4-Channel VHF Wireless Microphone System

401x QUAD

OW N ER S M A NUAL

Table of Contents

System Features.... 2 Operation: 401X QUAD Receiver... 3 WHT Handheld Microphone Transmitter... 5 WLT Lavalier/Lapel or Headworn Microphone... 6 WGT Instrument Bodypack Transmitter... 8. Specifications.... 10 Service Information / Warranty.... 11

INTRODUCTION

Thank you for purchasing a Nady 401X QUAD VHF Wireless Microphone System. The401X QUAD VHF is by far the best price/performance value available in multiple channel wireless systems. Please read the instructions in this manual completely before operating your unit.

USING THIS MANUAL

This booklet provides instructions for the operation of the Nady 401X QUAD four-channel VHF wireless, including handheld, instrument, lavalier, headmic and plug-in transmitter systems. Features of the 401X QUAD are listed, followed by step-by-step instructions explaining how to operate your new system. After reading the receiver instructions, turn to the section of the booklet that covers the type of transmitter used with the system you have purchased. Each section will give you detailed operating instructions. Also included in this manual are system specifications andservicing information.

SYSTEM FEATURES

401X QUAD Receiver
Four independent VHF receivers in one convenient, rugged, all-metal single rack space housing makes operating 4 wireless systems at the same time easier than ever Front-mount dual antenna jacks for either onboard or remote antennas Front panel Power ON/OFF switch, plus Power ON LED, TX ON and AF signal level LED displays Rear panel individual XLR AF Output jacks, volume and RF mute controls for each of the 4-channels, and 4-Channels-Mixed AF Out 1/4 phone jack Noise-free transmitter ON/OFF operation High performance unmatched transparent audio with 120 dB dynamic range and up to 250+ feet optimum line-of-sight operation
WHT Handheld Microphone Transmitter
Features the Nady DM -10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise OFF/STANDBY/ON switch allows convenient audio muting with the transmitter ON Low battery LED indicator flashes once for unit ON; lights steady for low battery alert
WGT & WLT Bodypack Transmitters
Choice of instrument (WGT-15) or headworn/lavalier microphone (WLT-15) bodypack transmitter OFF/STANDBY/ON switch allows convenient audio muting with the transmitter ON Low battery LED indicator flashes once for unit ON; lights steady for low battery alert Locking 3.5mm mini-jack provides secure connection for removable mic or instrumentcable Easily accessible input level adjust control for optimal sound

Operation

401x QUAD Receiver
1. Powering the Receiver Plug the 16V AC/DC ADAPTER (1) provided into the DC INPUT JACK (11) on the back of the receiver. Thenplug the power supply into an AC outlet. [Note: Any 16V DC source with 800mA capability canalso be used.] Turn VOLUME CONTROL (6) for all four channels counterclockwise to mimimum located on the front of the receiver. Once the receiver is connected to a power source, press the POWER SWITCH (3) to ONposition. The POWER ON LED (4) indicator will light up. The TX LED INDICATOR (7) on the front panel of the receiver will not light up until one or more of the four channels is receiving a signal from your systems transmitter. 2. Antennas The ANTENNAS (2) assembly consists of two antennas. Connect antennas into the ANTENNA JACKS(5) on the front of the receiver. Extend the antennas fully to obtain maximum range. PositionANTENNAS(2) at 45 degrees from the horizontal; 90 degrees from each other. Formaximum range, it is always best to maintain a line of sight (no obstructions) between the receiver antennas and the transmitter whenever possible. 3. Mute (Squelch) Adjustment In normal operation, the MUTE CONTROL (9) should be set fully counterclockwise to the factory preset minimum RF level of 1V for maximum sensitivity. Doing so sets each receiver for maximum range. However, in areas of high RF activity, the mute (or squelch, as it is sometimes called) may need to be adjusted to compensate for the adverse conditions in a particular location. If, with the transmitter off, its corresponding LED on the receiver front panel flickers or stays on, the MUTE CONTROL (9) should be turned clockwise until the LED extinguishes. For each of the four channels, when the Mute is properly adjusted, the corresponding LED will light only when the systems transmitter is turned on. Turning the MUTE CONTROL (9) too far clockwise will result in reduced range, but yield a quieter signal during dropouts or at the end of the operating distance range. 4. Connecting the Audio Output The output stage of each channel and the separate four channels mixed output of the 401X QUAD are all configured for adjustable unbalanced LINE and fixed balanced XLR line or microphone audio outputs. The adjustable unbalanced mix out is a low level LINE with an output impedance of 600 ohms. The individual fixed level balanced XLR out can be configured as high level line out with 11k ohms output impedance or microphone level out with a 600 ohms load impedance.

AFOUTPUT (10) jack on back of the receiver. Plug the other end of each cord into your amplifier, effect
For each channel you wish to use, insert an audio cord with a balanced female XLR plug into its
or mixing board. Adjust volume on your mixing board so that no audio distortion in present when amp or mixer is set at its usual level. [Note: To prevent possible undesired noises during use, leave the volume controls of unused channels (with the corresponding transmitter off) turned off in the amp or mixer. The audio should only be live if the transmitter is on.] If you want to use the 401X QUAD as it own mixer (your amplifier, effect or mixing board should have 12dB or more gain select on), you can connect to the MIX AF OUTPUT (8) which provides a mixed line output of up to all four channels, with the relative volume of each channel in the mix determined by that channels VOLUME CONTROL (6).
a. Instrument Connection (using the WGT instrument transmitter) Insert an audio cord with a mono phone plug in the AF OUTPUT JACK (8) on the rear panel of the receiver. Plug the other end of the cord into amplifier, effect or mixing board. Adjust the VOLUME CONTROL (6) on the 401X QUAD clockwise to about rotation until the volume level is comfortable for your application. This setting is roughly equivalent to direct instrument cord connection. Turning the volume up to maximum will provide 4dB gain over a cord. b. Microphone Connection (using the WLT transmitter with either a headset orlavaliermicrophone or the WHT handheld microphone transmitter) Insert an audio cord with a mono phone plug in the AF OUTPUT JACK (8) on the rear panel of the receiver. Plug the other end of the cord into amplifier, effect or mixing board. Adjustthe VOLUME CONTROL (6) on the 401X QUAD clockwise to about MAX and adjust the volume control until the volume level is optimal. If the volume control is set too high, you may overload your mixer or amp. Since your 401X QUAD is comprised of four separate and independent XLR output channels, it can be used with either one, two, three or four channels operating. Simply turn your mixer volume control of any channel which you are not using to minimum. If the mix line out is used, just turn down the 401X QUAD receivers volume controls.

