Nady Systems CMX16A Trols, PAN Control, Peak LED Indicator, PFL Select Switch, R Select Switch

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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

 

 

 

 

 

 

 

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[Note: Always reset a channel’s

 

 

 

 

 

 

 

input Gain (or external devices’

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

output level) after altering the

 

 

 

 

 

 

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amount of mixer equalization

 

 

 

 

 

 

 

 

 

 

 

 

cut or boost applied.]

 

 

 

 

 

 

(9)

The key to successful equaliza-

 

 

 

 

 

 

 

 

 

 

 

 

 

tion is to avoid excess. Too

 

 

 

(10)

much equalization on the input

 

 

channels will result in a mix

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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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 1, 2 CON-

TROLS

Both Aux Sends are mono and post-EQ and control the level of the signals sent to the AUX buses.

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• Aux Send 1 is pre-fader and the signal sent to the AUX 1 bus will be unaffect- ed by the channel fader setting.

• Aux Send 2 is post-fader and the signal level sent to the AUX 2 bus will be affected by the channel fader setting.

For almost all effects send pur- poses, you will want to use the post-fader AUX 2, so that when a fader level is adjusted, any

reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. Most reverbs etc. internally sum the left and right inputs so that you can use AUX 2. You can also use this AUX 2 send to feed inputs to a multi-track recorder or any other unbalanced line level application. On the other hand, for cueing purposes and monitor amplifiers, use the pre-fader AUX 1 (i.e. independent of the channel fader)

(7) PAN CONTROL

The Channel Pan positions the output of the channel in the stereo field of the main mix if the L-R Select switch (10) is depressed. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center- stage, or somewhere in-between. Channel Pan also deter-

mines the stereo position of any signal routed to the G1-2 bus, when G1-2 bus is selected with the G1-2 button (11).

(8) PEAK LED INDICATOR

The Peak LED illuminates when a channel is going into over- load. 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 persistent- ly, reduce input gain with the TRIM control (4).

(9) PFL SELECT SWITCH

The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels though the headphone or control room monitor outputs. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends.

(10) L-R SELECT SWITCH

When the L-R switch is selected (button depressed), the post fader channel signal is fed to the master L-R faders.

(11) G1-2 (GROUP) SELECT SWITCH

The G1-2 switch enables selecting (button depressed) the channel for routing to the G1-2 stereo bus, controlled by the master G1-2 fader. This signal is post channel fader and the stereo placement is adjusted by the Pan control. The G1-2 Group bus offers you a second stereo submix with its own stereo G1-2 submaster fader. It can be used as a convenient mixing aid both live and in the studio; for example, to combine the outputs of all drum channels onto just 1 or 2 submaster faders, or to route to multi-track recorders. You can generate two mono subgroups in addition to the normal Main Mix stereo bus by patching the G1 and G2 OUT 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, by depressing their G1-2 select switch, as that would result in a feedback loop).

(12) CHANNEL FADER

The channel faders determine the output signal level to the Master Mix or G1-2 buses. They offer a smooth logarithmic taper more often associated with much more expensive con- soles for optimum control of the signal.

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Contents X 1 6 a N T E N T S CMX-16AWA R N I N G Important Safety InstructionsAT U R E S Rack Mounting Power ConnectionS TA L L AT I O N InspectionMono Input Section N T R O L S a N D C O N N E C T I O N S11 G1-2 Group Select Switch Peak LED IndicatorPFL Select Switch R Select SwitchMono Input Section Stereo Input SectionEqualizers AUX SendsAUX Sends/Returns Function and Operation Master SectionMain Mix Function and Operation G1-2 Group Functions and Operation 18 G1-G2 OutputsBack Panel Power SwitchesPhantom Power Switch 27A Phantom Power on LED Indicator Monitor Function and OperationStereo Plug Used AS Insert SEND/RETURN N N E C T I O N SE C I F I C AT I O N S O C K D I a G R a M Service for Your Nady Audio Product

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.
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