Front Panel Controls & Connections

					FRONT PANEL
(1)					Note: 1 through 9 below are


					referenced to Channel 1.
					referenced to Channel 1.
					The other 3 Channels are
(2)					identical.


					(1) GAIN CONTROL


					The channel gain controls
					determine the signal level


(3)					input to each channel.
(3)

			(2) HIGH EQ
			Turn this control to the right
(4)			to boost high frequencies on
(4)			the channel, adding
			the channel, adding
			crispness to percussion from
			drum machines, cymbals
(5)			and synths. Turn to the left to
			and synths. Turn to the left to
			cut these frequencies,


			reducing sibilance, hiss, or
			high frequency feedback.
(6)			The control has a shelving
(6)			response giving 15dB of
			response giving 15dB of
			boost or cut at 12kHz.

(7)					(3) MID EQ
					Turn this control to the right
					Turn this control to the right
					to define the midrange or
					bring out the vocals on the
					channel. Turn to the
					left to cut these frequencies
					and reduce midrange
					muddiness. The control has
					a shelving response giving
					15dB of boost or cut at
(8)					2.5kHz.
					2.5kHz.

	(4) LOW EQ
	Add warmth to vocals or
	extra punch to guitars,
	drums and synths on the
	channel by turning this
(9)	control to the right. Turn to
	the left to reduce stage

rumble, hum or to improve a mushy sound. The control has a shelving response giving 15dB of boost or cut at 90Hz.

(5) EFFECTS CONTROL

The EFF control adjusts the signal level sent by each channel to the internal DSP (Digital Sound Processor) and also to the EFFECT LOOP SEND output (20).

(6) PAN CONTROL

The channel Pan positions the output of the channel in the stereo field of the main mix. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between.

(7) LEVEL CONTROL

The Level Control determines the amount of the channel signal sent to the main mix and Tape Output.

(8) LINE INPUT

The Line input is designed to accept balanced or unbalanced line-level signals such as those from keyboards, drum machines, or samplers. Use the GAIN control (1) to adjust for the desired level. If a balanced signal is 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.

(9) MIC INPUT

The Mic input is an electronically balanced XLR type designed to accept signals from any balanced low impedance (Low Z) microphone. It will be necessary to adjust the channel gain with the input GAIN control (1) to achieve a nominal operating level. The XLR jack is configured for: Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).

(Note: Only either the Mic or the Line input of a given channel can be connected at one time. Do not connect both simultaneously to the same channel.)

(10)

(11)

(10) POWER “ON” LED

The POWER LED will light red when you turn on the power switch ON.

(11) AMPLIFIER CLIPPING LED

This LED turns red when the output signal is clipping. It is acceptable if the red LED lights very occasionally. If the red LED lights more than occasionally, you should turn down the volume to avoid audible distortion and damage to the speakers.

Note: Speakers damaged due to hard clipping are not covered under warranty.

4180 specifications

Nady Systems 4180 is a prominent wireless microphone system known for its reliability and advanced features, catering to both performers and sound engineers. Designed for a variety of applications, from live performances to TV broadcasting and public speaking, the 4180 series stands out for its robust construction and user-friendly operation.

One of the key features of the Nady Systems 4180 is its dual-channel operation. This allows users to operate two microphones simultaneously, enhancing versatility in various audio setups. With the ability to switch between channels seamlessly, artists can maintain a consistent audio experience without interruptions. The 4180 utilizes UHF technology, ensuring a clear and stable signal even over long distances. This feature is especially beneficial in environments with potential interference, as UHF signals are less prone to disruption compared to VHF alternatives.

The Nady 4180 is equipped with a frequency range of 470 to 490 MHz, offering a wide selection of channels for users to choose from. This flexibility minimizes the chances of signal interference in crowded RF environments, making it suitable for larger venues and events.

In terms of audio quality, the 4180 does not compromise. It features a high-quality dynamic microphone capsule that captures sound accurately, ensuring that vocal clarity and nuances are preserved during performances. The system also supports a frequency response of 50 Hz to 15 kHz, catering to a broad range of vocal types and musical genres. Additionally, the built-in EQ adjustments provide users with the ability to customize their sound to suit different environments and preferences.

Another notable characteristic of the Nady 4180 is its durability. The metal construction of the transmitters enhances their ruggedness, making them capable of withstanding the rigors of frequent use on stage. Moreover, the system is designed for easy setup, with a quick auto-scan feature that identifies available frequencies, streamlining the installation process.

Power management is another highlight of the Nady 4180. The system includes rechargeable lithium-ion batteries in the transmitters, ensuring extended playtime and reducing the cost of replacing batteries frequently. Finally, the 4180's affordability relative to its features makes it an attractive option for budget-conscious musicians and organizations looking for professional-grade wireless solutions.

Overall, the Nady Systems 4180 combines cutting-edge technology, user-centric design, and exceptional audio quality, making it a popular choice among professionals in the audio industry.