Nady Systems DJ Equipment SRM 12X User Manual

O W N E R ’ S M A N U A L  
SRM SERIES  
MIXING CONSOLE  
S R M - 1 2 X 12 Channel Stereo Mic/Line Mixer  
S R M - 1 4 X 14 Channel Stereo Mic/Line Mixer  
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WARNING  
An equilateral triangle enclosing a lightening flash/arrowhead symbol is  
intended to alert the user to the presence of uninsulated dangerous  
voltagewithin the products enclosure which may be of sufficient  
magnitude to constitute a risk of electric shock.  
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR  
An equilateral triangle enclosing an exclamation point is intended to alert  
the user to the presence of important operating and service instructions in  
the literature enclosed with this unit.  
IMPORTANT SAFETY INSTRUCTIONS  
When using this electronic device, basic precautions should always be taken, including the following:  
1. Read all instructions before using the product.  
2. 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.).  
3. This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling.  
4. This product, in combination with headphones or speakers, may be capable of producing sound levels that  
could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a  
level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an  
audiologist.  
5. The product should be positioned so that proper ventilation is maintained.  
6. The product should be located away from heat sources such as radiators, heat vents, or other devices  
(including amplifiers) that produce heat.  
7. The product should be connected to a power supply only of the type described in the operating instructions or  
as marked on the product. Replace the fuse only with one of the specified type, size, and correct rating.  
8. The power supply cord should: (1) be undamaged, (2) never share an outlet or extension cord with other  
devices so that the outlet’s or extension cord’s power rating is exceeded, and (3) never be left plugged into  
the outlet when not being used for a long period of time.  
9. Care should be taken so that objects do not fall into, and liquids are not spilled through, the enclosure’s  
openings.  
10. The product should be serviced by qualified service personnel if:  
A.  
B.  
The power supply cord or the plug has been damaged.  
Objects have fallen into, or liquid has been spilled onto the product.  
C. The product has been exposed to rain.  
D. The product does not appear to operate normally or exhibits a marked change in performance.  
E.  
The product has been dropped, or the enclosure damaged.  
11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All  
other servicing should be referred to qualified service personnel.  
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FEATURES  
SRM SERIES STEREO MIC/LINE MIXERS  
The SRM-12X and SRM-14X are the ultimate value in compact professional stereo mic/line mixers. Rackmounted (with  
supplied rack ears) or as compact desk consoles, these high quality units are perfect for home and project studios,  
live club main and monitor mixing, video post-production studios, remote broadcasting — in fact, anywhere superior  
performance, rugged reliability and ultra-versatility are needed in an audio mixer. The operating instructions in this  
manual are for the SRM-12X and SRM-14X stereo rack mixers. For brevity, in most of this manual the copy refers to  
the SRM-14X (as this model has the most inputs) but the instructions apply to the operation of the SRM-12X as well.  
With 12 and 14 channels respectively, as well as 2 stereo AUX returns, and 2 tape inputs, the SRM-12X offers 16 and  
the SRM-14X 18 total inputs in all. Common features include:  
Ultra-low-noise mic preamps  
Switchable Low Cut filters (18 dB/octave @ 75 Hz) on mono  
channels  
PFL (Pre-Fader Listen) function on all channels  
60 mm faders on all channels and Master Mix for precise  
level control  
Wide dynamic range with superior headroom  
Separate Master Mix, Control Room and Headphone  
Outputs  
3-band EQ on all channels  
Mic and Line Balanced inputs for optimum audio integrity  
Tape In and Record Out RCA jacks with Tape inputs assign-  
able to Master Mix or stereo Control Room/Headphone out-  
puts  
Switchable global +48V phantom power on all mono inputs  
Input Trim control on each mono channel  
Pan pots on each mono channel and Balance pots on each  
stereo input  
1/4" TRS and XLR Stereo Outputs  
Peak LEDs on input channels  
Dual 10-segment LED display bargraph meters  
High quality sealed pots with center detents  
High-strength steel casing and superior construction with  
only highest quality components for longest life and maxi-  
mum reliability  
External AC supply for optimum signal integrity and superior  
transient response  
Pre and post-fader Aux Sends for external effects and moni-  
toring  
2 multifunction stereo Aux Returns with Aux Return controls  
Separate features include:  
SRM-12X  
SRM-14X  
12 Channel Stereo Mic/Line Mixer  
4 mono input channels with balanced XLR Mic and 1/4"  
TRS line inputs  
14 Channel Stereo Mic/Line Mixer  
6 mono input channels with balanced XLR Mic and 1/4"  
TRS line inputs  
8 stereo input channels with balanced 1/4" TRS jacks for  
balanced or unbalanced inputs  
8 stereo input channels with balanced 1/4" TRS jacks for  
balanced or unbalanced inputs  
Four 1/4" TRS inserts allow independent connection of  
effects devices for each mono channel  
Dimensions & Weight: 13.5" x 11.5" x 3" (343 x 292 x 76  
mm), 7.9 lbs (3.6 Kg)  
Six 1/4" TRS inserts allow independent connection of effects  
devices for each mono channel  
Dimensions & Weight: 13.5" x 13.5" x 3" (343 x 343 x 76  
mm), 9.3 lbs (4.2 Kg)  
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INSTALLATION  
To ensure years of enjoyment from your NADY AUDIO SRM Series mixing console, please read and understand this manual  
thoroughly before using the unit.  
