Peavey 601R Bedienungsanleitung

Inhaltsverzeichnis

Andere Peavey Musikmixer Handbücher

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OUI

MIKER

OPERATING

GUIDE

CAUTION

TO

PREVENT

ELECTRICAL

SHOCK

OR

FIRE

HAZARD,

DO

NOT

EXPOSE

THIS

INSTRUMENT

TO

RAIN

OR

MOISTURE.

BEFORE

USING

THIS

INSTRUMENT

READ

BACK

COVER

FOR

FURTHER

WARNINGS.

4562

EE

6C1R.

.

?

3

'|».-

TRODUCTION

The

system

you

have

purchased

is

a

very

portable

package

with

the

flexibility

of

mixers

twice

the

size

at

twice

the

price.

The

601R™

features

six

channels,

excellent

3-band

equalization

and

rack

mount

versatility.

...

:Rack

mountable

mixers

have

a

special

place

in

sound

reinforcement

applications,

and

many

times

no

other

type

product

will

suffice.

The

601R™

requires

a

very

low

profile,

vertical

mounting

space,

and

is

exceptionally

thin,

front

to

back.

These

dimensions

are

critical

as

rack

space

is

usually

a

premium

consideration.

The

input

circuitry

has

tremendous

dynamic

range

and

will

handle

sound

reinforcement

applications

with

ease.

As

you

read

the

enclosed

literature,

please

try

to

learn

as

much

as

possible

about

the

product

so

your

job

of

sound

reproduction

will

be

easier

and

the

results

will

be

an

overall

improved

performance.

The

person

doing

sound

or

installing

sound

systems

is

actually

an

extension

of

the

performance

and

should

master

the

sound

equipment,

just

as

a

musician

masters

his/her

instrument.

|

INPUT

GAIN

CONTROL

The

input

gain

control

determines

the

sensitivity

of

each

individual

channel.

It

should

be

adjusted

accordingly

to

each

instrument

or

vocal

that

is

being

patched

into

this

system.

The

operator

must

adjust

the

input

gain

so

that

overload

“clipping”

is

avoided

at

the

input.

A

very

strong

signal

coming

into

the

mixer

would

require

a

fairly

low

setting

of

the

input

gain:control,

and

obviously,

a

very

weak

signal

will

require

a

fairly

high

setting

of

this

control.

Proper

adjustment

of

the

input

gain

control

may

be

easily

E

by

setting

up

the

highest

expected

input

signal

level

and

adjusting

the

input

gain

so

that

o

"clipping"

or

distortion

is

heard

from

the'amp/speaker

system.

After

this

mixer

has

been

used

several

tipica:

the

operator

will

have

a

very

good

idea

of

the

signal

levels

encountered

and

will

be

able

to

set

up

the

input

sensitivity

with

no

difficulty.

Please

be

aware

that

different

types

of

microphones

will

have

different

output

levels

and

different

performers

will

get

widely

varying

signals

from

microphones

depending

on

the

strength

of.their

voices

and/or

their

basic

microphone

technique.

MONITOR

SEND

CONTROL

The

monitor

send

control

is

the

channel

mixing

element

for

determining

the

all

important

monitor

mix.

The

signal

for

the

monitor

send

is

obtained

right

after

the

input

preamp

and

before

the

channel

EQ.

This

type

control

is

referred

to

as

a

pre-monitor

send,

i.e.

it

is

before

or

pre

to

the

channel

equalization

and

channel

level

control.

This

makes

the

control

independent

of

all

equalization

and

channel

level

adjustments.

Alterations

to

channel

EQ

will

not

affect

the

equalization

of

the

monitor

system.

Having

the

monitor

send

with

pre-capability

is

absolutely

vital

to

avoid

feedback

of

the

monitor

system

when

various

channel

adjustments

are

made

to

the

outfront

system.

HIGH

FREQUENCY

EQ

CONTROL

The

high

frequency

control

is

capable

of

15

dB

boost

or

cut

at

8

KHz

with

a

shelving

characteristic

a

S

2

sloping

down

to

the

crossover

point.

High

frequency

boost

is

obtained

with

a

clockwise

rotation

of

this

2

©

8

control

and

counter

clockwise

rotation

results

in

a

cutting

of

the

high

frequencies.

