2010 Pro Audio and Music Product Catalog NADY ARTISTS For over 30 years, Nady Systems has been outfitting many top touring acts with wireless systems and other audio gear. It’s been our privilege to support so many extraordinary artists in this way and to have the opportunity to play a role in countless live performances and studio sessions worldwide. Nady has also always paid close attention to the sound needs of the entry level and semi-pro musician, providing a broad spectrum of gear for just about every application imaginable.
OVER 30 YEARS OF AUDIO INNOVATION AND VALUE John Nady founded Nady Systems in 1976. His pioneering work in wireless microphone
development resulted in the wireless technology Recognized by the National Academy of Television Arts and Sciences in 1996 with an Emmy™ award that has become an important and widely accepted for Outstanding Technical Achievement component of live performance. As CEO and President, John has always been committed to the cornerstone of Nady’s success— innovation and value. Whether it’s our ever-expanding line of wireless microphones and guitar systems, or our broad range of professional audio gear and music products, you can always count on Nady for breakthroughs in technology and affordability. The Nady product line consistently JOHN offers high performance, quality, and cutting edge NADY 1977 features and design...all at unprecedented low prices. Wireless Systems I’ve never used any other wireless but“ Nady simply because nothing else sounds quite as good as a Nady...
Brad Gillis, Night Ranger ”
Consumer Wireless Systems ...... 4 Bass Wireless Systems ...... 12 Infrared Systems ...... 15 DKW-3, DKW-Duo, DKW-1, DKW‑8U, Encore 200, U-33B IRW-2PA, IRW-220X American Starpower X2 In-Ear Monitoring Systems ...... 13 Assistive Listening Systems ...... 16 VHF Pro Wireless Systems ...... 6 PEM-500, EO3 ALD-800, IR-200 Encore I, Encore II, Encore Duet, Portable Wireless PA ...... 14 401X QUAD WA-120 UHF Pro Wireless Systems ...... 7 Video and Podium Wireless ...... 14 UHF-4, UHF-3, MGT-16, WS-16U, VR Series, WPM Series UHF‑24, U-41 QUAD, U-81 Octavo, UWS‑100, W-1KU Series Nady wireless systems are available for any application, from home karaoke to concert stage and all uses in Wireless between. All of these systems offer top performance and value for their intended Systems application, and the listed features should help you decide which model is most appropriate for your use and budget. No matter which model you choose, we know you’ll be pleased with its quality, features and performance.
Consumer Wireless
The Nady CenterStage line provides you with some of the highest performing audio DKW-3 Single receiver with one handheld microphone products at the most affordable prices. With numerous models to choose from, DKW-Duo Dual receiver for single or simultaneous CenterStage is sure to be at the center of dual microphone operation all your performances...on stage and off.
• Ideal entry level systems—all the advantages and freedom of wireless operation without cumbersome cords Ideal for: • Excellent high-fidelity audio • Public speaking • VHF (170-216MHz) operation for reliable, interference-free performance • Karaoke / recreational singing • DJs • 150+ ft. typical operating range — up to 300+ ft. line-of-sight • Auctioneers • Easy to use — simply plug into your audio mixer or amplifier in place • Aerobics instructors of your wired microphone. Operate either channel (A/B) singly or both simultaneously (DKW-Duo only) • Advanced audio processing circuitry for a wide dynamic range (no overloading for loud inputs or background hiss during quiet use) • Complete controls and connections for easy operation • Front panel Power On/Off switch and Power On LED indicator • Back panel ¼” audio output jack and DC power input jack for supplied AC/DC adaptor • Special added circuitry to eliminate transmitter on/off “pop” noise
HT-Duo Handheld Microphone DKW-3 • Each microphone transmitter operates on a separate single frequency in the VHF 170-216MHz band and can be used individually with either a DKW-3 or DKW‑Duo receiver, or together simultaneously with a DKW‑Duo receiver • Easy, convenient operation with On/Off switch and low-battery LED indicator which flashes once for Unit On and lights steady for low‑battery alert • Features the Nady DM-20 unidirectional dynamic cartridge for optimum true sound, maximum feedback rejection, and minimal handling noise • Operates up to 15 hours on a single 9V alkaline battery DKW-Duo
4 DKW-1 Single-channel VHF wireless microphone/instrument system
• High-band VHF (170-216 MHz) WHT Handheld Microphone WLT/WGT Bodypack operation for interference-free • Operates on a separate Transmitters performance single frequency in the • Choice of instrument, Headmic™ • Locking 3.5mm mini-jack provides • Advanced companding circuitry VHF 170‑216MHz band or lapel microphone bodypack secure connection for removable for a wide dynamic range (no • Features the Nady DM-10D transmitter for use with LM-14O microphone or instrument cable overloading for loud inputs or unidirectional neodymium omnidirectional or LM-14U • Easily accessible Input Level background hiss during quiet use) dynamic cartridge for unidirectional lapel microphones, Adjust for optimum sound • Full frequency response from optimum true sound, maximum or Headmic™ Series microphones 40‑20,000 Hz feedback rejection and minimal (see page 50) handling noise • 250 ft. typical operating range, • Off/Standby/On switch up to 500+ ft. line-of-sight • Off/Standby/On switch allows allows convenient audio convenient audio muting with muting with the • DKW-1 mini portable receiver the transmitter on transmitter on with unique space-saving, vertical • Low-battery LED indicator flashes • Low-battery LED indicator design and Power On/Off switch; once for Unit On; lights steady ¼” audio output jack; easily for low-battery alert • Uses one 9V alkaline battery visible extra-large LED indicators for 15+ hours operation • Uses one 9V alkaline battery for Power On, Transmitter On, for 15+ hours operation and Audio Peak DKW-1
VHF/ UHF
The difference between UHF and DKW-8U Single-channel UHF wireless microphone/instrument system VHF transmission is the frequency range, or “band.” The main • Unprecedented value in a HT-8U Handheld Microphone BT-8U Bodypack Transmitter advantage of UHF operation is that single‑channel UHF wireless • Features the Nady DM-10D • Choice of instrument (GT), there is generally less chance of mic/instrument system with unidirectional neodymium Headmic™ (HM), or lapel (LT) interference. UHF bands tend to interference-free operation in dynamic cartridge for microphone operating modes in be less “cluttered.” However, the any application or locale on optimum true sound, maximum a single bodypack transmitter problem of potential interference select UHF frequencies feedback rejection and minimal • Input volume control for proper can generally be avoided in VHF • Compact and easy to operate— handling noise level adjust for headworn or systems by properly selecting simply plug in place of your wired • Off/Standby/On switch allows lavalier operation operating frequencies. microphone or instrument cable convenient audio muting while • Off/Standby/On switch allows • All the advantages and freedom transmitter on convenient audio muting while of wireless operation without • Status LED indicator flashes transmitter on cumbersome cords once for Unit On; lights steady for • Status LED indicator flashes • Excellent high-fidelity audio low-battery alert once for unit on, lights steady • Nady’s proprietary companding • Rugged ABS and rubber-coated, for low-battery alert circuitry for an industry-best non-slip housing with integral • Locking 3.5mm mini-jack provides 120dB dynamic range, and antenna secure connection for removable the clearest, most natural • Uses two AA alkaline or microphone or instrument cable sound available NiMH batteries • Easily accessible Input Level • 150+ ft. typical operating range, Adjust for optimum sound up to 300+ ft. line‑of‑sight (HM/LT operating modes only) • Power, Signal, AF LED status • Lightweight, rugged ABS housing indicators; adjustable Audio with integral antenna Output Level for optimal sound; ¼” phone jack output for easy • Uses one 9V alkaline or DKW-8U connection to sound system NiMH battery
American Starpower X2 Dual receiver system for simultaneous operation of two handheld microphones
• All the advantages and • Controls and connections for Handheld Microphone freedom of wireless operation, easy operation include front • Easy, convenient operation without cumbersome cords panel Power On/Off switch; with Off/Standby/On switch • Easy to use—simply plug into Power On LED indicator; and Transmitter On LED your sound system LED signal-received indicators • Features a unidirectional • High-performance audio for each channel dynamic cartridge for high • VHF operation for reliable, • Back panel ¼” Audio Output jack audio performance with interference-free performance (both channels mixed together); minimal feedback • 100+ ft. typical operating range, AC/DC power adapter; dual • Operates up to 15 hours on AMERICAN STARPOWER up to 200+ ft. line-of-sight fold‑down retractable antennas a single 9V alkaline battery
5 VHF Pro Wireless
Encore I Professional single-channel VHF wireless system TRANSMITTERS Encore II Professional single-channel, dual antenna VHF wireless system with DigiTRU™ Diversity digital processing circuitry WHT Handheld Microphone Encore Duet Dual receiver with two transmitters for • Operates on a separate single frequency in the simultaneous dual‑channel operation VHF 170‑216MHz band • Features the Nady DM-10D • Loaded with top professional • RF and AF 5-LED displays for • Operates up to 15 hours on unidirectional neodymium operating features monitoring incoming signal a single 9V alkaline battery dynamic cartridge for optimum true • Available on selected frequencies strength and audio level; • Locking 3.5mm mini-jack provides sound, maximum feedback rejection in the VHF high-band (171-216 MHz) balanced XLR and unbalanced secure connection for removable and minimal handling noise for interference-free, long-range adjustable ¼” jack output microphone or instrument cable • Off/Standby/On switch allows performance • Noiseless transmitter • Easily accessible Input Level convenient audio muting with • Half-rack receiver design with On/Off switching Adjust for optimal sound transmitter on retractable front panel antennas • Features the Nady DM-20 • Choice of three transmitters: • Low-battery LED indicator flashes • Unique snap-out panel locking unidirectional dynamic cartridge WHT, WLT/WGT, or WPM-1V once for Unit On; lights steady tabs for single receiver or dual for optimum true sound, for low-battery alert receiver (side-by-side) optional maximum feedback rejection • Uses one 9V alkaline battery rackmounting (see page 58) and minimal handling noise for 15+ hours operation
WLT/WGT Bodypack Transmitters • Choice of instrument, Headmic™ or lapel microphone bodypack transmitter for use with LM-14O omnidirectional or LM‑14U unidirectional lapel microphone or Headmic™ Series microphones (see page 50) • Off/Standby/On switch allows Encore I Encore II Encore Duet convenient audio muting with the transmitter on • Input level adjust Nady DigiTRU Diversity™ • Locking 3.5mm jack • LED status indicator flashes Nady’s proprietary DigiTRU Diversity™ utilizes dual antennas and special once for unit on, lights steady digital switching circuitry. Together they monitor incoming signals, for low-battery alert receiving the strongest signals by switching instantly and continuously WPM-1V between the two antennas. DigiTRU Diversity™ ensures the best possible Podium Microphone reception without dropouts and the maximum possible usable operating range. • See page 14 for details
401X QUAD Four discrete channels for simultaneous 4-channel operation
• Four independent VHF receivers • Noise-free transmitter in one convenient, rugged, all- On/Off operation metal single-rack space housing • High performance—unmatched • Front dual antenna jacks for either transparent audio with 120 dB onboard or remote antennas dynamic range and up to 250+ ft. • Front panel Power On/Off switch, optimum line-of-sight operation plus Power On LED, TX On and • Choice of three transmitters: AF signal level LED displays WLT/WGT, WHT, or WPM‑1V. • Rear panel individual XLR output Four transmitters (any combination) jacks; volume and RF mute can be operated simultaneously controls for each of the four on the four different channels channels; 4-channels-mixed AF out ¼” phone jack 401X QUAD
6 UHF Pro Wireless
UHF-4 High UHF band professional wireless system
• Unprecedented value in a • Nady’s proprietary companding full‑featured, single-channel circuitry for an industry-best UHF wireless mic system 120dB dynamic range, and • Interference-free operation the clearest, most natural in any application or locale sound available on select UHF frequencies • UHF-4 receiver with DigiTRU ™ • Half-rack receiver design with Diversity for maximum range folding front panel dual antennas and dropout protection; full LED and unique snap-out panel indicators; ¼” unbalanced and locking tabs for optional single XLR balanced outputs; special or dual receiver rackmounting circuitry for noiseless transmitter (see page 58) On/Off switching • Tone Squelch™ for locking out • Choice of two transmitters: potential interference UH-4 or UB-4 UHF-4
UHF-3 Low UHF band professional wireless system
• Clear channel UHF operation • Tone Squelch™ for locking out for optimum interference-free potential interference performance in any application • UHF-3 receiver with DigiTRU or locale Diversity™ for maximum range • Half-rack receiver design with and dropout protection, full LED folding front panel dual antennas indicators, ¼” unbalanced and • Unique snap-out panel locking XLR balanced outputs; special tabs for optional single circuitry for noiseless transmitter or dual receiver rackmounting On/Off switching (see page 58) • Choice of two transmitters: • Nady’s proprietary companding UH-3 or UB-3 circuitry for an industry best 120dB dynamic range, and the clearest, most natural sound available UHF-3
UH-4 Handheld Microphone UH-3 Handheld Microphone UB-4 Bodypack Transmitter UB-3 Bodypack Transmitter • Features the Nady DM-10D • Features the Nady DM-10D • Choice of instrument, headworn • Choice of instrument or unidirectional neodymium unidirectional neodymium or lavalier mic operating modes headworn/lavalier microphone dynamic cartridge for optimum dynamic cartridge for optimum in a single bodypack transmitter bodypack transmitter true sound, maximum feedback true sound, maximum feedback • Off/Standby/On switch allows • Audio mute switch allows rejection and minimal handling rejection and minimal handling convenient audio muting while convenient audio muting noise noise transmitter on with the transmitter on • Audio mute switch allows • Off/Standby/On switch allows • Status LED indicator flashes • Bi-color LED status indicator: convenient audio muting while convenient audio muting with once for Unit On; lights steady Unit On (green); low-battery alert transmitter on the transmitter on for low-battery alert (orange) • Battery status LED (red) indicator • Status LED indicator flashes • Locking 3.5mm mini-jack provides • Locking 3.5mm mini-jack provides flashes once for Battery OK; once for Unit On; lights steady secure connection for removable secure connection for removable lights steady for low-battery alert for low-battery alert microphone or instrument cable microphone or instrument cable • Single 9V alkaline or NiMH • TX LED (green) indicator lights steady • Easily accessible Input • Uses two AAA alkaline battery operation Level Adjust for optimum or NiMH batteries • Uses two AA alkaline or sound (HM/LT operating NiMH batteries modes only) • Rugged, all-metal housing • Uses a single 9V alkaline or NiMH battery
7 UHF Pro Wireless
MGT-16 16-channel, ultra-compact UHF wireless system for guitar and bass
• UHF wireless system for guitar/bass MT-16A and MT-16R Transmitters • 16 user-selectable PLL frequencies for • Choice of two transmitter housings: interference-free operation MT-16A with 30° angled ¼” plug (for use with either • Up to 250 ft. operating range, line‑of-sight recessed or surface-mounted jacks); or MT‑16R with • Infrared ASC™ Auto-Sync Channels transfer 90° angled ¼” plug (for surface-mounted jacks only) from receiver to transmitter for instant setup • Up to eight hours of battery life from a single • Battery operated receiver and transmitter AAA alkaline or NiMH rechargeable battery • Infrared channel sync with receiver for instant setup MGT-16 Receiver • Power On/Off switch; Power/Low Battery Alert LED • Compact, portable “pedal style” receiver indicators; IR Sync LED; Input Level attenuation • Dual ¼ wave antennas switch; internal Audio Level trim-pot control • Infrared sync with transmitter for instant setup • External flexible antenna • Unbalanced ¼” line-out jack • Power On/Off/Mute switch; Volume control; LED indicators for Power On, Low Battery Alert, RF Reception; DIP-switch channel MT-16R selection with IR sync to transmitter • Powered by DC adapter (included) or two AA alkaline batteries for portability (up to eight hours battery life)
MGT-16 MT-16A
WS-16U 16-channel PLL synthesized UHF wireless system
• Frequency agile rotary DIP-switch • ¼” unbalanced and XLR with 16 user-selectable channels balanced outputs TRANSMITTERS in the wide-open UHF band for • Mute (squelch) adjust interference-free use anywhere • Tone Squelch™ for locking out HT-16U Handheld Microphone BT-16U Bodypack Transmitter • 120dB dynamic range—the potential interference, and special • Sleek metal housing with internal • Internal selectable 3-way input quietest and best sounding UHF circuitry for noiseless transmitter antenna for optimum aesthetics select (headset mic, lavalier mic wireless available at any price On/Off switching and durable long life or instrument) • 150-250 ft. typical operating • Half-rack receiver design with • Features the Nady DM-10D • Frequency agile rotary DIP-switch range, up to 500+ ft. line-of-sight folding front panel dual antennas uni‑directional neodymium dynamic with 16 user-selectable channels • DigiTRU Diversity™ for maximum and unique snap-out panel cartridge for optimum true sound, range and dropout protection locking tabs for optional single • Audio mute switch for maximum feedback rejection and convenient audio muting with • Full LED indicators (including or dual receiver rackmounting minimal handling noise the transmitter on A/B diversity and 5-segment (see page 58) • Frequency agile rotary DIP-switch AF level displays) • Externally powered by AC/DC • Easy, accessible Input Level with 16 user-selectable channels power adapter adjustment for optimum sound • Audio mute switch allows (HM/LT) • Choice of two transmitters: convenient audio muting with HT-16U or BT-16U • Bi-color LED status indicator for the transmitter on unit on and for low-battery alert • Easily accessible level adjustment • Locking 3.5mm mini-jack for optimum sound provides secure • Status LED indicators for unit on connection for removable and for low-battery alert mic or instrument cable • Convenient, economical • Convenient, economical operation with two AA alkaline operation with or NiMH batteries two AAA Alkaline • Rugged, all-metal housing or NiMH batteries
WS-16U
8 “I love my Nady UHF-3. Great sound, pro features...and the price is right!” Morgan Thomas, San Francisco, CA }
UHF-24 Dual discrete channels for simultaneous operation of two transmitters
• Two discrete UHF wireless • Exclusive patented companding receivers in one housing for circuitry and highest quality simultaneous operation of audio for unsurpassed 120dB two transmitters dynamic range • Back panel balanced XLR Mic • Tone Squelch™ circuitry eliminates Level outputs; unbalanced ¼” On/Off “pop” and provides jack Line Level sum output; protection from RF interference separate volume and external • Half-rack receiver and unique adjustable mute controls for snap-out panel locking tabs each channel design for single or dual • Front panel LED display receivers (side-by-side) optional indicates TX signal received rackmounting (see page 58) and 5-segment AF Level displays • Externally powered with DC for each channel adapter (15VDC/0.4A) included • Front panel dual telescoping • Choice of two transmitters: retractable antennas UH-4 or UB-4 UHF-24
U-41 QUAD Four discrete channels for simultaneous operation of four transmitters
