Nady Systems CMX-16A Musical Instrument User Manual
Contents
1. 9 1122 Group FUNCTIONS and Operation u u uu muu A AEST 10 c Main Mix Function and Operation nnn nnns 10 d Monitor _ 22 3__ _ _ _ _ __ _ 11 _ 11 4 CONNEC CONS apa yan Qasa 12 SO cec EM MM EE 13 BEOCK 14 An equilateral triangle enclosing a lightening flash arrowhead symbol is CAUTION intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure which may be of sufficient DO NOT OPEN magnitude to constitute a risk of electric shock ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK A TEE T ntis meas aier DO NOT REMOVE COVER OR BACK n equilateral triangle enclosing an exclamation point is intended to alert NO USER SERVICEABLE PARTS INSIDE the user to the presence of important operating and service instructions in IMPORTANT SAFETY INSTRUCTIONS When using this electronic device basic precautions should always be taken including the following 1 Read all instructions before using the product2. Ge _ r hk 16A EO MIC LINE MIXER Mi NEL STER 16 CHAN CMK 16A 16 CHANNEL STEREO MIC LINE MIXER J OUI C Congratulations on your choice of mixers you have pur Date of Purchase chased one of the finest compact mixing consoles on the market today This unit was developed using the expertise of Dealer s Name professional sound engineers and working musicians You will find that your new NADY AUDIO CMX 16A has superior City performance and greater flexibility than any other mixer in its price range Please read this manual carefully to get the 5906 most out of your new unit Zip Thanks for selecting NADY AUDIO as your choice in mixing Model consoles Serial CONTENTS 2 232 _ __ _ _ _ __ __ _ MD 3 EEATUBES u 22 _ lt 4 lt lt lt lt __ 5 e NER TTE T Sa ss sss sss 5 2 RACKMOUNUNO 5 CN O E E ETE TETTE mm 5 CONTROLS AND CONNECTIONS a aras 6 he Niorio Imnpul S OCT ON MR 6 2 Ienso Inpub OCC OF 8 SM em E 9 a Aux Sends Returns Function and Operation
3. 1 MIC INPUT The Mic input is an electroni cally balanced XLR type designed to accept signals from any balanced low impedance Low Z micro phone To accommodate condenser microphones this input is also equipped with 48VDC phantom power globally switchable to all XLR input jacks with the Phantom Power switch 27 in the Master Section Dynamic or ribbon type microphones do not require 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 Pini ground Pin2 positive Pin3 negative 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 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 t
4. 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 qualifie
5. 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 inout 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 con trol 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
6. ln d 7 1 I 33 x y TAPE LEVEL 08 15 15 5 0 5 25 gt i s 25 30 40 gt USE THE SUPPLIED POWER SUPPLY ONLY pre CONNECTIONS This NADY AUDIO console uses 4 different types of audio connectors for the various input output connections 1 XLR bal anced 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 3 1 4 mono TRS plug used as unbalanced input output 4 1 4 stereo TRS plug used as balanced input output 5 1 4 TRS plug used as Insert Send Return 6 RCA pin plug for unbalanced input ouput HEADPHONES Tip Left signal Ring Right signal Sleeve Ground Shield Tip Ring Sleeve Strain relief clamp UNBALANCED USE OF MONO 1 4 PLUGS Tip Signal Sleeve Ground Shield Tip Sleeve Strain relief clamp 1 4 STEREO PLUG USED AS INSERT SEND RETURN TIP Send to External Device RING SLEEVE Ground Screen Return from External Device Strain relief clamp Sleeve 12 MICROPHONE INPUTS Socket female GROUP amp MIX OUTPUTS Ground Screen Cold Out of Phase Signal Hot In Phase Signal Plug male 1 BALANCED USE OF STEREO 1 4 PLUGS Tip hot ve Ring cold ve Sleeve Grou
7. sound with maximum headroom e 8 mono balanced XLR and 1 4 TRS and 8 stereo 1 4 TRS inputs 16 total e L R Main Mix and G1 2 Group Submix buses with L R and G1 2 functions selectable on all channels and sepa rately assignable to master mixes with separate master faders e 2 Aux Sends and 2 stereo Aux Returns with Aux Send and Aux Return controls e 8 mono input channel Inserts allow independent connection of effects devices for each mono channel Tape In and Record Out RCA jacks with Tape Input Level control e Separate Control Room and Headphone Outputs PFL L R and G1 2 mixes separately assignable to Headphone and Control Room outputs for versatile moni toring capability e Input Trim controls on all channel inputs e Balanced XLR and unbalanced 1 4 TRS Stereo Outputs e 3 band EQ on all channels Tape In and Record Out RCA jacks with Tape inputs assignable to Master Mix or stereo Control Room Headphone outputs e Switchable 48V phantom power for all mono XLR Mic inputs e 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 High quality sealed pots with center detents for all Pan Balance and EQ controls Peak LEDs on all input channels e Super accurate 10 stage LED display bargraph meters switchable to display L R or G1 G2 mix levels High strength steel casing and superior construction
8. 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 unbal anced phone jacks wired Tip positive Sleeve ground AUX 1 is pre fader and AUX 2 is post fader These signals can be sent to the input of an effects processor multi track recorder or used for any other line level auxiliary purpose Master Aux Send levels are adjusted by the Aux Master Send controls 32 CONTROLS AND CONNECTIONS 35 36 37 38 39 24 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 O
