Nady Systems Stereo Equalizer MXE 612 User Manual

OWNER’S MANUAL  
MXE-612  
6 Channel Mic/Line Mixer with Internal DSP Effects  
 
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.  
 
FEATURES  
The MXE-612 is compact, versatile console or rackmountable mixers with 16 built-in selectable DSP echo and reverb effects  
that is ideal for any small venue live sound reinforcement applications where ultimate performance, advanced features, and  
affordability are needed.  
Road-tough all steel construction. Optional rack ears available.  
Superb performance with low noise and smooth, transparent  
audio across the full audio spectrum and natural sounding  
selectable echo/reverb effects  
Ultra-compact 2-bus mixer  
2 mono input channels with balanced XLR Mic and 1/4" TRS  
Built-in DSP (Digital Sound Processor) for ECHO (REVERB)  
with 16 selectable preset level and echo intervals and separate  
Effects Send and individual channel Effects Return controls,  
and numeric LED display  
Line inputs for maximum signal integrity  
4 stereo input channels with balanced 1/4" TRS jacks for  
balanced or unbalanced inputs  
Aux Send for external effects and monitoring  
Stereo Aux returns with master Aux Return control  
Balanced 1/4" TRS L/R Stereo Outputs  
Input Trim controls on all channel inputs  
Peak LEDs on all input channels  
Pan pots on each mono channel and Balance pots on each  
stereo input  
Separate Master Mix, Control Room and Headphone Outputs  
Tape In and Record Out RCA jacks with Tape inputs assignable  
to Master Mix or stereo Control Room/Headphone outputs  
3 band EQ for all input channels  
Aux Send and Aux Return with Aux Send and Aux Return  
controls  
External AC supply for optimum signal integrity and superior  
transient response  
Switchable global 48V phantom power on mono channels  
Dimensions & Weight: 9"x 7"x 2.5" (229 x 178 x 63.5 mm),  
3.7 lbs (1.7 Kg)  
Super accurate 10-segment LED display bargraph meters  
High-quality sealed pots with center detents for all Pan/Balance  
and EQ controls  
4
 
INSTALLATION  
To ensure years of enjoyment from your NADY AUDIO MXE-612 mixing console, please read and understand this manual thoroughly  
before using the unit.  
1. INSPECTION  
Your NADY AUDIO MXE-612 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. RACK MOUNTING  
The MXE-612 can be rackmounted with the optional RMK-612 rackmount kit which can be ordered from your dealer or through the  
Nady Service Department (see back page).  
3. 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 MXE-612 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.  
The MXE-612 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/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, especially when monitoring with headphones.  
Set the noted controls to the positions indicated below to further minimize the chance of undesired noise when first powering up your  
MXE-612 :  
GAIN FADERS (8/33) .................................................................................................................................................... SET TO MINIMUM  
HI, MID & LOW EQ’S (4) AND PAN/BALANCE CONTROLS (6/14) ............................ TURNED TO THE CENTER DETENT POSITION  
AUX/EFF CONTROLS & PHONES LEVEL CONTROLS (5/20) ................................. TURNED COMPLETELY COUNTERCLOCKWISE  
ALL OTHER CONTROLS SHOULD ALSO BE TURNED COMPLETELY COUNTERCLOCKWISE  
Power up the unit as noted in Power Connections, Indicators, and Switches (Section 3e in CONTROLS AND CONNECTIONS,  
page 11).  
5
 
CONTROLS AND CONNECTIONS  
1. MONO INPUT SECTION  
(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 (22) on  
the front panel. Dynamic or ribbon-type microphones 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 (-).  
(1)  
(2)  
(3)  
[Note: The Mic inputs are more sensitive than the Line inputs.  
Also, do not connect mics with the power switched on, as  
indicated by the Phantom Power On LED (25) 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.]  
(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 (3)  
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.  
(4)  
(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.)  
(5)  
(6)  
(3) TRIM CONTROL  
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, 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 (7) for that channel lights occasionally.  
(7)  
(8)  
6
 
CONTROLS AND CONNECTIONS  
(4) EQUALIZER CONTROLS  
(7) PEAK LED INDICATOR  
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 eliminate 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!  
The Peak LED illuminates when a channel is going into overload.  
It detects the peak level after the EQ and will light at 3 dB 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 input gain with  
the TRIM control (3).  
(8) CHANNEL GAIN CONTROL  
The channel gain controls determine the output signal level to the  
Master Mix bus. There is no PFL function on the MXE-612. 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 (29) to unity gain (0 dB). The LED Output  
Meter (21) should read around 0 dB.  
[Note: Always reset a channels input Gain (or external devices’  
output level) after altering the amount of mixer equalization cut or  
boost applied.]  
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.  
(5) AUX/EFF SEND CONTROL  
The AUX/EFF controls are mono and post-EQ and post-fader and  
the signal level sent to the AUX/EFFECTS bus will be affacted by  
the channel fader setting. The AUX configurations is ideal for  
almost all monitoring purpose: for example, for a separate stage  
monitor mix in live performances or a studio room monitor in  
recording applications, such as for a headphone cue system. The  
EFF controls the adjustment of level sent by each channel to the  
internal DSP (Digital Sound Processor). (See also Digital Echo  
Effects Functions and Operations, page 10)  
(6) PAN CONTROL  
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.  
7
 
