Nady Audio CMX-16A Owner's Manual

OWNER’S MANUAL
CMX-16A
16-CHANNEL STEREO MIC/LINE MIXER
CMX-16A
16-CHANNEL STEREO MIC/LINE MIXER
Congratulations on your choice of mixers — you have purchased one of the finest compact mixing consoles on the
market today. This unit was developed using the expertise of
professional sound engineers and working musicians. You
will find that your new NADY AUDIO CMX-16A has superior
performance and greater flexibility than any other mixer in its
price range. Please read this manual carefully to get the
most out of your new unit.
Date of Purchase
Dealer’s Name
City
State
Zip
Thanks for selecting NADY AUDIO as your choice in mixing
consoles.
Model #
Serial #
CONTENTS
WARNING ..........................................................................................................................................................3
FEATURES ...................................................................................................................................................... 4
INSTALLATION.................................................................................................................................................. 5
1. Inspection ...................................................................................................................................................... 5
2. Rackmounting ................................................................................................................................................ 5
3. Power Connection.......................................................................................................................................... 5
CONTROLS AND CONNECTIONS .................................................................................................................. 6
1. Mono Input Section ........................................................................................................................................6
2. Stereo Input Section........................................................................................................................................8
3. Master Section ................................................................................................................................................9
a. Aux Sends/Returns Function and Operation .......................................................................................... 9
b. G1-2 Group Functions and Operation .................................................................................................. 10
c. Main Mix Function and Operation ..........................................................................................................10
d. Monitor Function and Operation ............................................................................................................11
e. Power Switches ......................................................................................................................................11
4. Connections ................................................................................................................................................12
SPECIFICATIONS............................................................................................................................................ 13
BLOCK DIAGRAM ..........................................................................................................................................14
2
WA R N I N G
An equilateral triangle enclosing a lightening flash/arrowhead symbol is
intended to alert the user to the presence of uninsulated “dangerous
voltage” within the product’s enclosure which may be of sufficient
magnitude to constitute a risk of electric shock.
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
An equilateral triangle enclosing an exclamation point is intended to alert
the user to the presence of important operating and service instructions in
the literature enclosed with this unit.
IMPORTANT SAFETY INSTRUCTIONS
When using this electronic device, basic precautions should always be taken, including the following:
1. Read all instructions before using the product.
2. Do not use this product near water (e.g., near a bathtub, washbowl, kitchen sink, in a wet basement, or near a
swimming pool, etc.).
3. This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling.
4. This product, in combination with headphones or speakers, may be capable of producing sound levels that
could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a
level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an
audiologist.
5. The product should be positioned so that proper ventilation is maintained.
6. The product should be located away from heat sources such as radiators, heat vents, or other devices
(including amplifiers) that produce heat.
7. The product should be connected to a power supply only of the type described in the operating instructions or
as marked on the product. Replace the fuse only with one of the specified type, size, and correct rating.
8. The power supply cord should: (1) be undamaged, (2) never share an outlet or extension cord with other
devices so that the outlet’s or extension cord’s power rating is exceeded, and (3) never be left plugged into
the outlet when not being used for a long period of time.
9. Care should be taken so that objects do not fall into, and liquids are not spilled through, the enclosure’s
openings.
10. The product should be serviced by qualified service personnel if:
A.
The power supply cord or the plug has been damaged.
B.
Objects have fallen into, or liquid has been spilled onto the product.
C. The product has been exposed to rain.
D. The product does not appear to operate normally or exhibits a marked change in performance.
E.
The product has been dropped, or the enclosure damaged.
11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All
other servicing should be referred to qualified service personnel.
3
F E AT U R E S
Offering up to 20 channels (including aux returns) plus 2 RCA tape inputs, this compact console and rackmountable
mixer delivers top performance, full-functioned flexibility, and ultimate value and is ideal for even the most demanding mixing applications.
