2010 Pro Audio and Music Product Catalog NADY ARTIS TS For over 30 years, Nady Systems has been outfitting many top touring acts with wireless systems and other audio gear. It’s been our privilege to support so many extraordinary artists in this way and to have the opportunity to play a role in countless live performances and studio sessions worldwide. Nady has also always paid close attention to the sound needs of the entry level and semi-pro musician, providing a broad spectrum of gear for just about every application imaginable. OV ER 30 YEARS OF AUDIO INNOVAT ION AN D VAL U E John Nady founded Nady Systems in 1976. His pioneering work in wireless microphone development resulted in the wireless technology that has become an important and widely accepted component of live performance. As CEO and President, John has always been committed to the cornerstone of Nady’s success — innovation and value. Whether it’s our ever-expanding line of wireless microphones and guitar systems, or our broad range of professional audio gear and music products, you can always count on Nady for breakthroughs in technology and affordability. The Nady product line consistently offers high performance, quality, and cutting edge features and design...all at unprecedented low prices. Recognized by the National Academy of Television Arts and Sciences in 1996 with an Emmy™ award for Outstanding Technical Achievement J OHN NA DY 1977 Brad Gillis, Night Ranger Consumer Wireless Systems ............. 4 DKW-3, DKW-Duo, DKW-1, DKW‑8U, American Starpower X2 VHF Pro Wireless Systems ................. 6 Encore I, Encore II, Encore Duet, 401X QUAD UHF Pro Wireless Systems . ............... 7 UHF-4, UHF-3, MGT-16, WS-16U, UHF‑24, U-41 QUAD, U-81 Octavo, UWS‑100, W-1KU Series ” Bass Wireless Systems ..................... 12 Encore 200, U-33B Infrared Systems ............................... 15 IRW-2PA, IRW-220X In-Ear Monitoring Systems .............. 13 PEM-500, EO3 Assistive Listening Systems ............ 16 ALD-800, IR-200 Portable Wireless PA . ....................... 14 WA-120 Video and Podium Wireless ............. 14 VR Series, WPM Series Wireless Systems “ I’ve never used any other wireless but Nady simply because nothing else sounds quite as good as a Nady... Nady wireless systems are available for any application, from home karaoke Wireless Systems to concert stage and all uses in between. All of these systems offer top performance and value for their intended application, and the listed features should help you decide which model is most appropriate for your use and budget. No matter which model you choose, we know you’ll be pleased with its quality, features and performance. Consumer Wireless DKW-3 Single receiver with one handheld microphone DKW-Duo Dual receiver for single or simultaneous dual microphone operation • Ideal entry level systems — all the advantages and freedom of wireless operation without cumbersome cords • Excellent high-fidelity audio • VHF (170-216MHz) operation for reliable, interference-free performance • 150+ ft. typical operating range — up to 300+ ft. line-of-sight • Easy to use — simply plug into your audio mixer or amplifier in place of your wired microphone. Operate either channel (A/B) singly or both simultaneously (DKW-Duo only) The Nady CenterStage line provides you with some of the highest performing audio products at the most affordable prices. With numerous models to choose from, CenterStage is sure to be at the center of all your performances...on stage and off. Ideal for: • Public speaking • Karaoke / recreational singing • DJs • Auctioneers • Aerobics instructors • Advanced audio processing circuitry for a wide dynamic range (no overloading for loud inputs or background hiss during quiet use) • Complete controls and connections for easy operation • Front panel Power On/Off switch and Power On LED indicator • Back panel ¼” audio output jack and DC power input jack for supplied AC/DC adaptor • Special added circuitry to eliminate transmitter on/off “pop” noise HT-Duo Handheld Microphone DKW- 3 • Each microphone transmitter operates on a separate single frequency in the VHF 170-216MHz band and can be used individually with either a DKW-3 or DKW‑Duo receiver, or together simultaneously with a DKW‑Duo receiver • Easy, convenient operation with On/Off switch and low-battery LED indicator which flashes once for Unit On and lights steady for low‑battery alert • Features the Nady DM-20 unidirectional dynamic cartridge for optimum true sound, maximum feedback rejection, and minimal handling noise • Operates up to 15 hours on a single 9V alkaline battery 4 DKW- Duo DKW-1 Single-channel VHF wireless microphone/instrument system • High-band VHF (170-216 MHz) operation for interference-free performance • Advanced companding circuitry for a wide dynamic range (no overloading for loud inputs or background hiss during quiet use) • Full frequency response from 40‑20,000 Hz • 250 ft. typical operating range, up to 500+ ft. line-of-sight • DKW-1 mini portable receiver with unique space-saving, vertical design and Power On/Off switch; ¼” audio output jack; easily visible extra-large LED indicators for Power On, Transmitter On, and Audio Peak WHT Handheld Microphone • Operates on a separate single frequency in the VHF 170‑216MHz band • Features the Nady DM-10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting with the transmitter on • Low-battery LED indicator flashes once for Unit On; lights steady for low-battery alert • Uses one 9V alkaline battery for 15+ hours operation WLT/WGT Bodypack Transmitters • Choice of instrument, Headmic™ or lapel microphone bodypack transmitter for use with LM-14O omnidirectional or LM-14U unidirectional lapel microphones, or Headmic™ Series microphones (see page 50) • Locking 3.5mm mini-jack provides secure connection for removable microphone or instrument cable • Easily accessible Input Level Adjust for optimum sound • Off/Standby/On switch allows convenient audio muting with the transmitter on • Low-battery LED indicator • Uses one 9V alkaline battery for 15+ hours operation DKW- 1 V HF / U H F The difference between UHF and VHF transmission is the frequency range, or “band.” The main advantage of UHF operation is that there is generally less chance of interference. UHF bands tend to be less “cluttered.” However, the problem of potential interference can generally be avoided in VHF systems by properly selecting operating frequencies. DKW-8U Single-channel UHF wireless microphone/instrument system • Unprecedented value in a single‑channel UHF wireless mic/instrument system with interference-free operation in any application or locale on select UHF frequencies • Compact and easy to operate— simply plug in place of your wired microphone or instrument cable • All the advantages and freedom of wireless operation without cumbersome cords • Excellent high-fidelity audio • Nady’s proprietary companding circuitry for an industry-best 120dB dynamic range, and the clearest, most natural sound available • 150+ ft. typical operating range , HT-8U Handheld Microphone BT-8U Bodypack Transmitter • Features the Nady DM-10D • Choice of instrument (GT), unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for Unit On; lights steady for low-battery alert • Rugged ABS and rubber-coated, non-slip housing with integral antenna • Uses two AA alkaline or NiMH batteries • Input volume control for proper level adjust for headworn or lavalier operation • Off/Standby/On switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for unit on, lights steady for low-battery alert • Locking 3.5mm mini-jack provides secure connection for removable microphone or instrument cable • Easily accessible Input Level Adjust for optimum sound (HM/LT operating modes only) up to 300+ ft. line‑of‑sight • Power, Signal, AF LED status DKW-8U Headmic™ (HM), or lapel (LT) microphone operating modes in a single bodypack transmitter • Lightweight, rugged ABS housing indicators; adjustable Audio Output Level for optimal sound; ¼” phone jack output for easy connection to sound system with integral antenna • Uses one 9V alkaline or NiMH battery American Starpower X2 Dual receiver system for simultaneous operation of two handheld microphones • All the advantages and AMER ICAN STA RPOW E R freedom of wireless operation, without cumbersome cords • Easy to use — simply plug into your sound system • High-performance audio • VHF operation for reliable, interference-free performance • 100+ ft. typical operating range , up to 200+ ft. line-of-sight • Controls and connections for easy operation include front panel Power On/Off switch; Power On LED indicator; LED signal-received indicators for each channel • Back panel ¼” Audio Output jack (both channels mixed together); AC/DC power adapter; dual fold‑down retractable antennas Handheld Microphone • Easy, convenient operation with Off/Standby/On switch and Transmitter On LED • Features a unidirectional dynamic cartridge for high audio performance with minimal feedback • Operates up to 15 hours on a single 9V alkaline battery 5 VHF Pro Wireless Encore I Professional single-channel VHF wireless system TRANSMITTERS Encore II Professional single-channel, dual antenna VHF wireless system with DigiTRU™ Diversity digital processing circuitry WHT Handheld Microphone Encore Duet Dual receiver with two transmitters for • Operates on a separate single frequency in the VHF 170‑216MHz band simultaneous dual‑channel operation • Loaded with top professional operating features • Available on selected frequencies in the VHF high-band (171-216 MHz) for interference-free, long-range performance • Half-rack receiver design with retractable front panel antennas • Unique snap-out panel locking tabs for single receiver or dual receiver (side-by-side) optional rackmounting (see page 58) • RF and AF 5-LED displays for monitoring incoming signal strength and audio level; balanced XLR and unbalanced adjustable ¼” jack output • Noiseless transmitter On/Off switching • Features the Nady DM-20 unidirectional dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Operates up to 15 hours on a single 9V alkaline battery • Locking 3.5mm mini-jack provides secure connection for removable microphone or instrument cable • Easily accessible Input Level Adjust for optimal sound • Choice of three transmitters: WHT, WLT/WGT, or WPM-1V • Features the Nady DM-10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting with transmitter on • Low-battery LED indicator flashes once for Unit On; lights steady for low-battery alert • Uses one 9V alkaline battery for 15+ hours operation WLT/WGT Bodypack Transmitters • Choice of instrument, Encore I E ncore I I E ncore Duet • Locking 3.5mm jack Nady DigiTRU Diversity ™ • LED status indicator flashes Nady’s proprietary DigiTRU Diversity™ utilizes dual antennas and special digital switching circuitry. Together they monitor incoming signals, receiving the strongest signals by switching instantly and continuously between the two antennas. DigiTRU Diversity™ ensures the best possible reception without dropouts and the maximum possible usable operating range. 401X QUAD Four discrete channels for simultaneous 4-channel operation • Four independent VHF receivers in one convenient, rugged, allmetal single-rack space housing • Front dual antenna jacks for either onboard or remote antennas • Front panel Power On/Off switch, plus Power On LED, TX On and AF signal level LED displays • Rear panel individual XLR output jacks; volume and RF mute controls for each of the four channels; 4-channels-mixed AF out ¼” phone jack 6 Headmic™ or lapel microphone bodypack transmitter for use with LM-14O omnidirectional or LM‑14U unidirectional lapel microphone or Headmic™ Series microphones (see page 50) • Off/Standby/On switch allows convenient audio muting with the transmitter on • Input level adjust • Noise-free transmitter On/Off operation • High performance—unmatched transparent audio with 120 dB dynamic range and up to 250+ ft. optimum line-of-sight operation • Choice of three transmitters: WLT/WGT, WHT, or WPM‑1V. Four transmitters (any combination) can be operated simultaneously on the four different channels 401X QUA D once for unit on, lights steady for low-battery alert WPM-1V Podium Microphone • See page 14 for details UHF Pro Wireless UHF-4 High UHF band professional wireless system • Unprecedented value in a full‑featured, single-channel UHF wireless mic system • Interference-free operation in any application or locale on select UHF frequencies • Half-rack receiver design with folding front panel dual antennas and unique snap-out panel locking tabs for optional single or dual receiver rackmounting (see page 58) • Tone Squelch™ for locking out potential interference • Nady’s proprietary companding circuitry for an industry-best 120dB dynamic range, and the clearest, most natural sound available • UHF-4 receiver with DigiTRU Diversity™ for maximum range and dropout protection; full LED indicators; ¼” unbalanced and XLR balanced outputs; special circuitry for noiseless transmitter On/Off switching • Choice of two transmitters: UH-4 or UB-4 UHF - 4 UHF-3 Low UHF band professional wireless system • Clear channel UHF operation for optimum interference-free performance in any application or locale • Half-rack receiver design with folding front panel dual antennas • Unique snap-out panel locking tabs for optional single or dual receiver rackmounting (see page 58) • Nady’s proprietary companding • Tone Squelch™ for locking out potential interference • UHF-3 receiver with DigiTRU Diversity™ for maximum range and dropout protection, full LED indicators, ¼” unbalanced and XLR balanced outputs; special circuitry for noiseless transmitter On/Off switching • Choice of two transmitters: UH-3 or UB-3 circuitry for an industry best 120dB dynamic range, and the clearest, most natural sound available UHF - 3 UH-4 Handheld Microphone UH-3 Handheld Microphone UB-4 Bodypack Transmitter UB-3 Bodypack Transmitter • Features the Nady DM-10D • Features the Nady DM-10D • Choice of instrument, headworn • Choice of instrument or • Off/Standby/On switch allows • Audio mute switch allows • Status LED indicator flashes • Bi-color LED status indicator: • Locking 3.5mm mini-jack provides • Locking 3.5mm mini-jack provides • Easily accessible Input • Uses two AAA alkaline unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for Unit On; lights steady for low-battery alert • Single 9V alkaline or NiMH battery operation unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Audio mute switch allows convenient audio muting with the transmitter on • Battery status LED (red) indicator flashes once for Battery OK; lights steady for low-battery alert • TX LED (green) indicator lights steady • Uses two AA alkaline or NiMH batteries • Rugged, all-metal housing or lavalier mic operating modes in a single bodypack transmitter convenient audio muting while transmitter on once for Unit On; lights steady for low-battery alert secure connection for removable microphone or instrument cable Level Adjust for optimum sound (HM/LT operating modes only) headworn/lavalier microphone bodypack transmitter convenient audio muting with the transmitter on Unit On (green); low-battery alert (orange) secure connection for removable microphone or instrument cable or NiMH batteries • Uses a single 9V alkaline or NiMH battery 7 UHF Pro Wireless MGT-16 16-channel, ultra-compact UHF wireless system for guitar and bass • UHF wireless system for guitar/bass MT-16A and MT-16R Transmitters • 16 user-selectable PLL frequencies for • Choice of two transmitter housings: interference-free operation • Up to 250 ft. operating range, line‑of-sight • Infrared ASC™ Auto-Sync Channels transfer from receiver to transmitter for instant setup • Battery operated receiver and transmitter MT-16A with 30° angled ¼” plug (for use with either recessed or surface-mounted jacks); or MT‑16R with 90° angled ¼” plug (for surface-mounted jacks only) • Up to eight hours of battery life from a single AAA alkaline or NiMH rechargeable battery • Infrared channel sync with receiver for instant setup MGT-16 Receiver • Power On/Off switch; Power/Low Battery Alert LED • Compact, portable “pedal style” receiver indicators; IR Sync LED; Input Level attenuation switch; internal Audio Level trim-pot control • Dual ¼ wave antennas • Infrared sync with transmitter for instant setup • External flexible antenna • Unbalanced ¼” line-out jack • Power On/Off/Mute switch; Volume control; LED indicators for Power On, Low Battery Alert, RF Reception; DIP-switch channel selection with IR sync to transmitter • Powered by DC adapter (included) or two AA alkaline batteries for portability (up to eight hours battery life) MT- 16R M G T- 16 MT- 16A WS-16U 16-channel PLL synthesized UHF wireless system • Frequency agile rotary DIP-switch with 16 user-selectable channels in the wide-open UHF band for interference-free use anywhere • 120dB dynamic range—the quietest and best sounding UHF wireless available at any price • 150-250 ft. typical operating range, up to 500+ ft. line-of-sight • DigiTRU Diversity™ for maximum range and dropout protection • Full LED indicators (including A/B diversity and 5-segment AF level displays) • ¼” unbalanced and XLR balanced outputs TRANSMITTERS • Mute (squelch) adjust • Tone Squelch™ for locking out potential interference, and special circuitry for noiseless transmitter On/Off switching • Half-rack receiver design with folding front panel dual antennas and unique snap-out panel locking tabs for optional single or dual receiver rackmounting (see page 58) • Externally powered by AC/DC power adapter • Choice of two transmitters: HT-16U or BT-16U HT-16U Handheld Microphone BT-16U Bodypack Transmitter • Sleek metal housing with internal • Internal selectable 3-way input • Features the Nady DM-10D • Frequency agile rotary DIP-switch antenna for optimum aesthetics and durable long life uni‑directional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Frequency agile rotary DIP-switch with 16 user-selectable channels • Audio mute switch allows convenient audio muting with the transmitter on • Easily accessible level adjustment for optimum sound • Status LED indicators for unit on and for low-battery alert • Convenient, economical operation with two AA alkaline or NiMH batteries • Rugged, all-metal housing WS-16 U 8 select (headset mic, lavalier mic or instrument) with 16 user-selectable channels • Audio mute switch for convenient audio muting with the transmitter on • Easy, accessible Input Level adjustment for optimum sound (HM/LT) • Bi-color LED status indicator for unit on and for low-battery alert • Locking 3.5mm mini-jack provides secure connection for removable mic or instrument cable • Convenient, economical operation with two AAA Alkaline or NiMH batteries “I love my Nady UHF-3. Great sound, pro features...and the price is right!” Morgan Thomas, San Francisco, CA } UHF-24 Dual discrete channels for simultaneous operation of two transmitters • Two discrete UHF wireless • Exclusive patented companding • Back panel balanced XLR Mic • Tone Squelch™ circuitry eliminates receivers in one housing for simultaneous operation of two transmitters circuitry and highest quality audio for unsurpassed 120dB dynamic range On/Off “pop” and provides protection from RF interference Level outputs; unbalanced ¼” jack Line Level sum output; separate volume and external adjustable mute controls for each channel • Front panel LED display • Half-rack receiver and unique indicates TX signal received and 5-segment AF Level displays for each channel • Front panel dual telescoping retractable antennas snap-out panel locking tabs design for single or dual receivers (side-by-side) optional rackmounting (see page 58) • Externally powered with DC adapter (15VDC/0.4A) included • Choice of two transmitters: UHF - 24 UH-4 or UB-4 U-41 QUAD Four discrete channels for simultaneous operation of four transmitters UH-4 Handheld Microphone UB-4 Bodypack Transmitter • Features the Nady DM-10D • Choice of instrument, headworn unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for unit on; lights steady for low-battery alert • Single 9V alkaline or NiMH battery operation or lavalier mic operating modes in a single bodypack transmitter • Off/Standby/On switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for unit on; lights steady for low-battery alert • Locking 3.5mm mini-jack provides secure connection for removable microphone or instrument cable • Easily accessible input level adjust control for optimum sound (HM/LT operating modes only) • Four discrete UHF wireless receivers in a single rugged 19” all-metal rackmount housing for simultaneous operation of up to four transmitters • Back panel balanced XLR mic level outputs; unbalanced ¼” jack line level sum output with separate volumes; and external adjustable mute control for each channel • Front panel LED display indicating TX On (single LED) and 5-segment AF levels for each channel • Dual removable antennas • Nady’s exclusive patented companding circuitry and highest quality audio for an unsurpassed UHF performance with 120dB dynamic range • Tone Squelch™ circuitry for protection from RF interference • Externally powered with DC adapter included (16.5VDC/0.4A) • Choice of two transmitters: UH-4 or UB-4 • Uses a single 9V alkaline or NiMH battery U- 41 QUA D 9 UHF Pro Wireless U-81 Octavo Eight discrete channels for simultaneous operation of eight transmitters • Operates on select • Nady’s exclusive patented UHF frequencies • Eight independent single-channel UHF wireless receivers in a single housing for simultaneous operation of up to eight transmitters • Front panel LED display indicates companding circuitry with 120dB dynamic range and highest quality audio for unsurpassed UHF performance • Dual removable high gain antennas with TNC connector, front or back mounting • Standard 19” 1U, all-metal rackmount housing • Externally powered with AC/DC adapter (included) • Choice of any combination of two transmitters: HT‑8U and/or BT-8U the RF and AF status for each channel • Ch. 1-8 individually balanced XLR Mic Level outputs and unbalanced Line Level sum ¼” jack output for 8-in-1 mix audio output with separate volume control for each channel • AF level displays and folding dual antennas • Front panel On/Off button (with Power On LED indicator); full LED indicators including A/B diversity, Group/Channel selected, ASC™ transfer status, and bi-color (green/red) • Back panel balanced XLR fixed Mic Level and adjustable unbalanced ¼” jack audio Line Level outputs; squelch (RF mute) adjust; DC input jack; volume control for ease of operation • Externally powered with included DC adapter (15 VDC 400 mA) • Rugged all-metal receiver designed for long-term durability. Single/dual rack mountable with optional rack kit UWS - 100 10 • Nady DM-50D neodymium cartridge delivers transparent vocals, maximum feedback rejection and minimal handling noise • On/Standby/Off switch allows convenient audio muting while transmitter on • Status LED indicator flashes once for Unit On; lights steady for Low Battery Alert • Uses two AA alkaline or NiMH batteries • Rugged ABS and rubber-coated housing with integral antenna • Choice of headworn or lavalier • Choice of transmitters: microphone operation with convenient input volume control for proper level adjust, or instrument operation without input level control • Off/Standby/On switch allows convenient audio muting while transmitter on • Locking 3.5mm mini-jack provides secure connection for removable mic or instrument cable • Status LED indicator flashes once for unit on; lights steady for low-battery alert • Single 9V alkaline or NiMH battery • Lightweight, rugged ABS housing with integral antenna UHT-100 UBT-100 • Off/On/Mute power switch allows • Off/On/Mute power switch UWS-100 100-channel select UHF wireless system PLL UHF performance with 120dB dynamic range and operation, up to 500 ft. (line-of-sight) • 100 user-switchable UHF frequencies per band, or automatic open channel selection with convenient auto‑scan feature • ASC™ (Auto-Sync Channels) download feature sends selected Group/Channel information to transmitter via IR sender for easy frequency synchronization • Front panel touch control buttons for ease of channel selection and ASC™ operation • Tone Squelch™ circuitry for protection from RF interference • DigiTRU Diversity™ for maximum range and dropout protection HT-8U Handheld Microphone BT-8U Bodypack Transmitter U -81 Octavo • Unsurpassed state-of-the-art TRANSMITTERS UHT-100 handheld or UBT‑100 bodypack with choice of three input select modes—lavalier (LT), Headmic™ (HM), or instrument (GT) convenient audio muting with the transmitter on • LCD display indicates Power/ Battery Level status and Group/ Channel selected • Convenient, economical operation with two AA Alkaline or NiMH batteries • Features the Nady DM-10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Sleek housing with internal antenna for durable long life and optimum aesthetics allows convenient audio muting with thetransmitter on • LCD display indicates Power/ Battery Level status and Group/ Channel selected • Convenient, economical operation with two AA Alkaline or NiMH batteries • Internal selectable 3-way input select (LT/HM/GT) • Easily accessible input level adjustment (HM/LT) • Compact housing, durable removable antenna and unique locking 3.5mm locking miniplug connector for mic or instrument cables W-1KU Series Full-featured 1000-channel select UHF wireless systems for the most demanding applications W-1KU Single receiver system HT-1KU Handheld Microphone BT-1KU Bodypack • Sleek, durable all-metal housing • Roadworthy, all-metal case • Internal antenna system • Power Off/On switch • Superior Nady DM-10D neodymium • Flexible external antenna rod cartridge for clear, powerful audio, maximum feedback rejection, and minimal handling noise • LCD display indicating Group, Channel, Volume and Battery levels • Power On/Off switch; transmitting High/Low RF power switch for optimizing distance operation depending on application • Uses two alkaline or rechargeable NiMH AA batteries for reliable and economical battery life • Input Audio Level adjustment selectable by Up/Down buttons (for LT/HM input modes only) • Mini locking connector for choice of lavalier (LT), headworn mic (HM), or instrument (GT) (with factory preset input mode LT/HM/GT) • LCD display indicating selected Group, Channel, and Input Volume levels, allowing optimal audio gain adjustment; battery level status; Power Off/Standby/ On switch; transmitting High/Low RF power switch for optimizing distance operation depending on application • Uses two alkaline or rechargeable NiMH AA batteries for reliable and economical battery life 2W-1KU DUAL Dual receiver system for simultaneous operation of two transmitters 4W-1KU QUAD Quad receiver system for simultaneous operation of four transmitters • Unsurpassed state-of-the-art PLL • Sophisticated IF filtering for • 1000 user selectable UHF • Mute control (RF squelch) UHF performance with 120dB dynamic range and operation up to 500 ft. line-of-sight frequencies per band • True Diversity circuitry with two complete front ends for maximum range and dropout protection • ASC™ (Auto-Sync Channels) IR download feature sends selected Group/Channel information to transmitters via IR senders on receivers for easy frequency synchronization simultaneous operation of multiple W-1KU systems in the same location • RF BNC connectors for dual removable 1/2 wave antennas • DC power input jack • Externally powered (adapter included) • Rugged, all-metal housing • Choice of transmitters: HT-1KU handheld or BT-1KU (LT/GT) bodypack • Front panel touch control buttons and user-friendly LCD configuration menus W-1KU Receiver • Front panel backlit LCD display indicates selected audio output volume level, Group/Channel, RF signal strength meter, A/B diversity status; separate audio LED bar graph display provides instantaneous audio level status from a distance • Back panel balanced XLR Mic Level and unbalanced 1⁄4” Line Level audio output jacks • Rackmountable with optional single or dual (side-by-side) rackmount kits (see page 58) W-1 KU 2W-1KU Receiver • Automatic open channel selection with convenient auto-scan feature • Front panel backlit LCD display indicates selected audio output volume level, Group/Channel, RF signal strength meter, A/B diversity status; separate audio LED bar graph display provides instantaneous audio level status from a distance • Back panel balanced XLR Mic level and unbalanced 1⁄ ” Line Level sum 4 (mixed) outputs • 1U rackmountable 2 W-1 KU 4W-1KU Receiver • Automatic open channel selection with convenient auto-scan feature • Front panel backlit LCD displays indicate selected audio output volume level, Group/Channel/ Frequency; separate LED display for A/B diversity status; bi-color (green/red) LED for received individual channel AF status • Back panel balanced XLR Mic level and unbalanced 1⁄ ” Line Level sum 4 (mixed) outputs • 1U rackmountable 4 W-1 KU 11 Bass Wireless Encore 200 VHF DigiTRU Diversity™ system for bass guitar TRANSMITTERS • Specially customized for use with bass guitar transmitter and features VHF BASS Bodypack Enhanced Headroom™ for maximized clarity and distortion-free audio • Bass Boost™ adjust for tuning in exactly the right bass punch and • Off/Standby/On switch allows • Easily accessible Input Level • Low-battery LED indicator flashes • Rugged ABS housing with convenient audio muting with transmitter on presence missing in standard wireless • Rugged half-rack receiver design with retractable front panel dual antennas and unique snap-out panel locking tabs for single receiver or dual receiver (side-by-side) optional rackmounting (see page 58) once for unit on; lights steady for low-battery alert • RF and AF 5-LED displays for monitoring incoming signal strength • Locking 3.5mm mini-jack provides and audio level secure connection for removable instrument cable • Unbalanced ¼” and balanced XLR outputs (for bass amp or direct Adjust for optimum sound for all types of bass pickup outputs integral antenna • Single 9V alkaline battery operation (15+ hours) mixer feeds, or both) • Volume control for unbalanced line output • Nady’s proprietary DigiTRU Diversity™ digital processing circuitry to eliminate dropouts and maximize operating range • Noiseless transmitter On/Off switching “My U-33B makes my bass sound more like a wired bass than any other wireless I’ve ever tried...pure thump.” Dan Lewis, Detroit, MI U-33B UHF DigiTRU Diversity™ system for bass guitar • Specially customized for use with bass guitar transmitter and features Enhanced Headroom™ for maximized clarity and distortion-free audio • Unique user adjustable Bass Boost™ control for dialing in the exact TRANSMITTERS U-33B BASS Bodypack • Small and compact antenna • Nady’s proprietary companding circuitry for an industry best 120dB dynamic range, and clearest, most natural sound available for interference-free performance in any application or locale • A/B antenna LED indicators • 5-LED AF display for monitoring audio level • Unbalanced ¼” and balanced XLR outputs (for bass amp or direct mixer feeds, or both) • Volume control for unbalanced line output • Fixed level for XLR output • External mute (squelch) adjust • Half-rack receiver design with folding front panel • Dual one-section telescopic antennas • Unique snap-out panel locking tabs for half-rack single receiver or full rack (side-by-side) dual receivers mounting with optional accessory rackmount kits (see pg. 58) U- 33B convenient audio muting with transmitter on • Bi-color LED status indicator: On • Enhanced Headroom™ for • Locking 3.5mm mini-jack provides maximum possible clarity and distortion-free audio, even with high output active pickups • DigiTRU Diversity™ for optimum range and dropout protection • Audio mute switch allows • Customized specially for use with U-33B bass guitar receiver • Clear channel operation on the wide open, uncluttered UHF band 12 E ncore 200 • Removable “rubber ducky” desired bass punch and presence missing in standard wireless • Externally powered by AC/DC power adapter } (green), low-battery alert (Orange) secure connection for removable instrument cable • Convenient, economical operation with two AAA alkaline or NiMH batteries In-Ear Wireless Monitoring Systems PEM-500 16-channel UHF PLL wireless in-ear system PEM-R Bodypack Receiver PEM-500T Stereo Transmitter • Portable bodypack receiver • Rugged, all-metal half-rack features a power switch; switchable built-in volume limiter; Output Level control; stereo/ mono select switch; two-color (red/green) 3-way Unit On/Signal/ low-battery LED indicators • Operates up to six hours (depending on volume) on a single 9V alkaline battery • Each receiver is supplied with a pair of miniature, lightweight (yet powerful) in-ear Koss® stereophones with soft rubber foam mounts in three shapes (conical, cylindrical and hexagonal); designed for fitted comfort and optimum acoustic transfer and isolation • Rear clip can be rotated 90° for attaching receiver either vertically or horizontally to clothing can be rackmounted singly or side-by-side with optional dual rack kit (see page 58) • Microphone Input allows wireless cueing of performers on stage • Front panel features Input Level control; stereo headphone monitor output jack and volume control; Select button for choosing one of 16 UHF channels, LED channel display; L/R 10-segment Audio Input Level displays • Available on selected frequency bands within the UHF spectrum for interference-free, long-range performance (up to eight systems can be operated simultaneously, depending on location and frequency band) • System consists of PEM-500T stereo transmitter and one bodypack stereo PEM-R receiver (both offer 16-channel user selectability) • Any number of additional receivers can be operated with the same transmitter if all are set to the same channel • Proprietary companding circuitry for wide dynamic range and clear, natural sound • Operating range: up to 300 ft. typical (depending on site conditions) • Rugged, foam-padded traveling case provides easy, safe transport and storage • Back panel provides BNC jack for the detachable antenna; stereo/ mono select switch, ¼” TRS balanced microphone input, XLR jacks for left and right line inputs • Externally powered by AC/DC power adapter PEM-5 0 0 EO3 Pocket-sized VHF wireless in-ear monitor system EO3 Transmitter • Ultra compact and lightweight • Broadcasts on one of eight channels in the 72-76 MHz band to any number of Nady EO3 wireless bodypack receivers on the same channel • 300 ft. wireless operating range • Eight factory switchable channels • Any number of EO3 receivers can be used with a single EO3-T transmitter • Ultra compact and lightweight • Preset to one of eight channels in the 72-76 MHz range • Loudness adjustable with volume control—provides up to 130dB in‑ear monitoring • Antenna is integral with earphone cord • A pair of mini binaural EB-3 earphones included; optional EMI soft rubber inserts supplied • Rear panel input for line level audio • LED Power On indicator • Front panel input for microphone • Single 9V alkaline battery operation • Audio input gain control • Automatic level control • Extendable antenna • 9-volt DC input for AC-EO3; 9VDC regulated power supply adapter provided • Power switch with red LED Power On indicator • Audio modulation LED indicator E O3 13 Portable Wireless PA TRANSMITTERS WA-120 Powerful and portable VHF wireless PA system WA 120 WHT Handheld Microphone • Operates on a separate • Full-range speaker system with built-in amplifier, mixer, single frequency in the VHF 170‑216MHz band • Features the Nady DM-10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise • Off/Standby/On switch allows convenient audio muting with transmitter on • Low-battery LED indicator flashes once for unit on; lights steady for low-battery alert • Uses one 9V alkaline battery for 15+ hours operation and high-band VHF wireless receiver • Features noise reduction companding circuitry for quietest operation with a wide dynamic range • Built-in echo/reverb • Powerful 20W audio output • ¼” unbalanced input jacks (Mic/Aux) and one ¼” unbalanced Record Out; treble and bass controls • Powered externally with provided AC adapter, or internally with either the optional RB-120 rechargeable battery or eight “D” cell alkaline or rechargeable batteries • Convenient internal charging ports for 9V rechargeable transmitter batteries (NiCad or NiMH) and RB-120 optional rechargeable battery • Choice of transmitters: WHT handheld mic or WLT lavalier/headset mic bodypack transmitter Video and Podium Wireless WLT/WGT Bodypack Transmitters • Choice of instrument or headworn/lavalier microphone bodypack transmitter • Off/Standby/On switch allows convenient audio muting • Low-battery LED indicator flashes once for unit on; lights steady for low-battery alert • Uses one 9V alkaline battery for 15+ hours operation • Locking 3.5mm mini-jack provides secure connection for removable microphone or instrument cable • Easily accessible input level adjust control for optimum sound • Available with LM-14O omni-directional/LM-14U uni‑directional lavalier mic or Headmic™ Series headworn mics (see page 50) VR Series Wireless microphone systems for camcorders • Rugged 151VR or mini 351VR receivers can be camera-mounted or worn as bodypacks (with removable belt clip) 151 VR • Easy hook-up to camcorder with supplied connecting cable • Powered by 9V alkaline battery • 120dB dynamic range with no background hiss or overload distortion • LED lights indicate low battery and receiver signal • Convenient operation with Output Level and Mute adjusts; separate 3.5mm Audio Output and monitor headphone mini jacks; headphone volume thumbwheel control with integrated unit Off/On switch • Detachable softwire antenna extends from top of receiver (detachable “rubber ducky” antenna optional for 351 VR only) • Choice of transmitters: WHT handheld mic or 351 VR WLT lavalier/headset mic bodypack transmitter WPM Series Podium microphones WPM-1V 12 standard frequencies between 170~216MHz WPM-2U 6 standard frequencies between 470~510MHz • Ideal for desktop conferencing • Simple setup with no cumbersome cabling required between mic and amplifier—the cleanest, simplest possible installation • Both units offer top performance indistinguishable from the best hardwired podium microphones for use with: for use with : • DKW-1 • Encore Series • 401X QUAD • UHF-3 (UHF receiver) (VHF receivers) • Superior, clear audio for best possible communication • Up to 200 ft. ultra reliable reception range for maximum versatility and operating ease in any application • Up to eight WPM-1V systems and six WPM-2U systems (all on different frequencies) can be operated simultaneously— up to 14 total if combining VHF and UHF systems 14 W P M- 1V W P M- 2U Infrared Systems IRW-2PA All-in-one wireless PA system HT-6SC Handheld Mic LT-6SC Bodypack Transmitter • Multiple emitter array of high • Multiple emitter array of high efficiency infrared emission LEDs for optimum IR transmission efficiency infrared emission LEDs for optimum IR transmission • Power On LED • Power On LED • Powerful uni-directional dynamic • Channel A/B selector switch cartridge for optimum audio, minimal handling noise, and maximum feedback rejection • Rugged steel mesh ballscreen with anti-roll ring • 3.5mm mini-jack for connection of lapel microphone • Audio Input volume control • Belt clip and neck-worn lanyard • Operates up to six hours • Operates up to six hours • Equipped with charger • Equipped with a charger protection on two AA alkaline or NiMH rechargeable batteries protection circuitry that can detect and shut down charging function if regular alkaline or nonrechargeable batteries are mistakenly recharged on two AA alkaline or NiMH rechargeable batteries circuitry that can detect and shut down charging function if regular alkaline or non-rechargeable batteries are mistakenly recharged • Ideal for schools, lectures, • Power On, IR reception, • Multi-functional wall-hanging • Two remote-mount IR sensors • Two wireless microphones, • UL approved AC/DC power supply conferences, and karaoke applications and battery charging status LED indicators lockbox houses dual infrared wireless receiver, preamp, power amp, and transmitters with battery-charging holders for safe/secure charging and storage Aux Input, and hard-wired Mic Input allow up to four total input signals, each with its own volume control supplied with 20 ft. and 35 ft. connecting cables and variableposition wall mounts; each sensor has multiple array of wide-angle infrared-sensitive LEDs • HT-6SC handheld mics and/or LT-6SC bodypack/neck-worn lapel mics available • Master treble and bass controls • 35W RMS power amp, perfect for driving two 8Ω speakers or any number of small ceiling speakers • Battery chargers with unique safety shut-down protection circuitry to detect reverse polarity, damaged batteries, and non-rechargeables • Line-of-sight transmission with no