Nady Systems Musical Instrument SPM 4250 User Manual

OWNER’S MANUAL  
SPM-4250  
4-Channel Stereo Powered 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  
outlets or extension cords 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 enclosures openings.  
10. The product should be serviced by qualified service personnel if:  
A.  
B.  
C.  
D.  
E.  
The power supply cord or the plug has been damaged.  
Objects have fallen into, or liquid has been spilled onto the product.  
The product has been exposed to rain.  
The product does not appear to operate normally or exhibits a marked change in performance.  
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.  
3
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INSTALLATION  
To ensure years of enjoyment from your NADY AUDIO SPM-4250 powered mixer, please read and understand this  
manual thoroughly before using the unit.  
1. INSPECTION  
Your NADY AUDIO SPM-4250 was carefully packed at the factory in packaging designed to protect the units in shipment.  
Before installing and using your unit, carefully examine the packaging and all contents for any signs of physical damage  
that may have occurred in transit.  
[Please note: Nady Systems is not responsible for shipping 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 claims must be made  
by the consignee in a timely manner.]  
2. SETUP AND OPERATION  
Parts of the unit can become very warm during use. This is normal during operation. Care should be taken to ensure that  
there is enough space around the unit for cooling. Also, do not place the SPM-4250 on high temperature devices such as  
power amplifiers, etc., or the unit may overheat in operation.  
Although the units chassis is shielded against radio frequency (RF) and electromagnetic interference (EMI), extremely  
high fields of RF and EMI should be avoided.  
Please make sure that the power unit supplied is marked for the correct voltage in your area (120VAC/60 Hz or 230VAC/  
50 Hz). Power requirements for electrical equipment differ from area to area. In new installations and portable sound  
systems, or any situation in which the AC power is in question, it is wise to confirm the voltage and use the appropriate  
power supply unit before connecting it to power sources.  
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 which can damage your speakers or your ears.  
Power up the unit as noted on page 8.  
4
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FRONT CONTROLS AND CONNECTIONS  
CHANNEL SECTION  
(1) MIC INPUT  
This electronically balanced XLR input is designed to  
accept signals from any balanced or unbalanced low  
impedance (Low Z) microphone. The XLR jack is  
configured for: Pin1 = ground, Pin2 = positive (+), Pin3 =  
negative (-).  
(7)  
(4)  
(2) LINE INPUT  
This 1/4" input is designed to accept balanced or  
unbalanced line-level signals such as those from  
keyboards, drum machines, or samplers. 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 the Mic or the Line input of a given channel  
should be connected at one time. Do not connect both at  
the same time.)  
(5)  
(3) PEAK LED INDICATOR  
The PEAK LED illuminates when a channel input is  
overloading. It detects the peak level after the  
EQUALIZER CONTROLS (5) and will light just before  
clipping to warn that the signal is approaching overload.  
You do not want the Peak LED to light except very  
intermittently. If it lights persistently, reduce the GAIN  
CONTROL (4).  
(6)  
(8)  
(4) GAIN CONTROL  
The GAIN control adjusts the input sensitivity of the mic  
and line inputs on each channel. This control can be  
adjusted to accommodate input signals from a wide variety  
of sources, from the high outputs of keyboards or drum  
machines to the small signal outputs of microphones. The  
best balance of S/N and dynamic range will be achieved if  
you adjust the GAIN control on each channel separately so  
that the maximum signal level can be input without  
distortion. While speaking, singing, or playing an instrument  
at maximum performance level, increase the GAIN control  
until the PEAK LED (3) flashes, then turn down the GAIN  
control until the flashing stops.  
(9)  
(3)  
(2)  
(5) EQUALIZER CONTROLS  
All input channels are fitted with a three-band EQ - HIGH,  
MID, and LOW. 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 HIGH and LOW shelving controls have  
their frequencies fixed at 12 KHz and 90Hz respectively.  
The MID control has a peaking response at 2KHz. The  
channel EQ is a valuable feature of the mixer as it allows  
the user to control the tonal characteristics of each channel  
separately. For example, boosting the LOW can fatten the  
(1)  
5
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FRONT CONTROLS AND CONNECTIONS  
sound, add warmth to vocals, or extra punch to bass,  
drums and synths; the MID control 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 sibilance, hiss, cymbals, or  
high frequency feedback, while attenuating the MID or LOW  
can also eliminate feedback or clear up a muddy sounding  
mix. Cutting the HIGH and LOW, then pushing up the  
VOLUME CONTROL (9) is equivalent to mid range boost!  
(10)  
[Note: Always reset a channel’s input GAIN CONTROL (4)  
(or external device’s output level) after altering the amount  
of equalization.]  
(12)  
(13)  
(17)  
(11)  
The key to successful equalization 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.  
