2010 Pro Audio and Music Product Catalog - … · 2010 Pro Audio and Music Product Catalog. NADY ARTISTS ... optimum true sound, ... Encore Duet Dual receiver with two transmitters

2010 Pro Audio and Music Product Catalog

N A DY A RT I S T S

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.

OV E R 3 0 Y E A R S O F AU D I O I N N OVAT I O N A N D VA L U E

John Nady founded Nady Systems in 1976. His pioneering work in wireless microphone

development resulted in the wireless technology that has become an important and widely accepted

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

offers high performance, quality, and cutting edge features and design...all at unprecedented low prices.

J O H N N A DY

Recognized by the National Academy of Television Arts and Sciences in 1996 with an Emmy™ award

for Outstanding Technical Achievement

1 9 7 7

“ 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 ............ 4DKW-3, DKW-Duo, DKW-1, DKW-8U, American Starpower X2

VHF Pro Wireless Systems ................ 6Encore I, Encore II, Encore Duet, 401X QUAD

UHF Pro Wireless Systems ................ 7UHF-4, UHF-3, MGT-16, WS-16U, UHF-24, U-41 QUAD, U-81 Octavo, UWS-100, W-1KU Series

Bass Wireless Systems .................... 12Encore 200, U-33B

In-Ear Monitoring Systems ............. 13PEM-500, EO3

Portable Wireless PA ........................ 14WA-120

Video and Podium Wireless ............ 14VR Series, WPM Series

Infrared Systems .............................. 15IRW-2PA, IRW-220X

Assistive Listening Systems ........... 16ALD-800, IR-200

Wireless Systems

Wireless Systems

D K W- D U O

DKW-3 Single receiver with one handheld microphone

DKW-Duo Dual receiver for single or simultaneous dual microphone operation

Ideal entry level systems—all the advantages and freedom •of wireless operation without cumbersome cords

Excellent high-fidelity audio•

VHF (170-216MHz) operation for reliable, interference-free performance•

150+ ft. typical operating range — up to 300+ ft. line-of-sight•

Easy to use — simply plug into your audio mixer or amplifier in place •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 MicrophoneEach 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•

Consumer Wireless

D K W- 3

4

I D E A L F O R :Public speaking•Karaoke / recreational singing•DJs•Auctioneers•Aerobics instructors•

The Nady CenterStage line provides you with some of the highest performing audio products at the most affordable prices. With numerous models to choose from, CenterStage is sure to be at the center of all your performances...on stage and off.

Nady wireless systems are available

for any application, from home karaoke

to concert stage and all uses in

between. All of these systems offer top

performance and value for their intended

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.

High-band VHF (170-216 MHz) •operation for interference-free performance

Advanced companding circuitry •for a wide dynamic range (no overloading for loud inputs or background hiss during quiet use)

Full frequency response from •40-20,000 Hz

250 ft. typical operating range, •up to 500+ ft. line-of-sight

DKW-1 mini portable receiver •with unique space-saving, vertical design and Power On/Off switch; ¼” audio output jack; easily visible extra-large LED indicators for Power On, Transmitter On, and Audio Peak

WHT Handheld MicrophoneOperates on a separate •single frequency in the VHF 170-216MHz bandFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noiseOff/Standby/On switch allows •convenient audio muting with the transmitter onLow-battery LED indicator flashes •once for Unit On; lights steady for low-battery alertUses one 9V alkaline battery •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 microphones, or Headmic™ Series microphones (see page 50)

Off/Standby/On switch •allows convenient audio muting with the transmitter on

Low-battery LED indicator•

Uses one 9V alkaline battery •for 15+ hours operation

Locking 3.5mm mini-jack provides •secure connection for removable microphone or instrument cable

Easily accessible Input Level •Adjust for optimum sound

DKW-1 Single-channel VHF wireless microphone/instrument system

Unprecedented value in a •single-channel UHF wireless mic/instrument system with interference-free operation in any application or locale on select UHF frequencies

Compact and easy to operate—•simply plug in place of your wired microphone or instrument cable

All the advantages and freedom •of wireless operation without cumbersome cords

Excellent high-fidelity audio•

Nady’s proprietary companding •circuitry for an industry-best 120dB dynamic range, and the clearest, most natural sound available

150+ ft. typical operating range, •up to 300+ ft. line-of-sight

Power, Signal, AF LED status •indicators; adjustable Audio Output Level for optimal sound; ¼” phone jack output for easy connection to sound system

HT-8U Handheld MicrophoneFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise

Off/Standby/On switch allows •convenient audio muting while transmitter on

Status LED indicator flashes •once for Unit On; lights steady for low-battery alert

Rugged ABS and rubber-coated, •non-slip housing with integral antenna

Uses two AA alkaline or •NiMH batteries

BT-8U Bodypack TransmitterChoice of instrument (GT), •Headmic™ (HM), or lapel (LT) microphone operating modes in a single bodypack transmitter

Input volume control for proper •level adjust for headworn or lavalier operation


Status LED indicator flashes •once for unit on, lights steady for low-battery alert


Easily accessible Input Level •Adjust for optimum sound (HM/LT operating modes only)

Lightweight, rugged ABS housing •with integral antenna

Uses one 9V alkaline or •NiMH battery

DKW-8U Single-channel UHF wireless microphone/instrument system

5

V H F / U H F

The difference between UHF and VHF transmission is the frequency range, or “band.” The main advantage of UHF operation is that there is generally less chance of interference. UHF bands tend to be less “cluttered.” However, the problem of potential interference can generally be avoided in VHF systems by properly selecting operating frequencies.

American Starpower X2 Dual receiver system for simultaneous operation of two handheld microphones

All the advantages and •freedom of wireless operation, without cumbersome cordsEasy to use—simply plug into •your sound system High-performance audio•VHF operation for reliable, •interference-free performance 100+ ft. typical operating range, •up to 200+ ft. line-of-sight

Controls and connections for •easy operation include front panel Power On/Off switch; Power On LED indicator; LED signal-received indicators for each channel

Back panel ¼” Audio Output jack •(both channels mixed together); AC/DC power adapter; dual fold-down retractable antennas

Handheld Microphone Easy, convenient operation •with Off/Standby/On switch and Transmitter On LED Features a unidirectional •dynamic cartridge for high audio performance with minimal feedback Operates up to 15 hours on •a single 9V alkaline batteryA M E R I CA N S TA R P OW E R

D K W- 1

D K W- 8 U

E N C O R E I E N C O R E I I E N C O R E D U E T

Loaded with top professional •operating features

Available on selected frequencies •in the VHF high-band (171-216 MHz) for interference-free, long-range performance

Half-rack receiver design with •retractable front panel antennas

Unique snap-out panel locking •tabs for single receiver or dual receiver (side-by-side) optional rackmounting (see page 58)

RF and AF 5-LED displays for •monitoring incoming signal strength and audio level; balanced XLR and unbalanced adjustable ¼” jack output

Noiseless transmitter •On/Off switching

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


Easily accessible Input Level •Adjust for optimal sound

Choice of three transmitters: •WHT, WLT/WGT, or WPM-1V

Encore I Professional single-channel VHF wireless system

Encore II Professional single-channel, dual antenna VHF wireless system with DigiTRU™ Diversity digital processing circuitry

Encore Duet Dual receiver with two transmitters for simultaneous dual-channel operation

VHF Pro Wireless

6

4 0 1 X Q UA D

401X QUAD Four discrete channels for simultaneous 4-channel operation

Four independent VHF receivers •in one convenient, rugged, all-metal single-rack space housing

Front dual antenna jacks for either •onboard or remote antennas

Front panel Power On/Off switch, •plus Power On LED, TX On and AF signal level LED displays

Rear panel individual XLR output •jacks; volume and RF mute controls for each of the four channels; 4-channels-mixed AF out ¼” phone jack

Noise-free transmitter •On/Off operation

High performance—unmatched •transparent audio with 120 dB dynamic range and up to 250+ ft. optimum line-of-sight operation

Choice of three transmitters: •WLT/WGT, WHT, or WPM-1V. Four transmitters (any combination) can be operated simultaneously on the four different channels

NADY D Ig ITRU D IVERS ITY ™

Nady’s proprietary DigiTRU Diversity™ utilizes dual antennas and special digital switching circuitry. Together they monitor incoming signals, receiving the strongest signals by switching instantly and continuously between the two antennas. DigiTRU Diversity™ ensures the best possible reception without dropouts and the maximum possible usable operating range.

TRANSMITTERS

WHT Handheld Microphone

Operates on a separate •single frequency in the VHF 170-216MHz band

Features the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise

Off/Standby/On switch allows •convenient audio muting with transmitter on

Low-battery LED indicator flashes •once for Unit On; lights steady for low-battery alert

Uses one 9V alkaline battery •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 •convenient audio muting with the transmitter onInput level adjust•

Locking 3.5mm jack•

LED status indicator flashes •once for unit on, lights steady for low-battery alert

WPM-1V Podium Microphone

See page 14 for details•

UHF Pro Wireless

UH-4 Handheld MicrophoneFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise



Single 9V alkaline or NiMH •battery operation

UH-3 Handheld MicrophoneFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noiseAudio mute switch allows •convenient audio muting with the transmitter onBattery status LED (red) indicator •flashes once for Battery OK; lights steady for low-battery alertTX LED (green) indicator •lights steadyUses two AA alkaline or •NiMH batteriesRugged, all-metal housing•

UB-4 Bodypack TransmitterChoice of instrument, headworn •or lavalier mic operating modes in a single bodypack transmitter




Easily accessible Input •Level Adjust for optimum sound (HM/LT operating modes only)

Uses a single 9V •alkaline or NiMH battery

UB-3 Bodypack TransmitterChoice of instrument or •headworn/lavalier microphone bodypack transmitter

Audio mute switch allows •convenient audio muting with the transmitter on

Bi-color LED status indicator: •Unit On (green); low-battery alert (orange)


Uses two AAA alkaline •or NiMH batteries

U H F - 3

UHF-3 Low UHF band professional wireless system

Clear channel UHF operation •for optimum interference-free performance in any application or locale

Half-rack receiver design with •folding front panel dual antennas

Unique snap-out panel locking •tabs for optional single or dual receiver rackmounting (see page 58)

Nady’s proprietary companding •circuitry for an industry best 120dB dynamic range, and the clearest, most natural sound available

Tone Squelch• ™ for locking out potential interference

UHF-3 receiver with DigiTRU•

Diversity™ for maximum range and dropout protection, full LED indicators, ¼” unbalanced and XLR balanced outputs; special circuitry for noiseless transmitter On/Off switching

Choice of two transmitters: •UH-3 or UB-3

U H F - 4

Unprecedented value in a •full-featured, single-channel UHF wireless mic system

Interference-free operation •in any application or locale on select UHF frequencies

Half-rack receiver design with •folding front panel dual antennas and unique snap-out panel locking tabs for optional single or dual receiver rackmounting (see page 58)

Tone Squelch• ™ for locking out potential interference

Nady’s proprietary companding •circuitry for an industry-best 120dB dynamic range, and the clearest, most natural sound available

UHF-4 receiver with DigiTRU•

Diversity™ for maximum range and dropout protection; full LED indicators; ¼” unbalanced and XLR balanced outputs; special circuitry for noiseless transmitter On/Off switching


UHF-4 High UHF band professional wireless system

7

UHF Pro Wireless

8

UHF wireless system for guitar/bass•

16 user-selectable PLL frequencies for •interference-free operationUp to 250 ft. operating range, line-of-sight•

Infrared ASC• ™ Auto-Sync Channels transfer from receiver to transmitter for instant setupBattery operated receiver and transmitter•

MGT-16 ReceiverCompact, portable “pedal style” receiver•

Dual ¼ wave antennas •

Infrared sync with transmitter for instant setup•

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 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 16-channel, ultra-compact UHF wireless system for guitar and bass

M g T- 1 6

M T- 1 6 R

M T- 1 6 A

Frequency agile rotary DIP-switch •with 16 user-selectable channels in the wide-open UHF band for interference-free use anywhere

120dB dynamic range—the •quietest and best sounding UHF wireless available at any price

150-250 ft. typical operating •range, up to 500+ ft. line-of-sight

DigiTRU• Diversity™ for maximum range and dropout protection

Full LED indicators (including •A/B diversity and 5-segment AF level displays)

¼” unbalanced and XLR •balanced outputs

Mute (squelch) adjust •

Tone Squelch• ™ for locking out potential interference, and special circuitry for noiseless transmitter On/Off switching

Half-rack receiver design with •folding front panel dual antennas and unique snap-out panel locking tabs for optional single or dual receiver rackmounting (see page 58)

Externally powered by AC/DC •power adapter

Choice of two transmitters: •HT-16U or BT-16U

WS-16U 16-channel PLL synthesized UHF wireless system

HT-16U Handheld MicrophoneSleek metal housing with internal •antenna for optimum aesthetics and durable long life

Features the Nady DM-10D •uni-directional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise

Frequency agile rotary DIP-switch •with 16 user-selectable channels

Audio mute switch allows •convenient audio muting with the transmitter on

Easily accessible level adjustment •for optimum sound

Status LED indicators for unit on •and for low-battery alert

Convenient, economical •operation with two AA alkaline or NiMH batteries

Rugged, all-metal housing•

BT-16U Bodypack TransmitterInternal selectable 3-way input •select (headset mic, lavalier mic or instrument)

Frequency agile rotary DIP-switch •with 16 user-selectable channels

Audio mute switch for •convenient audio muting with the transmitter on

Easy, accessible Input Level •adjustment for optimum sound (HM/LT)

Bi-color LED status indicator for •unit on and for low-battery alert

Locking 3.5mm mini-jack •provides secure connection for removable mic or instrument cable

Convenient, economical •operation with two AAA Alkaline or NiMH batteries

W S - 1 6 U

TRANSMITTERS

MT-16A and MT-16R TransmittersChoice of two transmitter housings: •MT-16A with 30° angled ¼” plug (for use with either recessed or surface-mounted jacks); or MT-16R with 90° angled ¼” plug (for surface-mounted jacks only)

Up to eight hours of battery life from a single •AAA alkaline or NiMH rechargeable battery

Infrared channel sync with receiver for instant setup•

Power On/Off switch; Power/Low Battery Alert LED •indicators; IR Sync LED; Input Level attenuation switch; internal Audio Level trim-pot control

External flexible antenna•

9

Two discrete UHF wireless •receivers in one housing for simultaneous operation of two transmitters

Back panel balanced XLR Mic •Level outputs; unbalanced ¼” jack Line Level sum output; separate volume and external adjustable mute controls for each channel

Front panel LED display •indicates TX signal received and 5-segment AF Level displays for each channel

Front panel dual telescoping •retractable antennas

Exclusive patented companding •circuitry and highest quality audio for unsurpassed 120dB dynamic range

Tone Squelch• ™ circuitry eliminates On/Off “pop” and provides protection from RF interference

Half-rack receiver and unique •snap-out panel locking tabs design for single or dual receivers (side-by-side) optional rackmounting (see page 58)

Externally powered with DC •adapter (15VDC/0.4A) included

Choice of two transmitters: •UH-4 or UB-4 U H F - 2 4

UHF-24 Dual discrete channels for simultaneous operation of two transmitters

UH-4 Handheld MicrophoneFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise


Status LED indicator flashes •once for unit on; lights steady for low-battery alert

Single 9V alkaline or NiMH •battery operation

UB-4 Bodypack TransmitterChoice of instrument, headworn •or lavalier mic operating modes in a single bodypack transmitter


Status LED indicator flashes •once for unit on; lights steady for low-battery alert


Easily accessible input level •adjust control for optimum sound (HM/LT operating modes only)

Uses a single 9V alkaline •or NiMH battery

U - 4 1 Q UA D

U-41 QUAD Four discrete channels for simultaneous operation of four transmitters

Four discrete UHF wireless •receivers in a single rugged 19” all-metal rackmount housing for simultaneous operation of up to four transmitters

Back panel balanced XLR mic •level outputs; unbalanced ¼” jack line level sum output with separate volumes; and external adjustable mute control for each channel

Front panel LED display •indicating TX On (single LED) and 5-segment AF levels for each channel

Dual removable antennas•

Nady’s exclusive patented •companding circuitry and highest quality audio for an unsurpassed UHF performance with 120dB dynamic range

Tone Squelch• ™ circuitry for protection from RF interference

Externally powered with DC •adapter included (16.5VDC/0.4A)


“I love my Nady UHF-3. Great sound, pro features...and the price is right!”Morgan Thomas, San Francisco, CA }

UHF Pro Wireless

10

U-81 Octavo Eight discrete channels for simultaneous operation of eight transmitters

Operates on select •UHF frequencies

Eight independent single-channel •UHF wireless receivers in a single housing for simultaneous operation of up to eight transmitters

Front panel LED display indicates •the RF and AF status for each channel

Ch. 1-8 individually balanced •XLR Mic Level outputs and unbalanced Line Level sum ¼” jack output for 8-in-1 mix audio output with separate volume control for each channel

Nady’s exclusive patented •companding circuitry with 120dB dynamic range and highest quality audio for unsurpassed UHF performance

Dual removable high gain •antennas with TNC connector, front or back mounting

Standard 19” 1U, all-metal •rackmount housing

Externally powered with •AC/DC adapter (included)

Choice of any combination •of two transmitters: HT-8U and/or BT-8U

U - 8 1 O C TAVO

UWS-100 100-channel select UHF wireless system

Unsurpassed state-of-the-art •PLL UHF performance with 120dB dynamic range and operation, up to 500 ft. (line-of-sight)100 user-switchable UHF •frequencies per band, or automatic open channel selection with convenient auto-scan featureASC• ™ (Auto-Sync Channels) download feature sends selected Group/Channel information to transmitter via IR sender for easy frequency synchronizationFront panel touch control buttons •for ease of channel selection and ASC™ operationTone Squelch• ™ circuitry for protection from RF interferenceDigiTRU• Diversity™ for maximum range and dropout protection