interference from systems in adjoining rooms provides ultimate privacy and isolation I nfrared T echnology Most wireless microphones use RF (radio frequencies) on different VHF or UHF bands to transmit audio from transmitter to receiver. IR (infrared), which is light right below the visible spectrum, can also be used to transmit these signals. As with all light, infrared transmission is confined to the room in which it is used and does not transmit through walls as with RF. IRW- 2PA Although more limited in range and applications, IR systems are preferred for use where operation is over a shorter distance and confined to small areas such as classrooms or meeting rooms, and where multiple units can be used in adjoining spaces (e.g., in schools) without interference as may occur with RF wireless systems. IRW- 220X IRW-HT6X Handheld Mic IRW-LT6X Bodypack Transmitter IRW-220X Dual IR wireless microphone system • Multiple emitter array of high • Multiple emitter array of high efficiency infrared emission LEDs for optimum IR transmission • Power On LED • Powerful uni-directional dynamic cartridge for optimum audio, minimal handling noise, and maximum feedback rejection • Rugged steel mesh ballscreen with anti-roll ring • Operates up to six hours on two AA alkaline or NiMH rechargeable batteries efficiency infrared emission LEDs for optimum IR transmission • Power On LED • Channel A/B selector switch • 3.5mm mini-jack for connection of lapel microphone • Audio Input volume control • Belt clip and neck-worn lanyard • Operates up to six hours on two AA alkaline or NiMH rechargeable batteries • Dual receiver allows simultaneous 2-channel operation of two transmitters (Ch. A/B) • IR signal reception LED indicators • Channel A/B mixed audio output (RCA phono jack) • Separate Channel A and Channel B volume controls • Two IR sensor coaxial inputs • Two IR sensors supplied — each sensor has multiple array of wide-angle infrared sensitive LEDs • 20 ft. and 35 ft. connecting cables and wall mounts supplied 15 Assistive Listening ALD-800 Multiple VHF receiver system • System operates on one of eight factory switchable channels within the 72-76 MHz band designated for auditory assistance frequencies by the FCC • Transmitter offers full manual controls and connections (including Mic and Line Level inputs), automatic level control, extendable antenna, and Power On/Audio Input Level LED displays • Any number of pocket-sized ALD‑800 receivers can be used with a single ALD-800 transmitter • Receivers include mini binaural earphones, providing up to 130 dB SPL for hearing assistance with volume control, Power On LED, antenna integral with earphone cord • Uses a single 9V alkaline or rechargeable NiCad or NiMH battery ALD-8 0 0 IR-200 2-channel single-unit infrared transmitter with separate or stereo channels IR-210 Stereo headphones IR-211 Dual channel selectable (A/B) headphones • Advanced 2.3/2.8MHz IR transmission eliminates the interference from ballast (fluorescent tube) lighting which was problematic with earlier 95/250KHz IR systems • 4000 sq. ft. (370 sq. m) coverage • Any number of IR-200 transmitters can easily be daisy‑chained together for greater coverage via dual sync in and sync out connectors on each unit • Can be wall-mounted or on optional stand for portable temporary setups • Transmitter can be used with any number of IR-210 (stereo) or IR-211 (dual/separate channel) receivers • High-gain IR LED (light-emitting diode) emitter panel with built-in amplifiers • Two Audio Inputs, fully compatible with any audio source such as mixers, radios, VCRs, etc. • Two Mic Inputs (for optional voice‑overs) • LED indicators for Signal On for both Audio In and Mic In inputs • Built-in automatic level control (ALC) to eliminate audio peaks and ensure comfortable listening levels • 28VDC external powering from supplied AC/DC adapter simplifies installation wiring requirements • Headphone receivers feature ultra IR light-sensitive diodes for optimum reception and maximum range; A/B channel select switch (IR-211 only); On/Off power switch with LED indicator; two audio volume controls IR - 200/ 210 IR - 200/2 1 1 • Uses two AAA batteries • Adjustable headband for comfortable fit “For many years, my church has been using the Nady ALD-800. What a difference it’s made in my congregation... now even our hearing impaired members can actively participate in our services.” Rev. Alan Vitero, Sacramento, CA 16 } Pro Audio Gear “ My SPA-2400 power amps have been the #1 tool in my rack for the last ten years of successful touring. ” Scotty Schenk, Sound Engineer Dwight Yoakam, Smash Mouth, Third Eye Blind, KISS Portable Sound Systems................... 32 MPM Series PA, RPA Series, MPA-30, Ensemble PA‑4180, Access PSS-150 Power Amplifiers................................ 18 SPA Series, PPA-300, XA Series, 3WA-1700 Rack Gear............................................ 24 RDI-8, SD-2418, RL-2, RMX-6, PB48 Equalizers............................................ 20 GEQ Series, PEQ-5B Microphone Preamps......................... 25 PRA-8, DMP-2, TMP Series Power Line Conditioners................... 21 PCL Series, CPD-1006L Headphone Amplifiers....................... 26 HPA-4, HPA-8, HA-1X4 Speakers.............................................. 34 J Series, PAM-10F, FWA Series, ProPower™ Series, PSW-18A, THS-1515, M-CAB™ Series, P-CAB™ Series Crossovers.......................................... 21 CX Series Direct Boxes........................................ 27 DB-1, ADI Series Studio/Personal Stage Monitors...... 38 SM Series, PM Series, CSM-5 Power Controllers.............................. 22 SC-100, PC-80 Sound Pressure Level Meters........... 27 DSM-1, ASM-2 Headphones........................................ 39 QHM/QH Series, DJH-2000 Analog Sound Processors................. 22 CL-5000, FS-4N Mixers.................................................. 28 MM Series, CMX-16A, SRM Series Noise-Cancelling Headphones.......... 40 QH RacketBlaster™ Series Digital Sound Processors.................. 23 SDP-20, SDR-260, DigiComp 16 Powered Mixers.................................. 30 PMX Series, SPM Series, MPMx Series Miscellaneous Gear............................ 40 PHP-3, HE-1 Whether you’re looking for audio gear to outfit a large concert hall, recording studio, rehearsal space, nightclub, or conference room, Nady can effectively meet your needs. We know that selecting the gear best suited to your particular needs is an important part of creating the overall sound you’re after. Nady’s broad range of professional audio equipment offers sound solutions for virtually every live audio application. And with many models to choose from, you’re sure to find just the right gear at just the right price. Pro Audio Power Amplifiers SPA Series Stereo power amplifiers SPA 850 SPA 1400 SPA 2400 2 x 350W RMS @ 4Ω 2 x 425W RMS @ 2Ω Bridge mono: 600W @ 8Ω, 850W @ 4Ω 2 x 500W RMS @ 4Ω, 2 x 800W RMS @ 2Ω Bridge mono: 1000W @ 8Ω, 1400W @ 4Ω 2 x 750W RMS @ 4Ω, 2 x 1400W RMS @ 2Ω Bridge mono: 1600W @ 8Ω, 2400W @ 4Ω • Continuously variable speed fan with back-to-front air flow • Full operating features: user‑defeatable clip limiter; switchable 30Hz low-cut filter; balanced XLR and ¼” TRS inputs; detent volume controls; stereo (dual-channel, parallel-input, or bridged mono operating models) with selector switch; binding post and Neutrik Speakon™ outputs; ground-lift switch • Complete, advanced safety/ thermal overload protection on each channel; short circuit and speaker protection; DC servo operation; built-in current limiter S PA - 850 • Parallel outputs allow “daisy‑chaining” amps • ~115V (60Hz)/~230V (50Hz) AC select switch • Clip and Signal LED indicators for each channel S PA - 1400 • Durable double rack space (2U) steel casing reliability features: soft-start turn on; noise-free On/Off; Built-in DC offset; independent DC and S PA - 2400 PPA-300 Stereo power amplifier 2 x 150W RMS @ 4Ω 2 x 120W RMS @ 8Ω • Full operating features: stereo (dual channel); volume controls; XLR and ¼” TS inputs • Full operating features: Power On LED; signal and clipping LED indicators for each channel • Roadworthy, rugged double rack space (2U) housing 18 • IEC power cord connector with built-in fuse • Full safety/reliability features: fan for cooling; soft-start turn on; noise-free On/Off; built-in DC offset; independent DC and thermal overload protection on each channel; short circuit and speaker protection S PA - 2400 XA Series Stereo power amplifiers XA-1100 XA-2100 2 x 475W @ 4Ω Bridged mono: 1100W RMS 2 x 870W @ 4Ω, Bridged mono: 2100W RMS • Full operating features: detent volume controls; parallel balanced XLR and ¼” TRS inputs; stereo (dual channel), parallel-input, or bridged mono operating modes with selector switch; binding post (banana plug) outputs; ground lift switch • Full safety/reliability features: two dual speed fans for cooling; soft-start turn on; noise-free On/Off; built-in DC offset; independent DC and thermal overload protection on each channel; short circuit and speaker protection; DC servo operation; built-in digital current limiter XA - 1100 • Power On, Clip, Signal, and Protect LED indicators for each channel • Roadworthy, rugged double rack space (2U) housing XA - 2100 A M PLI FI ER P OWER R ATI NGS 3WA-1700 3-channel (stereo main and subwoofer) amplifier When selecting an amplifier from among competing brands with similar features, be sure that you are comparing the correct output power ratings. First, make sure all the output power ratings you are comparing are stated in Watts RMS, which most correctly reflects the average power the amp can sustain with continuous use. Many amps show a rating in Watts only. Generally, these refer to peak Watts capability, which can be up to twice the RMS rating. Also, these measurements are sometimes taken at 10% distortion (THD). This produces a higher reading than the correct measurements taken at 1% THD, which more accurately reflects the desired audio in any application. Power Output Ch. 1 & 2: 2 x 450W RMS @ 4Ω Subwoofer: 800W RMS @ 4Ω It is also important to make sure you are comparing power ratings at the same speaker load. You will notice that the lower the load (e.g., 2 ohms vs. 4 ohms, or 8 ohms), the higher the reading. Always compare apples to apples when choosing the amp power you want. Note that Nady Audio amps are all rated at Watts RMS at 1% THD. • Three-way amp allows you to power left and right main speakers and subwoofers with no crossover necessary, all from one 2U rack chassis • Easily powers four 8Ω speakers for the stereo mains and two 8Ω subwoofers with 450W of power per channel, plus a whopping 800W for the subs • Perfect for DJs, traveling bands, and small clubs • Selectable internal Low Pass Filter can be adjusted from 50Hz to 250Hz to maximize the tight punch of your subs Sub channel to pass full-range signals for monitor feeds or sound reinforcement • Selectable Low-Cut Filter to minimize muddy bass and stage rumble • Balanced XLR and ¼” TRS inputs; binding post (banana plug) outputs, detent volume controls for each channel • Power On, Signal, Clipping, and Protect LED indicators for each channel • Full safety/reliability features: four variable speed fans for ultimate cooling; noise-free On/Off; built-in DC offset; independent DC and thermal overload protection on each channel; short circuit and speaker protection • Roadworthy, rugged double rack space (2U) housing • ~115(60Hz) IEC power cord connector and 3AG fuse holder • Filter/Source switch enables the internal low-pass filter and uses the left and right input signals for the subwoofer, or disables the internal filter to use either an external active crossover or the 3WA - 1700 “I loved my Nady XA-1100 so much that after I bought it I went back and got an SRM-12X mixer and four SP-5 mics with the money I had left over from what I originally budgeted for an amp alone. Great gear. Great prices. Thanks!” Al Stevens, St. Louis, MO } 19 Equalizers GEQ Series Graphic equalizers GEQ 131 GEQ 215 1-channel Single rack space 31 1/3 rd octave bands each channel 2-channel Single rack space 15 2/3 rd octave bands each channel GEQ 231 • Balanced XLR and ¼” TRS 2-channel Double rack space 31 1/3 rd octave bands each channel • Balanced XLR and ¼” TRS input/output connectors • Constant-Q bandwidth from each filter with 3% center frequency accuracy input/output connectors • Constant-Q bandwidth from each • Center detents on faders and variable input level control (+/- 12dB) • Gain status LED bar graph with peak LED • Parallel filter design for • Power switch with integral • Ultra low-noise circuitry • Shielded internal power supply minimal phase distortion • Low-cut filter at 40Hz, 12dB/octave switchable, with status LED • Band range: +/- 12dB gain • Equalizer On/Off bypass switch with status LED filter with 3% center frequency accuracy • Parallel filter design for minimal phase distortion • Ultra low-noise circuitry • Selectable range, 6dB or 12dB gain • Equalizer On/Off bypass switch • Center detents on faders and variable level control • Power OFF automatic bypass function • Peak (overload threshold) LED • Shielded internal power supply with AC input and selectable line voltage (~115V/60Hz or ~230V/50Hz) • Ground lift switch LED On indicator with AC input and selectable line voltage (~115V/60Hz or ~230V/50Hz) • Compact and durable all-steel chassis design GE Q 215 GEQ 23 1 GE Q 131 PEQ-5B Parametric 5-band equalizer • 15dB boost/cut per band • Constant-Q • State-variable filter circuitry for precision control of tone coloration • Parallel phase filters for minimal phase shifting • Tunable high and low cut filters • Each band is independently switchable and adjustable in bandwidth (.03 to 2 octaves wide), allowing a range of adjustment from tight notching to extreme boost/attenuation by band overlapping 20 • Servo-balanced XLR and ¼” TRS inputs and outputs • Bypass switches on “Great gear!” Donna Emmett, Spokane, WA each channel • 12-segment LED switchable Input/Output meter • Housed in a single rackmount metal housing (1U) P E Q- 5B } Crossovers Power / Equalizers Line Conditioners PCL Series Power conditioners • Triple mode varistor surge and spike protection PCL-800 • Large LED numeric meter • Eight rear outlets (with room for that displays incoming AC line voltage; two voltage condition indicators—standard voltage and over voltage (PCL-815 only) • 15 amp rating (1800W) with rear • Rugged single-rack space metal four “wall warts”) controlled by front panel switch panel circuit breaker (UL) housing for maximum reliability • Two added front panel slide- out, swiveling lights for rack illumination and dimmer controls to adjust lamp brightness (PCL-810 and PCL-815 only) PCL-810 PCL-815 CPD-1006L Conditioned power distribution with sequence controller • Ten AC sockets: Two unfiltered CPD -1006 L } “My CPD-1006L has become indispensible in my rack setup.” Barry Sims, Chicago, IL front panel and eight conditioned, with six‑step delayed sequence turn‑on/off • 2-second sequence interval standard—factory adjustable also to one or three seconds • Retractable, rotating, six-LED lamp for long-life front rack illumination • Rack light Hi/Off/Low dimmer switch • 15A circuit breaker • Superior RFI/EMI filtering and surge protection • Extremely accurate voltage meter with 3-digit LED numeric display Crossovers / Equalizers Crossovers CX Series Stereo crossovers CX-22SW • Single rack space (1U) 2-way stereo and subwoofer • Shielded internal power supply with AC voltage CX- 22S W select switch (~115V/60Hz or ~230V/50Hz) • Phase inversion switches CX-23SW • Low-cut subsonic filters for low frequency 3-way stereo and subwoofer • Servo-balanced XLR inputs driver protection • Superior performance with transparent audio CX- 23S W 21 Power Controllers SC-100 Sequenced power controller • Convenient 1U rack unit for controlling sequenced AC power, On/Off for up to ten pieces of audio equipment • Rear panel outlets with front panel LED indicators are sequenced with 1-second delay, allowing for smooth power up and down of power amplifiers, mixer consoles, wireless equipment, etc. • Controller provides a gradual turn on process and turns off in reverse order • Ten each 3-prong AC outlets are multi-national style compatible with standard US plugs and round European plugs • Key lock On/Off switch with • Both Hot/Neutral AC lines are • Internal filtering to reduce • Heavy-duty internal relays for bypass for secure operation noise and spikes interrupted for maximum safety superior reliability S C- 100 PC-80 Power controller • Convenient 1U rack unit for controlling power On/Off for up to eight connected pieces of audio equipment • Eight 3-prong AC outlets in rear, each controlled by front panel enabling switch with LED status indicator, allows for smooth power up and down of power amplifiers, mixer consoles, wireless equipment, etc. CL-5000 Dual channel compressor limiter with gate • Two independent compressor/ limiter/gates in a road-tough steel single-rack-space (1U) housing • Utilizes unique circuitry combining hard and soft knee compression styles; provides excellent inaudible and music program compression as well as effective dynamics processing • Advanced operating features include fully automatic or manually variable attack/release times, compression ratio, and threshold control • Dual 12-stage gain reduction and 8-stage input/output metering • Dual-mono or stereo operation; servo-balanced inputs (with automatic hum/noise reduction) and outputs CL-5000 22 P C- 80 • Circuit breaker Analog Sound Processors Crossovers / Equalizers • Built-in adjustable dynamic enhancer (selectively replaces high-end loss even with severe compression due to high‑energy/ low-end content) • IRC (interactive ratio control) expander/gate—automatically adjusts expansion per program material, eliminating noise floor during quiet sections or music pauses • TRS side-chain applications, including de-essing, emphasizing/ de-emphasizing designated instruments during recording, eliminating feedback in live applications, and ducking • Shielded internal power supply and voltage selector for switching between ~115VAC (60 Hz)/~230VAC/(50Hz) FS-4N Feedback suppressor • Four extremely narrow (1/60 octave) notch filters, each independently adjustable from 60 to 6,000 Hz, allow quick elimination of unwanted problem frequencies without affecting integrity of overall sound • A control for adjusting notch depth on each filter enables precise attenuation (up to -20 dB) at each selected frequency • Push button bypass switches all four notches in and out simultaneously for fast monitoring of results during use • ¼” TRS balanced jacks for both Signal In/Out F S - 4N • In-line 8-band audio spectrum analyzer LED display enables quick identification of frequency range of any problem frequency; facilitates immediate reaction and suppression by operator • Internal shielded power supply with external fuse and ~115V (60Hz) / ~230V (50Hz) AC select switch • Single rack space (1U) rugged metal housing for reliability • IEC power cord socket for AC operation and screw terminals for optional +24 VDC input powering SDP-20 Stereo preset/programmable digital multi‑effects processor sound processor (DSP) offers a full complement of 256 of the latest, most useful/breathtaking effects presets including room and hall reverbs, gates, delays/ echoes, chorus/flanging/Leslie, pitch shifting, and overdrive/ distortion • Intuitive and easy to operate— all parameters can be selected and/or edited via the jog wheel knob (up to six editable parameters for each effect) or external MIDI remote control (via MIDI nrpn messages) with 20 user program locations for personal edits • 20-bit A/D and D/A converters with 64/128 times oversampling for ultra-high headroom and resolution • Internal 20-bit processing with 46.875 kHz sampling rate for unsurpassed audio • Servo-balanced inputs and outputs with XLR and ¼” TRS connectors • Full remote MIDI control of all functions and parameters • 6-segment ultra-precise stereo input level LED display • 3-digit program and parameter LED display • External effects control via rear panel ¼” jack for changing preset program counter incrementally via optional external foot switch • Selectable Bypass with rear panel ¼” jack for optional external bypass foot switch } • Powerful dual engine digital Crossovers Digital / Equalizers Sound Processors } “I love my SPM-4250 powered mixer, and I bought a pair of MC-10 speakers to use with it. The sound is amazing and the gear is easily portable.” Howard Wu, Miami, FL • Rugged