16V AC/DC Adapter

Antennas
1. Unscrew the BATTERY COMPARTMENT COVER (12) and remove, exposing the BATTERY HOLDER (13). Insert a fresh 9V ALKALINE BATTERY (14), observing the correct polarity as marked, and screw the cover back on to the microphone. Make sure the cover is screwed on completely. A fresh alkaline battery can last up to 15 hours in use, but in order to ensure optimum performance, it is recommended that you replace the battery after every ten hours of use. 2. Turn on the WHT by sliding the OFF/STANDBY/ON SWITCH (15) to the STANDBY position (transmitteron, audio muted) or the ON position (transmitter and audio both on). The BATTERY INDICATOR LED (16) will give a single quick flash, indicating usable battery strength. In the case of a dead or low battery, the LED will either not go on at all or will stay on continuously, indicating that the battery should be replaced with a fresh one. To preserve battery life, turn the transmitter off when not in use. 3. The microphone is now ready to use. The TX LED INDICATOR (7) on the 401X QUAD receiver should now be lit, indicating a received signal from the transmitter. When ready to speak, slide the transmitter switch to the ON position. Adjust the volume of the receiver as per the Audio Output Microphone Connection section of the above 401X QUAD receiver instructions. The AF LEVEL LED DISPLAY (7) on the 401X QUAD receiver will light up as if the input signals are getting stronger. Occasional flickering on and off during use of the LED indicator is normal. However, if the LED stays on continuously, it means the signal is too loud and there is the possibility of overload distortion. If this occurs, back off from the microphone until the red LED indicator only flickers onpeaks. [Note: Observe care in selecting PA volume, transmitter location and speaker placement sothatacoustic feedback (howling or screeching) will be avoided.] [Note: Microphone elements can easily be destroyed by the buildup of salts and minerals from perspiration and saliva. It is good practice to put a windscreen on the mic element at all times toprotect it.]

WLT Lavalier/Lapel or Headworn Microphone
Bodypack Transmitter 1. Snap open the BATTERY COMPARTMENT (17) and insert a fresh 9V BATTERY (18), observing the correctpolarity. Close the compartment. 2. The WLT is provided with a 3.5 mm LOCKING JACK (19) for connecting the microphone. Plug in either the LAVALIER/LAPEL (20) or the HEADWORN MICROPHONE (21), as supplied. To secure the connection, turn the metal slip ring on the plug clockwise to thread it on to the jack. To unplug, reverse the process. Slip the transmitter into a pocket or clip on to your clothes. To use the lavalier mic, attach it at chest level. Do not place too close to the moutha distance of about six inches usually works best. To use the headworn mic, place it on the head and adjust the mic boom so that the mic is about one inch to the side of the front of the mouth. [Note: The lavalier or headworn mic wire is also the transmit antenna, and rolling up or shortening the wire may reduce the effective operating range. Extend the wire fully during useand keep it as straight as possible.] 3. Turn on the WLT by sliding the OFF/STANDBY/ON SWITCH (22) to the STANDBY position (transmitter on, audio muted) or the ON position (transmitter and audio both on). The BATTERY INDICATOR LED (23) will give a single quick flash, indicating usable battery strength. In the case of a dead or low battery, the LED either will not go on at all or will stay on continuously, indicating that the battery should be replaced with a fresh one. 4. The microphone is now ready to use. The TX LED INDICATOR (7) on the 401X QUAD receiver should now be lit, indicating a received signal from the transmitter. When ready to speak, slide the transmitter switch to the ON position and adjust the volume of the receiver as per the Audio Output Microphone Connection section of the above 401X QUAD receiver instructions. The AFLEVEL LED DISPLAY (7) on the 401X QUAD receiver will light up as if the input signals are getting stronger. Occasional flickering on and off during use of the LED indicator in this display is normal, however if the LED stays on continuously, it means the signal is too loud and there is the possibility of overload distortion. Re-position the microphone farther from the source or adjust the AUDIO INPUT LEVEL CONTROL (24) until the red LED indicator flickers only on the loudest inputs. [Note: Observe care in selecting PA volume, transmitter location and speaker placement so that acoustic feedback (howling and screeching) will be avoided. Please also observe the pickup patterns of the microphone selected: omnidirectional mics pick up sound equally from all directions and are prone to feedback if not used carefully. Unidirectional mics are more resistant to feedback, but pick up sound sources best that are directly in front of the mic. Also, mics that are farther from the sound source, such as lavaliers, require more acoustic gain and thus are also more prone to feedback than close-source mics such as handheld or headworn mics that are used close to the mouth.] [Note: Microphone elements can easily be destroyed by the buildup of salts and minerals fromperspiration and saliva. It is good practice to put a windscreen on the mic element at alltimes to protect it.]