UH-4 Handheld Microphone UB-4 Bodypack Transmitter • Four discrete UHF wireless • Dual removable antennas • Features the Nady DM-10D • Choice of instrument, headworn receivers in a single rugged 19” unidirectional neodymium or lavalier mic operating modes • Nady’s exclusive patented all-metal rackmount housing for dynamic cartridge for optimum in a single bodypack transmitter companding circuitry and highest simultaneous operation of up to quality audio for an unsurpassed true sound, maximum feedback • Off/Standby/On switch allows four transmitters UHF performance with 120dB rejection and minimal handling convenient audio muting while • Back panel balanced XLR mic dynamic range noise transmitter on level outputs; unbalanced ¼” • Off/Standby/On switch allows • Tone Squelch™ circuitry for • Status LED indicator flashes jack line level sum output with convenient audio muting while protection from RF interference once for unit on; lights steady separate volumes; and external transmitter on • for low-battery alert adjustable mute control for Externally powered with DC adapter included (16.5VDC/0.4A) • Status LED indicator flashes • Locking 3.5mm mini-jack provides each channel once for unit on; lights steady • secure connection for removable • Front panel LED display Choice of two transmitters: for low-battery alert microphone or instrument cable indicating TX On (single LED) UH-4 or UB-4 • Single 9V alkaline or NiMH • Easily accessible input level and 5-segment AF levels for battery operation adjust control for optimum sound each channel (HM/LT operating modes only) • Uses a single 9V alkaline or NiMH battery U-41 QUAD
9 UHF Pro Wireless
U-81 Octavo Eight discrete channels for simultaneous operation of eight transmitters TRANSMITTERS
• Operates on select • Nady’s exclusive patented • Standard 19” 1U, all-metal UHF frequencies companding circuitry with rackmount housing HT-8U Handheld Microphone • Eight independent single-channel 120dB dynamic range and • Externally powered with • Nady DM-50D neodymium UHF wireless receivers in a highest quality audio for AC/DC adapter (included) cartridge delivers transparent single housing for simultaneous unsurpassed UHF performance • Choice of any combination vocals, maximum feedback rejection operation of up to eight • Dual removable high gain of two transmitters: and minimal handling noise transmitters antennas with TNC connector, HT‑8U and/or BT-8U • On/Standby/Off switch allows front or back mounting • Front panel LED display indicates convenient audio muting while the RF and AF status for each transmitter on channel • Status LED indicator flashes once • Ch. 1-8 individually balanced for Unit On; lights steady for XLR Mic Level outputs and Low Battery Alert unbalanced Line Level sum ¼” • Uses two AA jack output for 8-in-1 mix audio alkaline or output with separate volume NiMH batteries control for each channel • Rugged ABS and rubber-coated housing with integral antenna BT-8U Bodypack Transmitter U-81 Octavo • Choice of headworn or lavalier 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 UWS-100 100-channel select UHF wireless system transmitter on • Locking 3.5mm mini-jack provides • Unsurpassed state-of-the-art • AF level displays and folding • Choice of transmitters: secure connection for removable PLL UHF performance with 120dB dual antennas UHT-100 handheld or mic or instrument cable • Status LED indicator flashes dynamic range and operation, • Front panel On/Off button UBT‑100 bodypack with once for unit on; lights up to 500 ft. (line-of-sight) (with Power On LED indicator); choice of three input select ™ steady for low-battery alert • 100 user-switchable UHF full LED indicators including A/B modes—lavalier (LT), Headmic frequencies per band, or diversity, Group/Channel selected, (HM), or instrument (GT) • Single 9V alkaline or automatic open channel selection ASC™ transfer status, and bi-color NiMH battery with convenient auto‑scan feature (green/red) • Lightweight, rugged ABS housing with • ASC™ (Auto-Sync Channels) • Back panel balanced XLR integral antenna download feature sends selected fixed Mic Level and adjustable
Group/Channel information to unbalanced ¼” jack audio
transmitter via IR sender for Line Level outputs; squelch
easy frequency synchronization (RF mute) adjust; DC input UHT-100 UBT-100 • jack; volume control for ease Front panel touch control buttons • • of operation Off/On/Mute power switch allows Off/On/Mute power switch for ease of channel selection convenient audio muting with the allows convenient audio muting ™ • and ASC operation Externally powered with transmitter on with thetransmitter on ™ included DC adapter • Tone Squelch circuitry for • LCD display indicates Power/ • LCD display indicates Power/ (15 VDC 400 mA) protection from RF interference Battery Level status and Group/ Battery Level status and Group/ • DigiTRU Diversity™ for maximum • Rugged all-metal receiver Channel selected Channel selected range and dropout protection designed for long-term • Convenient, economical operation • Convenient, economical durability. Single/dual rack with two AA Alkaline or NiMH operation with two AA Alkaline mountable with optional batteries or NiMH batteries rack kit • Features the Nady DM-10D • Internal selectable 3-way unidirectional neodymium dynamic input select (LT/HM/GT) cartridge for optimum true sound, • Easily accessible input level maximum feedback rejection and adjustment (HM/LT) minimal handling noise • Compact housing, durable • Sleek housing with internal removable antenna antenna for durable long life and unique locking and optimum aesthetics 3.5mm locking miniplug connector for mic or instrument cables
UWS-100
10 W-1KU Series Full-featured 1000-channel select UHF wireless systems for the most demanding applications
W-1KU Single receiver system 2W-1KU DUAL Dual receiver system for simultaneous operation of two transmitters HT-1KU Handheld Microphone BT-1KU Bodypack • Sleek, durable all-metal housing • Roadworthy, all-metal case 4W-1KU QUAD Quad receiver system for • Internal antenna system • Power Off/On switch simultaneous operation of four transmitters • Superior Nady DM-10D neodymium • Flexible external antenna rod cartridge for clear, powerful audio, • Input Audio Level adjustment • Unsurpassed state-of-the-art PLL • Sophisticated IF filtering for maximum feedback rejection, selectable by Up/Down buttons UHF performance with 120dB simultaneous operation of and minimal handling noise (for LT/HM input modes only) dynamic range and operation multiple W-1KU systems up to 500 ft. line-of-sight in the same location • LCD display indicating Group, • Mini locking connector for choice Channel, Volume and Battery levels of lavalier (LT), headworn mic (HM), • 1000 user selectable UHF • Mute control (RF squelch) • Power On/Off switch; transmitting or instrument (GT) (with factory frequencies per band • RF BNC connectors for dual 1 High/Low RF power switch for preset input mode LT/HM/GT) • True Diversity circuitry with removable /2 wave antennas optimizing distance operation • LCD display indicating selected two complete front ends for • DC power input jack depending on application Group, Channel, and Input Volume maximum range and dropout • Externally powered • Uses two alkaline or rechargeable levels, allowing optimal audio gain protection (adapter included) NiMH AA batteries for reliable adjustment; battery level • ASC™ (Auto-Sync Channels) and economical battery life status; Power Off/Standby/ IR download feature sends • Rugged, all-metal housing On switch; transmitting selected Group/Channel • Choice of transmitters: High/Low RF power switch information to transmitters via HT-1KU handheld or BT-1KU for optimizing distance IR senders on receivers for easy (LT/GT) bodypack operation depending frequency synchronization on application • Front panel touch control • Uses two alkaline or buttons and user-friendly rechargeable NiMH LCD configuration menus AA batteries for reliable and economical battery life
W-1KU Receiver • Front panel backlit LCD display • Back panel balanced XLR Mic 1 indicates selected audio output Level and unbalanced ⁄4” volume level, Group/Channel, Line Level audio output jacks RF signal strength meter, • Rackmountable with optional W-1KU A/B diversity status; separate single or dual (side-by-side) audio LED bar graph display rackmount kits (see page 58) provides instantaneous audio level status from a distance
2W-1KU Receiver • Automatic open channel selection • Back panel balanced XLR with convenient auto-scan feature Mic level and unbalanced 1 • Front panel backlit LCD display ⁄4” Line Level sum indicates selected audio output (mixed) outputs volume level, Group/Channel, • 1U rackmountable RF signal strength meter, A/B diversity status; separate audio LED bar graph display provides 2W-1KU instantaneous audio level status from a distance
4W-1KU Receiver • Automatic open channel selection • Back panel balanced XLR with convenient auto-scan feature Mic level and unbalanced 1 • Front panel backlit LCD displays ⁄4” Line Level sum indicate selected audio output (mixed) outputs volume level, Group/Channel/ • 1U rackmountable Frequency; separate LED display for A/B diversity status; bi-color (green/red) LED for received individual channel AF status 4W-1KU
11 Bass Wireless
™ Encore 200 VHF DigiTRU Diversity system TRANSMITTERS for bass guitar
• Specially customized for use with bass guitar transmitter and features VHF BASS Bodypack ™ Enhanced Headroom for maximized clarity and distortion-free audio • Off/Standby/On switch allows • Easily accessible Input Level • Bass Boost™ adjust for tuning in exactly the right bass punch and convenient audio muting with Adjust for optimum sound for presence missing in standard wireless transmitter on all types of bass pickup outputs • Rugged half-rack receiver design with retractable front panel dual • Low-battery LED indicator flashes • Rugged ABS housing with antennas and unique snap-out panel locking tabs for single receiver once for unit on; lights steady for integral antenna or dual receiver (side-by-side) optional rackmounting (see page 58) low-battery alert • Single 9V alkaline battery • RF and AF 5-LED displays for monitoring incoming signal strength • Locking 3.5mm mini-jack provides operation (15+ hours) and audio level secure connection for removable • Unbalanced ¼” and balanced XLR outputs (for bass amp or direct instrument cable mixer feeds, or both) • Volume control for unbalanced line output • Nady’s proprietary DigiTRU Diversity™ digital processing circuitry to eliminate dropouts and maximize operating range • Noiseless transmitter On/Off switching
“My U-33B makes my bass sound more like a wired bass than any other wireless I’ve ever tried...pure thump.” Dan Lewis, Detroit, MI } Encore 200
U-33B UHF DigiTRU Diversity™ system for bass guitar TRANSMITTERS
• Specially customized for use with bass guitar transmitter and features U-33B BASS Bodypack ™ Enhanced Headroom for maximized clarity and distortion-free audio • Small and compact • Audio mute switch allows ™ • Unique user adjustable Bass Boost control for dialing in the exact • Removable “rubber ducky” convenient audio muting with desired bass punch and presence missing in standard wireless antenna transmitter on • Nady’s proprietary companding circuitry for an industry best • Customized specially for use with • Bi-color LED status indicator: On 120dB dynamic range, and clearest, most natural sound available U-33B bass guitar receiver (green), low-battery alert (Orange) • Clear channel operation on the wide open, uncluttered UHF band • Enhanced Headroom™ for • Locking 3.5mm mini-jack provides for interference-free performance in any application or locale maximum possible clarity and secure connection for removable • DigiTRU Diversity™ for optimum range and dropout protection distortion-free audio, even with instrument cable • A/B antenna LED indicators high output active pickups • Convenient, economical operation with two AAA alkaline or • 5-LED AF display for monitoring audio level NiMH batteries • Unbalanced ¼” and balanced XLR outputs (for bass amp or direct mixer feeds, or both) • Volume control for unbalanced line output • Fixed level for XLR output • External mute (squelch) adjust • Half-rack receiver design with folding front panel • Dual one-section telescopic antennas • Unique snap-out panel locking tabs for half-rack single receiver or full rack (side-by-side) dual receivers mounting with optional accessory rackmount kits (see pg. 58) • Externally powered by AC/DC power adapter U-33B
12 In-Ear Wireless Monitoring Systems
PEM-500 16-channel UHF PLL wireless in-ear system
• Available on selected frequency bands within the UHF spectrum for PEM-R Bodypack Receiver PEM-500T Stereo Transmitter interference-free, long-range performance (up to eight systems can be • Portable bodypack receiver • Rugged, all-metal half-rack operated simultaneously, depending on location and frequency band) features a power switch; can be rackmounted singly or • System consists of PEM-500T stereo transmitter and one bodypack switchable built-in volume limiter; side-by-side with optional dual stereo PEM-R receiver (both offer 16-channel user selectability) Output Level control; stereo/ rack kit (see page 58) • Any number of additional receivers can be operated with the same mono select switch; two-color • Microphone Input allows wireless transmitter if all are set to the same channel (red/green) 3-way Unit On/Signal/ cueing of performers on stage low-battery LED indicators • Proprietary companding circuitry for wide dynamic range and • Front panel features Input Level clear, natural sound • Operates up to six hours control; stereo headphone • (depending on volume) on a Operating range: up to 300 ft. typical (depending on site conditions) single 9V alkaline battery monitor output jack and • Rugged, foam-padded traveling case provides easy, safe volume control; Select button transport and storage • Each receiver is supplied with for choosing one of 16 UHF a pair of miniature, lightweight channels, LED channel display; (yet powerful) in-ear Koss® L/R 10-segment Audio Input stereophones with soft Level displays rubber foam mounts in three shapes (conical, cylindrical and • Back panel provides BNC jack for hexagonal); designed for fitted the detachable antenna; stereo/ comfort and optimum acoustic mono select switch, ¼” TRS transfer and isolation balanced microphone input, XLR • Rear clip can be rotated 90° for jacks for left and right line inputs attaching receiver either vertically • Externally powered by AC/DC or horizontally to clothing power adapter PEM-500
EO3 Pocket-sized VHF wireless in-ear monitor system
EO3 Transmitter • Any number of EO3 receivers can be used with a • Ultra compact and lightweight single EO3-T transmitter • Broadcasts on one of eight • Ultra compact and lightweight channels in the 72-76 MHz band • Preset to one of eight channels in the 72-76 MHz range to any number of Nady EO3 • Loudness adjustable with volume control—provides up to wireless bodypack receivers 130dB in‑ear monitoring on the same channel • Antenna is integral with earphone cord • 300 ft. wireless operating range • A pair of mini binaural EB-3 earphones included; • Eight factory switchable channels optional EMI soft rubber inserts supplied • Rear panel input for line level audio • LED Power On indicator • Front panel input for microphone • Single 9V alkaline battery operation • Audio input gain control • Automatic level control • Extendable antenna • 9-volt DC input for AC-EO3; 9VDC regulated power supply adapter provided • Power switch with red LED Power On indicator • Audio modulation LED indicator
EO3
13 Portable Wireless PA
TRANSMITTERS WA-120 Powerful and portable VHF wireless PA system WA 120 WHT Handheld Microphone • Full-range speaker system with built-in amplifier, mixer, • Operates on a separate and high-band VHF wireless receiver single frequency in the VHF 170‑216MHz band • Features noise reduction companding circuitry for quietest operation with a wide dynamic range • Features the Nady DM-10D unidirectional neodymium dynamic • Built-in echo/reverb cartridge for optimum true sound, • Powerful 20W audio output maximum feedback rejection and • ¼” unbalanced input jacks (Mic/Aux) and one ¼” unbalanced minimal handling noise Record Out; treble and bass controls • Off/Standby/On switch allows convenient audio muting with • Powered externally with provided AC adapter, or internally with transmitter on either the optional RB-120 rechargeable battery or eight “D” cell alkaline or rechargeable batteries • Low-battery LED indicator flashes once for unit on; lights steady • Convenient internal charging ports for 9V rechargeable for low-battery alert transmitter batteries (NiCad or NiMH) and RB-120 optional • Uses one 9V alkaline battery rechargeable battery for 15+ hours operation • Choice of transmitters: WHT handheld mic or WLT lavalier/headset mic bodypack transmitter
Video and Podium Wireless WLT/WGT Bodypack Transmitters • Choice of instrument or headworn/lavalier microphone VR Series Wireless microphone systems for camcorders bodypack transmitter • Off/Standby/On switch allows • Rugged 151VR or mini 351VR receivers can be camera-mounted convenient audio muting or worn as bodypacks (with removable belt clip) • Low-battery LED indicator flashes • Easy hook-up to camcorder with supplied connecting cable 151 VR once for unit on; lights steady for low-battery alert • Powered by 9V alkaline battery • Uses one 9V alkaline battery • 120dB dynamic range with no background hiss or overload distortion for 15+ hours operation • LED lights indicate low battery and receiver signal • Locking 3.5mm mini-jack provides • Convenient operation with Output Level and Mute adjusts; secure connection for removable separate 3.5mm Audio Output and monitor headphone mini jacks; microphone or instrument cable headphone volume thumbwheel control with integrated unit • Easily accessible input level adjust Off/On switch control for optimum sound • Detachable softwire antenna extends from top of receiver • Available with LM-14O (detachable “rubber ducky” antenna optional for 351 VR only) omni-directional/LM-14U uni‑directional lavalier • Choice of transmitters: WHT handheld mic or mic or Headmic™ Series WLT lavalier/headset mic bodypack transmitter 351 VR headworn mics (see page 50) WPM Series Podium microphones
WPM-1V 12 standard frequencies between 170~216MHz WPM-2U 6 standard frequencies between 470~510MHz • Ideal for desktop conferencing for use with: for use with: • Simple setup with no cumbersome cabling required between mic and amplifier—the cleanest, simplest possible installation • DKW-1 • UHF-3 • Encore Series (UHF receiver) • Both units offer top performance indistinguishable from the • 401X QUAD best hardwired podium microphones (VHF receivers) • Superior, clear audio for best possible communication • Up to 200 ft. ultra reliable reception range for maximum versatility and operating ease in any application • Up to eight WPM-1V systems and six WPM-2U systems (all on different frequencies) can be operated simultaneously— up to 14 total if combining VHF and UHF systems WPM-1V WPM-2U
14 Infrared Systems
IRW-2PA All-in-one wireless PA system
HT-6SC Handheld Mic LT-6SC Bodypack Transmitter • Ideal for schools, lectures, • Power On, IR reception, • Multiple emitter array of high • Multiple emitter array of high conferences, and karaoke and battery charging status efficiency infrared emission LEDs efficiency infrared emission LEDs applications LED indicators for optimum IR transmission for optimum IR transmission • Multi-functional wall-hanging • Two remote-mount IR sensors • Power On LED • Power On LED lockbox houses dual infrared supplied with 20 ft. and 35 ft. wireless receiver, preamp, connecting cables and variable- • Powerful uni-directional dynamic • Channel A/B selector switch power amp, and transmitters position wall mounts; each sensor cartridge for optimum audio, • 3.5mm mini-jack for connection with battery-charging holders for has multiple array of wide-angle minimal handling noise, and of lapel microphone safe/secure charging and storage infrared-sensitive LEDs maximum feedback rejection • Audio Input volume control • Two wireless microphones, • UL approved AC/DC power supply • Rugged steel mesh ballscreen • Belt clip and neck-worn lanyard Aux Input, and hard-wired • HT-6SC handheld mics and/or with anti-roll ring Mic Input allow up to four total • Operates up to six hours LT-6SC bodypack/neck-worn • Operates up to six hours input signals, each with its lapel mics available on two AA alkaline or NiMH on two AA alkaline or NiMH own volume control rechargeable batteries rechargeable batteries • Master treble and bass controls • Equipped with a charger protection • Equipped with charger • 35W RMS power amp, perfect for protection circuitry circuitry that can detect and shut down charging function if regular driving two 8Ω speakers or any that can detect and number of small ceiling speakers shut down charging alkaline or non-rechargeable function if regular batteries are • Battery chargers with unique alkaline or non- mistakenly safety shut-down protection rechargeable batteries recharged circuitry to detect reverse are mistakenly polarity, damaged batteries, recharged and non-rechargeables • Line-of-sight transmission with no interference from systems in adjoining rooms provides ultimate privacy and isolation
Infrared Technology
Most wireless microphones use RF (radio frequencies) on different IRW-2PA VHF or UHF bands to transmit audio from transmitter to receiver. IR (infrared), which is light right below the visible spectrum, can also be used to transmit these signals. As with all light, infrared transmission is confined to the room in which it is used and does not transmit through walls as with RF.