9. ECT SWITCH 11 G1 2 GROUP SELECT SWITCH 12 CHANNEL FADER This has the same function as for the mono channels See MONO INPUT SECTION CONTROLS AND CONNECTIONS 3 MASTER SECTION AUX SENDS G1 G2 OUT STEREO AUX RETUANS 16 17 18 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 con trols 36 and mixed into the left and right Stereo 20 or G1 G2 18 Outputs separately depending on the outputs select ed 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 Retur
10. IM 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 occa sionally 5 EQUALIZER CONTROLS All mono input channels are fit ted with a three band EQ All three bands have up to 15 dB of cut and boost with a center detent for off The frequency response is flat when all three EQ knobs are in the center detent position The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively The midrange control has a peaking response at 2 5KHz Q fixed at 1 octave The channel EQ is an important part of the mixer as it allows the user to control the tonal characteristics of each instru ment separately For example boosting the LOW can fatten the sound and add punch to the bass or drums the MID control can be used to define the midrange or bring out the vocals and adjusting the HIGH control can provide a crisp sounding high end A very important yet often overlooked technique is to use the EQ to subtract from t
11. X 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 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 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 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 con soles for optimum control of the signal CONTROLS AND CONNECTIONS 2 STEREO INPUT SECTION 13 L MONO LINE INPUT On stereo input channels 9 13 16 the 1 4 line inputs are designed for stereo or mono line leve
12. 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 dam age your mixer Also mute the Monitor PA speakers when turning the phantom power on or off 40 26 POWER 26A O PHANTOM 27 27A 28 29 30 31 32 a Md
13. d service personnel if The power supply cord or the plug has been damaged Objects have fallen into or liquid has been spilled onto the product The product has been exposed to rain The product does not appear to operate normally or exhibits a marked change in performance The product has been dropped or the enclosure damaged 11 Do not attempt to service the product beyond what is described in the user maintenance instructions All other servicing should be referred to qualified service personnel 11 EJ CO DJ p FEATURES l a m s gt GOOO 00i u 1 HR NH m H e SERENADE PEOL m om 6 4 OM 6 0E mL E 1 gt 4 A A ADB l 68 a 6 16 2 d 3 r H EF BE 72 ae oe JE JE B i 9 k B d d d a gd p m n aa a s h 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 demand ing mixing applications e Full frequency response wide dynamic range and ultra low noise assures natural transparent
14. he 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 5 CONTROLS AND CONNECTIONS Note Always reset a channel s 7 input Gain or external devices output level after altering the amount of mixer equalization cut or boost applied 9 The key to successful equaliza tion is to avoid excess Too much equalization on the input channels will result in a mix that is smeared together with nothing specifically defined During rehearsals experiment with the equalizer controls on various instruments vocals and combinations of these mixed 48 together to become familiar 15 15 with various equalizer settings 5 6 AUX SEND 1 2 CON TROLS 0 n Both Aux Sends are mono and post EQ and control the level 5 of the signals sent to the AUX buses Aux Send 1 is pre fader and the signal sent to the AUX 1 bus will be unaffect ed 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 For almost all effects send pur poses 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 interna
15. ir own output level con trol However any added adjustment necessary for proper lev eling can be done with the Trim control 5 EQUALIZERS The stereo channel EQ s operate in the same manner A as those in the mono chan QO nels The left and right signals 1 5 will be affected equally A stereo equalizer is generally E preferable anyhow to using 8 two mono equalizers when equalizing a stereo signal as it avoids possible discrepancies 9 between the left and right set tings 10 6 AUX SENDS These are the same as for the mono channels Note that a 1 1 mono sum is taken from the stereo input dB 15 15 15 BAL CONTROL For a mono input to the 5 L MONO input the function of the control is the same as the PAN 7 controls of the mono 5 channels However when a channel is run in stereo this 10 control functions as a Balance 1 2 control determining the rela tive Balance of the left and right channel signals being sent to the left and right Master Mix buses For exam ple 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 sig nals being sent to buses G1 G2 respectively when the G1 2 Select switch 11 is engaged 8 5 5 B 8 PEAK LED INDICATOR 9 PFL SELECT SWITCH 10 L R SEL
16. l signals such as those from keyboards drum machines CD players tape decks or samplers 14 owever these inputs can also be used as standard mono line inputs by connect ing the signal to the L MONO line in This signal 4 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 5 Balance control See also BAL CONTROL 15 above LINE L7 A P une 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 con nected 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 sepa ration The AUX EQ BAL and Channel fader controls all function the same as those on mono input channels 1 8 i 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 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 instru ments and effects units will have the
