Panel Controls and connections

1. INPUTS

The electronically balanced XLR MIC input is designed to accept signals from any balanced or unbalanced low impedance (Low Z) microphone. This input can also be used for low line level signals. Make sure to turn down the preceding unit to avoid distortion. The XLR jack is configured for: Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-). Note, the Mic input is more sensitive than the Line input.

The 1⁄4” TRS LINE input is designed to accept balanced or unbalanced linelevel signals such as those from keyboards, drum machines, or samplers. 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: Both Mic input and Line input can be used simultaneously if desired, however audio levels cannot be adjusted separately.

2. LINE OUT

This 1⁄4” unbalanced output can be used to daisy-chain multiple PM-200A or send the input signal directly to a mixer, PA system, or recording device. The Line Output is not affected by the Volume controls or EQ.

3. VOLUME

This adjusts the signal level sent to the internal speakers, external speaker, and headphone outputs.

MAKE SURE TO AVOID EXCESSIVE CLIPPING OF THE POWER AMPLIFIER!!!

The Volume should be adjusted to be comfortably audible without excessive clipping. The red clipping LED indicator, located on the front baffle, will light when the amplifier is within 3dB of clipping. It is acceptable if the red LED lights occasionally. If the red LED lights more than occasionally, you should turn down the volume to avoid audible distortion and possible damage to

the speakers or amplifier. The PM-200A uses a high power amplifier in a small enclosure for maximum power and portability combined. Care should be taken to avoid overheating and possibly damaging the power amp or speakers with excessive clipping.

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

4. EQ

The three-band equalizer section utilizes a HIGH, MID, and BASS EQ control, each of which has 12dB of cut and boost, with a center detent for off indication. The frequency response is flat when all three EQ knobs are in the center detent position. The HIGH and BASS shelving controls have their frequencies fixed at 10 KHz and 120Hz respectively. The MID control has a peaking response at 2.5KHz. The EQ is a valuable feature of the PM-200A as it allows the user to control the tonal characteristics of their monitor mix. For example, boosting the BASS can fatten the sound, add warmth to vocals, or extra punch to bass, drums and synths; the MID control can be used to define the midrange or bring out the vocals; and adjusting the HIGH control can provide a crisp sounding high end for high hat and vocal clarity.

Another very important, yet often overlooked technique is to use the EQ to subtract from the mix. Cutting the HIGH control can reduce unwanted sibilance, hiss, cymbals, or high frequency feedback, while attenuating the MID or BASS can also eliminate feedback or clear up a muddy sounding mix. Cutting the HIGH and BASS, then pushing up the Volume control is equivalent to a mid range boost!

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Nady Systems PM-200A owner manual Panel Controls and connections, Inputs, Line OUT, Volume
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PM-200A specifications

The Nady Systems PM-200A is a professional in-ear monitoring system designed to provide musicians, performers, and audio engineers with a reliable and high-quality audio experience. It addresses the growing demand for personal monitoring solutions that offer flexibility, sound clarity, and ease of use on stage or in various live settings.

One of the main features of the PM-200A is its advanced wireless technology, operating in the UHF frequency range. This ensures a stable and interference-free signal, crucial for live performances where reliability is paramount. With a wide frequency response, the system captures both high and low frequencies, providing a rich and balanced audio experience that faithfully reproduces a performer’s voice or instrument.

The PM-200A includes a compact and lightweight bodypack receiver that is designed for comfort and mobility. Musicians can easily clip it to their clothing, allowing for free movement on stage while still having access to high-quality audio. The system supports multiple channels, enabling several users to operate simultaneously without signal overlap. This feature is essential for bands or choirs where multiple performers rely on personal monitoring.

Another significant aspect of the PM-200A is its intuitive user interface and controls. It has easy-to-read LED indicators that provide clear status information on battery life, link status, and signal strength. This intuitive design ensures that even those not well-versed in audio technology can operate it effectively.

The Nady Systems PM-200A also incorporates advanced features like adjustable volume control, allowing users to customize their listening levels according to personal preference and the dynamics of the performance. The system boasts durable construction, ensuring it can withstand the rigors of touring and frequent use.

In terms of compatibility, the PM-200A works seamlessly with a variety of audio sources, including mixers, instruments, and microphones. This versatility makes it an ideal choice for various applications, including concerts, rehearsals, and studio recording sessions.

In summary, the Nady Systems PM-200A stands out for its advanced wireless technology, ease of use, and robust design. It offers musicians and performers a reliable solution for personal monitoring, ensuring they have the best audio experience possible. With features designed for performance and flexibility, the PM-200A is a valuable addition to any audio setup.
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