O W N E R ’ S M A N U A L
SPM-835
8 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
voltage” within the product’s 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
An ultra-compact 35W/channel stereo powered mixer offering top audio performance and exceptional flexibility –
perfect for many small venue live sound reinforcement applications.
• Switchable global +48V phantom power on all mono inputs
• Full frequency response, and low noise with a wide dynam-
ic range assures natural transparent audio
• Input Trim control on all mono (1-4) and stereo (5/6, 7/8)
channels
• 4 mono balanced XLR mic and unbalanced 1/4” line, and 4
stereo unbalanced RCA jack inputs (8 total inputs)
• Pan pots on each mono channel and Balance pots on each
stereo input
• Line/Phono level input select switch for stereo channel
inputs
• High quality sealed pots with center detents (Pan/Bal and
EQ only)
• 35W (RMS) @ 4 Ohms stereo speaker outputs
• LED indicators for Unit On, Normal and Peak operating
• Stereo Master Mix output (for balanced or unbalanced
level metering, and Phantom power on
connection)
• All-steel rugged construction for maximum reliability
• Post-fader Aux Send with Aux level control for external
effects and monitoring
• Internal AC supply with 140W power consumption
• Stereo Aux Return with master Aux Return control
• 3-band active equalizers for mono input channels
• Stereo headphone output with dedicated volume control
• Dimensions and Weight: 9.9” X 4.5” X 9.6” (252 X 115 X
245mm), 9 lbs (4.1Kg)
• Tape In and Record out RCA jacks with Tape in assignable
to Master Mix and Headphone Out or Headphone out only.
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INSTALLATION
To ensure years of enjoyment from your NADY AUDIO SPM-835 powered mixer console, please read and understand this
manual thoroughly before using the unit.
1. INSPECTION
Your NADY AUDIO SPM-835 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.
(Note: Nady Systems is not responsible for shipping damage. If the unit is damaged, do not return to us, but notify your
dealer and the shipping company 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 (at least 12” or 30cm). Do not place the SPM-835 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 over a long time to move and 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.
When ready to operate, connect the AC cord to the IEC receptacle and plug into the power source. Be sure to confirm the
voltage is proper (115 or 230VAC) for the unit as noted under the AC cord receptacle on the back of the unit. Also make
sure that the unit is turned off before connecting to the AC power source. This will avoid possible loud transients which can
damage your speakers or your ears, especially when monitoring with headphones.
Set the noted controls to the positions stated below to further minimize the chance of such undesired noises when first
powering up your SPM-835 :
LEVEL CONTROLS (7,17) ............................................................................TURN COUNTERCLOCKWISE COMPLETELY
HI, MID & LOW (4) ..........................................................................................................TURN TO THE CENTER POSITION
MASTER & PHONES CONTROLS (17,22) ..................................................TURN COUNTERCLOCKWISE COMPLETELY
PAN/BAL CONTROLS (6,11) ..........................................................................................TURN TO THE CENTER POSITION
ALL OTHER CONTROLS SHOULD ALSO BE TURNED COUNTERCLOCKWISE COMPLETELY
Power up the unit as noted in Power Connection and Switches (3d in the Control and Connections section).
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CONTROLS AND CONNECTIONS
Master Section of the front panel. Never use unbalanced mic
1. MONO INPUT SECTION
cables with the Phantom Power switched on. Never short the
+48VDC to ground, as that can cause serious damage to
your mixer. Also, turn down the Master Mix (17) to prevent
possible sharp transient noise from damaging the speakers
when turning the phantom power on or off.]
(1) MIC INPUT
The Mic input is an electronically balanced XLR type designed
to accept signals from any balanced low impedance (Low Z)
microphone. To accommodate condenser microphones, this
input is also equipped with +48VDC phantom power globally
switchable to all XLR input jacks with the Phantom Power
switch (28) on the back panel. Dynamic or ribbon-type micro-
phones do not require phantom powering. It will be necessary
to adjust the channel gain with the input Trim control (3) to
achieve a nominal operating level. The XLR jack is configured
for: Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).
(2) LINE INPUT
The Line input is designed to accept unbalanced line-level
high impedance 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.
(Note: Only either the Mic or the Line input of a given
channel can be connected at one time. Never connect both
simultaneously to the same channel.)
[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 (12) in the
(3) TRIM (PAD CONTROL)
The trim control adjusts the input sensitivity (channel gain) of
the mic inputs on the mono input channels. This control 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.
