Nady Systems Musical Instrument MSE 100A User Manual

O W N E R ’ S M A N U A L  
MSE-100A  
MULTIBAND SOUND ENHANCEMENT PROCESSOR  
 
WARNING  
An equilateral triangle enclosing a lightening flash/arrowhead symbol is  
intended to alert the user to the presence of uninsulated dangerous  
voltagewithin the products enclosure which may be of sufficient  
magnitude to constitute a risk of electric shock.  
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR  
An equilateral triangle enclosing an exclamation point is intended to alert  
the user to the presence of important operating and service instructions in  
the literature enclosed with this unit.  
IMPORTANT SAFETY INSTRUCTIONS  
When using this electronic device, basic precautions should always be taken, including the following:  
1. Read all instructions before using the product.  
2. Do not use this product near water (e.g., near a bathtub, washbowl, kitchen sink, in a wet basement, or near a  
swimming pool, etc.).  
3. This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling.  
4. This product, in combination with headphones or speakers, may be capable of producing sound levels that  
could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a  
level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an  
audiologist.  
5. The product should be positioned so that proper ventilation is maintained.  
6. The product should be located away from heat sources such as radiators, heat vents, or other devices  
(including amplifiers) that produce heat.  
7. The product should be connected to a power supply only of the type described in the operating instructions or  
as marked on the product. Replace the fuse only with one of the specified type, size, and correct rating.  
8. The power supply cord should: (1) be undamaged, (2) never share an outlet or extension cord with other  
devices so that the outlet’s or extension cord’s power rating is exceeded, and (3) never be left plugged into  
the outlet when not being used for a long period of time.  
9. Care should be taken so that objects do not fall into, and liquids are not spilled through, the enclosure’s  
openings.  
10. The product should be serviced by qualified service personnel if:  
A.  
B.  
The power supply cord or the plug has been damaged.  
Objects have fallen into, or liquid has been spilled onto the product.  
C. The product has been exposed to rain.  
D. The product does not appear to operate normally or exhibits a marked change in performance.  
E.  
The product has been dropped, or the enclosure damaged.  
11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All  
other servicing should be referred to qualified service personnel.  
4
 
INTRODUCTION  
In the last two decades, sound enhancement systems such as enhancers, exciters, psycho-acoustic processors etc. have  
become an indispensable aid in the studio and have found widespread application in almost all film, broadcast and record-  
ing productions as well as in P.A. and sound reinforcement systems.  
Basically, several principles of sound enhancement prevail in todays market. The sound improving effect produced by the  
enhancer is based on program-dependent phase shifting with the goal of enlarging the pulse width. In contrast, psychody-  
namic processors use a dynamic frequency correction of the program material and therefore enrich the program material  
with high-frequency processing.  
Conventional units often may work perfectly on pop music, but when processing acoustic instruments, the result is aggres-  
sive and unnatural. Enhancers are preferable for processing classical music and acoustic instruments. The result is a soft-  
er, unobtrusive transparency and an increased richness in sound. However, to make a pop recording more aggressive,  
to set up a sound system for maximum intelligibility or to give a rhythm/bass guitar the necessary punch, it is recom-  
mended to process the high-frequency range with an Exciter.  
The new VSP (Variable Sound Processing) circuit used in the MSE-100A, allows for variable fading over from enhancer to  
exciter mode. With the PROCESS control clockwise, the Exciter circuit increasingly provides a variable and carefully  
adjusted processing of high frequencies. The result is an increased brilliance and transparency. Fading over from one  
effect to the other can thus adapt the effects perfectly to the respective program material.  
The MSE-100A utilizes state-of-the-art level-independent enhancer circuitry which completely eliminates the problem of  
restricted leveling capacity in previous, conventional units. Consequently, the DRIVE control to be found on conventional  
exciters, which adapts the devices to different input levels, could be omitted on the MSE-100A. Thus, previous common  
problems such as insufficient or excessive signal processing are eliminated.  
The MSE-100A is equipped with a separate bass processor, which allows for sound enhancement in the lower frequency  
band. A newly developed Dual Modecircuit allows you to vary between two different bass sounds from softto tight.  
Processing the bass range provides the optimum complement to high-frequency processing and opens up new dimensions  
in the field of sound enhancement.  
The MSE-100A can be used wherever professional sound improvement is required. This unit not only enhances the presence  
and clarity of the program material, but also adds power to the bass frequencies. In addition it provides improved spatial defi-  
nition.  
These qualities make this unit an indispensable tool for many applications. For example, the MSE-100A produces a  
greater penetration of sound, which is invaluable in improving the audio quality of radio and television transmissions. The  
sound improvement offered by the MSE-100A is also perfectly suited to the demands of the recording industry. The follow-  
ing operational manual will introduce you to the MSE-100A and its various functions. After reading the manual carefully,  
make sure it is always on hand for future reference.  
5
 