AF level displays and folding •dual antennasFront panel On/Off button •(with Power On LED indicator); full LED indicators including A/B diversity, Group/Channel selected, ASC™ transfer status, and bi-color (green/red)Back panel balanced XLR •fixed Mic Level and adjustable unbalanced ¼” jack audio Line Level outputs; squelch (RF mute) adjust; DC input jack; volume control for ease of operationExternally powered with •included DC adapter (15 VDC 400 mA)Rugged all-metal receiver •designed for long-term durability. Single/dual rack mountable with optional rack kit

Choice of transmitters: •UHT-100 handheld or UBT-100 bodypack with choice of three input select modes—lavalier (LT), Headmic™ (HM), or instrument (GT)

BT-8U Bodypack TransmitterChoice 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 transmitter onLocking 3.5mm mini-jack provides •secure connection for removable mic or instrument cableStatus LED indicator flashes •once for unit on; lights steady for low-battery alert Single 9V alkaline or •NiMH battery Lightweight, rugged •ABS housing with integral antenna

UHT-100Off/On/Mute power switch allows •convenient audio muting with the transmitter onLCD display indicates Power/ •Battery Level status and Group/Channel selectedConvenient, economical operation •with two AA Alkaline or NiMH batteriesFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noiseSleek housing with internal •antenna for durable long life and optimum aesthetics

UBT-100Off/On/Mute power switch •allows convenient audio muting with thetransmitter onLCD display indicates Power/ •Battery Level status and Group/Channel selectedConvenient, economical •operation with two AA Alkaline or NiMH batteriesInternal selectable 3-way •input select (LT/HM/GT)Easily accessible input level •adjustment (HM/LT)Compact housing, durable •removable antenna and unique locking 3.5mm locking miniplug connector for mic or instrument cables

U W S - 1 0 0

TRANSMITTERS

HT-8U Handheld MicrophoneNady DM-50D neodymium •cartridge delivers transparent vocals, maximum feedback rejection and minimal handling noise On/Standby/Off switch allows •convenient audio muting while transmitter on Status LED indicator flashes once •for Unit On; lights steady for Low Battery Alert Uses two AA •alkaline or NiMH batteries Rugged ABS •and rubber-coated housing with integral antenna

2 W- 1 K U

11

Unsurpassed state-of-the-art PLL •UHF performance with 120dB dynamic range and operation up to 500 ft. line-of-sight

1000 user selectable UHF •frequencies per band

True Diversity circuitry with •two complete front ends for maximum range and dropout protection

ASC• ™ (Auto-Sync Channels) IR download feature sends selected Group/Channel information to transmitters via IR senders on receivers for easy frequency synchronization

Front panel touch control •buttons and user-friendly LCD configuration menus

Sophisticated IF filtering for •simultaneous operation of multiple W-1KU systems in the same location

Mute control (RF squelch)•

RF BNC connectors for dual •removable 1/2 wave antennas

DC power input jack•

Externally powered •(adapter included)

Rugged, all-metal housing•

Choice of transmitters: •HT-1KU handheld or BT-1KU (LT/GT) bodypack

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

4W-1KU QUAD Quad receiver system for simultaneous operation of four transmitters

HT-1KU Handheld MicrophoneSleek, durable all-metal housing•

Internal antenna system•

Superior Nady DM-10D neodymium •cartridge for clear, powerful audio, maximum feedback rejection, and minimal handling noiseLCD display indicating Group, •Channel, Volume and Battery levelsPower On/Off switch; transmitting •High/Low RF power switch for optimizing distance operation depending on applicationUses two alkaline or rechargeable •NiMH AA batteries for reliable and economical battery life

BT-1KU BodypackRoadworthy, all-metal case•

Power Off/On switch•

Flexible external antenna rod•

Input Audio Level adjustment •selectable by Up/Down buttons (for LT/HM input modes only)Mini locking connector for choice •of lavalier (LT), headworn mic (HM), or instrument (GT) (with factory preset input mode LT/HM/GT)LCD display indicating selected •Group, Channel, and Input Volume levels, allowing optimal audio gain adjustment; battery level status; Power Off/Standby/ On switch; transmitting High/Low RF power switch for optimizing distance operation depending on applicationUses two alkaline or •rechargeable NiMH AA batteries for reliable and economical battery life

W- 1 K U

4 W- 1 K U

W-1KU ReceiverF• ront panel backlit LCD display indicates selected audio output volume level, Group/Channel, RF signal strength meter, A/B diversity status; separate audio LED bar graph display provides instantaneous audio level status from a distance

Back panel balanced XLR Mic •Level and unbalanced 1⁄4” Line Level audio output jacks

Rackmountable with optional •single or dual (side-by-side) rackmount kits (see page 58)

2W-1KU ReceiverAutomatic open channel selection •with convenient auto-scan featureFront panel backlit LCD display •indicates selected audio output volume level, Group/Channel, RF signal strength meter, A/B diversity status; separate audio LED bar graph display provides instantaneous audio level status from a distance

Back panel balanced XLR •Mic level and unbalanced 1⁄4” Line Level sum (mixed) outputs

1U rackmountable•

4W-1KU ReceiverAutomatic open channel selection •with convenient auto-scan featureFront panel backlit LCD displays •indicate selected audio output volume level, Group/Channel/Frequency; separate LED display for A/B diversity status; bi-color (green/red) LED for received individual channel AF status

Back panel balanced XLR •Mic level and unbalanced 1⁄4” Line Level sum (mixed) outputs

1U rackmountable•

Bass Wireless

12

Encore 200 VHF DigiTRU Diversity™ system for bass guitar

Specially customized for use with bass guitar transmitter and features •Enhanced Headroom™ for maximized clarity and distortion-free audio

Bass Boost• ™ adjust for tuning in exactly the right bass punch and presence missing in standard wireless

Rugged half-rack receiver design with retractable front panel dual •antennas and unique snap-out panel locking tabs for single receiver or dual receiver (side-by-side) optional rackmounting (see page 58)

RF and AF 5-LED displays for monitoring incoming signal strength •and audio level

Unbalanced ¼” and balanced XLR outputs (for bass amp or direct •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•

U-33B UHF DigiTRU Diversity™ system for bass guitar

Specially customized for use with bass guitar transmitter and features •Enhanced Headroom™ for maximized clarity and distortion-free audio

Unique user adjustable Bass Boost• ™ control for dialing in the exact desired bass punch and presence missing in standard wireless

Nady’s proprietary companding circuitry for an industry best •120dB dynamic range, and clearest, most natural sound available

Clear channel operation on the wide open, uncluttered UHF band •for interference-free performance in any application or locale

DigiTRU• Diversity™ for optimum range and dropout protection

A/B antenna LED indicators •

5-LED AF display for monitoring audio level •

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 BASS BodypackSmall and compact •

Removable “rubber ducky” •antenna

Customized specially for use with •U-33B bass guitar receiver

Enhanced Headroom• ™ for maximum possible clarity and distortion-free audio, even with high output active pickups

Audio mute switch allows •convenient audio muting with transmitter on

Bi-color LED status indicator: On •(green), low-battery alert (Orange)

Locking 3.5mm mini-jack provides •secure connection for removable instrument cable

Convenient, economical operation •with two AAA alkaline or NiMH batteries

VHF BASS BodypackOff/Standby/On switch allows •convenient audio muting with transmitter on

Low-battery LED indicator flashes •once for unit on; lights steady for low-battery alert

Locking 3.5mm mini-jack provides •secure connection for removable instrument cable

Easily accessible Input Level •Adjust for optimum sound for all types of bass pickup outputs

Rugged ABS housing with •integral antenna

Single 9V alkaline battery •operation (15+ hours)

U - 3 3 B

TRANSMITTERS

“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 }

E N C O R E 2 0 0

TRANSMITTERS

13

In-Ear Wireless Monitoring Systems

P E M - 5 0 0

E O 3

PEM-500 16-channel UHF PLL wireless in-ear system

Available on selected frequency bands within the UHF spectrum for •interference-free, long-range performance (up to eight systems can be operated simultaneously, depending on location and frequency band)

System consists of PEM-500T stereo transmitter and one bodypack •stereo PEM-R receiver (both offer 16-channel user selectability)

Any number of additional receivers can be operated with the same •transmitter if all are set to the same channel

Proprietary companding circuitry for wide dynamic range and •clear, natural sound

Operating range: up to 300 ft. typical (depending on site conditions) •

Rugged, foam-padded traveling case provides easy, safe •transport and storage

PEM-R Bodypack ReceiverPortable bodypack receiver •features a power switch; switchable built-in volume limiter; Output Level control; stereo/mono select switch; two-color (red/green) 3-way Unit On/Signal/low-battery LED indicators

Operates up to six hours •(depending on volume) on a single 9V alkaline battery

Each receiver is supplied with •a pair of miniature, lightweight (yet powerful) in-ear Koss® stereophones with soft rubber foam mounts in three shapes (conical, cylindrical and hexagonal); designed for fitted comfort and optimum acoustic transfer and isolation

Rear clip can be rotated 90° for •attaching receiver either vertically or horizontally to clothing

PEM-500T Stereo Transmitter

Rugged, all-metal half-rack •can be rackmounted singly or side-by-side with optional dual rack kit (see page 58)

Microphone Input allows wireless •cueing of performers on stage

Front panel features Input Level •control; stereo headphone monitor output jack and volume control; Select button for choosing one of 16 UHF channels, LED channel display; L/R 10-segment Audio Input Level displays

Back panel provides BNC jack for •the detachable antenna; stereo/mono select switch, ¼” TRS balanced microphone input, XLR jacks for left and right line inputs

Externally powered by AC/DC •power adapter

EO3 Pocket-sized VHF wireless in-ear monitor system

Any number of EO3 receivers can be used with a •single EO3-T transmitter

Ultra compact and lightweight •

Preset to one of eight channels in the 72-76 MHz range •

Loudness adjustable with volume control—provides up to •130dB in-ear monitoring

Antenna is integral with earphone cord •

A pair of mini binaural EB-3 earphones included; •optional EMI soft rubber inserts supplied

LED Power On indicator •

Single 9V alkaline battery operation•

EO3 TransmitterUltra compact and lightweight•

Broadcasts on one of eight •channels in the 72-76 MHz band to any number of Nady EO3 wireless bodypack receivers on the same channel

300 ft. wireless operating range •

Eight factory switchable channels•

Rear panel input for line level audio •

Front panel input for microphone •

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•

3 5 1 V R

Portable Wireless PA

14

WA-120 Powerful and portable VHF wireless PA system

Full-range speaker system with built-in amplifier, mixer, •and high-band VHF wireless receiver

Features noise reduction companding circuitry for quietest •operation with a wide dynamic range

Built-in echo/reverb•

Powerful 20W audio output•

¼” unbalanced input jacks (Mic/Aux) and one ¼” unbalanced •Record Out; treble and bass controls

Powered externally with provided AC adapter, or internally with •either the optional RB-120 rechargeable battery or eight “D” cell alkaline or rechargeable batteries

Convenient internal charging ports for 9V rechargeable •transmitter batteries (NiCad or NiMH) and RB-120 optional rechargeable battery

Choice of transmitters: WHT handheld mic or •WLT lavalier/headset mic bodypack transmitter

VR Series Wireless microphone systems for camcorders

Rugged 151VR or mini 351VR receivers can be camera-mounted •or worn as bodypacks (with removable belt clip)

Easy hook-up to camcorder with supplied connecting cable•

Powered by 9V alkaline battery•

120dB dynamic range with no background hiss or overload distortion•

LED lights indicate low battery and receiver signal•

Convenient operation with Output Level and Mute adjusts; •separate 3.5mm Audio Output and monitor headphone mini jacks; headphone volume thumbwheel control with integrated unit Off/On switch

Detachable softwire antenna extends from top of receiver •(detachable “rubber ducky” antenna optional for 351 VR only)

Choice of transmitters: WHT handheld mic or •WLT lavalier/headset mic bodypack transmitter

WPM Series Podium microphones

WPM-1V 12 standard frequencies between 170~216MHzWPM-2U 6 standard frequencies between 470~510MHz

Ideal for desktop conferencing•

Simple setup with no cumbersome cabling required between •mic and amplifier—the cleanest, simplest possible installation

Both units offer top performance indistinguishable from the •best hardwired podium microphones

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

WHT Handheld MicrophoneOperates on a separate •single frequency in the VHF 170-216MHz bandFeatures the Nady DM-10D •unidirectional neodymium dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noiseOff/Standby/On switch allows •convenient audio muting with transmitter onLow-battery LED indicator flashes •once for unit on; lights steady for low-battery alertUses one 9V alkaline battery •for 15+ hours operation

WA 1 2 0

Video and Podium Wireless

W P M - 1 V W P M - 2 U

F O R U S E W I T H :DKW-1•Encore Series•401X QUAD •(VHF receivers)

F O R U S E W I T H :UHF-3 •(UHF receiver)

WLT/WGT Bodypack TransmittersChoice of instrument or •headworn/lavalier microphone bodypack transmitterOff/Standby/On switch allows •convenient audio mutingLow-battery LED indicator flashes •once for unit on; lights steady for low-battery alertUses one 9V alkaline battery •for 15+ hours operationLocking 3.5mm mini-jack provides •secure connection for removable microphone or instrument cableEasily accessible input level adjust •control for optimum soundAvailable with LM-14O •omni-directional/LM-14U uni-directional lavalier mic or Headmic™ Series headworn mics (see page 50)

TRANSMITTERS

1 5 1 V R

15

IRW-2PA All-in-one wireless PA system

Ideal for schools, lectures, •conferences, and karaoke applications

Multi-functional wall-hanging •lockbox houses dual infrared wireless receiver, preamp, power amp, and transmitters with battery-charging holders for safe/secure charging and storage

Two wireless microphones, •Aux Input, and hard-wired Mic Input allow up to four total input signals, each with its own volume control

Master treble and bass controls•

35W RMS power amp, perfect for •driving two 8Ω speakers or any number of small ceiling speakers

Battery chargers with unique •safety shut-down protection circuitry to detect reverse polarity, damaged batteries, and non-rechargeables

Line-of-sight transmission with •no interference from systems in adjoining rooms provides ultimate privacy and isolation

Power On, IR reception, •and battery charging status LED indicators

Two remote-mount IR sensors •supplied with 20 ft. and 35 ft. connecting cables and variable-position wall mounts; each sensor has multiple array of wide-angle infrared-sensitive LEDs

UL approved AC/DC power supply•

HT-6SC handheld mics and/or •LT-6SC bodypack/neck-worn lapel mics available

Infrared Systems

I N F R A R E D T E C H N O L O g Y

Most wireless microphones use RF (radio frequencies) on different

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.

I RW- 2 PA

HT-6SC Handheld MicMultiple emitter array of high •efficiency infrared emission LEDs for optimum IR transmission

Power On LED •

Powerful uni-directional dynamic •cartridge for optimum audio, minimal handling noise, and maximum feedback rejection

Rugged steel mesh ballscreen •with anti-roll ring

Operates up to six hours •on two AA alkaline or NiMH rechargeable batteries

Equipped with charger •protection circuitry that can detect and shut down charging function if regular alkaline or non-rechargeable batteries are mistakenly recharged

LT-6SC Bodypack TransmitterMultiple emitter array of high •efficiency infrared emission LEDs for optimum IR transmission

Power On LED •

Channel A/B selector switch •

3.5mm mini-jack for connection •of lapel microphone

Audio Input volume control •

Belt clip and neck-worn lanyard •

Operates up to six hours •on two AA alkaline or NiMH rechargeable batteries

Equipped with a charger protection •circuitry that can detect and shut down charging function if regular alkaline or non-rechargeable batteries are mistakenly recharged

IRW-HT6X Handheld MicMultiple emitter array of high •efficiency infrared emission LEDs for optimum IR transmission Power On LED •Powerful uni-directional dynamic •cartridge for optimum audio, minimal handling noise, and maximum feedback rejectionRugged steel mesh ballscreen •with anti-roll ring Operates up to six hours •on two AA alkaline or NiMH rechargeable batteries

IRW-LT6X Bodypack Transmitter

Multiple emitter array of high •efficiency infrared emission LEDs for optimum IR transmission Power On LED •Channel A/B selector switch •3.5mm mini-jack for connection •of lapel microphone Audio Input volume control •Belt clip and neck-worn lanyard •Operates up to six hours •on two AA alkaline or NiMH rechargeable batteries

I RW- 2 2 0 X

IRW-220X Dual IR wireless microphone system

Dual receiver allows simultaneous 2-channel operation •of two transmitters (Ch. A/B)

IR signal reception LED indicators •

Channel A/B mixed audio output (RCA phono jack)•

Separate Channel A and Channel B volume controls •

Two IR sensor coaxial inputs •

Two IR sensors supplied — each sensor has multiple array •of wide-angle infrared sensitive LEDs

20 ft. and 35 ft. connecting cables and wall mounts supplied•

Assistive Listening

16

A L D - 8 0 0

I R - 2 0 0 / 2 1 0

I R - 2 0 0 / 2 1 1

ALD-800 Multiple VHF receiver system

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

System operates on one of eight •factory switchable channels within the 72-76 MHz band designated for auditory assistance frequencies by the FCC

Transmitter offers full manual •controls and connections (including Mic and Line Level inputs), automatic level control, extendable antenna, and Power On/Audio Input Level LED displays

Any number of pocket-sized •ALD-800 receivers can be used with a single ALD-800 transmitterReceivers include mini binaural •earphones, providing up to 130 dB SPL for hearing assistance with volume control, Power On LED, antenna integral with earphone cordUses a single 9V alkaline •or rechargeable NiCad or NiMH battery

Advanced 2.3/2.8MHz IR •transmission eliminates the interference from ballast (fluorescent tube) lighting which was problematic with earlier 95/250KHz IR systems

4000 sq. ft. (370 sq. m) coverage•

Any number of IR-200 •transmitters can easily be daisy-chained together for greater coverage via dual sync in and sync out connectors on each unit

Can be wall-mounted or on •optional stand for portable temporary setups

Transmitter can be used with •any number of IR-210 (stereo) or IR-211 (dual/separate channel) receivers

High-gain IR LED (light-emitting •diode) emitter panel with built-in amplifiers

Two Audio Inputs, fully •compatible with any audio source such as mixers, radios, VCRs, etc.

