Nady Systems SPM-835 Stereo Input Section, C O N T R O L S A N D C O N N E C T I O N S, 6 PAN

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

During rehearsals, experiment with the equalizer controls on various instruments, vocals and combinations of these mixed together to become familiar with various equalizer settings.

(5) AUX ( POST ) SEND CONTROL

The Aux send is mono and post-EQ and post-fader and the signal level sent to the AUX bus will be affected by the channel fader setting. This configuration is ideal for almost all effects send purposes. For example, when a fader level is adjusted, any reverb sent from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. Most reverbs etc. internally sum the left and right inputs so that you can use the mono Aux. You can also use this Aux send to feed inputs to a multi- track recorder or any other unbalanced line level application.

(6) PAN

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) CHANNEL GAIN CONTROL

The channel gain controls determine the output signal level to the Master Mix bus. There is no PFL function on the SPM-

835.In order to audition any single channel for proper gain, you can turn off the gain control of all the other channels (fully counterclockwise), and set both the auditioned channel and Master Mix control (17) to unity gain (0 dB).

2. STEREO INPUT SECTION

(8) L/R LINE INPUTS

On stereo input channels 5-8, the unbalanced RCA jack line inputs are designed for stereo line-level signals such as those from keyboards, drum machines, CD players, tape decks, samplers, or even turntables. However, these inputs can also be used as standard mono line inputs by connecting the signal to the L or R line in. For the stereo inputs, the mono channel PAN (6) control is replaced by the BAL (Balance) control. See also BAL CONTROL (11) below.

When using channels 5-6, 7-8 as stereo input channels, the left signal should be connected to the L input and the right signal to the R input. These signals will be routed to the AUX, EQ and Channel Gain controls equally and will retain their stereo separation. The AUX, EQ, BAL, and Channel Gain controls all function the same as those on the mono input channels. When a stereo signal is input to a stereo input channel, these controls will affect the left and right signals equally.

(9) LINE/PHONO INPUT SELECT SWITCH

Place this switch in the “up” position for line level inputs such as from instruments, CD, players, tape machines, DAT players, etc. Press the switch to the “down” position for a phono level input such as a DJ turntable.

(10) TRIM

The trim control for the stereo input channels functions the same as the control for the mono inputs.This control can be adjusted to accommodate

input signals from a wide variety of sources, from the high outputs from keyboards or drum machines to the

small signal outputs of (8) microphones. This wide

range eliminates the need for Mic/Line switching. The trim control adjusts the input sensitivity from -∞to -55dB. (9)

(5) AUX SEND	(10)
These are the same as for
the mono channels. Note
that a mono sum is taken
from the stereo input.	(5)
(11) BAL CONTROL. For a
mono input to the L or R	(11)
input the function of the

control is the same as the
PAN controls (6) of the
mono channels. However,	(7)
when a channel is run in
stereo, this control functions
as a Balance control, deter-
mining the relative Balance
of the left and right channel
signals being sent to the left

and right Master Mix buses.

For example, with the Balance control turned fully clockwise, only the right portion of the channel’s stereo signal will be routed to the Master Mix.

(7) CHANNEL GAIN CONTROL

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

Input Section.

(27) (28)

BACK PANEL

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