FRONT PANEL CONTROLS AND CONNECTIONS  
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1. POWER Switch with LED Indicator  
This switches the AC power ON or OFF. The integrated  
LED will light to indicate power ON.  
Note: In order to avoid possible undesired noise transients  
in a live sound reinforcement application, switch on the  
power to your MSE-100A before switching on the amplifi-  
cation system.  
quencies for more signal transparency and brilliance.  
Fading over from one effect to the other can thus adapt the  
effects perfectly to the respective program material to suit  
any application or personal sound preference.  
5. TUNE control  
The TUNE control sets the lower cutoff frequency of the  
high-pass filter. Using this control you can select the fre-  
quencies that are routed to the Natural Sonic Processor.  
The cut-off frequency can be adjusted within a range of 1  
2. IN/OUT Buttons and LED Indicators  
The IN/OUT button activates the corresponding channel  
into operation. With the button in the OUT position, the unit to 8 kHz.  
is bypassed. The green LED will light to indicate INand  
the red LED will indicate OUT.  
6. PROCESS control  
The PROCESS control determines the function of the  
device. Turning the control clockwise increasingly acti-  
vates the Exciter mode.  
Bass Processor  
The Enhancer is equipped with a separate bass processor  
which provides sound enhancement in the lower frequency Note: That for input signals that already include sufficient  
band. A newly developed Dual Modecircuit allows you to  
vary between two different bass sounds, from softto  
tight. Processing the bass range allows the optimum  
complement to high-frequency processing and opens up  
new dimensions in the field of sound processing.  
treble content, such as classical music or acoustic instru-  
ments, generally the setting should emphasize the Exciter  
mode. However, when processing, for instance, a  
“slapped” bass guitar, the “Exciter” setting should domi-  
nate. Experiment for the sound you like.  
3. LOW MIX Control  
7. HIGH MIX control  
The LOW MIX control of the low band determines the  
amount of signal used for sound enhancement (from zero  
to six). The setting depends on the application you are  
addressing.  
The HIGH MIX control of the high band determines the  
amount of signal used for sound enhancement (from zero  
to six). It would depend on the application as to whether a  
high-quality system is to be given the finishing touchwith  
the Enhancer, or whether maximum intelligibility is to be  
achieved in a relatively poor sound reinforcement system.  
4. MODE Buttons  
With the MODE button you can define the sound effect of  
the bass processor. If the button is on (TIGHT) the bass  
8. SURROUND IN/OUT Button  
will sound dryand punchy, whereas the released switch This button activates the SURROUND section. As this  
mode (SOFT) creates a warm and full bass. The yellow  
LED will indicate TIGHT.  
Note: That the bass processor should be set carefully to  
avoid possible speaker damage. Most near-field monitors  
are not capable of handling the bass produced by the  
Enhancer.  
mode is designed only for stereo applications, note that  
this button has to be released when processing two sepa-  
rate signals (dual mono) otherwise there will be undesired  
crosstalk between the two channels. The green LED indi-  
cates IN.  
9. SURROUND Control  
Multiband Processor With Variable Sound  
Processing Circuit  
The Variable Sound Processing circuit allows for variably  
fading over from Enhancer to Exciter mode. Turning the  
PROCESS control clockwise activates the Exciter circuit  
increasingly to provide additional processing of high fre-  
This controls the effect of the SURROUND processor (zero  
to six). Turning the control clockwise improves the intensity  
of the stereo imaging and increases the spatial enhance-  
ment, depending on the signal being processed. It can only  
be used with stereo program material.  
6
 