The trim control adjusts the input sensitivity from -5dB to -
55dB.
(1)
(2)
(4) 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). 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
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 elimi-
nate 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!
(3)
(4)
(5)
[Note: Always reset a channel’s input Gain (or external
devices’ output level) after altering the amount of mixer
equalization cut or boost applied.]
(6)
(7)
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.
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CONTROLS AND CONNECTIONS
During rehearsals, experiment with the equalizer controls on
(9) LINE/PHONO INPUT SELECT SWITCH
various instruments, vocals and combinations of these mixed
together to become familiar with various equalizer settings.
Place this switch in the “up” position for line level inputs such
as from instruments, CD, players, tape machines, DAT
players, etc. Press the switch to the “down” position for a
phono level input such as a DJ turntable.
(5) AUX ( POST ) SEND CONTROL
The Aux send is mono and post-EQ and post-fader and the
signal level sent to the AUX bus will be affected by the
channel fader setting. This configuration is ideal for almost all
effects send purposes. For example, when a fader level is
adjusted, any reverb sent 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 the mono
Aux. You can also use this Aux send to feed inputs to a multi-
track recorder or any other unbalanced line level application.
(10) TRIM
The trim control for the stereo input channels functions the
same as the control for the mono inputs.This control 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
(8)
(6) PAN
range eliminates the need
for Mic/Line switching. The
trim control adjusts the input
sensitivity from -∞ to -55dB.
The Channel Pan positions the output of the channel in the
stereo field of the main mix. Its constant-power design
ensures there are no level discrepancies whether a signal is
hard-panned, center-stage, or somewhere in-between.
(9)
(5) AUX SEND
(10)
(7) CHANNEL GAIN CONTROL
These are the same as for
the mono channels. Note
that a mono sum is taken
The channel gain controls determine the output signal level to
the Master Mix bus. There is no PFL function on the SPM-
835. In order to audition any single channel for proper gain,
you can turn off the gain control of all the other channels (fully
counterclockwise), and set both the auditioned channel and
Master Mix control (17) to unity gain (0 dB).
from the stereo input.
(5)
(11) BAL CONTROL. For a
mono input to the L or R
input the function of the
control is the same as the
(11)
2. STEREO INPUT SECTION
PAN controls (6) of the
mono channels. However,
when a channel is run in
stereo, this control functions
as a Balance control, deter-
mining the relative Balance
of the left and right channel
signals being sent to the left
and right Master Mix buses.
(8) L/R LINE INPUTS
(7)
On stereo input channels 5-8, the unbalanced RCA jack line
inputs are designed for stereo line-level signals such as those
from keyboards, drum machines, CD players, tape decks,
samplers, or even turntables. However, these inputs can also
be used as standard mono line inputs by connecting the
signal to the L or R line in. For the stereo inputs, the mono
channel PAN (6) control is replaced by the BAL (Balance)
control. See also BAL CONTROL (11) below.
For example, with the Balance control turned fully clockwise,
only the right portion of the channel’s stereo signal will be
routed to the Master Mix.
When using channels 5-6, 7-8 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 Gain controls equally and will retain their
stereo separation. The AUX, EQ, BAL, and Channel Gain
controls all function the same as those on the mono input
channels. When a stereo signal is input to a stereo input
channel, these controls will affect the left and right signals
equally.
(7) CHANNEL GAIN CONTROL
This has the same function as the mono channels. See Mono
Input Section.
(27)
(28)
BACK PANEL
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CONTROLS AND CONNECTIONS
3. MASTER SECTION
(23)
(25)
a. AUX Send/Returns Function and
Operation
(24) STEREO AUX RETURNS
(LEFT/MONO, RIGHT)
(16) AUX RETURN CONTROL
The Aux Return jacks are the mono
or stereo returns for Aux Send (25).
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 Aux
Return Control (16) and then mixed
into the left and right Master Mix
Stereo Outputs (23). The separate
left and right return jacks are provid-
ed 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
Aux Return level control (16) and
mixed into the left and right Stereo
Out (23), while maintaining stereo
separation. The Aux Returns are
multi-functional. They may be used
for returning the outputs of effect
units, such 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 signal. 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 (11). When apply-
ing short left and right delays, the
shortest one will always seem
(24)
(26)
(13)
(12)
(14)
(15)
(18)
(16)
(19)
(20)
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
control to compensate. When
(21)
(22)
(17)
performing any stereo imaging
exercise, don’t 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 discrep-
ancies. Sometimes you might want
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CONTROLS AND CONNECTIONS
(31)
(28)
(27)
(30)
(32)
(29)
BACK PANEL
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.
