User manual NADY PRM-400

[. . . ] OWNER'S MANUAL 6 Channel Powered Mixer with Internal DSP Effects PRM-400 PRM-400 6-CHANNEL POWERED MIXER WITH INTERNAL DSP EFFECTS Congratulations on your choice of powered 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 PRM-400 has superior performance and greater flexibility than any other powered mixer in its price range. Please read this manual carefully to get the most out of your new unit. [. . . ] Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in between. (10) PFL SELECT SWITCH The PFL (pre-fader listen) switch enables monitoring the signal of any channel(s) selected (button depressed) at nominal levels through the headphone output. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends. (11) CHANNEL FADER The channel faders determine the output signal level to the Master Mix Left, Right busses. They offer a smooth logarithmic taper for optimum control of the signal, more often associated with much more expensive consoles. (7) (6) EQUALIZER CONTROLS (8) 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 (9) response is flat when all three EQ knobs are in the center detent position. The upper and lower shelving (10) 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 instrument separately. For example, boosting the LOW can fatten the sound and add punch to the bass or drums; the MID control (11) 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 up a muddy sounding mix. Cutting away the top and bottom, then pushing up the Gain is equivalent to mid range boost![Note: Always reset a channel's input Gain (or external device's output level) after altering the amount of mixer equalization cut or boost applied. ] 7 CONTROLS AND CONNECTIONS 2. MASTER SECTION (13) (16) (17) (12) (14) (18) (15) a. AUX Send/Return Function and Operation (13) AUX RETURN (31) AUX RETURN CONTROL The Aux Return jack enables a convenient input to the left and right Master Mix busses. If you connect a signal to the Return jack, the Aux Return will operate in mono and the signal will be routed to the Aux Return Control (31) and then mixed into the left and right Master Mix bus. It may be used for returning the outputs of effect units such as Tape Returns from a multi-track recorder, or as extra instrument inputs such as from a MIDI keyboard. (12) AUX SEND (30) MASTER AUX SEND CONTROL The Aux Send jack is the unbalanced output for the signals from the Aux bus. This signal can be sent to the input of an effects processor, multi-track recorder, or used for any other line-level auxiliary purpose, such as monitor feeds. [. . . ] Stereo headphone connection with 1/4" TRS plug 3. 1/4" mono (TRS) plug used as unbalanced input/output 4. 1/4" stereo (TRS) plug used as balanced input/output 5. 1/4" TRS plug used as Insert Send/Return 6. [. . . ]