Two Mic Inputs (for optional •voice-overs)

LED indicators for Signal On for •both Audio In and Mic In inputs

Built-in automatic level control •(ALC) to eliminate audio peaks and ensure comfortable listening levels

28VDC external powering from •supplied AC/DC adapter simplifies installation wiring requirements

Headphone receivers feature •ultra IR light-sensitive diodes for optimum reception and maximum range; A/B channel select switch (IR-211 only); On/Off power switch with LED indicator; two audio volume controls

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

}

“My SPA-2400 power amps have

been the #1 tool in my rack for the

last ten years of successful touring.”Scotty Schenk, Sound EngineerDwight Yoakam, Smash Mouth, Third Eye Blind, KISS

Power Amplifiers ............................... 18SPA Series, PPA-300, XA Series, 3WA-1700

Equalizers ........................................... 20GEQ Series, PEQ-5B

Power Line Conditioners .................. 21PCL Series, CPD-1006L

Crossovers ......................................... 21CX Series

Power Controllers ............................. 22SC-100, PC-80

Analog Sound Processors ................ 22CL-5000, FS-4N

Digital Sound Processors ................. 23SDP-20, SDR-260, DigiComp 16

Rack Gear ........................................... 24RDI-8, SD-2418, RL-2, RMX-6, PB48

Microphone Preamps ........................ 25PRA-8, DMP-2, TMP Series

Headphone Amplifiers ...................... 26HPA-4, HPA-8, HA-1X4

Direct Boxes ....................................... 27DB-1, ADI Series

Sound Pressure Level Meters .......... 27DSM-1, ASM-2

Mixers ................................................. 28MM Series, CMX-16A, SRM Series

Powered Mixers ................................. 30PMX Series, SPM Series, MPMx Series

Portable Sound Systems .................. 32MPM Series PA, RPA Series, MPA-30, Ensemble PA-4180, Access PSS-150

Speakers ............................................. 34J Series, PAM-10F, FWA Series, ProPower™ Series, PSW-18A, THS-1515, M-CAB™ Series, P-CAB™ Series

Studio/Personal Stage Monitors ..... 38SM Series, PM Series, CSM-5

Headphones ....................................... 39QHM/QH Series, DJH-2000

Noise-Cancelling Headphones ......... 40QH RacketBlaster™ Series

Miscellaneous Gear ........................... 40PHP-3, HE-1

Pro Audio gear

Pro Audio

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 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

S PA - 8 5 0

S PA - 1 4 0 0

S PA - 2 4 0 0

S PA - 2 4 0 0

18

Full operating features: stereo •(dual channel); volume controls; XLR and ¼” TS inputs

Full operating features: Power •On LED; signal and clipping LED indicators for each channel

Roadworthy, rugged double rack •space (2U) housing

IEC power cord connector •with built-in fuse

Full safety/reliability features: •fan for cooling; soft-start turn on; noise-free On/Off; built-in DC offset; independent DC and thermal overload protection on each channel; short circuit and speaker protection

PPA-300 Stereo power amplifier

2 x 150W RMS @ 4Ω 2 x 120W RMS @ 8Ω

SPA Series Stereo power amplifiers

SPA 850

2 x 350W RMS @ 4Ω 2 x 425W RMS @ 2Ω Bridge mono: 600W @ 8Ω, 850W @ 4Ω

SPA 1400

2 x 500W RMS @ 4Ω, 2 x 800W RMS @ 2Ω Bridge mono: 1000W @ 8Ω, 1400W @ 4Ω

SPA 2400

2 x 750W RMS @ 4Ω, 2 x 1400W RMS @ 2Ω Bridge mono: 1600W @ 8Ω, 2400W @ 4Ω

Continuously variable speed fan •with back-to-front air flow

Full operating features: •user-defeatable clip limiter; switchable 30Hz low-cut filter; balanced XLR and ¼” TRS inputs; detent volume controls; stereo (dual-channel, parallel-input, or bridged mono operating models) with selector switch; binding post and Neutrik Speakon™ outputs; ground-lift switch

Complete, advanced safety/•reliability features: soft-start turn on; noise-free On/Off; Built-in DC offset; independent DC and

thermal overload protection on each channel; short circuit and speaker protection; DC servo operation; built-in current limiter

Parallel outputs allow •“daisy-chaining” amps

~115V (60Hz)/~230V (50Hz) •AC select switch

Clip and Signal LED indicators •for each channel

Durable double rack space (2U) •steel casing

Three-way amp allows you •to power left and right main speakers and subwoofers with no crossover necessary, all from one 2U rack chassis

Easily powers four 8• Ω speakers for the stereo mains and two 8Ω subwoofers with 450W of power per channel, plus a whopping 800W for the subs

Perfect for DJs, traveling bands, •and small clubs

Selectable internal Low Pass •Filter can be adjusted from 50Hz to 250Hz to maximize the tight punch of your subs

Filter/Source switch enables the •internal low-pass filter and uses the left and right input signals for the subwoofer, or disables the internal filter to use either an external active crossover or the

Sub channel to pass full-range signals for monitor feeds or sound reinforcement

Selectable Low-Cut Filter to •minimize muddy bass and stage rumble

Balanced XLR and ¼” TRS •inputs; binding post (banana plug) outputs, detent volume controls for each channel

Power On, Signal, Clipping, •and Protect LED indicators for each channel

Full safety/reliability features: •four variable speed fans for ultimate cooling; noise-free On/Off; built-in DC offset; independent DC and thermal overload protection on each channel; short circuit and speaker protection

Roadworthy, rugged double •rack space (2U) housing

~115(60Hz) IEC power cord •connector and 3AG fuse holder

3WA-1700 3-channel (stereo main and subwoofer) amplifier

X A - 1 1 0 0

X A - 2 1 0 0

19

A M P L I F I E R P OW E R R AT I N g S

When selecting an amplifier from among competing brands with similar features, be sure that you are comparing the correct output power ratings. First, make sure all the output power ratings you are comparing are stated in Watts RMS, which most correctly reflects the average power the amp can sustain with continuous use. Many amps show a rating in Watts only. Generally, these refer to peak Watts capability, which can be up to twice the RMS rating. Also, these measurements are sometimes taken at 10% distortion (THD). This produces a higher reading than the correct measurements taken at 1% THD, which more accurately reflects the desired audio in any application.

It is also important to make sure you are comparing power ratings at the same speaker load. You will notice that the lower the load (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.

Full operating features: •detent volume controls; parallel balanced XLR and ¼” TRS inputs; stereo (dual channel), parallel-input, or bridged mono operating modes with selector switch; binding post (banana plug) outputs; ground lift switch

Full safety/reliability features: •two dual speed fans for cooling; soft-start turn on; noise-free On/Off; built-in DC offset;

independent DC and thermal overload protection on each channel; short circuit and speaker protection; DC servo operation; built-in digital current limiter

Power On, Clip, Signal, and •Protect LED indicators for each channel

Roadworthy, rugged double •rack space (2U) housing

XA Series Stereo power amplifiers

XA-1100

2 x 475W @ 4Ω Bridged mono: 1100W RMS

XA-2100

2 x 870W @ 4Ω, Bridged mono: 2100W RMS

Power Output Ch. 1 & 2: 2 x 450W RMS @ 4Ω Subwoofer: 800W RMS @ 4Ω

3 WA - 1 7 0 0

“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

}

GEQ 131

1-channel Single rack space 31 1/3rd octave bands each channel

GEQ 231

2-channel Double rack space 31 1/3rd octave bands each channel

Balanced XLR and ¼” TRS •input/output connectors

Constant-Q bandwidth from •each filter with 3% center frequency accuracy

Parallel filter design for •minimal phase distortion

Ultra low-noise circuitry•

Low-cut filter at 40Hz, 12dB/octave •switchable, with status LED

Band range: +/- 12dB gain•

Equalizer On/Off bypass switch •with status LED

Center detents on faders and •variable input level control (+/- 12dB)

Gain status LED bar graph •with peak LED

Power switch with integral •LED On indicator

Shielded internal power supply •with AC input and selectable line voltage (~115V/60Hz or ~230V/50Hz)

Compact and durable all-steel •chassis design

20

GEQ Series Graphic equalizers

Balanced XLR and ¼” TRS •input/output connectors

Constant-Q bandwidth from each •filter with 3% center frequency accuracy

Parallel filter design for •minimal phase distortion

Ultra low-noise circuitry•

Selectable range, 6dB or 12dB gain•

Equalizer On/Off bypass switch•

Center detents on faders •and variable level control

Power OFF automatic •bypass function

Peak (overload threshold) LED •

Shielded internal power supply •with AC input and selectable line voltage (~115V/60Hz or ~230V/50Hz)

Ground lift switch•

GEQ 215

2-channel Single rack space 15 2/3rd octave bands each channel

g E Q 2 1 5

g E Q 1 3 1g E Q 2 3 1

P E Q - 5 B

Equalizers

PEQ-5B Parametric 5-band equalizer

15dB boost/cut per band•

Constant-Q•

State-variable filter circuitry •for precision control of tone coloration

Parallel phase filters for •minimal phase shifting

Tunable high and low cut filters•

Each band is independently •switchable and adjustable in bandwidth (.03 to 2 octaves wide), allowing a range of adjustment from tight notching to extreme boost/attenuation by band overlapping

Servo-balanced XLR and •¼” TRS inputs and outputs

Bypass switches on •each channel

12-segment LED switchable •Input/Output meter

Housed in a single rackmount •metal housing (1U)

“Great gear!”Donna Emmett, Spokane, WA}

21

Crossovers / Equalizers

Crossovers / Equalizers

Power Line Conditioners

Crossovers

C X - 2 2 S W

P C L - 8 0 0

P C L - 8 1 0

P C L - 8 1 5

C P D - 1 0 0 6 L

C X - 2 3 S W

PCL Series Power conditioners

Triple mode varistor surge •and spike protection

Eight rear outlets (with room for •four “wall warts”) controlled by front panel switch

15 amp rating (1800W) with rear •panel circuit breaker (UL)

Two added front panel slide-•out, swiveling lights for rack illumination and dimmer controls to adjust lamp brightness (PCL-810 and PCL-815 only)

Large LED numeric meter •that displays incoming AC line voltage; two voltage condition indicators—standard voltage and over voltage (PCL-815 only)

Rugged single-rack space metal •housing for maximum reliability

CPD-1006L Conditioned power distribution with sequence controller

Ten AC sockets: Two unfiltered •front panel and eight conditioned, with six-step delayed sequence turn-on/off

2-second sequence interval •standard—factory adjustable also to one or three seconds

Superior RFI/EMI filtering •and surge protection

Extremely accurate voltage meter •with 3-digit LED numeric display

Retractable, rotating, six-LED •lamp for long-life front rack illumination

Rack light Hi/Off/Low •dimmer switch

15A circuit breaker•

CX Series Stereo crossovers

CX-22SW

2-way stereo and subwoofer

CX-23SW

3-way stereo and subwoofer

Single rack space (1U) •

Shielded internal power supply with AC voltage •select switch (~115V/60Hz or ~230V/50Hz)

Phase inversion switches •

Low-cut subsonic filters for low frequency •driver protection

Servo-balanced XLR inputs •

Superior performance with transparent audio•

“My CPD-1006L has become indispensible in my rack setup.”Barry Sims, Chicago, IL }

22

C L - 5 0 0 0 F S - 4 N

Convenient 1U rack unit for •controlling sequenced AC power, On/Off for up to ten pieces of audio equipment

Rear panel outlets with front •panel LED indicators are sequenced with 1-second delay, allowing for smooth power up and down of power amplifiers, mixer consoles, wireless equipment, etc.

Controller provides a gradual •turn on process and turns off in reverse order

Ten each 3-prong AC outlets are •multi-national style compatible with standard US plugs and round European plugs

Key lock On/Off switch with •bypass for secure operation

Internal filtering to reduce •noise and spikes

Both Hot/Neutral AC lines are •interrupted for maximum safety

Heavy-duty internal relays for •superior reliability

S C - 1 0 0

SC-100 Sequenced power controller

P C - 8 0

PC-80 Power controller

Convenient 1U rack unit for •controlling power On/Off for up to eight connected pieces of audio equipment

Eight 3-prong AC outlets in rear, •each controlled by front panel

enabling switch with LED status indicator, allows for smooth power up and down of power amplifiers, mixer consoles, wireless equipment, etc.

Circuit breaker•

Power Controllers

Crossovers / EqualizersAnalog Sound ProcessorsCL-5000 Dual channel compressor limiter with gate

Two independent compressor/•limiter/gates in a road-tough steel single-rack-space (1U) housing

Utilizes unique circuitry combining •hard and soft knee compression styles; provides excellent inaudible and music program compression as well as effective dynamics processing

Advanced operating features •include fully automatic or manually variable attack/release times, compression ratio, and threshold control

Dual 12-stage gain reduction and •8-stage input/output metering

Dual-mono or stereo operation; •servo-balanced inputs (with automatic hum/noise reduction) and outputs

Built-in adjustable dynamic •enhancer (selectively replaces high-end loss even with severe compression due to high-energy/low-end content)

IRC (interactive ratio control) •expander/gate—automatically adjusts expansion per program material, eliminating noise floor during quiet sections or music pauses

TRS side-chain applications, •including de-essing, emphasizing/de-emphasizing designated instruments during recording, eliminating feedback in live applications, and ducking

Shielded internal power •supply and voltage selector for switching between ~115VAC (60 Hz)/~230VAC/(50Hz)

FS-4N Feedback suppressor

Four extremely narrow •(1/60 octave) notch filters, each independently adjustable from 60 to 6,000 Hz, allow quick elimination of unwanted problem frequencies without affecting integrity of overall sound

A control for adjusting notch •depth on each filter enables precise attenuation (up to -20 dB) at each selected frequency

Push button bypass switches •all four notches in and out simultaneously for fast monitoring of results during use

¼” TRS balanced jacks for •both Signal In/Out

In-line 8-band audio spectrum •analyzer LED display enables quick identification of frequency range of any problem frequency; facilitates immediate reaction and suppression by operator

Internal shielded power supply •with external fuse and ~115V (60Hz) / ~230V (50Hz) AC select switch

Single rack space (1U) rugged •metal housing for reliability

IEC power cord socket for AC •operation and screw terminals for optional +24 VDC input powering

S D P - 2 0

23

SDP-20 Stereo preset/programmable digital multi-effects processor

S D R - 2 6 0 D i g i C o m p 1 6

Crossovers / EqualizersDigital Sound Processors

SDR-260 Stereo digital reverberator

Powerful dual engine digital •sound processor (DSP) offers a full complement of 60 of the latest, most useful/breathtaking effects presets including hall and room reverbs, gates, echo/vibrato/chorus/flanging delays, pitch shifting, and concert/stage re-creationsIntuitive and easy to operate—•all parameters can be selected and/or edited via the jog wheel knob or external MIDI remote control (via Program Change messages) with 60 user program locations for personal edits storage 24-bit A/D and D/A converters •for ultra-high headroom and resolutionInternal 44.1KHz sampling rate •for unsurpassed audio

Servo-balanced inputs and •outputs with XLR and ¼” TRS connectors Input and output Level Switches •add +4 dB or attenuation -10 dBRemote MIDI program change •and bypass control 4-segment, ultra-precise stereo •input level LED display 3-digit program and parameter •LED display Front Panel Selectable Preset/•User/MIDI/Bypass controls Input level Control, variable •

Rugged construction for •maximum long-term reliability Shielded internal dual •regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector

DigiComp 16™ Stereo 18-bit digital compressor

Exceptional assortment of •16 popular, one-of-a-kind preset digital compressor ROM programs including AGC Pure, Acoustic, Master, Clean, Dance, Kick Drum, Mixdown, Jumping Up, and eight classic stereo settings with 16 user-selectable parameter variations for each algorithm

Unique digital AGC and •proprietary algorithms provide real dynamic compression for adding punch to weak signals, new dimensions to your sound and useful limiter functions

Advanced state-of-the-art •digital processing with 18-bit Sigma-Delta AD/DA conversion, high speed 12.5MIPs operation, and 52-bit accumulator resolution

ensures first-class/high-quality audio with negligible distortion, full bandwidth 20-20KHz response, and low noise/high dynamic range

Convenient front panel I/O •signal gain controls, bypass switch, program and variations select controls

Rear panel ¼” I/O stereo and •bypass jacks (for optional footswitch)

Versatile + 4/-10dBu input signal •level stereo/mono operation, high gain mono input for plugging instruments in direct

9 volt AC adapter supplied •

Road worthy, ultra portable, •all-metal 1/3 rackmountable or tabletop housing

Powerful dual engine digital •sound processor (DSP) offers a full complement of 256 of the latest, most useful/breathtaking effects presets including room and hall reverbs, gates, delays/echoes, chorus/flanging/Leslie, pitch shifting, and overdrive/distortion

Intuitive and easy to operate— •all parameters can be selected and/or edited via the jog wheel knob (up to six editable parameters for each effect) or external MIDI remote control (via MIDI nrpn messages) with 20 user program locations for personal edits

20-bit A/D and D/A converters •with 64/128 times oversampling for ultra-high headroom and resolution

Internal 20-bit processing with •46.875 kHz sampling rate for unsurpassed audio

4-band digital equalizer, •programmable by push buttons and jog wheel knob

Servo-balanced inputs and •outputs with XLR and ¼” TRS connectors

Full remote MIDI control of •all functions and parameters

6-segment ultra-precise stereo •input level LED display

3-digit program and parameter •LED display

External effects control via rear •panel ¼” jack for changing preset program counter incrementally via optional external foot switch

Selectable Bypass with rear •panel ¼” jack for optional external bypass foot switch

Rugged construction for •maximum long-term reliability

Shielded internal dual •regulated power supply with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector

“I love my SPM-4250 powered mixer, and I bought a pair of MC-10 speakers to use with it. The sound is amazing and the gear is easily portable.”Howard Wu, Miami, FL

}

}

RMX-6 Rack microphone/line mixer

6-channel mic/line mixer in a •single rack space (1U)

Balanced XLR mic and ¼” TRS •line inputs each channel

Master volume, bass, and •treble controls

Phantom power (15V) on •channels 4-6 mic inputs

Dual (low and high level) outputs •

Internal shielded power supply, •~115V/60Hz AC powered

R M X - 6

R L - 2

24

Rack Gear

S D - 2 4 1 8

SD-2418 Audio signal distributor

Splits balanced mono signal into •eight separate balanced mono signals or stereo pair into four separate stereo pairs

Indispensable signal routing tool •for live sound and recording applications requiring signal splitting and distribution with level matching to different equipment

Individual gain controls (up to •+6dB gain) for all eight outputs; 2-4,1-8 split mode select switch and display; dual balanced inputs (Ch. A/B) with Link outputs for optimum signal routing flexibility in hookup

Wide dynamic range for optimum •signal integrity and transparency

RL-2 Dual gooseneck rack light

Rackmount light illuminates •mixing consoles and rack gear for easier operation on dark stages

Two 10” flexible gooseneck lights •mounted on a 19” rackmount strip (1U)

Can be mounted on either front •or rear of rack cases

On/Off switch and integral •fused power supply included. Hard-wired power cable plugs into 115 VAC outlet

RDI-8 8-channel DI box/line mixer

Eight totally independent DI Box •units in a 1U package for multiple signal corrections/conversions, with ¼” TRS jacks for balanced or unbalanced inputs and XLR jacks for servo-balanced outputs for each channel

Each DI box eliminates •impedance mismatch problems and converts any sound source—from guitar to speaker inputs—into a clean, powerful, hum-free, noise-free, interference-free balanced signal; perfect even for extremely long cable runs

Can be used simultaneously as •an 8-channel line mixer with both stereo Line and Master outputs

Optimum hookup flexibility •with independent parallel link outputs for each channel; enables applications such as monitoring a specific input locally while sending an XLR balanced direct output to another source without affecting the line mixer signal

Multi-purpose design enables •parallel-operation applications (e.g., setting an independent stereo mix for stage monitoring for extended setup of keyboards,

samplers and synth modules while supplying independent XLR balanced outputs to the stage box for the front of house engineer)

Controls for the Line Mixer •operation include independent rotary volume and L/R pan controls per channel for the Stereo Line output, and an additional Master Volume control for the Master Stereo output

Independent 20dB Pad and •Ground Lift switches per channel control both the DI Box and Line Mixer outputs simultaneously


Advanced circuit design and •carefully selected components ensure extended linear frequency response and ultra low distortion for pure, transparent audio across the spectrum for both DI Box and Line Mixer operation

High-quality, rugged construction •for maximum long life and reliability

R D I - 8

PB48 Modular patchbay

Versatile, no-solder patchbay •provides 48 points in a single rack space (1U)

Normalled, half-normalled •and isolated configurations

¼” TRS for both balanced •and unbalanced signals

P B 4 8

TMP Series Tube microphone preamplifiers

TMP-1 / TMP-2 Tube microphone preamp

Hand-selected 12AX7A vacuum •tube circuitry provides large, warm sound for microphones and instruments— fills out your sound for perfect recording

Selectable output limiter •circuitry to avoid clipping and protect connected equipment (e.g., processors)

Convenient analog VU meter •allows excellent control of desired signal levels and monitors limiter function when limiter is activated

Variable Input and Output •gain controls

+48VDC phantom power switch •

Phase Reversal switch •

Servo-balanced XLR and •unbalanced ¼” TS Inputs and Outputs



TMP-3 Tube microphone preamp plus EQ/compressor channel strip

Smooth, warm tube sound with •superior clarity/transparency for truest audio

Mic Preamp Input section offers •full complement of controls including switchable +30dB gain, 180° I/O phase reversal, +48V phantom power, and a Gain pot with Clip LED indicator selecting proper incoming signal level

Three-band EQ section with •low and high shelving filters and sweepable mids for precise frequency tailoring; Output Level control for adjusting overall volume from the TMP-3 main outputs

Natural sounding optical •compressor section with threshold and ratio controls for accurate musical dynamics processing

VU gain reduction meter •for monitoring amount of signal compression

Rear panel ¼” TRS side chain •I/O jack for external compression control; In/Out bypass switch

Servo-balanced XLR and •unbalanced ¼” TS input/output jack; ~115V(60Hz)/ ~230V(50Hz) select switch, fused IEC power cord connector

P R A - 8

D M P - 2

T M P - 1

T M P - 2 T M P - 3

25

PRA-8 8-channel microphone preamplifier

Eight totally independent world-•class preamps in one single rack (1RU) through package with servo-balanced XLR inputs and ¼” TS outputs for each preamp

Highest quality components and •advanced design with ultra-linear, high bandwidth operational amps for no-compromise crystal clear audio; exceptionally low noise and negligible distortion

Individual gain control and Peak •LED indicator on each channel with up to 75dB of gain

+48V Phantom Power with •individual Phantom On/Off switches and Phantom Power On LED indicators for each channel



DMP-2 Dual microphone preamplifier

Unsurpassed audio with •excellent stereo imaging, ultra low noise, superb transient response and transparent, distortion-free sound

Superior performance •comparable to console preamps

Rugged, lightweight all-metal •enclosure designed for long life and portability

Includes XLR I/O jacks, Power •Off/On, +48V phantom power 3-way switch, selectable integrated limiter, dual Gain controls, Power On and dual Peak LED indicators

Powered by 9V Alkaline or •NiMH battery

Microphone Preamps

26

Headphone Amplifiers

HPA-4 4-channel headphone amplifier/line distributor

Four totally independent stereo •high-power headphone amplifier/line distribution channels in a convenient single rack package

Easy-to-operate unit allows •maximum variety of monitoring and stereo line level signal distribution options

Input source select switches and •Phone and Line ¼” TRS stereo outputs on each channel

Four independent stereo •input sections (each with servo-balanced L/R ¼” TRS jacks) enable independent selection of any of the four stereo signals for each headphone amp/line distribution channel

Selection of up to four completely •independent monitor signals for each set of headphones connected to the HPA-4 allows optimum monitoring flexibility, or four separate choices for each channel’s Line Output (enabling many audio switching/routing solutions)

Separate volume control for each •channel adjusts the level to both phone and parallel line outputs

Easily expandable for optimum •versatility in any application—up to four HPA-4s can be daisy-chained for additional fully selectable headphone/line distribution requirements

No-compromise circuit design, •stringently selected tight-tolerance components and low-noise, extremely linear amps for reference-quality, transparent audio with maximum headroom even at extremely high headphone volume levels

High-quality, rugged construction •for maximum reliability


H PA - 4

H A - 1 X 4

HA-1X4 4-channel stereo headphone amplifier

Allows four channels of stereo •headphone monitoring with individual level controls

Advanced design for widest •dynamic range, with lowest noise and distortion

¼” Stereo jack input can be •driven by any line level or headphone amp output

Rugged metal chassis for •long-life reliability

H PA - 8

HPA-8 8-channel headphone amplifier

Eight stereo headphone •channels in a convenient single rack package enable multiple signal distribution options for monitoring flexibility

Each channel has separate •volume control and ¼” stereo outputs

Over 100mW of power per •channel with full spectrum audio response and maximum headroom (even at high volume headphone levels)

No-compromise circuit design, •SMD technology and low-noise op-amps for reference

Quality, transparent audio with •maximum headroom even at high headphone volume levels

Three balanced, line-level •input channels with capacity to distribute one input signal to all headphones or group the headphone outputs (depending upon input configuration) for monitoring flexibility

Mono/Stereo selector switch •for each set of inputs

High-quality, rugged 1U •construction for maximum reliability

Shielded internal power supply •with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector

H E A D P H O N E V S . S P E A K E R M O N I TO R I N g I N T H E S T U D I OWhen 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, 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 provided by headphone monitoring. Headphone monitoring delivers complete isolation and intimacy with the recording, creating a far more intense experience than speakers.

If you find yourself hearing things on your studio monitors but can’t quite make them out, headphone monitoring makes every detail apparent, allowing you to make the critical decisions necessary to get the sound you’re after.

27

Crossovers / EqualizersDirect Boxes

Sound Pressure Level Meters

ADI Series Direct inject boxes

ADI-1 Single direct inject box ADI-2 Dual direct inject box

Eliminates impedance mismatch •problems and converts any sound source at almost any level into a clean, noise-free balanced signal

Full-featured controls and •connections include On/Off, Ground Lift, and Guitar/Speaker source select input attenuation switches

Unbalanced ¼” TS input and •Parallel Link Output jacks

Servo-balanced XLR output jack•

Parallel link output allows ultimate •hookup flexibility by enabling applications such as connection to the input of the backline or monitor amplifier

Portable aircraft aluminum •extruded case for ultimate roadworthiness, long life and reliability

Powered either by consoles •+48V phantom power or internal 9V battery

DB-1 Passive direct inject box

Enables connection of any •unbalanced audio source signal (such as an electric instrument, keyboard, or amp speaker output) to any mic level balanced input (such as a mixer)

Parallel Output allows •simultaneous connection to two separate inputs (e.g., to an amp and mixer)

Translates high-impedance •instrument outputs into low-impedance balanced signals, or balanced low-impedance signals into unbalanced outputs

Converts unbalanced +10dB •DJ mixer signals to balanced mic level signals, enabling easier interfacing with consoles and longer cable runs

Eliminates need for a direct box •on multiple keyboard setups plugged into an instrument amp—input directly to a console mixer by connecting the speaker outputs of the amp to the console input through the DB-1

3-position input attenuation •switch (0dB, -20dB, -40dB) facilitates proper output signal levels for optimum level matching to connected equipment

Switchable ground lift eliminates •ground loop hum problems

Rugged, roadworthy all-steel •construction for years of reliability

0.9 lbs (.453 kg)•

DSM-1 Digital SPL Meter

Highly accurate SPL meter •with two level ranges measuring between 30dB and 130dB at 32Hz-8KHz

Easy-to-read 4-digit LCD display •with selectable permanent backlight

Selectable A or C weighting •and fast or slow response; maximum hold selector with hold button to capture input at any time; alarm indicating the input is above range; internal battery tester; built-in calibrated, linear omnidirectional 1/2” electret condenser microphone;

and threaded insert to attach to optional SMT-3 tripod or standard camera tripod

Uses 9VDC alkaline •battery with up to 50 hours battery life

Includes foam •windscreen, sturdy vinyl carrying case, and battery

ASM-2 Analog SPL Meter

D B - 1

D S M - 1

A D I - 1 A D I - 2

“Love your gear! I bought your stuff first for the low prices, and then because of the great sound and features. I just got a CMX-16A mixer and it’s another winner!”Joe Bisgaard, Cleveland, OH }

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

Seven sound-level ranges allow •measurements from 50-126 dB (referenced to 0.0002µbar)

A and C weightings let •you check compliance with safety regulations as well as make acoustic analysis

Slow and fast •response settings let you check peak and average noise levels

Phono-type output jack for •connection to home theater or test equipment

Built-in battery condition indicator •

Threaded insert lets you attach •the meter to optional SMT-3 tripod or standard camera tripod for increased accuracy

28

Mixers

MM-15USB Mini mixer

With up to 15 simultaneous •inputs and ten outputs (including complete USB interface), this versatile desktop mini mixer is a valuable tool for almost any studio recording, computer, home audio or live performance applicationTwo mono channels with •balanced Mic and Line Inputs and two stereo channels with Line and RCA Inputs; each channel has Trim, 3-Band EQ, Aux Send, Pan, and Level Controls with Peak indicator LEDsUSB 1.0 I/O Interface to send •or receive digital audio signals to or from any computerStereo mini-jack iPod/MP3 inputs•

Ultra-low noise mic preamps •for optimum signal integrity; full spectrum frequency response with wide dynamic range and superior headroom

Separate Main Mix, Control •Room, and Headphone outputs; Stereo Aux; Return inputs with Level control; Tape In/Out RCA connectors plus stereo mini-jack output

Dual 4-segment LED display •bar graph meters

SMD technology for most •compact design

Miniature 7” x 8” durable steel •casing and superior construction for long life and maximum reliability

MM Series Mini mixers

MM-14FX 4-channel mini mixer with echo effects

Four mono ¼” microphone inputs •with individual volume controls

Built-in echo effects DSP with •delay time and depth controls; simulates room/hall/ stadium decay reverbs

¼” unbalanced output •

Up to 50dB of gain per channel•

Power On/Off switch with •LED indicator

9VDC powered with either 9V •alkaline battery or optional PAD-1 AC/DC external adapter

MM-141 4-channel mini mixer

Four ¼” unbalanced line level •inputs with individual volume controls mixed to one ¼” unbalanced output

Master Volume control with •integrated Power On/Off switch and Power On LED indicator

Ultra low distortion, up to 20dB •of gain, S/N ratio over 100dB, and a frequency response from 20Hz-20KHz

Heavy-duty steel construction •with smooth-turn, ultra stable pots and high-quality jacks

9VDC powered with either •9V alkaline battery or optional PAD-1 AC/DC external adapter

MM-242 4/8 channel stereo/mono mini mixer

Eight mono ¼” inputs with •individual volume controls to be assigned to Stereo A/B outputs or mono’d together and sent to both A and B outputs

Stereo ¼” Master outputs with •separate Master volume controls, over 25dB of gain, S/N ratio of 95dB and frequency response from 20Hz-30KHz

Peak LEDs for each group •of input channels

Mono/stereo mode selector•

Heavy-duty steel construction •with smooth-turn, ultra stable pots and high-quality jacks

Power On/Off switch with •LED indicator

9VDC powered with either •9V alkaline battery or optional PAD-1 AC/DC external adapter M M - 2 4 2

C M X - 1 6 A

M M - 1 5 U S B

M M - 1 4 F X

M M - 1 4 1

CMX-16A 16-channel stereo mic/line mixer

Full frequency response, wide •dynamic range and ultra low noise assures natural, transparent sound with maximum headroom Eight mono balanced (XLR •and ¼” TRS) and eight stereo (¼” TRS) inputs (16 total) L/R Main Mix and G1-2 Group •Submix busses, with L/R, and G1-2 functions selectable on all channels and separately assignable to master mixes with separate master faders Two Aux Sends and two stereo •Aux Returns with Aux Send and Aux Return controls Eight mono input channel Inserts •allow independent connection of effects devices for each channel Tape In and Record Out RCA •jacks with Tape Input Level control Separate Control Room and •Headphone Outputs PFL, L/R, and G1-2 mixes •separately assignable to Headphone and Control Room outputs for versatile monitoring capabilityInput Trim controls on all •channel inputsBalanced XLR and unbalanced •¼” TRS Stereo outputs 3-band EQ on all channels•

Pan pots on each mono •channel and Balance pots on each stereo channel

Switchable +48V phantom power •for all mono XLR Mic Inputs

Tape In and Record Out RCA •jacks with Tape inputs assignable to Master Mix or stereo Control Room/Headphone outputs

60 mm faders on all channels •and master L/R and G1-2 bus mix for precise level control

High-quality sealed pots with •center detents for all Pan/Balance and EQ controls

Peak LEDs on all input channels•

Super-accurate 10-stage LED •display bar graph meters switchable to display L/R or G1/G2 mix levels

External AC supply (PSU) for •optimum signal integrity and superior transient response

Dimensions and weight: •15” x 17.5” x 3.75” (381 x 495 x 95 mm), 14.85 lbs (6.75 kg)

29

SRM-10X 10-channel stereo mic/line mixer

Two mono channels with Trim, •Bass, Treble, Aux Send, Pan, and Level controls; low cut; pre/post; PFL switches; Inserts

Four stereo channels: two with •Level controls, Bass/Treble, Balance controls, Pre/Post Aux Send and PFL switches; two with Level controls and PFL switches

Tape In RCA jacks with Level •control and PFL switch

Tape Record Out RCA jacks •

Individual channel Aux Send, •Pre/Post selectable, and Master control

L/R main unbalanced outputs •with slider control

Mono output with slider level •control and AFL switch

Dual 6-segment LED display bar •graph meters

Ultra-low noise mic preamps •

Full spectrum frequency response •

Wide dynamic range with •superior headroom

Separate Master Mix, Control •Room and Headphone outputs

Mic and Line balanced inputs for •optimum audio integrity

¼” TRS Stereo Control Room •and Headphone outputs

Switchable global +48V phantom •power on all mono inputs

Input Trim control on each •mono channel

Pan pots on each mono •channel and Balance pots on each stereo input

Peak LEDs on mono channels •

High-quality pots for all controls •with Pan/Balance and EQ controls having center detents

High-strength steel casing •and superior construction with only highest quality components for longest life and maximum reliability

External AC supply for optimum •signal integrity and superior transient response

SRM-12X/14X 12/14-channel stereo mic/line mixer

Ultra low-noise mic preamps •

Wide dynamic range with superior headroom •

Separate Master Mix, Control Room and Headphone outputs •

3-band EQ on all channels •

Mic and Line balanced inputs for optimum audio integrity •

Tape In and Record Out RCA jacks with Tape inputs assignable to •Master Mix or stereo Control Room/Headphone outputs Switchable global +48V phantom power on all mono inputs •

Input Trim control on each mono channel •

Pan pots on each mono channel and Balance pots on each stereo input •

Pre and post-fader Aux Sends for external effects and monitoring •

Two multifunction stereo Aux Returns with Aux Return controls •

Switchable Low-Cut filters (18 dB/octave @ 75 Hz) on mono channels •

PFL (Pre-Fader Listen) function on all channels •

60mm faders on all channels and Master Mix for precise level control •

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

S R M - 1 0 X

S R M - 1 2 X S R M - 1 4 X


Four mono input channels •with balanced XLR Mic and ¼” TRS line inputs

Eight stereo input channels •with balanced ¼” TRS jacks for balanced or unbalanced inputs

