FRONT PANEL CONTROLS & CONNECTIONS

(1)

(2)

 

 

 

 

(3)

(6)

(7)

(8)

(9)

(10)

(11)

(12)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(4)(5)

FRONT PANEL

Note: 1 through 5 below are referenced to Channel 1. The other channels are identical.

(1) GAIN CONTROL

The Gain Control determines the proportion of the channel signal in the mix.

(2) CONTOUR CONTROL

Adjusting this control will contour the audio, either bringing out more highs and definition or increasing low and mid frequencies to provide more punch.

(3) REVERB CONTROL

The Reverb Control adjusts the level of signal sent by each channel to the internal Reverb DSP (Digital Sound Processor). The signal sent is mono, post-Contour and will be affected by the channel Gain Control.

(4) 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.

(5) 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.)

(6) MASTER — VOLUME CONTROL

This controls the final level of the signal output.

(7) MASTER — REVERB CONTROL

This controls the level of the reverb effects sound.

(8) MASTER — HIGH CONTROL

The control has a shelving response giving 15dB of boost or cut at 12KHz.

(9) MASTER — MID CONTROL

The control has a shelving response giving 15dB of boost or cut at 1.5KHz.

(10) MASTER — LOW CONTROL

The control has a shelving response giving 15dB of boost or cut at 100Hz.

(11) MASTER — DEPTH CONTROL

This controls the amount of feedback of the reverb reflection, i.e. the number of reflections and the length of time before they diminish in volume.

(12)POWER ON LED INDICATOR Indicates when the unit is ON.

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Nady Systems RPA-2 owner manual Front Panel Controls & Connections
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RPA-2 specifications

Nady Systems RPA-2 is a portable, robust, and versatile professional audio solution designed to cater to the needs of musicians, performers, and audio engineers. Known for its high-quality components and advanced technologies, the RPA-2 stands out in the crowded market of audio equipment. One of the main features of the RPA-2 is its dual-channel amplifier, which is capable of delivering up to 200 watts of peak power, making it suitable for both small gigs and larger venues.

The RPA-2 supports a wide range of input sources due to its versatile connections, including XLR, 1/4-inch TRS, and RCA inputs. This flexibility allows users to connect microphones, instruments, and playback devices effortlessly. Additionally, the inclusion of wireless capabilities enables seamless integration with various wireless systems, ensuring that performers can move freely without being tethered to their gear.

Another notable characteristic of the RPA-2 is its built-in equalization controls. This feature empowers users to tailor their sound according to the specific acoustics of a venue or personal preference. With a 3-band EQ, users have the ability to adjust bass, midrange, and treble frequencies, allowing for enhanced clarity and sound quality.

The RPA-2 also boasts a rugged design, which is essential for musicians on the go. Its durable chassis is designed to withstand the rigors of touring and live performances, ensuring that it continues to function reliably in diverse environments. This portability is further enhanced by its lightweight construction, making it easy to transport to various performance locations.

In terms of technology, the RPA-2 is equipped with state-of-the-art circuitry that minimizes distortion and maximizes audio fidelity. The amplifier’s design seamlessly integrates modern digital processing techniques, ensuring that the sound remains clear and powerful at any volume level.

Lastly, the RPA-2 is user-friendly. Its intuitive layout allows for quick setup and adjustment, even for those who may not be technically inclined. With its combination of power, versatility, durability, and advanced technology, the Nady Systems RPA-2 is a valuable asset for any audio professional seeking a reliable and effective amplifying solution.
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