NADY AUDIO SRM-12X (01) PDF DOCUMENT

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. The power supply cord or the plug has been damaged.

B. 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.

• Ultra-low-noise mic preamps

• 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 assignable to Master Mix or stereo Control Room/Headphone outputs

• 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

• Pre and post-fader Aux Sends for external effects and monitoring

• 2 multifunction stereo Aux Returns with Aux Return controls

• 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

• 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 maximum reliability

• External AC supply for optimum signal integrity and superior transient response

• 12 Channel Stereo Mic/Line Mixer

• 4 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

• 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)

• 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

• 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)

Your NADY AUDIO SRM-12X/14X was carefully packed at the factory. 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. If your unit is damaged, do not return it to Nady, but notify your dealer and the shipping company immediately to make a claim.

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). Care should be taken to ensure that there is enough space around the unit for cooling. Also, do not place the mixer on high-temperature devices such as power amplifiers, as the unit may overheat.

The SRM-12X/14X is designed to operate with the supplied external power supply unit (PSU). Please make sure that the power unit supplied is marked for the correct voltage in your area (120VAC/60 Hz or 230VAC/50Hz). Check to see that the unit is set to the voltage for your area by referring to the table 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.

Do not connect the PSU to the mixer while the PSU is connected to the AC mains supply. Connect the switched-off mixer and PSU first before you connect the PSU to the mains supply. Lastly, switch on the mixer with the power switch on the back panel. Use only the correct NADY power supply unit to connect the mixer to the Mains AC power.

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, which is globally switchable to all XLR input jacks with the Phantom Power switch (25) on the back panel.

The XLR jack is configured for: Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).

Note: The Mic inputs are more sensitive than the Line inputs. Do not connect mics with the phantom power switched on. 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.

The Line input is a 1/4″ jack 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 to adjust for the desired level.

If a balanced signal is to be connected, a 1/4″ TRS (stereo) phone plug should be wired for: Tip = positive (+), Ring = negative (-), Sleeve = ground.

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.

Mono channels are equipped with rear panel insert jacks to connect external signal processors, such as compressors or effects devices. The insert point is normalized, meaning 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 Insert can also be used as a channel direct output. To do this, 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.

The trim control adjusts the input sensitivity (channel gain) of the mic and line inputs on the mono input channels. This control can be adjusted to accommodate input signals from a wide variety of sources. The best balance of Signal-to-Noise and dynamic range will be achieved if you adjust the TRIM control on each channel separately so that the Peak Indicator LED for that channel lights occasionally.

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. It is most effective when used carefully in conjunction with the 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 (HIGH) and lower (LOW) shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively.

• The midrange (MID) control has a peaking response at 2.5KHz.

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. Experiment with the equalizer controls on various instruments and vocals to become familiar with various equalizer settings.

Note: Always reset a channel’s input Gain (or external devices’ output level) after altering the amount of mixer equalization cut or boost applied.

Both Aux Sends are mono and post-EQ and control the level of the signals sent to the AUX buses.

• Aux Send 1 is pre-fader, and the signal sent to the AUX 1 bus will be unaffected by the channel fader setting. This is useful for cueing purposes and monitor amplifiers.

• Aux Send 2 is post-fader, and the signal level sent to the AUX 2 bus will be affected by the channel fader setting. This is ideal for effects sends, so that when a fader level is adjusted, any reverb send from that channel follows the fader.

The Channel Pan control 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.

The Peak LED illuminates when a channel’s signal is going into overload. 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. If it does light persistently, reduce the input gain with the TRIM control.

The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels through the headphone or control room monitor outputs. To monitor the PFL channels selected, you must also set the Master/PFL to Control Room switch to the button depressed (PFL) position. The signal is post-EQ and independent of the channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends.

The channel faders determine the output signal level to the Master Mix bus. They offer a smooth logarithmic taper for optimum control of the signal.

The 1/4″ line inputs are designed for stereo or mono line-level signals from sources like keyboards, CD players, or samplers.

• For a mono signal, connect to the L (MONO) line input. This signal will be routed equally to the BAL control and the left and right outputs.

• For a stereo signal, 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 Stereo Line Input jacks are 1/4″ TRS balanced phone jacks (Tip = positive, Ring = negative, Sleeve = ground), but can accept either balanced or unbalanced signals.

For a mono input connected to the L (MONO) input, the function of the control is the same as the PAN control of the mono channels. However, when a channel is run in stereo, this control functions as a Balance control, determining the relative balance of the left and right channel signals being sent to the left and right Master Mix buses. 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.

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. The signal will be routed to the respective Aux Return Control and then mixed into the Master Mix Stereo Outputs.

The separate left and right return jacks are provided for use with stereo signals, such as from the output of a stereo effects processor. The left and right return signals will be routed to the Return level controls and mixed into the left and right Stereo outputs while maintaining stereo separation.

The Aux Returns can also be used for returning outputs of effect units, as Tape Returns from a multi-track recorder, or as extra instrument inputs.

The Aux Send 1 and 2 jacks are the outputs for the signals sent from the channel Aux controls. 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.

The Stereo Outputs consist of both Left (L) and Right (R) balanced XLR’s (pin 1 = ground, pin 2 = hot, pin 3 = cold) and unbalanced 1/4″ phone jacks (Tip = positive, Sleeve = ground).

