Nady Systems PM-200A Owner's Manual - page 4
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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 for high hat and vocal clarity.
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 BASS can also eliminate feedback or clear up a muddy
sounding mix. Cutting the HIGH and BASS, then pushing up the Volume control is equivalent to a
mid range boost!
Note, the PM-200A internal speaker has been specially designed to reduce feedback frequencies
while allowing maximum punch from center vocal and instrument tones. This allows clear and
comprehensive monitoring with the speaker in close proximity with maximum feedback rejection.
The speakers are not meant to be flat in audio quality or used for music reproduction. But when
the band or DJ is pumping, they kick out exactly what you need...and then some!
5. EXTERNAL SPEAKERS
The PM-200A can also be used to power external speakers for additional
monitoring or added volume. Each External Speaker jack can power any
number of speakers with a total impedance not being less than 8Ω.
The PM-200A actually uses a dual power amp, each side of which is used
to power the internal 8Ω speakers. The power amp is capable of delivering
up to 50W RMS of clean power to EACH SPEAKER.
When additional speakers are connected to the two External Speaker out-
puts, they are automatically wired in parallel with each internal speaker, reducing the total imped-
ance of each channel. If an 8Ω speaker is connected to each output, the power amp can deliver
up to 75W RMS to each channel – that means 37.5W per speaker. If the internal speakers are
turned off in this configuration, each 8Ω external speaker can receive up to 50W RMS of power.
6. INTERNAL SPEAKERS ENABLE
When external speakers, or headphones, are being used, it may be desirable
to turn off the internal speakers to decrease noise, or, to increase the power
somewhat to the external speakers. When the External Speakers push-but-
ton switch is depressed, the internal speakers are enabled. When it is out, the
internal speakers are disconnected.
7. HEADPHONES
The Headphone 1⁄4” stereo output can be used to monitor the signal post Vol-
ume and EQ. It is capable of powering headphones with impedances of 8Ω or
greater. The internal speakers can be used simultaneously or turned off using
the Internal Speakers Enable switch.
8. POWER
This switch turns the AC power on and off as indicated by the front baffle green
Power Led.
P A N E L C O N T R O L S & C O N N E C T I O N S
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P A N E L C O N T R O L S & C O N N E C T I O N S
1. INPUTS
The electronically balanced XLR MIC input is designed to accept signals from
any balanced or unbalanced low impedance (Low Z) microphone. This input
can also be used for low line level signals. Make sure to turn down the preced-
ing unit to avoid distortion. The XLR jack is configured for: Pin1 = ground, Pin2
= positive (+), Pin3 = negative (-). Note, the Mic input is more sensitive than
the Line input.
The 1⁄4” TRS LINE input is designed to accept balanced or unbalanced line-
level signals such as those from keyboards, drum machines, or samplers. 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: Both Mic input and Line input can be used simultaneously if desired, however audio levels
cannot be adjusted separately.
2. LINE OUT
This 1⁄4” unbalanced output can be used to daisy-chain multiple PM-200A or send
the input signal directly to a mixer, PA system, or recording device. The Line Out-
put is not affected by the Volume controls or EQ.
3. VOLUME
This adjusts the signal level sent to the internal speakers, external speaker, and
headphone outputs.
MAKE SURE TO AVIOD EXCESSIVE CLIPPING OF THE POWER AMPLIFIER!!!
The Volume should be adjusted to be comfortably audible without excessive clip-
ping. The red clipping LED indicator, located on the front baffle, will light when the
amplifier is within 3dB of clipping. It is acceptable if the red LED lights occasion-
ally. If the red LED lights more than occasionally, you should turn down the volume to avoid
audible distortion and possible damage to the speakers or amplifier. The PM-200A uses a high
power amplifier in a small enclosure for maximum power and portability combined. Care should
be taken to avoid overheating and possibly damaging the power amp or speakers with excessive
clipping.
Note: Speakers and amplifiers damaged due to hard clipping are not covered under warranty.
4. EQ
The three-band equalizer section utilizes a HIGH, MID,
and BASS EQ control, each of which has 12dB of cut and
boost, with a center detent for off indication. The frequency
response is flat when all three EQ knobs are in the center
detent position. The HIGH and BASS shelving controls have
their frequencies fixed at 10 KHz and 120Hz respectively.
The MID control has a peaking response at 2.5KHz. The EQ is a valuable feature of the PM-200A
as it allows the user to control the tonal characteristics of their monitor mix. For example, boost-
ing the BASS can fatten the sound, add warmth to vocals, or extra punch to bass, drums and