1. INSPECTION  
3. POWER CONNECTION  
Your NADY AUDIO SRM-12X/14X was carefully packed  
The SRM-12X/14X is designed to operate with the sup-  
at the factory in packaging designed to protect the units  
plied external power supply unit (PSU). Please make sure  
in shipment. Before installing and using your unit, careful-  
that the power unit supplied is marked for the correct volt-  
ly examine the packaging and all contents for any signs  
age in your area (120VAC/60 Hz or 230VAC/50Hz).  
of physical damage that may have occurred in transit.  
Power requirements for electrical equipment differ from  
area to area. In new installations and portable sound sys-  
tems, or any situation in which the AC power is in ques-  
tion, it is wise to confirm the voltage and use the appropri-  
ate power supply unit before connecting it to power  
[Please note: Nady Systems is not responsible for ship-  
ping damage. If your unit is damaged, do not return to  
Nady, but notify your dealer and the shipping company (if  
shipped to you) immediately to make a claim. Such  
sources.  
claims must be made by the consignee in a timely man-  
ner.]  
Check to see that the unit is set to the voltage for your  
area by referring to the table below:  
2. RACK MOUNTING  
Enclosed in the shipping box you will find a rackmount  
kit. If you want to make your SRM-12X/14X a rack mixer,  
remove the screws from the side panels and use them to  
fix the rack ears (note that there is a left and a right one).  
Europe (except UK): 230V, 50Hz  
UK and Australia: 240V, 50Hz  
USA and Canada: 120V, 60 Hz  
For other areas, please check with local authorities.  
Parts of the mixer and the power supply unit can become  
very warm during use. This is normal during operation.  
Care should be taken to ensure that there is enough  
Do not connect the PSU to the SRM-12X/14X while the  
space around the unit for cooling. Also, do not place the  
PSU is connected to the AC mains supply. Connect the  
SRM-12X/14X on high temperature devices such as  
switched-off SRM-12X/14X and PSU first before you con-  
power amplifiers etc. or the unit may overheat in opera-  
nect the PSU to the mains supply. Lastly switch on the  
tion.  
SRM-12X/14X with the power switch on the back panel.  
Use only the correct NADY power supply unit to connect  
the SRM-12X/14X to the Mains AC power.  
Although the unit's chassis is shielded against radio fre-  
quency (RF) and electromagnetic interference (EMI),  
extremely high fields of RF and EMI should be avoided.  
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CONTROLS AND CONNECTIONS  
1. MONO INPUT SECTION  
(29) INSERTS  
(1) MIC INPUT  
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 Mic input is an electroni-  
cally balanced XLR type  
designed to accept signals  
from any balanced low imped-  
ance (Low Z) microphone. To  
accommodate condenser  
microphones, this input is also  
equipped with +48VDC phan-  
tom power globally switchable  
to all XLR input jacks with the  
Phantom Power switch (25)  
on the back panel. Dynamic  
or ribbon-type microphones  
do not require phantom pow-  
ering. It will be necessary to  
adjust the channel gain with  
the input Trim control (4) to  
(1)  
(2)  
(3)  
(4)  
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.  
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.]  
(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.  
(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.  
(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).  
(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.)  
(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  
(29)  
BACK PANEL  
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CONTROLS AND CONNECTIONS  
(6) AUX SEND 1, 2 CONTROLS  
Both Aux Sends are mono and post-EQ and control the level  
of the signals sent to the AUX buses.  