REAR PANEL CONTROLS AND CONNECTIONS  
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10. INPUTS  
The MSE-100A is equipped with both 1/4(6.3mm) TRS and XLR audio input jacks. These can be used for either bal-  
anced or unbalanced operation as follows:  
Unbalanced use of mono 1/4plugs:  
Tip = Signal, Sleeve = Ground / Shield.  
Balanced use of TRS stereo 1/4plugs:  
Tip = hot (+), Ring = cold (-), Sleeve = Ground / Shield.  
Balanced use with XLR connectors:  
1 = Ground / Shield, 2 = hot (+), 3 = cold (-).  
11. OUTPUTS  
The audio outputs of the MSE-100A are matching phone jack and XLR connectors wired in parallel.  
Balanced use of stereo 1/4jack/plugs:  
Tip = hot (+), Ring = cold (-), Sleeve = Ground / Shield  
Balanced use with XLR connectors:  
1 = Ground / Shield, 2 = hot (+), 3 = cold (-).  
12. FUSE HOLDER  
The IEC power socket has an integral fuse holder that takes a 20mm fuse.  
NOTE: Always replace a blown fuse with the same type as specified on the rear of the unit.  
13 . POWER CONNECTION  
A standard IEC AC power socket for connecting to the main AC supply.  
Note: Before you connect your Enhancer to the AC, please make sure that your local voltage matches the voltage re-  
quired by the unit!  
Note: Do not remove the center ground conductor.  
14 . VOLTAGE SELECTOR SWITCH  
For selecting the proper voltage (115/230VAC) to match the power supply in your area.  
7
 
APPLICATIONS  
BASIC SETTINGS  
3.  
Check your settings by making an A/B com-  
parison using the IN/OUT switch.  
We recommend setting the controls as indicated in the fol-  
lowing three sections. This will give you a better idea of  
the switch and control functions:  
SOUND ENHANCEMENT DURING RECORDING  
The sound enhancing effect can be increased by using the  
MSE-100A, not only during replay, but during actual  
recording. This method of sound processing is recom-  
mended, in particular, if the subsequent storage medium is  
of poor quality. When doing tape duplications, the  
enhancer signal added during the recording will compen-  
sate for the loss in quality which occurs when several gen-  
erations of copies are subsequently made from the master  
tape.  
1.  
Set the MSE-100A channel (1 or 2) to bypass  
mode (the mode switch OUT and the red LED lit).  
Set the LOW Mix and the TUNE center position  
and the PROCESS controls fully counterclock  
wise.  
2.  
Turn the MIX controls fully CCW and press the  
IN/OUT switch (green IN LED lit). Now turn the  
LOW MIX controls counterclockwise from the  
center position and the HIGH MIX controls  
slowly clockwise until the fundamental bass and  
high frequencies become more emphasized and  
the sonic image begins to open upor to  
widen.  
In this scenario, insert the MSE-100A directly after the  
master output of the mixer into the recording path of the  
master or multi-track machine. Set up the unit as de-  
scribed above in Sound Enhancement During Replay. In  
particularly difficult cases, we recommend using the MSE-  
100A both during both recording and replay.  
3.  
The quality of the sound enhanced signal can be  
adapted to the program material by varying the  
LOW MIX controls and the TUNE controls.  
When using enhancers or exciters, it is easy to get carried  
away. Therefore, we recommend regular A/B comparisons  
(IN/OUT) while setting the controls, in order to constantly  
check the signals integrity. Rule of thumb: the enhancers  
effect should only be noticeable when it is lacking, but not  
when it is present! Listening at high volume levels over  
long periods (in studios, for example) leads to listening  
fatigue and thus reduces sensitivity to higher frequencies.  
Regular pauses keep your hearing healthyand helps you  
avoid exaggerated sound processing.  
Using the MSE-100A during recording  
SOUND ENHANCEMENT DURING REPLAY  
For this application, the MSE-100A follows the master or  
multi-track recorder, i.e., inserted between tape machine  
and mixer (or amplifier). Of course, a cassette recorder, or  
similar equipment can also be used as a signal source. If  
a companding noise reduction system is used in this situa-  
tion, it should precede the MSE-100A.  
Using the MSE-100A in a mixer send/return loop  
ENHANCING THE SOUND OF EFFECTS DEVICES  
Often, signal processing units such as flangers, phasers,  
distortion, chorus, delay and reverb units etc. considerably  
limit the signals sound quality. Here too, the MSE-100A  
will be of help. Simply inset the unit after the effects  
device. If there are several devices, insert the MSE-100A  
as the last unit in the chain.  
Using the MSE-100A during replay  
1.  
2.  
Set up your equipment as usual, with the effects  
switched off.  
Turn on the MSE-100A and adjust the controls  
as desired (if necessary, read above  
Basic Settingsonce again).  
8
 