Four ¼” TRS inserts allow •independent connection of effects devices for each mono channel

Dimensions and weight: •13.5” x 11.5” x 3” (343 x 292 x 76 mm) 7.9 lbs (3.6 kg)


Six mono input channels with •balanced XLR Mic and ¼” TRS line inputs

Eight stereo input channels •with balanced ¼” TRS jacks for balanced or unbalanced inputs

Six ¼” TRS inserts allow •independent connection of effects devices for each mono channel

Dimensions and weight: •13.5” x 13.5” x 3” (343 x 343 x 76 mm) 9.3 lbs (4.2 kg)

“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 }

30

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 •balanced XLR Mic and ¼” TRS line inputs; two stereo channels with A/B input selector switch for each channel

Fan-cooled, bipolar amplifier•

Stereo L/R Main Mix and •G1-2 Group Submix busses, with four master faders

Built-in 32-bit DSP simulates •plate, gate, room, hall, stadium reverbs

Channel Trim controls; Peak •LEDs; High, Mid, and Low EQs; Channel GRP 1-2 assign and PFL buttons; EFF Send controls; Pan and Volume controls; Aux Send and Return with Level control; two 5-segment LED display bar graph meters with L-R /G1-2/EFF and PFL selector and Power Amp Peak indicator

Outputs include Preamp ¼” •and RCA Stereo outputs; RCA ¼” Group 1 and 2 outputs; stereo headphone output with L-R / G1-2 /PFL selector and separate volume adjust; L/R ¼” speaker outputs

Internal shielded AC supply •with 115V(60Hz)/230V(50Hz) select switch

PMX-600


Six mono input channels with •balanced XLR Mic and ¼” TRS line inputs


L/R Main Mix and G1-2 Group •Submix buses, with four master faders and Group to Main enable switch


60mm faders on all Channels, •Groups 1/2, Main L/R, and Effects; two 7-band master EQs; Channel Trim controls, Peak LEDs, and switchable

Low Cut filters; channel high EQ, frequency sweepable mid EQ, low EQ; Channel Aux 1 and Aux 2 Send controls, Pan controls, and assignable L/R and G1-2 switches; switchable +48V phantom power; two Aux Sends and two Aux Returns each with Level controls; Tape/CD In and Record Out stereo RCA jacks with Tape level control; six balanced ¼” TRS inserts; two 10-segment LED display bar graph meters with Power Amp Peak indicator

Outputs include balanced ¼” •TRS and XLR Main Stereo Outputs; balanced ¼” Group 1 and 2 outputs; adjustable Control Room left and right ¼” outputs; and stereo headphone output with separate volume adjust and L/R or G1/G2 selector; L/R dual ¼” amplifier outputs for easy speaker daisy-chaining

Internal shielded AC supply •with 115V(60Hz)/230V(50Hz) selector switch

PMX-1600


16 mono channels with •balanced XLR Mic and ¼” TRS line inputs


Stereo L/R Main Mix and •G1-2 Group Submix buses, with 4 master faders and Group to Main enable switch


60mm faders on all Channels, •Groups 1/2, Main L/R, and Effects; two 7-band master EQs; Channel Trim controls, Peak LEDs, and Switchable Low Cut filters; channel high

EQ, frequency sweepable mid EQ, and low EQ; Channel Aux 1 and Aux 2-EFF Send controls, Pan controls, and assignable L/R and G1-2 switches; switchable +48V phantom power; two Aux Sends and two Aux Returns; Tape/CD In and Record Out stereo RCA jacks with Tape Level control; 10-segment LED display bar graph meters with Power Amp Peak indicator

Outputs include balanced ¼” •TRS and XLR Main Stereo Outputs; balanced ¼“ Group 1 and 2 outputs; adjustable

Control Room left and right ¼” outputs; and stereo headphone output with separate volume adjust and L/R or G1/G2 selector; L/R dual ¼” amplifier outputs for easy speaker daisy-chaining

Internal shielded •AC supply with 115V(60Hz)/ 230V(50Hz) select switch

P M X - 4 2 0

P M X - 6 0 0

P M X - 1 6 0 0

31

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

Built-in Digital Delay produces •choice of 4 great overall sound-enhancing delays ranging from small room to spacious

Each channel offers Level and •individual Digital Delay controls and a Low/High 2-band EQ

Master section includes CD/Tape •Level, Master Level, and Digital Delay Level/ Delay Time select controls; Digital Delay Select switch; and L/R Tape In and Tape Record Out RCA jacks

Rear panel Main Out/Amp In •¼” TRS jack unbalanced insert point provides a break between

the Main Out and the built-in amplifier, allowing the output to be sent to an external signal processor or additional power amplifier

Shielded internal power supply •with ~115V(60Hz)/~230V(50Hz) select switch and fused IEC power cord connector

Rugged, lightweight case •with handles (MPM 4130x: 18.45 lbs/8.4 kg; MPMx 8175: 20.6 lbs/9.3 kg) for roadworthy reliability and easy portability

SPM Series Stereo powered mixers

SPM-4250

4-channel 2 x 125W RMS @ 4Ω (1% THD) both channels driven

Four mono input channels •with balanced XLR Mic and ¼” unbalanced line inputs, switchable +48V phantom power


Built-in echo effects DSP •simulates plate, gate, room, hall, stadium reverbs

Input controls, connections and •indicators include Channel Gain controls, Peak LEDs; High, Mid, 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


Durable but lightweight •polypropylene housing for easy portability and roadworthiness

SPM-6300

6-channel 2 x 150W RMS @ 4Ω (1% THD) both channels driven

Six mono input channels with •balanced XLR Mic and ¼” unbalanced line inputs

Stereo (main-monitor) amplifier •with ¼” speaker outputs and mono/main-monitor select switch; fan-cooled, bi-polar amplifier

Built-in DSP for echo effects •(reverb) with Effects Level control

Input controls, connections •and indicators include Channel Volume controls, High and Low EQs, EFF Send, and separate Main and Monitor Level controls; Aux Input, Effects Send and Return, and Stereo Tape/CD RCA inputs; two 5-band master EQs


S P M - 4 2 5 0 S P M - 6 3 0 0

M P M 4 1 3 0 x

M P M 8 1 7 5 x

32

Portable Sound Systems

RPA Series Portable sound systems

Compact (“take anywhere”), complete one-piece portable sound systems •with built-in powered mixer and speakerCollapsible/locking handle and built-in rubber rollerblade wheels•

DSP Reverb with Level and Depth controls•

¼” Effect Send, Return, and Line Out jacks; RCA Tape In/Rec Out •

Master Volume; High, Mid and Low EQ controls•

Rugged enclosure with vinyl cover, carrying handles, •and basemount for mounting on speaker stand

RPA-2

Two mono balanced (XLR and ¼” TRS) inputs 65W RMS @ 4Ω

10” woofer and compression •dome tweeter

Channel controls: Gain, Reverb, •and Contour

RPA-4

Four mono balanced/unbalanced (XLR and ¼” TRS) inputs 100W RMS @ 4Ω

10” woofer, 5 ½” midrange •speaker, and compression dome tweeter

Channel controls: Gain, Reverb, •High EQ, Low EQ

RPA-6

Six mono balanced (XLR and ¼” TRS) inputs 150W RMS @ 4Ω

12” woofer and piezo tweeter •

Channel controls: Gain, Reverb, •High EQ, Low EQ

MPM Series PA Powered mixers/speakers

MPM 4130x/8175x PA 210

PA system includes:

(1x) MPM 4130x or •MPM 8175x powered mixer

(2x) PAM-10F, 10” 2-way •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

SC-20 twenty-foot cable•

R PA - 2 R PA - 4 R PA - 6

M P M 8 1 7 5 x / PA 2 1 2

M P M 8 1 7 5 x / PA 2 1 0

M P M 4 1 3 0 x / PA 2 1 0

M P M 4 1 3 0 x / PA 2 1 2

C H O O S I N g A P O RTA B L E PA

The many applications and advantages of easily portable public address systems are well known. They’re ideal for a variety of uses including classrooms, business meetings, auctions, and auditoriums. Nady offers a wide range of portable sound systems for indoor/outdoor use and for audiences small and large. In order to choose the right system that fits your budget and needs, consider your intended application carefully. Note that in addition to the sound systems described 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.

33

Ensemble PA-4180 Portable stereo sound system

4-channel 180W RMS stereo powered mixer 90W RMS per side @ 4Ω

Convenient portable PA package •with carrying/pulling handle and wheels for easy transport

Two-way speaker system with •8” woofer and piezo tweeter horn

Basemounts for ease of mounting •on speaker stands

20 ft. speaker cables included•

Four each XLR Mic and ¼” Line •inputs, each with Input Gain, High, Mid, Low, Effects, Pan and Channel Level controls

Master section with High, Mid, •and Master Level controls; External Effect Loop Send and Return jacks; stereo Tape In/Rec Out controls with a Tape In level control; built-in Reverb/Delay with Time, Depth and Effect Volume controls

115V(60Hz)/230V(50Hz) voltage •select switch for worldwide operation

Storage compartment for mics, •cables and accessories

Access PSS-150 Portable stereo sound system with mic

5-channel Stereo 150W RMS powered mixer

Convenient portable PA package •with luggage-style handle and wheels for easy transport

AMA• ™ (Automatic Maximum Amplitude) limiter speaker protection

Stereo two-way speaker •system with 10” woofer and piezo tweeter horn, two speaker cables, and two folding speaker stands

Three combo XLR / ¼” Mic /Line •inputs and one XLR Mic input, all with 15V phantom power

Two stereo source inputs for CD, •VCR, DVD or other audio sources; all inputs with Bass, Treble, and Reverb controls

Separate left and right master •output 60mm linear Fader level controls; choice of eight Digital Reverb and eight Digital Delay effects; 5-band graphic equalizer with feedback locating indicators

One Starpower• ™ dynamic microphone and 20 ft. XLR microphone cable

Storage compartments for •microphones, cables and accessories

Variable-speed fan •

Stereo RCA auxiliary outputs•

MPA-30 Portable stereo PA sound system

Convenient, easily portable •stereo PA system

Ideal for small/medium room live •sound applications with power up to 350W Peak (175W RMS)

Includes two full-range speakers •(master and slave) with trapezoid design for great stereo sound and projection

Compact, lightweight yet rugged •construction with durable textured vinyl covering, corner protectors, and carrying handles

Can be used as stand-up or •floor wedge monitors

Master-powered speaker features •a stereo amp with 75W RMS internal power and external speaker output with 75W RMS @ 8Ω and 100W RMS @ 4Ω

On LED; Ch1/Ch2 stereo RCA •phono jack inputs for MP3, iPod, CD players, keyboards, etc.

Basemount inserts for 1 • 3/8” (35mm) speaker stand mounting

20 ft. speaker cable and 17 ft. •dual RCA cable included

E n s e m b l e PA - 4 1 8 0

M PA - 3 0

A c c e s s P S S - 1 5 0

MIN MAX

MIN MAX

MIN MAX

MIC LEVEL

MIN MAX

LINE 1 LEVEL

LINE 2 LEVEL

MIC

LINE 1

LINE 2

LINE OUT

MASTER VOLUME

-12 +12

TREBLE

-12 +12

BASS

CLIP

POWERPA M - 1 0 FF WA - 1 2 O R F WA - 1 5

4 - P O S I T I O N CA PA B I L I T Y AT 3 0 ° , 4 5 ° , 9 0 ° , O R U P R I g H T

J - 1 2 M

34

Speakers

PAM-10F Full-range, two-way PA or stage wedge monitor

10” woofer 3” x 7” horn with 1.75” piezo voice coil 8Ω impedance 120W peak program power rating (60W RMS)

Great sound and projection•

Perfect for all small venue applications •

Compact, lightweight yet rugged cabinets with durable Tolex •covering, reinforced plastic protected corners, and recessed carrying handles for roadworthy reliability and easy portability

Weight: 16.5 lbs (7.5 kg)•

Dimensions: 10”D x 20”H x 15”L (25.4 x 50.8 x 38.1cm)•

Basemount inserts for speaker stand mounting •

92dB sensitivity (1W/1M) •

¼” jack inputs •

J Series Full-range two-way speakers

J-12M

12” woofer 7.5” x 6” titanium horn 8Ω impedance 700W peak power rating 90dB sensitivity 92dB +/- 2dB maximum SPL

J-15M

15” woofer 7.5” X 6” titanium horn 8Ω impedance 700W peak power rating 94dB sensitivity 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

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

FWA Series Powered floor wedge speakers

FWA-12

12” woofer 4” x 10.5” high-compression piezo horn 125W RMS

FWA-15

15” woofer 5” x 15” high-compression piezo horn 160W RMS

Three channel inputs: balanced XLR and ¼” Mic level; balanced XLR and •¼” Line level; balanced XLR and dual RCA Line level—each with Input Gain control

Line level balanced XLR and unbalanced ¼” outputs•

Master Volume, Treble and Bass controls; On/Off rocker switch; •Power and Clipping LEDs

Durable black carpet cover, heavy-duty plastic protective corners •and integrated recessed carrying handles for easy portability

Frequency Response: 60Hz–18KHz•

J - 1 5 M

P S 2 1 5

P F W 1 2 O R P F W 1 5

P S 1 1 5

P S W 1 5 O R P S W 1 8

P S W- 1 8 A

P T S 5 1 5 O R P T S 1 0 1 5

P S W 1 5 2

35

ProPower™ Series Carpeted speakers

PS112

Full-range, two-way speaker 12” woofer / 5” x 15” horn 8Ω impedance 300W peak; 150W RMS

PS115

Full-range, two-way speaker 15” woofer / 5” x 15” horn 8Ω impedance 500W peak; 250 RMS

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 12” woofer / 4” x 10.5” horn 400W peak; 200W RMS

PFW15

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

PSW18

18” subwoofer speaker 2” voice coil 8Ω impedance 600W peak; 300W RMS

PS215

Full-range, two-way speaker Two 15” woofers 10” x 18” horn 8Ω impedance 800W peak; 400W RMS

PSW152

Dual 15” subwoofer 4Ω impedance 800W peak; 400W RMS

All horns with high compression piezo drivers•

Durable black carpet cover•

Heavy-duty plastic protective corners•

Integrated recessed carrying handles for easy portability•

Sensitivity (1W/1M): •PS112/PS115/PTS515: 91.5dB PFW12/PFW15/PTS1015: 90dB PS215: 90.5dB

Binding post (banana jack) and two ¼” (6.3 mm) jack inputs•

Basemount inserts for mounting on speaker stands •(PS112, PS115, PTS515, PTS1015, PSW18)

PSW15 with speaker stand insert on top of cabinet• P S 1 1 2

PSW-18A Powered subwoofer

1100W powered subwoofer with •adjustable roll-off (low pass) filter and 123dB SPL capability

Balanced XLR and ¼” parallel •I/O for easy thru-put plus dual RCA inputs

Master Volume control and •adjustable Low Pass filter from 60Hz to 260Hz with steep roll-off for maximum punch

“Soft start” Power On/Off switch •with Power and Clipping LED indicators

Sturdy plywood cabinet with •durable carpet covering, steel grill, protective corners, and 1 3/8” (35mm) polemount receptacle

Bridge mode power amp for •highest power with lowest distortion; output relay safety protection; ultra-efficient cooling, low-noise exhaust fan; AC fuse

Optional SMP-3 speaker •mounting pole available

60Hz 260Hz

INPUT LOW PASS

MIN MAX

VOLUME

36

Speakers

M-CAB Series™ Passive plastic molded speakers

MC-12

600W peak program power rating (300W RMS) 12” low-frequency woofer / 1.5” compression driver 2.5” (6.3 cm) voice coil 8Ω impedance

MC-15

600W peak program power rating (300W RMS) 15” low-frequency woofer / 1.5” compression driver 2.5” (6.3 cm) voice coil 8Ω impedance

Durable yet lightweight, molded high-impact ABS/fiberglass •composite enclosures (designed to deflect bumps and scrapes)

Perfectly balanced for ease of portability and set-up; •built-in handles for carrying

Ultimate flexible design enables either FOH main speaker •or stage monitor use

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•

THS Series Full-range two-way speakers

MC-8

Full-range, two-way speaker 150W peak power rating (75W RMS) 8” woofer / 1” driver 4Ω impedance

MC-10

Full-range, two-way speaker 400W peak power rating (200W RMS) 10” woofer / 1” driver 8Ω impedance

M C - 8 / M C - 1 0 M C - 1 2 / M C - 1 5

T H S - 1 5 1 5T H S - 1 5 1 2

THS-1512

12” woofer 6” x 15” conical titanium horn 320W peak power rating (160W RMS) 8Ω impedance 102dB sensitivity Weight: 55 lbs (25 Kg)

THS-1515

15” woofer 6” x 15” conical titanium horn 600W peak power rating (300W RMS) 8Ω impedance 103dB sensitivity Weight: 67 lbs (30 Kg)

Durable, roadworthy cabinet •construction with Tolex covering, reinforced corners, and large built-in recessed carrying handles

Wide-angle, short-throw, high-•frequency dispersion horns provide clean, accurate treble for optimum clarity

Convenient Speakon• ™ and ¼” (6.3mm) connectors for professional hook-ups

Durable but lightweight molded •high-impact mineral loaded polypropylene enclosures (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 speakers) and project recording applications (as studio monitors)

Can be mounted upright or wall-•mounted with included bracket

Low-impedance compensated •crossovers with full driver protection

Wide-angle, short throw, high-•frequency dispersion horns with 1.0” diameter precision compression driver

37

P-CAB Series™ Active plastic molded speakers

P C S - 8 / P C S - 1 0

P C S - 1 2 / P C S - 1 5

PCS-8

Full-range, two-way powered speaker 35W RMS 8” woofer 5.5” x 8” compression horn

PCS-10

Full-range, two-way powered speaker 180W RMS 10” woofer 5.5” x 8” compression horn Built-in 2-channel mixer