Low Cut filter (3) is an integral  
part of the overall equalization  
of a mono channel. The chan-  
nel EQ is a valuable feature of  
the mixer as it allows the user  
to control the tonal characteris-  
tics of each instrument sepa-  
rately. For example, boosting  
the LOW can fatten the sound  
and add punch to the bass or  
drums; the MID control can be  
used to define the midrange or  
bring out the vocals; and  
Aux Send 1 is pre-fader and the signal sent to the  
AUX 1 bus will be unaffected by the channel fader  
setting.  
Aux Send 2 is post-fader and the signal level sent  
to the AUX 2 bus will be affected by the channel  
fader setting.  
(5)  
(6)  
For almost all effects send purposes, you will want to use the  
post-fader AUX 2, so that when a fader level is adjusted, any  
reverb send from that channel follows the fader. Otherwise,  
when the fader is pulled down, the reverb from that channel  
would still be audible. Most reverbs etc. internally sum the left  
and right inputs so that you can use AUX 2. You can also use  
this AUX 2 send to feed inputs to a multi-track recorder or any  
other unbalanced line level application.  
adjusting the HIGH control can  
provide a crisp sounding high  
end. With the LOW set to  
boost, and the Low Cut switch  
activated, you get peak  
response rather than shelving  
at the bottom end. This is use-  
ful for adding warmth to vocals  
and instruments, and good for  
tight but deep bass (without  
losing control of your subwoofer  
speaker cones). 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 attenuat-  
ing the MID or LOW can elimi-  
nate feedback in a live perform-  
ance or clear up a muddy  
(7)  
(8)  
On the other hand, for cueing purposes and monitor ampli-  
fiers, use the pre-fader AUX 1 (i.e. independent of the chan-  
nel fader)  
(7) PAN CONTROL  
(9)  
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, center-stage, or somewhere in-between.  
(8) PEAK LED INDICATOR  
The Peak LED illuminates when a channel is going into over-  
load. It detects the peak level after the EQ and will light at  
3dB before clipping to warn that the signal is approaching  
overload. You do not want the Peak LED to light except very  
intermittently during a take or a mix. If it does light persistent-  
ly, reduce input gain with the TRIM control (4).  
(10)  
sounding mix. Cutting away the  
top and bottom, then pushing  
up the Gain is equivalent to mid  
range boost!  
(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 [In order to monitor the PFL channels selected, you  
must also set the Master/PFL to Control Room switch (20)  
to the button depressed (PFL) position].  
[Note: Always reset a channel’s  
input Gain (or external devices’  
output level) after altering the  
amount of mixer equalization  
cut or boost applied.]  
The signal is post EQ and independent of channel fader posi-  
tion. Selecting the PFL never interrupts the main stereo out or  
the AUX sends.  
The key to successful equaliza-  
tion is to avoid excess. Too  
much equalization on the input channels will result in a mix  
that is smeared together with nothing specifically defined.  
During rehearsals, experiment with the equalizer controls on  
various instruments, vocals and combinations of these mixed  
together to become familiar with various equalizer settings.  
(10) CHANNEL FADER  
The channel faders determine the output signal level to the  
Master Mix bus. They offer a smooth logarithmic taper more  
often associated with much more expensive consoles for opti-  
mum control of the signal.  
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CONTROLS AND CONNECTIONS  
2. STEREO INPUT SECTION  
(6) AUX SENDS  
These are the same as for  
the mono channels. Note that  
a mono sum is taken from the  
stereo input.  
(15A)  
(15B)  
(5)  
(6)  
(16) BAL CONTROL  
For a mono input to the L  
(MONO) input the function of  
the control is the same as the  
PAN controls (7) of the mono  
channels. However, when a  
channel is run in stereo, this  
control functions as a Balance  
control, determining the rela-  
tive Balance of the left and  
right channel signals being  
sent to the left and right  
Master Mix buses. For exam-  
ple, with the Balance control  
turned fully clockwise, only  
the right portion of the chan-  
nels stereo signal will be  
routed to the Master Mix.  
(15A) L (MONO) LINE INPUT  
On stereo input channels 5-12 (SRM-12X) or 7-14 (SRM-  
14X), 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. See also BAL CON-  
TROL (16) below.  
(16)  
(9)  
(15B) R LINE INPUT  
(9) PFL SELECT SWITCH  
(10) CHANNEL FADER  
When using channels 5-6, 7-8, 9-10,11-12 (SRM-12X) or 7-8,  
9-10,11-12, 13-14 (SRM-14X) 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 to the AUX,  
EQ and Channel fader controls equally and will retain their  
stereo separation. The AUX, EQ, BAL, and Channel fader  
controls all function the same as those on the mono input  
channels.  