CONTROLS AND CONNECTIONS  
2. STEREO INPUT SECTION  
(13A) L (MONO) LINE INPUT  
On stereo input channels 3-6, 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  
inputs, the mono channel PAN (6) control is replaced by the BAL  
(Balance) control. See also BAL CONTROL (14) below.  
(13A)  
(13B)  
(13B) R LINE INPUT  
When using channels 3-4, 5-6 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.  
(4)  
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.  
(4) 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.  
(5)  
(5) AUX/EFF SEND  
These are the same as for the mono channels. Note that a mono  
sum is taken from the stereo input.  
(14)  
(14) BAL CONTROL  
For a mono input to the L (MONO) input the function of the control  
is the same as the PAN controls (6) 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 channels stereo signal will  
be routed to the Master Mix.  
(8)  
(8) CHANNEL GAIN CONTROL  
This has the same function as for the mono channels. See MONO  
INPUT SECTION, page 6.  
8
 
CONTROLS AND CONNECTIONS  
3. MASTER SECTION  
(10)  
(11)  
(9)  
(15)  
(16) (17)  
(12)  
a. AUX Sends/Returns Function and Operation  
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.  
(9) STEREO AUX RETURNS (LEFT/MONO, RIGHT)  
(18) AUX RETURN CONTROL  
The Aux Return jacks are the mono or stereo returns for Aux  
Send. 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 (18) and then mixed into the left and  
right Master Mix Stereo Outputs (11). The separate left and right  
(10) AUX SEND  
return jacks are provided for use with stereo signals such as those The Aux Send jack is the output for the signal sent from the  
from the output of a stereo effects processor. The left and right  
return signals will be routed to the Aux Return level control (18)  
and mixed into the left and right Stereo Out (11), while  
maintaining stereo separation.  
channel AUX/EFF controls (5). They are 1/4" unbalanced phone  
jacks wired: Tip = positive (+), Sleeve = ground. Aux Send 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  
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 signal.  
b. Main Mix Function and Operation  
(11) STEREO OUTPUTS  
(15) TAPE INPUTS  
(16) REC OUTPUTS  
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 (14). 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 control to compensate. When performing any  
stereo imaging exercise, dont just rely on the control room  
(29) MASTER MIX GAIN CONTROL  
(21) LED OUTPUT METER  
(24) TAPE/REC TO MASTER SWITCH  
The Stereo Outputs are Left (L) and Right (R) unbalanced 1/4"  
phone jacks, wired: Tip = positive (+), Sleeve = ground. The REC  
Outputs (16) also provide an output of the Master Mix. These  
outputs are RCA jacks, and designed primarily for inputs to tape  
recorders, etc.  
9
 
CONTROLS AND CONNECTIONS  
(18)  
(20)  
(25)  
(19)  
(22)  
(23)  
(24)  
(26)  
(27)  
(21)  
(31)  
(32)  
(28)  
(29)  
(33)  
The output level routed to the Stereo Outputs and REC Outputs is prevent overload distortion. The 10-stage LED Output Meter (21)  
determined ultimately by the setting of the Master Mix Gain  
Control (29). 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 (15). Use the  
Tape/Rec to Master switch (24) to route signals from the Tape  
Input (15) to the Master Mix Gain Control (29). The level of  
signal routed to the Master Mix Gain Control (29) from DAT, tape  
decks, CD players, etc., input to the Tape Input (15) is  
displays the Master Mix output level.  
c. Digital Echo Effects Function and Operation  
(27) EFFECTS DISPLAY  
(28) ECHO EFFECT SELECT BUTTONS  
(31) EFFECT SEND  
(32) EFFECT (ECHO) RETURN  
(33) EFFECT GAIN  
determined by the setting of the output volume control of the  
audio device being connected, so care must be taken in adjusting  
this level so as to achieve proper balance in the final mix and to  
The built-in DSP (Digital Sound Processor) offers 16 different  
preset level and echo intervals selectable by the Echo Effect  
Select UP/DOWN buttons (28). Press either button to scroll in  
10  
 
