Nady Systems SPM 6600/8600 manual Controls and Connections, Mono Input Section

CONTROLS AND CONNECTIONS

1.MONO INPUT SECTION

(1)PAN CONTROL

(1)

(2)

The Channel Pan positions the output of the channel in the stereo field of the Master Mix. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned L or R, center-stage, or somewhere in-between.

(2) LEVEL

This adjusts the output level for each channel.

(3)(3) AUX/DSP CONTROL

The AUX/DSP controls are mono and post-EQ and post-fader and the signal level sent to the AUX/DSP bus will be affected by the channel fader setting. The AUX configurations is ideal for almost

(4)all monitoring purpose: for example, for a separate stage monitor

mix in live performances or a studio room monitor in recording applications, such as for a headphone cue system. The AUX/DSP controls the level sent by each channel to the internal DSP (Digital Sound Processor).

	(4) MON (MONITOR)
	The MON controls the amount of signal to the MONITOR bus and
(5)	MONITOR OUTPUT (24) control.
	(Note: The signal is sent to the MONITOR bus from a location
	before the LEVEL (2) control of each channel. This means that it
	will not be affected by the setting of the LEVEL (2) control.)
	(5) EQUALIZER CONTROLS
(6)	All input channels are fitted with a three-band EQ. All three bands
	have up to 15 dB of cut and boost, with a center detent for "off".
	The frequency response is flat when all three EQ knobs are in the
	center detent position. The upper and lower shelving controls
	have their frequencies fixed at 12 kHz and 80 Hz respectively. The
	midrange control has a peaking response at 2.5KHz (Q fixed at 1
	octave). The channel EQ is a valuable feature of the mixer as it
	allows the user to control the tonal characteristics of each channel
	separately. For example, boosting the LOW can fatten the sound
(7)	and add punch to the bass or drums; 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. Another very
	important, yet often overlooked technique is to use the EQ to
	subtract from the mix. Cutting the HIGH control can reduce
	unwanted hiss during multi-track recording, while attenuating the
	MID or LOW can eliminate feedback in a live performance or clear
(8)	up a muddy sounding mix. Cutting away the top and bottom, then
	pushing up the Gain is equivalent to mid range boost!

6