construction for maximum long-term reliability • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector • 4-band digital equalizer, programmable by push buttons and jog wheel knob S DP - 20 SDR-260 Stereo digital reverberator DigiComp 16 ™ Stereo 18-bit digital compressor • Powerful dual engine digital • Exceptional assortment of sound processor (DSP) offers a full complement of 60 of the latest, most useful/breathtaking effects presets including hall and room reverbs, gates, echo/ vibrato/chorus/flanging delays, pitch shifting, and concert/stage re-creations • Intuitive and easy to operate— all parameters can be selected and/or edited via the jog wheel knob or external MIDI remote control (via Program Change messages) with 60 user program locations for personal edits storage • 24-bit A/D and D/A converters for ultra-high headroom and resolution • Internal 44.1KHz sampling rate for unsurpassed audio SD R -26 0 • Servo-balanced inputs and outputs with XLR and ¼” TRS connectors • Input and output Level Switches add +4 dB or attenuation -10 dB • Remote MIDI program change and bypass control • 4-segment, ultra-precise stereo input level LED display • 3-digit program and parameter LED display • Front Panel Selectable Preset/ User/MIDI/Bypass controls • Input level Control, variable • Rugged construction for maximum long-term reliability • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector 16 popular, one-of-a-kind preset digital compressor ROM programs including AGC Pure, Acoustic, Master, Clean, Dance, Kick Drum, Mixdown, Jumping Up, and eight classic stereo settings with 16 user-selectable parameter variations for each algorithm • Unique digital AGC and proprietary algorithms provide real dynamic compression for adding punch to weak signals, new dimensions to your sound and useful limiter functions • Advanced state-of-the-art digital processing with 18-bit Sigma-Delta AD/DA conversion, high speed 12.5MIPs operation, and 52-bit accumulator resolution ensures first-class/high-quality audio with negligible distortion, full bandwidth 20-20KHz response, and low noise/high dynamic range • Convenient front panel I/O signal gain controls, bypass switch, program and variations select controls • Rear panel ¼” I/O stereo and bypass jacks (for optional footswitch) • Versatile + 4/-10dBu input signal level stereo/mono operation, high gain mono input for plugging instruments in direct • 9 volt AC adapter supplied • Road worthy, ultra portable, all-metal 1/3 rackmountable or tabletop housing DigiComp 16 23 Rack Gear RDI-8 8-channel DI box/line mixer SD-2418 Audio signal distributor • Eight totally independent DI Box • Splits balanced mono signal into units in a 1U package for multiple signal corrections/conversions, with ¼” TRS jacks for balanced or unbalanced inputs and XLR jacks for servo-balanced outputs for each channel • Each DI box eliminates impedance mismatch problems and converts any sound source— from guitar to speaker inputs— into a clean, powerful, hum-free, noise-free, interference-free balanced signal; perfect even for extremely long cable runs • Can be used simultaneously as an 8-channel line mixer with both stereo Line and Master outputs • Optimum hookup flexibility with independent parallel link outputs for each channel; enables applications such as monitoring a specific input locally while sending an XLR balanced direct output to another source without affecting the line mixer signal • Multi-purpose design enables parallel-operation applications (e.g., setting an independent stereo mix for stage monitoring for extended setup of keyboards, samplers and synth modules while supplying independent XLR balanced outputs to the stage box for the front of house engineer) • Controls for the Line Mixer operation include independent rotary volume and L/R pan controls per channel for the Stereo Line output, and an additional Master Volume control for the Master Stereo output • Indispensable signal routing tool for live sound and recording applications requiring signal splitting and distribution with level matching to different equipment Ground Lift switches per channel control both the DI Box and Line Mixer outputs simultaneously • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector • Advanced circuit design and carefully selected components ensure extended linear frequency response and ultra low distortion for pure, transparent audio across the spectrum for both DI Box and Line Mixer operation • Rackmount light illuminates mixing consoles and rack gear for easier operation on dark stages • Two 10” flexible gooseneck lights mounted on a 19” rackmount strip (1U) • High-quality, rugged construction for maximum long life and reliability RL-2 • 6-channel mic/line mixer in a • Phantom power (15V) on • Versatile, no-solder patchbay • Balanced XLR mic and ¼” TRS • Dual (low and high level) outputs line inputs each channel treble controls RM X-6 • Wide dynamic range for optimum signal integrity and transparency RL-2 Dual gooseneck rack light PB48 Modular patchbay • Master volume, bass, and +6dB gain) for all eight outputs; 2-4,1-8 split mode select switch and display; dual balanced inputs (Ch. A/B) with Link outputs for optimum signal routing flexibility in hookup S D- 2418 RMX-6 Rack microphone/line mixer single rack space (1U) • Individual gain controls (up to • Independent 20dB Pad and RD I-8 24 eight separate balanced mono signals or stereo pair into four separate stereo pairs channels 4-6 mic inputs • Internal shielded power supply, ~115V/60Hz AC powered provides 48 points in a single rack space (1U) • Normalled, half-normalled and isolated configurations • ¼” TRS for both balanced and unbalanced signals P B 48 • Can be mounted on either front or rear of rack cases • On/Off switch and integral fused power supply included. Hard-wired power cable plugs into 115 VAC outlet PRA-8 8-channel microphone preamplifier • Eight totally independent world- class preamps in one single rack (1RU) through package with servo-balanced XLR inputs and ¼” TS outputs for each preamp • Highest quality components and advanced design with ultra-linear, high bandwidth operational amps for no-compromise crystal clear audio; exceptionally low noise and negligible distortion • Individual gain control and Peak LED indicator on each channel with up to 75dB of gain Microphone Preamps • +48V Phantom Power with individual Phantom On/Off switches and Phantom Power On LED indicators for each channel • Rugged construction for maximum long-term reliability • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector DMP-2 Dual microphone preamplifier • Unsurpassed audio with excellent stereo imaging, ultra low noise, superb transient response and transparent, distortion-free sound • Superior performance comparable to console preamps • Rugged, lightweight all-metal • Includes XLR I/O jacks, Power Off/On, +48V phantom power 3-way switch, selectable integrated limiter, dual Gain controls, Power On and dual Peak LED indicators • Powered by 9V Alkaline or NiMH battery enclosure designed for long life and portability PRA-8 DMP-2 TMP Series Tube microphone preamplifiers TMP-1 / TMP-2 Tube microphone preamp TMP-3 Tube microphone preamp plus EQ/compressor channel strip • Hand-selected 12AX7A vacuum • Smooth, warm tube sound with tube circuitry provides large, warm sound for microphones and instruments — fills out your sound for perfect recording • Selectable output limiter circuitry to avoid clipping and protect connected equipment (e.g., processors) • Convenient analog VU meter allows excellent control of desired signal levels and monitors limiter function when limiter is activated • Variable Input and Output gain controls • +48VDC phantom power switch • Phase Reversal switch • Servo-balanced XLR and unbalanced ¼” TS Inputs and Outputs • Rugged construction for maximum long-term reliability • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector superior clarity/transparency for truest audio • Mic Preamp Input section offers full complement of controls including switchable +30dB gain, 180° I/O phase reversal, +48V phantom power, and a Gain pot with Clip LED indicator selecting proper incoming signal level • Three-band EQ section with low and high shelving filters and sweepable mids for precise frequency tailoring; Output Level control for adjusting overall volume from the TMP‑3 main outputs • Natural sounding optical compressor section with threshold and ratio controls for accurate musical dynamics processing • VU gain reduction meter for monitoring amount of signal compression • Rear panel ¼” TRS side chain I/O jack for external compression control; In/Out bypass switch • Servo-balanced XLR and unbalanced ¼” TS input/output jack; ~115V(60Hz)/ ~230V(50Hz) select switch, fused IEC power cord connector TM P-1 TM P-2 TMP - 3 25 Headphone Amplifiers HPA-4 4-channel headphone amplifier/line distributor • Four totally independent stereo high-power headphone amplifier/ line distribution channels in a convenient single rack package • Easy-to-operate unit allows maximum variety of monitoring and stereo line level signal distribution options • Input source select switches and Phone and Line ¼” TRS stereo outputs on each channel • Four independent stereo input sections (each with servobalanced L/R ¼” TRS jacks) enable independent selection of any of the four stereo signals for each headphone amp/line distribution channel • Selection of up to four completely independent monitor signals for each set of headphones connected to the HPA-4 allows optimum monitoring flexibility, or four separate choices for each channel’s Line Output (enabling many audio switching/routing solutions) • No-compromise circuit design, stringently selected tighttolerance components and low-noise, extremely linear amps for reference-quality, transparent audio with maximum headroom even at extremely high headphone volume levels • High-quality, rugged construction for maximum reliability • Shielded internal dual regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector • Separate volume control for each channel adjusts the level to both phone and parallel line outputs • Easily expandable for optimum versatility in any application— up to four HPA-4s can be daisy-chained for additional fully selectable headphone/line distribution requirements HPA - 4 H eadphone vs . S peaker monitorin g in the studio HPA-8 8-channel headphone amplifier • Eight stereo headphone channels in a convenient single rack package enable multiple signal distribution options for monitoring flexibility • Each channel has separate volume control and ¼” stereo outputs • Over 100mW of power per channel with full spectrum audio response and maximum headroom (even at high volume headphone levels) • No-compromise circuit design, SMD technology and low-noise op-amps for reference • Three balanced, line-level input channels with capacity to distribute one input signal to all headphones or group the headphone outputs (depending upon input configuration) for monitoring flexibility • Mono/Stereo selector switch When used with high-quality headphones such as the Nady QH series (see page 39), all Nady headphone amps deliver high-end audio to satisfy even the most critical audiophile. In addition to the most common application of individual monitoring while recording, these amps are also well-suited for simultaneous playback to multiple listeners. While studio monitor speakers will always image and deliver the physical intensity of sound better, the best audio resolution is provided by headphone monitoring. Headphone monitoring delivers complete isolation and intimacy with the recording, creating a far more intense experience than speakers. If you find yourself hearing things on your studio monitors but can’t quite make them out, headphone monitoring makes every detail apparent, allowing you to make the critical decisions necessary to get the sound you’re after. for each set of inputs • High-quality, rugged 1U construction for maximum reliability • Shielded internal power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector • Quality, transparent audio with maximum headroom even at high headphone volume levels HPA - 8 HA-1X4 4-channel stereo headphone amplifier • Allows four channels of stereo • ¼” Stereo jack input can be • Advanced design for widest • Rugged metal chassis for headphone monitoring with individual level controls dynamic range, with lowest noise and distortion 26 driven by any line level or headphone amp output long‑life reliability HA - 1X4 Crossovers Direct/ Boxes Equalizers DB-1 Passive direct inject box • Enables connection of any unbalanced audio source signal (such as an electric instrument, keyboard, or amp speaker output) to any mic level balanced input (such as a mixer) • Parallel Output allows simultaneous connection to two separate inputs (e.g., to an amp and mixer) • Translates high-impedance instrument outputs into lowimpedance balanced signals, or balanced low-impedance signals into unbalanced outputs • Converts unbalanced +10dB DJ mixer signals to balanced mic level signals, enabling easier interfacing with consoles and longer cable runs ADI Series Direct inject boxes • Eliminates need for a direct box on multiple keyboard setups plugged into an instrument amp—input directly to a console mixer by connecting the speaker outputs of the amp to the console input through the DB-1 • 3-position input attenuation switch (0dB, -20dB, -40dB) facilitates proper output signal levels for optimum level matching to connected equipment • Switchable ground lift eliminates ground loop hum problems • Rugged, roadworthy all-steel construction for years of reliability ADI-1 Single direct inject box ADI-2 Dual direct inject box • Eliminates impedance mismatch problems and converts any sound source at almost any level into a clean, noise-free balanced signal • Full-featured controls and connections include On/Off, Ground Lift, and Guitar/Speaker source select input attenuation switches • Unbalanced ¼” TS input and Parallel Link Output jacks • Servo-balanced XLR output jack • Parallel link output allows ultimate hookup flexibility by enabling applications such as connection to the input of the backline or monitor amplifier • Portable aircraft aluminum extruded case for ultimate roadworthiness, long life and reliability • Powered either by consoles +48V phantom power or internal 9V battery • 0.9 lbs (.453 kg) DB - 1 A DI- 1 A DI- 2 “Love your gear! I bought your stuff first for the low prices, and then because of the great sound and features. I just got a CMX-16A mixer and it’s another winner!” Joe Bisgaard, Cleveland, OH } Sound Pressure Level Meters DSM-1 Digital SPL Meter • Highly accurate SPL meter with two level ranges measuring between 30dB and 130dB at 32Hz-8KHz • Easy-to-read 4-digit LCD display with selectable permanent backlight • Selectable A or C weighting and fast or slow response; maximum hold selector with hold button to capture input at any time; alarm indicating the input is above range; internal battery tester; built-in calibrated, linear omnidirectional 1/2” electret condenser microphone; ASM-2 Analog SPL Meter and threaded insert to attach to optional SMT-3 tripod or standard camera tripod • Uses 9VDC alkaline battery with up to 50 hours battery life • Includes foam windscreen, sturdy vinyl carrying case, and battery DSM - 1 • Seven sound-level ranges allow • Phono-type output jack for • A and C weightings let • Built-in battery condition indicator measurements from 50-126 dB (referenced to 0.0002µbar) you check compliance with safety regulations as well as make acoustic analysis • Slow and fast response settings let you check peak and average noise levels A S M- 2 connection to home theater or test equipment • Threaded insert lets you attach the meter to optional SMT-3 tripod or standard camera tripod for increased accuracy See Accessories/Stands and Racks on page 56 for SPL mounting tripod 27 Mixers MM Series Mini mixers MM-14FX 4-channel mini mixer with echo effects MM-141 4-channel mini mixer MM-242 4/8 channel stereo/mono mini mixer • Four mono ¼” microphone inputs • Four ¼” unbalanced line level • Eight mono ¼” inputs with with individual volume controls • Built-in echo effects DSP with delay time and depth controls; simulates room/hall/ stadium decay reverbs • ¼” unbalanced output • Up to 50dB of gain per channel • Power On/Off switch with LED indicator • 9VDC powered with either 9V alkaline battery or optional PAD-1 AC/DC external adapter inputs with individual volume controls mixed to one ¼” unbalanced output • Master Volume control with integrated Power On/Off switch and Power On LED indicator • Ultra low distortion, up to 20dB of gain, S/N ratio over 100dB, and a frequency response from 20Hz-20KHz • Heavy-duty steel construction with smooth-turn, ultra stable pots and high-quality jacks • 9VDC powered with either 9V alkaline battery or optional PAD-1 AC/DC external adapter MM- 14F X individual volume controls to be assigned to Stereo A/B outputs or mono’d together and sent to both A and B outputs • Stereo ¼” Master outputs with separate Master volume controls, over 25dB of gain, S/N ratio of 95dB and frequency response from 20Hz-30KHz • Peak LEDs for each group MM- 141 of input channels • Mono/stereo mode selector • Heavy-duty steel construction with smooth-turn, ultra stable pots and high-quality jacks • Power On/Off switch with LED indicator CMX-16A 16-channel stereo mic/line mixer • Full frequency response, wide dynamic range and ultra low noise assures natural, transparent sound with maximum headroom • Eight mono balanced (XLR and ¼” TRS) and eight stereo (¼” TRS) inputs (16 total) • L/R Main Mix and G1-2 Group Submix busses, with L/R, and G1-2 functions selectable on all channels and separately assignable to master mixes with separate master faders • Two Aux Sends and two stereo Aux Returns with Aux Send and Aux Return controls • Eight mono input channel Inserts allow independent connection of effects devices for each channel • Tape In and Record Out RCA jacks with Tape Input Level control • Separate Control Room and Headphone Outputs • PFL, L/R, and G1-2 mixes separately assignable to Headphone and Control Room outputs for versatile monitoring capability • Input Trim controls on all channel inputs • Balanced XLR and unbalanced ¼” TRS Stereo outputs • 3-band EQ on all channels • Pan pots on each mono channel and Balance pots on each stereo channel 28 • 9VDC powered with either 9V alkaline battery or optional PAD-1 AC/DC external adapter MM- 242 • Switchable +48V phantom power for all mono XLR Mic Inputs • Tape In and Record Out RCA jacks with Tape inputs assignable to Master Mix or stereo Control Room/Headphone outputs • 60 mm faders on all channels and master L/R and G1-2 bus mix for precise level control • High-quality sealed pots with center detents for all Pan/Balance and EQ controls • Peak LEDs on all input channels • Super-accurate 10-stage LED display bar graph meters switchable to display L/R or G1/G2 mix levels • External AC supply (PSU) for optimum signal integrity and superior transient response • Dimensions and weight: 15” x 17.5” x 3.75” (381 x 495 x 95 mm), 14.85 lbs (6.75 kg) MM-15USB Mini mixer • With up to 15 simultaneous inputs and ten outputs (including complete USB interface), this versatile desktop mini mixer is a valuable tool for almost any studio recording, computer, home audio or live performance application • Two mono channels with balanced Mic and Line Inputs and two stereo channels with Line and RCA Inputs; each channel has Trim, 3-Band EQ, Aux Send, Pan, and Level Controls with Peak indicator LEDs • USB 1.0 I/O Interface to send or receive digital audio signals to or from any computer • Stereo mini-jack iPod/MP3 inputs • Ultra-low noise mic preamps for optimum signal integrity; full spectrum frequency response with wide dynamic range and superior headroom • Separate Main Mix, Control Room, and Headphone outputs; Stereo Aux; Return inputs with Level control; Tape In/Out RCA connectors plus stereo mini‑jack output • Dual 4-segment LED display bar graph meters • SMD technology for most compact design • Miniature 7” x 8” durable steel casing and superior construction for long life and maximum reliability MM- 15US B CMX- 16A SRM-10X 10-channel stereo mic/line mixer • Two mono channels with Trim, Bass, Treble, Aux Send, Pan, and Level controls; low cut; pre/post; PFL switches; Inserts • Four stereo channels: two with Level controls, Bass/Treble, Balance controls, Pre/Post Aux Send and PFL switches; two with Level controls and PFL switches • Mono