(14) REC OUTPUTS
(17) MASTER MIX GAIN CONTROL
(19,20 ) LED OUTPUT METERING INDICATORS
(21) TAPE IN TO MASTER/TAPE TO HEADPHONES
ONLY SWITCH
(25) AUX SEND
The Aux Send jack is the unbalanced output for the signals
sent from the channel Aux controls (5). It is post-fader. This
signal can be sent to the input of an effects processor, multi-
track recorder, or used for any other line-level auxiliary
purpose. The Aux Send level is adjusted by the channel Aux
Send controls (5).
The Master Mix is output to the Main Speaker outputs (32),
Stereo Outputs (23), and the Record Output (14). The L/R
Speaker Outputs (32) provide 35W at 4 ohms for powering
P.A. speakers rated for this power or more. The Stereo
Outputs are Left (L) and Right (R) 1/4” TRS phone jacks
compatible with both unbalanced and balanced connections
to other mixers, recording equipment, or additional amplifiers
for increased P.A. power, etc. 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 Speaker outputs, Stereo
Outputs and REC Outputs is determined ultimately by the
setting of the Master Mix Gain Control (17). The Master
Mix (signal on the main 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 (15). Set the Tape In To
(12) PHANTOM POWER ON LED INDICATOR
This LED will light when the PHANTOM POWER switch (28)
is turned on.
(13) POWER ON LED
Once you have connected the AC power cord to the AC
power source and the AC Power In Socket (29), switch on
your mixer with the Power On switch (27). The Power “ON”
LED will light up. Allow 1 minute after powering up for the
system to reach equilibrium before setting input gains and
other levels.
Master/Tape to Headphones Only switch (21) to the “down”
position to route signals from the Tape Input (15) to the
Master Mix Gain Control (17). The level of signal routed to
the Master Mix Gain Control (17) from DAT, tape decks, CD
players, etc., input to the Tape Input (15) is determined by
the setting of the output volume control of the audio device
b. Master Mix Function and Operation
(32) MAIN SPEAKER OUTPUTS
(23) STEREO OUTPUTS
(15) TAPE INPUTS
(18) TAPE IN LEVEL CONTROL
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CONTROLS AND CONNECTIONS
being connected and the Tape In Level Control (18), so care
system into a Nady power conditioner PCL-800/810/815 or a
good quality power strip, for one-button turn-on.
must be taken in adjusting these levels so as to achieve
proper balance in the final mix and to prevent overload distor-
tion. The LED Output Metering Indicators (19, 20) can be
used to maintain proper levels in the master mix. The L/R
Normal LED Indicators (20) will light to indicate normal
operating levels and you should always try to keep your levels
within this range. Overload is indicated by the L/R Peak LED
indicators (19). The Peak LEDs will light when the master
mix is going into overload. It detects the peak level and will
illuminate 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 persistently, reduce the master mix gain with the Master
Mix Gain Control (17).
If you are using a turntable in your setup it is a good idea to
connect it’s ground to the Phono Ground Terminal (31) to
avoid hum and/or possible shock.The SPM-835 is fused for
your (and its own) protection. If a fuse blows, disconnect the
AC cord, and replace the fuse with a 2.0A SLO-BLO (5x20mm
250V), available at electronics stores or your dealer (or a 1.0A
SLO-BLO, 5x20mm 250V, if your SPM-835 is a 220V-240V
unit). If the fuse blows continuously upon replacement, unplug
the unit and refer to qualified personnel for servicing before
further use.
(28) PHANTOM POWER SWITCH
(12) PHANTOM POWER ON LED INDICATOR
When using condenser mics, +48VDC can be switched
globally 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 (12) will light, and +48VDC will be provided
between pins 2 and 3 of all the mono Mic input XLR connec-
tors. If you don’t need phantom power, be sure to turn this
switch to the “OFF” position.
c. Monitor Function and Operation
(26) HEADPHONES OUTPUT
(22) PHONES LEVEL CONTROL
(21) TAPE IN TO MASTER/TAPE TO HEADPHONES
ONLY SWITCH
The SPM-835 allows you to monitor the Main Master Mix. The
signal level is adjusted with the Phones Level control (22)
and routed to the Headphones (26) output. The Phones
Output (26) will feed headphones and is a 1/4” TRS jack,
wired: tip = left signal, ring = right signal, sleeve = ground.
