Nady Systems MXE-1212 C O 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

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BACK PANEL

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 elec-
		tronically balanced XLR
		type designed to accept
		signals from any bal-
		anced low impedance
	(1)	(Low Z) microphone. To
		accommodate condenser
		microphones, this input is
		also equipped with
		+48VDC phantom power
		globally switchable to all
(2)		XLR input jacks with the
		Phantom Power switch

(38) on the back panel. Dynamic or ribbon-type microphones do not require phantom power-

ing. It will be necessary to adjust the channel gain with the input Trim control (4) and/or Pad switch (5) 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 (21) 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 Stereo Master faders (25A, 25B) 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 balanced or unbalanced line-level 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. Use the Trim control (4) and/or Pad switch (5) 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.

(Note: Only the Mic or the Line input of a given channel can be connected at one time. Never connect both simultaneously to the same channel.)

(3) INSERTS

Channels 1-4 are equipped with rear panel insert jacks to connect external signal processors such as compressors, noise reduction systems, or effects devices to the individual input channels. Insert points are useful for adding dynamic

processing or equalization to a channel or the mix. Unlike reverbs, etc., which are usu- ally added to the dry signal, dynamic processing is nor- mally applied across an entire

signal. Here an Aux Send would be inappropriate. Instead, the signal is intercepted somewhere along the channel, fed through the dynamics processor and/or EQ, then returned to the console at the same point where it left. The insert point is normalized, i.e., the signal is only interrupted when a plug is plugged into it. The insert jack is located pre EQ in the chan- nel and is configured as: Tip = send, Ring = return, Sleeve = ground.

The Insert can also be used as a channel direct output by sending the signal from the ring. To use the Insert as a direct output, insert a 1/4” phone plug halfway into the Insert jack so the tip of the plug connects with the ring of the insert jack. The jack will click into place when the connection to the ring is made.

(4) TRIM CONTROL

The trim control adjusts the

input sensitivity (channel (4A)

gain) of the Mic and Line
inputs on the input chan-
nels. This control can be	(4)
adjusted to accommodate
input signals from a wide
variety of sources, from the
high outputs from key-	(5)
boards or drum machines
to the small signal outputs
of microphones. The trim
control adjusts the input
sensitivity from -20dB to -
60dB with the -20dB Pad
switch (5) in the OUT
position, and -40dB to 0dB
with the pad in the IN (but-
ton depressed) position.	(6)
The best balance of S/N
and dynamic range will be
achieved if you adjust the
TRIM control on each
channel separately so that
the Peak Indicator LED
(4A) for that channel lights
occasionally.
(4A) The Peak LED illumi-

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