output with slider level • Input Trim control on each • Dual 6-segment LED display bar • Pan pots on each mono control and AFL switch graph meters • Ultra-low noise mic preamps • Full spectrum frequency response • Wide dynamic range with superior headroom • Tape In RCA jacks with Level • Separate Master Mix, Control • Tape Record Out RCA jacks • Mic and Line balanced inputs for control and PFL switch • Individual channel Aux Send, Pre/Post selectable, and Master control • L/R main unbalanced outputs with slider control Room and Headphone outputs optimum audio integrity • ¼” TRS Stereo Control Room and Headphone outputs • Switchable global +48V phantom power on all mono inputs mono channel channel and Balance pots on each stereo input • Peak LEDs on mono channels • High-quality pots for all controls with Pan/Balance and EQ controls having 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 S R M- 10X SRM-12X/14X 12/14-channel stereo mic/line mixer • Ultra low-noise mic preamps • Wide dynamic range with superior headroom SRM-12X 12-channel stereo mic/line mixer SRM-14X 14-channel stereo mic/line mixer • Separate Master Mix, Control Room and Headphone outputs • Four mono input channels • Six mono input channels with • Eight stereo input channels • Eight stereo input channels • Four ¼” TRS inserts allow • Six ¼” TRS inserts allow • Dimensions and weight: • Dimensions and weight: • 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 • Two 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 • 60mm faders on all channels and Master Mix for precise level control • ¼” TRS and XLR Stereo Outputs • Peak LEDs on input channels • Dual 10-segment LED display bar graph meters • High-quality sealed pots with center detents • High-strength steel casing and superior construction with highest quality components for longest life and maximum reliability • External AC supply for optimum signal integrity and superior transient response SR M - 12X with balanced XLR Mic and ¼” TRS line inputs with balanced ¼” TRS jacks for balanced or unbalanced inputs independent connection of effects devices for each mono channel 13.5” x 11.5” x 3” (343 x 292 x 76 mm) 7.9 lbs (3.6 kg) with balanced ¼” TRS jacks for balanced or unbalanced inputs independent connection of effects devices for each mono channel 13.5” x 13.5” x 3” (343 x 343 x 76 mm) 9.3 lbs (4.2 kg) S R M- 14X “I love my PMX-600 (powered mixer) so much. I just wanted to say thank you for producing such a great unit at such a great price.” Don Culbertson, Savannah, GA balanced XLR Mic and ¼” TRS line inputs } 29 Powered Mixers PMX Series Console powered mixers PMX-420 4-channel/2-bus 2 x 200W RMS @ 4Ω (1% THD) both channels driven • Two mono channels with balanced XLR Mic and ¼” TRS line inputs; two stereo channels with A/B input selector switch for each channel • Fan-cooled, bipolar amplifier • Stereo L/R Main Mix and G1-2 Group Submix busses, with four master faders • Built-in 32-bit DSP simulates plate, gate, room, hall, stadium reverbs • Channel Trim controls; Peak LEDs; High, Mid, and Low EQs; Channel GRP 1-2 assign and PFL buttons; EFF Send controls; Pan and Volume controls; Aux Send and Return with Level control; two 5-segment LED display bar graph meters with L-R / G1-2/EFF and PFL selector and Power Amp Peak indicator • Outputs include Preamp ¼” and RCA Stereo outputs; RCA ¼” Group 1 and 2 outputs; stereo headphone output with L-R / G1-2 / PFL selector and separate volume adjust; L/R ¼” speaker outputs • Internal shielded AC supply with 115V(60Hz)/230V(50Hz) select switch PMX -4 2 0 PMX-600 6-channel/2-bus 2 x 225W RMS @ 4Ω (1% THD) both channels driven • Six mono input channels with balanced XLR Mic and ¼” TRS line inputs • Fan-cooled, bipolar amplifier • L/R Main Mix and G1-2 Group Submix buses, with four master faders and Group to Main enable switch • Built-in 32-bit DSP simulates plate, gate, room, hall, stadium reverbs • 60mm faders on all Channels, Groups 1/2, Main L/R, and Effects; two 7-band master EQs; Channel Trim controls, Peak LEDs, and switchable Low Cut filters; channel high EQ, frequency sweepable mid EQ, low EQ; Channel Aux 1 and Aux 2 Send controls, Pan controls, and assignable L/R and G1-2 switches; switchable +48V phantom power; two Aux Sends and two Aux Returns each with Level controls; Tape/CD In and Record Out stereo RCA jacks with Tape level control; six balanced ¼” TRS inserts; two 10-segment LED display bar graph meters with Power Amp Peak indicator • Outputs include balanced ¼” TRS and XLR Main Stereo Outputs; balanced ¼” Group 1 and 2 outputs; adjustable Control Room left and right ¼” outputs; and stereo headphone output with separate volume adjust and L/R or G1/G2 selector; L/R dual ¼” amplifier outputs for easy speaker daisy-chaining • Internal shielded AC supply with 115V(60Hz)/230V(50Hz) selector switch PMX -6 0 0 PMX-1600 16-channel/2-bus 2 x 225W RMS @ 4Ω (1% THD) both channels driven • 16 mono channels with balanced XLR Mic and ¼” TRS line inputs • Fan-cooled, bipolar amplifier • Stereo L/R Main Mix and G1-2 Group Submix buses, with 4 master faders and Group to Main enable switch • Built-in 32-bit DSP simulates plate, gate, room, hall, stadium reverbs • 60mm faders on all Channels, Groups 1/2, Main L/R, and Effects; two 7-band master EQs; Channel Trim controls, Peak LEDs, and Switchable Low Cut filters; channel high 30 EQ, frequency sweepable mid EQ, and low EQ; Channel Aux 1 and Aux 2-EFF Send controls, Pan controls, and assignable L/R and G1-2 switches; switchable +48V phantom power; two Aux Sends and two Aux Returns; Tape/CD In and Record Out stereo RCA jacks with Tape Level control; 10-segment LED display bar graph meters with Power Amp Peak indicator Control Room left and right ¼” outputs; and stereo headphone output with separate volume adjust and L/R or G1/G2 selector; L/R dual ¼” amplifier outputs for easy speaker daisy-chaining • Internal shielded AC supply with 115V(60Hz)/ 230V(50Hz) select switch • Outputs include balanced ¼” TRS and XLR Main Stereo Outputs; balanced ¼“ Group 1 and 2 outputs; adjustable PMX -1 6 0 0 SPM Series Stereo powered mixers SPM-4250 SPM-6300 4-channel 2 x 125W RMS @ 4Ω (1% THD) both channels driven 6-channel 2 x 150W RMS @ 4Ω (1% THD) both channels driven • Four mono input channels • Internal shielded AC supply • Six mono input channels with • Durable but lightweight • Stereo (main-monitor) amplifier with balanced XLR Mic and ¼” unbalanced line inputs, switchable +48V phantom power • Fan-cooled, bipolar amplifier with 115V(60Hz)/230V(50Hz) select switch • Built-in echo effects DSP simulates plate, gate, room, hall, stadium reverbs polypropylene housing for easy portability and roadworthiness balanced XLR Mic and ¼” unbalanced line inputs with ¼” speaker outputs and mono/main-monitor select switch; fan-cooled, bi-polar amplifier • Built-in DSP for echo effects • Input controls, connections and (reverb) with Effects Level control indicators include Channel Gain controls, Peak LEDs; High, Mid, and Low EQs; Channel EFF Send, Pan, and main Volume controls • Input controls, connections and indicators include Channel Volume controls, High and Low EQs, EFF Send, and separate Main and Monitor Level controls; Aux Input, Effects Send and Return, and Stereo Tape/CD RCA inputs; two 5-band master EQs • Internal shielded AC supply with 115V(60Hz)/230V(50Hz) select switch • 5-band master EQ; Aux Send and Return; Tape/CD In and Record Out stereo RCA jacks with Tape Level control • Stereo headphone output with separate volume adjust SP M - 4250 S P M- 6300 MPMx Series Powered mixers MPM 4130x 4-channel XLR Mic and ¼” TRS Line inputs 160W @ 4Ω total into 2 parallel speaker output ¼” jacks MPM 8175x 8-channel XLR Mic and ¼” TRS Line inputs 175W @ 4Ω total into 2 parallel speaker output ¼” jacks • Built-in Digital Delay produces choice of 4 great overall soundenhancing delays ranging from small room to spacious • Each channel offers Level and individual Digital Delay controls and a Low/High 2-band EQ • Master section includes CD/Tape Level, Master Level, and Digital Delay Level/ Delay Time select controls; Digital Delay Select switch; and L/R Tape In and Tape Record Out RCA jacks • Rear panel Main Out/Amp In ¼” TRS jack unbalanced insert point provides a break between MP M 4130x the Main Out and the built-in amplifier, allowing the output to be sent to an external signal processor or additional power amplifier • Shielded internal power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector • Rugged, lightweight case with handles (MPM 4130x: 18.45 lbs / 8.4 kg; MPMx 8175: 20.6 lbs / 9.3 kg) for roadworthy reliability and easy portability MP M 8175x 31 Portable Sound Systems MPM Series PA Powered mixers/speakers MPM 4130x/8175x PA 210 PA system includes: • (1x) MPM 4130x or MPM 8175x powered mixer • (2x) PAM-10F, 10” 2-way full‑range wedge monitor or FOH speaker M P M 4130x / PA210 MP M 8175x / PA 210 M P M 4130x / PA 212 MP M 8175x / PA 212 • SC-20 twenty-foot cable MPM 4130x/8175x PA 212 PA system includes: • (1x) MPM 4130x or MPM 8175x powered mixer • (2x) PS112, 12” 2-way full-range speaker • SC-20 twenty-foot cable RPA Series Portable sound systems • Compact (“take anywhere”), complete one-piece portable sound systems with built-in powered mixer and speaker Choosing a portable PA • Collapsible/locking handle and built-in rubber rollerblade wheels • DSP Reverb with Level and Depth controls • ¼” Effect Send, Return, and Line Out jacks; RCA Tape In/Rec Out • Master Volume; High, Mid and Low EQ controls • Rugged enclosure with vinyl cover, carrying handles, and basemount for mounting on speaker stand RPA-2 RPA-4 RPA-6 Two mono balanced (XLR and ¼” TRS) inputs 65W RMS @ 4Ω Four mono balanced/unbalanced (XLR and ¼” TRS) inputs 100W RMS @ 4Ω Six mono balanced (XLR and ¼” TRS) inputs 150W RMS @ 4Ω • 10” woofer and compression • 10” woofer, 5 ½” midrange • 12” woofer and piezo tweeter dome tweeter • Channel controls: Gain, Reverb, and Contour speaker, and compression dome tweeter • Channel controls: Gain, Reverb, • Channel controls: Gain, Reverb, High EQ, Low EQ High EQ, Low EQ The many applications and advantages of easily portable public address systems are well known. They’re ideal for a variety of uses including classrooms, business meetings, auctions, and auditoriums. Nady offers a wide range of portable sound systems for indoor/outdoor use and for audiences small and large. In order to choose the right system that fits your budget and needs, consider your intended application carefully. Note that in addition to the sound systems described in this section, Nady also offers portable wireless PAs which include wireless mic systems for added versatility. See page 14 for the WA-120 RF wireless PA and page 15 for the IRW-2PA with infrared wireless mic. Nady’s powered (active) speakers in the following section have integrated mixers for several channels of mic and music source inputs, and these can also be used as single-piece powered PAs. RPA-2 32 R PA - 4 R PA - 6 Ensemble PA-4180 Portable stereo sound system 4-channel 180W RMS stereo powered mixer 90W RMS per side @ 4Ω • Convenient portable PA package with carrying/pulling handle and wheels for easy transport • Two-way speaker system with 8” woofer and piezo tweeter horn • Basemounts for ease of mounting on speaker stands • 20 ft. speaker cables included • Master section with High, Mid, and Master Level controls; External Effect Loop Send and Return jacks; stereo Tape In/Rec Out controls with a Tape In level control; built-in Reverb/Delay with Time, Depth and Effect Volume controls • 115V(60Hz)/230V(50Hz) voltage • Four each XLR Mic and ¼” Line inputs, each with Input Gain, High, Mid, Low, Effects, Pan and Channel Level controls select switch for worldwide operation • Storage compartment for mics, cables and accessories E ns emble PA - 4180 MPA-30 Portable stereo PA sound system • Convenient, easily portable stereo PA system • Ideal for small/medium room live sound applications with power up to 350W Peak (175W RMS) • Includes two full-range speakers (master and slave) with trapezoid design for great stereo sound and projection • Compact, lightweight yet rugged construction with durable textured vinyl covering, corner protectors, and carrying handles M PA - 30 • Master-powered speaker features a stereo amp with 75W RMS internal power and external speaker output with 75W RMS @ 8Ω and 100W RMS @ 4Ω • On LED; Ch1/Ch2 stereo RCA phono jack inputs for MP3, iPod, CD players, keyboards, etc. • Basemount inserts for 1 3/8” (35mm) speaker stand mounting • 20 ft. speaker cable and 17 ft. dual RCA cable included • Can be used as stand-up or floor wedge monitors Access PSS-150 Portable stereo sound system with mic 5-channel Stereo 150W RMS powered mixer • Convenient portable PA package with luggage-style handle and wheels for easy transport • AMA™ (Automatic Maximum Amplitude) limiter speaker protection • Stereo two-way speaker system with 10” woofer and piezo tweeter horn, two speaker cables, and two folding speaker stands • Three combo XLR / ¼” Mic /Line inputs and one XLR Mic input, all with 15V phantom power • Two stereo source inputs for CD, VCR, DVD or other audio sources; all inputs with Bass, Treble, and Reverb controls • Separate left and right master output 60mm linear Fader level controls; choice of eight Digital Reverb and eight Digital Delay effects; 5-band graphic equalizer with feedback locating indicators • One Starpower™ dynamic microphone and 20 ft. XLR microphone cable • Storage compartments for microphones, cables and accessories • Variable-speed fan • Stereo RCA auxiliary outputs A c c es s P S S - 150 33 Speakers J Series Full-range two-way speakers J-12M J-15M 12” woofer 7.5” x 6” titanium horn 8Ω impedance 700W peak power rating 90dB sensitivity 92dB +/- 2dB maximum SPL 15” woofer 7.5” X 6” titanium horn 8Ω impedance 700W peak power rating 94dB sensitivity 96dB +/- 2dB maximum SPL J-1 2 M • Premium multi-purpose speakers designed for the most demanding performance environments • High-power handling capacity with tight, powerful woofers and titanium horn drivers for brilliant sound with a smooth overall response • Multi-position cabs designed for variety of applications/requirements: J - 15M 30° monitor angle for more distant stage monitoring, 45° monitor angle for performers closer to the speaker, 90° angle for horizontal placement on shelves, or upright as main FOH speakers • Titanium 1” drivers with wide-angle dispersion horns for optimum clarity and presence • Second-order internal crossover with tweeter surge protection circuit • Ported design for perfect bass and treble punch • Speakon™ and ¼” connections • Roadworthy cabinet construction with ultra-durable polymer finish, handle slots, metal grill, rubber feet, and integrated speaker stand basemount 4- position capability at 30°, 45°, 90°, or upright PAM-10F Full-range, two-way PA or stage wedge monitor FWA Series Powered floor wedge speakers 10” woofer 3” x 7” horn with 1.75” piezo voice coil 8Ω impedance 120W peak program power rating (60W RMS) • Great sound and projection • Perfect for all small venue applications • Compact, lightweight yet rugged cabinets with durable Tolex covering, reinforced plastic protected corners, and recessed carrying handles for roadworthy reliability and easy portability • Weight: 16.5 lbs (7.5 kg) • Dimensions: 10”D x 20”H x 15”L (25.4 x 50.8 x 38.1cm) • Basemount inserts for speaker stand mounting • 92dB sensitivity (1W/1M) • ¼” jack inputs FWA-12 FWA-15 12” woofer 4” x 10.5” high-compression piezo horn 125W RMS 15” woofer 5” x 15” high-compression piezo horn 160W RMS • Three channel inputs: balanced XLR and ¼” Mic level; balanced XLR and ¼” Line level; balanced XLR and dual RCA Line level—each with Input Gain control • Line level balanced XLR and unbalanced ¼” outputs • Master Volume, Treble and Bass controls; On/Off rocker switch; Power and Clipping LEDs • Durable black carpet cover, heavy-duty plastic protective corners and integrated recessed carrying handles for easy portability • Frequency Response: 60Hz –18KHz MIC MIC LEVEL LINE 1 LINE 1 LEVEL LINE 2 LINE 2 LEVEL MIN MAX MIN MAX MIN MAX MIN MAX LINE OUT MASTER VOLUME -12 +12 TREBLE PAM -10 F 34 F WA - 12 or F WA - 15 -12 +12 BASS CLIP POWER ProPower™ Series Carpeted speakers PS112 • All horns with high compression piezo drivers Full-range, two-way speaker 12” woofer / 5” x 15” horn 8Ω impedance 300W peak; 150W RMS • Durable black carpet cover PS115 Full-range, two-way speaker 15” woofer / 5” x 15” horn 8Ω impedance 500W peak; 250 RMS • Heavy-duty plastic protective corners • Integrated recessed carrying handles for easy portability • Sensitivity (1W/1M): PS112/PS115/PTS515: 91.5dB PFW12/PFW15/PTS1015: 90dB PS215: 90.5dB • Binding post (banana jack) and two ¼” (6.3 mm) jack inputs • Basemount inserts for mounting on speaker stands (PS112, PS115, PTS515, PTS1015, PSW18) • PSW15 with speaker stand insert on top of cabinet P S 112 PTS515 Full-range, two-way speaker Trapezoid speaker enclosure 12” woofer / 5” x 15” horn 400W peak; 200W RMS PTS1015 Full-range, two-way speaker Trapezoid speaker enclosure 15” woofer / 5” x 15” horn 500W peak; 250W RMS PFW12 Two-way floor wedge monitor 12” woofer / 4” x 10.5” horn 400W peak; 200W RMS P S115 P TS 515 OR P TS 1015 P S 215 PFW15 Two-way floor wedge monitor 15” woofer / 5” x 15” horn 500W peak; 250W RMS PSW15 15” subwoofer speaker 2” voice coil 8Ω impedance 600W peak; 300W RMS PSW18 18” subwoofer speaker 2” voice coil 8Ω impedance 600W peak; 300W RMS P SW15 OR P SW18 IN PU T P F W 12 OR P F W 15 LOW PASS VOLUME PSW-18A Powered subwoofer 60Hz 260Hz MIN MAX • 1100W powered subwoofer with PS215 adjustable roll-off (low pass) filter and 123dB SPL capability Full-range, two-way speaker Two 15” woofers 10” x 18” horn 8Ω impedance 800W peak; 400W RMS • Balanced XLR and ¼” parallel I/O for easy thru-put plus dual RCA inputs • Master Volume control and adjustable Low Pass filter from 60Hz to 260Hz with steep roll-off for maximum punch PSW152 Dual 15” subwoofer 4Ω impedance 800W peak; 400W RMS P S W 152 • “Soft start” Power On/Off switch P S W- 18A • Sturdy plywood cabinet with durable carpet covering, steel grill, protective corners, and 1 3/8” (35mm) polemount receptacle • Bridge mode power amp for highest power with lowest distortion; output relay safety protection; ultra-efficient cooling, low-noise exhaust fan; AC fuse • Optional SMP-3 speaker mounting pole available with Power and Clipping LED indicators 35 Speakers M-CAB Series™ Passive plastic molded speakers MC-8 MC-10 MC-12 Full-range, two-way speaker 150W peak power rating (75W RMS) 8” woofer / 1” driver 4Ω impedance Full-range, two-way speaker 400W peak power rating (200W RMS) 10” woofer / 1” driver 8Ω impedance 600W peak program power rating (300W RMS) 12” low-frequency woofer / 1.5” compression driver 2.5” (6.3 cm) voice coil 8Ω impedance MC-15 • Durable but lightweight molded • Can be mounted upright or wall- high-impact mineral loaded polypropylene enclosures (designed to deflect bumps and scrapes) mounted with included bracket • Low-impedance compensated crossovers with full driver protection • Perfectly balanced for ease of • Wide-angle, short throw, high- portability and set-up frequency dispersion horns with 1.0” diameter precision compression driver • Versatile design perfect for small room PA (as FOH and monitor speakers) and project recording applications (as studio monitors) 600W peak program power rating (300W RMS) 15” low-frequency woofer / 1.5” compression driver 2.5” (6.3 cm) voice coil 8Ω impedance • Durable yet lightweight, molded high-impact ABS/fiberglass composite enclosures (designed to deflect bumps and scrapes) • Perfectly balanced for ease of portability and set-up; built-in handles for carrying • Ultimate flexible design enables either FOH main speaker or stage monitor use • Compact trapezoidal shape is perfect for hanging in clusters (with dual built-in threaded brass inserts for eye bolts), single mounting on a speaker tripod stand (with built-in 35mm base mount insert), or mounted on side on the detachable speaker brace mounts provided (for use as dual-angle floor wedge monitors) • Low-impedance compensated crossovers with full driver protection • Wide-angle, short throw, high-frequency dispersion horns with 1.5” diameter precision titanium compression driver • High SPL output capability • Two Speakon™ connectors • Optional padded, zippered vinyl carrying bag available M C-8 / M C-1 0 M C - 12 / M C - 15 THS Series Full-range two-way speakers THS-1512 THS-1515 12” woofer 