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

2.STEREO INPUT SECTION

(13)L (MONO) LINE INPUT On stereo input channels 9-

(13)16, the 1/4" line inputs are designed for stereo or mono

line-level signals such as those from keyboards, drum machines, CD players, tape

(14)decks, or samplers. However, these inputs can

also be used as standard mono line inputs by connect- ing the signal to the L (MONO) line in. This signal

(4)will be routed equally to the BAL control and the left and right outputs in the same way as the standard line input channels. For the stereo line inputs the mono channel PAN (7) control is replaced by the BAL

(5)(Balance) control. See also BAL CONTROL (15) above.

(14)R LINE INPUT

When using channels 9-10, 11-12, 13-14, or 15-16 as stereo input channels, the left signal should be con- nected to the L input and the right signal to the R input. These signals will be routed

(6) to the AUX, EQ and Channel fader controls equally and will retain their stereo sepa- ration. The AUX, EQ, BAL, and Channel fader controls all function the same as

those on mono input channels 1-8.

When a stereo signal is input to a stereo input channel, these controls will affect the left and right signals equally. The Stereo Line Input jacks are 1/4" TRS balanced phone jacks, Tip = positive (+), Ring = negative (-), Sleeve = ground.

(4) TRIM CONTROL

The stereo Trim control operates in the same manner as the mono Trim control. The stereo inputs are designed for any line level signal. Most line level sources such as MIDI instru- ments and effects units will have their own output level con- trol. However any added adjustment necessary for proper lev- eling can be done with the Trim control.

(5) EQUALIZERS

 

 

 

 

 

 

 

 

The stereo channel EQ’s

 

 

 

 

 

 

 

 

operate in the same manner

 

 

 

 

 

 

 

 

as those in the mono chan-

(15)

 

 

 

 

 

nels. The left and right signals

 

 

 

 

 

 

 

 

 

 

will be affected equally. A

 

 

 

 

 

 

 

 

stereo equalizer is generally

 

 

 

 

 

 

 

 

preferable anyhow to using

(8)

 

 

 

 

 

 

 

 

 

 

 

 

two mono equalizers when

 

 

 

 

 

 

 

 

equalizing a stereo signal as it

(9)

 

 

 

 

 

 

 

avoids possible discrepancies

 

 

 

 

 

 

 

 

 

 

 

 

 

 

between the left and right set-

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

tings.

(10)

 

 

 

(6) AUX SENDS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

These are the same as for the

(11)

 

 

 

 

mono channels. Note that a

 

 

 

 

 

 

mono sum is taken from the stereo input.

(15)BAL CONTROL For a mono input to the L(MONO) input the function of the control is the same as the PAN (7) controls of the mono channels. However, when a channel is run in stereo, this

control functions as a Balance (12) control, determining the rela-

tive Balance of the left and right channel signals being sent to the left and right Master Mix buses. For exam- ple, with the Balance control turned fully clockwise, only the right portion of the channel’s stereo signal will be routed to the Master Mix. Balance also

determines the relative amount of left and right channel sig- nals being sent to buses G1, G2 respectively when the G1-2 Select switch (11) is engaged.

(8)PEAK LED INDICATOR

(9)PFL SELECT SWITCH

(10)L-R SELECT SWITCH

(11)G1-2 (GROUP) SELECT SWITCH

(12)CHANNEL FADER

This has the same function as for the mono channels. See

MONO INPUT SECTION.

8

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Nady Systems CMX16A owner manual Stereo Input Section, Equalizers, AUX Sends, Mono Input Section
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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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