OWNER’S MANUAL
SPM-4250
4-Channel Stereo Powered Mixer
WARNING
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.
B.
C.
D.
E.
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.
3
INSTALLATION
To ensure years of enjoyment from your NADY AUDIO SPM-4250 powered mixer, please read and understand this
manual thoroughly before using the unit.
1. INSPECTION
Your NADY AUDIO SPM-4250 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.
[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.]
2. SETUP AND OPERATION
Parts of the 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 SPM-4250 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 frequency (RF) and electromagnetic interference (EMI), extremely
high fields of RF and EMI should be avoided.
Please make sure that the power unit supplied is marked for the correct voltage in your area (120VAC/60 Hz or 230VAC/
50 Hz). 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.
Europe (except UK): 230V, 50Hz
UK and Australia: 240V, 50Hz
USA and Canada: 120V, 60 Hz
For other areas, please check with local authorities.
When ready to operate, plug the AC cord into the power source. Make sure that the unit is turned off before connecting to
the AC power source to avoid possible loud transients which can damage your speakers or your ears.
Power up the unit as noted on page 8.
4
FRONT CONTROLS AND CONNECTIONS
CHANNEL SECTION
(1) MIC INPUT
This electronically balanced XLR input is designed to
accept signals from any balanced or unbalanced low
impedance (Low Z) microphone. The XLR jack is
configured for: Pin1 = ground, Pin2 = positive (+), Pin3 =
negative (-).
(7)
(4)
(2) LINE INPUT
This 1/4" 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: Only the Mic or the Line input of a given channel
should be connected at one time. Do not connect both at
the same time.)
(5)
(3) PEAK LED INDICATOR
The PEAK LED illuminates when a channel input is
overloading. It detects the peak level after the
EQUALIZER CONTROLS (5) and will light just before
clipping to warn that the signal is approaching overload.
You do not want the Peak LED to light except very
intermittently. If it lights persistently, reduce the GAIN
CONTROL (4).
(6)
(8)
(4) GAIN CONTROL
The GAIN control adjusts the input sensitivity of the mic
and line inputs on each channel. This control can be
adjusted to accommodate input signals from a wide variety
of sources, from the high outputs of keyboards or drum
machines to the small signal outputs of microphones. The
best balance of S/N and dynamic range will be achieved if
you adjust the GAIN control on each channel separately so
that the maximum signal level can be input without
distortion. While speaking, singing, or playing an instrument
at maximum performance level, increase the GAIN control
until the PEAK LED (3) flashes, then turn down the GAIN
control until the flashing stops.
(9)
(3)
(2)
(5) EQUALIZER CONTROLS
All input 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 12 KHz and 90Hz 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
(1)
5
FRONT CONTROLS AND CONNECTIONS
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
VOLUME CONTROL (9) is equivalent to mid range boost!
(10)
[Note: Always reset a channel’s input GAIN CONTROL (4)
(or external device’s output level) after altering the amount
of equalization.]
(12)
(13)
(17)
(11)
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.
(16)
(6) PFL CONTROL
The PFL (pre-fader listen) control adjusts the volume of the
mono signal sent to the HEADPHONES (22) provided the
master section PFL SWITCH(23) is enabled. The signal is
post EQ (5) and independent of the channel VOLUME (9)
or EFFECTS (7). Adjusting the PFL never affects the AUX
SEND (18), RECORD OUT (20), or SPEAKER OUTPUTS
(26). This is useful if the person operating the SPM-4250
wants to listen to one or more of the input signals,
especially, to troubleshoot problems without affecting the
main mix. The PFL controls can also be used to set a sub
mix which can be output from the HEADPHONES jack and
sent to an external recording device, mixing board, or
power amplifier.