Opening Battery Compartment

Headworn Microphone

Operation WGT Instrument Bodypack Transmitter
1. Snap open the BATTERY COMPARTMENT (25) and insert a fresh 9V BATTERY (26), observing the correct polarity. Close the compartment. The WGT-15 is provided with a 3.5 mm LOCKING JACK (27) for connecting the INSTRUMENT CABLE (28). To secure the connection, turn the metal slip ring on the plug clockwise to thread it on to the jack. To unplug, reverse the process. Slip the transmitter into a pocket or clip on to your clothes or instrument strap. [Note: As the cord to the instrument also serves as the antenna, be sure to extend it fully for maximum range. Rolling up or shortening the cord may reduce the effective operating range.] 2. Turn on the WGT by sliding the OFF/STANDBY/ON SWITCH (29) to the STANDBY position (transmitter on, audio muted) or the ON position (transmitter and audio both on). The BATTERY INDICATOR LED (30) will give a single quick flash, indicating usable battery strength. In the case of a dead or low battery, the LED either will not go on at all or will stay on continuously, indicating that the battery should be replaced with a fresh one. 3. The WGT transmitter is now ready to use. The TX DISPLAY LEDs (7) on the 401X QUAD receiver should now be lit, indicating a received signal from the transmitter. Adjust the volume of the receiver as per the Audio Output Instrument Connections section of the above 401X QUAD receiver instructions. The AF LEVEL LED DISPLAY (7) on the 401X QUAD receiver will light up as if the input signals are getting stronger. Occasional flickering on and off during use of the LED indicator is normal. However, if the LED stays on continuously, turn down the instrument volume control or noticeable distortion may result. For ultra high-gain instrument sources such as active bass pickups or even extra hot guitar pickups, an attenuation pad may be required to eliminate unwanted distortion. [Note: The INPUT LEVEL CONTROL (31) is not operable because it is preset and switched internally at the factory to instrument GT input mode. The control is only used for Headworn Mic (HM) andLavalier (LT) input modes.] [Note: Scratchy noises can sometimes occur when some electric guitars/basses with dirty pots or connections are used with any wireless system. For this reason, the supplied INSTRUMENT CORD (28) has a factory installed capacitor inside the plug. This capacitor provides first order filtering of the RF signal from the cord into the guitar and eliminates virtually all scratchy noises. Should your equipment still produce scratchy noises, we suggest these steps to eliminate them: 1) Make sure all guitar volume and tone pots are clean and all contacts are solid this is very important. 2) Provide extra filtering with a 220 pF capacitor soldered across the hot to ground terminals ofthe guitars volume and tone pots.)

Specifications

Overall System Performance Frequency Response....30-18KHz (-3dB) Dynamic Range...120dB (20-20KHz). Total Harmonic Distortion.... <0.5% (typical) RF Carrier Frequency Range.. 170-230MHz (Factory installed Channels) Frequency Stability... +/- 0.005%, crystal controlled Modulation....FM (F3E), +/-15KHz nor,+/-30KHz max. Operating Range... 250 feet typical up to 500+ feet optimum line-of-sight TRANSMITTERS Audio Inputs WHT... Nady DM-10D neodymium dynamic cartridge WLT/WGT... 3.5mm mono locking jack for connecting to omni or unidirectional lavalier mic or unidirectional headworn mic, with phantom power (WLT); or connecting to instrument cable (WGT) Controls WHT....OFF/STANDBY/ON switch WLT/WGT...OFF/STANDBY/ON switch, input level adjust LED Indicator..Unit ON (single flash), Low Battery Alert (steady) RF Power Out....50mW (Max. allowed by FCC). Harmonic & Spurious Emissions...<-40dB. Battery..... 9V Alkaline Battery Life....Up to 20 hours. Dimensions WHT... 9.5 X 1.4 diameter. (24.1 X 3.5 cm) WLT/WGT....4.1 X 2.4X 0.8 (10.4 X 6.1 X 2.0 cm) Weight (w/o battery) WHT.... 6.9 oz (193 g) WLT/WGT..... 3.6 oz (101 g) RECEIVER Controls... Power ON/OFF, volume control, mute control Connectors... 1 unbalanced adjustable mixed (all four channel) T-S audio output jack. Line level, 600 ohms 4 balanced fixed level XLR. #1=GND, #2-3=signals Line/Mic level, 11k/600 ohms Receiver... 2.1 mm barrel-type DC input jack (tip=positive). LED Indicators... 1 Power ON LED, 4 AF LED, 4 TX ON LED Dimensions... 1.75 x 7.5 x 16.5 (4.4 x 19 x 42 cm) Weight.....4.5 lbs (2 Kg) Power Requirements.. 16V @ 800mA, nominal, AC/DC adapter supplied Antenna Connectors... Dual female BNC connectors

Service Information

In the U.S. If you are experiencing operational problems with your system, please refer to the Support page at www.nady.com for assistance. Should your wireless system require service, please contact the Nady Service Department at (510) 652-2411 for a Return Authorization (R/A) Number and service quote (if out of warranty). Make sure the R/A Number is clearly marked on the outside of the package that you are returning. If your unit is out of warranty, please enclose a cashiers check or money order (or pay by credit card) per instructions by the Nady Service Department. Ship your unit prepaid to: Nady Systems, Service Department, 6701 Shellmound Street, Emeryville, CA 94608. Include a brief description of the problem you areexperiencing. For service of a unit under warranty, please follow the instructions in the following section. Outside the U.S. For service and warranty matters please contact the Nady distributor in your country throughthedealer/store from which you purchased this product. Do not attempt to service this unit yourself as it can be dangerous and will also void the warranty.