CONTROLS AND CONNECTIONS  
(34)  
(35)  
Back panel  
either direction through the 16 presets. The numeric Effects  
Display (27) will indicate which of the 16 effect presets has been  
selected. The DSP processes the signal on the EFFECTS bus,  
which is the sum of the 4 mono and 8 stereo channel inputs  
controlled by the EFF control (5). The EFFECT SEND control  
(31) adjusts the level of the signal on the EFFECTS bus fed to the  
DSP. The EFFECT (ECHO) RETURN control (31) adjusts the  
number of repeats of the echo effect selected with the UP/DOWN  
buttons (28) and the EFFECTS GAIN fader (33) controls the  
signal level sent to the Master Mix busses.  
MONO INPUT SECTION, MIC INPUTS). When this switch is in the  
ONposition, The Phantom Power On LED Indicator (25) will  
light , and +48VDC will be provided between pins 2 and 3 on all  
the mono Mic input XLR connectors. If you dont need phantom  
power, be sure to turn this switch to the OFFposition.  
[Note: It is safe to connect balanced dynamic mics or line level  
devices even if this 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. Also, mute the Monitor/PA speakers when  
turning the phantom power on or off.]  
d. Monitor Function and Operation  
(17) CONTROL ROOM OUTPUTS  
(12) HEADPHONES OUTPUT  
(20) PHONES/CONTROL ROOM CONTROL  
(23) TAPE/REC TO CONTROL ROOM SWITCH  
The MXE-612 allows you to monitor the Master Mix. The signal  
level is adjusted with the Phones/Control Room control (20) and  
routed to both the Control Room (17) and Headphones (12)  
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. The Phones Output (12) will feed  
headphones and is a 1/4" TRS jack, wired: tip = left signal, ring =  
right signal, sleeve = ground.  
e. Power Switches  
(34) AC POWER IN SOCKET  
(35) MAIN POWER SWITCH  
(26) POWER ON LED INDICATOR  
Once the external PSU is connected to the AC Power In socket  
(34) and then to the AC power source, you may switch on your  
mixers with the Power On switch (35). The Power ONLED (26)  
will light up. Allow 1 minute after powering up for the system to  
reach equilibrium before setting inputs gains and other levels.  
(22) PHANTOM POWER SWITCH  
(25) 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  
11  
 
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) 1/4TS unbalanced; (4) RCA pin unbalanced  
Figures  
1. Balanced XLR input/output 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. 1/4" TRS plug used as Insert Send/Return  
6. RCA pin plug for unbalanced input/ouput  
12  
 
SPECIFICATIONS  
1. INPUT SECTION  
Input  
Connector  
Input Impedance  
Nominal Level  
Max Level  
MONO CH MIC  
MONO CH LINE  
STEREO CH LINE  
TAPE IN  
XLR  
1/4TRS  
>1.3K  
>10K Ω  
>10K Ω  
>10K Ω  
>10K Ω  
+2 dBm  
+4 dBm  
+4 dBm  
+2 dBm  
+4 dBm  
+14 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
+22 dBm  
1/4TRS  
RCA PIN JACKS  
1/4TRS  
AUX RETURNS  
2. OUTPUT SECTION  
Output  
Connector  
Output Impedance  
Nominal Level  
Max Level  
STEREO OUT L/R  
AUX SENDS  
CTRL R OUT  
REC OUT  
1/4TRS  
1/4TRS  
120 Ω  
120 Ω  
120 Ω  
1K Ω  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
+4~+6 dBm  
——  
+22 dBm  
+20 dBm  
+22 dBm  
+22 dBm  
40mW X 2  
1/4TRS  
RCA PIN JACKS  
1/4TRS  
PHONES  
200K Ω  
8. HUM AND NOISE  
20 Hz-20 KHz, Rs=150 ohms, input TRIM @ 0 dB, input sensitivity  
3. FREQUENCY RESPONSE  
ANY INPUT TO  
at 60 dB  
ANY OUTPUT .......................................20 Hz to 20 KHz =/- 3dB @ 0 dBm  
EQUIVALENT INPUT NOISE  
-129 dBm  
4. TOTAL HARMONIC DISTORTION  
ANY INPUT TO  
RESIDUAL OUTPUT NOISE  
< 90 dBm  
ANY OUTPUT ................................. 0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm  
9. VU METERS  
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.  
10-segment LED X 2  
10. PHANTOM POWER  
+48 VDC, globally selected  
6. GAIN CONTROL RANGE  
11. POWER REQUIREMENTS  
Voltage selectable, 120VAC/60Hz or 230VAC/50Hz  
Input channel trim control...................... Stop to stop- Mic +10 dB~+60 dB,  
Line +10 dB~+40 dB  
Channel/Master/Effect Faders................................................ -to +15 dB  
Aux Send/Aux Master Send ................................................... Off to +15 dB  
Aux Return ............................................................................. Off to +20 dB  
Channel and Master Effect Sends ......................................... Off to +15 dB  
12. POWER CONSUMPTION  
12W  
13. DIMENSIONS AND WEIGHT  
9x 7x 2.5(229 x 178 x 63.5 mm), 3.7 lbs (1.7 Kg)  
7. CROSSTALK @ 1KHZ  
ADJACENT CHANNEL INPUTS .......................................... -78 dB~-68 dB  
INPUT TO OUTPUT ............................................................ -78 dB~-68 dB  
The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications  
for this unit, including design and apperance, are subject to change without prior notice.  
13  
 
BLOCK DIAGRAM  
14  
 
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 service@nady.com.  
(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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