(14)
(15)
(23)
(24)
(22)
(21)
(18)
(19)
(7) EFFECT CONTROL
The EFFECT control adjusts the signal level sent by each
channel to the internal ECHO EFFECTS DSP (Digital
Sound Processor).The EFFECT controls are mono and
post Channel EQ and post Volume. The signal level sent to
the EFF bus will be affected by the channel Volume setting
but not the PAN control. This control also adjusts the level
of the signal sent to the AUX SEND (18).
(20)
(8) PAN CONTROL
The PAN positions the output of the channel in the stereo
field of the Master output.
(9) VOLUME CONTROL
This adjusts the channel signal level that is sent to the
master section. This control also adjusts the level of the
signal sent to the AUX SEND (18).
6
FRONT CONTROLS AND CONNECTIONS
(18) AUX SEND JACK
The AUX SEND JACK provides a mono mixed signal
MASTER SECTION
output from each input channel to an external effects unit
or other device. The signal level is adjusted by the EFF
and Volume controls of each channel.
(10) POWER ON/OFF SWITCH
This switch turns the unit on and off. The SPM-4250 uses
relays to ensure quiet turn-on and turn-off.
(19) AUX RETURN
(11) 48V PHANTOM POWER LED
This input can be used to return the effected signal into the
SPM-4250 or it can be used as an auxiliary input for line
level devices. The input signal can be adjusted using the
MASTER VOLUME (24) and the output volume of the
external unit.
Lights to indicate when 48V phantom power is turned on.
(12) ECHO EFFECTS DISPLAY
This numeric Effects Display will indicate which of the 16
echo presets has been selected.
(20) TAPE INPUT / REC OUTPUT JACKS
(13) ECHO TIME SELECT BUTTONS
The Left and Right TAPE INPUT RCA jacks allow cassette
recorders, CD players, or MP3 players to be added to the
master mix output. These signals are affected by the
TAPE LEVEL (21), MASTER VOLUME (24), and 5-BAND
EQ (16). The RECORD OUTPUT Left and Right RCA
jacks provides signal output to recording devices, home
audio equipment, or external amplifiers. These outputs are
post MASTER VOLUME and 5-BAND EQ.
Use these UP and DOWN buttons to select one of 16
preset time intervals of the built-in Echo Effects DSP
(Digital Sound Processor). Setting 1 selects the shortest
echo time to emulate plate and doubling effects whereas
setting 16 enables the longest echo time for stadium
reverbs and delay sounds. Settings around 4 - 7 emulate
room and hall reverbs by adjusting the ECHO DEPTH
CONTROL (14) to approx ten o’clock and the ECHO
LEVEL CONTROL (15) to mid.
(21) TAPE LEVEL
This adjusts the amount of TAPE IN signal that is sent to
the master bus.
(14) ECHO DEPTH CONTROL
This adjusts the number of repeats and feedback/depth of
the echo effect selected. Turning the control clockwise
sets the repeats to maximum for lengthy echoes or plate
effects. Turning the control counter-clockwise sets one
repeat for single delay or doubling effects.
(22) HEADPHONES CONROL AND JACK
This control and corresponding 1/4 output is for connecting
headphones to the SPM-4250 to monitor each channel, or
the master mix, dependant on the MASTER PFL (23)
setting.
(15) ECHO LEVEL CONTROL
This adjusts the level of the effected signal sent to the
master mix bus.
(23) MASTER PFL SWITCH
When this push-button switch is out, the HEADPHONES
receive the main mix signal post 5-BAND EQ / pre-
MASTER VOLUME. When the button is depressed, the
signal is sent from each channel PFL control to the
HEADPHONES. In this setting, the HEADPHONES jack
can also be used as a sub-mix output.
(16) 5-BAND GRAPHIC EQ
The 5-band graphic equalizer allows you to adjust the
frequency response of the left and right master bus signal,
allowing final tonal adjustments. This provides a maximum
of 12dB cut or boost from the flat position for each
frequency band; 63Hz/250Hz/1KHz/4KHz/12KHz. The
faders can be adjusted to easily eliminate feedback at the
corresponding frequency. These EQ’s are pre MASTER
VOLUME.