One Year Limited Warranty
Nady Systems, Inc. warrants to the original consumer purchaser that the above unit is free from any defects in material or workmanship for a period of one year from the date of original retail purchase. If any such defect is discovered within the warranty period, Nady Systems, Inc. will repair or replace the unit free of charge, subject to verification ofthe defect or malfunction upon return to Nady Systems. To the extent permitted by law, any applicable implied warranties, including warranties of merchantability and fitness are hereby limited to one year from the date of purchase. Consequential or incidental damages resulting from a breach of any applicable express or implied warranties are hereby excluded. This warranty is in lieu of all other agreements and warranties, general or special, express or implied and no representative or person including a Nady dealer, agent, or employee is authorized to assume for us any other liability in connection with the sale or use of this Nady Systems product. Whereas some states do not allow limitations on how long implied warranties last, and do not allow exclusion of incidental or consequential damages, the above limitations and exclusions may not apply to you. This warranty gives you specific legal rights and you may also have other rights which may vary from state to state. This warranty is subject to the following conditions: 1) This system must have been purchased from an authorized Nady dealer and all warranty service must be performed by Nadys service department. Any service not performed by Nady will automatically void this warranty. 2) Items not covered: physical damage resulting from improper handling of the unit in transit from the factory by the shipper (Nady Systems is not responsible for such damage and all such claims must be made against the shipping company by the consignee.); defects caused by normal wear of the product (expendable parts are typically connectors, cables, potentiometers, switches and similar components); damage or defects caused by abuse, neglect, accident, failure to connect or operate the unit in any way that does not comply with applicable technical or safety regulations, or improper repair, excessive heat or humidity, alteration or unreasonable use of the unit, causing cracks, broken cases/housings or parts; damage caused by leaking batteries; finish or appearance items; items damaged in shipment en route to Nady Systems, Inc. for repair. The warranty is null and void if any Nady serial number has been removed or defaced. How To Obtain Service: 1) If factory service is required, you must contact our Service Department at (510)6522411 for a return authorization (R/A) number. Make sure the R/A number is clearly marked on the outside of your package. (Please note: if an R/A number is not included, our Shipping Department cannot accept your package.) 2) Send the unit back to Nady Systems, Inc., 6701 Shellmound Street, Emeryville, CA, 94608, freight pre-paid. You must include proof of date and place of purchase (i.e., photocopy of your bill of sale) or Nady cannot be responsible for repair or replacement. Nady Systems, Inc. will not repair, nor be held responsible, for any units returned without proper identification, return address, and RA number clearly marked on the package. 3) Per the above, Nady will perform all warranty service and return the unit to you at no charge. Nady Systems will inform the buyer if product sent in does not meet the terms of this warranty and will provide a quote for fixing the unit and/or shipping it back exclusively at the buyers expense.

Nady wireless microphone systems are type accepted under FCC rules parts 90, 74, and 15. This device complies with RSS-210 of Industry & Science Canada. Operation is subject to the following two conditions: (1) this device may not cause harmfulinterference and (2) this device must accept any interference received, includinginterference thatmay cause undesired operation.
6701 Shellmound Street | Emeryville, CA USA 94608 T 510.652.2411 | F 510.652.5075 | www.nady.com

cartridgedelivers transparent vocals, maximum feedback rejection andminimal handling noise On/Standby/Off switch allows convenient audio muting while transmitter on Status LED indicator flashes once for Unit On; lights steady for LowBattery Alert Uses two AA alkaline or NiMHbatteries Rugged ABS and rubber-coated housing withintegralantenna

U -81 Octavo

Choice of headworn or lavalier
UWS-100 100-channel select UHF wireless system
Unsurpassed state-of-the-art
PLLUHF performance with 120dB dynamicrange and operation, upto 500 ft. (line-of-sight) 100 user-switchable UHF frequencies per band, or automatic open channel selection with convenient autoscan feature ASC (Auto-Sync Channels) download feature sends selected Group/Channel information to transmitter via IR sender for easyfrequency synchronization Front panel touch control buttons for ease of channel selection andASC operation Tone Squelch circuitry for protection from RF interference DigiTRU Diversity for maximum range and dropout protection
AF level displays and folding
dualantennas Front panel On/Off button (withPower On LED indicator); full LED indicators including A/B diversity, Group/Channel selected, ASC transfer status, and bi-color (green/red) Back panel balanced XLR fixed Mic Level and adjustable unbalanced jack audio LineLevel outputs; squelch (RFmute) adjust; DC input jack; volumecontrol for ease ofoperation Externally powered with includedDCadapter (15 VDC 400 mA) Rugged all-metal receiver designed for long-term durability.Single/dual rack mountable with optional rack kit

Choice of transmitters:

UHT-100 handheld or UBT100bodypack with choiceof three input select modeslavalier (LT), Headmic (HM), or instrument (GT)
microphone operation with convenient input volume control for proper level adjust, or instrument operation without input level control Off/Standby/On switch allows convenient audio muting while transmitter on Locking 3.5mm mini-jack provides secure connection for removable mic or instrument cable Status LED indicator flashes oncefor unit on; lights steadyforlow-battery alert Single 9V alkaline or NiMH battery Lightweight, rugged ABShousingwith integral antenna

UHT-100

Off/On/Mute power switch allows

UBT-100

Off/On/Mute power switch
convenient audio muting with the transmitter on LCD display indicates Power/ Battery Level status and Group/ Channel selected Convenient, economical operation with two AA Alkaline or NiMH batteries Features the Nady DM-10D unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise Sleek housing with internal antennafor durable longlife andoptimum aesthetics
allowsconvenient audio muting withthetransmitter on LCD display indicates Power/ Battery Level status and Group/ Channel selected Convenient, economical operationwith two AA Alkaline orNiMH batteries Internal selectable 3-way inputselect(LT/HM/GT) Easily accessible input level adjustment (HM/LT) Compact housing, durable removable antenna and unique locking 3.5mm locking miniplug connectorfor mic or instrument cables

eachfilter with 3% center frequency accuracy minimalphase distortion

withpeak LED

Power switch with integral
with AC input and selectable line voltage (~115V/60Hz or ~230V/50Hz)

Ground lift switch

Ultra low-noise circuitry Low-cut filter at 40Hz, 12dB/octave

LEDOn indicator

Shielded internal power supply
switchable, with status LED
Band range: +/- 12dB gain Equalizer On/Off bypass switch
Compact and durable all-steel

with status LED

chassis design

GE Q 215

GEQ 23 1

GE Q 131

PEQ-5B Parametric 5-band equalizer
15dB boost/cut per band Constant-Q State-variable filter circuitry Servo-balanced XLR and Bypass switches on
TRSinputs and outputs eachchannel

Great gear!

Donna Emmett, Spokane, WA
for precision control of tone coloration minimalphase shifting
12-segment LED switchable
Parallel phase filters for Tunable high and low cut filters Each band is independently
Input/Output meter metal housing (1U)
Housed in a single rackmount
switchable and adjustable in bandwidth (.03 to 2 octaves wide), allowing a range of adjustment from tight notching to extreme boost/attenuation byband overlapping

P E Q- 5B

Crossovers / Equalizers Power Line Conditioners
PCL Series Power conditioners
Triple mode varistor surge

andspike protection

Large LED numeric meter

PCL-800

Eight rear outlets (with room for
four wall warts) controlled by front panel switch panel circuit breaker (UL)
thatdisplays incoming AC line voltage; two voltage condition indicatorsstandard voltage andover voltage (PCL-815 only) housing for maximum reliability
15 amp rating (1800W) with rear Two added front panel slide-
Rugged single-rack space metal

PCL-810

out, swiveling lights for rack illumination and dimmer controls to adjust lamp brightness (PCL-810 and PCL-815 only)

PCL-815

CPD-1006L Conditioned power distribution

withsequence controller

CPD-1006 L
Ten AC sockets: Two unfiltered Retractable, rotating, six-LED
My CPD-1006L has become indispensible in my rack setup.