17. lly 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 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 center stage or somewhere in between Channel Pan also deter 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 8 PEAK LED INDICATOR The Peak LED illuminates when a channel is going into over load 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 persistent ly reduce input gain with the TRIM control 4 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 AU
18. n signal 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 func tional 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 CTRL A OUT lt STEREOS OUT TAPI IN REC CUT 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 con trol 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
19. nd Shield Tip Ring Sleeve Strain relief clamp RCA PIN PLUG Sleeve Ground Shield SPECIFICATIONS 1 INPUT SECTION 1 4 TRS MONO CH LINE Max Level 14 dBm 22 dBm 22 dBm 2 OUTPUT SECTION 22 dBm 22 dBm Max Level 22 dBm 8 AUX SENDS 1 2 1 4 TS 4 6 dBm 20 dBm 1 4 TRS 1 4 TRS G1 G2 OUT INSERT OUT 3 FREQUENCY RESPONSE ANY INPUT TO ANY OUTPUT 20 Hz to 20 KHz 3dB 0 dBm 4 TOTAL HARMONIC DISTORTION ANY INPUT TO ANY OUTPUT 0 0296 20 Hz 20 KHz 1Khz 0 dBm 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 6 GAIN CONTROL RANGE Input channel trim control Stop to stop Mic 10 dB 60 dB Wigan E 10 dB 40 dB Channel Master Faders to 15 dB Aux Send Aux Master Send Off to 15 dB Off to Unity to 20 dB Tape In Level Control Off to 15 dB 7 CROSSTALK 1KHZ ADJACENT CHANNEL INPUTS 78 dB 68 dB INPUT TO OUTPUT 78 dB 68 dB 22 dBm 22 dBm 40mW X 2 8 HUM AND NOISE 20 Hz 20 Khz Rs 150
20. o 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 simultane ously to the same channel 3 INSERT Channels 1 8 are equipped with insert jacks to connect exter nal 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 process ing 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 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 IL The insert jack is located pre EQ in the channel and is config ured 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 4 TR
21. ohms input TRIM 0 GB input sensi tivity at 60 dB EQUIVALENT INPUT NOISE isisisi 129 dBm RESIDUAL OUTPUT NOISE tsssrsccisncrsentaimtectiattentiaiteigs 85 dBm 9 VU METERS 10 segment LED X 2 L G1 R G2 10 PHANTOM POWER 48 VDC globally selected 11 POWER REQUIREMENTS External PSU 120 VAC 60Hz or 230 VAC 50Hz 12 POWER CONSUMPTION 40 Watts External PSU 13 DIMENSIONS AND WEIGHT 15 x 17 5 x 3 75 361 x 495 x 95 mm 14 85 Ibs 6 75 Kg External PSU not included 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 BLOCK DIAGRAM SERVICE FOR YOUR NADY AUDIO PRODUCT U S Should your NADY AUDIO product require service please contact the Nady Service Department via tele phone at 510 652 2411 or e mail at service nadywireless com International For service please contact the NADY AUDIO distributor in your country through the dealer from whom you purchased this product DO NOT ATTEMPT TO SERVICE THIS UNIT YOURSELF AS IT CAN BE DANGEROUS AND WILL ALSO VOID THE WARRANTY NADY SYSTEMS INC 6701 SHELLMOUND STREET EMERYVILLE CA 94608 Tel 510 652 2411 Fax 510 652 5075 www nadywireless com
22. ooling Also do not place the CMX 16A on high temperature devices such as power amplifiers etc or the unit may overheat in operation Although the unit s chassis is shielded against radio fre quency RF and electromagnetic interference EMI extremely high fields of RF and EMI should be avoided 3 POWER CONNECTION 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 Check to see that the PSU is set to the voltage for your area by referring to the table below Europe except UK 230V 50Hz UK and Australia 240V 50Hz USA and Canada 120V 60 Hz For other areas please check with local authorities Do not connect the PSU to the 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 CMX 16A with the power switch on the front panel Use only the correct NADY power supply unit to connect the CMX 16A to the Mains AC power CONTROLS AND CONNECTIONS 1 MONO INPUT SECTION
23. utput meter by selecting either or both G1 and G2 on the Meter Select switch es 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 G1 G2 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 c Main Mix Function and Operation 20 STEREO OUTPUTS 21 TAPE INPUTS 22 REC OUTPUTS 24 L R MASTER FADERS 33 TAPE INLEVEL 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 bal anced 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
24. with only highest quality components for longest life and maxi mum reliability Rack ears for rackmounting supplied External AC supply PSU for optimum signal integrity and superior transient response Dimensions amp Weight 15 x 17 5 x 3 75 381 x 495 x 95 mm 14 85 lbs 6 75 Kg INSTALLATION 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 Your NADY AUDIO CMX 16A was carefully packed at the factory in packaging designed to protect the units in ship ment Before installing and using your unit carefully examine the packaging and all contents for any signs of physical damage that may have occurred in transit Please note Nady Systems is not responsible for ship ping damage II your unit is damaged do not return to Nady but notify your dealer and the shipping company if shipped to you immediately to make a claim Such claims must be made by the consignee in a timely manner 2 RACK MOUNTING Enclosed in the shipping box you will find a rackmount kit II 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 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 c
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