(Note: Use only headphones with an impedance >50 Ohms or
you may experience some distortion.) If desired, this output
can also be connected instead to an amplifier and speakers
for control room or stage monitoring. The Tape In To
Master/Tape To Headphones Only Switch (21) can be set
to the “up” position to route the signal input to the Tape In
jacks (15) to the headphones for selective monitoring of the
Tape In signal only.
[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, turn down the
Master Mix control (17) to prevent possible sharp transient
noise from damaging the speakers when turning the phantom
power on or off.]
d. Power Connection and Switches
(29) AC POWER IN SOCKET
(27) MAIN POWER SWITCH
(13) POWER ON LED INDICATOR
(30) FUSE HOLDER
(31) PHONO GROUND TERMINAL
Check the power source for the proper voltage (115VAC or
230VAC) noted below the Power In Socket (29). Once you
have connected the AC power cord to the AC power source
and the AC Power In Socket (29), switch on your mixer with
the Power On switch (27). The Power “ON” LED (13) will
light up. Allow 1 minute after powering up for the system to
reach equilibrium before setting input gains and other levels.
You can leave the SPM-835 on all the time. It is conservative-
ly designed, so heat build up isn’t a problem even in 24-hour-
a-day operation. There’s nothing that will burn out or get used
up. Alternatively, you can just plug every unit in your total
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CONNECTIONS
This NADY AUDIO powered 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/output connections
2. Stereo headphone connection with 1/4" TRS
plug
MICROPHONE INPUTS
GROUP & MIX OUTPUTS
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.
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TYPICAL USES AND INSTALLATIONS
PRESENTATIONS
SMALL P.A.
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TYPICAL USES AND INSTALLATIONS
REHEARSALS &
RECORDING to
PORTASTUDIO
MULTIMEDIA
OUTDOOR EVENT
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SPECIFICATIONS
1. POWER OUTPUTS (R.M.S)
70 Watts (35W + 35W) /4Ω x 2
0.1% (T.H.D) @ 1KHz
8. HEADPHONE OUTPUTS
200mW
9. PROTECTION
TURN ON MUTING .................................................... ~ 1 SEC
TURN OFF MUTING ..................................................INSTANT
2. TOTAL HARMONIC DISTORTION
Main Amp ≤ 0.05% @1KHz
Mic Ch ~ Main Amp ≤ 0.1% @1KHz
10. PHANTOM POWER
+48VDC, globally selected
3. FREQUENCY RESPONSE
± 3dB, 20Hz ~ 20KHz @ 1W/4Ω (Speaker Output)
± 3dB, 20Hz ~ 20KHz @ +4dB/10Ω (Mixer Stereo Output)
11. POWER REQUIREMENTS
As Noted on Unit ........................115VAC/60Hz, 230VAC/50Hz
4. INPUT LEVELS
MIC CH ..........................................................................-55dBv
LINE CH..........................................-20dBv / -50dBv (PHONO) 12. POWER CONSUMPTION
TAPE IN ........................................................................ -20dBv 140W
AUX RETURN .......... -20dBv @ Rs = 150Ω (20Hz ~ 20KHz)
13. FUSE
5. HUM & NOISE
115VAC Operation ..................2.0A SLO-BLO, 5x20mm, 250V
≤ -80dB ("A" FILTER)
230VAC Operation ..................1.0A SLO-BLO, 5x20mm, 250V
6. REMAINING NOISE
≤ -85dB ("A" FILTER)
14. DIMENSION (W x H X D)
9.9” x 4.5” x 9.6” (252 x 115 x 245 mm)
7. INPUT CHANNEL EQUALIZATION
MIC, LINE, & PHONO INPUTS:
15. WEIGHT
9 lbs (4.1 Kg)
EQ
HIGH (Shelving) ......................................12KHz / ±15dB
MID (Bell)................................................2.5KHz / ±12dB
LOW (Shelving)..........................................80Hz / ±15dB
The specifications are as above at the time of printing this manual. For improvement purpose, all specifications, design and apperance
subject to change without prior notice.
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BLOCK DIAGRAM
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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
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 ALSO WILL VOID THE WARRANTY.
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608
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