Flat

response

is

:

à

A

.

obtained

in

the

center

(12:00)

position.

This

flat

“12:00”

position

is

an

excellent

placeto

begin

tuning

the

system.so

that

with

different

rooms

and

concert

halls

you

will

be

able

to

determine

what

degree

of

373

equalization

is

needed

and

then

adjust

accordingly.

©

12

MID

FREQUENCY

EQ

CONTROL

The

mid

control

is

capable

of

15

dB

boost

or

cut

at

600

Hz

with

a

peak/notch

type

filter

response.

This

middle

EQ

circuit

enables

control

over

the

vital

mid-range

frequencies.

The

action

of

this

middle

filter

is

-.

somewhat

different

than

the

high

and

low

EQ

since

it

is

of

the

peaking

and

notching

type.

This

type

of

filter

response

is

necessary

to

avoid

undue

interaction

with

the

high

and

low

equalizers.

Caution

must

be

exercised

in

order.

to

avoid

overboosting

or

overcutting

the

mid-range.

Experience

has

proven

that

for

most

applications,

a

very

slight

mid-range

cut

tends

to

produce

a

tight

and

well

defined

sound.

Generally,

larger

amounts

of

mid-range

boost

are

extremely

unpleasant

and

will

probably

never

be

used

except

for

special

effects

or

to

correct

extremely

marginal

microphones

or

unusual

voice

timbre.

Most

systems

tend

to

get

"muddy"

and

lose

a

certain

amount

of

presence

when

excessive

arnounts

of

mid-

range

are

used.

More

feedback

problems

aré

usually

encountered

when

too

much

mid-range

boost

is

used

with

sound

reinforcement

systems.

LOW

FREQUENCY

EQ

CONTROL

This

control

is

capable

of

15

dB

boost

or

cut

at

60

Hz

and

demonstrates

a

shelving

characteristic

so.

that

excessive

lows

are

not

boosted

below

the

usable

range

of

sound

reinforcement

speaker

systems.

The

shelving

action

of

this

circuit

has

proven

to

yield

much

more

satisfying

and

effective

equalization

characteristics

than

some

of

the

wide

open

EQ

circuits

claiming

20

to

25

dB

boost

and

cut.

Care

should

be

taken

with

the

low

frequency

control

to

not

overboost

lows

on

any

particular

instrument

or

vocal

due

to

the

fact

that

tremendous

amounts

of

power

amp

"headroom"

will

be

used

up

and

a

general

"muddiness"

will

be

apparent

in

the

speaker

system.

Woofers

may

also

be

blown

much

more

easily

with

excessive

low

frequency

boost.

EFFECTS

SEND

CONTROL

The

effects

send

control

is

the

channel

control

for

determining

the

amount

of

signal-from

each

respective

channel

to

be

sent

to

the

effects

output

on

the

rear

panel

and

simultaneously

provides

the

-

drive

signal

for

the

internal

reverb

system.

The

effects

send

has

been

designed

to

provide

multiple

functions

which

will

be

explained

further

in

the

master

control

section.

Please

note:

When.

reverb

and

external

effects

are

to

be

used,

the

send

control

must

function

as

the

level

regulating

device

for

both

internal

reverb

and

the

effects.

CHANNEL

LEVEL

CONTROL

The

channel

level

control

determines

the

overall

mix

from

all

six

channels

that

apppears

in

the

main

master

summing

bus.

This

control

should

be

operated

nearthezero

dB

indication

(unity

gain)

whenever

possible

for

optimum

headroom

and

signal

to

noise.

Operation

of

this

control

above

the

zero

point

increases

system

gain

(and

noise),

and

below

the

zero

point

sacrifices

headroom.

Please

notice

that

this

control

is

capable

of

14

dB

of

gain

above

the

(0)

unity

gain

position.

Proper

adjustment

of

the

input

gain

control

will,

in

most

cases,

allow

this

level

control

to

be

operated

very

near

the

unity

gain

position.

MASTER

SECTION

MASTER

(MAIN)

LEVEL

CONTROL

This

control

is

the

element

that

determines

the

overall

level

of

the

main

COIR.

outfront

system.