Although more limited in range and applications, IR systems are preferred for use where operation is over a shorter distance and confined to small areas such as classrooms or meeting rooms, and where multiple units can be used in adjoining spaces (e.g., in schools) without interference as may occur with RF wireless systems. IRW-220X
IRW-HT6X Handheld Mic IRW-LT6X Bodypack Transmitter IRW-220X Dual IR wireless microphone system • Multiple emitter array of high • Multiple emitter array of high efficiency infrared emission LEDs efficiency infrared emission LEDs • Dual receiver allows simultaneous 2-channel operation for optimum IR transmission for optimum IR transmission of two transmitters (Ch. A/B) • Power On LED • Power On LED • • IR signal reception LED indicators Powerful uni-directional dynamic • Channel A/B selector switch cartridge for optimum audio, • Channel A/B mixed audio output (RCA phono jack) • 3.5mm mini-jack for connection minimal handling noise, and • Separate Channel A and Channel B volume controls maximum feedback rejection of lapel microphone • • Rugged steel mesh ballscreen • Audio Input volume control Two IR sensor coaxial inputs with anti-roll ring • Belt clip and neck-worn lanyard • Two IR sensors supplied— each sensor has multiple array • Operates up to six hours • Operates up to six hours of wide-angle infrared sensitive LEDs on two AA alkaline or NiMH on two AA alkaline or NiMH • 20 ft. and 35 ft. connecting cables and wall mounts supplied rechargeable batteries rechargeable batteries
15 Assistive Listening
ALD-800 Multiple VHF receiver system
• System operates on one of eight • Any number of pocket-sized factory switchable channels ALD‑800 receivers can be used within the 72-76 MHz band with a single ALD-800 transmitter designated for auditory assistance • Receivers include mini binaural frequencies by the FCC earphones, providing up • Transmitter offers full manual to 130 dB SPL for hearing controls and connections assistance with volume control, (including Mic and Line Level Power On LED, antenna integral inputs), automatic level control, with earphone cord extendable antenna, and • Uses a single 9V alkaline Power On/Audio Input Level or rechargeable NiCad or LED displays NiMH battery
ALD-800 IR-200 2-channel single-unit infrared transmitter with separate or stereo channels
IR-210 Stereo headphones IR-211 Dual channel selectable (A/B) headphones
• Advanced 2.3/2.8MHz IR • Two Audio Inputs, fully transmission eliminates the compatible with any audio source interference from ballast such as mixers, radios, VCRs, etc. (fluorescent tube) lighting which • Two Mic Inputs (for optional was problematic with earlier voice‑overs) 95/250KHz IR systems • LED indicators for Signal On for • 4000 sq. ft. (370 sq. m) coverage both Audio In and Mic In inputs • Any number of IR-200 • Built-in automatic level control transmitters can easily be (ALC) to eliminate audio daisy‑chained together for greater peaks and ensure comfortable coverage via dual sync in and listening levels sync out connectors on each unit • 28VDC external powering from • Can be wall-mounted or on supplied AC/DC adapter simplifies optional stand for portable installation wiring requirements temporary setups • Headphone receivers feature • Transmitter can be used with ultra IR light-sensitive diodes for any number of IR-210 (stereo) optimum reception and maximum or IR-211 (dual/separate channel) range; A/B channel select switch receivers (IR-211 only); On/Off power IR-200/210 • High-gain IR LED (light-emitting switch with LED indicator; diode) emitter panel with built-in two audio volume controls IR-200/211 amplifiers • Uses two AAA batteries • Adjustable headband for comfortable fit
“For many years, my church has been using the Nady ALD-800. What a difference it’s made in my congregation...now even our hearing impaired members can actively participate in our services.” } Rev. Alan Vitero, Sacramento, CA
16 Pro Audio G ear
My SPA-2400 power amps have been“ the #1 tool in my rack for the last ten years of successful touring.” Scotty Schenk, Sound Engineer Dwight Yoakam, Smash Mouth, Third Eye Blind, KISS
Power Amplifiers...... 18 Rack Gear...... 24 Portable Sound Systems...... 32 SPA Series, PPA-300, XA Series, 3WA-1700 RDI-8, SD-2418, RL-2, RMX-6, PB48 MPM Series PA, RPA Series, MPA-30, Ensemble PA‑4180, Access PSS-150 Equalizers...... 20 Microphone Preamps...... 25 GEQ Series, PEQ-5B PRA-8, DMP-2, TMP Series Speakers...... 34 J Series, PAM-10F, FWA Series, Power Line Conditioners...... 21 Headphone Amplifiers...... 26 ProPower™ Series, PSW-18A, THS-1515, PCL Series, CPD-1006L HPA-4, HPA-8, HA-1X4 M-CAB™ Series, P-CAB™ Series Crossovers...... 21 Direct Boxes...... 27 Studio/Personal Stage Monitors...... 38 CX Series DB-1, ADI Series SM Series, PM Series, CSM-5 Power Controllers...... 22 Sound Pressure Level Meters...... 27 Headphones...... 39 SC-100, PC-80 DSM-1, ASM-2 QHM/QH Series, DJH-2000 Analog Sound Processors...... 22 Mixers...... 28 Noise-Cancelling Headphones...... 40 CL-5000, FS-4N MM Series, CMX-16A, SRM Series QH RacketBlaster™ Series Digital Sound Processors...... 23 Powered Mixers...... 30 Miscellaneous Gear...... 40 SDP-20, SDR-260, DigiComp 16 PMX Series, SPM Series, MPMx Series PHP-3, HE-1 Whether you’re looking for audio gear to outfit a large concert hall, recording studio, rehearsal space, nightclub, or conference room, Nady can effectively meet your needs. We know that selecting the gear best suited to your particular Pro Audio needs is an important part of creating the overall sound you’re after. Nady’s broad range of professional audio equipment offers sound solutions for virtually every live audio application. And with many models to choose from, you’re sure to find just the right gear at just the right price.
Power Amplifiers
SPA Series Stereo power amplifiers
SPA 850 SPA 1400 SPA 2400 2 x 350W RMS @ 4Ω 2 x 500W RMS @ 4Ω, 2 x 750W RMS @ 4Ω, 2 x 425W RMS @ 2Ω 2 x 800W RMS @ 2Ω 2 x 1400W RMS @ 2Ω Bridge mono: 600W Bridge mono: 1000W Bridge mono: 1600W @ 8Ω, 850W @ 4Ω @ 8Ω, 1400W @ 4Ω @ 8Ω, 2400W @ 4Ω
• Continuously variable speed fan thermal overload protection on SPA-850 with back-to-front air flow each channel; short circuit and • Full operating features: speaker protection; DC servo user‑defeatable clip limiter; operation; built-in current limiter switchable 30Hz low-cut filter; • Parallel outputs allow balanced XLR and ¼” TRS inputs; “daisy‑chaining” amps detent volume controls; stereo • ~115V (60Hz)/~230V (50Hz) (dual-channel, parallel-input, or AC select switch bridged mono operating models) with selector switch; binding post • Clip and Signal LED indicators SPA-1400 and Neutrik Speakon™ outputs; for each channel ground-lift switch • Durable double rack space (2U) • Complete, advanced safety/ steel casing reliability features: soft-start turn on; noise-free On/Off; Built-in DC offset; independent DC and
SPA-2400 PPA-300 Stereo power amplifier
2 x 150W RMS @ 4Ω 2 x 120W RMS @ 8Ω
• Full operating features: stereo • IEC power cord connector (dual channel); volume controls; with built-in fuse XLR and ¼” TS inputs • Full safety/reliability features: • Full operating features: Power fan for cooling; soft-start turn On LED; signal and clipping LED on; noise-free On/Off; built-in DC offset; independent DC and indicators for each channel thermal overload protection on • Roadworthy, rugged double rack each channel; short circuit and space (2U) housing speaker protection SPA-2400
18 XA Series Stereo power amplifiers
XA-1100 XA-2100 2 x 475W @ 4Ω 2 x 870W @ 4Ω, Bridged mono: Bridged mono: 1100W RMS 2100W RMS
• Full operating features: independent DC and thermal detent volume controls; overload protection on each parallel balanced XLR and ¼” channel; short circuit and speaker XA-1100 TRS inputs; stereo (dual channel), protection; DC servo operation; parallel-input, or bridged mono built-in digital current limiter operating modes with selector • Power On, Clip, Signal, and switch; binding post (banana Protect LED indicators for plug) outputs; ground lift switch each channel • Full safety/reliability features: • Roadworthy, rugged double two dual speed fans for cooling; rack space (2U) housing soft-start turn on; noise-free On/Off; built-in DC offset; XA-2100
AMPLIFIER POWER RATINGS 3WA-1700 3-channel (stereo main and subwoofer) amplifier
When selecting an amplifier from Power Output Ch. 1 & 2: 2 x 450W RMS @ 4Ω among competing brands with Subwoofer: 800W RMS @ 4Ω similar features, be sure that you are comparing the correct output • Three-way amp allows you Sub channel to pass full-range • Full safety/reliability features: power ratings. First, make sure to power left and right main signals for monitor feeds or four variable speed fans for all the output power ratings you speakers and subwoofers sound reinforcement ultimate cooling; noise-free are comparing are stated in Watts with no crossover necessary, • Selectable Low-Cut Filter to On/Off; built-in DC offset; RMS, which most correctly reflects all from one 2U rack chassis minimize muddy bass and independent DC and thermal the average power the amp can • Easily powers four 8Ω speakers stage rumble overload protection on each sustain with continuous use. for the stereo mains and two 8Ω channel; short circuit and • Balanced XLR and ¼” TRS speaker protection Many amps show a rating in Watts subwoofers with 450W of power inputs; binding post (banana plug) only. Generally, these refer to peak per channel, plus a whopping outputs, detent volume controls • Roadworthy, rugged double Watts capability, which can be up 800W for the subs for each channel rack space (2U) housing to twice the RMS rating. Also, these • Perfect for DJs, traveling bands, • Power On, Signal, Clipping, • ~115(60Hz) IEC power cord measurements are sometimes and small clubs and Protect LED indicators connector and 3AG fuse holder taken at 10% distortion (THD). • Selectable internal Low Pass for each channel This produces a higher reading Filter can be adjusted from 50Hz than the correct measurements to 250Hz to maximize the tight taken at 1% THD, which more punch of your subs accurately reflects the desired • Filter/Source switch enables the audio in any application. internal low-pass filter and uses It is also important to make sure the left and right input signals you are comparing power ratings for the subwoofer, or disables at the same speaker load. You will the internal filter to use either an notice that the lower the load external active crossover or the 3WA-1700 (e.g., 2 ohms vs. 4 ohms, or 8 ohms), the higher the reading. Always compare apples to apples when choosing the amp power you want. Note that Nady Audio amps are all rated at Watts RMS at 1% THD.
“I loved my Nady XA-1100 so much that after I bought it I went back and got an SRM-12X mixer and four SP-5 mics with the money I had left over from what I originally budgeted for an amp alone. Great gear. Great prices. Thanks!” Al Stevens, St. Louis, MO }
19 Equalizers
GEQ Series Graphic equalizers
GEQ 131 GEQ 215 1-channel 2-channel Single rack space Single rack space 1 2 31 /3rd octave bands each channel 15 /3rd octave bands each channel
GEQ 231 • Balanced XLR and ¼” TRS • Center detents on faders 2-channel input/output connectors and variable level control Double rack space 1 • Constant-Q bandwidth from each • Power OFF automatic 31 /3rd octave bands each channel filter with 3% center frequency bypass function accuracy • Peak (overload threshold) LED • • Balanced XLR and ¼” TRS Center detents on faders and • Parallel filter design for input/output connectors • Shielded internal power supply variable input level control minimal phase distortion • Constant-Q bandwidth from (+/- 12dB) with AC input and selectable • Ultra low-noise circuitry line voltage (~115V/60Hz or each filter with 3% center • Gain status LED bar graph • Selectable range, 6dB or 12dB gain ~230V/50Hz) frequency accuracy with peak LED • Equalizer On/Off bypass switch • Ground lift switch • Parallel filter design for • Power switch with integral minimal phase distortion LED On indicator • Ultra low-noise circuitry • Shielded internal power supply • Low-cut filter at 40Hz, 12dB/octave with AC input and selectable switchable, with status LED line voltage (~115V/60Hz or • Band range: +/- 12dB gain ~230V/50Hz) • Equalizer On/Off bypass switch • Compact and durable all-steel with status LED chassis design GEQ 215
GEQ 231 GEQ 131
PEQ-5B Parametric 5-band equalizer
• 15dB boost/cut per band • Servo-balanced XLR and “Great gear!” ¼” TRS inputs and outputs • Constant-Q Donna Emmett, Spokane, WA • State-variable filter circuitry • Bypass switches on for precision control of tone each channel } coloration • 12-segment LED switchable • Parallel phase filters for Input/Output meter minimal phase shifting • Housed in a single rackmount • Tunable high and low cut filters metal housing (1U) • Each band is independently switchable and adjustable in PEQ-5B bandwidth (.03 to 2 octaves wide), allowing a range of adjustment from tight notching to extreme boost/attenuation by band overlapping
20 CrossoversPower / EqualizersLine Conditioners
PCL Series Power conditioners
• Triple mode varistor surge • Large LED numeric meter and spike protection that displays incoming AC line PCL-800 • Eight rear outlets (with room for voltage; two voltage condition four “wall warts”) controlled by indicators—standard voltage front panel switch and over voltage (PCL-815 only) • 15 amp rating (1800W) with rear • Rugged single-rack space metal panel circuit breaker (UL) housing for maximum reliability • Two added front panel slide- out, swiveling lights for rack PCL-810 illumination and dimmer controls to adjust lamp brightness (PCL-810 and PCL-815 only)
PCL-815
CPD-1006L Conditioned power distribution with sequence controller
• Ten AC sockets: Two unfiltered • Retractable, rotating, six-LED CPD-1006L front panel and eight conditioned, lamp for long-life front rack with six‑step delayed sequence illumination turn‑on/off • Rack light Hi/Off/Low • 2-second sequence interval dimmer switch “My CPD-1006L has standard—factory adjustable • 15A circuit breaker also to one or three seconds become indispensible • Superior RFI/EMI filtering in my rack setup.” and surge protection Barry Sims, Chicago, IL • Extremely accurate voltage meter } with 3-digit LED numeric display
Crossovers / Equalizers Crossovers
CX Series Stereo crossovers
CX-22SW • Single rack space (1U) CX-22SW 2-way stereo • Shielded internal power supply with AC voltage and subwoofer select switch (~115V/60Hz or ~230V/50Hz) • Phase inversion switches CX-23SW • Low-cut subsonic filters for low frequency 3-way stereo driver protection and subwoofer • Servo-balanced XLR inputs • Superior performance with transparent audio CX-23SW
21 Power Controllers
SC-100 Sequenced power controller
• Convenient 1U rack unit for • Controller provides a gradual • Key lock On/Off switch with • Both Hot/Neutral AC lines are controlling sequenced AC power, turn on process and turns bypass for secure operation interrupted for maximum safety On/Off for up to ten pieces of off in reverse order • Internal filtering to reduce • Heavy-duty internal relays for audio equipment • Ten each 3-prong AC outlets are noise and spikes superior reliability • Rear panel outlets with front multi-national style compatible panel LED indicators are with standard US plugs and sequenced with 1-second delay, round European plugs allowing for smooth power up and down of power amplifiers, mixer consoles, wireless equipment, etc. SC-100
PC-80 Power controller
• Convenient 1U rack unit for enabling switch with LED status controlling power On/Off for indicator, allows for smooth up to eight connected pieces power up and down of power of audio equipment amplifiers, mixer consoles, • Eight 3-prong AC outlets in rear, wireless equipment, etc. each controlled by front panel • Circuit breaker PC-80
CL-5000 CrossoversAnalog / EqualizersSound Processors Dual channel compressor limiter with gate
• Two independent compressor/ • Built-in adjustable dynamic limiter/gates in a road-tough steel enhancer (selectively replaces FS-4N Feedback suppressor single-rack-space (1U) housing high-end loss even with severe compression due to high‑energy/ • Utilizes unique circuitry combining low-end content) • Four extremely narrow • In-line 8-band audio spectrum hard and soft knee compression (1/60 octave) notch filters, each analyzer LED display enables • IRC (interactive ratio control) styles; provides excellent independently adjustable from quick identification of frequency expander/gate—automatically inaudible and music program 60 to 6,000 Hz, allow quick range of any problem frequency; adjusts expansion per program compression as well as effective elimination of unwanted problem facilitates immediate reaction material, eliminating noise dynamics processing frequencies without affecting and suppression by operator floor during quiet sections or integrity of overall sound • Advanced operating features music pauses • Internal shielded power supply include fully automatic or • A control for adjusting notch with external fuse and ~115V • TRS side-chain applications, manually variable attack/release depth on each filter enables (60Hz) / ~230V (50Hz) AC including de-essing, emphasizing/ times, compression ratio, precise attenuation (up to -20 dB) select switch de-emphasizing designated and threshold control at each selected frequency instruments during recording, • Single rack space (1U) rugged • Dual 12-stage gain reduction and eliminating feedback in live • Push button bypass switches metal housing for reliability 8-stage input/output metering applications, and ducking all four notches in and out • IEC power cord socket for AC simultaneously for fast • Dual-mono or stereo operation; • Shielded internal power operation and screw terminals for monitoring of results during use servo-balanced inputs supply and voltage selector for optional +24 VDC input powering (with automatic hum/noise switching between ~115VAC • ¼” TRS balanced jacks for reduction) and outputs (60 Hz)/~230VAC/(50Hz) both Signal In/Out
CL-5000 FS-4N
22 SDP-20 Stereo preset/programmable CrossoversDigital / Equalizers Sound Processors digital multi‑effects processor
• Powerful dual engine digital • Servo-balanced inputs and sound processor (DSP) offers a outputs with XLR and ¼”
full complement of 256 of the TRS connectors latest, most useful/breathtaking • Full remote MIDI control of