• Full frequency response, wide dynamic range and ultra low
noise assures natural, transparent sound with maximum
headroom
• Tape In and Record Out RCA jacks with Tape inputs
assignable to Master Mix or stereo Control
Room/Headphone outputs
• 8 mono balanced (XLR and 1/4" TRS) and 8 stereo (1/4"
TRS) inputs (16 total)
• Switchable +48V phantom power for all mono XLR Mic
inputs
• L-R Main Mix and G1-2 Group Submix buses, with L-R,
and G1-2 functions selectable on all channels and separately assignable to master mixes with separate master
faders
• Pan pots on each mono channel and Balance pots on each
stereo channel
• 60 mm faders on all channels and master L/R and G1-2
bus mix for precise level control
• 2 Aux Sends and 2 stereo Aux Returns with Aux Send and
Aux Return controls
• High quality sealed pots with center detents for all
Pan/Balance and EQ controls
• 8 mono input channel Inserts allow independent connection
of effects devices for each mono channel
• Peak LEDs on all input channels
• Super accurate 10-stage LED display bargraph meters
switchable to display L/R or G1/G2 mix levels
• Tape In and Record Out RCA jacks with Tape Input Level
control
• High strength steel casing and superior construction with
only highest quality components for longest life and maximum reliability. Rack ears for rackmounting supplied.
• 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
• External AC supply (PSU) for optimum signal integrity and
superior transient response
• Input Trim controls on all channel inputs
• Dimensions & Weight: 15" x 17.5" x 3.75" (381 x 495 x 95
mm), 14.85 lbs (6.75 Kg)
• Balanced XLR and unbalanced 1/4" TRS Stereo Outputs
• 3-band EQ on all channels
4
I N S TA L L AT I O N
To ensure years of enjoyment from your NADY AUDIO CMX-16A mixing console, please read and understand this manual
thoroughly before using the unit.
1. INSPECTION
3. POWER CONNECTION
Your NADY AUDIO CMX-16A was carefully packed at the
factory in packaging designed to protect the units in shipment. Before installing and using your unit, carefully
examine the packaging and all contents for any signs of
physical damage that may have occurred in transit.
The CMX-16A is designed to operate with the supplied
external power supply unit (PSU). Please make sure that
the power unit supplied is marked for the correct voltage
in your area (120VAC/60 Hz or 230VAC/50Hz). Power
requirements for electrical equipment differ from area to
area. In new installations and portable sound systems, or
any situation in which the AC power is in question, it is
wise to confirm the voltage and use the appropriate
power supply unit before connecting it to power sources.
[Please note: Nady Systems is not responsible for shipping damage. If your unit is damaged, do not return to
Nady, but notify your dealer and the shipping company (if
shipped to you) immediately to make a claim. Such claims
must be made by the consignee in a timely manner.]
Check to see that the PSU is set to the voltage for your
area by referring to the table below:
2. RACK MOUNTING
Europe (except UK): 230V, 50Hz
UK and Australia: 240V, 50Hz
USA and Canada: 120V, 60 Hz
Enclosed in the shipping box you will find a rackmount kit.
If you want to make your CMX-16A a rack mixer, remove
the screws from the side panels and use them to fix the
rack ears (note that there is a left and a right one).
For other areas, please check with local authorities.
Parts of the mixer and the power supply unit can become
very warm during use. This is normal during operation.
Care should be taken to ensure that there is enough
space around the unit for cooling. Also, do not place the
CMX-16A on high temperature devices such as power
amplifiers etc. or the unit may overheat in operation.
Do not connect the PSU to the CMX-16A while the PSU
is connected to the AC mains supply. Connect the
switched-off CMX-16A and PSU first before you connect
the PSU to the mains supply. Lastly switch on the CMX16A with the power switch on the front panel. Use only
the correct NADY power supply unit to connect the CMX16A to the Mains AC power.
Although the unit's chassis is shielded against radio frequency (RF) and electromagnetic interference (EMI),
extremely high fields of RF and EMI should be avoided.
5
CONTROLS AND CONNECTIONS
1. MONO INPUT SECTION
(1) MIC INPUT
The Mic input is an electronically balanced XLR type
designed to accept signals
(1) from any balanced low
impedance (Low Z) microphone. To accommodate
condenser microphones, this
input is also equipped with
+48VDC phantom power
globally switchable to all
(2) XLR input jacks with the
Phantom Power switch
(27) in the Master Section.