It

is

a

master

function

and

controls

the

level

of

the

overall’

መሃ

mix

which

has

been

established

by

the

channel

level

controls.

This

function.

MIXER

dá

:

should

be

operated

near

the

zero

unity

gain

position

for

optimum

SPI

CEEL

INDICATOR

MN

performance.

Above

the

zero

position

will

yield

increased

noise

and

below

———

—

g—

—e—

.

the

zero

position

will

sacrifice

headroom.

The

action

of

this

control

is

very

——

— 3

OA

similar

to

the

channel

level

controls

and

should

present

no

problem

in

DI

EE

DN

operation.

Please

notice

that

this

control

is

capable

of

14

dB

of

gain

above

»

3

E

the

zero

position.

ጃ

MASTER

MONITOR

CONTROL

.

Operation

of

this

control

is

similar

to

that

of

the

main

level

control

and

should

be

set

in

conjunction

with

the

respective

individual

channel

monitor

send

controls

to

achieve

operation

somewhere

within

the

middle

rotation

of

————

ር]

መ===-ብ፦--

መ-----12=--ድ--

—

—

——48———e—

———

—18———e—

OFF

A

PRODUCT

OF

PEAVEY

ELECTRONICS

CORP.

the

master

control.

The

action

of

this

control

is

conventional

and

should

present

no

operational

difficulties..

The

output

signal

from

the

monitor

MAG

e

ovata

master

is

available

from

the

output

connectors

on

the

rear

panel.

Again,

'

under

normal

usage,

these

controls

should

also

be

operated

near

the

center

,

of

their

range

to

allow

optimum

performance.

Please

notice

this

control

is

5

5

5

capable

of

14

dB

of

gain

above

the

zero

position.

i

e

AE

UN

S.

EFFECTS

MASTER

CONTROL

l

2

Q:

2

©:

p

S

The

effects

master

control

is

the

final

control

element

determining

the

ው

ዐ

10

o

10

output

level

from

the

effects

send

jack

on

the

rear

panel,

as

well

as

the

S

TEREN:

REVTO

MON.

EINE.

TO/MAIN

amount

of

reverb

drive

delivered

to

the

internal

reverberation

system.

5

È

E

Please

note

that

no

reverberation

effect

may

be

achieved

uniess

the

Epo

Ad

uS

individual

channel

effects

send

controls

and

the

effects

level

control

are

2

OQ

8

2

©

8

2

8

adjusted

properly.

ተም

s

E

as

sa

EFFECTS

RETURN

CONTROL

EFF.

RET. EFF.

TO

MON.

LINE

TÓ

MON.

The

effects

return

control

may

be

considered

an

auxiliary.

input

»

9

3.

channel

with

a

high

impedance

input

and

has

been

designed

to

accept

a

s

6+

"e.

+

wide

range

of

audio

signals.

This

effects

control

adjusts

the

level

of

the

10+

;

10+

“return”

signal

back

into

the

main

mix.

OON

um

-0

14+

-0

14+

REVERB

RETURN

CONTROL

MAIN

MONITOR

EFFECTS

The

reverb

return

control

determines

the

amount

of

delay

(reverb)

signal

blended

back

into

the

main:

mix.

EFFECTS

TO

MONITOR

CONTROL

The

effects

to

monitor

control

enables

signals

from

the

effects

return

input

to

be

routed

back

into

the

monitor

mix.

This

unique

feature

enables

external

effects

such

as

echo

units,

flangers,

delay

lines,

etc.

to

be

blended

back

into

the

monitor

output

signal

if

desired.

REVERB

TO

MONITOR

CONTROL

;

This

unique

circuit

of

the

601R™

Mixer

allows

mixing

of

the

reverberation

8192]

back

into

the

monitor

mix

for

those

:

who

do

not

prefer

a

"dry"

monitor

sound.

(Note:

Feedback

may

be

more

pronounced

with

reverb

on

the

monitors.)

LINE

TO

MAIN

l

This

control

functions

with

the

phono

line

inputs

provided

at

the

rear

panel

to

allow

a

signal

patched

in

at

this

point

to

be

mixed

with

the

main

signal!

from

the

other

six

channels

of

this

mixer.

(See

rear

panel

description

of

line

inputs.)