effects presets including room all functions and parameters and hall reverbs, gates, delays/ echoes, chorus/flanging/Leslie, • 6-segment ultra-precise stereo input level LED display pitch shifting, and overdrive/ } distortion • 3-digit program and parameter • Intuitive and easy to operate— LED display all parameters can be selected • External effects control via rear “I love my SPM-4250 powered mixer, and/or edited via the jog panel ¼” jack for changing and I bought a pair of MC-10 speakers wheel knob (up to six editable preset program counter parameters for each effect) or incrementally via optional to use with it. The sound is amazing external MIDI remote control external foot switch and the gear is easily portable.” (via MIDI nrpn messages) with • Selectable Bypass with rear } Howard Wu, Miami, FL 20 user program locations for panel ¼” jack for optional personal edits external bypass foot switch • 20-bit A/D and D/A converters • Rugged construction for with 64/128 times oversampling maximum long-term reliability for ultra-high headroom and • resolution Shielded internal dual regulated power supply with • Internal 20-bit processing with ~115V(60Hz)/~230V(50Hz) 46.875 kHz sampling rate for select switch and fused IEC unsurpassed audio power cord connector • 4-band digital equalizer, programmable by push buttons and jog wheel knob SDP-20
SDR-260 Stereo digital reverberator DigiComp 16™ Stereo 18-bit digital compressor
• Powerful dual engine digital • Servo-balanced inputs and • Exceptional assortment of ensures first-class/high-quality sound processor (DSP) offers outputs with XLR and ¼” 16 popular, one-of-a-kind audio with negligible distortion, a full complement of 60 of the TRS connectors preset digital compressor ROM full bandwidth 20-20KHz latest, most useful/breathtaking • Input and output Level Switches programs including AGC Pure, response, and low noise/high effects presets including hall add +4 dB or attenuation -10 dB Acoustic, Master, Clean, Dance, dynamic range and room reverbs, gates, echo/ • Remote MIDI program change Kick Drum, Mixdown, Jumping • Convenient front panel I/O vibrato/chorus/flanging delays, and bypass control Up, and eight classic stereo pitch shifting, and concert/stage signal gain controls, bypass • 4-segment, ultra-precise stereo settings with 16 user-selectable re-creations switch, program and variations input level LED display parameter variations for each select controls • Intuitive and easy to operate— • 3-digit program and parameter algorithm all parameters can be selected • Rear panel ¼” I/O stereo and LED display • and/or edited via the jog wheel Unique digital AGC and bypass jacks (for optional knob or external MIDI remote • Front Panel Selectable Preset/ proprietary algorithms provide footswitch) User/MIDI/Bypass controls real dynamic compression for control (via Program Change • Versatile + 4/-10dBu input signal • Input level Control, variable adding punch to weak signals, messages) with 60 user program level stereo/mono operation, locations for personal edits new dimensions to your sound • Rugged construction for high gain mono input for plugging storage and useful limiter functions maximum long-term reliability instruments in direct • 24-bit A/D and D/A converters • Shielded internal dual • Advanced state-of-the-art • 9 volt AC adapter supplied for ultra-high headroom and regulated power supply with digital processing with 18-bit resolution ~115V(60Hz)/~230V(50Hz) Sigma-Delta AD/DA conversion, • Road worthy, ultra portable, 1 • Internal 44.1KHz sampling rate select switch and fused IEC high speed 12.5MIPs operation, all-metal /3 rackmountable for unsurpassed audio power cord connector and 52-bit accumulator resolution or tabletop housing
SDR-260 DigiComp 16
23 Rack Gear
RDI-8 8-channel DI box/line mixer SD-2418 Audio signal distributor
• Eight totally independent DI Box samplers and synth modules • Splits balanced mono signal into • Individual gain controls (up to units in a 1U package for multiple while supplying independent XLR eight separate balanced mono +6dB gain) for all eight outputs; signal corrections/conversions, balanced outputs to the stage box signals or stereo pair into four 2-4,1-8 split mode select switch with ¼” TRS jacks for balanced or for the front of house engineer) separate stereo pairs and display; dual balanced inputs unbalanced inputs and XLR jacks • Controls for the Line Mixer • Indispensable signal routing tool (Ch. A/B) with Link outputs for for servo-balanced outputs for operation include independent for live sound and recording optimum signal routing flexibility each channel in hookup rotary volume and L/R pan applications requiring signal • Each DI box eliminates controls per channel for the splitting and distribution with level • Wide dynamic range for optimum impedance mismatch problems Stereo Line output, and an matching to different equipment signal integrity and transparency and converts any sound source— additional Master Volume control from guitar to speaker inputs— for the Master Stereo output into a clean, powerful, hum-free, • Independent 20dB Pad and noise-free, interference-free balanced signal; perfect even Ground Lift switches per channel for extremely long cable runs control both the DI Box and Line Mixer outputs simultaneously • Can be used simultaneously as SD-2418 an 8-channel line mixer with both • Shielded internal dual stereo Line and Master outputs regulated power supply with ~115V(60Hz)/~230V(50Hz) • Optimum hookup flexibility select switch and fused IEC with independent parallel link power cord connector RL-2 Dual gooseneck rack light outputs for each channel; enables applications such as monitoring • Advanced circuit design and a specific input locally while carefully selected components • Rackmount light illuminates • Can be mounted on either front sending an XLR balanced direct ensure extended linear frequency mixing consoles and rack gear for or rear of rack cases output to another source without response and ultra low distortion easier operation on dark stages • On/Off switch and integral affecting the line mixer signal for pure, transparent audio across • Two 10” flexible gooseneck lights fused power supply included. • Multi-purpose design enables the spectrum for both DI Box mounted on a 19” rackmount Hard-wired power cable plugs parallel-operation applications and Line Mixer operation strip (1U) into 115 VAC outlet (e.g., setting an independent • High-quality, rugged construction stereo mix for stage monitoring for maximum long life and for extended setup of keyboards, reliability
RDI-8 RL-2
RMX-6 Rack microphone/line mixer PB48 Modular patchbay
• 6-channel mic/line mixer in a • Phantom power (15V) on • Versatile, no-solder patchbay single rack space (1U) channels 4-6 mic inputs provides 48 points in a single • Balanced XLR mic and ¼” TRS • Dual (low and high level) outputs rack space (1U) line inputs each channel • Internal shielded power supply, • Normalled, half-normalled • Master volume, bass, and ~115V/60Hz AC powered and isolated configurations treble controls • ¼” TRS for both balanced and unbalanced signals
RMX-6 PB48
24 PRA-8 8-channel microphone preamplifier Microphone Preamps
• Eight totally independent world- • +48V Phantom Power with class preamps in one single rack individual Phantom On/Off (1RU) through package with switches and Phantom DMP-2 Dual microphone preamplifier servo-balanced XLR inputs and Power On LED indicators ¼” TS outputs for each preamp for each channel • Unsurpassed audio with • Includes XLR I/O jacks, Power • Highest quality components and • Rugged construction for excellent stereo imaging, Off/On, +48V phantom power advanced design with ultra-linear, maximum long-term reliability ultra low noise, superb transient 3-way switch, selectable high bandwidth operational amps • Shielded internal dual response and transparent, integrated limiter, dual Gain for no-compromise crystal clear regulated power supply with distortion-free sound controls, Power On and dual audio; exceptionally low noise ~115V(60Hz)/~230V(50Hz) • Superior performance Peak LED indicators and negligible distortion select switch and fused IEC comparable to console preamps • Powered by 9V Alkaline or • Individual gain control and Peak power cord connector • Rugged, lightweight all-metal NiMH battery LED indicator on each channel enclosure designed for long life with up to 75dB of gain and portability
PRA-8 DMP-2
TMP Series Tube microphone preamplifiers
TMP-1 / TMP-2 Tube microphone preamp TMP-3 Tube microphone preamp plus EQ/compressor channel strip
• Hand-selected 12AX7A vacuum • Variable Input and Output • Smooth, warm tube sound with • Natural sounding optical tube circuitry provides large, gain controls superior clarity/transparency for compressor section with warm sound for microphones • +48VDC phantom power switch truest audio threshold and ratio controls for accurate musical and instruments— fills out your • Phase Reversal switch • Mic Preamp Input section offers sound for perfect recording full complement of controls dynamics processing • Servo-balanced XLR and including switchable +30dB gain, • Selectable output limiter unbalanced ¼” TS Inputs • VU gain reduction meter 180° I/O phase reversal, +48V circuitry to avoid clipping and and Outputs for monitoring amount of phantom power, and a Gain pot protect connected equipment signal compression • Rugged construction for with Clip LED indicator selecting (e.g., processors) maximum long-term reliability proper incoming signal level • Rear panel ¼” TRS side chain • Convenient analog VU meter I/O jack for external compression • Shielded internal dual • Three-band EQ section with control; In/Out bypass switch allows excellent control of regulated power supply with low and high shelving filters desired signal levels and ~115V(60Hz)/~230V(50Hz) and sweepable mids for precise • Servo-balanced XLR and monitors limiter function select switch and fused IEC frequency tailoring; Output unbalanced ¼” TS input/output when limiter is activated power cord connector Level control for adjusting jack; ~115V(60Hz)/ overall volume from the ~230V(50Hz) select switch, TMP‑3 main outputs fused IEC power cord connector
TMP-1
TMP-2 TMP-3
25 Headphone Amplifiers
HPA-4 4-channel headphone amplifier/line distributor
• Four totally independent stereo • Selection of up to four completely • No-compromise circuit design, • High-quality, rugged construction high-power headphone amplifier/ independent monitor signals stringently selected tight- for maximum reliability line distribution channels in a for each set of headphones tolerance components and • Shielded internal dual convenient single rack package connected to the HPA-4 allows low-noise, extremely linear regulated power supply with • Easy-to-operate unit allows optimum monitoring flexibility, or amps for reference-quality, ~115V(60Hz)/~230V(50Hz) maximum variety of monitoring four separate choices for each transparent audio with maximum select switch and fused IEC and stereo line level signal channel’s Line Output (enabling headroom even at extremely power cord connector distribution options many audio switching/routing high headphone volume levels solutions) • Input source select switches and Phone and Line ¼” TRS stereo • Separate volume control for each outputs on each channel channel adjusts the level to both phone and parallel line outputs • Four independent stereo input sections (each with servo- • Easily expandable for optimum balanced L/R ¼” TRS jacks) versatility in any application— enable independent selection up to four HPA-4s can be of any of the four stereo signals daisy-chained for additional for each headphone amp/line fully selectable headphone/line distribution channel distribution requirements HPA-4
Headphone vs. Speaker monitoring in the studio When used with high-quality headphones such as the Nady QH series (see page 39), all Nady headphone amps deliver high-end audio to satisfy even the most critical audiophile. In addition to the most common application of individual monitoring while recording, HPA-8 8-channel headphone amplifier these amps are also well-suited for simultaneous playback to multiple listeners. While studio monitor speakers will always image and deliver the physical intensity of sound better, the best audio resolution is • Eight stereo headphone • Three balanced, line-level channels in a convenient single input channels with capacity provided by headphone monitoring. Headphone monitoring delivers rack package enable multiple to distribute one input signal complete isolation and intimacy with the recording, creating a far signal distribution options for to all headphones or group the more intense experience than speakers. monitoring flexibility headphone outputs (depending If you find yourself hearing things on your studio monitors but can’t • Each channel has separate upon input configuration) for quite make them out, headphone monitoring makes every detail volume control and ¼” monitoring flexibility apparent, allowing you to make the critical decisions necessary stereo outputs • Mono/Stereo selector switch to get the sound you’re after. • Over 100mW of power per for each set of inputs channel with full spectrum • High-quality, rugged 1U audio response and maximum construction for maximum headroom (even at high volume reliability headphone levels) • Shielded internal power supply • No-compromise circuit design, with ~115V(60Hz)/~230V(50Hz) SMD technology and low-noise select switch and fused IEC op-amps for reference power cord connector • Quality, transparent audio with maximum headroom even at high headphone volume levels HPA-8
HA-1X4 4-channel stereo headphone amplifier
• Allows four channels of stereo • ¼” Stereo jack input can be headphone monitoring with driven by any line level or individual level controls headphone amp output • Advanced design for widest • Rugged metal chassis for dynamic range, with lowest long‑life reliability noise and distortion HA-1X4
26 CrossoversDirect / BoxesEqualizers
DB-1 Passive direct inject box ADI Series Direct inject boxes
• • Enables connection of any Eliminates need for a direct box ADI-1 Single direct inject box unbalanced audio source signal on multiple keyboard setups ADI-2 Dual direct inject box (such as an electric instrument, plugged into an instrument keyboard, or amp speaker output) amp—input directly to a console to any mic level balanced input mixer by connecting the speaker • Eliminates impedance mismatch • Parallel link output allows ultimate (such as a mixer) outputs of the amp to the console problems and converts any sound hookup flexibility by enabling source at almost any level into a • Parallel Output allows input through the DB-1 applications such as connection clean, noise-free balanced signal simultaneous connection to two • 3-position input attenuation to the input of the backline or separate inputs (e.g., to an amp switch (0dB, -20dB, -40dB) • Full-featured controls and monitor amplifier and mixer) facilitates proper output signal connections include On/Off, • Portable aircraft aluminum • Translates high-impedance levels for optimum level matching Ground Lift, and Guitar/Speaker extruded case for ultimate instrument outputs into low- to connected equipment source select input attenuation roadworthiness, long life impedance balanced signals, or • Switchable ground lift eliminates switches and reliability balanced low-impedance signals ground loop hum problems • Unbalanced ¼” TS input and • Powered either by consoles into unbalanced outputs • Rugged, roadworthy all-steel Parallel Link Output jacks +48V phantom power or • Converts unbalanced +10dB construction for years of reliability • Servo-balanced XLR output jack internal 9V battery DJ mixer signals to balanced • 0.9 lbs (.453 kg) mic level signals, enabling easier interfacing with consoles DB-1 ADI-1 ADI-2 and longer cable runs
“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 it’s another winner!” Joe Bisgaard, Cleveland, OH }
Sound Pressure Level Meters
DSM-1 Digital SPL Meter ASM-2 Analog SPL Meter
• Highly accurate SPL meter and threaded insert • Seven sound-level ranges allow • Phono-type output jack for with two level ranges measuring to attach to optional measurements from 50-126 dB connection to home theater between 30dB and 130dB at SMT-3 tripod or (referenced to 0.0002µbar) or test equipment 32Hz-8KHz standard camera • A and C weightings let • Built-in battery condition indicator tripod • Easy-to-read 4-digit LCD display you check compliance • Threaded insert lets you attach with selectable permanent • Uses 9VDC alkaline with safety regulations the meter to optional SMT-3 backlight battery with up to as well as make tripod or standard camera • Selectable A or C weighting 50 hours battery life acoustic analysis tripod for increased and fast or slow response; • Includes foam • Slow and fast accuracy maximum hold selector with windscreen, sturdy response settings let hold button to capture input at vinyl carrying case, you check peak and any time; alarm indicating the and battery average noise levels input is above range; internal battery tester; built-in calibrated, 1 linear omnidirectional /2” See Accessories/Stands and Racks electret condenser microphone; DSM-1 ASM-2 on page 56 for SPL mounting tripod
27 Mixers
MM Series Mini mixers
MM-14FX MM-141 MM-242 4-channel mini mixer 4-channel 4/8 channel stereo/mono with echo effects mini mixer mini mixer MM-14FX