Dynamic or ribbon-type
microphones do not require
(3) phantom powering. It will be
necessary to adjust the
channel gain with the input
Trim control (4) to achieve
a nominal operating level. The XLR jack is configured for:
Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).
processor and/or EQ, then returned to the console at the
same point where it left. The insert point is normalized, i.e.
the signal is only interrupted when a plug is plugged into it.
The insert jack is located pre EQ in the channel and is configured as: Tip = send, Ring = return, Sleeve = ground. The
Insert can also be used as a channel direct output by sending
the signal from the ring. To use the Insert as a direct output,
insert a 1/4" phone plug halfway into the Insert jack so the tip
of the plug connects with the ring of the insert jack. The jack
will click into place when the connection to the ring is made.
[Note: The Mic inputs are more sensitive than the Line inputs.
Also, do not connect mics with the phantom power switched
on, as indicated by the Phantom Power On LED (27A) next
to the Phantom Power switch. Never use unbalanced mic
cables with the Phantom Power switched on. Never short the
+48VDC to ground, as that can cause serious damage to
your mixer. Also, mute the Monitor/PA speakers when turning
the phantom power on or off.]
(5) EQUALIZER CONTROLS
All mono input channels are fitted with a three-band EQ. All
three bands have up to 15 dB
(4)
of cut and boost, with a center
detent for "off". The frequency
response is flat when all three
EQ knobs are in the center
detent position. The upper and
lower shelving controls have
their frequencies fixed at 12
kHz and 80 Hz respectively.
The midrange control has a
(5)
peaking response at 2.5KHz
(Q fixed at 1 octave). The
channel EQ is an important
part of the mixer as it allows
the user to control the tonal
characteristics of each instrument separately. For example,
boosting the LOW can fatten
the sound and add punch to
the bass or drums; the MID
control can be used to define
(6)
the midrange or bring out the
vocals; and adjusting the HIGH
control can provide a crisp
sounding high end. A very
important, yet often overlooked
technique is to use the EQ to
subtract from the mix. Cutting the HIGH control can reduce
unwanted hiss during multi-track recording, while attenuating
the MID or LOW can eliminate feedback in a live performance
or clear up a muddy sounding mix.
(4) TRIM CONTROL
The trim control adjusts the input sensitivity (channel gain) of
the mic and line inputs on channels 1 through 8. This control
can be adjusted to accommodate input signals from a wide
variety of sources, from the high outputs from keyboards or
drum machines to the small signal outputs of microphones.
This wide range eliminates the need for Mic/Line switching.
The best balance of S/N and dynamic range will be achieved
if you adjust the TRIM control on each channel separately so
that the Peak Indicator LED (8) for that channel lights occasionally.
(2) LINE INPUT
The Line input is designed to accept balanced or unbalanced
line-level signals such as those from keyboards, drum
machines, or samplers. There is enough gain available on the
line input to accept even lower level signals, such as those
from an unbalanced microphone or guitar output. Use the
Trim control (4) to adjust for the desired level. If a balanced
signal is to be connected to the line input, then a 1/4" TRS
(stereo) phone plug should be wired for: Tip = positive (+),
Ring = negative (-), Sleeve = ground.
(Note: Only either the Mic or the Line input of a given channel
can be connected at one time. Never connect both simultaneously to the same channel.)
(3) INSERT
Channels 1-8 are equipped with insert jacks to connect external signal processors, such as compressors, noise reduction
systems, or effects devices, to the individual input channels.
Insert points are useful for adding dynamic processing or
equalization to a channel or the mix. Unlike reverbs, etc.,
which are usually added to the dry signal, dynamic processing is normally applied across an entire signal. Here an Aux
Send would be inappropriate. Instead the signal is intercepted
somewhere along the channel, fed through the dynamics
6
CONTROLS AND CONNECTIONS
(7)
(8)
mines the stereo position of any signal routed to the G1-2
bus, when G1-2 bus is selected with the G1-2 button (11).
[Note: Always reset a channel’s
input Gain (or external devices’
output level) after altering the
amount of mixer equalization
cut or boost applied.]
(8) PEAK LED INDICATOR
The Peak LED illuminates when a channel is going into overload. It detects the peak level after the EQ and will light at
3dB before clipping to warn that the signal is approaching
overload. You do not want the Peak LED to light except very
intermittently during a take or a mix. If it does light persistently, reduce input gain with the TRIM control (4).