LINE

TO

MONITOR

This

control

functions

exactly

like

the

line

to

main

control

and

allows

a

signal

which

is

patched

into

the

phono

line

inputs

at

the

rear

panel

to

be

mixed

in

with

the

monitor

signal.

(See

rear

panel

description

for

line

inputs.)

POWER

SWITCH/PILOT

LED

The

power

switch

is

of

the

simple

2-position

“rocker”

type

with

the

pilot

LED

immediately

above

it.

Operation

of

this

switch

is

conventional

and

should

present

no

problems

in

operation.

The

“on”

position

will

be

indicated

when

the

LED

pilot

light

glows,

signifying

power

is

being

delivered

to

the

mixer

circuitry.

OUTPUT

LEVEL

INDICATION

Two

10-segment

multicolored

LED

arrays

have

been

provided

to

visually

indicate

the

output

level

of

the

main

and

monitor

mixes.

The

LED

ladders

indicate

output

levels

from

-21

dBV

to

+6

dBV.

Each

output

section

is

capable

of

+18dBV

so

there

is

12

dB

of

headroom

left

when

the

top

LED

flashes

for

the

mains

and

the

monitors.

REAR

PANEL

REAR

PANEL

INPUT

SECTION

The

rear

panel

of

the

601R™

Mixer

contains

all

the

interface

connection

to

and

from

the

electronic

circuitry.

The

versatility

offered

by

these

connections

is

unmatched

by

any

competing

unit

and

a

thorough

understanding

of

the

various

features

is

essential

in

order

to

fully

realize

the

performance

and

versatility

of

this

unit.

Each

channel

features

both

balanced

(symmetrical)

low

impedeance

(600

ohms)

as

well

as

high

impedance

(50

K

-ohms)

unbalanced

inputs.

Each

of

these

inputs

feature

extremely

wide

dynamic

range

andare

fully

transient

protected

to

ensure

durability

under

road

conditions.

While

these

inputs

are

intended

primarily

for

low

or

high

impedance

microphones,

they

wil!

also

work

well

for

many

other

types

of

program

sources.

OUT/IN

JACK

The

601R™

features

a

“stereo”

out/in

jack

on

each

channel

to

facilitate

the

use

of

direct

outputs/inputs

from

the

preamps

for

“patching”

various

auxiliary

units

(chorus,

flanging,

tape/digital/analog

delays,

equalizers,

etc.)

"inline."

To

utilize

this

unique

system,

a

stereo

plug

(ring/tip/sleeve)

to

a

"Y"

cord

must

be

used.

The

tip

portion

of

the

1/4"

stereo

jack

serves

as

the

channel

send

(output)

while

the

ring

portion

will

return

the

processed

signal

to

the

channel.

The

"sleeve"

portion

serves

as

the

ground.

Since

this

is

a

stereo

jack

configuration,

the

first

“click”

on

thejack

may

be

used

as

a"pre-EQ"

output

with

a

mono

1/4"

plug

if

desired.

This

first

"click"

will

not

disturb

the

signal

flow

to

the

remainder

of

the

channel

as

it

is

fed

into

the

master

section.

NOTE:

IF

THE

SECOND

"CLICK"

OF

THE

OUT/IN

JACK

IS

UTILIZED

WITHOUT

RETURNING

ANY

SIGNAL

TO

THE

CHANNEL

FROM

AN

EFFECTS

DEVICE

THE

REMAINING

PREAMP

FUNCTIONS

WILL

BE

DISABLED.

AUXILIARY

INPUTS

| ]

The

auxiliary

inputs

are

line

level

access

points

to

the

three

internal

mixing

busses.

They

are

the

medium

impedance

type

(33K

ohms)

and

are

provided

to

allow

parallel

mixers

or

for

any

other

purpose

that

requires

direct

signal

injection

into

the

internal

mixing

busses

of

the

6018”.

LINE

CORD

For

your

safety,

we

have

incorporated

a

3-wire

line

(mains)

cable

with

proper

grounding

facilities.

REVERB

FOOTSWITCH

To

facilitate

remote

control

of

the

reverberation

function,

we

have

included

a

remote

control

footswitch

jack.

Any

standard

single

pole

footswitch

may

be

used

to

remotely

defeat

the

reverb

function.