• Four mono ¼” microphone inputs • Four ¼” unbalanced line level • Eight mono ¼” inputs with with individual volume controls inputs with individual volume individual volume controls to be • Built-in echo effects DSP with controls mixed to one ¼” assigned to Stereo A/B outputs delay time and depth controls; unbalanced output or mono’d together and sent to simulates room/hall/ stadium • Master Volume control with both A and B outputs decay reverbs integrated Power On/Off switch • Stereo ¼” Master outputs with • ¼” unbalanced output and Power On LED indicator separate Master volume controls, over 25dB of gain, S/N ratio of • Up to 50dB of gain per channel • Ultra low distortion, up to 20dB of gain, S/N ratio over 100dB, 95dB and frequency response • Power On/Off switch with from 20Hz-30KHz and a frequency response from MM-141 LED indicator 20Hz-20KHz • Peak LEDs for each group • 9VDC powered with either 9V • Heavy-duty steel construction of input channels alkaline battery or optional PAD-1 with smooth-turn, ultra stable • Mono/stereo mode selector AC/DC external adapter pots and high-quality jacks • Heavy-duty steel construction • 9VDC powered with either with smooth-turn, ultra stable 9V alkaline battery or optional pots and high-quality jacks PAD-1 AC/DC external adapter • Power On/Off switch with LED indicator • 9VDC powered with either CMX-16A 16-channel stereo mic/line mixer 9V alkaline battery or optional PAD-1 AC/DC external adapter MM-242 • Full frequency response, wide • Switchable +48V phantom power dynamic range and ultra low for all mono XLR Mic Inputs noise assures natural, transparent • Tape In and Record Out RCA sound with maximum headroom jacks with Tape inputs assignable MM-15USB Mini mixer • Eight mono balanced (XLR to Master Mix or stereo Control and ¼” TRS) and eight stereo Room/Headphone outputs (¼” TRS) inputs (16 total) • With up to 15 simultaneous • Separate Main Mix, Control • 60 mm faders on all channels inputs and ten outputs (including Room, and Headphone outputs; • L/R Main Mix and G1-2 Group and master L/R and G1-2 bus complete USB interface), this Stereo Aux; Return inputs Submix busses, with L/R, and mix for precise level control versatile desktop mini mixer is a with Level control; Tape In/Out G1-2 functions selectable on • High-quality sealed pots with valuable tool for almost any studio RCA connectors plus stereo all channels and separately center detents for all Pan/Balance recording, computer, home audio mini‑jack output assignable to master mixes and EQ controls or live performance application with separate master faders • Dual 4-segment LED display • Two mono channels with bar graph meters • Two Aux Sends and two stereo • Peak LEDs on all input channels balanced Mic and Line Inputs and Aux Returns with Aux Send and • Super-accurate 10-stage LED • SMD technology for most two stereo channels with Line Aux Return controls display bar graph meters compact design and RCA Inputs; each channel switchable to display L/R • Eight mono input channel Inserts has Trim, 3-Band EQ, Aux Send, • Miniature 7” x 8” durable steel or G1/G2 mix levels allow independent connection of Pan, and Level Controls with casing and superior construction effects devices for each channel • External AC supply (PSU) for Peak indicator LEDs for long life and maximum reliability • Tape In and Record Out RCA optimum signal integrity and • USB 1.0 I/O Interface to send jacks with Tape Input Level superior transient response or receive digital audio signals control • Dimensions and weight: to or from any computer • Separate Control Room and 15” x 17.5” x 3.75” • Stereo mini-jack iPod/MP3 inputs Headphone Outputs (381 x 495 x 95 mm), • Ultra-low noise mic preamps 14.85 lbs (6.75 kg) • PFL, L/R, and G1-2 mixes for optimum signal integrity; separately assignable to full spectrum frequency response Headphone and Control with wide dynamic range and Room outputs for versatile superior headroom monitoring capability • Input Trim controls on all channel inputs • Balanced XLR and unbalanced ¼” TRS Stereo outputs • 3-band EQ on all channels MM-15USB • Pan pots on each mono channel and Balance pots on each stereo channel CMX-16A
28 SRM-10X 10-channel stereo mic/line mixer
• Two mono channels with Trim, • Mono output with slider level • Input Trim control on each Bass, Treble, Aux Send, Pan, and control and AFL switch mono channel Level controls; low cut; pre/post; • Dual 6-segment LED display bar • Pan pots on each mono PFL switches; Inserts graph meters channel and Balance pots • Four stereo channels: two with • Ultra-low noise mic preamps on each stereo input Level controls, Bass/Treble, • Peak LEDs on mono channels Balance controls, Pre/Post Aux • Full spectrum frequency response Send and PFL switches; two with • Wide dynamic range with • High-quality pots for all controls Level controls and PFL switches superior headroom with Pan/Balance and EQ controls having center detents • Tape In RCA jacks with Level • Separate Master Mix, Control control and PFL switch Room and Headphone outputs • High-strength steel casing and superior construction • Tape Record Out RCA jacks • Mic and Line balanced inputs for with only highest quality • Individual channel Aux Send, optimum audio integrity components for longest life Pre/Post selectable, and • ¼” TRS Stereo Control Room and maximum reliability Master control and Headphone outputs • External AC supply for optimum • L/R main unbalanced outputs • Switchable global +48V phantom signal integrity and superior with slider control power on all mono inputs transient response SRM-10X
SRM-12X/14X 12/14-channel stereo mic/line mixer
• Ultra low-noise mic preamps SRM-12X SRM-14X • Wide dynamic range with superior headroom 12-channel stereo mic/line mixer 14-channel stereo mic/line mixer • Separate Master Mix, Control Room and Headphone outputs • Four mono input channels • Six mono input channels with • 3-band EQ on all channels with balanced XLR Mic and balanced XLR Mic and ¼” ¼” TRS line inputs TRS line inputs • Mic and Line balanced inputs for optimum audio integrity • Tape In and Record Out RCA jacks with Tape inputs assignable to • Eight stereo input channels • Eight stereo input channels Master Mix or stereo Control Room/Headphone outputs with balanced ¼” TRS jacks for with balanced ¼” TRS jacks for balanced or unbalanced inputs balanced or unbalanced inputs • Switchable global +48V phantom power on all mono inputs • Four ¼” TRS inserts allow • Six ¼” TRS inserts allow • Input Trim control on each mono channel independent connection independent connection • Pan pots on each mono channel and Balance pots on each stereo input of effects devices for each of effects devices for each • Pre and post-fader Aux Sends for external effects and monitoring mono channel mono channel • Two multifunction stereo Aux Returns with Aux Return controls • Dimensions and weight: • Dimensions and weight: • Switchable Low-Cut filters (18 dB/octave @ 75 Hz) on mono channels 13.5” x 11.5” x 3” 13.5” x 13.5” x 3” • PFL (Pre-Fader Listen) function on all channels (343 x 292 x 76 mm) (343 x 343 x 76 mm) • 60mm faders on all channels and Master Mix for precise level control 7.9 lbs (3.6 kg) 9.3 lbs (4.2 kg) • ¼” 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 highest quality components for longest life and maximum reliability • External AC supply for optimum signal integrity and superior transient response
SRM-12X SRM-14X
“I love my PMX-600 (powered mixer) so much. I just wanted to say thank you for producing such a great unit at such a great price.” Don Culbertson, Savannah, GA }
29 Powered Mixers
PMX Series Console powered mixers
PMX-420 4-channel/2-bus 2 x 200W RMS @ 4Ω (1% THD) both channels driven
• Two mono channels with • Channel Trim controls; Peak • Outputs include Preamp ¼” balanced XLR Mic and ¼” LEDs; High, Mid, and Low and RCA Stereo outputs; TRS line inputs; two stereo EQs; Channel GRP 1-2 assign RCA ¼” Group 1 and 2 channels with A/B input and PFL buttons; EFF Send outputs; stereo headphone selector switch for each controls; Pan and Volume output with L-R / G1-2/PFL channel controls; Aux Send and selector and separate volume • Fan-cooled, bipolar amplifier Return with Level control; adjust; L/R ¼” speaker two 5-segment LED display outputs • Stereo L/R Main Mix and bar graph meters with L-R / • Internal shielded AC supply G1-2 Group Submix busses, G1-2/EFF and PFL selector with four master faders with 115V(60Hz)/230V(50Hz) and Power Amp Peak select switch • Built-in 32-bit DSP simulates indicator plate, gate, room, hall, stadium reverbs PMX-420
PMX-600 6-channel/2-bus 2 x 225W RMS @ 4Ω (1% THD) both channels driven
• Six mono input channels with Low Cut filters; channel high • Outputs include balanced ¼” balanced XLR Mic and ¼” EQ, frequency sweepable TRS and XLR Main Stereo TRS line inputs mid EQ, low EQ; Channel Outputs; balanced ¼” Group • Fan-cooled, bipolar amplifier Aux 1 and Aux 2 Send 1 and 2 outputs; adjustable controls, Pan controls, and • L/R Main Mix and G1-2 Group Control Room left and right assignable L/R and G1-2 Submix buses, with four ¼” outputs; and stereo switches; switchable +48V master faders and Group headphone output with phantom power; two Aux to Main enable switch separate volume adjust and Sends and two Aux Returns L/R or G1/G2 selector; L/R • Built-in 32-bit DSP simulates each with Level controls; dual ¼” amplifier outputs for plate, gate, room, hall, Tape/CD In and Record Out easy speaker daisy-chaining stadium reverbs stereo RCA jacks with Tape • 60mm faders on all Channels, level control; six balanced ¼” • Internal shielded AC supply Groups 1/2, Main L/R, and TRS inserts; two 10-segment with 115V(60Hz)/230V(50Hz) Effects; two 7-band master LED display bar graph meters selector switch EQs; Channel Trim controls, with Power Amp Peak Peak LEDs, and switchable indicator PMX-600
PMX-1600 16-channel/2-bus 2 x 225W RMS @ 4Ω (1% THD) both channels driven
• 16 mono channels with EQ, frequency sweepable Control Room left and right balanced XLR Mic and ¼” mid EQ, and low EQ; Channel ¼” outputs; and stereo TRS line inputs Aux 1 and Aux 2-EFF Send headphone output with • Fan-cooled, bipolar amplifier controls, Pan controls, and separate volume adjust and assignable L/R and G1-2 L/R or G1/G2 selector; L/R • Stereo L/R Main Mix and switches; switchable +48V dual ¼” amplifier outputs for G1-2 Group Submix buses, phantom power; two Aux easy speaker daisy-chaining with 4 master faders and Sends and two Aux Returns; Group to Main enable switch • Internal shielded Tape/CD In and Record Out AC supply with • Built-in 32-bit DSP simulates stereo RCA jacks with Tape 115V(60Hz)/ plate, gate, room, hall, Level control; 10-segment 230V(50Hz) stadium reverbs LED display bar graph meters select switch • 60mm faders on all Channels, with Power Amp Peak Groups 1/2, Main L/R, and indicator Effects; two 7-band master • Outputs include balanced ¼” EQs; Channel Trim controls, TRS and XLR Main Stereo Peak LEDs, and Switchable Outputs; balanced ¼“ Group Low Cut filters; channel high 1 and 2 outputs; adjustable PMX-1600
30 SPM Series Stereo powered mixers
SPM-4250 SPM-6300 4-channel 6-channel 2 x 125W RMS @ 4Ω (1% THD) both channels driven 2 x 150W RMS @ 4Ω (1% THD) both channels driven
• Four mono input channels • Internal shielded AC supply • Six mono input channels with • Input controls, connections with balanced XLR Mic and with 115V(60Hz)/230V(50Hz) balanced XLR Mic and ¼” and indicators include Channel ¼” unbalanced line inputs, select switch unbalanced line inputs Volume controls, High and Low switchable +48V phantom power • Durable but lightweight • Stereo (main-monitor) amplifier EQs, EFF Send, and separate • Fan-cooled, bipolar amplifier polypropylene housing with ¼” speaker outputs and Main and Monitor Level controls; Aux Input, Effects Send and • Built-in echo effects DSP for easy portability and mono/main-monitor select roadworthiness switch; fan-cooled, bi-polar Return, and Stereo Tape/CD RCA simulates plate, gate, room, inputs; two 5-band master EQs hall, stadium reverbs amplifier • Internal shielded AC supply • Input controls, connections and • Built-in DSP for echo effects (reverb) with Effects Level with 115V(60Hz)/230V(50Hz) indicators include Channel Gain select switch controls, Peak LEDs; High, Mid, control and Low EQs; Channel EFF Send, Pan, and main Volume controls • 5-band master EQ; Aux Send and Return; Tape/CD In and Record Out stereo RCA jacks with Tape Level control • Stereo headphone output with separate volume adjust
SPM-4250 SPM-6300
MPMx Series Powered mixers
MPM 4130x 4-channel XLR Mic and ¼” TRS Line inputs 160W @ 4Ω total into 2 parallel speaker output ¼” jacks
MPM 8175x 8-channel XLR Mic and ¼” TRS Line inputs 175W @ 4Ω total into 2 parallel speaker output ¼” jacks MPM 4130x
• Built-in Digital Delay produces the Main Out and the built-in choice of 4 great overall sound- amplifier, allowing the output enhancing delays ranging from to be sent to an external signal small room to spacious processor or additional power • Each channel offers Level and amplifier individual Digital Delay controls • Shielded internal power supply and a Low/High 2-band EQ with ~115V(60Hz)/~230V(50Hz) • Master section includes CD/Tape select switch and fused IEC Level, Master Level, and Digital power cord connector Delay Level/ Delay Time select • Rugged, lightweight case controls; Digital Delay Select with handles (MPM 4130x: switch; and L/R Tape In and 18.45 lbs/8.4 kg; MPMx 8175: Tape Record Out RCA jacks 20.6 lbs/9.3 kg) for roadworthy • Rear panel Main Out/Amp In reliability and easy portability ¼” TRS jack unbalanced insert point provides a break between MPM 8175x
31 Portable Sound Systems
MPM Series PA Powered mixers/speakers
MPM 4130x/8175x PA 210 PA system includes: • (1x) MPM 4130x or MPM 8175x powered mixer MPM 4130x/ MPM 8175x/ • (2x) PAM-10F, 10” 2-way PA210 PA210 full‑range wedge monitor or FOH speaker • SC-20 twenty-foot cable
MPM 4130x/8175x PA 212 PA system includes: • (1x) MPM 4130x or MPM 8175x powered mixer • (2x) PS112, 12” 2-way full-range speaker MPM 4130x/ MPM 8175x/ • SC-20 twenty-foot cable PA212 PA212
RPA Series Portable sound systems
• Compact (“take anywhere”), complete one-piece portable sound systems with built-in powered mixer and speaker • Collapsible/locking handle and built-in rubber rollerblade wheels Choosing a portable PA • DSP Reverb with Level and Depth controls The many applications and • ¼” Effect Send, Return, and Line Out jacks; RCA Tape In/Rec Out advantages of easily portable • Master Volume; High, Mid and Low EQ controls public address systems are well • Rugged enclosure with vinyl cover, carrying handles, known. They’re ideal for a variety and basemount for mounting on speaker stand of uses including classrooms, business meetings, auctions, and RPA-2 RPA-4 RPA-6 auditoriums. Nady offers a wide Two mono balanced Four mono balanced/unbalanced Six mono balanced range of portable sound systems (XLR and ¼” TRS) inputs (XLR and ¼” TRS) inputs (XLR and ¼” TRS) inputs for indoor/outdoor use and for 65W RMS @ 4Ω 100W RMS @ 4Ω 150W RMS @ 4Ω audiences small and large. In order to choose the right system • 10” woofer and compression • 10” woofer, 5 ½” midrange • 12” woofer and piezo tweeter that fits your budget and needs, dome tweeter speaker, and compression • Channel controls: Gain, Reverb, consider your intended application dome tweeter • Channel controls: Gain, Reverb, High EQ, Low EQ carefully. Note that in addition and Contour • Channel controls: Gain, Reverb, to the sound systems described High EQ, Low EQ in this section, Nady also offers portable wireless PAs which include wireless mic systems for added versatility. See page 14 for the WA-120 RF wireless PA and page 15 for the IRW-2PA with infrared wireless mic.
Nady’s powered (active) speakers in the following section have integrated mixers for several channels of mic and music source inputs, and these can also be used as single-piece powered PAs.
RPA-2 RPA-4 RPA-6
32 Ensemble PA-4180 Portable stereo sound system
4-channel 180W RMS stereo powered mixer 90W RMS per side @ 4Ω
• Convenient portable PA package • Master section with High, Mid, with carrying/pulling handle and and Master Level controls; wheels for easy transport External Effect Loop Send and • Two-way speaker system with Return jacks; stereo Tape In/Rec Out controls with a Tape In level 8” woofer and piezo tweeter horn control; built-in Reverb/Delay with • Basemounts for ease of mounting Time, Depth and Effect Volume on speaker stands controls • 20 ft. speaker cables included • 115V(60Hz)/230V(50Hz) voltage • Four each XLR Mic and ¼” Line select switch for worldwide inputs, each with Input Gain, operation High, Mid, Low, Effects, Pan • Storage compartment for mics, and Channel Level controls cables and accessories Ensemble PA-4180
MPA-30 Portable stereo PA sound system
• Convenient, easily portable • Master-powered speaker features stereo PA system a stereo amp with 75W RMS • Ideal for small/medium room live internal power and external sound applications with power up speaker output with 75W RMS @ to 350W Peak (175W RMS) 8Ω and 100W RMS @ 4Ω • Includes two full-range speakers • On LED; Ch1/Ch2 stereo RCA (master and slave) with trapezoid phono jack inputs for MP3, iPod, design for great stereo sound CD players, keyboards, etc. 3 and projection • Basemount inserts for 1 /8” • Compact, lightweight yet rugged (35mm) speaker stand mounting construction with durable • 20 ft. speaker cable and 17 ft. textured vinyl covering, corner dual RCA cable included protectors, and carrying handles • Can be used as stand-up or MPA-30 floor wedge monitors
Access PSS-150 Portable stereo sound system with mic
5-channel Stereo 150W RMS powered mixer
• Convenient portable PA package • Separate left and right master with luggage-style handle and output 60mm linear Fader level wheels for easy transport controls; choice of eight Digital • AMA™ (Automatic Maximum Reverb and eight Digital Delay Amplitude) limiter speaker effects; 5-band graphic equalizer protection with feedback locating indicators ™ • Stereo two-way speaker • One Starpower dynamic system with 10” woofer microphone and 20 ft. and piezo tweeter horn, two XLR microphone cable speaker cables, and two folding • Storage compartments for speaker stands microphones, cables and • Three combo XLR / ¼” Mic/Line accessories inputs and one XLR Mic input, • Variable-speed fan all with 15V phantom power • Stereo RCA auxiliary outputs • Two stereo source inputs for CD, VCR, DVD or other audio sources; all inputs with Bass, Treble, and Reverb controls Access PSS-150
33 Speakers
J Series Full-range two-way speakers
J-12M J-15M 12” woofer 15” woofer 7.5” x 6” titanium horn 7.5” X 6” titanium horn J-12M 8Ω impedance 8Ω impedance 700W peak power rating 700W peak power rating 90dB sensitivity 94dB sensitivity 92dB +/- 2dB maximum SPL 96dB +/- 2dB maximum SPL
• Premium multi-purpose speakers designed for the most demanding performance environments • High-power handling capacity with tight, powerful woofers and titanium horn drivers for brilliant sound with a smooth overall response J-15M • Multi-position cabs designed for variety of applications/requirements: 30° monitor angle for more distant stage monitoring, 45° monitor angle for performers closer to the speaker, 90° angle for horizontal placement on shelves, or upright as main FOH speakers • Titanium 1” drivers with wide-angle dispersion horns for optimum clarity and presence • Second-order internal crossover with tweeter surge protection circuit • Ported design for perfect bass and treble punch • Speakon™ and ¼” connections • Roadworthy cabinet construction with ultra-durable polymer finish, handle slots, metal grill, rubber feet, and integrated speaker stand basemount 4-position capability at 30°, 45°, 90°, or upright