(9)
The key to successful equalization is to avoid excess. Too
equalization on the input
(10) much
channels will result in a mix
that is smeared together with
(11) nothing specifically defined.
During rehearsals, experiment
with the equalizer controls on
various instruments, vocals and
combinations of these mixed
together to become familiar
with various equalizer settings.
(12)
(9) PFL SELECT SWITCH
The PFL (pre-fader listen) switch enables monitoring the
mono signal of any channel(s) selected (button depressed) at
nominal levels though the headphone or control room monitor
outputs. The signal is post EQ and independent of channel
fader position. Selecting the PFL never interrupts the main
stereo out or the AUX sends.
(10) L-R SELECT SWITCH
When the L-R switch is selected (button depressed), the post
fader channel signal is fed to the master L-R faders.
(6) AUX SEND 1, 2 CONTROLS
Both Aux Sends are mono and
post-EQ and control the level
of the signals sent to the AUX
buses.
(11) G1-2 (GROUP) SELECT SWITCH
The G1-2 switch enables selecting (button depressed) the
channel for routing to the G1-2 stereo bus, controlled by the
master G1-2 fader. This signal is post channel fader and the
stereo placement is adjusted by the Pan control. The G1-2
Group bus offers you a second stereo submix with its own
stereo G1-2 submaster fader. It can be used as a convenient
mixing aid both live and in the studio; for example, to combine
the outputs of all drum channels onto just 1 or 2 submaster
faders, or to route to multi-track recorders. You can generate
two mono subgroups in addition to the normal Main Mix
stereo bus by patching the G1 and G2 OUT back into two
mono channels, and use these as Subgroup masters
• Aux Send 1 is pre-fader
and the signal sent to the
AUX 1 bus will be unaffected by the channel fader
setting.
• Aux Send 2 is post-fader
and the signal level sent to
the AUX 2 bus will be
affected by the channel
fader setting.
(Note: the subgroup return channels must not be routed to
the G1-2 bus themselves, by depressing their G1-2 select
switch, as that would result in a feedback loop).
For almost all effects send purposes, you will want to use the
post-fader AUX 2, so that when
a fader level is adjusted, any
reverb send from that channel follows the fader. Otherwise,
when the fader is pulled down, the reverb from that channel
would still be audible. Most reverbs etc. internally sum the left
and right inputs so that you can use AUX 2. You can also use
this AUX 2 send to feed inputs to a multi-track recorder or any
other unbalanced line level application. On the other hand, for
cueing purposes and monitor amplifiers, use the pre-fader
AUX 1 (i.e. independent of the channel fader)
(12) CHANNEL FADER
The channel faders determine the output signal level to the
Master Mix or G1-2 buses. They offer a smooth logarithmic
taper more often associated with much more expensive consoles for optimum control of the signal.
(7) PAN CONTROL
The Channel Pan positions the output of the channel in the
stereo field of the main mix if the L-R Select switch (10) is
depressed. Its constant-power design ensures there are no
level discrepancies whether a signal is hard-panned, centerstage, or somewhere in-between. Channel Pan also deter-
7
CONTROLS AND CONNECTIONS
2. STEREO INPUT SECTION
(13)
(14)
(4)
(5)
(5) EQUALIZERS
The stereo channel EQ’s
operate in the same manner
as those in the mono channels. The left and right signals
will be affected equally. A
stereo equalizer is generally
preferable anyhow to using
two mono equalizers when
equalizing a stereo signal as it
avoids possible discrepancies
between the left and right settings.
(13) L (MONO) LINE INPUT
On stereo input channels 916, the 1/4" line inputs are
designed for stereo or mono
line-level signals such as
those from keyboards, drum
machines, CD players, tape
decks, or samplers.
However, these inputs can
also be used as standard
mono line inputs by connecting the signal to the L
(MONO) line in. This signal
will be routed equally to the
BAL control and the left and
right outputs in the same
way as the standard line
input channels. For the
stereo line inputs the mono
channel PAN (7) control is
replaced by the BAL
(Balance) control. See also
BAL CONTROL (15) above.
