a very useful feature if used effectively. Subgroups are commonly used as a mixing aid both live and in the studio. For example, you can combine the outputs from all drum channels onto just 1 or 2 submaster faders. They are also used to route to multi-track recorders. There are no dedicated subgroups on the CMX-16A. However, the G1-2 bus offers you a second independent stereo submix with its own submaster stereo fader. You can generate two mono subgroups in addition to the normal Master Mix stereo bus by patching G1- G2 Outputs back into two mono channels, and use these as Subgroup masters

(Note: The subgroup return channels must not be routed to the G1-2 bus themselves, as this would result in a feedback loop.)

c. Main Mix Function and Operation

(20)STEREO OUTPUTS

(21)TAPE INPUTS

(22)REC OUTPUTS

(24) L/R MASTER FADERS

(33)TAPE IN LEVEL CONTROL

(34)LED OUTPUT METER

(35)L/G1-R/G2 METER SELECT SWITCHES

(38) L-R AUX RETURN ASSIGN SWITCHES

The Stereo Outputs consist of both Left (L) and Right (R) bal- anced XLR’s, wired: pin 1 = ground, pin 2 = hot (+), pin 3 = cold (-), and unbalanced 1/4" phone jacks, wired: Tip = positive (+), Sleeve = ground.

The REC Outputs (22) also provide an output of the Master Mix. These outputs are RCA jacks, and designed primarily for inputs to tape recorders, etc.

The output level routed to the Stereo Outputs and REC Outputs is determined ultimately by the setting of the L,R Master Faders (24). The Master Mix (signal on the master bus) is the sum of the signals routed from all the channels and also the inputs from the AUX return bus (if either or both the L-R AUX Return

CMX16A specifications

The Nady Systems CMX16A is a highly regarded mixing console designed for both professional audio applications and home studio setups. This versatile mixer boasts a range of features and technologies that make it suitable for musicians, sound engineers, and content creators alike.

One of the standout features of the CMX16A is its impressive 16 channels, allowing for multiple audio sources to be mixed simultaneously. This includes 8 microphone inputs with high-quality preamps that offer excellent gain and a low noise floor, ensuring clear and crisp audio reproduction. Each channel is equipped with a 3-band equalizer, giving users the ability to shape the sound to their liking and tailor it for different instruments or vocals.

In addition to its analog design, the CMX16A also incorporates modern technology with a built-in effects processor. This feature provides users with a variety of effects, including reverb, delay, and chorus, which can enhance the overall sound and add depth to performances. The intuitive effects routing ensures that musicians can easily access and apply these effects as needed.

Another characteristic that makes the Nady Systems CMX16A appealing is its user-friendly layout. The mixer features an organized control panel with clearly labeled knobs and faders, making it easy for users to navigate and adjust settings on the fly. This is particularly beneficial in live performance settings where quick adjustments are often necessary.

The CMX16A also includes several outputs, such as main outputs, monitor outputs, and auxiliary sends. This flexibility allows for various sound distribution setups, whether it’s for live performances or studio recordings. The option for phantom power on the microphone inputs makes it compatible with condenser microphones, further broadening its application.

Durability is another hallmark of the CMX16A. The robust construction ensures that the mixer can withstand the rigors of both studio use and live performances, making it a reliable choice for professionals.

In summary, the Nady Systems CMX16A offers an excellent combination of features, technology, and robust design that caters to a wide range of audio applications. With its 16 channels, built-in effects, user-friendly interface, and durable construction, it stands out as a powerful tool for anyone looking to elevate their sound mixing capabilities.