(16)  
(6) PFL CONTROL  
The PFL (pre-fader listen) control adjusts the volume of the  
mono signal sent to the HEADPHONES (22) provided the  
master section PFL SWITCH(23) is enabled. The signal is  
post EQ (5) and independent of the channel VOLUME (9)  
or EFFECTS (7). Adjusting the PFL never affects the AUX  
SEND (18), RECORD OUT (20), or SPEAKER OUTPUTS  
(26). This is useful if the person operating the SPM-4250  
wants to listen to one or more of the input signals,  
especially, to troubleshoot problems without affecting the  
main mix. The PFL controls can also be used to set a sub  
mix which can be output from the HEADPHONES jack and  
sent to an external recording device, mixing board, or  
power amplifier.  
(14)  
(15)  
(23)  
(24)  
(22)  
(21)  
(18)  
(19)  
(7) EFFECT CONTROL  
The EFFECT control adjusts the signal level sent by each  
channel to the internal ECHO EFFECTS DSP (Digital  
Sound Processor).The EFFECT controls are mono and  
post Channel EQ and post Volume. The signal level sent to  
the EFF bus will be affected by the channel Volume setting  
but not the PAN control. This control also adjusts the level  
of the signal sent to the AUX SEND (18).  
(20)  
(8) PAN CONTROL  
The PAN positions the output of the channel in the stereo  
field of the Master output.  
(9) VOLUME CONTROL  
This adjusts the channel signal level that is sent to the  
master section. This control also adjusts the level of the  
signal sent to the AUX SEND (18).  
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FRONT CONTROLS AND CONNECTIONS  
(18) AUX SEND JACK  
The AUX SEND JACK provides a mono mixed signal  
MASTER SECTION  
output from each input channel to an external effects unit  
or other device. The signal level is adjusted by the EFF  
and Volume controls of each channel.  
(10) POWER ON/OFF SWITCH  
This switch turns the unit on and off. The SPM-4250 uses  
relays to ensure quiet turn-on and turn-off.  
(19) AUX RETURN  
(11) 48V PHANTOM POWER LED  
This input can be used to return the effected signal into the  
SPM-4250 or it can be used as an auxiliary input for line  
level devices. The input signal can be adjusted using the  
MASTER VOLUME (24) and the output volume of the  
external unit.  
Lights to indicate when 48V phantom power is turned on.  
(12) ECHO EFFECTS DISPLAY  
This numeric Effects Display will indicate which of the 16  
echo presets has been selected.  
(20) TAPE INPUT / REC OUTPUT JACKS  
(13) ECHO TIME SELECT BUTTONS  
The Left and Right TAPE INPUT RCA jacks allow cassette  
recorders, CD players, or MP3 players to be added to the  
master mix output. These signals are affected by the  
TAPE LEVEL (21), MASTER VOLUME (24), and 5-BAND  
EQ (16). The RECORD OUTPUT Left and Right RCA  
jacks provides signal output to recording devices, home  
audio equipment, or external amplifiers. These outputs are  
post MASTER VOLUME and 5-BAND EQ.  
Use these UP and DOWN buttons to select one of 16  
preset time intervals of the built-in Echo Effects DSP  
(Digital Sound Processor). Setting 1 selects the shortest  
echo time to emulate plate and doubling effects whereas  
setting 16 enables the longest echo time for stadium  
reverbs and delay sounds. Settings around 4 - 7 emulate  
room and hall reverbs by adjusting the ECHO DEPTH  
CONTROL (14) to approx ten oclock and the ECHO  
LEVEL CONTROL (15) to mid.  
(21) TAPE LEVEL  
This adjusts the amount of TAPE IN signal that is sent to  
the master bus.  
(14) ECHO DEPTH CONTROL  
This adjusts the number of repeats and feedback/depth of  
the echo effect selected. Turning the control clockwise  
sets the repeats to maximum for lengthy echoes or plate  
effects. Turning the control counter-clockwise sets one  
repeat for single delay or doubling effects.  
(22) HEADPHONES CONROL AND JACK  
This control and corresponding 1/4 output is for connecting  
headphones to the SPM-4250 to monitor each channel, or  
the master mix, dependant on the MASTER PFL (23)  
setting.  
(15) ECHO LEVEL CONTROL  
This adjusts the level of the effected signal sent to the  
master mix bus.  
(23) MASTER PFL SWITCH  
When this push-button switch is out, the HEADPHONES  
receive the main mix signal post 5-BAND EQ / pre-  
MASTER VOLUME. When the button is depressed, the  
signal is sent from each channel PFL control to the  
HEADPHONES. In this setting, the HEADPHONES jack  
can also be used as a sub-mix output.  
