User manual NADY CMX-16A

[. . . ] OWNER'S MANUAL 16-CHANNEL STEREO MIC/LINE MIXER CMX-16A CMX-16A 16-CHANNEL STEREO MIC/LINE MIXER Congratulations on your choice of mixers -- you have purchased one of the finest compact mixing consoles on the market today. This unit was developed using the expertise of professional sound engineers and working musicians. You will find that your new NADY AUDIO CMX-16A has superior performance and greater flexibility than any other mixer in its price range. Please read this manual carefully to get the most out of your new unit. [. . . ] If it does light persistently, reduce input gain with the TRIM control (4). (9) PFL SELECT SWITCH The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels though the headphone or control room monitor outputs. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends. (10) L-R SELECT SWITCH When the L-R switch is selected (button depressed), the post fader channel signal is fed to the master L-R faders. (11) G1-2 (GROUP) SELECT SWITCH The G1-2 switch enables selecting (button depressed) the channel for routing to the G1-2 stereo bus, controlled by the master G1-2 fader. This signal is post channel fader and the stereo placement is adjusted by the Pan control. The G1-2 Group bus offers you a second stereo submix with its own stereo G1-2 submaster fader. It can be used as a convenient mixing aid both live and in the studio; for example, to combine the outputs of all drum channels onto just 1 or 2 submaster faders, or to route to multi-track recorders. You can generate two mono subgroups in addition to the normal Main Mix stereo bus by patching the G1 and G2 OUT back into two mono channels, and use these as Subgroup masters (Note: the subgroup return channels must not be routed to the G1-2 bus themselves, by depressing their G1-2 select switch, as that would result in a feedback loop). (12) CHANNEL FADER The channel faders determine the output signal level to the Master Mix or G1-2 buses. They offer a smooth logarithmic taper more often associated with much more expensive consoles for optimum control of the signal. (7) (8) (9) (10) (11) (12) 7 CONTROLS AND CONNECTIONS 2. STEREO INPUT SECTION (13) L (MONO) LINE INPUT On stereo input channels 916, the 1/4" line inputs are designed for stereo or mono line-level signals such as those from keyboards, drum machines, CD players, tape decks, or samplers. However, these inputs can also be used as standard mono line inputs by connecting the signal to the L (MONO) line in. This signal will be routed equally to the BAL control and the left and right outputs in the same way as the standard line input channels. For the stereo line inputs the mono channel PAN (7) control is replaced by the BAL (Balance) control. (5) EQUALIZERS The stereo channel EQ's operate in the same manner as those in the mono channels. The left and right signals will be affected equally. A stereo equalizer is generally preferable anyhow to using two mono equalizers when equalizing a stereo signal as it avoids possible discrepancies between the left and right settings. (6) AUX SENDS These are the same as for the mono channels. Note that a mono sum is taken from the stereo input. (13) (15) (8) (9) (10) (11) (14) (4) (5) (14) R LINE INPUT When using channels 9-10, 11-12, 13-14, or 15-16 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 (6) to the AUX, EQ and Channel fader controls equally and will retain their stereo separation. [. . . ] 1/4" stereo (TRS) plug used as balanced input/output 5. 1/4" TRS plug used as Insert Send/Return 6. RCA pin plug for unbalanced input/ouput Socket (female) MICROPHONE INPUTS GROUP & MIX OUTPUTS 2 3 1 Ground (Screen) Cold (Out of Phase Signal) 1 3 2 Hot (In Phase Signal) Plug (male) 1. HEADPHONES Tip = Left signal Ring = Right signal UNBALANCED USE OF MONO 1/4" PLUGS Tip = Signal BALANCED USE OF STEREO 1/4" PLUGS Tip = hot (+ve) Ring = cold (-ve) Sleeve = Ground/Shield Sleeve = Ground/Shield Sleeve = Ground/Shield Tip Ring Sleeve Strain relief clamp Tip Sleeve Strain relief clamp Tip Ring Sleeve 2. 3. Strain relief clamp 4. 1/4" STEREO PLUG USED AS INSERT SEND/RETURN TIP Send to External Device SLEEVE Ground (Screen) RCA PIN PLUG Strain relief clamp Sleeve = Ground (Shield) RING Return from External Device Ring Sleeve Tip 5. Pin = Signal 6. 12 S P E C I F I C AT I O N S 1. INPUT SECTION Input MONO CH MIC MONO CH LINE STEREO CH LINE TAPE IN AUX RETURNS INSERT IN Connector XLR 1/4" TRS 1/4" TRS RCA PIN JACKS 1/4" TS 1/4" TRS Input Impedance >1. 3K >10K >10K >10K >10K >10K Nominal Level +2 dBm +4 dBm +4 dBm +2 dBm +4 dBm +4 dBm Max Level +14 dBm +22 dBm +22 dBm +22 dBm +22 dBm +22 dBm 2. [. . . ]