Nady Systems MM-15USB Owner's Manual - Controls & Connections
Controls & Connections
() EQUALIZER CONTROLS
All.channels.are.fitted.with.a.three-band.EQ.-.HIGH,.MID,.and.
LOW..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.HIGH.and.
LOW.shelving.controls.have.their.frequencies.fixed.at.10KHz.
and.80Hz.respectively..The.MID.control.has.a.peaking.response.
at.2KHz..The.channel.EQ.is.a.valuable.feature.of.the.mixer.as.it.
allows.the.user.to.control.the.tonal.characteristics.of.each.channel.
separately..For.example,.boosting.the.LOW.can.fatten.the.sound,.
add.warmth.to.vocals,.or.extra.punch.to.bass,.drums.and.synths;.
the.MID.control.can.be.used.to.define.the.midrange.or.bring.out.
the.vocals;.and.adjusting.the.HIGH.control.can.provide.a.crisp.
sounding.high.end..Another.very.important,.yet.often.overlooked.
technique.is.to.use.the.EQ.to.subtract.from.the.mix..Cutting.the.
HIGH.control.can.reduce.unwanted.sibilance,.hiss,.cymbals,.
or.high.frequency.feedback,.while.attenuating.the.MID.or.LOW.
can.also.eliminate.feedback.or.clear.up.a.muddy.sounding.mix..
Cutting.the.HIGH.and.LOW,.then.pushing.up.the.Channel Level
Control(6).is.equivalent.to.mid.range.boost!.
[Note: Always check the channel’s Peak LED Indicator(5) after
altering the amount of equalization].
The.key.to.successful.equalization.is.to.avoid.excess..Too.
much.equalization.on.the.input.channels.will.result.in.a.mix.that.
is.smeared.together.with.nothing.specifically.defined..During.
rehearsals,.experiment.with.the.equalizer.controls.on.various.
instruments,.vocals.and.combinations.of.these.mixed.together.to.
become.familiar.with.various.equalizer.settings.
(7) AUX SEND CONTROL
This.control.adjusts.the.level.of.signal.sent.to.the.Aux Send(23).
output..The.channel.Aux.Send.control.is.mono,.post-EQ,.and.
post-Level.control.meaning.the.signal.level.sent.to.the.Aux.bus.will.
also.be.affected.by.the.Channel Level(9).setting..
(8) PAN
The.channel.Pan.positions.the.output.of.the.channel.in.the.
left/right.stereo.field.of.the.Main.mix..Its.constant-power.design.
ensures.there.are.no.level.discrepancies.whether.a.signal.is.hard-
panned,.center-stage,.or.somewhere.in-between..For.channels.
3
⁄
4
.
and.
5
⁄
6
.this.acts.as.a.balance.control.
(9) CHANNEL LEVEL
This.controls.the.volume.of.the.channel.signal.sent.to.the.Main.
bus.
(10) PRE-FADER TO RECORD SWITCH
Enabling.this.switch.will.route.the.input.signal.of.the.channel.to.the.
Record Outputs(30)..The.signal.will.be.post-EQ.and.pre.channel.
level.control.
(11) CHANNEL 3/4 & 5/ STEREO INPUTS
These.
1
⁄
4
”.and.RCA.unbalanced.inputs.are.designed.to.accept.
line.level.signals.such.as.those.common.to.CD/tape.players,.
keyboards,.direct.outputs.and.home.stereo.or.DJ.equipment..
The.
1
⁄
4
”.inputs.can.also.be.used.as.standard.mono.line.inputs.by.
plugging.into.the.L.input.only..This.signal.will.be.routed.equally.to.
the.Pan.control.and.the.left.and.right.outputs.in.the.same.way.as.
the.standard.line.input.channels..
For.each.channel.there.are.separate.A.and.B.stereo.inputs..Using.
both.sets.of.inputs.simultaneously.can.cause.some.level.issues,.
which.may.require.the.volume.of.the.preceding.equipment.to.be.
adjusted..The.“A”.1/4”.inputs.are.always.enabled..To.utilize.the.“B”.
RCA.inputs,.the.B Enable Switch(12).must.be.depressed..This.
allows.the.user.to.switch.on.the.B.input.source.instantaneously..
(1) B ENABLE SWITCH
Depressing.this.switch.will.turn.on.the.B.Inputs.of.channels.3/4.
and.5/6.