Barry Sims, Chicago, IL

front panel and eight conditioned, with sixstep delayed sequence turnon/off standardfactory adjustable alsoto one or three seconds andsurge protection
lamp for long-life front rack illumination dimmerswitch
2-second sequence interval
Rack light Hi/Off/Low 15A circuit breaker

FS-4N Feedback suppressor

Four extremely narrow

IRC (interactive ratio control)
(1/60 octave) notch filters, each independently adjustable from 60 to 6,000 Hz, allow quick elimination of unwanted problem frequencies without affecting integrity of overall sound depth on each filter enables precise attenuation (up to -20 dB) at each selected frequency all four notches in and out simultaneously for fast monitoringof results during use bothSignal In/Out
In-line 8-band audio spectrum
analyzer LED display enables quick identification of frequency range of any problem frequency; facilitates immediate reaction andsuppression by operator with external fuse and ~115V (60Hz) / ~230V (50Hz) AC selectswitch metal housing for reliability
include fully automatic or manually variable attack/release times, compression ratio, andthreshold control
Dual 12-stage gain reduction and
TRS side-chain applications,
A control for adjusting notch
Internal shielded power supply
Push button bypass switches
Single rack space (1U) rugged IEC power cord socket for AC
8-stage input/output metering
Dual-mono or stereo operation;
servo-balanced inputs (withautomatic hum/noise reduction) and outputs

Shielded internal power

TRS balanced jacks for
operation and screw terminals for optional +24 VDC input powering

F S - 4N

SDP-20 Stereo preset/programmable
digitalmultieffects processor
Powerful dual engine digital
Crossovers / Equalizers Digital Sound Processors
3-digit program and parameter
Intuitive and easy to operate

LED display

allparameters can be selected and/or edited via the jog wheel knob (up to six editable parameters for each effect) or external MIDI remote control (via MIDI nrpn messages) with 20 user program locations for personaledits
External effects control via rear
panel jack for changing presetprogram counter incrementally viaoptional externalfoot switch

3-position input attenuation
problems and converts any sound source at almost any level into a clean, noise-free balanced signal connections include On/Off, Ground Lift, and Guitar/Speaker source select input attenuation switches Parallel Link Output jacks
Full-featured controls and
hookup flexibility by enabling applications such as connection to the input of the backline or monitor amplifier
Portable aircraft aluminum
Translates high-impedance
Switchable ground lift eliminates Rugged, roadworthy all-steel 0.9 lbs (.453 kg)
extruded case for ultimate roadworthiness, long life andreliability
Powered either by consoles
Unbalanced TS input and Servo-balanced XLR output jack
Converts unbalanced +10dB
construction for years of reliability
+48Vphantom power or internal9V battery

DB - 1

A DI- 1

A DI- 2

Love your gear! I bought your stuff first for the low prices, and then because of the great sound and features. I just got a CMX-16A mixer and its another winner!
Joe Bisgaard, Cleveland, OH
Sound Pressure Level Meters

DSM-1 Digital SPL Meter

Highly accurate SPL meter

ASM-2 Analog SPL Meter

andthreaded insert to attachtooptional SMT-3 tripod or standard camera tripod
Uses 9VDC alkaline Seven sound-level ranges allow
withtwo level ranges measuring between 30dB and 130dB at 32Hz-8KHz with selectable permanent backlight
measurements from 50-126 dB (referenced to 0.0002bar) you check compliance with safetyregulations aswellasmake acoustic analysis responsesettingslet youcheckpeak and averagenoiselevels
Phono-type output jack for
connection to home theater ortest equipment
Easy-to-read 4-digit LCD display

A and C weightings let

Built-in battery condition indicator Threaded insert lets you attach
Selectable A or C weighting
battery with up to 50hours battery life windscreen, sturdy vinyl carrying case, and battery
and fast or slow response; maximum hold selector with hold button to capture input at any time; alarm indicating the input is above range; internal battery tester; built-in calibrated, linear omnidirectional 1/2 electret condenser microphone;

Includes foam

Slow and fast
the meter tooptional SMT-3 tripod or standard camera tripod for increased accuracy

DSM - 1

A S M- 2
See Accessories/Stands and Racks onpage 56 for SPL mounting tripod

Mixers

MM Series Mini mixers
MM-14FX 4-channel mini mixer with echo effects
Four mono microphone inputs
MM-141 4-channel mini mixer
Four unbalanced line level
MM-242 4/8 channel stereo/mono mini mixer

Eight mono inputs with

MM- 14F X
with individual volume controls delay time and depth controls; simulates room/hall/ stadium decay reverbs
Built-in echo effects DSP with
inputs with individual volume controls mixed to one unbalanced output
Master Volume control with
individual volume controls to be assigned to Stereo A/B outputs ormonod together and sent to both A and B outputs separate Master volume controls, over 25dB of gain, S/N ratio of 95dB and frequency response from 20Hz-30KHz ofinput channels
unbalanced output Up to 50dB of gain per channel Power On/Off switch with
integrated Power On/Off switch and Power On LED indicator of gain, S/N ratio over 100dB, and a frequency response from 20Hz-20KHz with smooth-turn, ultra stable pots and high-quality jacks
Stereo Master outputs with
Ultra low distortion, up to 20dB

LEDindicator

9VDC powered with either 9V
Peak LEDs for each group Mono/stereo mode selector Heavy-duty steel construction

MM- 141

alkaline battery or optional PAD-1 AC/DC externaladapter
Heavy-duty steel construction

