Nady Systems SRM-14X, SRM-12X N T R O L S a N D C O N N E C T I O N S, Mono Input Section

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 electroni-
	(1)		cally balanced XLR type
			designed to accept signals
			from any balanced low imped-
			ance (Low Z) microphone. To
			accommodate condenser
		(2)	microphones, this input is also
			equipped with +48VDC phan-
			tom power globally switchable
			to all XLR input jacks with the
(3)			Phantom Power switch (25)

on the back panel. Dynamic or ribbon-type microphones do not require phantom pow-

(4) ering. It will be necessary to adjust the channel gain with the input Trim control (4) 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 (26) 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, mute the Monitor/PA 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) 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 either the Mic or the Line input of a given channel can be connected at one time. Never connect both simultane- ously to the same channel.)

(29)

BACK PANEL

(29) INSERTS

Channels 1-4 (SRM-12X) and 1-6 (SRM-14X) are equipped with rear panel insert jacks to connect external signal proces- sors, 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 usually added to the dry signal, dynamic processing is normally 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 jack is plugged into it. The insert jack is located pre EQ in the channel 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 gain) of the mic and line inputs on the mono input channels. This con- trol 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 microphones. This wide range eliminates the need for Mic/Line switching. 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 (8) for that channel lights occa- sionally.

(3) LOW CUT FILTER

Use this Low-Cut (high-pass) filter (18 dB/octave, -3 dB at 75 Hz) for reducing floor rumble, popping, breathing noises, woolly bottom end, and to tighten up channels in a mix, etc. It is most effective when used carefully in conjunction with the Equalizer Controls (5).

(5) EQUALIZER CONTROLS

All mono 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). Remember that the

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