Durable but lightweight molded polypropylene enclosures •(designed to deflect bumps and scrapes)

Versatile design perfect for small room PA (as FOH and monitor •speakers), and project recording applications (as studio monitors)

Can be mounted upright on a speaker stand (1”diameter) or •wall-mounted with mounting bracket included (PCS-8 only)

Can be used as a floor monitor (laid on its side) with supplied •bracemounts (PCS-10 only)

Wide-angle, short throw, high-frequency dispersion horns with •1.0” diameter precision compression driver

Treble, Bass, and Level controls (PSC-8); Channel and Master Level •controls; Treble and Bass EQs (PCS-10 only)

XLR balanced and ¼” unbalanced inputs and outputs; RCA inputs•

PCS-12

Full-range, two-way powered speaker 200W RMS 12” woofer Titanium horn

PCS-15

Full-range, two-way powered speaker (bi-amped) 250W RMS 15” woofer Titanium horn

Durable but lightweight molded high-impact, mineral-loaded •polypropylene trapezoid speaker enclosures (designed to deflect bumps and scrapes)

Perfectly balanced for ease of portability and set-up; •built-in handles for carrying

Ultimate flexible design—flyable, stackable, pole mountable, or can be •used as floor monitor when laid on its side with supplied brace mounts

Internal power system delivers 200W RMS to the woofer, 50W RMS to •the horn and provides high-quality audio performance more efficiently than conventional power amplifiers with passive speakers

Easy-to-use, built-in pre-amplifier with XLR and ¼” balanced Mic/Line •inputs; Gain, Treble, Mid, Bass and Level controls; Signal and Clip LEDs

Fused IEC power cord jack and 115V(60Hz) / 230V(50Hz) Select switch•

Full top-end speaker features, including low impedance electronically •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•

-20 -15 +15 -15 +15 -15 0 1060mic30line

+15

INPUTS GAIN HIGH MID LOW VOL

HF

LINE MIC

LF

“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 }

P M - 2 0 0 A

38

Studio/Personal Stage Monitors

SM Series Studio monitor pairs

SM-120

Passive monitor 120W peak power rating

SM-250A

Active monitor Built-in 100W bi-amped power (50W for LF, 50W for HF)

SM-300A

Active monitor Built-in 240W Peak (120W RMS) Bi-amped power: 140W peak / 70W RMS for LF 100W peak/50W RMS for HF

Clear, transparent sound and •full linear frequency response (35Hz-20KHz)

Vertically aligned two-way •nearfield monitor with 6.5”/8” woofer and 1” ferro fluid-cooled soft dome shielded tweeter—both magnetically shielded

Bass-reflex loaded with 2” •tuned cylindrical port

Heavy-duty cabinet construction, •with 1.5” thick curved front baffle for reduced HF diffraction effects and excellent imaging

Gold-plated binding posts for •easy hookup to banana plugs, spade connectors, or bare wires (SM-120)

¼” balanced/unbalanced TRS •inputs (SM-250A/SM-300A)

Dimensions: 13.4” x 8.3” x 10.4” •(SM-120/SM250A); 16” x 9.5” x 11.75” (SM-300A)

Weight: 14.4 lbs (SM-120); •18.5 lbs (SM-250A); 29.5 lbs (SM-300A)

CSM-5 Compact two-way multi-purpose speakers

60W peak power rating/ 8Ω impedance

Nearfield passive speaker is ideal •for desktop recording, computer music, and many home stereo and multimedia applications

Full-frequency sound reproduction •and super compact size—ideal for use in crowded desktop environments

¼” ferrofluid-cooled soft-dome •tweeter and 5 ¼” robust woofer deliver uncompromised audio accuracy and transparency; creates mixes that translate exceptionally well to other playback systems

Gold-plated binding posts •for easy hookup to banana plugs, spade connectors, or bare wires

Mounting bracket included •for optional wall-mounting convenience

Frequency range: •89Hz-20KHz

Sensitivity: •8dB +/-2dB (1W/1m)

Dimensions: 10.2” x 6.7” x 6.3”•

Weight: 4.1 lbs•

S M - 2 5 0 A

S M - 1 2 0

S M - 3 0 0 A

PM Series Personal near-field stage monitors

Designed to reduce stage clutter and volume by putting the sound where you can most use it. Compact, rugged, and lightweight—the PM Series can be mounted on a mic stand (with optional mic stand mount adapter if needed), set on a keyboard, amp, or table for effective up-close monitoring, or used as a stage monitor with four different angled positions for optimum placement and versatility.

PM-100

200 W peak; 100W RMS

Specially designed dual ferro-fluid •5” drivers offer superior gain before feedback and up to 125 dB maximum SPL

Uniquely tuned response projects •audio at the desired frequencies to cut through stage noise while ensuring high feedback immunity

Volume/Impedance selector •and two ¼” In/Out jacks for performer adjustability and easy daisy-chaining with up to 15 other PM-100 monitors

Dimensions: 11.1” x 7” x 5.3”•

Weight: 5.1 lbs•

PM-200A

150W RMS

Can power internal speakers plus •up to four PM-100 Personal Stage Monitors using the two External Speaker outputs

Specially designed dual ferro-fluid •5” drivers offer superior gain and optimum intelligibility at key vocal/instrument frequencies with ultimate feedback rejection

Maximum 125dB SPL cuts •through even the loudest ambient noise clutter

Balanced ¼” TRS and XLR •input jacks (can be used simultaneously if desired)

Volume control; 3-band EQ •controls (High, Mid, Bass); 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 •or 230VAC operation

Dimensions: 11.1” x 7” x 9.6”•

Weight: 9.6 lbs•

C S M - 5

P M - 1 0 0

LINE

MIC

INPUTS LINE OUT INT. SPEAKERSEXTERNAL SPEAKERS

VOLUME

HEADPHONES

0 10 0

HIGH MID BASS A

B

MIN. IMPEDANCE 8ΩON

ON

OFF

OFF

MIN. IMPEDANCE 8Ω

10

EQ

-10 10 -10 10

DJH-2000 Closed-ear DJ headphones

Huge 54mm drivers to pump •ultra-phat bass, rich mids, and crisp clear highsGreatest power handling capacity/•efficiency for very loud volumesPerfect for the turntable, console, •or personal rigMulti-position 90° rotating ear •cups allow for single-sided or shoulder rest wear3 ½” tangle-resistant coiled •cable extends to 11 ft. for greatest mobilityLightweight body with wide •adjustable padded headband and soft, tear-resistant ear cushions for unmatched comfort and fit

Gold-plated stereo 3.5mm •mini-plug with locking ¼” adapterStereo/mono switch for •single-sided listeningFoldable joint design •for easy packing60• Ω nominal impedance, 10~20,000Hz response

QHM-100 With boom microphone

High-quality closed-back design•

Boom condenser mic, perfect •for stage, DJ, podcast or computer applicationsComfortable, heavily padded •adjustable headband and earcups40mm drivers with a frequency •range of 20 to 20,000Hz32• Ω impedance rating, high-volume capability with 105 dB/mw sensitivity ratingSupplied with 10 ft. cord with •one 3.5mm stereo headphone plug, one 3.5mm mono mic plug, and a stereo and mono ¼” (6.3mm) plug adapter for each In-line Volume control on cord •for headphone audio and On/Off switch for mic

QH 200 Studio stereo

Closed-back headphones•

High-quality, very affordable•

Perfect for studio or home use•

Comfortable, heavily padded, •adjustable headband and earcups40mm drivers with a frequency •range of 20 to 20,000Hz and 32Ω impedance ratingHigh-volume capability with •105 dB/mw sensitivity ratingIn-line Volume control on cord•

Supplied with 6 ft. cord with •3.5mm stereo plug and ¼” (6.3mm) plug adapter

QH 160 Lightweight

Cushioned for long-wear comfort•34mm mylar driver with high-•output neodymium magnet and high 102dB @1KHz sensitivityFull 20-20KHz frequency •response

QH 360 Studio stereo

Ambient open-ear design•Thin, responsive 40mm •diaphragm and neodymium magnetSmooth 20-20KHz response •Super 112dB @ 1KHz sensitivity•Self-adjusting headband for a •perfect fit

QH 560 Deluxe studio stereo

Advanced, ambient open-air design•High performance driver and •ultra-thin 40mm diaphragmFull 20-20KHz response and •110dB SPL @1Khz sensitivitySelf-adjusting headband•

QH 660 Deluxe studio stereo

Closed-ear design for maximum •isolation with punchy, booming bass and crystal clear highsHighest power handling capacity •and high sensitivity for maximum volume capability90° swivel earcups for ease •of storage and single ear DJ monitoring use

39

Crossovers / EqualizersHeadphonesQHM/QH Series

Q H 6 6 0

Q H 2 0 0

Q H 3 6 0

D J H - 2 0 0 0

Q H 5 6 0Q H 1 6 0

“I mix 5-10 gigs a month and my DJH-2000 has been more than up to the job. The sound really cuts through.”Damon Desquino, Albuquerque, NM

}

}

Q H M - 1 0 0

HE-1 Hum eliminator

Easily eliminates AC hum (60Hz/120Hz buzz) •with up to 20dB of attenuation

Breaks grounds loops safely while leaving •all signal grounds intact

Converts automatically back and forth •between balanced and unbalanced lines at either end

Dual Channel I/O with ¼” TRS jacks•

Completely passive design with •quality components assures best possible noise/distortion-free performance

40

Miscellaneous Gear

Noise-Cancelling Headphones

PHP-3 DJ phono pre-amplifier

Converts Phono signals to Line Level utilizing •standard RIAA equalization—amplifies and EQs vinyl records to interface with mixers, main or monitor systems, audio workstations, and sound cards

Works with all turntables using •magnetic cartridges

Plug-and-play operation with full patching •facilities for easy connection of phono turntables to any sound equipment

External power adapter for •low-noise operation

Rugged metal case for •maximum reliability

“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 }

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

Large 30mm drivers for rich, powerful audio •with full-frequency response and punchy bass

Compact folding design and leatherette •pouch for easy transport while traveling—perfect for private listening without distracting ambient noise in airplanes and other noisy environments

Full-size padded leatherette ear cups and •adjustable headband for ultimate long-lasting wearing comfort; fits all head sizes

Uses single AAA battery (included)•

3.5mm stereo mini-plug; two-prong airline •jack adapter included

QH-50NC

Large 50mm drivers for rich, powerful audio •with full-frequency response and punchy bass

Full-size padded leatherette ear cups and •headband for ultimate long-lasting comfort

Adjustable headband creates a comfortable •fit for all head sizes

Convenient battery compartment on cable•

Uses single AAA battery•

Q H - 5 0 N C

P H P - 3

H E - 1

Q H - 3 0 N C

“ 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 .......................... 42Starpower™ Series, American Performer, PCM-200

Vocal/Instrument Condenser Mics .. 43SPC Series, PCM-100

Studio Condenser Mics ..................... 44SCM Series, SMK-2, CM Series, TCM Series

Ribbon Mics ....................................... 46RSM Series, TRM-6

USB Mics ............................................ 47USB-24M, USB-1C, USB-1CMS

Drum/Instrument/Specialty Mics .... 48DM Series, CM Series, Drum Mic Kits, SGM-12, OHCM-200, VHM-7, MSC3

Headworn Mics .................................. 50HeadMic™ Series

Studio/Wired M

icrophones

Studio/Wired Microphones

Nady’s popular line of professional

studio/hardwired microphones offers

unbeatable performance and value.

With models in every price range, the

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

42

Starpower™ Series Professional performance mics

SP-1

Excellent clear, transparent sound across the •spectrum with smooth bass, mid-presence punch and crisp highs

Unidirectional cardioid pattern with superior •feedback rejection

Powerful neodymium element cuts through with •accurate, distortion-free sound in even the highest sound pressure level situations

Rugged metal construction and internal •shock mounting for maximum reliability and ultra-low handling noise

Mic clip included•

SP-5

Balanced, natural sound with bottom-end warmth, •mid-range presence and a smooth high end

Advanced neodymium element delivers high •output to break through even the loudest mix with uncompromised sound quality

Tight unidirectional cardioid polar pattern minimizes •feedback in high sound pressure level situations

Transformerless design provides superior low-end •frequency response with minimal distortion

Ultra lightweight aluminum humbucking voice coil •provides maximum hum rejection and exceptional clarity across the spectrum

Specially designed rubber shockmount for cartridge •reduces handling noise for quietest performance

Heavy-duty steel mesh ballscreen and rugged zinc •chassis for optimum roadworthy reliability

Gold-plated XLR connector resists tarnish and •ensures best possible connection

Advanced high-output cartridge provides maximum •clarity and definition, even in noisy environmentsUnidirectional cardioid pattern •reduces feedbackSpecially designed internal cartridge •mount for lowest handling noise and quiet performanceWithstands highest sound pressure •levels without overload or distortionRugged, all-metal construction•On/Off switch on handle •Includes microphone cable•

American Performer™ Performance/speaking mic

Linear full-range response with crisp mid-range •presence for optimal clarity and punchPowerful neodymium mic element for highest output without •noise—cuts through even the loudest sound pressure level situations without compromising soundUltra-light aluminum humbucking voice •coil and transformerless design provide noise-free, accurate reproduction across the audio spectrum without distortionTight cardioid polar pattern provides •excellent off-axis rejection for superior gain before feedbackAdvanced multi-axis rubber shockmount •for element minimizes handling noiseRugged, all-metal construction for maximum •reliability—features zinc die-cast case and steel mesh windscreen with anti-dent ringExternal On/Off switch for easy audio control from stage•

SP-4C Mic with 20 ft. cable (XLR / ¼”) SP-R3 3-pack, mic clips included

Vocal / Instrument Condenser MicsSPC Series Professional performance mics

SPC-10Large (1”) diameter, ultra-thin membrane, gold-evaporated, pressure •gradient condenser capsule and transformerless FET circuitry for superior audio with unsurpassed warmth and transparency

Linear frequency response across entire audio spectrum (30~20,000Hz), •with added presence in the mids and highs for crisp, clear soundSuperior 8mV/Pa sensitivity, wide 122dB •dynamic range, high 140dB SPL capacity and ultra-low distortionExternal low-cut switch for rolling off •low frequencies (80 Hz, 12 dB/octave)Multi-axis internal capsule shockmount •for extremely low handling noiseTight cardioid pattern for optimum •feedback rejectionRequires 48VDC phantom power•

SPC-15 Pressure gradient back electret condenser, transformerless FET circuitry •for transparent audio reproduction and superior transient response

Wide frequency response (50~18,000Hz) with specially tailored mid-•high presence for enhanced vocal and instrument punch and exceptional crisp, clear soundSupercardioid polar pattern for maximum feedback rejection, •superior sensitivity, wide dynamic range, high (136dB) SPL capacity and ultra-low distortionAdvanced internal shockmount design •to eliminate handling noiseCompact all-brass housing is lightweight, •roadworthy and durable for long life and reliabilityGold-plated XLR connector•Requires 9~52V phantom power•

SP-33

Lively full-range response with punchy bass, •articulate mids, and detailed crisp highsPowerful neodymium mic element for highest output •without noise — cuts through even the loudest sound pressure level situations without compromising soundAluminum alloy voice coil for clear, warm sound•Tapered shape and rubberized easy-to-grip coating •for optimum handheld comfortUltra rugged, reliable and •superior low handling noiseMic clip included•

SP-9

Ideal all-purpose vocal and instrument mic•Linear response for detailed, natural sound•Unique one-piece molded cartridge design •ensures superior immunity to abuse and shockCardioid, alnico magnet dynamic•Excellent feedback immunity and low handling noise•Rugged, reliable—the perfect stage mic•

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 responseWide frequency response (50~16,000Hz) with specially tailored mid-high •presence for vocal punch and exceptional crisp, clear soundUltra-high (140dB) SPL capacity and wide •115dB dynamic range for maximum freedom from distortionSupercardioid polar pattern for •maximum feedback rejection4.5mV/Pa sensitivity, and 200• Ω rated impedance with 1000Ω minimum load impedanceSuperior internal shockmounting •to eliminate handling noiseRequires 48VDC phantom power•

SPC-25 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 responseLockable noise-free audio On/Off switch•Supercardioid polar pattern for •maximum feedback rejectionRugged die-cast body, hardened steel mesh•Superior internal shockmounting to •eliminate handling noiseOperates on a single internal AA battery •with no phantom power required

PCM Series Professional classic style mics

PCM-200 Dynamic MicrophoneHigh-output dynamic cartridge •for big, powerful sound Cardioid pickup pattern to reduce •feedback during live applications Transparent tailored audio with •presence peak for distinct live-sounding vocals Pop-free locking on-off switch•

PCM-100 Condenser MicrophoneSpecially designed high-quality back electret •condenser mic for clearest audio reproduction Cardioid polar pattern •Smooth tailored frequency response •Vivid vocal reproduction with characteristic •presence peak Switchable Low-Cut filter•Phantom power LED•

43

44

Studio Condenser Mics

CM Series Small diaphragm condensers

SCM Series Large diaphragm condensers

CM 90High sensitivity, extended •smooth full frequency response and very high SPL capabilityCardioid pattern 20mm •electret condenserTransformerless design •for minimal self-noise and increased dynamic rangeRugged, turned-brass housing •and internal sub-assembly shockmount for maximum reliabilityRequires 48V •phantom power

CM 95Low-cut off and -10dB •attenuation switches for utmost versatility in all applicationsCardioid pattern 20mm •electret condenserHigh sensitivity, extended •smooth, full frequency response and very high SPL capabilityTransformerless design •for minimal self-noise and increased dynamic rangeRugged, turned-brass •housing and internal sub-assembly shockmount for maximum reliabilityRequires 48V •phantom powerIncludes mic stand •clip and vinyl storage bag

CM 100Precise reference •measurement micTrue, symmetric omni-directional •pattern, high sensitivity, minimal self-noise, increased dynamic range, high SPL capability, and extremely smooth, linear 15Hz to 20KHz frequency response provide transparent recordingsPerfect for use with real-time •analyzers for precise, accurate room acoustics alignments or detailed recording of acoustic guitars and vocalsRugged construction, •gold-plated XLR, and internal assembly shockmount for maximum reliabilityIncludes foam •windscreen for outdoor applications and mic stand clip (including 5/8” to 3/8” adapter)