Please

note

that

this

switch

disables

the

reverb

system

only

and

has

no

effect

whatsoever

on

the

effects

system.

LINE

INPUTS

The

line

input

features

phono

jacks

and

allows

a

signal

to

be

patched

directly

into

the

"line

to

main"

and

"line

to

monitor"

controls

in

the

master

section.

These

line

inputs

are

extremely

useful

when

a

tape

deck

needs

to

be

patched

into

the

system

without

tying

up

a

desperately

needed

channel

input.

Please

note

that

RIAA

equalization

is

not

built

into

this

input.

Also

note

that

the

dual

phono

jacks

are

“bridged”

(parallel)

allowing

a

"stereo"

signal

to

be.patched

in.

Naturally,

the

"bridging"

reduces

this

signal

to

mono.

EFFECTS

RETURN

The

effects

return

input

on

the

rear

panel

may

be

considered

an

auxiliary

channel

featuring

its

own

set

of

level

controls

located

on

the

front

panel.

This

effects

return

is

capable

of

handling

a

wide

range

of

input

signals

and

is

a

very

high

impedance

type

(220K

ohms).

The

effects

return

system

feeds

into

both

main

and

monitor

mixing

busses

through

the

respective

controls

and

is

intended

for

use

when

returning

signals.

from

external

devices

to.be

mixed

into

the

main

or

monitor

outputs.

MAIN

AND

MONITOR

OUTPUTS

The

main

and

monitor

outputs

are

located

on

the

rear

panel

and

are

low

Z

unbalanced.

The

jacks

are

1/4"

phone

and

each

output

is

capable

of

8

volts

(18

dBV)

out.

For

sound

reinforcement

situations,

the

main

output

should

patch

to

the

power

amp/speaker

system

for

the

main

PA.

The

monitor

output

should

patch

to

the

power

amp/speaker

systeni

that

is

used

for

monitors.

(See

patch

diagram.)

REAR

PANEL

120

VAC

60

Hz

20

WATTS

OUTPUTS

AUXILIARY

INI

NPUTS

HIGH

Z

MAIN

MAIN

LOW

Z

MONITOR

MONITOR

BAL.

BAL.

|

EFFECTS EFFECTS

OUT/IN

QUT/IN

QUT/IN

OUT/IN

O

INPUTS

EFFECTS

REVERB

6

5

4

RETURN

FT.

SW.

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PRODUCT

OF

PEAVEY

VENT

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AND

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|

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USER

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REFER

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MON.

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TO

MAIN

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amp

MAIN

BUS:

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TO

MON.

SAX

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LIME

TO

MON.

LINE

INPUT

NOM

1V(O dBV)

PATCHING

DIAGRAM

AUXILIARY

TO

MAIN

AMP/SPEAKER

SYSTEM

INPUTS

'

(MAIN

OUT

MAY

ALSO

BE

USED

FOR

TAPE

RECORDING)

TO

MONITOR

AMP/SPEAKER

SYSTEM

INPUT

EFFECTS

EFFECTS

REVERB

RETURN

FT.

SW.

OUTPUT

/

EFFECTS

DEVICE

AUX.

INPUTS

MAY

BE

USED

TO

PATCH

ANOTHER

MIXER

INTO

THE

601R™

WHEN

REMOTE

REVERB

FOOT

SWITCH

MORE

CHANNELS

ARE

TO

DEFEAT

INTERNAL

REVERB.

DESIRED.

LINE

OUTPUTS

PATCH

TAPE

DECK

LINE

OUTPUTS

INTO

THE

LINE

INPUTS

AT

REAR

PANEL

FOR

PLAYING

TAPE

THROUGH

SYSTEM.