PAM-10F Full-range, two-way PA or stage wedge monitor FWA Series Powered floor wedge speakers
10” woofer FWA-12 FWA-15 3” x 7” horn with 1.75” piezo voice coil 8Ω impedance 12” woofer 15” woofer 120W peak program power rating (60W RMS) 4” x 10.5” high-compression 5” x 15” high-compression piezo horn piezo horn • Great sound and projection 125W RMS 160W RMS • Perfect for all small venue applications • Three channel inputs: balanced XLR and ¼” Mic level; balanced XLR and • Compact, lightweight yet rugged cabinets with durable Tolex ¼” Line level; balanced XLR and dual RCA Line level—each with Input covering, reinforced plastic protected corners, and recessed Gain control carrying handles for roadworthy reliability and easy portability • Line level balanced XLR and unbalanced ¼” outputs • Weight: 16.5 lbs (7.5 kg) • Master Volume, Treble and Bass controls; On/Off rocker switch; • Dimensions: 10”D x 20”H x 15”L (25.4 x 50.8 x 38.1cm) Power and Clipping LEDs • Basemount inserts for speaker stand mounting • Durable black carpet cover, heavy-duty plastic protective corners • 92dB sensitivity (1W/1M) and integrated recessed carrying handles for easy portability • ¼” jack inputs • Frequency Response: 60Hz–18KHz
MIC MIC LEVEL
MINMAX
LINE 1 LINE 1 LEVEL
MINMAX
LINE 2 LINE 2 LEVEL
MINMAX
LINE OUT
MINMAX MASTER VOLUME
-12+12 TREBLE
-12+12 FWA-12 BASS CLIP PAM-10F or FWA-15 POWER
34 ProPower™ Series Carpeted speakers
PS112 • All horns with high compression piezo drivers Full-range, two-way speaker • Durable black carpet cover 12” woofer / 5” x 15” horn • Heavy-duty plastic protective corners 8Ω impedance • Integrated recessed carrying handles for easy portability 300W peak; 150W RMS • Sensitivity (1W/1M): PS112/PS115/PTS515: 91.5dB PS115 PFW12/PFW15/PTS1015: 90dB PS215: 90.5dB Full-range, two-way speaker • Binding post (banana jack) and two ¼” (6.3 mm) jack inputs 15” woofer / 5” x 15” horn • Basemount inserts for mounting on speaker stands 8Ω impedance (PS112, PS115, PTS515, PTS1015, PSW18) 500W peak; 250 RMS • PSW15 with speaker stand insert on top of cabinet PS112
PTS515 Full-range, two-way speaker Trapezoid speaker enclosure 12” woofer / 5” x 15” horn 400W peak; 200W RMS
PTS1015 Full-range, two-way speaker Trapezoid speaker enclosure 15” woofer / 5” x 15” horn 500W peak; 250W RMS
PFW12 Two-way floor wedge monitor PS115 PTS515 OR PTS1015 12” woofer / 4” x 10.5” horn 400W peak; 200W RMS
PFW15 PS215 Two-way floor wedge monitor 15” woofer / 5” x 15” horn 500W peak; 250W RMS
PSW15 15” subwoofer speaker 2” voice coil 8Ω impedance 600W peak; 300W RMS PSW15 OR PSW18 PFW12 OR PFW15 PSW152 PSW18 18” subwoofer speaker 2” voice coil 8Ω impedance INPUT LOW PASS VOLUME 600W peak; 300W RMS PSW-18A Powered subwoofer 60Hz 260Hz MIN MAX
PS215 • 1100W powered subwoofer with • Sturdy plywood cabinet with adjustable roll-off (low pass) filter durable carpet covering, steel 3 Full-range, two-way speaker and 123dB SPL capability grill, protective corners, and 1 /8” Two 15” woofers • Balanced XLR and ¼” parallel (35mm) polemount receptacle 10” x 18” horn I/O for easy thru-put plus dual • Bridge mode power amp for 8Ω impedance RCA inputs highest power with lowest 800W peak; 400W RMS • Master Volume control and distortion; output relay safety adjustable Low Pass filter from protection; ultra-efficient cooling, low-noise exhaust fan; AC fuse PSW152 60Hz to 260Hz with steep roll-off for maximum punch • Optional SMP-3 speaker Dual 15” subwoofer • “Soft start” Power On/Off switch mounting pole available 4Ω impedance with Power and Clipping LED 800W peak; 400W RMS PSW-18A indicators
35 Speakers
M-CAB Series™ Passive plastic molded speakers
MC-8 MC-10 MC-12 Full-range, two-way speaker Full-range, two-way speaker 600W peak program power rating (300W RMS) 150W peak power rating 400W peak power rating 12” low-frequency woofer / 1.5” compression driver (75W RMS) (200W RMS) 2.5” (6.3 cm) voice coil 8” woofer / 1” driver 10” woofer / 1” driver 8Ω impedance 4Ω impedance 8Ω impedance MC-15 600W peak program power rating (300W RMS) • Durable but lightweight molded • Can be mounted upright or wall- high-impact mineral loaded mounted with included bracket 15” low-frequency woofer / 1.5” compression driver 2.5” (6.3 cm) voice coil polypropylene enclosures • Low-impedance compensated 8Ω impedance (designed to deflect bumps and crossovers with full driver scrapes) protection • Perfectly balanced for ease of • Durable yet lightweight, molded high-impact ABS/fiberglass • Wide-angle, short throw, high- composite enclosures (designed to deflect bumps and scrapes) portability and set-up frequency dispersion horns • Versatile design perfect for with 1.0” diameter precision • Perfectly balanced for ease of portability and set-up; small room PA (as FOH and compression driver built-in handles for carrying monitor speakers) and project • Ultimate flexible design enables either FOH main speaker recording applications (as studio or stage monitor use monitors) • Compact trapezoidal shape is perfect for hanging in clusters (with dual built-in threaded brass inserts for eye bolts), single mounting on a speaker tripod stand (with built-in 35mm base mount insert), or mounted on side on the detachable speaker brace mounts provided (for use as dual-angle floor wedge monitors) • Low-impedance compensated crossovers with full driver protection • Wide-angle, short throw, high-frequency dispersion horns with 1.5” diameter precision titanium compression driver • High SPL output capability • Two Speakon™ connectors • Optional padded, zippered vinyl carrying bag available
MC-8 / MC-10 MC-12 / MC-15
THS Series Full-range two-way speakers
THS-1512 THS-1515 12” woofer 15” woofer 6” x 15” conical titanium horn 6” x 15” conical titanium horn 320W peak power rating 600W peak power rating (160W RMS) (300W RMS) 8Ω impedance 8Ω impedance 102dB sensitivity 103dB sensitivity Weight: 55 lbs (25 Kg) Weight: 67 lbs (30 Kg)
• Durable, roadworthy cabinet • Convenient Speakon™ and construction with Tolex covering, ¼” (6.3mm) connectors reinforced corners, and large for professional hook-ups built‑in recessed carrying handles • Wide-angle, short-throw, high- frequency dispersion horns provide clean, accurate treble for optimum clarity THS-1512 THS-1515
36 P-CAB Series™ Active plastic molded speakers
PCS-8 PCS-12 Full-range, two-way powered speaker Full-range, two-way powered speaker 35W RMS 200W RMS 8” woofer 12” woofer 5.5” x 8” compression horn Titanium horn
PCS-10 PCS-15 Full-range, two-way powered speaker Full-range, two-way powered speaker (bi-amped) 180W RMS 250W RMS 10” woofer 15” woofer 5.5” x 8” compression horn Titanium horn Built-in 2-channel mixer • Durable but lightweight molded high-impact, mineral-loaded polypropylene trapezoid speaker enclosures (designed to deflect • Durable but lightweight molded polypropylene enclosures bumps and scrapes) (designed to deflect bumps and scrapes) • Perfectly balanced for ease of portability and set-up; • Versatile design perfect for small room PA (as FOH and monitor built-in handles for carrying speakers), and project recording applications (as studio monitors) • Ultimate flexible design—flyable, stackable, pole mountable, or can be • Can be mounted upright on a speaker stand (1”diameter) or used as floor monitor when laid on its side with supplied brace mounts wall‑mounted with mounting bracket included (PCS-8 only) • Internal power system delivers 200W RMS to the woofer, 50W RMS to • Can be used as a floor monitor (laid on its side) with supplied the horn and provides high-quality audio performance more efficiently bracemounts (PCS-10 only) than conventional power amplifiers with passive speakers • Wide-angle, short throw, high-frequency dispersion horns with • Easy-to-use, built-in pre-amplifier with XLR and ¼” balanced Mic/Line 1.0” diameter precision compression driver inputs; Gain, Treble, Mid, Bass and Level controls; Signal and Clip LEDs • Treble, Bass, and Level controls (PSC-8); Channel and Master Level • Fused IEC power cord jack and 115V(60Hz) / 230V(50Hz) Select switch controls; Treble and Bass EQs (PCS-10 only) • Full top-end speaker features, including low impedance electronically • XLR balanced and ¼” 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 (90°H x 60°V) • Optional padded zippered vinyl carrying case available
INPUTS GAIN HIGH MIDLOW VOL
-20-60mic 15 +15-15 +15-15 +15 010 30line HF PCS-8 / PCS-10 LF LINE MIC
PCS-12 / PCS-15
“The PCS-15s are perfect for medium-size venue gigs. I bought six of them for my small sound company and they’re ass kickers! Chris Costa, Denver, CO }
37 Studio/Personal Stage Monitors
SM Series Studio monitor pairs PM Series Personal near-field stage monitors
Designed to reduce stage clutter and volume by putting the sound SM-120 • Clear, transparent sound and where you can most use it. Compact, rugged, and lightweight— full linear frequency response Passive monitor the PM Series can be mounted on a mic stand (with optional mic (35Hz-20KHz) 120W peak power rating stand mount adapter if needed), set on a keyboard, amp, or table for • Vertically aligned two-way effective up-close monitoring, or used as a stage monitor with four SM-250A nearfield monitor with 6.5”/8” different angled positions for optimum placement and versatility. woofer and 1” ferro fluid-cooled Active monitor soft dome shielded tweeter— Built-in 100W bi-amped power both magnetically shielded PM-100 PM-200A (50W for LF, 50W for HF) • Bass-reflex loaded with 2” 200 W peak; 100W RMS 150W RMS tuned cylindrical port SM-300A • Specially designed dual ferro‑fluid • Can power internal speakers plus • Heavy-duty cabinet construction, 5” drivers offer superior up to four PM-100 Personal Stage Active monitor with 1.5” thick curved front baffle gain before feedback and up Monitors using the two External Built-in 240W Peak (120W RMS) for reduced HF diffraction effects to 125 dB maximum SPL Speaker outputs Bi-amped power: and excellent imaging • • 140W peak / 70W RMS for LF Uniquely tuned response projects Specially designed dual ferro-fluid • Gold-plated binding posts for audio at the desired frequencies 5” drivers offer superior gain 100W peak/50W RMS for HF easy hookup to banana plugs, to cut through stage noise while and optimum intelligibility at key spade connectors, or bare wires ensuring high feedback immunity vocal/instrument frequencies (SM-120) • Volume/Impedance selector with ultimate feedback rejection • ¼” balanced/unbalanced TRS and two ¼” In/Out jacks for • Maximum 125dB SPL cuts inputs (SM-250A/SM-300A) performer adjustability and through even the loudest • Dimensions: 13.4” x 8.3” x 10.4” easy daisy‑chaining with up to ambient noise clutter (SM-120/SM250A); 15 other PM‑100 monitors • Balanced ¼” TRS and XLR 16” x 9.5” x 11.75” (SM-300A) • Dimensions: 11.1” x 7” x 5.3” input jacks (can be used • Weight: 14.4 lbs (SM-120); • Weight: 5.1 lbs simultaneously if desired) 18.5 lbs (SM-250A); • Volume control; 3-band EQ 29.5 lbs (SM-300A) controls (High, Mid, Bass); SM-120 front baffle Power On and Clipping LED indicators • High-powered Headphone Output and convenient ¼” balanced Line Output for daisy-chaining with other PM-200As, or connecting to mixers and PAs • Amplifier’s integrated low-noise/ distortion Mosfet outputs offer thermal, short circuit, and anti- thump on/off protection • Externally selectable 115VAC SM-250A SM-300A or 230VAC operation • Dimensions: 11.1” x 7” x 9.6” • Weight: 9.6 lbs
CSM-5 Compact two-way multi-purpose speakers
60W peak power rating/ 8Ω impedance
• Nearfield passive speaker is ideal • Gold-plated binding posts for desktop recording, computer for easy hookup to banana music, and many home stereo plugs, spade connectors, PM-100 and multimedia applications or bare wires • Full-frequency sound reproduction • Mounting bracket included and super compact size—ideal for optional wall-mounting for use in crowded desktop convenience CSM-5 environments • Frequency range: • ¼” ferrofluid-cooled soft-dome 89Hz-20KHz PM-200A tweeter and 5 ¼” robust woofer • Sensitivity: deliver uncompromised audio INPUTS LINE OUT EXTERNAL SPEAKERS INT. SPEAKERS 8dB +/-2dB (1W/1m) LINE VOLUME EQ accuracy and transparency; HIGH MIDBASS A ON OFF MIN. IMPEDANCE 8Ω • Dimensions: 10.2” x 6.7” x 6.3” MIC HEADPHONES creates mixes that translate ON 010 0 10 -1010 -1010
B exceptionally well to other • Weight: 4.1 lbs OFF MIN. IMPEDANCE 8Ω playback systems
38 QHM/QH Series CrossoversHeadphones / Equalizers
QHM-100 With boom microphone QH 200 Studio stereo QH 160 Lightweight QH 560 Deluxe studio stereo • High-quality closed-back design • Closed-back headphones • Cushioned for long-wear comfort • Advanced, ambient open-air design • Boom condenser mic, perfect • High-quality, very affordable • 34mm mylar driver with high- • High performance driver and for stage, DJ, podcast or • Perfect for studio or home use output neodymium magnet and ultra‑thin 40mm diaphragm computer applications high 102dB @1KHz sensitivity • Full 20-20KHz response and • Comfortable, heavily padded, • Full 20-20KHz frequency • Comfortable, heavily padded adjustable headband 110dB SPL @1Khz sensitivity adjustable headband and earcups and earcups response • Self-adjusting headband • 40mm drivers with a frequency • 40mm drivers with a frequency QH 360 Studio stereo QH 660 Deluxe studio stereo range of 20 to 20,000Hz range of 20 to 20,000Hz and • • 32Ω impedance rating, 32Ω impedance rating Ambient open-ear design • Closed-ear design for maximum • Thin, responsive 40mm high‑volume capability with • High-volume capability with isolation with punchy, booming diaphragm and neodymium bass and crystal clear highs 105 dB/mw sensitivity rating 105 dB/mw sensitivity rating magnet • Highest power handling capacity • Supplied with 10 ft. cord with • In-line Volume control on cord • Smooth 20-20KHz response and high sensitivity for maximum one 3.5mm stereo headphone • Supplied with 6 ft. cord with plug, one 3.5mm mono mic • Super 112dB @ 1KHz sensitivity volume capability 3.5mm stereo plug and ¼” plug, and a stereo and mono ¼” • Self-adjusting headband for a • 90° swivel earcups for ease (6.3mm) plug adapter (6.3mm) plug adapter for each perfect fit of storage and single ear • In-line Volume control on cord DJ monitoring use for headphone audio and On/Off switch for mic
QH 160 QH 560
QHM-100 QH 200
QH 360 QH 660
DJH-2000 Closed-ear DJ headphones
• Huge 54mm drivers to pump • Gold-plated stereo 3.5mm ultra-phat bass, rich mids, and mini‑plug with locking ¼” adapter crisp clear highs • Stereo/mono switch for
• Greatest power handling capacity/ single‑sided listening efficiency for very loud volumes • Foldable joint design
• Perfect for the turntable, console, for easy packing or personal rig • 60Ω nominal impedance, • Multi-position 90° rotating ear 10~20,000Hz cups allow for single-sided or response } shoulder rest wear • 3 ½” tangle-resistant coiled “I mix 5-10 gigs a month and my cable extends to 11 ft. for greatest mobility DJH-2000 has been more than up • Lightweight body with wide to the job. The sound really cuts adjustable padded headband and through.” soft, tear-resistant ear cushions } for unmatched comfort and fit DJH-2000 Damon Desquino, Albuquerque, NM
39 Noise-Cancelling Headphones
QH RacketBlaster™ Series Noise-cancelling stereo headphones
State-of-the-art noise-cancelling circuit design eliminates virtually all background ambient noise for quiet listening enjoyment. Operate as standard passive headphones when noise-canceling circuitry is inactivated.
QH-30NC QH-50NC QH-30NC • Large 30mm drivers for rich, powerful audio • Large 50mm drivers for rich, powerful audio with full-frequency response and punchy bass with full-frequency response and punchy bass • Compact folding design and leatherette • Full-size padded leatherette ear cups and pouch for easy transport while traveling— headband for ultimate long-lasting comfort perfect for private listening without distracting • Adjustable headband creates a comfortable ambient noise in airplanes and other noisy fit for all head sizes environments • Convenient battery compartment on cable • Full-size padded leatherette ear cups and adjustable headband for ultimate long-lasting • Uses single AAA battery wearing comfort; fits all head sizes • Uses single AAA battery (included) • 3.5mm stereo mini-plug; two-prong airline jack adapter included QH-50NC
Miscellaneous Gear
PHP-3 DJ phono pre-amplifier
• Converts Phono signals to Line Level utilizing • Plug-and-play operation with full patching standard RIAA equalization—amplifies and facilities for easy connection of phono EQs vinyl records to interface with mixers, turntables to any sound equipment main or monitor systems, audio workstations, • External power adapter for and sound cards low-noise operation • Works with all turntables using • Rugged metal case for magnetic cartridges maximum reliability PHP-3
HE-1 Hum eliminator
• Easily eliminates AC hum (60Hz/120Hz buzz) • Dual Channel I/O with ¼” TRS jacks with up to 20dB of attenuation • Completely passive design with • Breaks grounds loops safely while leaving quality components assures best all signal grounds intact possible noise/distortion-free • Converts automatically back and forth performance between balanced and unbalanced lines at either end HE-1
“I use a lot of Nady gear in my project studio. I found that it not only works well and sounds great, but I saved money to boot. Thanks Nady!” James Rubin, Reno, NV }
40 Studio/Wired Microphones I recorded a live broadcast of a“ four-piece band using just two Nady TCM 1050s. It sounded great! ” Reto Peter, Mixer/Engineer/Producer, Teahouse Studio Green Day, Black Eyed Peas, Modest Mouse, Gwen Stefani, Weezer, Smash Mouth, Chris Isaak
Vocal Dynamic Mics...... 42 USB Mics...... 47 Starpower™ Series, USB-24M, USB-1C, USB-1CMS American Performer, PCM-200 Drum/Instrument/Specialty Mics..... 48 Vocal/Instrument Condenser Mics... 43 DM Series, CM Series, Drum Mic Kits, SPC Series, PCM-100 SGM-12, OHCM-200, VHM-7, MSC3
Studio Condenser Mics...... 44 Headworn Mics...... 50 SCM Series, SMK-2, HeadMic™ Series CM Series, TCM Series
Ribbon Mics...... 46 RSM Series, TRM-6 Nady’s popular line of professional studio/hardwired microphones offers unbeatable performance and value. Studio/Wired With models in every price range, the Microphones extensive Nady line includes feature- packed dynamic, condenser and ribbon mics. No matter what your application— public speaking, stage performance, or studio recording—Nady’s got the perfect mic for you, at an affordable price.