APPLICATIONS  
ENHANCING THE SOUND OF TAPE DUPLICATIONS  
Even under the most favorable of conditions, presence,  
liveliness and transparency of the program material will  
Note: That low-level signal sources such as microphones,  
guitars, etc., should pass through a preamplifier before the  
processing stage, since the MSE-100A is a line-level  
suffer during each copying process. These losses are par- device (120 to +10 dBu).  
ticularly obvious when copying cassettes while simultane-  
ously using a noise reduction system. With the MSE-  
100A, losses during tape duplication can be avoided or  
compensated for, provided that the original is of good  
enough quality, with only low noise levels. It is even pos-  
sible to produce supercopies, which sound even better  
than the original. For this application, the MSE-100A is  
inserted between the line outputs of the source machine  
and the inputs of the target machine. Machines with post-  
head listening control (setting Tape Monitor) allow you to  
check the quality of the copy while duplicating.  
ENHANCING THE SOUND OF P.A. SYSTEMS  
If used in P.A. and other sound reinforcement systems, for  
background or live music, the MSE-100A offers dramatic  
advantages:  
1.  
In audio systems for announcements and back-  
ground music, the MSE-100A is placed in a  
similar way to recording and tape duplication—  
directly before the power amp. The intelligibility  
and range of your system will be improved and  
the sonic image will become clear and transpar-  
ent, even at low volume levels. You will quickly  
find that the MSE-100A can be a valuable tool  
in solving otherwise difficult audio problems.  
If the tape noise is fairly high, a different strategy is  
required, since the MSE-100A can effectively process the  
frequency ranges in which the most predominant noise  
portions can be found. We recommend attenuation of  
noisy high frequencies, either with an equalizer or prefer-  
ably with a single-endednoise reduction system. The  
MSE-100A will process those frequencies with all of their  
natural clarity, but without the tape noise.  
For instance, in clubs, you do not need to  
constantly readjust the high frequencies as the  
room becomes increasingly crowded. With the  
MSE-100A, you will thus be able to protect your  
speaker system and the hearing of your visitors.  
Also, background music in bars and restaurants  
can be heard more easily while keeping the  
volume more manageable.  
2.  
The sound of any P.A. system will be improved  
by the MSE-100A. For example, vocals and  
speech will be considerably more transparent  
and intelligible, and the instruments can be  
distinguished more easily.  
Using the MSE-100A during tape duplication  
ENHANCING THE SOUND OF INSTRUMENTS  
The bandwidth of most electronic musical instruments is  
limited by its sampling rate. The MSE-100A can improve  
the sound so that the synthesizers, samplers, and drum  
machines have a more natural and transparent sound.  
With the MSE-100A, even tiny details within the sound of  
acoustic musical instruments such as guitars, etc., can be  
emphasized without affecting the overall sound of the  
instrument. Drum instruments, such as toms, bass drums,  
etc., benefit from such punchand thus achieve a more  
powerful, precise and defined sound.  
Using the MSE-100A in the P.A. System  
The MSE-100A will increase the speaker systems acous-  
tic performance and its ability to penetrate a room, particu-  
larly in places with difficult acoustics. The system will also  
need less effective amplifier power, since the subjectively  
heard volume level increases. Powerful and detailed  
sound reproduction can thus be achieved in weaksys-  
tems. Often the MSE-100A can help you prevent spend-  
ing a small fortune on upgrading your entire system.  
Processing the sound of a synthesizer with the  
MSE-100A  
9
 