(6) AUX SENDS
These are the same as for the
mono channels. Note that a
mono sum is taken from the
stereo input.
(15)
(8)
(9)
(10)
(11)
(15) BAL CONTROL
For a mono input to the
L(MONO) input the function of
the control is the same as the
PAN (7) controls of the mono
channels. However, when a
channel is run in stereo, this
control functions as a Balance (12)
control, determining the relative Balance of the left and
right channel signals being
sent to the left and right
Master Mix buses. For example, with the Balance control
turned fully clockwise, only the
right portion of the channel’s
stereo signal will be routed to
the Master Mix. Balance also
determines the relative amount of left and right channel signals being sent to buses G1, G2 respectively when the G1-2
Select switch (11) is engaged.
(14) R LINE INPUT
When using channels 9-10,
11-12, 13-14, or 15-16 as
stereo input channels, the
left signal should be connected to the L input and the
right signal to the R input.
These signals will be routed
(6) to the AUX, EQ and Channel
fader controls equally and
will retain their stereo separation. The AUX, EQ, BAL,
and Channel fader controls
all function the same as
those on mono input channels 1-8.
When a stereo signal is input to a stereo input channel, these
controls will affect the left and right signals equally. The
Stereo Line Input jacks are 1/4" TRS balanced phone jacks,
Tip = positive (+), Ring = negative (-), Sleeve = ground.
(8)
(9)
(10)
(11)
(12)
(4) TRIM CONTROL
The stereo Trim control operates in the same manner as the
mono Trim control. The stereo inputs are designed for any
line level signal. Most line level sources such as MIDI instruments and effects units will have their own output level control. However any added adjustment necessary for proper leveling can be done with the Trim control.
PEAK LED INDICATOR
PFL SELECT SWITCH
L-R SELECT SWITCH
G1-2 (GROUP) SELECT SWITCH
CHANNEL FADER
This has the same function as for the mono channels. See
MONO INPUT SECTION.
8
CONTROLS AND CONNECTIONS
(21)
3. MASTER SECTION
(16)
(17)
(18)
(22)
(19)
a. AUX Sends/Returns Function and Operation
(16) STEREO AUX RETURNS (LEFT/MONO, RIGHT)
(32) AUX 1,2 MASTER SEND CONTROLS
(36) AUX 1,2 RETURN CONTROLS
(37) AUX RETURN BALANCE CONTROLS
(38) L-R AUX RETURN ASSIGN SWITCH
(39) G1-2 AUX RETURN ASSIGN SWITCH
The AUX Return jacks are the mono or stereo returns for AUX
1 and 2. If you connect a signal to the Left/Mono Return jack
only, the AUX Return will operate in mono and the signal will
be routed to the respective Aux Return Control (36) and
then mixed into the left and right Main Mix Stereo Outputs
(20) and/or G1-G2 Outputs (18), depending on whether you
selected either or both outputs with the L-R (38) or G1-2 (39)
AUX Return Assign switches. The separate left and right
return jacks are provided for use with stereo signals such as
those from the output of a stereo effects processor. The left
and right return signals will be routed to the return level controls (36) and mixed into the left and right Stereo (20) or G1G2 (18) Outputs separately [depending on the outputs selected with the AUX Return Assign switches (38,39)], while
maintaining stereo separation. Use the AUX Return Balance
Controls (37) to adjust the balance of the AUX Return signal.
(20)
(23)
Certain stereo effects produce a perceived imbalance
between the left and right channel levels. To correct for this
you will have to bring your stereo effect back on a stereo
channel, which has a Balance control (15). When applying
short left and right delays, the shortest one will always seem
loudest. When pitch shifting up and down in wide stereo to
thicken a sound, the signal shifted upwards will seem louder
than one that goes down. In both cases use the Balance control to compensate. When performing any stereo imaging
exercise, don’t just rely on the control room monitors. Get a
pair of headphones and listen in stereo and in reverse stereo,
just in case you have any significant hearing discrepancies.
Sometimes you might want to narrow the stereo width of a
reverb field. To do this you will have to come back on two
mono channels to get independent pan for the left and right
signals.