SPECIFICATIONS

SUMMARY

OF

FUNCTIONS:

6

ch

in,

main

Gut,

pre

monitor,

post

effects

(hi/low

level)

out;

3

band

eq.

each

channel;

master

effects

and

reverb

return

to

main

and

monitor;

dual

LED

ladders;

line

input

to

main

and

monitor

INPUTS,

EACH

CHANNEL:

1

low

Z

balanced

microphone;

1

high

Z

unbalanced

line;

1

high

Z

unbalanced

(stereo

ring)

pre

return

INPUTS,

MASTER:

1

high

Z

unbalanced

auxiliary

each

for

main,

monitor,

and

effects,

1

high

Z

unbalanced

effects

return;

dual

(bridged)

phono

high

Z

line

inputs

(No

RIAA)

OUTPUTS,

EACH

CHANNEL:

1

low

Z

unbalanced

(stereo

tip)

pre

send

OUTPUTS,

MASTER:

1

tow

Z

unbalanced

line

each

for

main,

monitor,

and

(high/low

level)

effects;

reverb

footswitch

CHANNEL

MICROPHONE

INPUTS:

Mic

Impedance:

Low

Z

600

ohms

balanced

Nominal

input

Level:

-18

dBM,

100

mV

RMS

Minimum

Input

Level:

-44

dBM,

5

mV

RMS

Maximum

input

Level:

*22

dBM,

10

Volts

RMS

CHANNEL

LINE

(HIGH

Z

MIC)

INPUTS:

.

Read

all

safety

and

operating

instructions

before

using

this

product.

.

Alt

safety

and

operating

instructions

should

be

retained

for

`

future

reference.

.

Obey

all

cautions

in

the

operating

instructions

and

on

the

back

of

the

unit.

.

All

operating

instructions

should

be

followed.

91983

Printed

in

U.S.A.

.

This

product

should

not

be

used

near

water,

i.e.

a

bathtub.

sink,

swimming

pool.

wet

basement,

etc.

.

This

product

should

be

located

so

that

its

position

does

not

interfere

with

its

proper

ventilation.

it

should

not

be

placed

flat

against

a

wal!

or

placed

in

a

built-in

enclosure

that

will

impede

the

flow

of

cooling

air.

-

This

product

should

not

be

placed

near

a

source

of

heatsuch

as

a

stove,

heater,

radiator

or

another

heat

producing

amplifier.

Line

impedance:

Hi

Z

10K

ohms

unbalanced

Nominal

input

Level:

0

dBV,

1

V

RMS

Minimum

Input

Level:

-20

dBV,

0.1

V

RMS

Maximum

Input

Level:

*30

dBV,

30

Volts

RMS

CHANNEL

RETURNS

AND

AUXILIARY

INPUTS:

Line

Impedance:

Hi

Z

20K

ohms

unbalanced

Designed

Input

Level:

0

ፀ8ሃ,

1

Volt

RMS

LINE

&

EFFECTS

RETURN

INPUTS:

Line

Impedance:

Hi

Z

100K

ohms

unbalanced

Nominal

Input

Level:

0

dBV,

1

VRMS

Minimum

Input

Level:

-14

dBV,

0.2

VRMS

Maximum

Input

Level:

*6

dBV,

2

VRMS

MAIN,

MONITOR

&

EFFECTS

(HIGH

LEVEL)

UNBALANCED

OUTPUTS:

Load

Impedance:

600

ohms

or

greater

Nominal

Output:

0

dBV,

1

V.

RMS

Maximum

Output:

*18

dBV,

8

VRMS

into

50K

ohms

load;

*16

dBM,

5

VRMS

into

600

ohms

load

EFFECTS

(LOW.

LEVEL)

UNBALANCED

OUTPUT:

Load

Impedance:

10K

ohms

or

greater

Nominal

Output:

-12

dBV,

0.25

VRMS

Maximum

Output:

+6

dBV,

2

VRMS

The

following

specs

measured

with

a

nominal

input

gain

setting

of

14

dB

all

channels,

ali

levels

g

DANGER

:

EXPOSURE

TO

EXTREMELY

HIGH

NOISE

LEVELS

MAY

CAUSE

A

PERMANENT

HEARING

LOSS.

INDIVIDUALS

VARY

CONSIDERABLY

IN

SUSCEPTIBILITY

TO

NOISE

INDUCED

HEARING

LOSS.

BUT

NEARLY

EVERYONE

WILL

LOSE

SOME

HEARING

IF

EXPOSED

TO

SUFFICIENTLY

INTENSE

NOISE

FOR

A

SUFFICIENT

TIME.

THE

U.S.