This has the same function as  
for the mono channels. See  
MONO INPUT SECTION.  
(10)  
When a stereo signal is input to a stereo input channel, these  
controls will affect the left and right signals equally.  
The Stereo Line Inputs jacks are 1/4" TRS balanced phone  
jacks, Tip = positive (+), Ring = negative (-), Sleeve = ground.  
The input signals to these jacks can be either balanced or  
unbalanced.  
(5) EQUALIZERS  
The stereo channel EQs 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.  
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CONTROLS AND CONNECTIONS  
3. MASTER SECTION  
(14)  
(13)  
(12)  
(11)  
(15A)  
(15B)  
(17)  
(18)  
a. AUX Sends/Returns Function and Operation  
(12) AUX SENDS  
(11) STEREO AUX RETURNS (LEFT/MONO, RIGHT)  
(19) AUX 1,2 RETURN CONTROLS  
The Aux Send 1 and 2 jacks are the outputs for the signals  
sent from the channel Aux controls (6). The Aux Sends and  
Aux Returns are all 1/4" unbalanced phone jacks wired: Tip =  
positive (+), Sleeve = ground. AUX 1 is pre-fader and AUX 2  
is post-fader. These signals can be sent to the input of an  
effects processor, multi-track recorder, or used for any other  
line-level auxiliary purpose. Master Aux Send levels are  
adjusted by the Aux Send controls (19).  
The AUX Return jacks are the mono or stereo returns for  
AUX 1 and 2. If you connect a signal to the Left/Mono Return  
jack only, the AUX Return will operate in mono and the signal  
will be routed to the respective Aux Return Control (19) and  
then mixed into the left and right Master Mix Stereo Outputs  
(30). The separate left and right return jacks are provided for  
use with stereo signals such as those from the output of a  
stereo effects processor. The left and right return signals will  
be routed to the Return level controls (19) and mixed into  
the left and right Stereo (30), while maintaining stereo sepa-  
ration.  
b. Main Mix Function and Operation  
(30) STEREO OUTPUTS  
(13) TAPE INPUTS  
(14) REC OUTPUTS  
(28) MASTER MIX FADER  
(27) LED OUTPUT METER  
The Aux Returns are multi-functional. They may be used for  
returning the outputs of effect units, as Tape Returns from a  
multi-track recorder, or as extra instrument inputs, especially  
if your MIDI keyboard or rack supplies a pre-mixed stereo sig-  
nal. Certain stereo effects produce a perceived imbalance  
between the left and right channel levels. To correct for this  
you will have to bring your stereo effect back on a stereo  
channel, which has a Balance control (16). When applying  
short left and right delays, the shortest one will always seem  
loudest. When pitch shifting up and down in wide stereo to  
thicken a sound, the signal shifted upwards will seem louder  
than one that goes down. In both cases use the Balance con-  
trol to compensate. When performing any stereo imaging  
exercise, dont just rely on the control room monitors. Get a  
pair of headphones and listen in stereo and in reverse stereo,  
just in case you have any significant hearing discrepancies.  
Sometimes you might want to narrow the stereo width of a  
reverb field. To do this you will have to come back on two  
mono channels to get independent pan for the left and right  
signals.  
(21) TAPE/REC TO MASTER SWITCH  
The Stereo Outputs consist of both Left (L) and Right (R) bal-  
anced XLRs, wired: pin 1 = ground, pin 2 = hot (+), pin 3 =  
cold (-), and unbalanced 1/4" phone jacks, wired: Tip = posi-  
tive (+), Sleeve = ground.  
The REC Outputs (14) also provide an output of the Master  
Mix. These outputs are RCA jacks, and designed primarily for  
inputs to tape recorders, etc. The output level routed to the  
Stereo Outputs and REC Outputs is determined ultimately by  
the setting of the Master Mix fader (28). The Master Mix  
(signal on the master bus) is the sum of the signals routed  
from all the channels and also the inputs from the AUX return  
bus and the TAPE Input (13). Use the Tape/Rec to Master  
switch (21) to route signals from the Tape Input (13) to the  
Master Mix Fader (28). The level of signal routed to the  
Master Mix fader (28) from DAT, tape decks, CD players,  
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CONTROLS AND CONNECTIONS  
The Phones Output will feed headphones and is a 1/4" TRS  
jack, wired: tip = left signal, ring = right signal, sleeve =  
ground.  