(16) 5-BAND GRAPHIC EQ  
The 5-band graphic equalizer allows you to adjust the  
frequency response of the left and right master bus signal,  
allowing final tonal adjustments. This provides a maximum  
of 12dB cut or boost from the flat position for each  
frequency band; 63Hz/250Hz/1KHz/4KHz/12KHz. The  
faders can be adjusted to easily eliminate feedback at the  
corresponding frequency. These EQs are pre MASTER  
VOLUME.  
(24) MASTER VOLUME  
The MASTER VOLUME sets the level of the stereo signal  
sent to the internal power amplifiers.  
(17) LED OUTPUT METER  
The 5-stage stereo output LED meter display the can be  
used to maintain proper levels in the master mix. The red  
PEAK LED will light when the output signal is just below  
clipping. It is acceptable if the red LED lights occasionally.  
If the red LED lights more than occasionally, you should  
turn down the MASTER VOLUME (24) to avoid audible  
distortion and clipping, which can cause damage to your  
speaker and even the internal amplifier.  
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REAR CONTROLS AND CONNECTIONS  
(25)  
(29)  
(28)  
(27)  
(26)  
(25) PHANTOM POWER ON/OFF SWITCH  
When this switch is depressed, +48V of phantom power will be supplied to the XLR mic inputs.  
(26) SPEAKER OUTPUT JACKS  
The left and right 1/4" speaker outputs can deliver up to 125W RMS per side to 4loads.  
(27) POWER CONNECTOR  
The IEC socket is used to connect the power cord to an AC power source.  
(Caution: Do not remove the center grounding pin.)  
(28) FUSE COMPARTMENT  
Replace with only the same type fuse as listed in the SPECIFICATIONS. If it blows continuously, do not use the unit and  
have it serviced by qualified personnel.  
(29) AC VOLTAGE SELECTOR SWITCH  
Before plugging in the power cord, check to see that the unit is set for the proper voltage for your area: ~115V (60Hz) or  
~230V (50Hz).  
8
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CONNECTIONS  
This NADY AUDIO mixer uses 4 different types of audio connectors for the various input/output connections: (1) XLR balanced; (2) 1/4”  
TRS phone jacks for balanced, unbalanced, stereo, or in/out inserts; (3) 1/4” TS unbalanced; (4) RCA pin unbalanced  
Figures  
1. Balanced XLR input connections  
2. 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. RCA pin plug for unbalanced input/output  
9
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SPECIFICATIONS  
1. INPUT SECTION  
Input  
Connector  
Input Impedance  
Max Level  
MONO CH MIC  
MONO CH LINE  
AUX RETURNS  
TAPE IN  
XLR BALANCED  
1/4TRS BALANCED  
1/4TS BALANCED  
RCA JACKS  
3.5K  
30KΩ  
15KΩ  
15KΩ  
-15dBv  
+11dBv  
+10dBv  
+10dBv  
2. OUTPUT SECTION  
Output  
Connector  
Output Impedance  
Max Level  
AUX SEND  
TAPE OUT  
1/4UNBALANCED  
100 Ω  
1K Ω  
+7dBv  
RCA JACKS  
+22dBv  
3. MIXER SECTION  
Frequency Response .....................................................................................................................................................................30Hz~18KHz (-3dB)  
THD ......................................................................................................................................................................................................................0.12%  
S/N RATIO ........................................................................................................................................................................................................... -84dB  
NOISE FLOOR ................................................................................................................................................................................................. 0.25mV  
HIGH EQ 15dB ................................................................................................................................................................................................. 12KHz  
MID EQ 15dB ...................................................................................................................................................................................................... 2KHz  
LOW EQ 15dB .................................................................................................................................................................................................... 90Hz  
4. POWER AMP SECTION  
POWER OUT  
8BOTH CHANNELS DRIVEN ................................................................................................................................................105W RMS per side  
4BOTH CHANNELS DRIVEN ................................................................................................................................................125W RMS per side  
FREQUENCY RESPONSE......................................................................................................................................................... <10Hz~20KHz (-3dB)  
5. GENERAL  
POWER REQUIREMENTS .........................................................................................................Voltage selectable, 115VAC/60Hz or 230VAC /50Hz  
FUSE REQUIREMENTS .............................................................................................................. 5A 250V FB @ 115VAC; 2.5A 250V FB @ 230VAC  
WEIGHT ........................................................................................................................................................................................... 18.65 lbs. (8.6 Kg)  
DIMENSIONS .............................................................................................................................. 17.4x 10.5x 10.3(44.2 cm x 26.7 cm x 26.2 cm)  
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.  
10  
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NOTES  
11  
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SERVICE FOR YOUR NADYAUDIO PRODUCT  
(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via telephone  
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.nady.com  
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