2010 Pro Audio and Music Product Catalog

2010 Pro Audio and Music Product Catalog
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]
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10/06/10
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