(17) AUX SENDS
The Aux Send 1 and 2 jacks are the outputs for the signals
sent from the channel Aux controls (6). They are 1/4" unbalanced phone jacks wired: Tip = positive (+), Sleeve = ground.
For example, if these knobs are turned all the way to the left,
the signal will be sent only to the L and/or G1 bus, and turned
all they way right, only to the R and/or G2 bus, and in the
center equally to both the L, R, and/or G1, G2 buses [again
depending on the outputs selected with the AUX Return
Assign switches (38,39)]. The Aux Returns are multi-functional. They may be used for returning the outputs of effect
units, as Tape Returns from a multi-track recorder, or as extra
instrument inputs, especially if your MIDI keyboard or rack
supplies a pre-mixed stereo signal.
AUX 1 is pre-fader and AUX 2 is post-fader. These signals
can be sent to the input of an effects processor, multi-track
recorder, or used for any other line-level auxiliary purpose.
Master Aux Send levels are adjusted by the Aux Master
Send controls (32).
9
CONTROLS AND CONNECTIONS
(34)
(35)
(36)
(37)
(38)
(39)
b. G1-2 Group Functions and Operation
(18) G1-G2 OUTPUTS
(25) G1-2 MASTER FADER
(31) G1-2 MONITOR SELECT SWITCH
(35) L/G1-R/G2 METER SELECT SWITCHES
(39) G1-2 AUX RETURN ASSIGN SWITCH
A channel’s output will be routed to the G1—G2 Group Outputs
(18) by depressing the G1-2 Select switch (11). These outputs
are 1/4" TRS balanced phone jacks, wired: Tip = positive (+),
Ring = negative (-), Sleeve = ground. Level to the G1-G2
Outputs is adjusted by the G1-2 Master Fader (25). You can
also monitor the G1-2 signal via headphone (23) or control
room (19) outputs by the G1-2 Monitor Select switch (31). The
G1-2 AUX Return Assign switches (39) can be selected to
route the AUX return signal to the G1-2 bus and the G1-2
Master fader (25). The signal level of all signals on the G1-2
bus can be monitored by the 10-stage LED Output meter by
selecting either or both G1 and G2 on the Meter Select switches (35). The G1-2 Group can be a very useful feature if used
effectively. Subgroups are commonly used as a mixing aid both
live and in the studio. For example, you can combine the outputs
from all drum channels onto just 1 or 2 submaster faders. They
are also used to route to multi-track recorders. There are no
dedicated subgroups on the CMX-16A. However, the G1-2 bus
offers you a second independent stereo submix with its own
submaster stereo fader. You can generate two mono subgroups
in addition to the normal Master Mix stereo bus by patching G1G2 Outputs back into two mono channels, and use these as
Subgroup masters
(Note: The subgroup return channels must not be routed to the
G1-2 bus themselves, as this would result in a feedback loop.)
(24)
c. Main Mix Function and Operation
(20) STEREO OUTPUTS
(21) TAPE INPUTS
(22) REC OUTPUTS
(24) L/R MASTER FADERS
(33) TAPE IN LEVEL CONTROL
(34) LED OUTPUT METER
(35) L/G1-R/G2 METER SELECT SWITCHES
(38) L-R AUX RETURN ASSIGN SWITCHES
The Stereo Outputs consist of both Left (L) and Right (R) balanced XLR’s, wired: pin 1 = ground, pin 2 = hot (+), pin 3 = cold
(-), and unbalanced 1/4" phone jacks, wired: Tip = positive (+),
Sleeve = ground.
The REC Outputs (22) also provide an output of the Master
Mix. These outputs are RCA jacks, and designed primarily for
inputs to tape recorders, etc.