Vocal Dynamic Mics
Starpower™ Series Professional performance mics
SP-1
• Excellent clear, transparent sound across the spectrum with smooth bass, mid-presence SP-4C Mic with 20 ft. cable (XLR / ¼”) punch and crisp highs SP-R3 3-pack, mic clips included
• Unidirectional cardioid pattern with superior • Linear full-range response with crisp mid‑range feedback rejection presence for optimal clarity and punch • Powerful neodymium element cuts through with • Powerful neodymium mic element for highest output without accurate, distortion-free sound in even the highest noise—cuts through even the loudest sound pressure sound pressure level situations level situations without compromising sound • Rugged metal construction and internal • Ultra-light aluminum humbucking voice shock mounting for maximum reliability coil and transformerless design provide and ultra‑low handling noise noise-free, accurate reproduction across • Mic clip included the audio spectrum without distortion • Tight cardioid polar pattern provides excellent off‑axis rejection for superior gain before feedback • Advanced multi-axis rubber shockmount SP-5 for element minimizes handling noise • Rugged, all-metal construction for maximum • Balanced, natural sound with bottom-end warmth, reliability—features zinc die-cast case and mid-range presence and a smooth high end steel mesh windscreen with anti-dent ring • Advanced neodymium element delivers high • External On/Off switch for easy audio control from stage output to break through even the loudest mix with uncompromised sound quality American Performer™ Performance/speaking mic • Tight unidirectional cardioid polar pattern minimizes feedback in high sound pressure level situations • Advanced high-output cartridge provides maximum • Transformerless design provides superior low-end clarity and definition, even in noisy environments frequency response with minimal distortion • Unidirectional cardioid pattern • Ultra lightweight aluminum humbucking voice coil reduces feedback provides maximum hum rejection and exceptional • Specially designed internal cartridge clarity across the spectrum mount for lowest handling noise • Specially designed rubber shockmount for cartridge and quiet performance reduces handling noise for quietest performance • Withstands highest sound pressure • Heavy-duty steel mesh ballscreen and rugged zinc levels without overload or distortion chassis for optimum roadworthy reliability • Rugged, all-metal construction • Gold-plated XLR connector resists tarnish and • On/Off switch on handle ensures best possible connection • Includes microphone cable
42 SPC Series Professional performance mics Vocal / Instrument Condenser Mics
SPC-10 SPC-15 • Large (1”) diameter, ultra-thin membrane, gold-evaporated, pressure • Pressure gradient back electret condenser, transformerless FET circuitry gradient condenser capsule and transformerless FET circuitry for for transparent audio reproduction and superior transient response superior audio with unsurpassed warmth and transparency • Wide frequency response (50~18,000Hz) with specially tailored mid- • Linear frequency response across entire audio spectrum (30~20,000Hz), high presence for enhanced vocal and instrument punch and exceptional with added presence in the mids and highs for crisp, clear sound crisp, clear sound • Superior 8mV/Pa sensitivity, wide 122dB • Supercardioid polar pattern for maximum feedback rejection, dynamic range, high 140dB SPL capacity superior sensitivity, wide dynamic range, high and ultra-low distortion (136dB) SPL capacity and ultra-low distortion • External low-cut switch for rolling off • Advanced internal shockmount design low frequencies (80 Hz, 12 dB/octave) to eliminate handling noise • Multi-axis internal capsule shockmount • Compact all-brass housing is lightweight, for extremely low handling noise roadworthy and durable for long life • Tight cardioid pattern for optimum and reliability feedback rejection • Gold-plated XLR connector • Requires 48VDC phantom power • Requires 9~52V phantom power
SPC-20 • Unique dual-layer ballscreen “pop” filter for elimination of breath noises • Pressure gradient back electret condenser and transformerless FET circuitry for ultra transparency and enhanced transient response • Wide frequency response (50~16,000Hz) with specially tailored mid‑high presence for vocal punch and exceptional crisp, clear sound SP-9 • Ultra-high (140dB) SPL capacity and wide 115dB dynamic range for maximum • Ideal all-purpose vocal and instrument mic freedom from distortion • Linear response for detailed, natural sound • Supercardioid polar pattern for • Unique one-piece molded cartridge design maximum feedback rejection ensures superior immunity to abuse and shock • 4.5mV/Pa sensitivity, and 200Ω rated • Cardioid, alnico magnet dynamic impedance with 1000Ω minimum • Excellent feedback immunity and low handling noise load impedance • Rugged, reliable—the perfect stage mic • Superior internal shockmounting to eliminate handling noise • Requires 48VDC phantom power
SP-33 SPC-25 • Unique dual-layer ballscreen “pop” filter for elimination of breath noises • Lively full-range response with punchy bass, articulate mids, and detailed crisp highs • Pressure gradient back electret condenser and transformerless FET circuitry for ultra • Powerful neodymium mic element for highest output transparency and enhanced transient response without noise — cuts through even the loudest sound pressure level situations without compromising sound • Lockable noise-free audio On/Off switch • Aluminum alloy voice coil for clear, warm sound • Supercardioid polar pattern for maximum feedback rejection • Tapered shape and rubberized easy-to-grip coating for optimum handheld comfort • Rugged die-cast body, hardened steel mesh • Superior internal shockmounting to • Ultra rugged, reliable and eliminate handling noise superior low handling noise • Operates on a single internal AA battery • Mic clip included with no phantom power required
PCM Series PCM-200 Dynamic Microphone PCM-100 Condenser Microphone Professional • High-output dynamic cartridge • Specially designed high-quality back electret for big, powerful sound condenser mic for clearest audio reproduction classic style • Cardioid pickup pattern to reduce • Cardioid polar pattern mics feedback during live applications • Smooth tailored frequency response • Transparent tailored audio with • Vivid vocal reproduction with characteristic presence peak for distinct presence peak live‑sounding vocals • Switchable Low-Cut filter • Pop-free locking on-off switch • Phantom power LED
43 Studio Condenser Mics
SCM Series Large diaphragm condensers
SCM 800 SCM 960 SCM 2090 Stereo mic • Ideal for all recording and • Large, pressure-gradient • Uses a pair of closely matched, broadcasting applications condenser, gold-sputtered large diaphragm, uni-directional SCM 800 SCM 900 • Features large-diaphragm diaphragm and FET preamplifier (cardioid) elements, angled at 90° true condenser design, • Internal shockmount construction in an X/Y stereo configuration transformerless low-noise/ for highest structural integrity • Provides realistic spatial imaging high-dynamic range output, and rugged reliability of the sound field, making this mic high SPL capacity, cardioid polar • Selectable attenuation pad ideal for location stereo recording pattern pickup, FET preamps, and and omni or cardioid polar of orchestras, choral groups, rugged internal shock mounts pickup pattern bands, ambient instrument • Compact and durable, with • Requires 48V phantom power audio, ENG theater, etc. precision-turned brass housing • Utilizes two gold-sputtered large diaphragm condenser elements SCM 900 SCM 1000 for warm, crisp response with • Large, pressure-gradient • Large, pressure-gradient improved linearity across the frequency spectrum condenser, gold-sputtered condenser, gold-sputtered SCM 960 SCM 1000 diaphragm and FET preamplifier diaphragm and FET preamplifier • Ultra-low self-noise, increased • Internal shockmount construction • Internal shockmount construction dynamic range, and maximum for highest structural integrity for the highest structural integrity SPL capacity for recording loud and rugged reliability and rugged reliability audio such as brass, drums, and high-powered amplifiers • Cardioid pattern • Selectable 10dB attenuation pad and low-cut filter • Manufactured with the finest • Requires 48V phantom power materials featuring a machined • Multiple selectable polar patterns: housing for rugged reliability Omni/Cardioid/Figure 8 • Superb channel separation, • Requires 48V phantom power with 5-pin XLR to dual 3-pin XLR “Y” cable (included)
SMK-2 Studio mic kit in carrying case
(1x) CM 90 / (1x) SCM 900 SCM 2090 SMK-2
CM Series Small diaphragm condensers
CM 90 CM 95 CM 100 CM-2S • High sensitivity, extended • Low-cut off and -10dB • Precise reference • Perfect stereo mic for recording, smooth full frequency response attenuation switches for utmost measurement mic ENG field use, FM stereo radio, and very high SPL capability versatility in all applications • True, symmetric omni-directional and many other applications • Cardioid pattern 20mm • Cardioid pattern 20mm pattern, high sensitivity, minimal • Features two closely matched electret condenser electret condenser self-noise, increased dynamic cardioid condenser elements; • Transformerless design • High sensitivity, extended range, high SPL capability, and superb channel separation; for minimal self-noise and smooth, full frequency response extremely smooth, linear 15Hz smooth, linear 30Hz-20kHz increased dynamic range and very high SPL capability to 20KHz frequency response frequency response with a • Rugged, turned-brass housing • Transformerless design provide transparent recordings switchable low-frequency roll-off; and internal sub-assembly for minimal self-noise and • Perfect for use with real-time high SPL capability; extended shockmount for maximum increased dynamic range analyzers for precise, accurate dynamic range with ultra-low self-noise; crisp, clear transparent reliability • Rugged, turned-brass room acoustics alignments or detailed recording of acoustic audio; and internal battery • Requires 48V housing and internal operation phantom sub-assembly guitars and vocals power shockmount for • Rugged construction, • Compact, lightweight maximum reliability gold-plated XLR, and design for easy camera internal assembly mounting (camera • Requires 48V shoemount optional) phantom power shockmount for maximum reliability • Includes mic clip, • Includes mic stand • Includes foam connector cables and clip and vinyl adapters, windscreen, storage bag windscreen for outdoor applications and mic AA battery, and soft stand clip (including protective pouch 5 3 /8” to /8” adapter)
CM 90 CM 95 CM 100 CM-2S
44 TCM Series Vacuum tube condenser mics
TCM 1050 Versatile TCM 1100 Cardioid pattern mic TCM 1150 Multi-pattern MICROPHONE types multi‑pattern mic with for best sound at any price mic for the most demanding The three most popular types applications unsurpassed tone • Suitable for the most critical of microphones are dynamic, • Hand-tooled brass capsule with (vocal or instrumental) live sound, • Ideal for all types of vocal and condenser, and ribbon. Any of a 3-micron multi-pattern gold- studio recording and broadcasting instrument pickup these may be suitable for your sputtered mylar dual diaphragm applications • Gold-sputtered, ultra-thin (1” needs, but there are some typical (1-inch) for maximum sensitivity, diameter) mylar dual diaphragm differences among the three. long life, and subtle sonic detail • Hand-tooled brass capsule with a 3-micron gold-sputtered mylar • Tube preamplifier circuitry with DYNAMIC mics are rugged and • Tube preamplifier circuitry with diaphragm (1.1-inch) for maximum 6072 vacuum tube—a classic popular for most onstage and 6072 vacuum tube—a classic 12AT7 specially selected for low sensitivity, long life, subtle sonic recording applications. They 12AT7 specially selected for low distortion, superior signal-to-noise detail, and excellent tone don’t require a separate power distortion, superior signal-to-noise ratio and minimum sensitivity to supply as do condenser mics. ratio and minimum sensitivity to • Unique, specially designed mechanical vibrations Mostly available with boosted mechanical vibrations gold‑plated center element • Special output transformer mid-range emphasis for vocal • Special output transformer for creates a gentle extension of designed for ultra transparency and instrument use, these ultra transparency and natural the top octaves and enhanced and natural warm reproduction versatile mics also offer solid warm reproduction of sound transient response of sound low-end response and balanced • Almost all brass parts for years • 6072 (classic 12AT7) vacuum tube • Almost all brass parts for years mids for drum miking and other of studio workhorse reliability and special output transformer of studio workhorse reliability applications. Although frequency • Power provided by a dedicated deliver superior pristine sound • Power provided by a dedicated response is more limited than AC power supply with balanced with ultra transparency AC power supply with balanced with condensers, and the sound XLR output for connection to • Almost all brass parts for years XLR output for connection to is not quite as accurate, the ability any mixing console; no phantom any mixing console; no phantom of studio workhorse reliability of dynamic mics to withstand power required power required high sound pressure levels make • Supplied with sturdy portable • Nine different polar patterns • Nine different polar patterns them ideal for miking loud sound remotely selectable on power plastic carrying case and 16’/ remotely selectable on power sources such as guitar amps and supply for ultimate versatility 7-pin XLR cable and TMPS-1 supply for ultimate versatility screaming vocals. in use and ease of operation: power supply (with switchable in use and ease of operation: omnidirectional, cardioid, figure 115/230V operation and omnidirectional, cardioid, figure CONDENSER mics are sensitive to eight, and six intermediate stages balanced output) eight, and six intermediate stages loud sounds and are perfect for miking any sound source where subtle sound nuances are desired (e.g., acoustic guitars or cymbals). Less rugged than dynamics, condensers are more often used for studio applications, although they are also commonly used as live sound vocal mics. Condensers provide the truest sound reproduction of all mics, especially in the high end of the audio spectrum. Tube condensers feature integrated tube preamps which combine the warmth of a tube preamp with the clear sound TCM 1050 of the condenser element. RIBBON mics offer the warmest sound available. Their classic sound provides tone options that other mics cannot provide and they’re perfect whenever you want a round, mellow sound. Versatile and resistant to high TCM 1150 sound levels, ribbons can also be used to record loud sources such as guitar amps. Ribbon mics are available with built-in tube or FET preamps for ultimate versatility in tone selection and ease of use.
TCM 1100
45 Ribbon Mics
RSM Series Vintage ribbon mic sound and performance
Manufactured with the finest materials and machined housing, these mics feature advanced internal shockmount construction for the highest structural integrity and rugged reliability.
RSM-1 RSM-2 RSM-4 RSM-5 • Vintage ribbon (velocity) mic • Uncompromised sound of a • Uncompromised sound of a • Rich, warm musical sound sound and performance at an classic ribbon (velocity) mic classic ribbon (velocity) mic • Perfect for close miking of affordable price • Low-tension 50-mm long, • Ideal for close miking of guitar guitar amps and cabinets, • Versatile physical and acoustic 2-micron thick aluminum amps and cabinets and many brass instruments, strings, design for numerous vocal and ribbon design for characteristic other vocal/instrument recording piano, percussion, vocals instrument recording and live “large, mellow” ribbon audio and live sound applications and orchestral ambiance sound uses reproduction with smooth, natural • Low-tension, 45-mm long, • Low-tension, 45mm long, • Compact housing for easy, extended low and high ends 6-micron thick aluminum ribbon 2-micron thick aluminum unobtrusive mic placement • Unmatched fast, accurate design for characteristic large, ribbon design with typical • Low-tension, 2-inch long, transient response, ultra-high mellow ribbon audio reproduction “large, mellow” ribbon audio 2-micron thick aluminum ribbon 165 dB SPL capability, and with smooth, natural extended reproduction design for classic ribbon audio overall stunning realism low and high ends • Smooth, natural extended reproduction with smooth, • Figure-eight audio directional • Unmatched fast, accurate low and high ends; detailed, uniform natural sound, fast (pickup) pattern for front and rear transient response, ultra-high realistic mids accurate transient response, sides, extended sweet spots 165 dB SPL capability, and overall • Unparalleled overall stunning ultra-high 165dB SPL capability, (as compared to large diaphragm stunning realism realism with fast, accurate unmatched transient response condenser mics), slightly different • Figure-eight audio directional transient response, ultra-high and overall stunning realism frequency responses from front (pickup) pattern for front and rear dynamic range and >135 dB • Offers a choice of audio and rear, and increased off-axis sides, extended sweet spots SPL capability high-frequency response on reproduction depending on (as compared to large diaphragm • Utmost versatility in dialing in placement for utmost versatility sides; decreased treble and lower condenser mics), slightly different audio levels above and below desired sound by varying mic in dialing in the desired “sound”. frequency responses from front placement Figure-eight audio directional on-axis and rear, and increased off-axis (pickup) pattern for both front • Discrete volume control of high-frequency response on • Figure-eight audio directional and rear side, with extended separate sources possible with sides; decreased treble and lower (pickup) pattern for both front sweet spots (as compared to stereo mic setups (source in audio levels above and below and rear side, with extended large diaphragm condenser mics), principal axis of mic and in off-axis on-axis sweet spots (as compared to large diaphragm condenser mics) and slightly different frequency null of the other) • Discrete volume control of responses from front and rear separate sources possible with • Can be used with a second side. Increased off-axis high stereo (dual) mic setups (source RSM‑5 for individual recording frequency response on sides, in principal axis of one mic and volume control of two separate with decreased high response in off-axis null of the other) sources by placing each source in above and below on-axis the principal axis of one mic and (although lower audio levels) • Supplied with a mic clip and the off-axis null of the other leatherette pouch • Enables individual recording • Supplied with a mic clip and volume control of separate leatherette pouch sources through use of stereo mic setups (isolation is achieved by placing the source so the principal axis of one mic and the off-axis null of the other)
RSM-1 RSM-2 RSM-4 RSM-5
46 USB Mics
USB-24M USB dynamic mic
• Perfect for recording vocal • Connects directly to any • Convenient On/Off switch and RSM-8A FET preamp tracks or voice-overs on computer with a USB 2.0 USB connection LED indicator ribbon mic your computer or for online (or higher) input port for easy • Easy to use with computer communication plug-and-play operation with recording software • All the warmth and natural, • Excellent clear, crisp sound most DAW software • Heavy gauge mesh grill and uncompromised sound expected with smooth response • AD converter with 24-bit, durable construction of a classic Nady ribbon • Dynamic neodymium element 96KHz sampling rate microphone with the added gain provides ultimate sensitivity and selectable features offered by with cardioid pick-up proven ultra low-noise FET active circuitry and transformer output • Perfect for recording vocals, USB-1C USB large diaphragm condenser mic USB-1CMS acoustic/electric guitars, drums, percussion, strings, brass— any • Perfect for high-quality • Rugged, compact construction The USB-1C is also available application in which true natural recordings of vocals, acoustic with protective mesh grill and with added optional Sony ACID audio reproduction is desired instruments, and ambient internal shock absorption Music Studio 7 software instrumentation as well • Basemount mic holder fits • Low-tension, 50mm long, as pod-casting and online any standard mic stand • Record/edit/mix multiple 2-micron thick aluminum ribbon communication • 10 ft. USB cable included tracks of audio and MIDI (velocity) design for characteristic • Connects directly to any • Create unique interactive “large, mellow” ribbon audio computer with a USB 2.0 tutorials reproduction with smooth, natural (or higher) input port for easy • Share songs on extended low and high ends plug-and-play operation CD/MP3 and • 40dB more gain than most • Large pressure-gradient other formats non‑active ribbon microphones; condenser gold-sputtered easy to use with any mic mixer diaphragm and FET pre- or preamp amplifiers for warm, natural • -10dB pad and Low Cut filter reproduction of the most subtle selector switches for often- or powerful audio sources needed attenuation and • Full frequency response elimination of stage rumble with rich warmth and crisp, transparent audio • Unmatched fast, accurate • Minimal self-noise, increased transient response, ultra-high dynamic range, and maximum 165 dB SPL capability, and SPL capacity overall stunning realism • Figure-eight audio directional (pickup) pattern for front and USB-24M USB-1C or USB-1CMS rear sides, extended sweet spots (as compared to large diaphragm condenser mics), and increased off-axis high-frequency response TRM-6 Vacuum tube ribbon mic on sides, decreased treble and lower audio levels above and • Low-tension, 45mm long, • Superior overall stunning • Manufactured with the below on-axis 2-micron thick aluminum realism with fast, accurate finest materials— machined • Swivel U-bracket allows ease in ribbon design with typical transient response, ultra-high housing with advanced internal positioning for any application/ “large, mellow” ribbon dynamic range and >135 dB shockmount construction for audio source. audio reproduction SPL capability the highest structural integrity and rugged reliability • 48V phantom power required • Smooth, natural extended low • Extraordinary versatility in dialing and high ends and detailed, in the desired sound by varying realistic mids mic placement. Figure-eight • Unique integrated 12AX7A audio directional (pickup) pattern preamp tube provides for both front and rear side, unmatched tube audio at with extended sweet spots levels higher than that of (compared to large diaphragm ordinary ribbon mics; allows condenser mics) convenience of use with all • Can be used with a second mixer inputs without requiring TRM‑6 for individual recording external pre‑amplification volume control of two • Versatile design, perfect for separate sources by placing numerous applications including each source in the principal vocal and instrument recording axis of one mic and the RSM-8A and live sound off-axis null of the other TRM-6
47 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 • Special rubber shockmount miking without bleed-through mic holder minimizes floor from other drum kit pieces vibration pick-up • Neodymium element delivers • Incredibly small, low-profile maximum output design for minimum visibility • Up to 140 dB SPL handling and versatile close-miking capacity for distortion-free placement around the drum kit reproduction of even the loudest • Gold-plated XLR for CM 60 drums and other instruments maximum conductivity • Transformerless moving-coil • Full frequency response for sonic dynamic design for enhanced punch with exceptional clarity bass and fast transient response • All-metal construction for maximum reliability
DM-90 For use with kick drums and other bass instruments and amps
• Large-size housing with special • Large diaphragm dynamic CBM 40X CM 88 acoustic design for the most element with excellent attack accurate reproduction of and punch for truest sound extended low frequencies • Supercardioid pattern for CM Series Condenser microphones • Ultra-high SPL capability—ideal ultimate feedback rejection for close-miking of live sound • Rugged die-cast body with or recording all types of drums internal shockmount and CM 60 Clip-on miniature CM 88 Back electret and percussion instruments hardened steel grille condenser microphone condenser microphone • Accurate sonic reproduction • Mounts to drum rims, the edge • For drum overheads and of brass, woodwind and other of acoustic guitar sound holes or percussion instruments producing high the bell of wind instruments for • Extremely uniform and tight sound fields accurate sound reproduction and cardioid polar pattern for ease isolation from other instruments in mixing • Tight cardioid polar response is • Extended frequency response highly effective in suppressing for smooth, crisp, ultra- feedback and unwanted sounds transparent reproduction • Rubber boom shockmount’s • Aluminum housing and ingenious design minimizes gold‑plated XLR contacts vibration and audio transference from resonant instruments • 9-52V phantom powered or materials CBM 40X Condenser boundary • Sturdy rubber-grip spring clamp microphone holds mic securely and prevents marring of finish • Ideal for a variety of sound DM-70 DM-80 reinforcement/recording • Built-in windscreen and applications: Choirs, orchestras, external windscreen included theatrical performances, for maximum feedback and courtrooms/conference rooms, “pop” rejection and inside bass/kick drums • Adjustable gooseneck and • Unidirectional pickup pattern swivel joint allows optimum and full frequency response microphone positioning of 50Hz~18KHz produce • For use with bodypack unparalleled audio at any distance transmitters or with standard from source with excellent mixers that provide 9-52V feedback rejection phantom power • Rugged die-cast alloy housing DM-90 on rubber padding minimizes mechanical coupling of surface vibrations to the microphone • 9-52V phantom powered
48 SGM-12 Versatile shotgun condenser microphone
SGM-12 • Ideal for a variety of sound • Rugged die-cast alloy housing reinforcement/recording on rubber padding minimizes applications: choirs, orchestras, mechanical coupling of surface theatrical performances, vibrations to the microphone courtrooms/conference rooms, • Single AA alkaline or NiMH and inside bass/kick drums battery operation (not included) • Uni-directional pickup pattern and full frequency response of 50Hz~18KHz produce top audio at any distance from the source with excellent feedback rejection
OHCM-200 Overhead hanging condenser microphone OHCM-200
• Extended smooth, flat • Permanently attached 20 ft. frequency response (6.1m) cable with convenient • Ultra sensitivity and high SPL integrated power module/XLR capacity for clearest audio (M) connector performance in any application, • Rugged construction for from miking choral groups to optimum reliability stage performances • Integrated hanging wire • Low-mass back electret for ease of mounting condenser element for most • Conveniently powered by accurate/detailed audio external 9~52 phantom power, • Cardioid pattern for frontal audio no batteries required pickup without feedback and VHM-7 CenterStage MSC3 unwanted side and rear fill
Drum Mic Kits In plastic carrying case VHM-7 Harmonica / Vocal microphone
• Designed for harmonica but also • Can be used with its own amp serves as a great vocal mic or plugged into the PA • Cardioid pattern dynamic • Unique, chromed aerospace cartridge, expressly tailored for casing with stylish retro look producing thick, fat tone while and distinctive proprietary fluted holding cupped—with enough design for versatility in shaping “dirty” tone to satisfy even wah-wah sounds and altering the most discriminating blues tone while virtually eliminating harp players feedback • Open air, uncupped use • Bullet-proof tough and ultra- produces extremely smooth, comfortable in the hand clean vocal audio • Engraved model number and • Allows singing harp players the supplied special chromed mic CYM-2 DMK-2 DMK-3 DMK-5 convenience of singing and clip complements its cool look (2x) CM 88s (2x) CM 60s (2x) DM 70s (4x) DM 70s playing through the same mic (1x) DM 80 (1x) DM 80 with great sound throughout
MSC3 Professional quality microphone kit
• Includes a high-performance • Dynamic microphone microphone, sturdy metal provides superior professional adjustable tripod mic stand performance with rich, powerful, with mic clip, and a 20 ft. cable full-frequency audio; super- DMK-7 DMK-7C DMK-9095 (XLR to ¼” connectors) cardioid response for optimum (4x) DM 70s (4x) DM 70s (4x) DM 70s • Everything you need to take feedback rejection; low handling (1x) DM 80 (1x) DM 80 (1x) DM 90 center stage—just plug in to noise; and rugged all metal (2x) CM 88s (2x) CM 90s (2x) CM 95s your audio mixer or amplifier construction
49 Headworn Mics
HeadMic™ Series Omni- or uni-directional headworn mics
HM-1 Uni-directional HM-5U Uni-directional HM-20U Uni-directional dynamic mic condenser mic condenser mic • Unidirectional dynamic element • Uni-directional condenser • Full-frequency, uni-directional for top audio response—perfect element for superior, warm electret condenser mic for even the most exacting audio response and maximum • Warm, transparent audio and singing/performance applications feedback rejection—perfect for maximum feedback rejection • Adjustable gooseneck can be singer-musicians (drummers, HM-1 • Ergonomic design and set at any angle required keyboardists), vocal/dance performers, DJs, public speakers, comfortable fit with or without • Headworn support system is and aerobics instructors glasses, hat, or headphones. extremely light and comfortable, No hairstyle hindrance designed to be visually • Lightweight, comfortable, • Durable thin-metal frame can unobtrusive visually unobtrusive design be easily molded to any user • Ear and temple rests provide • Provides maximum stability maximum stability during use— during use, even when moving • Tiny and lightweight 5 x even while moving, dancing, or dancing 8mm capsule for hours of comfortable use or shaking the head • Firm, adjustable gooseneck boom • Durable cable assembly and that can be easily repositioned to • Two sizes of foam windscreen internal construction are designed any angle during performance included to reduce wind/ to maximize handling noise from popping noise • Available with mini-XLR, 3.5mm contact and movement phono plug (fits most standard • Extendable, fully adjustable HM-3 • Available with XLR, Mini-XLR wireless bodypack transmitters), boom for optimum mic or 3.5mm phone plug for wired or with standard XLR adapter for capsule placement and wireless applications (fits all wired and wireless applications • Available with mini-XLR, 3.5mm most standard wireless bodypack phono plug (fits most standard transmitters) HM-10 Omni-directional wireless bodypack transmitters) • Available in black only condenser mic or standard XLR adapter for all wired and wireless applications • Wide bandwidth omni-directional HM-3 Omni-directional electret condenser mic ensures • Choice of black or beige condenser mic clean, transparent audio and • Omni-directional condenser enhanced vocal pickup with element provides exceptional improved gain before feedback audio with excellent transparency • Ergonomic design and and gain before feedback comfortable fit with or without HM-5U • Lightweight—designed for glasses, hat, or headphones. long, comfortable wear No hairstyle hindrance • Available with Mini-XLR or • Durable thin-metal frame can 3.5mm phone plug for wireless be easily molded to any user applications (fits most standard • Available with mini-XLR or wireless bodypack transmitters) 3.5mm phone plug for wireless • Requires low voltage phantom applications (fits most standard power as supplied by most wireless bodypack transmitters) wireless bodypack transmitters • Requires low-voltage phantom • Available in black only power as supplied by most wireless bodypack transmitters. 9~52V adapter supplied for wired applications HM-10 • Available in black or beige
“My band plays 3-4 set gigs all the time and as a singing drummer, I really love the sound of my HM-20U. It’s comfortable all night, and I especially appreciate how it has stood up to constant use.” } HM-20U Bill Tanaka, New York, NY
50 G uitar Products The massive, unadulterated sound“ and clarity of these amps is unbelievable. This s**t rocks!” Dan Fastuca, Jet Black
Amplifiers/Cabinets/Guitars...... 52 GTH-100, GAC-412, GTA-1260, FS Series, Lightning Guitar, WGA-15
Pedal Effects/Switch Boxes...... 53 TD-1, TTV-2, FL-10, TR-20, TS-30, TA‑40, SW-21, DS-50 Nady Systems has been manufacturing professional wireless and audio equipment for over 30 years, providing musicians at every level with the gear Guitar / Bass they need to sound their best. This vast experience, along with valuable feedback Products from some of the most highly respected guitar players around, has helped create Nady’s new line of guitar products. As with all Nady gear, the guitar line was designed to meet exacting, high performance standards, and each model is feature-packed and affordable.