etc., input to the  
(22)  
Tape Input (13) is  
determined by the  
setting of the output  
volume control of  
the audio device  
being connected, so  
care must be taken  
in adjusting this  
(24)  
(26)  
d. Power Switches  
(31) AC POWER IN SOCKET  
(23) MAIN POWER SWITCH  
(24) POWER ON LED INDICATOR  
(19)  
(20)  
Once the external PSU is connected to the AC Power In  
socket (31) and then to the AC power source, you may switch  
on your mixers with the Power On switch (23). The Power  
"ON" LED (24) will light up. Allow 1 minute after powering up  
for the system to reach equilibrium before setting inputs gains  
and other levels.  
level so as to  
achieve proper bal-  
ance in the final mix  
and to prevent over-  
load distortion.  
(27)  
(25) PHANTOM POWER SWITCH  
The 10-stage LED  
Output Meter (27)  
displays the Master  
Mix output level.  
(26) PHANTOM POWER ON LED INDICATOR  
When using condenser mics, +48VDC can be switched glob-  
ally on or off to the XLR mic inputs for all mono channels (also  
see MONO INPUT SECTION, MIC INPUTS). When this  
switch is in the "ON" position, The Phantom Power On LED  
Indicator (26) will light, and +48VDC will be provided  
between pins 2 and 3 on all the mono Mic input XLR connec-  
tors. If you dont need phantom power, be sure to turn this  
switch to the "OFF" position.  
c. Monitor  
Function and  
Operation  
(17) CONTROL  
ROOM OUTPUTS  
(18) HEAD-  
(21)  
[Note: It is safe to connect balanced dynamic mics or line  
level devices even if this switch is on, but connecting unbal-  
anced devices or devices whose transformers are center-  
grounded will cause hum or malfunctions. Shorting the  
+48VDC can also damage your mixer. Also, mute the  
Monitor/PA speakers when turning the phantom power on or  
off.]  
PHONES OUTPUT  
(22) PHONES/  
CONTROL ROOM  
CONTROL  
(28)  
(20) MASTER/PFL  
TO CONTROL  
ROOM SWITCH  
The SRM-12X/14X  
allows you to moni-  
tor either the Master  
Mix or any chan-  
nel(s) selected by  
the channel PFL  
Select switch (9).  
To monitor the  
(23)  
(25)  
Master Mix, the  
Master/PFL to Control Room switch (20) must be in the up  
(unpressed) position. Press the switch down to enable PFL  
function. In this mode you can now monitor any channel(s) by  
pressing the channel PFL Select switch (9). In either case,  
the signal level is adjusted with the Phones/Control Room  
control (22) and routed to both the Control Room (17) and  
Headphones (18) outputs. The L-R Control Room Outputs  
(17) can be connected to an amp to power stereo control  
room (or other) monitor speakers and are 1/4" unbalanced  
phone jacks, wired: Tip = positive (+), Sleeve = ground.  
BACK PANEL  
(31)  
(30)  
10  
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CONNECTIONS  
This NADY AUDIO console uses 4 different types of audio connectors for the various input/output connections: (1) XLR bal-  
anced; (2) 1/4" TRS phone jacks for balanced, unbalanced, stereo, or in/out inserts; (3) 1/4" TRS unbalanced; (4) RCA  
pin unbalanced  
Figures  
1. Balanced XLR input/output connections  
2. Stereo headphone connection with 1/4" TRS  
plug  
GROUP & MIX OUTPUTS  
MICROPHONE INPUTS  
3. 1/4" mono (TRS) plug used as unbalanced  
input/output  
2
1
1
2
Ground (Screen)  
3
3
4. 1/4" stereo (TRS) plug used as balanced  
input/output  
Cold  
(Out of Phase Signal)  
5. 1/4" TRS plug used as Insert Send/Return  
6. RCA pin plug for unbalanced input/ouput  
Hot  
(In Phase Signal)  
Socket (female)  
Plug (male)  
1.  
HEADPHONES  
UNBALANCED USE OF  
MONO 1/4” PLUGS  
BALANCED USE OF  
STEREO 1/4” PLUGS  
Tip =  
Left signal  
Tip =  
Signal  
Tip =  
hot (+ve)  
Ring =  
Right signal  
Ring =  
cold (-ve)  
Sleeve =  
Ground/Shield  
Sleeve =  
Ground/Shield  
Sleeve =  
Ground/Shield  
Tip  
Ring  
Tip  
Tip  
Ring  
Sleeve  
Sleeve  
Sleeve  
Strain relief  
clamp  
Strain relief  
clamp  
Strain relief  
clamp  
2.  