The output level routed to the Stereo Outputs and REC Outputs
is determined ultimately by the setting of the L,R Master Faders
(24). The Master Mix (signal on the master bus) is the sum of
the signals routed from all the channels and also the inputs from
the AUX return bus (if either or both the L-R AUX Return
10
CONTROLS AND CONNECTIONS
Assign switches (38) are depressed) and the TAPE Input. The
level of signal routed to the L-R Master faders (24) from tape
decks, CD players, etc., input to the Tape Input (21) is determined
by the Tape In Level Control (33). The 10-stage LED Output
Meter (34) can be selected with the Meter Select Switches (35) to
display the Master Mix output level.
d. Monitor Function and Operation
(19) CONTROL ROOM OUTPUTS
(23) HEADPHONES OUTPUT
(28) PHONES/CONTROL ROOM CONTROL
(29) PFL MONITOR SELECT SWITCH
(30) L-R MONITOR SELECT SWITCH
(31) G1-2 MONITOR SELECT SWITCH
The CMX-16A allows you to monitor singly the L-R Main Mix , the
G1-2 Group mix or the pre-fader PFL signal by selecting one of the
appropriate Monitor Select switches (29,30,31). The level of the
selected signals is adjusted with the Phones/Control Room control (28) and routed to both the Control Room (19) and
Headphones (23) outputs. The L-R Control Room Outputs (19)
can be connected to an amp to power stereo control room (or
other) monitor speakers and are 1/4" unbalanced phone jacks,
wired: Tip = positive (+), Sleeve = ground. The Phones Output will
feed headphones and is a 1/4" TRS jack, wired: tip = left signal,
ring = right signal, sleeve = ground.
e. Power Switches
(40) AC POWER IN SOCKET
(26) MAIN POWER SWITCH
(26A) POWER ON LED INDICATOR
Once the external PSU is connected to the AC Power In Socket
(40) and then to the AC power source, you may switch on your
mixers with the Power On switch (26). The Power "ON" LED
(26A) will light up. Allow 1 minute after powering up for the system
to reach equilibrium before setting inputs gains and other levels.
(27) PHANTOM POWER SWITCH
(27A) PHANTOM POWER ON LED INDICATOR
When using condenser mics, +48VDC can be switched globally on
or off to the XLR mic inputs for all mono channels (also see MONO
INPUT SECTION, MIC INPUTS). When this switch is in the "ON"
position, The Phantom Power On LED Indicator (27A) will light,
and +48VDC will be provided between pins 2 and 3 of all the mono
Mic input XLR connectors (Ch 1-8). If you don’t need phantom
power, be sure to turn this switch to the "OFF" position.
[Note: It is safe to connect balanced dynamic mics or line level
devices even if this switch is on, but connecting unbalanced
devices or devices whose transformers are center-grounded will
cause hum or malfunctions. Shorting the +48VDC can also damage your mixer. Also, mute the Monitor/PA speakers when turning
the phantom power on or off.]
(26)
(26A)
(27)
(27A)
(28)
(29)
(30)
(31)
(32)
(33)
(25)
(40)
BACK PANEL
11
CONNECTIONS
This NADY AUDIO console uses 4 different types of audio connectors for the various input/output connections: (1) XLR balanced; (2) 1/4" TRS phone jacks for balanced, unbalanced, stereo, or in/out inserts; (3) 1/4" TRS unbalanced; (4) RCA
pin unbalanced
Figures
1. Balanced XLR input/output connections
2. Stereo headphone connection with 1/4" TRS
plug
GROUP & MIX OUTPUTS
MICROPHONE INPUTS
3. 1/4" mono (TRS) plug used as unbalanced
input/output
2
1
2
1
Ground (Screen)
3
3
4. 1/4" stereo (TRS) plug used as balanced
input/output
Cold
(Out of Phase Signal)
5. 1/4" TRS plug used as Insert Send/Return
Hot
(In Phase Signal)
6. RCA pin plug for unbalanced input/ouput
HEADPHONES
Socket (female)
UNBALANCED USE OF
MONO 1/4” PLUGS
Tip =
Left signal
Tip =
Signal
Plug (male)
BALANCED USE OF
STEREO 1/4” PLUGS
Tip =
hot (+ve)
Ring =
Right signal
Ring =
cold (-ve)
Sleeve =
Ground/Shield
Sleeve =
Ground/Shield
Tip
Ring
Tip
Sleeve
Sleeve
Strain relief
clamp
Strain relief
clamp
2.
Sleeve =
Ground/Shield
Tip
Ring
Sleeve
3.
1/4” STEREO PLUG USED AS INSERT SEND/RETURN
TIP
Send to External
Device
SLEEVE
Ground (Screen)
Strain relief
clamp
4.