APPLICATIONS  
Note: If the P.A. speakers are operated in mono,  
the second channel of the MSE-100A can be used for  
another application.  
ENHANCING THE SOUND OF MONITOR SYSTEMS  
The MSE-100A can be effectively used to improve the  
sound of stage monitor systems. Here intelligibility and  
transparency are of paramount importance during sound  
reproduction. For this purpose, the MSE-100A is inserted  
either in the monitor sendpath or between monitor mixer  
and power amplifier.  
Using the MSE-100A in a Hi Fi system  
The NADY MSE-100 A can be used for improving audio  
for:  
SOUND ENHANCEMENT IN HI FI AND VIDEO  
Disc and tape recordings  
Recorded video and audio cassettes  
Radio reception  
Of course, the MSE-100A can also be used in Hi Fi and  
video applications. The unit is simply placed between the  
signal source (cassette recorder, tuner, VCR, etc.) and the  
power amplifier. We recommend using the tape monitor”  
inputs most preamplifiers provide, thus the MSE-100 A can  
be switched into any signal source.  
TV reception  
SPECIFICATIONS  
INPUT  
MULTIBAND PROCESSOR  
Type..................................Natural Sonicprocessor with  
Variable Sound Processing”  
Tune Control....................Variable (1 to 8kHz).  
Process Control ..............Variable (Enhancer to Exciter)  
High Mix Control ............Variable (0 to 6; Off to Max.)  
Type..................................RF filtered, servo-balanced input  
Connectors ......................XLR and 1/4TRS jacks  
Impedance ......................24K balanced,  
12K unbalanced  
Max. Input Level..............+21dBu balanced and unbalanced  
CMRR ..............................Typically 40dB, > 55dB @ 1kHz  
FUNCTION SWITCHES  
IN/OUT switches both channels, with red/green LED status  
indicators  
OUTPUT  
Type..................................DC-decoupled unbalanced  
output stage  
Connectors ......................XLR and 1/4TRS jacks  
Impedance ......................90 balanced, 45 unbalanced  
Max. Output Level ..........+21dBu balanced and unbalanced  
Bandwidth........................20Hz to 20kHz, +0/-0.5dB  
Frequency Response......5Hz to 100kHz, +0/-3dB  
Noise ................................> -95dBu, unweighted, 22Hz to  
22kHz  
POWER SUPPLY  
AC Voltage ......................100-120/60HZ or 200-240/50HZ  
VAC as marked  
Power consumption........9 watts  
Fuse ................................T250mA, 250V  
Power Cord Connector ..Standard IEC receptacle  
THD ..................................0.008% typically @ +4dBu,1kHz  
IMD....................................0.01% typically, SMPTE  
Crosstalk..........................< -86dB, 22Hz to 22kHz  
DIMENSION  
1.75X 19X 7.8(44 X 482 X 197mm.)  
WEIGHT  
6.2 lbs. (2.8 Kg.)  
BASS PROCESSOR  
Type..................................Dual ModeBass Processor  
Switches the bass sound  
Specifications and design subject to change without prior notice  
for improvement purposes  
from Softto Tight”  
Low Mix Control..............Variable (0 to 6; Off to Max.)  
10  
 
SERVICE FOR YOUR NADY AUDIO PRODUCT  
(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via tele-  
phone at (510) 652-2411, or e-mail at [email protected].  
(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from  
whom you purchased this product.  
DO NOT ATTEMPT TO SERVICE THIS UNIT  
YOURSELF AS IT CAN BE DANGEROUS AND  
WILL ALSO VOID THE WARRANTY.  
NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608  
Tel: 510.652.2411 • Fax: 510.652.5075 • www.nady.com  
 

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