User manual NADY SDR-260

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Manual abstract: user guide NADY SDR-260

Detailed instructions for use are in the User's Guide.

[. . . ] Read all instructions before using the product. Do not use this product near water (e. g. , near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, etc. ). This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling. This product, in combination with headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. [. . . ] Care should be taken to ensure that there is enough space around the unit for cooling (at least 12" or 30cm). Do not place the SDR-260 on high temperature devices such as power amplifiers, etc. , or the unit may overheat in operation. Also, do not place the unit on speakers as this may cause them to move and/or fall due to speaker vibrations. Although the unit's chassis is shielded against radio frequency (RF) and electromagnetic interference (EMI), extremely high fields of RF and EMI should be avoided. POWER CONNECTION The SDR-260 has an internal power supply and is designed to operate from an external AC source. Power requirements for electrical equipment differ from area to area. Be sure to confirm that the voltage selected by the voltage selector switch on the back panel is proper for your area (120VAC/60 Hz or 230VAC/50Hz) per the information below: Europe (except UK): 230V, 50Hz UK and Australia: 240V, 50Hz USA and Canada: 120V, 60 Hz For other areas, please check with local authorities. When ready to operate, plug the AC cord into the power source. Make sure that the unit is turned off before connecting to the AC power source to avoid possible loud transients that can damage your speakers or your ears, especially when monitoring with headphones. L E G A L I N F O R M AT I O N NOTICE The information in this document is subject to change, as the Company may make changes to product in order to improve reliability, design, or function, without prior written notice. No part of this manual may be reproduced or transmitted in any form or by any means without the written permission of the company. IN NO EVENT WILL THE COMPANY BE LIABLE FOR SPECIAL INCIDENTAL OR CONSEQUENTIAL DAMAGES, WHETHER ARISING DIRECTLY OR INDIRECTLY, SUCH AS LOSS OF PROFIT OR GOOD WILL, THAT MAY BE SUFFERED IN CONNECTION WITH THE PURCHASE OF THIS PRODUCT OR FROM THE BREACH OF ANY REPRESENTATION OR WARRANTY. LICENSE The Company grants the customer a non-exclusive, non-transferable license to use the software, if any, accompanying this product for internal use on a single computer system. The end user may make a single copy of the software solely for backup purposes; otherwise, no copies may be made of the software or any part thereof. No other license of any kind is granted to any part of the product or any of the intellectual property therein. 4 CONTROLS AND CONNECTIONS FRONT PANEL (3) (1) (2) (5) (6) (4) (7) 1. INPUT GAIN CONTROL Adjusts the input level of the audio signal to the unit. INPUT LEVEL DISPLAY This 4-segment bargraph displays the input level. The clip LED's will light at 3dB below clipping. VALUE INDICATOR Whenever the SDR-260 is powered up, this displays the last chosen effect number. In use, the display indicates different alphanumeric information, depending on the mode selected. · In NORMAL MODE it indicates which of the 255 effects (1-255) has been selected. · In EDIT MODE it indicates the editable value of the parameter (0-127). · In EQ MODE it indicates the editable value of the parameter (0-127). · In STORE MODE it indicates the address (1-20) being saved. · In LOAD MODE it indicates address (1-20) being loaded. 4. [. . . ] XLR output is disconnected when output 1/4" jack is inserted. Stop at the desired choice and the audio will mute briefly while the program is loaded. See Preset PROGRAM LISTING of effects on the front panel. In the User mode there are 60 locations for custom effects, select one by entering the User mode and rotating the knob through the sixty choices. 6 PRESET PROGRAM LIST # Hall Effects 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Large Hall 1 Large Hall 2 Large Hall 3 Slap Hall 1 Slap Hall 2 New Hall Gated Hall Dark Hall Church 1 Church 2 Medium Hall 1 Medium Hall 2 Small Hall 1 Small Hall 2 Small Hall 3 Vibrato Vibrato Vibrato Vibrato Vibrato NAME # Room Effects 31 32 33 34 35 36 37 38 39 40 41 42 43 44 NAME Bright Reflections Live Room 1 Live Room 2 Live Room 3 Live Room 4 Studio Plate 1 Plate 2 Bright Room 1 Bright Room 2 Small Room Gated Room 1 Gated Room 2 Gated Room 3 Echo Vocal Short Delay Stereo Long Delay Stereo Medium Delay Stereo Short Delay Flange Flange Flange Flange Flange Flange Flange Flange Room 1 Room 2 Room 3 Room 4 Room 5 © Reverb 1 © Reverb 2 © Reverb 3 Echo Effects 45 46 47 48 49 Vibrato Effects 16 17 18 19 20 © © © © Reverb Reverb Reverb Reverb 1 2 3 4 Flanger Effects 50 51 52 53 54 55 56 57 Chorus Effects 21 22 23 24 Chorus Chorus © Reverb 1 Chorus © Reverb 2 Chorus © Reverb 3 Pitch Shift 1 Pitch Shift 2 Pitch Shift 3 Concert 1 Concert 2 Concert 3 Pitch Shift Effects 25 26 27 Stage Effects 58 59 60 Stage 1 Stage 2 Stage 3 Concert Effects 28 29 30 S P E C I F I C AT I O N S ANALOG AUDIO INPUTS (Needs to be corrected and updated) Connectors . . . . . . . . . . . . . . . . . . . . . . XLR and 1/4" jack Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RF filtered, servo balanced input Impedance . . . . . . . . . . . . . . . . . . . . . . 60K balanced, 30K unbalanced DISPLAYS Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-digit alphanumeric LED display and individual status LED indicators POWER SUPPLY ANALOG AUDIO OUTPUTS Connectors . . . . . . . . . . . . . . . . . . . . . . XLR and 1/4" jack Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Electronically servo-balanced output stage Impedance. . . . . . . . . . . . . . . . . . . . . . . . 60 balanced, 30 unbalanced Power requirement . . . . . . . . . . Selectable, ~100-120VAC, ~200-240VAC, 50-60 Hz Power Consumption . . . . . . . . Max. [. . . ]

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