CM-2SPerfect stereo mic for recording, •ENG field use, FM stereo radio, and many other applicationsFeatures two closely matched •cardioid condenser elements; superb channel separation; smooth, linear 30Hz-20kHz frequency response with a switchable low-frequency roll-off; high SPL capability; extended dynamic range with ultra-low self-noise; crisp, clear transparent audio; and internal battery operationCompact, lightweight •design for easy camera mounting (camera shoemount optional)Includes mic clip, •connector cables and adapters, windscreen, AA battery, and soft protective pouch

SCM 800

Ideal for all recording and •broadcasting applicationsFeatures large-diaphragm •true condenser design, transformerless low-noise/ high-dynamic range output, high SPL capacity, cardioid polar pattern pickup, FET preamps, and rugged internal shock mounts Compact and durable, with •precision-turned brass housing

SCM 900

Large, pressure-gradient •condenser, gold-sputtered diaphragm and FET preamplifierInternal shockmount construction •for highest structural integrity and rugged reliabilityCardioid pattern•Requires 48V phantom power•

SCM 960

Large, pressure-gradient •condenser, gold-sputtered diaphragm and FET preamplifierInternal shockmount construction •for highest structural integrity and rugged reliabilitySelectable attenuation pad •and omni or cardioid polar pickup patternRequires 48V phantom power•

SCM 1000

Large, pressure-gradient •condenser, gold-sputtered diaphragm and FET preamplifierInternal shockmount construction •for the highest structural integrity and rugged reliabilitySelectable 10dB attenuation pad •and low-cut filterMultiple selectable polar patterns: •Omni/Cardioid/Figure 8Requires 48V phantom power•

SCM 2090 Stereo mic

Uses a pair of closely matched, •large diaphragm, uni-directional (cardioid) elements, angled at 90° in an X/Y stereo configurationProvides realistic spatial imaging •of the sound field, making this mic ideal for location stereo recording of orchestras, choral groups, bands, ambient instrument audio, ENG theater, etc.Utilizes two gold-sputtered large •diaphragm condenser elements for warm, crisp response with improved linearity across the frequency spectrumUltra-low self-noise, increased •dynamic range, and maximum SPL capacity for recording loud audio such as brass, drums, and high-powered amplifiersManufactured with the finest •materials featuring a machined housing for rugged reliabilitySuperb channel separation, •with 5-pin XLR to dual 3-pin XLR “Y” cable (included)

S C M 8 0 0 S C M 9 0 0

S C M 9 6 0 S C M 1 0 0 0

S M K - 2S C M 2 0 9 0

C M 9 0 C M 1 0 0 C M - 2 S

SMK-2 Studio mic kit in carrying case

(1x) CM 90 / (1x) SCM 900

C M 9 5

TCM Series Vacuum tube condenser mics

TCM 1050 Versatile multi-pattern mic with unsurpassed tone

Hand-tooled brass capsule with •a 3-micron multi-pattern gold-sputtered mylar dual diaphragm (1-inch) for maximum sensitivity, long life, and subtle sonic detail

Tube preamplifier circuitry with •6072 vacuum tube—a classic 12AT7 specially selected for low distortion, superior signal-to-noise ratio and minimum sensitivity to mechanical vibrations

Special output transformer for •ultra transparency and natural warm reproduction of sound

Almost all brass parts for years •of studio workhorse reliability

Power provided by a dedicated •AC power supply with balanced XLR output for connection to any mixing console; no phantom power required

Nine different polar patterns •remotely selectable on power supply for ultimate versatility in use and ease of operation: omnidirectional, cardioid, figure eight, and six intermediate stages

TCM 1100 Cardioid pattern mic for best sound at any price

Suitable for the most critical •(vocal or instrumental) live sound, studio recording and broadcasting applications

Hand-tooled brass capsule with •a 3-micron gold-sputtered mylar diaphragm (1.1-inch) for maximum sensitivity, long life, subtle sonic detail, and excellent tone

Unique, specially designed •gold-plated center element creates a gentle extension of the top octaves and enhanced transient response

6072 (classic 12AT7) vacuum tube •and special output transformer deliver superior pristine sound with ultra transparency


Supplied with sturdy portable •plastic carrying case and 16’/ 7-pin XLR cable and TMPS-1 power supply (with switchable 115/230V operation and balanced output)

TCM 1150 Multi-pattern mic for the most demanding applications

Ideal for all types of vocal and •instrument pickup

Gold-sputtered, ultra-thin (1” •diameter) mylar dual diaphragm

Tube preamplifier circuitry with •6072 vacuum tube—a classic 12AT7 specially selected for low distortion, superior signal-to-noise ratio and minimum sensitivity to mechanical vibrations

Special output transformer •designed for ultra transparency and natural warm reproduction of sound


Power provided by a dedicated •AC power supply with balanced XLR output for connection to any mixing console; no phantom power required

Nine different polar patterns •remotely selectable on power supply for ultimate versatility in use and ease of operation: omnidirectional, cardioid, figure eight, and six intermediate stages

T C M 1 0 5 0

T C M 1 1 0 0

T C M 1 1 5 0

45

M I C R O P H O N E T Y P E S

The three most popular types of microphones are dynamic, condenser, and ribbon. Any of these may be suitable for your needs, but there are some typical differences among the three.

DYNAMIC mics are rugged and popular for most onstage and recording applications. They don’t require a separate power supply as do condenser mics. Mostly available with boosted mid-range emphasis for vocal and instrument use, these versatile mics also offer solid low-end response and balanced mids for drum miking and other applications. Although frequency response is more limited than with condensers, and the sound is not quite as accurate, the ability of dynamic mics to withstand high sound pressure levels make them ideal for miking loud sound sources such as guitar amps and screaming vocals.

CONDENSER mics are sensitive to 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 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 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.

46

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-1Vintage ribbon (velocity) mic •sound and performance at an affordable price

Versatile physical and acoustic •design for numerous vocal and instrument recording and live sound uses

Compact housing for easy, •unobtrusive mic placement

Low-tension, 2-inch long, •2-micron thick aluminum ribbon design for classic ribbon audio reproduction with smooth, uniform natural sound, fast accurate transient response, ultra-high 165dB SPL capability, unmatched transient response and overall stunning realism

Offers a choice of audio •reproduction depending on placement for utmost versatility in dialing in the desired “sound”. Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (as compared to large diaphragm condenser mics), and slightly different frequency responses from front and rear side. Increased off-axis high frequency response on sides, with decreased high response above and below on-axis (although lower audio levels)

Enables individual recording •volume control of separate 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-2Uncompromised sound of a •classic ribbon (velocity) mic

Low-tension 50-mm long, •2-micron thick aluminum ribbon design for characteristic “large, mellow” ribbon audio reproduction with smooth, natural extended low and high ends

Unmatched fast, accurate •transient response, ultra-high 165 dB SPL capability, and overall stunning realism

Figure-eight audio directional •(pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), slightly different frequency responses from front and rear, and increased off-axis high-frequency response on sides; decreased treble and lower audio levels above and below on-axis

Discrete volume control of •separate sources possible with stereo mic setups (source in principal axis of mic and in off-axis null of the other)

RSM-4Uncompromised sound of a •classic ribbon (velocity) mic

Ideal for close miking of guitar •amps and cabinets and many other vocal/instrument recording and live sound applications

Low-tension, 45-mm long, •6-micron thick aluminum ribbon design for characteristic large, mellow ribbon audio reproduction with smooth, natural extended low and high ends


Figure-eight audio directional •(pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), slightly different frequency responses from front and rear, and increased off-axis high-frequency response on sides; decreased treble and lower audio levels above and below on-axis

Discrete volume control of •separate sources possible with stereo (dual) mic setups (source in principal axis of one mic and in off-axis null of the other)

Supplied with a mic clip and •leatherette pouch

RSM-5Rich, warm musical sound•

Perfect for close miking of •guitar amps and cabinets, brass instruments, strings, piano, percussion, vocals and orchestral ambiance

Low-tension, 45mm long, •2-micron thick aluminum ribbon design with typical “large, mellow” ribbon audio reproduction

Smooth, natural extended •low and high ends; detailed, realistic mids

Unparalleled overall stunning •realism with fast, accurate transient response, ultra-high dynamic range and >135 dB SPL capability

Utmost versatility in dialing in •desired sound by varying mic placement

Figure-eight audio directional •(pickup) pattern for both front and rear side, with extended sweet spots (as compared to large diaphragm condenser mics)

Can be used with a second •RSM-5 for individual recording volume control of two separate sources by placing each source in the principal axis of one mic and the off-axis null of the other

Supplied with a mic clip and •leatherette pouch

R S M - 1 R S M - 2 R S M - 4 R S M - 5

Low-tension, 45mm long, •2-micron thick aluminum ribbon design with typical “large, mellow” ribbon audio reproduction

Smooth, natural extended low •and high ends and detailed, realistic mids

Unique integrated 12AX7A •preamp tube provides unmatched tube audio at levels higher than that of ordinary ribbon mics; allows convenience of use with all mixer inputs without requiring external pre-amplification

Versatile design, perfect for •numerous applications including vocal and instrument recording and live sound

Superior overall stunning •realism with fast, accurate transient response, ultra-high dynamic range and >135 dB SPL capability

Extraordinary versatility in dialing •in the desired sound by varying mic placement. Figure-eight audio directional (pickup) pattern for both front and rear side, with extended sweet spots (compared to large diaphragm condenser mics)

Can be used with a second •TRM-6 for individual recording volume control of two separate sources by placing each source in the principal axis of one mic and the off-axis null of the other

Manufactured with the •finest materials— machined housing with advanced internal shockmount construction for the highest structural integrity and rugged reliability

TRM-6 Vacuum tube ribbon mic

R S M - 8 A T R M - 6

RSM-8A FET preamp ribbon mic

All the warmth and natural, •uncompromised sound expected of a classic Nady ribbon microphone with the added gain and selectable features offered by proven ultra low-noise FET active circuitry and transformer output

Perfect for recording vocals, •acoustic/electric guitars, drums, percussion, strings, brass— any application in which true natural audio reproduction is desired

Low-tension, 50mm long, •2-micron thick aluminum ribbon (velocity) design for characteristic “large, mellow” ribbon audio reproduction with smooth, natural extended low and high ends

40dB more gain than most •non-active ribbon microphones; easy to use with any mic mixer or preamp

-10dB pad and Low Cut filter •selector switches for often-needed attenuation and elimination of stage rumble


Figure-eight audio directional •(pickup) pattern for front and rear sides, extended sweet spots (as compared to large diaphragm condenser mics), and increased off-axis high-frequency response on sides, decreased treble and lower audio levels above and below on-axis

Swivel U-bracket allows ease in •positioning for any application/audio source.

48V phantom power required•

USB-24M USB dynamic mic

Perfect for recording vocal •tracks or voice-overs on your computer or for online communicationExcellent clear, crisp sound •with smooth response Dynamic neodymium element •provides ultimate sensitivity with cardioid pick-up

Connects directly to any •computer with a USB 2.0 (or higher) input port for easy plug-and-play operation with most DAW software AD converter with 24-bit, •96KHz sampling rate

Convenient On/Off switch and •USB connection LED indicator Easy to use with computer •recording software Heavy gauge mesh grill and •durable construction

USB Mics

USB-1CMS

The USB-1C is also available with added optional Sony ACID Music Studio 7 software

Record/edit/mix multiple •tracks of audio and MIDI

Create unique interactive •tutorials

Share songs on •CD/MP3 and other formats

U S B - 1 C o r U S B - 1 C M S

USB-1C USB large diaphragm condenser mic

Perfect for high-quality •recordings of vocals, acoustic instruments, and ambient instrumentation as well as pod-casting and online communication Connects directly to any •computer with a USB 2.0 (or higher) input port for easy plug-and-play operation Large pressure-gradient •condenser gold-sputtered diaphragm and FET pre-amplifiers for warm, natural reproduction of the most subtle or powerful audio sources Full frequency response •with rich warmth and crisp, transparent audio Minimal self-noise, increased •dynamic range, and maximum SPL capacity

Rugged, compact construction •with protective mesh grill and internal shock absorption Basemount mic holder fits •any standard mic stand 10 ft. USB cable included•

U S B - 2 4 M

47

48

Drum / Instrument / Specialty Mics

D M - 7 0 D M - 8 0

C M 6 0

C B M 4 0 X C M 8 8

D M - 9 0

CM Series Condenser microphones

CM 60 Clip-on miniature condenser microphone

Mounts to drum rims, the edge •of acoustic guitar sound holes or the bell of wind instruments for accurate sound reproduction and isolation from other instruments

Tight cardioid polar response is •highly effective in suppressing feedback and unwanted sounds

Rubber boom shockmount’s •ingenious design minimizes vibration and audio transference from resonant instruments or materials

Sturdy rubber-grip spring clamp •holds mic securely and prevents marring of finish

Built-in windscreen and •external windscreen included for maximum feedback and “pop” rejection

Adjustable gooseneck and •swivel joint allows optimum microphone positioning

For use with bodypack •transmitters or with standard mixers that provide 9-52V phantom power

CM 88 Back electret condenser microphone

For drum overheads and •percussion

Extremely uniform and tight •cardioid polar pattern for ease in mixing

Extended frequency response •for smooth, crisp, ultra-transparent reproduction

Aluminum housing and •gold-plated XLR contacts

9-52V phantom powered•

CBM 40X Condenser boundary microphone

Ideal for a variety of sound •reinforcement/recording applications: Choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums

Unidirectional pickup pattern •and full frequency response of 50Hz~18KHz produce unparalleled audio at any distance from source with excellent feedback rejection

Rugged die-cast alloy housing •on rubber padding minimizes mechanical coupling of surface vibrations to the microphone

9-52V phantom powered•

DM Series Drum/percussion/instrument dynamic mics

DM-70 For use with snares, toms, percussion, brass and woodwinds DM-80 For use with kick drums and other large diameter drums

Cardioid pattern allows close •miking without bleed-through from other drum kit pieces

Neodymium element delivers •maximum output

Up to 140 dB SPL handling •capacity for distortion-free reproduction of even the loudest drums and other instruments

Transformerless moving-coil •dynamic design for enhanced bass and fast transient response

All-metal construction for •maximum reliability

Special rubber shockmount •mic holder minimizes floor vibration pick-up

Incredibly small, low-profile •design for minimum visibility and versatile close-miking placement around the drum kit

Gold-plated XLR for •maximum conductivity

Full frequency response for sonic •punch with exceptional clarity

DM-90 For use with kick drums and other bass instruments and amps

Large-size housing with special •acoustic design for the most accurate reproduction of extended low frequencies

Ultra-high SPL capability—ideal •for close-miking of live sound or recording all types of drums and percussion instruments

Accurate sonic reproduction •of brass, woodwind and other instruments producing high sound fields

Large diaphragm dynamic •element with excellent attack and punch for truest sound

Supercardioid pattern for •ultimate feedback rejection

Rugged die-cast body with •internal shockmount and hardened steel grille

49

V H M - 7

OHCM-200 Overhead hanging condenser microphone

Extended smooth, flat •frequency response

Ultra sensitivity and high SPL •capacity for clearest audio performance in any application, from miking choral groups to stage performances

Low-mass back electret •condenser element for most accurate/detailed audio

Cardioid pattern for frontal audio •pickup without feedback and unwanted side and rear fill

Permanently attached 20 ft. •(6.1m) cable with convenient integrated power module/XLR (M) connector

Rugged construction for •optimum reliability

Integrated hanging wire •for ease of mounting

Conveniently powered by •external 9~52 phantom power, no batteries required

SGM-12 Versatile shotgun condenser microphone

Ideal for a variety of sound •reinforcement/recording applications: choirs, orchestras, theatrical performances, courtrooms/conference rooms, and inside bass/kick drums

Uni-directional pickup pattern •and full frequency response of 50Hz~18KHz produce top audio at any distance from the source with excellent feedback rejection

Rugged die-cast alloy housing •on rubber padding minimizes mechanical coupling of surface vibrations to the microphone

Single AA alkaline or NiMH •battery operation (not included)

VHM-7 Harmonica / Vocal microphone

Designed for harmonica but also •serves as a great vocal mic

Cardioid pattern dynamic •cartridge, expressly tailored for producing thick, fat tone while holding cupped—with enough “dirty” tone to satisfy even the most discriminating blues harp players

Open air, uncupped use •produces extremely smooth, clean vocal audio

Allows singing harp players the •convenience of singing and playing through the same mic with great sound throughout

Can be used with its own amp •or plugged into the PA

Unique, chromed aerospace •casing with stylish retro look and distinctive proprietary fluted design for versatility in shaping wah-wah sounds and altering tone while virtually eliminating feedback

Bullet-proof tough and ultra-•comfortable in the hand

Engraved model number and •supplied special chromed mic clip complements its cool look

Drum Mic Kits In plastic carrying case

MSC3 Professional quality microphone kit

Includes a high-performance •microphone, sturdy metal adjustable tripod mic stand with mic clip, and a 20 ft. cable (XLR to ¼” connectors)

Everything you need to take •center stage—just plug in to your audio mixer or amplifier

Dynamic microphone •provides superior professional performance with rich, powerful, full-frequency audio; super-cardioid response for optimum feedback rejection; low handling noise; and rugged all metal construction

CYM-2(2x) CM 88s

DMK-7(4x) DM 70s(1x) DM 80(2x) CM 88s

DMK-2(2x) CM 60s

DMK-7C(4x) DM 70s(1x) DM 80(2x) CM 90s

DMK-3(2x) DM 70s(1x) DM 80

DMK-9095(4x) DM 70s(1x) DM 90(2x) CM 95s

DMK-5(4x) DM 70s(1x) DM 80

O H C M - 2 0 0

C e n t e r S t a g e M S C 3

S g M - 1 2

50

Headworn Mics

HeadMic™ Series Omni- or uni-directional headworn mics

HM-1 Uni-directional dynamic mic

Unidirectional dynamic element •for top audio response—perfect for even the most exacting singing/performance applications