6” x 15” conical titanium horn 320W peak power rating (160W RMS) 8Ω impedance 102dB sensitivity Weight: 55 lbs (25 Kg) 15” woofer 6” x 15” conical titanium horn 600W peak power rating (300W RMS) 8Ω impedance 103dB sensitivity Weight: 67 lbs (30 Kg) • Durable, roadworthy cabinet construction with Tolex covering, reinforced corners, and large built‑in recessed carrying handles • Convenient Speakon™ and ¼” (6.3mm) connectors for professional hook-ups • Wide-angle, short-throw, high- frequency dispersion horns provide clean, accurate treble for optimum clarity 36 THS - 1512 THS - 1515 P-CAB Series™ Active plastic molded speakers PCS-8 PCS-12 Full-range, two-way powered speaker 35W RMS 8” woofer 5.5” x 8” compression horn Full-range, two-way powered speaker 200W RMS 12” woofer Titanium horn PCS-10 PCS-15 Full-range, two-way powered speaker 180W RMS 10” woofer 5.5” x 8” compression horn Built-in 2-channel mixer Full-range, two-way powered speaker (bi-amped) 250W RMS 15” woofer Titanium horn • Durable but lightweight molded polypropylene enclosures (designed to deflect bumps and scrapes) • Versatile design perfect for small room PA (as FOH and monitor speakers), and project recording applications (as studio monitors) • Can be mounted upright on a speaker stand (1”diameter) or wall‑mounted with mounting bracket included (PCS-8 only) • Can be used as a floor monitor (laid on its side) with supplied bracemounts (PCS-10 only) • Durable but lightweight molded high-impact, mineral-loaded polypropylene trapezoid speaker enclosures (designed to deflect bumps and scrapes) • Perfectly balanced for ease of portability and set-up; built-in handles for carrying • Ultimate flexible design—flyable, stackable, pole mountable, or can be used as floor monitor when laid on its side with supplied brace mounts • Internal power system delivers 200W RMS to the woofer, 50W RMS to the horn and provides high-quality audio performance more efficiently than conventional power amplifiers with passive speakers • Wide-angle, short throw, high-frequency dispersion horns with • Easy-to-use, built-in pre-amplifier with XLR and ¼” balanced Mic/Line • Treble, Bass, and Level controls (PSC-8); Channel and Master Level • Fused IEC power cord jack and 115V(60Hz) / 230V(50Hz) Select switch 1.0” diameter precision compression driver controls; Treble and Bass EQs (PCS-10 only) • XLR balanced and ¼” unbalanced inputs and outputs; RCA inputs inputs; Gain, Treble, Mid, Bass and Level controls; Signal and Clip LEDs • Full top-end speaker features, including low impedance electronically compensated crossover (1/36 octave, 1500Hz) with full driver protection (pre-circuit limiter), wide-angle, short throw, high-frequency dispersion horn (90°H x 60°V) • Optional padded zippered vinyl carrying case available INPUTS GAIN -20 PCS-8 / PCS -1 0 60mic 30line HIGH -15 +15 MID -15 LOW +15 -15 VOL +15 0 10 HF LF LINE MIC P C S- 12 / P C S- 15 “The PCS-15s are perfect for medium-size venue gigs. I bought six of them for my small sound company and they’re ass kickers! Chris Costa, Denver, CO } 37 Studio/ Personal Stage Monitors SM Series Studio monitor pairs SM-120 Passive monitor 120W peak power rating SM-250A Active monitor Built-in 100W bi-amped power (50W for LF, 50W for HF) SM-300A Active monitor Built-in 240W Peak (120W RMS) Bi-amped power: 140W peak / 70W RMS for LF 100W peak/ 50W RMS for HF • Clear, transparent sound and full linear frequency response (35Hz-20KHz) • Vertically aligned two-way nearfield monitor with 6.5”/ 8” woofer and 1” ferro fluid-cooled soft dome shielded tweeter— both magnetically shielded • Bass-reflex loaded with 2” tuned cylindrical port • Heavy-duty cabinet construction, with 1.5” thick curved front baffle for reduced HF diffraction effects and excellent imaging • Gold-plated binding posts for easy hookup to banana plugs, spade connectors, or bare wires (SM-120) • ¼” balanced/unbalanced TRS inputs (SM-250A/SM-300A) • Dimensions: 13.4” x 8.3” x 10.4” (SM-120/SM250A); 16” x 9.5” x 11.75” (SM-300A) • Weight: 14.4 lbs (SM-120); 18.5 lbs (SM-250A); 29.5 lbs (SM-300A) PM Series Personal near-field stage monitors Designed to reduce stage clutter and volume by putting the sound where you can most use it. Compact, rugged, and lightweight— the PM Series can be mounted on a mic stand (with optional mic stand mount adapter if needed), set on a keyboard, amp, or table for effective up-close monitoring, or used as a stage monitor with four different angled positions for optimum placement and versatility. PM-100 PM-200A 200 W peak; 100W RMS 150W RMS • Specially designed dual ferro‑fluid • Can power internal speakers plus • Uniquely tuned response projects • Specially designed dual ferro-fluid 5” drivers offer superior gain before feedback and up to 125 dB maximum SPL audio at the desired frequencies to cut through stage noise while ensuring high feedback immunity • Volume/Impedance selector up to four PM-100 Personal Stage Monitors using the two External Speaker outputs 5” drivers offer superior gain and optimum intelligibility at key vocal/instrument frequencies with ultimate feedback rejection • Maximum 125dB SPL cuts and two ¼” In/Out jacks for performer adjustability and easy daisy‑chaining with up to 15 other PM‑100 monitors through even the loudest ambient noise clutter • Balanced ¼” TRS and XLR • Dimensions: 11.1” x 7” x 5.3” input jacks (can be used simultaneously if desired) • Weight: 5.1 lbs • Volume control; 3-band EQ controls (High, Mid, Bass); front baffle Power On and Clipping LED indicators SM-120 • High-powered Headphone Output and convenient ¼” balanced Line Output for daisy-chaining with other PM-200As, or connecting to mixers and PAs • Amplifier’s integrated low-noise/ distortion Mosfet outputs offer thermal, short circuit, and antithump on/off protection • Externally selectable 115VAC SM-250 A or 230VAC operation SM - 300A • Dimensions: 11.1” x 7” x 9.6” • Weight: 9.6 lbs CSM-5 Compact two-way multi-purpose speakers 60W peak power rating/ 8Ω impedance • Nearfield passive speaker is ideal for desktop recording, computer music, and many home stereo and multimedia applications • Full-frequency sound reproduction and super compact size—ideal for use in crowded desktop environments • ¼” ferrofluid-cooled soft-dome tweeter and 5 ¼” robust woofer deliver uncompromised audio accuracy and transparency; creates mixes that translate exceptionally well to other playback systems 38 • Gold-plated binding posts for easy hookup to banana plugs, spade connectors, or bare wires PM-1 0 0 • Mounting bracket included for optional wall-mounting convenience CS M- 5 • Frequency range: 89Hz-20KHz PM-2 0 0 A • Sensitivity: 8dB +/-2dB (1W/1m) • Dimensions: 10.2” x 6.7” x 6.3” • Weight: 4.1 lbs INPUTS LINE OUT EXTERNAL SPEAKERS VOLUME LINE EQ MID HIGH BASS INT. SPEAKERS A ON MIC OFF MIN. IMPEDANCE 8Ω HEADPHONES ON 0 10 0 10 -10 10 -10 10 B MIN. IMPEDANCE 8Ω OFF Crossovers Headphones / Equalizers QHM/QH Series QHM-100 With boom microphone QH 200 Studio stereo QH 160 Lightweight QH 560 Deluxe studio stereo • High-quality closed-back design • Closed-back headphones • Boom condenser mic, perfect • High-quality, very affordable • Cushioned for long-wear comfort • 34mm mylar driver with high- • Advanced, ambient open-air design • High performance driver and for stage, DJ, podcast or computer applications • Comfortable, heavily padded adjustable headband and earcups • 40mm drivers with a frequency range of 20 to 20,000Hz • 32Ω impedance rating, high‑volume capability with 105 dB/mw sensitivity rating • Supplied with 10 ft. cord with one 3.5mm stereo headphone plug, one 3.5mm mono mic plug, and a stereo and mono ¼” (6.3mm) plug adapter for each • In-line Volume control on cord for headphone audio and On/Off switch for mic • Perfect for studio or home use • Comfortable, heavily padded, adjustable headband and earcups • 40mm drivers with a frequency range of 20 to 20,000Hz and 32Ω impedance rating • High-volume capability with 105 dB/mw sensitivity rating • In-line Volume control on cord • Supplied with 6 ft. cord with 3.5mm stereo plug and ¼” (6.3mm) plug adapter Q HM - 100 output neodymium magnet and high 102dB @1KHz sensitivity • Full 20-20KHz frequency response ultra‑thin 40mm diaphragm • Full 20-20KHz response and 110dB SPL @1Khz sensitivity • Self-adjusting headband QH 360 Studio stereo QH 660 Deluxe studio stereo • Ambient open-ear design • Thin, responsive 40mm • Closed-ear design for maximum diaphragm and neodymium magnet • Smooth 20-20KHz response • Super 112dB @ 1KHz sensitivity • Self-adjusting headband for a perfect fit isolation with punchy, booming bass and crystal clear highs • Highest power handling capacity and high sensitivity for maximum volume capability • 90° swivel earcups for ease of storage and single ear DJ monitoring use QH 160 QH 560 QH 360 QH 660 Q H 200 DJH-2000 Closed-ear DJ headphones ultra-phat bass, rich mids, and crisp clear highs • Greatest power handling capacity/ efficiency for very loud volumes • Perfect for the turntable, console, or personal rig • Multi-position 90° rotating ear cups allow for single-sided or shoulder rest wear • 3 ½” tangle-resistant coiled cable extends to 11 ft. for greatest mobility • Lightweight body with wide adjustable padded headband and soft, tear-resistant ear cushions for unmatched comfort and fit • Gold-plated stereo 3.5mm mini‑plug with locking ¼” adapter • Stereo/mono switch for single‑sided listening • Foldable joint design for easy packing • 60Ω nominal impedance, 10~20,000Hz response DJ H- 2000 } • Huge 54mm drivers to pump “I mix 5-10 gigs a month and my DJH-2000 has been more than up to the job. The sound really cuts through.” Damon Desquino, Albuquerque, NM } 39 Noise-Cancelling Headphones QH RacketBlaster™ Series Noise-cancelling stereo headphones State-of-the-art noise-cancelling circuit design eliminates virtually all background ambient noise for quiet listening enjoyment. Operate as standard passive headphones when noise-canceling circuitry is inactivated. QH-30NC QH-50NC • Large 30mm drivers for rich, powerful audio • Large 50mm drivers for rich, powerful audio • Compact folding design and leatherette • Full-size padded leatherette ear cups and with full-frequency response and punchy bass pouch for easy transport while traveling— perfect for private listening without distracting ambient noise in airplanes and other noisy environments • Full-size padded leatherette ear cups and adjustable headband for ultimate long-lasting wearing comfort; fits all head sizes QH- 30NC with full-frequency response and punchy bass headband for ultimate long-lasting comfort • Adjustable headband creates a comfortable fit for all head sizes • Convenient battery compartment on cable • Uses single AAA battery • Uses single AAA battery (included) • 3.5mm stereo mini-plug; two-prong airline jack adapter included QH- 50NC Miscellaneous Gear PHP-3 DJ phono pre-amplifier • Converts Phono signals to Line Level utilizing standard RIAA equalization—amplifies and EQs vinyl records to interface with mixers, main or monitor systems, audio workstations, and sound cards • Works with all turntables using magnetic cartridges • Plug-and-play operation with full patching facilities for easy connection of phono turntables to any sound equipment • External power adapter for low-noise operation • Rugged metal case for maximum reliability P HP - 3 HE-1 Hum eliminator • Easily eliminates AC hum (60Hz/120Hz buzz) with up to 20dB of attenuation • Breaks grounds loops safely while leaving all signal grounds intact • Converts automatically back and forth between balanced and unbalanced lines at either end • Dual Channel I/O with ¼” TRS jacks • Completely passive design with quality components assures best possible noise/distortion-free performance HE - 1 } “I use a lot of Nady gear in my project studio. I found that it not only works well and sounds great, but I saved money to boot. Thanks Nady!” James Rubin, Reno, NV 40 ” Reto Peter, Mixer/Engineer/Producer, Teahouse Studio Green Day, Black Eyed Peas, Modest Mouse, Gwen Stefani, Weezer, Smash Mouth, Chris Isaak Vocal Dynamic Mics........................... 42 Starpower™ Series, American Performer, PCM-200 Vocal/Instrument Condenser Mics... 43 SPC Series, PCM-100 Studio Condenser Mics...................... 44 SCM Series, SMK-2, CM Series, TCM Series Ribbon Mics........................................ 46 RSM Series, TRM-6 USB Mics............................................. 47 USB-24M, USB-1C, USB-1CMS Drum/Instrument/Specialty Mics..... 48 DM Series, CM Series, Drum Mic Kits, SGM-12, OHCM-200, VHM-7, MSC3 Headworn Mics................................... 50 HeadMic™ Series Studio/Wired Microphones “ I recorded a live broadcast of a four-piece band using just two Nady TCM 1050s. It sounded great! Nady’s popular line of professional studio/hardwired microphones offers Studio/Wired Microphones unbeatable performance and value. With models in every price range, the extensive Nady line includes featurepacked dynamic, condenser and ribbon mics. No matter what your application— public speaking, stage performance, or studio recording —Nady’s got the perfect mic for you, at an affordable price. Vocal Dynamic Mics Starpower™ Series Professional performance mics SP-1 • Excellent clear, transparent sound across the spectrum with smooth bass, mid-presence punch and crisp highs • Unidirectional cardioid pattern with superior feedback rejection • Powerful neodymium element cuts through with accurate, distortion-free sound in even the highest sound pressure level situations • Rugged metal construction and internal shock mounting for maximum reliability and ultra‑low handling noise • Mic clip included SP-5 • Balanced, natural sound with bottom-end warmth, mid-range presence and a smooth high end • Advanced neodymium element delivers high output to break through even the loudest mix with uncompromised sound quality • Tight unidirectional cardioid polar pattern minimizes feedback in high sound pressure level situations • Transformerless design provides superior low-end frequency response with minimal distortion • Ultra lightweight aluminum humbucking voice coil provides maximum hum rejection and exceptional clarity across the spectrum • Specially designed rubber shockmount for cartridge reduces handling noise for quietest performance • Heavy-duty steel mesh ballscreen and rugged zinc chassis for optimum roadworthy reliability • Gold-plated XLR connector resists tarnish and ensures best possible connection 42 SP-4C Mic with 20 ft. cable (XLR / ¼”) SP-R3 3-pack, mic clips included • Linear full-range response with crisp mid‑range presence for optimal clarity and punch • Powerful neodymium mic element for highest output without noise—cuts through even the loudest sound pressure level situations without compromising sound • Ultra-light aluminum humbucking voice coil and transformerless design provide noise-free, accurate reproduction across the audio spectrum without distortion • Tight cardioid polar pattern provides excellent off‑axis rejection for superior gain before feedback • Advanced multi-axis rubber shockmount for element minimizes handling noise • Rugged, all-metal construction for maximum reliability—features zinc die-cast case and steel mesh windscreen with anti-dent ring • External On/Off switch for easy audio control from stage American Performer™ Performance/speaking mic • Advanced high-output cartridge provides maximum clarity and definition, even in noisy environments • Unidirectional cardioid pattern reduces feedback • Specially designed internal cartridge mount for lowest handling noise and quiet performance • Withstands highest sound pressure levels without overload or distortion • Rugged, all-metal construction • On/Off switch on handle • Includes microphone cable SPC Series Professional performance mics Vocal / Instrument Condenser Mics SPC-10 SPC-15 • Large (1”) diameter, ultra-thin membrane, gold-evaporated, pressure gradient condenser capsule and transformerless FET circuitry for superior audio with unsurpassed warmth and transparency • Pressure gradient back electret condenser, transformerless FET circuitry for transparent audio reproduction and superior transient response • Linear frequency response across entire audio spectrum (30~20,000Hz), with added presence in the mids and highs for crisp, clear sound • Superior 8mV/Pa sensitivity, wide 122dB dynamic range, high 140dB SPL capacity and ultra-low distortion • External low-cut switch for rolling off low frequencies (80 Hz, 12 dB/octave) • Multi-axis internal capsule shockmount for extremely low handling noise • Tight cardioid pattern for optimum feedback rejection • Requires 48VDC phantom power • Wide frequency response (50~18,000Hz) with specially tailored midhigh presence for enhanced vocal and instrument punch and exceptional crisp, clear sound • Supercardioid polar pattern for maximum feedback rejection, superior sensitivity, wide dynamic range, high (136dB) SPL capacity and ultra-low distortion • Advanced internal shockmount design to eliminate handling noise • Compact all-brass housing is lightweight, roadworthy and durable for long life and reliability • Gold-plated XLR connector • Requires 9~52V phantom power SPC-20 • Unique dual-layer ballscreen “pop” filter for elimination of breath noises SP-9 • Ideal all-purpose vocal and instrument mic • Linear response for detailed, natural sound • Unique one-piece molded cartridge design ensures superior immunity to abuse and shock • Cardioid, alnico magnet dynamic • Excellent feedback immunity and low handling noise • Rugged, reliable—the perfect stage mic SP-33 • Pressure gradient back electret condenser and transformerless FET circuitry for ultra transparency and enhanced transient response • Wide frequency response (50~16,000Hz) with specially tailored mid‑high presence for vocal punch and exceptional crisp, clear sound • Ultra-high (140dB) SPL capacity and wide 115dB dynamic range for maximum freedom from distortion • Supercardioid polar pattern for maximum feedback rejection • 4.5mV/Pa sensitivity, and 200Ω rated impedance with 1000Ω minimum load impedance • Superior internal shockmounting to eliminate handling noise • Requires 48VDC phantom power SPC-25 • Lively full-range response with punchy bass, articulate mids, and detailed crisp highs • Powerful neodymium mic element for highest output without noise — cuts through even the loudest sound pressure level situations without compromising sound • Aluminum alloy voice coil for clear, warm sound • Tapered shape and rubberized easy-to-grip coating for optimum handheld comfort • Ultra rugged, reliable and superior low handling noise • Mic clip included • Unique dual-layer ballscreen “pop” filter for elimination of breath noises • Pressure gradient back electret condenser and transformerless FET circuitry for ultra transparency and enhanced transient response • Lockable noise-free audio On/Off switch • Supercardioid polar pattern for maximum feedback rejection • Rugged die-cast body, hardened steel mesh • Superior internal shockmounting to eliminate handling noise • Operates on a single internal AA battery with no phantom power required PCM Series PCM-200 Dynamic Microphone PCM-100 Condenser Microphone Professional classic style mics • High-output dynamic cartridge for big, powerful sound • Cardioid pickup pattern to reduce feedback during live applications • Transparent tailored audio with presence peak for distinct live‑sounding vocals • Pop-free locking on-off switch • Specially designed high-quality back electret condenser mic for clearest audio reproduction • Cardioid polar pattern • Smooth tailored frequency response • Vivid vocal reproduction with characteristic presence peak • Switchable Low-Cut filter • Phantom power LED 43 Studio Condenser Mics SCM Series Large diaphragm condensers SCM 800 SCM 960 SCM 2090 Stereo mic • Ideal for all recording and broadcasting applications • Features large-diaphragm true condenser design, transformerless low-noise/ high-dynamic range output, high SPL capacity, cardioid polar pattern pickup, FET preamps, and rugged internal shock mounts • Compact and durable, with precision-turned brass housing • Large, pressure-gradient condenser, gold-sputtered diaphragm and FET preamplifier • Internal shockmount construction for highest structural integrity and rugged reliability • Selectable attenuation pad and omni or cardioid polar pickup pattern • Requires 48V phantom power SCM 900 SCM 1000 • Large, pressure-gradient condenser, gold-sputtered diaphragm and FET preamplifier • Internal