9VDC powered with either

9Valkaline battery or optional PAD-1 AC/DC external adapter
with smooth-turn, ultra stable potsand high-quality jacks LEDindicator
Power On/Off switch with 9VDC powered with either
CMX-16A 16-channel stereo mic/line mixer
Full frequency response, wide

MM- 242

dynamic range and ultra low noise assures natural, transparent sound with maximum headroom Eight mono balanced (XLR and TRS) and eight stereo (TRS) inputs (16 total) L/R Main Mix and G1-2 Group Submix busses, with L/R, and G1-2 functions selectable on all channels and separately assignable to master mixes withseparate master faders Two Aux Sends and two stereo Aux Returns with Aux Send and Aux Return controls Eight mono input channel Inserts allow independent connection of effects devices for each channel Tape In and Record Out RCA jacks with Tape Input Level control Separate Control Room and Headphone Outputs PFL, L/R, and G1-2 mixes separately assignable to Headphone and Control Room outputs for versatile monitoringcapability Input Trim controls on all channelinputs Balanced XLR and unbalanced TRS Stereo outputs 3-band EQ on all channels Pan pots on each mono channeland Balance pots oneachstereo channel
Switchable +48V phantom power
for all mono XLR Mic Inputs
Tape In and Record Out RCA
jacks with Tape inputs assignable to Master Mix or stereo Control Room/Headphone outputs andmaster L/R and G1-2 bus mixfor precise level control

MM-15USB Mini mixer

With up to 15 simultaneous
60 mm faders on all channels
High-quality sealed pots with
center detents for all Pan/Balance and EQ controls
Peak LEDs on allinput channels Super-accurate 10-stage LED
display bar graph meters switchable to display L/R orG1/G2 mix levels

Mic and Line balanced inputs for TRS Stereo Control Room
Pre/Post selectable, and Mastercontrol withslider control

andHeadphone outputs

L/R main unbalanced outputs
Switchable global +48V phantom
External AC supply for optimum

power on all mono inputs

S R M- 10X
SRM-12X/14X 12/14-channel stereo mic/line mixer
Ultra low-noise mic preamps Wide dynamic range with superior headroom Separate Master Mix, Control Room and Headphone outputs 3-band EQ on all channels Mic and Line balanced inputs for optimum audio integrity Tape In and Record Out RCA jacks with Tape inputs assignable to
SRM-12X 12-channel stereo mic/line mixer

Four mono input channels

SRM-14X 14-channel stereo mic/line mixer
Six mono input channels with
withbalanced XLR Mic and TRS line inputs with balanced TRS jacks for balanced or unbalanced inputs independent connection of effects devices for each monochannel 13.5 x 11.5 x 3 (343 x 292 x 76 mm) 7.9 lbs (3.6 kg)
balanced XLR Mic and TRSline inputs
Eight stereo input channels
Master Mix or stereo Control Room/Headphone outputs Switchable global +48V phantom power on all mono inputs Input Trim control on each mono channel Pan pots on each mono channel and Balance pots on each stereo input Pre and post-fader Aux Sends for external effects and monitoring Two multifunction stereo Aux Returns with Aux Return controls Switchable Low-Cut filters (18 dB/octave @ 75 Hz) on mono channels PFL (Pre-Fader Listen) function on all channels 60mm faders on all channels and Master Mix for precise level control TRS and XLR Stereo Outputs Peak LEDs on input channels Dual 10-segment LED display bar graph meters High-quality sealed pots with center detents High-strength steel casing and superior construction with highestquality components for longest life and maximum reliability External AC supply for optimum signal integrity and superior transientresponse
with balanced TRS jacks for balanced or unbalanced inputs independent connection of effects devices for each monochannel 13.5 x 13.5 x 3 (343 x 343 x 76 mm) 9.3 lbs (4.2 kg)

1.0diameter precision compression driver
Easy-to-use, built-in pre-amplifier with XLR and balanced Mic/Line
Treble, Bass, and Level controls (PSC-8); Channel and Master Level
inputs; Gain, Treble, Mid, Bass and Level controls; Signal and Clip LEDs
controls; Treble and Bass EQs (PCS-10 only)
Fused IEC power cord jack and 115V(60Hz) / 230V(50Hz) Select switch Full top-end speaker features, including low impedance electronically
XLR balanced and unbalanced inputs and outputs; RCA inputs
compensated crossover (1/36 octave, 1500Hz) with full driver protection (pre-circuit limiter), wide-angle, short throw, high-frequency dispersion horn (90H x 60V)
Optional padded zippered vinyl carrying case available

INPUTS

60mic 30line

PCS -8 / PCS -1 0

P C S- 12 / P C S- 15
The PCS-15s are perfect for medium-size venue gigs. I bought six of them for my small sound company andtheyre ass kickers!

Chris Costa, Denver, CO

Studio/ Personal Stage Monitors
SM Series Studio monitor pairs
SM-120 Passive monitor 120W peak power rating SM-250A Active monitor Built-in 100W bi-amped power (50W for LF, 50W for HF) SM-300A Active monitor Built-in 240W Peak (120W RMS) Bi-amped power: 140W peak / 70W RMS for LF 100W peak/ 50W RMS for HF
Clear, transparent sound and
PM Series Personal near-field stage monitors
Designed to reduce stage clutter and volume by putting the sound where you can most use it. Compact, rugged, and lightweight thePM Series can be mounted on a mic stand (with optional mic stand mount adapter if needed), set on a keyboard, amp, or table for effective up-close monitoring, or used as a stage monitor with four different angled positions for optimum placement and versatility. PM-W peak; 100W RMS
Specially designed dual ferrofluid
fulllinear frequency response (35Hz-20KHz) nearfield monitor with 6.5/ 8 woofer and 1 ferro fluid-cooled soft dome shielded tweeter both magnetically shielded tunedcylindrical port
Vertically aligned two-way