Adjustable gooseneck can be •set at any angle required

Headworn support system is •extremely light and comfortable, designed to be visually unobtrusive

Ear and temple rests provide •maximum stability during use—even while moving, dancing, or shaking the head

Durable cable assembly and •internal construction are designed to maximize handling noise from contact and movement

Available with XLR, Mini-XLR •or 3.5mm phone plug for wired and wireless applications (fits most standard wireless bodypack transmitters)

Available in black only•

HM-3 Omni-directional condenser mic

Omni-directional condenser •element provides exceptional audio with excellent transparency and gain before feedback

Lightweight—designed for •long, comfortable wear

Available with Mini-XLR or •3.5mm phone plug for wireless applications (fits most standard wireless bodypack transmitters)

Requires low voltage phantom •power as supplied by most wireless bodypack transmitters

Available in black only•

HM-5U Uni-directional condenser mic

Uni-directional condenser •element for superior, warm audio response and maximum feedback rejection—perfect for singer-musicians (drummers, keyboardists), vocal/dance performers, DJs, public speakers, and aerobics instructors

Lightweight, comfortable, •visually unobtrusive design

Provides maximum stability •during use, even when moving or dancing

Firm, adjustable gooseneck boom •that can be easily repositioned to any angle during performance

Available with mini-XLR, 3.5mm •phono plug (fits most standard wireless bodypack transmitters), or with standard XLR adapter for all wired and wireless applications

HM-10 Omni-directional condenser mic

Wide bandwidth omni-directional •electret condenser mic ensures clean, transparent audio and enhanced vocal pickup with improved gain before feedback

Ergonomic design and •comfortable fit with or without glasses, hat, or headphones. No hairstyle hindrance

Durable thin-metal frame can •be easily molded to any user

Available with mini-XLR or •3.5mm phone plug for wireless applications (fits most standard wireless bodypack transmitters)

Requires low-voltage phantom •power as supplied by most wireless bodypack transmitters. 9~52V adapter supplied for wired applications

Available in black or beige•

HM-20U Uni-directional condenser mic

Full-frequency, uni-directional •electret condenser mic

Warm, transparent audio and •maximum feedback rejection

Ergonomic design and •comfortable fit with or without glasses, hat, or headphones. No hairstyle hindrance

Durable thin-metal frame can •be easily molded to any user

Tiny and lightweight 5 x •8mm capsule for hours of comfortable use

Two sizes of foam windscreen •included to reduce wind/popping noise

Extendable, fully adjustable •boom for optimum mic capsule placement

Available with mini-XLR, 3.5mm •phono plug (fits most standard wireless bodypack transmitters) or standard XLR adapter for all wired and wireless applications

Choice of black or beige•

H M - 1

H M - 3

H M - 5 U

H M - 1 0

H M - 2 0 U

“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.”Bill Tanaka, New York, NY

}

“ The massive, unadulterated

sound and clarity of these amps

is unbelievable. This s**t rocks!”Dan Fastuca, Jet Black

Amplifiers/Cabinets/Guitars ............ 52GTH-100, GAC-412, GTA-1260, FS Series, Lightning Guitar, WGA-15

Pedal Effects/Switch Boxes ............. 53TD-1, TTV-2, FL-10, TR-20, TS-30, TA-40, SW-21, DS-50

guitar Products

guitar / Bass Products

Nady Systems has been manufacturing professional wireless and audio equipment for over 30 years, providing musicians at every level with the gear they need to sound their best. This vast experience, along with valuable feedback 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

52

GTH-100 Tube guitar amp head with reverb

100W RMS output•

All-tube design featuring four •EL-34 power tubes and three 12AX7A preamp tubes

High and Low inputs, Line output, •and full complement of controls for total volume, tone shaping and tonal definition, including a 3-way Overdrive Gain switch, Lead Boost control (up to +12dB), Volume, Master, Treble, Mid, Bass and Presence controls

High and Low power settings: •HI-100W RMS, LO-30W RMS

Spring reverb with adjustable •control and lead gain boost both switchable with optional FS-2 footswitch

Line level reverb output jack •(reverb signal only)

Durable vinyl cover, steel corners, •and rugged construction for years of roadworthy reliability

GAC-412 Speaker cabinet for use with GTH-100

Full-size angled front cabinet •

Prominent bass, warm mids, •and a high end that cranks

400W peak power handling •(200W RMS); 8 ohms

Choice of 4x12” Nady •PowerDrive™ speakers (GAC-412) or 4x12” Celestion speakers (GAC-412C)

Impedance: 8• Ω

Rugged, roadworthy •construction with sturdy front grille, steel corners, recessed steel carrying handles and heavy-duty casters

Durable textured black •Tolex covering

Steel rear panel terminal with •dual ¼” speaker inputs for easy daisy-chaining

Top panel recessed holders •for Nady guitar amp head

Cabinet material: MDF •

Weight: 94.7 lbs (43 kg) •

Dimensions (H x W x D): •30” x 28” x 14.3” (76 x 71 x 36cm) (height does not include wheels)

GTA-1260 Classic tube combo amp with reverb

All-tube design featuring two •6L6GC power and three 12AX7A preamp tubes

60W RMS output •

12” Nady PowerDrive• ™ speaker by Celestion

Full complement of controls for •total volume, tone shaping and tonal definition, including 3-way Overdrive Gain switch, Volume, Master, Treble, Mid, Bass and Presence controls

Spring reverb with adjustable •control and switchable with optional FS-1 footswitch

Classic retro look with attractive •wood grain cabinet finish

Classic tube type tone controls•

g T H - 1 0 0

g A C - 4 1 2

g TA - 1 2 6 0FS Series Optional accessories

FS-1• (single) switches reverb On/Off (GTA-1260 or GTH-100) or lead gain boost On/Off (GTH-100)Requires two FS-1 switches or single FS-2 to perform both functions on GTH-100

FS-2• (dual) for GTH-100 switches reverb On/Off (green LED) and lead gain boost (red LED) On/Off

F S - 1

F S - 2

DS-50 Distortion and sustain

Classic design •for rich, crunchy distortion tone and violin-like sustain

Tone knob for dialing in •the desired sound, from creamy warm bass to crisp treble

Volume knob controls •output level

Operates with 9V battery, •PAD-1 AC adapter optional

WGA-15 15W wireless guitar amplifier

Versatile, powerful practice •amp with 15W RMS output; 6” speaker; Gain, Volume with killer distortion; Treble and Bass controls; Headphone output

Built-in VHF receiver with •Receiver On and Audio Received LEDs

WGA-15 also available •separately with WGT-15 VHF transmitter for use with any guitar or bass

Pedal Effects / Switch Boxes

Lightning Guitar Wireless guitar

Fully professional all-wood •solid-body guitar features easy playability with 22-fret rosewood neck with distinctive lightning bolt inlays and easy-access adjustable truss rod

Three pickups with 5-way •selector switch; volume/dual tone controls; vibrato

Built-in VHF wireless •transmitter with internal antenna allows wireless operation up to 200 ft. line-of-sight without cords when used with WGA-15 wireless guitar amp or any Nady VHF wireless receiver on the same channel

Easy to operate—just turn on •Lightning guitar transmitter (TX On LED) and WGA-15 amp and you’re ready to play cordless (can also be used with a conventional cord connection to amp)

Operates on two 9V alkaline •batteries (up to 50 hours battery life) in convenient rear battery compartment with unique magnetic latched door (no tools needed to access).

TD-1 Tube distortion

Real tube tone from the classic •12AX7A twin triode tube—each carefully selected for optimum tonality and absence of noise, microphonics, and other artifacts

State-of-the-art 3-stage variable •tube drive design for widest range of overdrive options, from mild growl and crunch to singing sustain and controlled feedback

Advanced EQ section carefully •designed for blues, jazz, country, R&B, and all types of rock—with specially tailored high and mid-low 3-stage variable shelving and boosting options, plus a variable presence control for ultimate tone-shaping possibilities

Compact enough for a pedal board •

Rugged 14-gauge steel •housing and heavy-duty bypass footswitch for years of trouble-free performance

TTV-2 Dual tube tremolo/vibrato

Dual, all-tube signal path design •uses two premium 12AX7A vacuum tubes for the warmest, richest, most natural sounding tremolo and vibrato sounds available

Rate/Intensity controls offer •the widest range possible of tremolo/vibrato effects

Choice of three types of note •bending vibratos which mimic Leslie, Wurlitzer, Hammond and other classic organ vibratos

Output control offers huge •boost and powerful tone

Compact enough for a •pedal board

Rugged 14-gauge steel housing •and heavy-duty bypass switch for years of trouble-free performance

FL-10 Flanger

Updated classic •flanger design produces thickest stereo flanging available

Versatile Manual, Rate, •Depth, and Resonance controls allow wide selection of swirling with incredible depth and intensity


TS-30 Tube sound overdrive

Classic design •produces the warmest, most natural overdrive sounds. Perfect for all styles from blues to rock to heavy metal—the most versatile and best sounding distortion available

Drive, Tone, and Level knobs •offer optimum control


TR-20 Tremolo

Widest variety of •vintage tremolo guitar sounds available

Wave knob offers •extensive range of altered waveform tremolo variations

Rate knob varies tremolo speed•


TA-40 Tube amp simulator superdrive

100% analog •circuitry offers rich, warm overdrive sounds which simulate the power amp output stage distortion of different classic guitar amps

Class A/B Drive knob controls •the amount of odd harmonic class A/B power amp output stage distortion; specially designed musical Tone control enables endless varieties of tonal possibilities from ultra-clean to crushing distortion at any Level control setting


SW-21 AB/Y switcher signal router

Switches a signal between two •different targets (e.g., amp A/B) Directs a signal to two targets •simultaneously, switching between one of two different source signals sent to one targetBarely audible switching noise •

Combines two source signals •in parallel switched between two different targets Combines two source signals in •parallel directed to two targets simultaneously. No bleed-through between channelsLEDs indicate selected •signal route Unplugging from jacks labeled •“Parallel” turns off 9V battery

T D - 1 T T V- 2 S W- 2 1

53

Accessories

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

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

54

GCC-10Generic road case

PCC-1ERoad case for Encore Series, UHF-3, UHF-4, UHF-24, U-33B and WS-16U systems

RC-5Road case for DMK-5

RC-7Road case for DMK-7 or DMK-7C

SMCC-2Aluminum flight case for studio microphones

CC-3Road case for DMK-2, DMK-3, or CYM-2

PCC-500Road case for PEM-500

MB Series MB-6/MB-12Soft 6- or 12-space microphone bags

MCB SeriesMCB-12/MCB-15

Soft bag for carrying MC-12/MC-15 speakers

MSSB-1Soft bag for carrying mic or speaker stands

WA-VCCSoft bag for carrying WA-120

Cables / USB Interfaces

55

CABLES

XC 6 ft. to 100 ft. XLR to XLR mic cable

XCC 25 ft. or 50 ft. XLR to XLR colored mic cable

XLC 40 ft. XLR to XLR premium low noise 22-gauge dual conductor mic cable

RBSC 20 ft. or 40 ft. 16-gauge, ¼” phono to MDP dual banana connector, round speaker cable

SBC 20 ft. or 40 ft. 18-gauge, ¼” phone-banana connectors, parallel conductor speaker cable

IHSC 20 ft. or 40 ft. ¼” to ¼” premium instrument cable

SC 20 ft. or 40 ft. 18-gauge, ¼” to ¼” phone plug, speaker cable

SKX-1620

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

UIC-80 Series USB interface cables

The UIC Series allows real-time recording and monitoring of pre-recorded tracks or background music with easy plug-and-play connectivity between any mixer or audio device to a PC via any USB port.

Cables utilize two connectors for audio input and two connectors for audio output to/from the PC, and one USB cable compatible with USB 1.1 or higher.

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 cabling and connectors.

UIC-80PP

2 Phono ¼” mono plug IN•

2 Phono ¼” mono plug OUT•

UIC-81XX

2 XLR balanced IN•

2 XLR balanced OUT•

UIC-82RR

2 RCA plug IN•

2 RCA plug OUT•

UIC-83PR

2 phono ¼” mono plug IN•

2 RCA plug OUT•

UIC-10 USB interface cable

A useful tool for recording microphones or line level devices directly to your computer via a USB port. Utilizes a 10 ft. XLR cable and USB 2.0 interface with 16-bit, 48KHz sampling.

SMPS-1X 1-channel

SMPS-2X 2-channel

SMPS-USB 2-channel with USB audio interface

XM-10Phantom power adapter (9-52VDC to 1.5VDC)

UIM-2X USB interface module

The UIM-2X provides a handy interface between audio gear and 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 real-time recording and monitoring of pre-recorded tracks or background audio.

Balanced XLR input provided with selectable •48V phantom power for use with condenser mics

Selectable sensitivity switch for Line or Mic •level input with bi-color (green/red) LED indicator

Convenient stereo headphone monitor output•

Sturdy housing with soft rubber coating•

Record and Play LEDs indicate software status•

High-quality USB 2.0, 16-bit; 48KHz sampling •

Optional UIM-PA adapter converts to a ¼” •TRS input connector

CT-6 6-Way Cable Tester

SMPS Series 48V phantom power for condenser mics

Enables quick, convenient •continuity cable testing for all types of cables

Tests cables with combinations •of the following connectors: ¼” TRS, balanced XLR (M/F), Phono/RCA, banana plug, Speakon™, and 5-pin mini-DIN

LEDs confirm each conductor •continuity and connection

6-way switch for selecting •connections to be tested

Includes internal battery and •ground connection status checks

Rugged, compact, metal •construction for ultimate roadworthiness, long life, and reliability

CH 19Wall mount cable holder

POWER SUPPLIES

56

Stands and Racks

MIC STANDS

MST-5BBoom mic stand with tripod base

MST-6RRound base mic stand with boom

MST-7GTripod gooseneck stand

SPST-1ASingle aluminum tripod speaker stand

SPST-2APair of aluminum tripod speaker stands

SPST-1A8Aluminum tripod speaker stand for MC-8/10 or PCS 8 speakers

SMP-33 ft., 35mm diameter speaker mount pole for mounting ProPower/ PA speakers or PSW-15

MSST-43Pair of 43” monitor speaker stands

MSA-100/200A Microphone stand adapter for PM-100 or PM-200A speakers

MST-2B2 ft. mic stand

MST-3RStraight mic stand with round base

MST-4BAluminum tripod stand

MRK-9Gear studio rack

MRK-144-wheel metal rack

MRK-9162-wheel metal rack

GS-1Premium universal guitart/bass stand

“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.”Hiroshi Morioka, San Diego, CA

}

SMT-3Tripod for DSM-1 and ASM-2 sound pressure level (SPL) meters

57

FOAM WINDSCREENS

CLIPS SPIDER SHOCKMOUNTS / BASEMOUNTS

POP FILTERS

BFC-12Butterfly mic clip

WMC-11Rubber wireless mic clip

SSPF-4Integrated 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 •any microphone with 38-53mm diameter

Pop filter can be rotated down •or removed completely

Adjustable swivel attachment •for standard mic stands

SSM-1For TCM 1050 studio mic

SSM-5For CM-90/95/100 small condenser studio mics

SSM-3For SCM 900/1000 and TCM 1100 studio mics

MBM-7Basemount for SCM mics

MPF-6With boom and stand clamp

MPF-7Choice of black or gold

DMM-1Drum mic clip

SHM-1Shoemount camcorder adapter for industry standard 5⁄8” threaded mic clip

Microphone Accessories

FW-1/1000For SCM 100 and TCM 1100

FW-2/900For SCM 900

FW-3/1050For TCM 1050

FW-4/1150For TCM 1150

CWS-1Choice of red, yellow, orange, blue, gray or black

58

AD-4U UHF antenna distributor

Convenient 1U rackmount design with two independent 1x4 Input/•Output circuits operation of up to four UHF diversity dual antenna input or eight non-diversity single antenna input receivers from only a pair of antennas

Features internal circuitry providing no insertion loss (0dB gain) •for operation between 477-952 MHz, TNC antenna Input/Output connectors, +9VDC at antenna input jacks for powering optional remote AB-80 Antenna Booster Amplifier

Externally powered by 13.5VDC/400mA AC/DC adapter•

A D - 4 U

500-900MHz•

Mic stand mountable•

AP-12U Active ½ wave antenna

Comes with carrying case•

RB-120 Rechargeable battery for WA-120

A P - 1 2 UR B - 1 2 0

Wireless System Rackmount Kits

Wireless Accessories

Boosts weak RF signals by •+15dB gain right at the antenna input for maximum range for your UHF wireless mic system (477-952 MHz)—perfect for applications requiring separation of the antennas and receiver for 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

Requires +9VDC remote •(phantom) power from the receiver or antenna distributor antenna input jack

AB-80 UHF remote antenna booster amplifier

A B - 8 0

RMK-1K Single rackmount kitFor one UWS-1K receiver

RMK-1KUS Single rackmount kitFor one W-1KU receiver

ERM-12 Single rackmount kitFor one Encore Series, UHF-3, UHF-4, UHF-24, U-33B or WS-16U wireless receiver

ERM-22 Dual (side-by-side) rackmount kitFor two Encore Series, UHF-3, UHF-4, UHF-24, U-33B or WS-16U wireless receivers

RMK-1KX2 Dual (side-by-side) rackmount kitFor two UWS-1K receivers

RMT-1KUD Dual (side-by-side) rackmount tray kitFor two W-1KU receivers

RKT-25 Dual (side-by-side) rackmount tray kitFor two PEM-500 transmitters

[inside back cover: blank]THIS DOES NOT PRINT

10/06/10

Documents

2010 Pro Audio and Music Product Catalog - … · 2010 Pro Audio and Music Product Catalog. NADY ARTISTS ... optimum true sound, ... Encore Duet Dual receiver with two transmitters