(24) MASTER VOLUME
The MASTER VOLUME sets the level of the stereo signal
sent to the internal power amplifiers.
(17) LED OUTPUT METER
The 5-stage stereo output LED meter display the can be
used to maintain proper levels in the master mix. The red
PEAK LED will light when the output signal is just below
clipping. It is acceptable if the red LED lights occasionally.
If the red LED lights more than occasionally, you should
turn down the MASTER VOLUME (24) to avoid audible
distortion and clipping, which can cause damage to your
speaker and even the internal amplifier.
7
REAR CONTROLS AND CONNECTIONS
(25)
(29)
(28)
(27)
(26)
(25) PHANTOM POWER ON/OFF SWITCH
When this switch is depressed, +48V of phantom power will be supplied to the XLR mic inputs.
(26) SPEAKER OUTPUT JACKS
The left and right 1/4" speaker outputs can deliver up to 125W RMS per side to 4Ω loads.
(27) POWER CONNECTOR
The IEC socket is used to connect the power cord to an AC power source.
(Caution: Do not remove the center grounding pin.)
(28) FUSE COMPARTMENT
Replace with only the same type fuse as listed in the SPECIFICATIONS. If it blows continuously, do not use the unit and
have it serviced by qualified personnel.
(29) AC VOLTAGE SELECTOR SWITCH
Before plugging in the power cord, check to see that the unit is set for the proper voltage for your area: ~115V (60Hz) or
~230V (50Hz).
8
CONNECTIONS
This NADY AUDIO mixer 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” TS unbalanced; (4) RCA pin unbalanced
Figures
1. Balanced XLR input 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. RCA pin plug for unbalanced input/output
9
SPECIFICATIONS
1. INPUT SECTION
Input
Connector
Input Impedance
Max Level
MONO CH MIC
MONO CH LINE
AUX RETURNS
TAPE IN
XLR BALANCED
1/4” TRS BALANCED
1/4” TS BALANCED
RCA JACKS
3.5K Ω
30KΩ
15KΩ
15KΩ
-15dBv
+11dBv
+10dBv
+10dBv
2. OUTPUT SECTION
Output
Connector
Output Impedance
Max Level
AUX SEND
TAPE OUT
1/4” UNBALANCED
100 Ω
1K Ω
+7dBv
RCA JACKS
+22dBv
3. MIXER SECTION
Frequency Response .....................................................................................................................................................................30Hz~18KHz (-3dB)
THD ......................................................................................................................................................................................................................0.12%
S/N RATIO ........................................................................................................................................................................................................... -84dB
NOISE FLOOR ................................................................................................................................................................................................. 0.25mV
HIGH EQ 15dB ................................................................................................................................................................................................. 12KHz
MID EQ 15dB ...................................................................................................................................................................................................... 2KHz
LOW EQ 15dB .................................................................................................................................................................................................... 90Hz
4. POWER AMP SECTION
POWER OUT
8Ω BOTH CHANNELS DRIVEN ................................................................................................................................................105W RMS per side
4Ω BOTH CHANNELS DRIVEN ................................................................................................................................................125W RMS per side
FREQUENCY RESPONSE......................................................................................................................................................... <10Hz~20KHz (-3dB)
5. GENERAL
POWER REQUIREMENTS .........................................................................................................Voltage selectable, 115VAC/60Hz or 230VAC /50Hz
FUSE REQUIREMENTS .............................................................................................................. 5A 250V FB @ 115VAC; 2.5A 250V FB @ 230VAC
WEIGHT ........................................................................................................................................................................................... 18.65 lbs. (8.6 Kg)
DIMENSIONS .............................................................................................................................. 17.4” x 10.5” x 10.3” (44.2 cm x 26.7 cm x 26.2 cm)
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.
10
NOTES
11
SERVICE FOR YOUR NADYAUDIO 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
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