PM-200A 150W RMS

Can power internal speakers plus

Balanced, natural sound with bottom-end warmth, mid-range presence and a smooth high end Advanced neodymium element delivers high output to break through even the loudest mix withuncompromised sound quality Tight unidirectional cardioid polar pattern minimizes feedback in high sound pressure level situations Transformerless design provides superior low-end frequency response with minimal distortion Ultra lightweight aluminum humbucking voice coil provides maximum hum rejection and exceptional clarity across the spectrum Specially designed rubber shockmount for cartridge reduces handling noise for quietest performance Heavy-duty steel mesh ballscreen and rugged zinc chassis for optimum roadworthy reliability Gold-plated XLR connector resists tarnish and ensures best possible connection
American Performer Performance/speaking mic
Advanced high-output cartridge provides maximum clarity and definition, even in noisy environments Unidirectional cardioid pattern reducesfeedback Specially designed internal cartridge mount for lowest handling noise andquiet performance Withstands highest sound pressure levels without overload or distortion Rugged, all-metal construction On/Off switch on handle Includes microphone cable
SPC Series Professional performance mics
Vocal / Instrument Condenser Mics

SPC-15

Pressure gradient back electret condenser, transformerless FET circuitry fortransparent audio reproduction and superior transient response Wide frequency response (50~18,000Hz) with specially tailored midhigh presence for enhanced vocal and instrument punch and exceptional crisp,clear sound Supercardioid polar pattern for maximum feedback rejection, superior sensitivity, wide dynamic range, high (136dB) SPL capacity andultra-low distortion Advanced internal shockmount design toeliminate handling noise Compact all-brass housing is lightweight, roadworthy and durable for long life and reliability Gold-plated XLR connector Requires 9~52V phantom power

SPC-10

Large (1) diameter, ultra-thin membrane, gold-evaporated, pressure gradient condenser capsule and transformerless FET circuitry for superior audio with unsurpassed warmth and transparency Linear frequency response across entire audio spectrum (30~20,000Hz), with added presence in the mids and highs forcrisp,clear sound Superior 8mV/Pa sensitivity, wide 122dB dynamicrange,high140dBSPLcapacity andultra-low distortion External low-cut switch for rolling off lowfrequencies (80 Hz, 12 dB/octave) Multi-axis internal capsule shockmount forextremely low handling noise Tight cardioid pattern for optimum feedbackrejection Requires 48VDC phantom power

US B - 24M

US B - 1C or US B -1 CMS
TRM-6 Vacuum tube ribbon mic
Low-tension, 45mm long, 2-micron thick aluminum ribbon design with typical large, mellow ribbon audioreproduction Smooth, natural extended low and high ends and detailed, realistic mids Unique integrated 12AX7A preamp tube provides unmatched tube audio at levels higher than that of ordinary ribbon mics; allows convenience of use with all mixer inputs without requiring external preamplification Versatile design, perfect for numerous applications including vocal and instrument recording and live sound Superior overall stunning realism with fast, accurate transient response, ultra-high dynamic range and >135 dB SPL capability Extraordinary versatility in dialing in the desired sound by varying mic placement. Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (compared to large diaphragm condenser mics) Manufactured with the finest materials machined housing with advanced internal shockmount construction for the highest structural integrity and rugged reliability

RS M -8A

Can be used with a second TRM6 for individual recording volume control of two separatesources by placing each source in the principal axisof one mic and the off-axis null of the other TR M- 6
Drum / Instrument / Specialty Mics
DM Series Drum/percussion/instrument dynamic mics
DM-70 For use with snares, toms, percussion, brass and woodwinds DM-80 For use with kick drums and other large diameter drums
Cardioid pattern allows close miking without bleed-through from other drum kit pieces Neodymium element delivers maximum output Up to 140 dB SPL handling capacity for distortion-free reproduction of even the loudest drums and other instruments Transformerless moving-coil dynamic design for enhanced bass and fast transient response All-metal construction for maximum reliability Special rubber shockmount micholder minimizes floor vibration pick-up Incredibly small, low-profile design for minimum visibility andversatile close-miking placement around the drum kit Gold-plated XLR for maximumconductivity Full frequency response for sonic punch with exceptional clarity
DM-90 For use with kick drums and otherbass instruments and amps
Large-size housing with special acoustic design for the most accurate reproduction of extended low frequencies Ultra-high SPL capabilityideal for close-miking of live sound or recording all types of drums andpercussion instruments Accurate sonic reproduction of brass, woodwind and other instruments producing high soundfields Large diaphragm dynamic element with excellent attack andpunch for truest sound Supercardioid pattern for ultimatefeedback rejection Rugged die-cast body with internal shockmount and hardened steel grille

CB M 40X

CM Series Condenser microphones
CM 60 Clip-on miniature condenser microphone
Mounts to drum rims, the edge of acoustic guitar sound holes or the bell of wind instruments for accurate sound reproduction and isolation from other instruments Tight cardioid polar response is highly effective in suppressing feedback and unwanted sounds Rubber boom shockmounts ingenious design minimizes vibration and audio transference from resonant instruments ormaterials Sturdy rubber-grip spring clamp holds mic securely and prevents marring of finish Built-in windscreen and external windscreen included for maximum feedback and poprejection Adjustable gooseneck and swiveljoint allows optimum microphone positioning For use with bodypack transmitters or with standard mixers that provide 9-52V phantom power
CM 88 Back electret condensermicrophone
For drum overheads and percussion Extremely uniform and tight cardioid polar pattern for ease inmixing Extended frequency response forsmooth, crisp, ultratransparent reproduction Aluminum housing and goldplated XLR contacts 9-52V phantom powered
CBM 40X Condenser boundary microphone
Ideal for a variety of sound reinforcement/recording applications: Choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums Unidirectional pickup pattern and full frequency response of 50Hz~18KHz produce unparalleled audio at any distance from source with excellent feedback rejection Rugged die-cast alloy housing on rubber padding minimizes mechanical coupling of surface vibrations to the microphone 9-52V phantom powered

DM -70

DM - 80

DM -90

SGM-12 Versatile shotgun condenser microphone

S G M - 12

Ideal for a variety of sound reinforcement/recording applications: choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums Uni-directional pickup pattern and full frequency response of 50Hz~18KHz produce top audio at any distance from the source with excellent feedback rejection Rugged die-cast alloy housing on rubber padding minimizes mechanical coupling of surface vibrations to the microphone Single AA alkaline or NiMH battery operation (not included)