RCA PIN PLUG
Strain relief clamp
Sleeve =
Ground
(Shield)
RING
Return from External Device
Ring
Sleeve
Tip
12
5.
Pin =
Signal
6.
1.
S P E C I F I C AT I O N S
1. INPUT SECTION
Input
Connector
Input Impedance
Nominal Level
Max Level
MONO CH MIC
XLR
>1.3K Ω
+2 dBm
+14 dBm
MONO CH LINE
1/4" TRS
>10K Ω
+4 dBm
+22 dBm
STEREO CH LINE
1/4" TRS
>10K Ω
+4 dBm
+22 dBm
RCA PIN JACKS
>10K Ω
+2 dBm
+22 dBm
1/4" TS
>10K Ω
+4 dBm
+22 dBm
1/4" TRS
>10K Ω
+4 dBm
+22 dBm
TAPE IN
AUX RETURNS
INSERT IN
2. OUTPUT SECTION
Output
Connector
Output Impedance
Nominal Level
Max Level
XLR & 1/4" TS
120 Ω
+4~+6 dBm
+22 dBm
AUX SENDS 1,2
1/4" TS
120 Ω
+4~+6 dBm
+20 dBm
G1-G2 OUT
1/4"TRS
120 Ω
+4~+6 dBm
+22 dBm
INSERT OUT
1/4" TRS
120 Ω
+4~+6 dBm
+22 dBm
CNTRL R. OUT
1/4" TS
1K Ω
+4~+6 dBm
+22 dBm
REC OUT
RCA PIN JACKS
1K Ω
+4~+6 dBm
+22 dBm
PHONES
1/4" TRS
200 Ω
–––
40mW X 2
STEREO OUT L/R
3. FREQUENCY RESPONSE
8. HUM AND NOISE
ANY INPUT TO
ANY OUTPUT ....................20 Hz to 20 KHz =/- 3dB @ 0 dBm
20 Hz-20 Khz, Rs=150 ohms, input TRIM @ 0 dB, input sensitivity at –60 dB
EQUIVALENT INPUT NOISE ....................................-129 dBm
RESIDUAL OUTPUT NOISE........................................-85 dBm
4. TOTAL HARMONIC DISTORTION
ANY INPUT TO
ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm
9. VU METERS
10-segment LED X 2, L/G1, R/G2
5. INPUT CHANNEL EQUALIZATION
High shelving ....................12 kHz, +/- 15 dB, Q fixed at 2 oct.
Mid bell ............................2.5 khZ, +/- 15 dB, Q fixed at 1 oct.
Low shelving ......................80 Hz, +/- 15 dB, Q fixed at 2 oct.
10. PHANTOM POWER
6. GAIN CONTROL RANGE
External PSU, 120 VAC/60Hz or 230 VAC/50Hz
Input channel trim control....Stop to stop- Mic +10 dB~+60 dB,
Line ..................................................................+10 dB~+40 dB
Channel/Master Faders ...................................... -∞ to +15 dB
Aux Send/Aux Master Send ................................Off to +15 dB
Aux Return ..............................................Off to Unity to +20 dB
Tape In Level Control ..........................................Off to +15 dB
12. POWER CONSUMPTION
+48 VDC, globally selected
11. POWER REQUIREMENTS
40 Watts, External PSU
13. DIMENSIONS AND WEIGHT
15" x 17.5" x 3.75" (381 x 495 x 95 mm), 14.85 lbs (6.75 Kg),
External PSU not included
7. CROSSTALK @ 1KHZ
ADJACENT CHANNEL INPUTS ......................-78 dB~-68 dB
INPUT TO OUTPUT .......................................... -78 dB~-68 dB
The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications for this unit,
including design and appearance, are subject to change without prior notice.
13
BLOCK DIAGRAM
14
SERVICE FOR YOUR NADY AUDIO PRODUCT
(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via telephone at (510) 652-2411, or e-mail at [email protected].
(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from
whom you purchased this product.
DO NOT ATTEMPT TO SERVICE THIS UNIT
YOURSELF AS IT CAN BE DANGEROUS
AND WILL ALSO VOID THE WARRANTY.
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608
Tel: 510.652.2411 • Fax: 510.652.5075 • www.nadywireless.com
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