Nady Systems SPM 6600/8600 - Manual (Page 6)

CONTROLS AND CONNECTIONS
6
(1)
(2)
(3)
(1) PAN CONTROL
The Channel Pan positions the output of the channel in the stereo
field of the Master Mix. Its constant-power design ensures there
are no level discrepancies whether a signal is hard-panned L or
R, center-stage, or somewhere in-between.
(2) LEVEL
This adjusts the output level for each channel.
(3) AUX/DSP CONTROL
The AUX/DSP controls are mono and post-EQ and post-fader and
the signal level sent to the AUX/DSP bus will be affected by the
channel fader setting. The AUX configurations is ideal for almost
all monitoring purpose: for example, for a separate stage monitor
mix in live performances or a studio room monitor in recording
applications, such as for a headphone cue system. The AUX/DSP
controls the level sent by each channel to the internal DSP
(Digital Sound Processor).
(4) MON (MONITOR)
The MON controls the amount of signal to the MONITOR bus and
MONITOR OUTPUT (24) control.
(Note: The signal is sent to the MONITOR bus from a location
before the LEVEL (2) control of each channel. This means that it
will not be affected by the setting of the LEVEL (2) control.)
(5) EQUALIZER CONTROLS
All input channels are fitted 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 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
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. Another very
important, yet often overlooked technique is to use the EQ to
subtract from the 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. Cutting away the top and bottom, then
pushing up the Gain is equivalent to mid range boost!
(4)
(5)
(6)
(7)
(8)
1. MONO INPUT SECTION