shockmount construction for highest structural integrity and rugged reliability • Cardioid pattern • Requires 48V phantom power • Large, pressure-gradient condenser, gold-sputtered diaphragm and FET preamplifier • Internal shockmount construction for the highest structural integrity and rugged reliability • Selectable 10dB attenuation pad and low-cut filter • Multiple selectable polar patterns: Omni/Cardioid/Figure 8 • Requires 48V phantom power • Uses a pair of closely matched, large diaphragm, uni-directional (cardioid) elements, angled at 90° in an X/Y stereo configuration • Provides realistic spatial imaging of the sound field, making this mic ideal for location stereo recording of orchestras, choral groups, bands, ambient instrument audio, ENG theater, etc. • Utilizes two gold-sputtered large diaphragm condenser elements for warm, crisp response with improved linearity across the frequency spectrum • Ultra-low self-noise, increased dynamic range, and maximum SPL capacity for recording loud audio such as brass, drums, and high-powered amplifiers • Manufactured with the finest materials featuring a machined housing for rugged reliability • Superb channel separation, with 5-pin XLR to dual 3-pin XLR “Y” cable (included) S CM 800 SCM 9 0 0 S CM 960 SCM 1 0 0 0 S CM 2090 SMK-2 SMK-2 Studio mic kit in carrying case (1x) CM 90 / (1x) SCM 900 CM Series Small diaphragm condensers CM 90 CM 95 CM 100 CM-2S • High sensitivity, extended smooth full frequency response and very high SPL capability • Cardioid pattern 20mm electret condenser • Transformerless design for minimal self-noise and increased dynamic range • Rugged, turned-brass housing and internal sub-assembly shockmount for maximum reliability • Requires 48V phantom power • Low-cut off and -10dB attenuation switches for utmost versatility in all applications • Cardioid pattern 20mm electret condenser • High sensitivity, extended smooth, full frequency response and very high SPL capability • Transformerless design for minimal self-noise and increased dynamic range • Rugged, turned-brass housing and internal sub-assembly shockmount for maximum reliability • Requires 48V phantom power • Includes mic stand clip and vinyl storage bag • Precise reference measurement mic • True, symmetric omni-directional pattern, high sensitivity, minimal self-noise, increased dynamic range, high SPL capability, and extremely smooth, linear 15Hz to 20KHz frequency response provide transparent recordings • Perfect for use with real-time analyzers for precise, accurate room acoustics alignments or detailed recording of acoustic guitars and vocals • Rugged construction, gold-plated XLR, and internal assembly shockmount for maximum reliability • Includes foam windscreen for outdoor applications and mic stand clip (including 5/ ” to 3/ ” adapter) 8 8 • Perfect stereo mic for recording, ENG field use, FM stereo radio, and many other applications • Features two closely matched cardioid condenser elements; superb channel separation; smooth, linear 30Hz-20kHz frequency response with a switchable low-frequency roll-off; high SPL capability; extended dynamic range with ultra-low self-noise; crisp, clear transparent audio; and internal battery operation • Compact, lightweight design for easy camera mounting (camera shoemount optional) • Includes mic clip, connector cables and adapters, windscreen, AA battery, and soft protective pouch CM 90 44 C M 95 CM 100 CM- 2S TCM Series Vacuum tube condenser mics TCM 1050 Versatile multi‑pattern mic with unsurpassed tone • Hand-tooled brass capsule with a 3-micron multi-pattern goldsputtered mylar dual diaphragm (1-inch) for maximum sensitivity, long life, and subtle sonic detail • Tube preamplifier circuitry with 6072 vacuum tube—a classic 12AT7 specially selected for low distortion, superior signal-to-noise ratio and minimum sensitivity to mechanical vibrations • Special output transformer for ultra transparency and natural warm reproduction of sound • Almost all brass parts for years of studio workhorse reliability • Power provided by a dedicated AC power supply with balanced XLR output for connection to any mixing console; no phantom power required • Nine different polar patterns remotely selectable on power supply for ultimate versatility in use and ease of operation: omnidirectional, cardioid, figure eight, and six intermediate stages TCM 1100 Cardioid pattern mic for best sound at any price • Suitable for the most critical (vocal or instrumental) live sound, studio recording and broadcasting applications • Hand-tooled brass capsule with a 3-micron gold-sputtered mylar diaphragm (1.1-inch) for maximum sensitivity, long life, subtle sonic detail, and excellent tone • Unique, specially designed gold‑plated center element creates a gentle extension of the top octaves and enhanced transient response • 6072 (classic 12AT7) vacuum tube and special output transformer deliver superior pristine sound with ultra transparency • Almost all brass parts for years of studio workhorse reliability • Supplied with sturdy portable plastic carrying case and 16’/ 7-pin XLR cable and TMPS-1 power supply (with switchable 115/230V operation and balanced output) TCM 1150 Multi-pattern mic for the most demanding applications • Ideal for all types of vocal and instrument pickup • Gold-sputtered, ultra-thin (1” diameter) mylar dual diaphragm • Tube preamplifier circuitry with 6072 vacuum tube—a classic 12AT7 specially selected for low distortion, superior signal-to-noise ratio and minimum sensitivity to mechanical vibrations • Special output transformer designed for ultra transparency and natural warm reproduction of sound • Almost all brass parts for years of studio workhorse reliability • Power provided by a dedicated AC power supply with balanced XLR output for connection to any mixing console; no phantom power required • Nine different polar patterns remotely selectable on power supply for ultimate versatility in use and ease of operation: omnidirectional, cardioid, figure eight, and six intermediate stages TCM 1 0 5 0 TCM 1150 MICR O P H O NE types The three most popular types of microphones are dynamic, condenser, and ribbon. Any of these may be suitable for your needs, but there are some typical differences among the three. DYNAMIC mics are rugged and popular for most onstage and recording applications. They don’t require a separate power supply as do condenser mics. Mostly available with boosted mid-range emphasis for vocal and instrument use, these versatile mics also offer solid low-end response and balanced mids for drum miking and other applications. Although frequency response is more limited than with condensers, and the sound is not quite as accurate, the ability of dynamic mics to withstand high sound pressure levels make them ideal for miking loud sound sources such as guitar amps and screaming vocals. CONDENSER mics are sensitive to loud sounds and are perfect for miking any sound source where subtle sound nuances are desired (e.g., acoustic guitars or cymbals). Less rugged than dynamics, condensers are more often used for studio applications, although they are also commonly used as live sound vocal mics. Condensers provide the truest sound reproduction of all mics, especially in the high end of the audio spectrum. Tube condensers feature integrated tube preamps which combine the warmth of a tube preamp with the clear sound of the condenser element. RIBBON mics offer the warmest sound available. Their classic sound provides tone options that other mics cannot provide and they’re perfect whenever you want a round, mellow sound. Versatile and resistant to high sound levels, ribbons can also be used to record loud sources such as guitar amps. Ribbon mics are available with built-in tube or FET preamps for ultimate versatility in tone selection and ease of use. TCM 1 1 0 0 45 Ribbon Mics RSM Series Vintage ribbon mic sound and performance Manufactured with the finest materials and machined housing, these mics feature advanced internal shockmount construction for the highest structural integrity and rugged reliability. RSM-1 RSM-2 RSM-4 RSM-5 • Vintage ribbon (velocity) mic sound and performance at an affordable price • Uncompromised sound of a classic ribbon (velocity) mic • Uncompromised sound of a classic ribbon (velocity) mic • Rich, warm musical sound • Low-tension 50-mm long, 2-micron thick aluminum ribbon design for characteristic “large, mellow” ribbon audio reproduction with smooth, natural extended low and high ends • Ideal for close miking of guitar amps and cabinets and many other vocal/instrument recording and live sound applications • Versatile physical and acoustic design for numerous vocal and instrument recording and live sound uses • Compact housing for easy, unobtrusive mic placement • Low-tension, 2-inch long, 2-micron thick aluminum ribbon design for classic ribbon audio reproduction with smooth, uniform natural sound, fast accurate transient response, ultra-high 165dB SPL capability, unmatched transient response and overall stunning realism • Offers a choice of audio reproduction depending on placement for utmost versatility in dialing in the desired “sound”. Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (as compared to large diaphragm condenser mics), and slightly different frequency responses from front and rear side. Increased off-axis high frequency response on sides, with decreased high response above and below on-axis (although lower audio levels) • Unmatched fast, accurate transient response, ultra-high 165 dB SPL capability, and overall stunning realism • Figure-eight audio directional (pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), slightly different frequency responses from front and rear, and increased off-axis high-frequency response on sides; decreased treble and lower audio levels above and below on-axis • Discrete volume control of separate sources possible with stereo mic setups (source in principal axis of mic and in off-axis null of the other) 46 • Unmatched fast, accurate transient response, ultra-high 165 dB SPL capability, and overall stunning realism • Figure-eight audio directional (pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), slightly different frequency responses from front and rear, and increased off-axis high-frequency response on sides; decreased treble and lower audio levels above and below on-axis • Discrete volume control of separate sources possible with stereo (dual) mic setups (source in principal axis of one mic and in off-axis null of the other) • Supplied with a mic clip and leatherette pouch • Enables individual recording volume control of separate sources through use of stereo mic setups (isolation is achieved by placing the source so the principal axis of one mic and the off-axis null of the other) RSM-1 • Low-tension, 45-mm long, 6-micron thick aluminum ribbon design for characteristic large, mellow ribbon audio reproduction with smooth, natural extended low and high ends R SM - 2 R S M- 4 • Perfect for close miking of guitar amps and cabinets, brass instruments, strings, piano, percussion, vocals and orchestral ambiance • Low-tension, 45mm long, 2-micron thick aluminum ribbon design with typical “large, mellow” ribbon audio reproduction • Smooth, natural extended low and high ends; detailed, realistic mids • Unparalleled overall stunning realism with fast, accurate transient response, ultra-high dynamic range and >135 dB SPL capability • Utmost versatility in dialing in desired sound by varying mic placement • Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (as compared to large diaphragm condenser mics) • Can be used with a second RSM‑5 for individual recording volume control of two separate sources by placing each source in the principal axis of one mic and the off-axis null of the other • Supplied with a mic clip and leatherette pouch R S M- 5 USB Mics USB-24M USB dynamic mic RSM-8A FET preamp ribbon mic • All the warmth and natural, uncompromised sound expected of a classic Nady ribbon microphone with the added gain and selectable features offered by proven ultra low-noise FET active circuitry and transformer output • Perfect for recording vocals, acoustic/electric guitars, drums, percussion, strings, brass — any application in which true natural audio reproduction is desired • Low-tension, 50mm long, 2-micron thick aluminum ribbon (velocity) design for characteristic “large, mellow” ribbon audio reproduction with smooth, natural extended low and high ends • 40dB more gain than most non‑active ribbon microphones; easy to use with any mic mixer or preamp • -10dB pad and Low Cut filter selector switches for oftenneeded attenuation and elimination of stage rumble • Unmatched fast, accurate transient response, ultra-high 165 dB SPL capability, and overall stunning realism • Figure-eight audio directional (pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), and increased off-axis high-frequency response on sides, decreased treble and lower audio levels above and below on-axis • Swivel U-bracket allows ease in positioning for any application/ audio source. • 48V phantom power required • Perfect for recording vocal tracks or voice-overs on your computer or for online communication • Excellent clear, crisp sound with smooth response • Dynamic neodymium element provides ultimate sensitivity with cardioid pick-up USB-1C USB large diaphragm condenser mic • Perfect for high-quality recordings of vocals, acoustic instruments, and ambient instrumentation as well as pod-casting and online communication • Connects directly to any computer with a USB 2.0 (or higher) input port for easy plug-and-play operation • Large pressure-gradient condenser gold-sputtered diaphragm and FET preamplifiers for warm, natural reproduction of the most subtle or powerful audio sources • Full frequency response with rich warmth and crisp, transparent audio • Minimal self-noise, increased dynamic range, and maximum SPL capacity • Rugged, compact construction with protective mesh grill and internal shock absorption • Basemount mic holder fits any standard mic stand • 10 ft. USB cable included • Convenient On/Off switch and USB connection LED indicator • Easy to use with computer recording software • Heavy gauge mesh grill and durable construction USB-1CMS The USB-1C is also available with added optional Sony ACID Music Studio 7 software • Record/edit/mix multiple tracks of audio and MIDI • Create unique interactive tutorials • Share songs on CD/MP3 and other formats US B - 24M US B - 1C or US B -1 CMS TRM-6 Vacuum tube ribbon mic • Low-tension, 45mm long, 2-micron thick aluminum ribbon design with typical “large, mellow” ribbon audio reproduction • Superior overall stunning realism with fast, accurate transient response, ultra-high dynamic range and >135 dB SPL capability • Smooth, natural extended low and high ends and detailed, realistic mids • Extraordinary versatility in dialing in the desired sound by varying mic placement. Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (compared to large diaphragm condenser mics) • Unique integrated 12AX7A preamp tube provides unmatched tube audio at levels higher than that of ordinary ribbon mics; allows convenience of use with all mixer inputs without requiring external pre‑amplification RSM-8 A • Connects directly to any computer with a USB 2.0 (or higher) input port for easy plug-and-play operation with most DAW software • AD converter with 24-bit, 96KHz sampling rate • Versatile design, perfect for numerous applications including vocal and instrument recording and live sound • Manufactured with the finest materials— machined housing with advanced internal shockmount construction for the highest structural integrity and rugged reliability • Can be used with a second TRM‑6 for individual recording volume control of two separate sources by placing each source in the principal axis of one mic and the off-axis null of the other TR M- 6 47 Drum / Instrument / Specialty Mics DM Series Drum/percussion/instrument dynamic mics DM-70 For use with snares, toms, percussion, brass and woodwinds DM-80 For use with kick drums and other large diameter drums • Cardioid pattern allows close miking without bleed-through from other drum kit pieces • Special rubber shockmount mic holder minimizes floor vibration pick-up • Neodymium element delivers maximum output • Incredibly small, low-profile design for minimum visibility and versatile close-miking placement around the drum kit • Up to 140 dB SPL handling capacity for distortion-free reproduction of even the loudest drums and other instruments • Transformerless moving-coil dynamic design for enhanced bass and fast transient response • Gold-plated XLR for maximum conductivity CM 60 • Full frequency response for sonic punch with exceptional clarity • All-metal construction for maximum reliability DM-90 For use with kick drums and other bass instruments and amps • Large-size housing with special acoustic design for the most accurate reproduction of extended low frequencies • Ultra-high SPL capability—ideal for close-miking of live sound or recording all types of drums and percussion instruments • Accurate sonic reproduction of brass, woodwind and other instruments producing high sound fields • Large diaphragm dynamic element with excellent attack and punch for truest sound CB M 40X • Supercardioid pattern for ultimate feedback rejection CM Series Condenser microphones • Rugged die-cast body with internal shockmount and hardened steel grille CM 60 Clip-on miniature condenser microphone CM 88 Back electret condenser microphone • Mounts to drum rims, the edge of acoustic guitar sound holes or the bell of wind instruments for accurate sound reproduction and isolation from other instruments • For drum overheads and percussion • Tight cardioid polar response is highly effective in suppressing feedback and unwanted sounds • Extended frequency response for smooth, crisp, ultratransparent reproduction • Rubber boom shockmount’s ingenious design minimizes vibration and audio transference from resonant instruments or materials D M -70 DM - 80 • Sturdy rubber-grip spring clamp holds mic securely and prevents marring of finish • Built-in windscreen and external windscreen included for maximum feedback and “pop” rejection • Adjustable gooseneck and swivel joint allows optimum microphone positioning • For use with bodypack transmitters or with standard mixers that provide 9-52V phantom power D M -90 CM 88 • Extremely uniform and tight cardioid polar pattern for ease in mixing • Aluminum housing and gold‑plated XLR contacts • 9-52V phantom powered CBM 40X Condenser boundary microphone • Ideal for a variety of sound reinforcement/recording applications: Choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums • Unidirectional pickup pattern and full frequency response of 50Hz~18KHz produce unparalleled audio at any distance from source with excellent feedback rejection • Rugged die-cast alloy housing on rubber padding minimizes mechanical coupling of surface vibrations to the microphone • 9-52V phantom powered 48 SGM-12 Versatile shotgun condenser microphone S G M - 12 • Ideal for a variety of sound reinforcement/recording applications: choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums • Uni-directional pickup pattern and full frequency response of 50Hz~18KHz produce top audio at any distance from the source with excellent feedback rejection • Rugged die-cast alloy housing on rubber padding minimizes mechanical coupling of surface vibrations to the microphone • Single AA alkaline or NiMH battery operation (not included) OHCM-200 Overhead hanging condenser microphone O HCM -2 0 0 • Extended smooth, flat frequency response • Ultra sensitivity and high SPL capacity for clearest audio performance in any application, from miking choral groups to stage performances • Low-mass back electret condenser element for most accurate/detailed audio V HM-7 C enterStage M SC 3 Drum Mic Kits In plastic carrying case • Cardioid pattern for frontal audio pickup without feedback and unwanted side and rear fill • Permanently attached 20 ft. (6.1m) cable with convenient integrated power module/XLR (M) connector • Rugged construction for optimum reliability • Integrated hanging wire for ease of mounting • Conveniently powered by external 9~52 phantom power, no batteries required VHM-7 Harmonica / Vocal microphone CYM-2 DMK-2 DMK-3 DMK-5 (2x) CM 88s (2x) CM 60s (2x) DM 70s (1x) DM 80 (4x) DM 70s (1x) DM 80 • Designed for harmonica but also serves as a great vocal mic • Can be used with its own amp or plugged into the PA • Cardioid pattern dynamic cartridge, expressly tailored for producing thick, fat tone while holding cupped—with enough “dirty” tone to satisfy even the most discriminating blues harp players • Unique, chromed aerospace casing with stylish retro look and distinctive proprietary fluted design for versatility in shaping wah-wah sounds and altering tone while virtually eliminating feedback • Open air, uncupped use produces extremely smooth, clean vocal audio • Bullet-proof tough and ultracomfortable in the hand • Allows singing harp players the convenience of singing and playing through the same mic with great sound throughout • Engraved model number and supplied special chromed mic clip complements its cool look MSC3 Professional quality microphone kit DMK-7 DMK-7C DMK-9095 • Includes a high-performance microphone, sturdy metal adjustable tripod mic stand with mic clip, and a 20 ft. cable (XLR to ¼” connectors) (4x) DM 70s (1x) DM 80 (2x) CM 88s (4x) DM 70s (1x) DM 80 (2x) CM 90s (4x) DM 70s (1x) DM 90 (2x) CM 95s • Everything you need to take center stage—just plug in to your audio mixer or amplifier • Dynamic microphone provides superior professional performance with rich, powerful, full-frequency audio; supercardioid response for optimum feedback rejection; low handling noise; and rugged all metal construction 49 Headworn Mics HeadMic™ Series Omni- or uni-directional headworn mics HM-1 Uni-directional dynamic mic HM-5U Uni-directional condenser mic HM-20U Uni-directional condenser mic • Unidirectional dynamic element for top audio response—perfect for even the most exacting singing/performance applications • Uni-directional condenser element for superior, warm audio response and maximum feedback rejection—perfect for singer-musicians (drummers, keyboardists), vocal/dance performers, DJs, public speakers, and aerobics instructors • Full-frequency, uni-directional electret condenser mic • Adjustable gooseneck can be set at any angle required • Headworn support system is extremely light and comfortable, designed to be visually unobtrusive • Ear and temple rests provide maximum stability during use— even while moving, dancing, or shaking the head • Durable cable assembly and internal construction are designed to maximize handling noise from contact and movement • Available with XLR, Mini-XLR or 3.5mm phone plug for wired and wireless applications (fits most standard wireless bodypack transmitters) • Available in black only HM-3 Omni-directional condenser mic • Omni-directional condenser element provides exceptional audio with excellent transparency and gain before feedback • Lightweight—designed for long, comfortable wear • Available with Mini-XLR or 3.5mm phone plug for wireless applications (fits most standard wireless bodypack transmitters) • Requires low voltage phantom power as supplied by most wireless bodypack transmitters • Available in black only • Lightweight, comfortable, visually unobtrusive design • Provides maximum stability during use, even when moving or dancing • Firm, adjustable gooseneck boom that can be easily repositioned to any angle during performance • Available with mini-XLR, 3.5mm phono plug (fits most standard wireless bodypack transmitters), or with standard XLR adapter for all wired and wireless applications HM-10 Omni-directional condenser mic • Wide bandwidth omni-directional electret condenser mic ensures clean, transparent audio and enhanced vocal pickup with improved gain before feedback • Warm, transparent audio and maximum feedback rejection • Ergonomic design and comfortable fit with or without glasses, hat, or headphones. No hairstyle hindrance • Durable thin-metal frame can be easily molded to any user • Tiny and lightweight 5 x 8mm capsule for hours of comfortable use • Two sizes of foam windscreen included to reduce wind/ popping noise • Extendable, fully adjustable boom for optimum mic capsule placement • Choice of black or beige • Ergonomic design and comfortable fit with or without glasses, hat, or headphones. No hairstyle hindrance HM- 5U • Durable thin-metal frame can be easily molded to any user • Available with mini-XLR or 3.5mm phone plug for wireless applications (fits most standard wireless bodypack transmitters) • Requires low-voltage phantom power as supplied by most wireless bodypack transmitters. 9~52V adapter supplied for wired applications “My band plays 3-4 set gigs all the time and as a singing drummer, I really love the sound of my HM-20U. It’s comfortable all night, and I especially appreciate how it has stood up to constant use.” 50 HM- 3 • Available with mini-XLR, 3.5mm phono plug (fits most standard wireless bodypack transmitters) or standard XLR adapter for all wired and wireless applications HM- 10 • Available in black or beige Bill Tanaka, New York, NY HM- 1 } HM- 20U Dan Fastuca, Jet Black Amplifiers/Cabinets/Guitars............. 52 GTH-100, GAC-412, GTA-1260, FS Series, Lightning Guitar, WGA-15 Pedal Effects/Switch Boxes.............. 53 TD-1, TTV-2, FL-10, TR-20, TS-30, TA‑40, SW-21, DS-50 ” Guitar Products “ The massive, unadulterated sound and clarity of these amps is unbelievable. This s**t rocks! Nady Systems has been manufacturing professional wireless and audio equipment for over 30 years, providing musicians at every level with the gear they need to sound their best. This vast experience, along with valuable feedback from some of the most highly respected guitar players around, has helped create Nady’s new line of guitar products. As with all Nady gear, the guitar line was designed to meet exacting, high performance standards, and each model is feature-packed and affordable. Guitar / Bass Products Amplifiers / Cabinets / Guitars GTH-100 Tube guitar amp head with reverb • 100W RMS output • All-tube design featuring four EL-34 power tubes and three 12AX7A preamp tubes • High and Low inputs, Line output, and full complement of controls for total volume, tone shaping and tonal definition, including a 3-way Overdrive Gain switch, Lead Boost control (up to +12dB), Volume, Master, Treble, Mid, Bass and Presence controls GAC-412 Speaker cabinet for use with GTH-100 • High and Low power settings: HI-100W RMS, LO-30W RMS • Spring reverb with adjustable control and lead gain boost both switchable with optional FS-2 footswitch • Line level reverb output jack (reverb signal only) • Durable vinyl cover, steel corners, and rugged construction for years of roadworthy reliability • Full-size angled front cabinet • Prominent bass, warm mids, and a high end that cranks • 400W peak power handling (200W RMS); 8 ohms • Choice of 4x12” Nady PowerDrive™ speakers (GAC-412) or 4x12” Celestion speakers (GAC-412C) • Impedance: 8Ω • Rugged, roadworthy construction with sturdy front grille, steel corners, recessed steel carrying handles and heavy‑duty casters GTH -100 FS-1 • Durable textured black Tolex covering • Steel rear panel terminal with dual ¼” speaker inputs for easy daisy-chaining • Top panel recessed holders for Nady guitar amp head • Cabinet material: MDF • Weight: 94.7 lbs (43 kg) • Dimensions (H x W x D): 30”x 28” x 14.3” (76 x 71 x 36cm) (height does not include wheels) GTA-1260 Classic tube combo amp with reverb • All-tube design featuring two GAC-412 F S- 2 6L6GC power and three 12AX7A preamp tubes • 60W RMS output • 12” Nady PowerDrive™ speaker by Celestion FS Series Optional accessories • FS-1 (single) switches reverb On/Off (GTA-1260 or GTH-100) or lead gain boost On/Off (GTH-100) Requires two FS-1 switches or single FS-2 to perform both functions on GTH-100 • FS-2 (dual) for GTH-100 switches reverb On/Off (green LED) and lead gain boost (red LED) On/Off 52 • Full complement of controls for total volume, tone shaping and tonal definition, including 3-way Overdrive Gain switch, Volume, Master, Treble, Mid, Bass and Presence controls • Spring reverb with adjustable control and switchable with optional FS-1 footswitch • Classic retro look with attractive wood grain cabinet finish • Classic tube type tone controls GTA - 1260 TD-1 Tube distortion • Real tube tone from the classic 12AX7A twin triode tube—each carefully selected for optimum tonality and absence of noise, microphonics, and other artifacts • State-of-the-art 3-stage variable tube drive design for widest range of overdrive options, from mild growl and crunch to singing sustain and controlled feedback • Advanced EQ section carefully designed for blues, jazz, country, R&B, and all types of rock—with specially tailored high and midlow 3-stage variable shelving and boosting options, plus a variable presence control for ultimate tone-shaping possibilities • Compact enough for a pedal board • Rugged 14-gauge steel housing and heavy-duty bypass footswitch for years of troublefree performance TTV-2 Dual tube tremolo/vibrato Pedal Effects / Switch Boxes • Dual, all-tube signal path design uses two premium 12AX7A vacuum tubes for the warmest, richest, most natural sounding tremolo and vibrato sounds available • Rate/Intensity controls offer the widest range possible of tremolo/vibrato effects TD- 1 TTV- 2 SW-2 1 • Choice of three types of note bending vibratos which mimic Leslie, Wurlitzer, Hammond and other classic organ vibratos • Output control offers huge boost and powerful tone • Compact enough for a pedal board • Rugged 14-gauge steel housing and heavy-duty bypass switch for years of trouble-free performance FL-10 Flanger TR-20 Tremolo • Updated classic • Widest variety of flanger design produces thickest stereo flanging available • Versatile Manual, Rate, Depth, and Resonance controls allow wide selection of swirling with incredible depth and intensity • Operates with 9V battery, PAD‑1 AC adapter optional vintage tremolo guitar sounds available • Wave knob offers extensive range of altered waveform tremolo variations • Rate knob varies tremolo speed • Operates with 9V battery, PAD‑1 AC adapter optional Lightning Guitar Wireless guitar • Fully professional all-wood solid-body guitar features easy playability with 22-fret rosewood neck with distinctive lightning bolt inlays and easy‑access adjustable truss rod • Operates on two 9V alkaline batteries (up to 50 hours battery life) in convenient rear battery compartment with unique magnetic latched door (no tools needed to access). • Three pickups with 5-way selector switch; volume/dual tone controls; vibrato • Built-in VHF wireless transmitter with internal antenna allows wireless operation up to 200 ft. line-ofsight without cords when used with WGA-15 wireless guitar amp or any Nady VHF wireless receiver on the same channel TS-30 Tube sound overdrive • Classic design produces the warmest, most natural overdrive sounds. Perfect for all styles from blues to rock to heavy metal— the most versatile and best sounding distortion available • Drive, Tone, and Level knobs offer optimum control • Operates with 9V battery, PAD‑1 AC adapter optional • Easy to operate—just turn on Lightning guitar transmitter (TX On LED) and WGA-15 amp and you’re ready to play cordless (can also be used with a conventional cord connection to amp) SW-21 AB/Y switcher signal router • Switches a signal between two TA-40 Tube amp simulator superdrive • 100% analog circuitry offers rich, warm overdrive sounds which simulate the power amp output stage distortion of different classic guitar amps • Class A/B Drive knob controls the amount of odd harmonic class A/B power amp output stage distortion; specially designed musical Tone control enables endless varieties of tonal possibilities from ultraclean to crushing distortion at any Level control setting • Operates with 9V battery, PAD‑1 AC adapter optional different targets (e.g., amp A/B) • Directs a signal to two targets WGA-15 15W wireless guitar amplifier • Versatile, powerful practice amp with 15W RMS output; 6” speaker; Gain, Volume with killer distortion; Treble and Bass controls; Headphone output • Built-in VHF receiver with Receiver On and Audio Received LEDs • WGA-15 also available separately with WGT-15 VHF transmitter for use with any guitar or bass simultaneously, switching between one of two different source signals sent to one target • Barely audible switching noise • Combines two source signals in parallel switched between two different targets • Combines two source signals in parallel directed to two targets simultaneously. No bleed-through between channels • LEDs indicate selected signal route • Unplugging from jacks labeled “Parallel” turns off 9V battery DS-50 Distortion and sustain • Classic design for rich, crunchy distortion tone and violin-like sustain • Tone knob for dialing in the desired sound, from creamy warm bass to crisp treble • Volume knob controls output level • Operates with 9V battery, PAD‑1 AC adapter optional 53 Nady Systems offers a wide variety of practical, versatile accessories. All accessories are carefully designed and ruggedly built, and if not stocked Accessories by your dealer, can be easily ordered by contacting the Nady Sales/Service Department. Our extensive accessory line includes bags, cases, stands, racks, cables, shockmounts, and mic clips. A new addition to the line is a variety of cutting-edge USB interface cables. Bags and Carrying Cases MB Series MB-6 /MB-12 MCB Series MSSB-1 WA-VCC Soft 6- or 12-space microphone bags MCB-12/MCB-15 Soft bag for carrying mic or speaker stands Soft bag for carrying WA-120 Soft bag for carrying MC-12/MC-15 speakers SMCC-2 Aluminum flight case for studio microphones CC-3 PCC-500 Road case for DMK-2, DMK-3, or CYM-2 Road case for PEM-500 GCC-10 RC-5 Generic road case Road case for DMK‑5 PCC-1E Road case for Encore Series, UHF-3, UHF-4, UHF-24, U-33B and WS-16U systems 54 RC-7 Road case for DMK‑7 or DMK-7C UIC-80 Series USB interface cables Cables / USB Interfaces The UIC Series allows real-time recording and monitoring of pre‑recorded tracks or background music with easy plug-and-play connectivity between any mixer or audio device to a PC via any USB port. UIC-80PP Cables utilize two connectors for audio input and two connectors for audio output to/from the PC, and one USB cable compatible with USB 1.1 or higher. UIC-81XX Cables total 8 ft. in length with the audio cables being 3.5 ft. to the interface module and a 4.5 ft. USB cable. The interface utilizes up to 48KHz, 16-bit sampling and comes complete with all necessary cabling and connectors. • 2 Phono ¼” mono plug IN • 2 Phono ¼” mono plug OUT • 2 XLR balanced IN • 2 XLR balanced OUT UIC-82RR • 2 RCA plug IN • 2 RCA plug OUT UIC-10 USB interface cable UIC-83PR A useful tool for recording microphones or line level devices directly to your computer via a USB port. Utilizes a 10 ft. XLR cable and USB 2.0 interface with 16‑bit, 48KHz sampling. • 2 phono ¼” mono plug IN Power Supplies CABLES UIM-2X USB interface module SMPS Series XC 6 ft. to 100 ft. 48V phantom power for condenser mics XLR to XLR mic cable The UIM-2X provides a handy interface between audio gear and your computer, with a 16-bit, 48KHz USB 2.0 link. Perfect for recording a mic or line level signal. The headphone output allows for real-time recording and monitoring of pre-recorded tracks or background audio. XCC 25 ft. or 50 ft. XLR to XLR colored mic cable XLC 40 ft. XLR to SMPS-1X 1-channel SMPS-2X 2-channel XLR premium low noise 22-gauge dual conductor mic cable • 2 RCA plug OUT • Balanced XLR input provided with selectable 48V phantom power for use with condenser mics • Selectable sensitivity switch for Line or Mic level input with bi-color (green/red) LED indicator • Convenient stereo headphone monitor output • Sturdy housing with soft rubber coating RBSC 20 ft. or 40 ft. • Record and Play LEDs indicate software status 16-gauge, ¼” phono to MDP dual banana connector, round speaker cable • High-quality USB 2.0, 16-bit; 48KHz sampling SBC 20 ft. or 40 ft. 18-gauge, ¼” phone banana connectors, parallel conductor speaker cable CT-6 6-Way Cable Tester • Optional UIM-PA adapter converts to a ¼” TRS input connector • Enables quick, convenient continuity cable testing for all types of cables • Tests cables with combinations SMPS-USB 2-channel with USB audio interface IHSC 20 ft. or 40 ft. ¼” to ¼” premium instrument cable SC 20 ft. or 40 ft. 18-gauge, ¼” to ¼” phone plug, speaker cable XM-10 Phantom power adapter (9-52VDC to 1.5VDC) of the following connectors: ¼” TRS, balanced XLR (M/F), Phono/RCA, banana plug, Speakon™, and 5-pin mini-DIN • Includes internal battery and ground connection status checks • Rugged, compact, metal construction for ultimate roadworthiness, long life, and reliability • LEDs confirm each conductor continuity and connection • 6-way switch for selecting connections to be tested SKX-1620 16-cable XLR (M/F) 20 ft. snake CH 19 Wall mount cable holder 55 Stands and Racks SPST-1A SMP-3 Single aluminum tripod speaker stand 3 ft., 35mm diameter Gear studio rack speaker mount pole for mounting ProPower/ PA speakers or PSW-15 SPST-2A MRK-9 MRK-14 MRK-916 GS-1 4-wheel metal rack 2-wheel metal rack Premium universal guitart/bass stand Pair of aluminum tripod speaker stands SPST-1A8 mic Stands Aluminum tripod speaker stand for MC-8/10 or PCS 8 speakers MSA-100/200A SMT-3 MSST-43 MST-2B MST-3R MST-4B Microphone stand adapter for PM-100 or PM-200A speakers Tripod for DSM-1 and ASM-2 sound pressure level (SPL) meters Pair of 43” monitor speaker stands 2 ft. mic stand Straight mic stand with round base Aluminum tripod stand MST-5B MST-6R MST-7G Boom mic stand with tripod base Round base mic stand with boom Tripod gooseneck stand “I have a small studio and your MRK-916 works great for racking all my gear. I also bought a pair of your (MSST-43) monitor stands.” Hiroshi Morioka, San Diego, CA 56 } Microphone Accessories Pop Filters Foam Windscreens FW-1/1000 FW-3/1050 CWS-1 MPF-6 MPF-7 For SCM 100 and TCM 1100 For TCM 1050 Choice of red, yellow, orange, blue, gray or black With boom and stand clamp Choice of black or gold FW-2/900 For SCM 900 FW-4/1150 For TCM 1150 Clips Spider Shockmounts / basemounts SSPF-4 • Integrated pop filter for 2-in-1 studio application • Eight elastic suspension points for enhanced isolation • Integral metal pop filter’s curvature design protects your vocal takes BFC-12 WMC-11 Butterfly mic clip Rubber wireless mic clip • Pinch clamp holder easily fits onto any microphone with 38-53mm diameter • Pop filter can be rotated down or removed completely • Adjustable swivel attachment for standard mic stands DMM-1 Drum mic clip SHM-1 Shoemount camcorder adapter for industry standard 5⁄8” threaded mic clip SSM-1 SSM-3 For TCM 1050 studio mic For SCM 900/1000 and TCM 1100 studio mics SSM-5 MBM-7 For CM-90/95/100 small condenser studio mics Basemount for SCM mics 57 Wireless System Rackmount Kits RMK-1KUS Single rackmount kit For one W-1KU receiver ERM-12 RMK-1K For one Encore Series, UHF-3, UHF-4, UHF-24, U-33B or WS-16U wireless receiver For one UWS-1K receiver Single rackmount kit Single rackmount kit RMT-1KUD Dual (side-by-side) rackmount tray kit For two W-1KU receivers ERM-22 Dual (side-by-side) rackmount kit RMK-1KX2 Dual (side-by-side) rackmount kit RKT-25 Dual (side-by-side) rackmount tray kit For two Encore Series, UHF-3, UHF-4, UHF-24, U-33B or WS-16U wireless receivers For two UWS-1K receivers For two PEM-500 transmitters Wireless Accessories AD-4U UHF antenna distributor • Convenient 1U rackmount design with two independent 1x4 Input/ Output circuits operation of up to four UHF diversity dual antenna input or eight non‑diversity single antenna input receivers from only a pair of antennas • Features internal circuitry providing no insertion loss (0dB gain) for operation between 477-952 MHz, TNC antenna Input/Output connectors, +9VDC at antenna input jacks for powering optional remote AB-80 Antenna Booster Amplifier • Externally powered by 13.5VDC/400mA AC/DC adapter AB-80 UHF remote antenna booster amplifier • Boosts weak RF signals by +15dB gain right at the antenna input for maximum range for your UHF wireless mic system (477-952 MHz)—perfect for applications requiring separation of the antennas and receiver for optimum reception • Requires +9VDC remote (phantom) power from the receiver or antenna distributor antenna input jack • Easy to connect in-line amplifier module connects to standard TNC cables between the remote antenna and a cable feed to the receiver, allowing up to a 100 ft. RG-58 antenna cable run AB-8 0 AD -4U R B - 120 58 RB-120 AP-12U Rechargeable battery for WA-120 Active ½ wave antenna • Comes with carrying case • Mic stand mountable • 500-900MHz AP-1 2 U [inside back cover: blank] THIS DOES NOT PRINT 10/06/10
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