State-of-the-art 3-stage variable
uses two premium 12AX7A vacuum tubes for the warmest, richest, most natural sounding tremolo and vibrato sounds available
Rate/Intensity controls offer
Advanced EQ section carefully
the widest range possible of tremolo/vibrato effects
Choice of three types of note

TTV- 2

SW-2 1
bending vibratos which mimic Leslie, Wurlitzer, Hammond and other classic organ vibratos
Output control offers huge

FL-10 Flanger

Updated classic

TR-20 Tremolo

Widest variety of

boost and powerful tone

Compact enough for a
Compact enough for a pedal board Rugged 14-gauge steel

pedalboard

Rugged 14-gauge steel housing
flanger design produces thickest stereo flanging available Depth, and Resonance controls allow wide selection ofswirling with incredible depthand intensity PAD1 AC adapter optional
vintage tremolo guitar sounds available

Versatile Manual, Rate,

Wave knob offers
housing and heavy-duty bypass footswitch for years of troublefree performance
and heavy-duty bypass switch for years of trouble-free performance
extensive range of altered waveform tremolovariations
Rate knob varies tremolo speed Operates with 9V battery,
Operates with 9V battery,

PAD1 AC adapter optional

Lightning Guitar Wireless guitar
Fully professional all-wood
solid-body guitar features easy playability with 22-fret rosewood neck with distinctive lightning bolt inlays and easyaccess adjustable truss rod selector switch; volume/dual tone controls; vibrato transmitter with internal antenna allows wireless operation up to 200 ft. line-ofsight without cords when used with WGA-15 wireless guitar amp or any Nady VHF wireless receiver on the same channel Lightning guitar transmitter (TXOn LED) and WGA-15 amp and youre ready to play cordless (can also be used with a conventional cord connection to amp)
Operates on two 9V alkaline
batteries (up to 50 hours battery life) in convenient rear battery compartment with unique magnetic latched door (no tools needed to access).

TS-30 Tube sound overdrive

Classic design

TA-40 Tube amp

simulator superdrive

100% analog

Three pickups with 5-way

Built-in VHF wireless
produces the warmest, most natural overdrive sounds. Perfect for all styles from blues to rock to heavy metal the most versatile and best sounding distortion available offer optimum control
circuitry offers rich, warm overdrive sounds which simulate the power amp output stage distortion of different classic guitar amps the amount of odd harmonic class A/B power amp output stage distortion; specially designed musical Tone control enables endless varieties of tonal possibilities from ultraclean to crushing distortion atany Level control setting PAD1 AC adapter optional
Drive, Tone, and Level knobs Operates with 9V battery,
Class A/B Drive knob controls
Easy to operatejust turn on
SW-21 AB/Y switcher signal router
Switches a signal between two Directs a signal to two targets
different targets (e.g., amp A/B)
WGA-15 15W wireless guitar amplifier
Versatile, powerful practice
amp with 15W RMS output; 6 speaker; Gain, Volume with killer distortion; Treble and Bass controls; Headphone output Receiver On and Audio ReceivedLEDs
Built-in VHF receiver with

WGA-15 also available

separately with WGT-15 VHFtransmitter for use withany guitar or bass
simultaneously, switching between one of two different source signals sent to one target Barely audible switching noise Combines two source signals inparallel switched between twodifferent targets Combines two source signals in parallel directed to two targets simultaneously. No bleed-through between channels LEDs indicate selected signalroute Unplugging from jacks labeled Parallel turns off 9V battery
DS-50 Distortion and sustain
for rich, crunchy distortion tone and violin-like sustain the desired sound, from creamy warmbass to crisp treble outputlevel

Tone knob for dialing in

Volume knob controls Operates with 9V battery,
Nady Systems offers a wide variety of practical, versatile accessories. Allaccessories are carefully designed and ruggedly built, and if not stocked

Balanced XLR input provided with selectable Selectable sensitivity switch for Line or Mic

XCC 25 ft. or 50 ft.

XLR to XLR colored mic cable

XLC 40 ft. XLR to

XLR premium low noise 22-gauge dual conductor mic cable
48V phantom power for usewith condenser mics level input with bi-color (green/red) LED indicator

SMPS-1X 1-channel

Convenient stereo headphone monitoroutput Sturdy housing with soft rubber coating Record and Play LEDs indicate softwarestatus High-quality USB 2.0, 16-bit; 48KHz sampling Optional UIM-PA adapter converts to a

RBSC 20 ft. or 40 ft.

16-gauge, phono to MDP dual banana connector, round speaker cable

TRS input connector

SMPS-2X 2-channel
SBC 20 ft. or 40 ft. 18-gauge, phone banana connectors, parallel conductor speaker cable IHSC 20 ft. or 40 ft.
to premium instrument cable

CT-6 6-Way Cable Tester

Enables quick, convenient
continuity cable testing for alltypes of cables of the following connectors: TRS, balanced XLR (M/F), Phono/RCA, banana plug, Speakon, and 5-pin mini-DIN continuity and connection connections to be tested
Includes internal battery and Rugged, compact, metal
groundconnection status checks construction for ultimate roadworthiness, long life, andreliability
Tests cables with combinations

SMPS-USB 2-channel

withUSB audio interface

SC 20 ft. or 40

ft. 18-gauge, to phone plug, speakercable
LEDs confirm each conductor 6-way switch for selecting
Phantom power adapter (9-52VDC to 1.5VDC)

SKX-1620

16-cable XLR (M/F) 20 ft. snake

Wall mount cable holder

Stands and Racks

SPST-1A

Single aluminum tripod speaker stand

MRK-14

4-wheel metal rack

MRK-916

2-wheel metal rack
Premium universal guitart/bass stand

SPST-2A

3 ft., 35mm diameter Gear studio rack speaker mount pole for mounting ProPower/ PA speakers or PSW-15
Pair of aluminum tripod speaker stands

SPST-1A8

Aluminum tripod speaker stand for MC-8/10 or PCS 8 speakers

mic Stands