GOVERNMENT'S

OCCUPATIONAL

SAFETY

AND

HEALTH

ADMINISTRATION

(OSHA)

HAS

SPECIFIED

THE

FOLLOWING

PERMISSIBLE

NOISE

LEVEL

EXPOSURES:

DURATION

PER

DAY

IN

HOURS

THE

PAIN

E

FACEPL

í

50)

1)ክ

PAINTED

SURFACES

NOR

ANY

OTHER

TAPE

THAT

IS

B

MEDIUM

OR

LIGHT

ADHESIVE

MASKING

OR

MIXER LABEL

TAPE

IS

RECOMMENDED

IF

TAPE

IS

USED.

ANY

TAPE

LEFT

ON

PAINTED

SURFACE

FOR

EXTENDED

PERIODS

WILL

BE

DIFFICULT

TO

REMOVE.

NEVER

USE

CLEAR

OR

SCOTCH

TAPE

FOR

THESE

APPLICATIONS.

8.

Connect

only

to

a

power

supply

of

the

type

marked

on

the

unit

adjacent

to

the

power

supply

cord.

9.

Never

break

off

the

ground

pin

on

the'power

supply

cord.

For

more

information

on

grounding

write

for

our

free

booklet

"Shock

Hazard

and

Grounding.”

10.

Power

supply

cords

should.

always

be

handled

carefully.

Never

walk

or

place

equipment

on

power

suppty

cords.

Periodically

check

cords

for

cuts

or

signs

of

stress,

especially

at

the

plug

and

the

point

where

the

cord

exits

the

unit.

.

The

power

supply

cord

should

be

unplugged

when

the

unitis

to

be

unused

for

long

periods

of

time.

.

Metal

parts

can

be

cleaned

with

a

damp:

rag.

The

vinyl

Covering

used

on

some

units

can

be

cleaned

with

a

damp

rag.

or

an

ammonia

based

household

cleaner

if

necessary.

13.

set

at

0

dB,

all

EQ.

set

flat,

alt

Lo

2

inputs

terminated

with

600

ohms,

all

Hi

2

inputs

and

all

outputs

terminated

with

47K

ohms.

FREQUENCY

RESPONSE:

(Any

in/out

combination

with

1

VRMS

output)

0,

-2

dB,

20

Hz

to

30

KHz

SYSTEM

HUM

&

NOISE:

(All

channels

on)

d

-84

dBV

(Hi

Z

line

inputs)

-80

dBV

(Lo

Z

mic

inputs)

EQUIVALENT

INPUT

NOISE:

(20

Hz

-

20.KHz,

150

ohms)

-126

dBV

OVER-ALL

DISTORTION:

(Any

in/out

combination,

20

Hz

-

20

KHz

VRMS)

Less

than

.05%

THD,

TYP

below

.01%

EQUALIZATION:

*-15

dB

60

Hz

&

8

KHz,

shelving

*-15

dB

600

Hz,

peak/notch

MAX.

AVAILABLE

GAIN:

+14

dB

main

control

|

+14

dB

channel

control

*46

dB

mic

input

control

*74

dB

total

LED

READOUT

RANGE:

-21

to

*-6

dBV

POWER

REQUIREMENTS:

120

VAC,

60

Hz,

20

Watts

(Domestic)

SOUND

LEVEL

dBA,

SLOW

RESPONSE

90

92

95

97

100

102

PECIALLY

DESIGN

OR

SUCH

APPLICATIONS.

Care

should

be

taken

so

that

objects

do

not

falt

and

liquids

are

not

spilled

into

the

unit

through

the

ventilation

holes

or

any

other

openings.

.

This

unit

should

be

checked

by

a

qualified

service

technician

if:

A:

The

power

supply

cord

or

piug

has

been

damaged.

B.

Anything

has

fallen

or

been

spilled

into

the

unit.

C.

Theunit

does

not

operate

correctly.

D.

The

unit

has

been

dropped

or

the

enciosure

damaged.

.

The

user

should

not

attempt

to

service

this

equipment.

ልዘ

_

Service

work

should

be

done

by

a

qualified

service

technician.

Due

to

our

efforts

for

constant

improvement,

features

and

specifications

are

subject

to

change

without

notice.

(WG

PEAVEY

ELECTRONICS

CORPORATION

711

A

Street

/

Meridian,

MS

39301

/

U.S.A.

480300049.

11/83