The REC Outputs also provide an output of the Master Mix. These outputs are RCA jacks, designed primarily for inputs to tape recorders. The output level for both the Stereo Outputs and REC Outputs is determined by the setting of the Master Mix fader.

Use the Tape/Rec to Master switch to route signals from the Tape Input (RCA jacks) to the Master Mix Fader. The level of signal routed to the Master Mix fader from sources like DAT, tape decks, or CD players is determined by the output volume control of the audio device being connected. Care must be taken in adjusting this level to achieve proper balance in the final mix and to prevent overload distortion.

The SRM-12X/14X allows you to monitor either the Master Mix or any channel(s) selected by the channel PFL Select switch.

• To monitor the Master Mix, the Master/PFL to Control Room switch must be in the up (unpressed) position.

• To enable PFL function, press the switch down. In this mode you can monitor any channel(s) by pressing that channel’s PFL Select switch.

In either case, the signal level is adjusted with the Phones/Control Room control and routed to both the Control Room and Headphones outputs.

• The L-R Control Room Outputs are 1/4″ unbalanced phone jacks that can be connected to an amp to power stereo control room monitors.

• The Phones Output is a 1/4″ TRS jack for headphones, wired: tip = left signal, ring = right signal, sleeve = ground.

Once the external PSU is connected to the AC Power In socket and then to the AC power source, you may switch on your mixer with the Main Power On switch. 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.

For using condenser mics, +48VDC can be switched globally on or off to the XLR mic inputs for all mono channels with the Phantom Power switch. When this switch is in the “ON” position, the Phantom Power On LED Indicator will light, and +48VDC will be provided between pins 2 and 3 on all mono Mic input XLR connectors. If you don’t need phantom power, be sure to turn this switch to the “OFF” position.

Note: It is safe to connect balanced dynamic mics or line level devices even if the phantom power switch is on, but connecting unbalanced devices or devices whose transformers are center-grounded will cause hum or malfunctions. Shorting the +48VDC can also damage your mixer. Always mute the Monitor/PA speakers when turning the phantom power on or off.

The console uses 4 different types of audio connectors:

1. Balanced XLR input/output: Used for Microphone inputs and main mix outputs. Pin 1: Ground (Screen), Pin 2: Hot (In Phase Signal), Pin 3: Cold (Out of Phase Signal).

2. Stereo headphone connection with 1/4″ TRS plug: Tip: Left signal, Ring: Right signal, Sleeve: Ground/Shield.

3. 1/4″ mono (TS) plug used as unbalanced input/output: Tip: Signal, Sleeve: Ground/Shield.

4. 1/4″ stereo (TRS) plug used as balanced input/output: Tip: hot (+ve), Ring: cold (-ve), Sleeve: Ground/Shield.

5. 1/4″ TRS plug used as Insert Send/Return: Tip: Send to External Device, Ring: Return from External Device, Sleeve: Ground (Screen).

6. RCA pin plug for unbalanced input/output: Pin: Signal, Sleeve: Ground (Shield).

Input	Connector	Input Impedance	Nominal Level	Max Level
MONO CH MIC	XLR	>1.3K Ω	+2 dBm	+14 dBm
MONO CH LINE	1/4″ TRS	>10K Ω	+4 dBm	+22 dBm
STEREO CH LINE	1/4″ TRS	>10K Ω	+4 dBm	+22 dBm
TAPE IN	RCA PIN JACKS	>10K Ω	+2 dBm	+22 dBm
AUX RETURNS	1/4″ TS	>10K Ω	+4 dBm	+22 dBm
INSERT IN	1/4″ TRS	>10K Ω	+4 dBm	+22 dBm

Output	Connector	Output Impedance	Nominal Level	Max Level
STEREO OUT L/R	XLR & 1/4″ TS	120 Ω	+4~+6 dBm	+22 dBm
AUX SENDS 1,2	1/4″ TS	120 Ω	+4~+6 dBm	+20 dBm
INSERT OUT	1/4″ TRS	120 Ω	+4~+6 dBm	+22 dBm
CNTRL R. OUT	1/4″ TS	1K Ω	+4~+6 dBm	+22 dBm
REC OUT	RCA PIN JACKS	1K Ω	+4~+6 dBm	+22 dBm
PHONES	1/4″ TRS	200 Ω	–	40mW X 2

Frequency Response:

Any Input to Any Output: 20 Hz to 20 KHz +/- 3dB @ 0 dBm

Total Harmonic Distortion (THD):

Any Input to Any Output: 0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm

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 filter (Mono channels only): 75 Hz, -3 dB (18 dB/octave)

Gain Control Range:

• Mono input channel trim control: 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

Crosstalk @ 1KHz:

• Adjacent Channel Inputs: -78 dB~-68 dB

• Input to Output: -78 dB~-68 dB

Hum and Noise (20 Hz-20 KHz, Rs=150 ohms, input TRIM @ 0 dB, input sensitivity at -60 dB):

• Equivalent Input Noise: -129 dBm

• Residual Output Noise: -85 dBm

VU Meters: 10-segment LED X 2

Phantom Power: +48 VDC, globally selected

Power Requirements: External PSU, 120 VAC/60Hz or 230 VAC/50Hz

Power Consumption: 25 Watts, External PSU

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)