Amplifiers / Cabinets / Guitars
GTH-100 Tube guitar amp head with reverb GAC-412 Speaker cabinet for use with GTH-100
• 100W RMS output • High and Low power settings: • Full-size angled front cabinet • Durable textured black • All-tube design featuring four HI-100W RMS, LO-30W RMS • Prominent bass, warm mids, Tolex covering EL-34 power tubes and three • Spring reverb with adjustable and a high end that cranks • Steel rear panel terminal with 12AX7A preamp tubes control and lead gain boost both • 400W peak power handling dual ¼” speaker inputs for • High and Low inputs, Line output, switchable with optional FS-2 (200W RMS); 8 ohms easy daisy-chaining footswitch and full complement of controls • Choice of 4x12” Nady • Top panel recessed holders for total volume, tone shaping • Line level reverb output jack PowerDrive™ speakers (GAC-412) for Nady guitar amp head and tonal definition, including a (reverb signal only) or 4x12” Celestion speakers • Cabinet material: MDF 3-way Overdrive Gain switch, • Durable vinyl cover, steel corners, (GAC-412C) Lead Boost control (up to +12dB), • Weight: 94.7 lbs (43 kg) and rugged construction for years • Impedance: 8Ω Volume, Master, Treble, Mid, of roadworthy reliability • Dimensions (H x W x D): Bass and Presence controls • Rugged, roadworthy 30” x 28” x 14.3” (76 x 71 x 36cm) construction with sturdy front (height does not include wheels) grille, steel corners, recessed steel carrying handles and GTH-100 heavy‑duty casters
FS-1 GTA-1260 Classic tube combo amp with reverb
• All-tube design featuring two 6L6GC power and three 12AX7A GAC-412 FS-2 preamp tubes • 60W RMS output • 12” Nady PowerDrive™ speaker by Celestion GTA-1260 FS Series • Full complement of controls for total volume, tone shaping and Optional accessories tonal definition, including 3-way Overdrive Gain switch, Volume, • FS-1 (single) switches reverb Master, Treble, Mid, Bass and On/Off (GTA-1260 or GTH-100) or Presence controls lead gain boost On/Off (GTH-100) Requires two FS-1 switches • Spring reverb with adjustable or single FS-2 to perform both control and switchable with functions on GTH-100 optional FS-1 footswitch • FS-2 (dual) for GTH-100 switches • Classic retro look with attractive reverb On/Off (green LED) and wood grain cabinet finish lead gain boost (red LED) On/Off • Classic tube type tone controls
52 TD-1 Tube distortion TTV-2 Dual tube tremolo/vibrato Pedal Effects / Switch Boxes • Real tube tone from the classic 12AX7A twin triode tube—each • Dual, all-tube signal path design carefully selected for optimum uses two premium 12AX7A tonality and absence of noise, vacuum tubes for the warmest, microphonics, and other artifacts richest, most natural sounding • State-of-the-art 3-stage variable tremolo and vibrato sounds tube drive design for widest available range of overdrive options, from • Rate/Intensity controls offer mild growl and crunch to singing the widest range possible of sustain and controlled feedback tremolo/vibrato effects TD-1 TTV-2 SW-21 • Advanced EQ section carefully • Choice of three types of note designed for blues, jazz, country, bending vibratos which mimic R&B, and all types of rock—with Leslie, Wurlitzer, Hammond and FL-10 Flanger TR-20 Tremolo specially tailored high and mid- other classic organ vibratos low 3-stage variable shelving and • Updated classic • Widest variety of boosting options, plus a variable • Output control offers huge flanger design vintage tremolo presence control for ultimate boost and powerful tone produces guitar sounds tone-shaping possibilities • Compact enough for a thickest stereo available • Compact enough for a pedal board pedal board flanging available • Wave knob offers • Rugged 14-gauge steel • Rugged 14-gauge steel housing • Versatile Manual, Rate, extensive range housing and heavy-duty bypass and heavy-duty bypass switch Depth, and Resonance of altered waveform footswitch for years of trouble- for years of trouble-free controls allow wide selection tremolo variations free performance performance of swirling with incredible • Rate knob varies tremolo speed depth and intensity • Operates with 9V battery, • Operates with 9V battery, PAD‑1 AC adapter optional PAD‑1 AC adapter optional Lightning Guitar Wireless guitar
• Fully professional all-wood • Operates on two 9V alkaline TS-30 Tube sound TA-40 Tube amp solid-body guitar features easy batteries (up to 50 hours battery overdrive simulator playability with 22-fret rosewood life) in convenient rear battery superdrive neck with distinctive lightning compartment with unique • Classic design bolt inlays and easy‑access magnetic latched door produces the • adjustable truss rod (no tools needed to access). 100% analog warmest, most circuitry offers • Three pickups with 5-way natural overdrive rich, warm overdrive selector switch; volume/dual sounds. Perfect for sounds which simulate tone controls; vibrato all styles from blues to the power amp output • Built-in VHF wireless rock to heavy metal— stage distortion of different transmitter with internal the most versatile and best classic guitar amps sounding distortion available antenna allows wireless • Class A/B Drive knob controls operation up to 200 ft. line-of- • Drive, Tone, and Level knobs the amount of odd harmonic sight without cords when used offer optimum control class A/B power amp output with WGA-15 wireless guitar • Operates with 9V battery, stage distortion; specially amp or any Nady VHF wireless PAD‑1 AC adapter optional designed musical Tone control receiver on the same channel enables endless varieties of • Easy to operate—just turn on tonal possibilities from ultra- Lightning guitar transmitter clean to crushing distortion (TX On LED) and WGA-15 SW-21 AB/Y switcher at any Level control setting amp and you’re ready to play signal router • Operates with 9V battery, cordless (can also be used with PAD‑1 AC adapter optional a conventional cord connection • Switches a signal between two to amp) different targets (e.g., amp A/B) • Directs a signal to two targets simultaneously, switching DS-50 Distortion WGA-15 15W wireless guitar amplifier between one of two different source signals sent to one target and sustain • Versatile, powerful practice • Barely audible switching noise amp with 15W RMS output; • Combines two source signals • Classic design 6” speaker; Gain, Volume with in parallel switched between for rich, crunchy killer distortion; Treble and Bass two different targets distortion tone and violin-like sustain controls; Headphone output • Combines two source signals in • Built-in VHF receiver with parallel directed to two targets • Tone knob for dialing in Receiver On and Audio simultaneously. No bleed-through the desired sound, from creamy Received LEDs between channels warm bass to crisp treble • WGA-15 also available • LEDs indicate selected • Volume knob controls separately with WGT-15 signal route output level VHF transmitter for use • Unplugging from jacks labeled • Operates with 9V battery, with any guitar or bass “Parallel” turns off 9V battery PAD‑1 AC adapter optional
53 Nady Systems offers a wide variety of practical, versatile accessories. All accessories are carefully designed and ruggedly built, and if not stocked by your dealer, can be easily ordered Accessories by contacting the Nady Sales/Service Department. Our extensive accessory line includes bags, cases, stands, racks, cables, shockmounts, and mic clips. A new addition to the line is a variety of cutting-edge USB interface cables.
Bags and Carrying Cases
MB Series MB-6/MB-12 MCB Series MSSB-1 WA-VCC Soft 6- or 12-space microphone bags MCB-12/MCB-15 Soft bag for carrying Soft bag for Soft bag for carrying mic or speaker stands carrying WA-120 MC-12/MC-15 speakers
SMCC-2 CC-3 PCC-500 GCC-10 RC-5 Aluminum flight case Road case for DMK-2, Road case for PEM-500 Generic road case Road case for for studio microphones DMK-3, or CYM-2 DMK‑5 PCC-1E Road case for Encore RC-7 Series, UHF-3, UHF-4, Road case for UHF-24, U-33B and DMK‑7 or DMK-7C WS-16U systems 54 Cables / USB Interfaces UIC-80 Series USB interface cables
The UIC Series allows real-time recording and monitoring of UIC-80PP pre‑recorded tracks or background music with easy plug-and-play • 2 Phono ¼” mono plug IN connectivity between any mixer or audio device to a PC via any • 2 Phono ¼” mono plug OUT USB port.
Cables utilize two connectors for audio input and two connectors UIC-81XX for audio output to/from the PC, and one USB cable compatible with USB 1.1 or higher. • 2 XLR balanced IN • 2 XLR balanced OUT Cables total 8 ft. in length with the audio cables being 3.5 ft. to the interface module and a 4.5 ft. USB cable. The interface utilizes up to 48KHz, 16-bit sampling and comes complete with all necessary UIC-82RR cabling and connectors. • 2 RCA plug IN • 2 RCA plug OUT
UIC-10 USB interface cable UIC-83PR A useful tool for recording microphones or line level • 2 phono ¼” mono plug IN devices directly to your computer via a USB port. • 2 RCA plug OUT Utilizes a 10 ft. XLR cable and USB 2.0 interface with 16‑bit, 48KHz sampling.
Power Supplies CABLES UIM-2X USB interface module
SMPS Series XC 6 ft. to 100 ft. The UIM-2X provides a handy interface between audio gear and 48V phantom power XLR to XLR mic cable your computer, with a 16-bit, 48KHz USB 2.0 link. Perfect for recording a mic or line level signal. The headphone output allows for condenser mics XCC 25 ft. or 50 ft. for real-time recording and monitoring of pre-recorded tracks or XLR to XLR colored background audio. mic cable • Balanced XLR input provided with selectable XLC 40 ft. XLR to 48V phantom power for use with condenser mics XLR premium low • Selectable sensitivity switch for Line or Mic noise 22-gauge dual level input with bi-color (green/red) LED indicator conductor mic cable • Convenient stereo headphone monitor output SMPS-1X 1-channel • Sturdy housing with soft rubber coating RBSC 20 ft. or 40 ft. • Record and Play LEDs indicate software status 16-gauge, ¼” phono • High-quality USB 2.0, 16-bit; 48KHz sampling to MDP dual banana • Optional UIM-PA adapter converts to a ¼” connector, round TRS input connector speaker cable
SMPS-2X 2-channel SBC 20 ft. or 40 ft. CT-6 6-Way Cable Tester 18-gauge, ¼” phone banana connectors, • Enables quick, convenient • Includes internal battery and parallel conductor continuity cable testing for ground connection status checks speaker cable all types of cables • Rugged, compact, metal • Tests cables with combinations construction for ultimate IHSC 20 ft. or 40 ft. of the following connectors: roadworthiness, long life, SMPS-USB 2-channel ¼” to ¼” premium ¼” TRS, balanced XLR (M/F), and reliability with USB audio interface instrument cable Phono/RCA, banana plug, Speakon™, and 5-pin mini-DIN • LEDs confirm each conductor SC 20 ft. or 40 continuity and connection ft. 18-gauge, ¼” • 6-way switch for selecting to ¼” phone plug, connections to be tested speaker cable XM-10 SKX-1620 Phantom power adapter (9-52VDC 16-cable XLR CH 19 to 1.5VDC) (M/F) 20 ft. snake Wall mount cable holder
55 Stands and Racks
SPST-1A SMP-3 MRK-9 MRK-14 MRK-916 GS-1 Single aluminum 3 ft., 35mm diameter Gear studio rack 4-wheel metal rack 2-wheel metal rack Premium universal tripod speaker stand speaker mount pole for guitart/bass stand mounting ProPower/ SPST-2A PA speakers or PSW-15 Pair of aluminum tripod speaker stands SPST-1A8 Aluminum tripod speaker stand mic Stands for MC-8/10 or PCS 8 speakers
MSA-100/200A SMT-3 MSST-43 MST-2B MST-3R MST-4B Microphone stand Tripod for DSM-1 Pair of 43” 2 ft. mic stand Straight mic stand Aluminum tripod stand adapter for PM-100 and ASM-2 sound monitor speaker with round base or PM-200A speakers pressure level stands (SPL) meters
“I have a small studio and your MRK-916 works great for racking all my gear. I also bought a pair of your (MSST-43) monitor stands.” MST-5B MST-6R MST-7G } Boom mic stand Round base mic Tripod gooseneck Hiroshi Morioka, San Diego, CA with tripod base stand with boom stand
56 Microphone Accessories
Foam Windscreens Pop Filters
FW-1/1000 FW-3/1050 CWS-1 MPF-6 MPF-7 For SCM 100 For TCM 1050 Choice of red, With boom and Choice of and TCM 1100 yellow, orange, stand clamp black or gold FW-4/1150 blue, gray or black FW-2/900 For TCM 1150 For SCM 900
Clips Spider Shockmounts / basemounts
SSPF-4 • Integrated pop filter for 2-in-1 studio application • Eight elastic suspension points for enhanced isolation • Integral metal pop filter’s curvature design protects your vocal takes • Pinch clamp holder easily fits onto BFC-12 WMC-11 any microphone with 38-53mm diameter Butterfly mic clip Rubber wireless mic clip • Pop filter can be rotated down or removed completely • Adjustable swivel attachment for standard mic stands
DMM-1 SHM-1 SSM-1 SSM-3 Drum mic clip Shoemount camcorder For TCM 1050 studio mic For SCM 900/1000 and adapter for industry TCM 1100 studio mics 5 standard ⁄8” threaded mic clip
SSM-5 MBM-7 For CM-90/95/100 small Basemount condenser studio mics for SCM mics
57 Wireless System Rackmount Kits
RMK-1KUS Single rackmount kit For one W-1KU receiver
ERM-12 RMK-1K Single rackmount kit Single rackmount kit For one Encore Series, UHF-3, For one UWS-1K receiver UHF-4, UHF-24, U-33B or WS-16U RMT-1KUD Dual (side-by-side) wireless receiver rackmount tray kit For two W-1KU receivers
ERM-22 Dual (side-by-side) RMK-1KX2 Dual (side-by-side) RKT-25 Dual (side-by-side) rackmount kit rackmount kit rackmount tray kit For two Encore Series, UHF-3, For two UWS-1K receivers For two PEM-500 transmitters UHF-4, UHF-24, U-33B or WS-16U wireless receivers
Wireless Accessories
AD-4U UHF antenna distributor AB-80 UHF remote antenna booster amplifier • Convenient 1U rackmount design with two independent 1x4 Input/ Output circuits operation of up to four UHF diversity dual antenna input • Boosts weak RF signals by • Requires +9VDC remote or eight non‑diversity single antenna input receivers from only a pair of +15dB gain right at the antenna (phantom) power from the antennas input for maximum range for receiver or antenna distributor • Features internal circuitry providing no insertion loss (0dB gain) your UHF wireless mic system antenna input jack for operation between 477-952 MHz, TNC antenna Input/Output (477-952 MHz)—perfect for connectors, +9VDC at antenna input jacks for powering optional remote applications requiring separation AB-80 Antenna Booster Amplifier of the antennas and receiver for • Externally powered by 13.5VDC/400mA AC/DC adapter optimum reception • Easy to connect in-line amplifier module connects to standard TNC cables between the remote antenna and a cable feed to the receiver, allowing up to a 100 ft. RG-58 antenna cable run AB-80 AD-4U
RB-120 AP-12U Rechargeable battery Active ½ wave antenna for WA-120 • 500-900MHz • Comes with carrying case • Mic stand mountable
RB-120 AP-12U
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