3.  
4.  
1/4” STEREO PLUG USED AS INSERT SEND/RETURN  
RCA PIN PLUG  
TIP  
SLEEVE  
Ground (Screen)  
Send to External  
Device  
Strain relief clamp  
Sleeve =  
Ground  
(Shield)  
Pin =  
Signal  
Ring  
Sleeve  
Tip  
RING  
Return from External Device  
5.  
6.  
11  
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SPECIFICATIONS  
1. INPUT SECTION  
Input  
Connector  
Input Impedance  
Nominal Level  
Max Level  
MONO CH MIC  
MONO CH LINE  
STEREO CH LINE  
TAPE IN  
XLR  
1/4" TRS  
>1.3K  
>10K Ω  
>10K Ω  
>10K Ω  
>10K Ω  
>10K Ω  
+2 dBm  
+4 dBm  
+4 dBm  
+2 dBm  
+4 dBm  
+4 dBm  
+14 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
1/4" TRS  
RCA PIN JACKS  
1/4" TS  
AUX RETURNS  
INSERT IN  
1/4" TRS  
2. OUTPUT SECTION  
Output  
Connector  
Output Impedance  
Nominal Level  
Max Level  
STEREO OUT L/R  
AUX SENDS 1,2  
INSERT OUT  
CNTRL R. OUT  
REC OUT  
XLR & 1/4" TS  
1/4" TS  
120 Ω  
120 Ω  
120 Ω  
1K Ω  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
–––  
+22 dBm  
+20 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
40mW X 2  
1/4" TRS  
1/4" TS  
RCA PIN JACKS  
1/4" TRS  
1K Ω  
PHONES  
200 Ω  
3. FREQUENCY RESPONSE  
ANY INPUT TO  
8. HUM AND NOISE  
20 Hz-20 Khz, Rs=150 ohms, input TRIM @ 0 dB, input sensi-  
ANY OUTPUT ....................20 Hz to 20 KHz =/- 3dB @ 0 dBm tivity at 60 dB  
EQUIVALENT INPUT NOISE ....................................-129 dBm  
RESIDUAL OUTPUT NOISE........................................-85 dBm  
4. TOTAL HARMONIC DISTORTION  
ANY INPUT TO  
ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm  
9. VU METERS  
10-segment LED X 2  
5. INPUT CHANNEL EQUALIZATION  
High shelving ....................12 kHz, +/- 15 dB, Q fixed at 2 oct.  
Mid bell ............................2.5 khZ, +/- 15 dB, Q fixed at 1 oct.  
Low shelving ......................80 Hz, +/- 15 dB, Q fixed at 2 oct.  
Low Cut (High Pass)  
10. PHANTOM POWER  
+48 VDC, globally selected  
11. POWER REQUIREMENTS  
External PSU, 120 VAC/60Hz or 230 VAC/50Hz  
filter (Mono channels only)............75 Hz, -3 dB (18 dB/octave)  
12. POWER CONSUMPTION  
25 Watts, External PSU  
6. GAIN CONTROL RANGE  
Mono input channel  
trim control............................Stop to stop- Mic +10 dB~+60 dB  
Channel/Master Faders ...................................... -to +15 dB  
Aux Send..............................................................Off to +15 dB  
Aux Return ..............................................Off to Unity to +15 dB  
13. DIMENSIONS AND WEIGHT  
SRM-12X: 13.5" x 11.5" x 3" (343 x 292 x 76 mm),  
7.9 lbs (3.7 Kg)  
SRM-14X: 13.5" x 13.5" x 3" (343 x 343 x 76 mm),  
9.3 lbs (4.2 Kg)  
7. CROSSTALK @ 1KHZ  
ADJACENT CHANNEL INPUTS ......................-78 dB~-68 dB  
INPUT TO OUTPUT.......................................... -78 dB~-68 dB  
External PSU not included  
The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications for this unit,  
including design and appearance, are subject to change without prior notice.  
12  
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BLOCK DIAGRAM  
13  
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NOTES  
14  
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SERVICE FOR YOUR NADY AUDIO PRODUCT  
(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via tele-  
phone at (510) 652-2411, or e-mail at [email protected].  
(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from  
whom you purchased this product.  
DO NOT ATTEMPT TO SERVICE THIS UNIT  
YOURSELF AS IT CAN BE DANGEROUS  
AND WILL ALSO VOID THE WARRANTY.  
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608  
Tel: 510.652.2411 • Fax: 510.652.5075 • www.nadywireless.com  
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