Peavey XR-700 Bedienungsanleitung

Andere Peavey Musikmixer Handbücher

Peavey

Peavey XR 680C Bedienungsanleitung

Peavey

Peavey SRC 421-16 Bedienungsanleitung

Peavey

Peavey PV 8 Bedienungsanleitung

Peavey

Peavey SRM 2410 Bedienungsanleitung

Peavey

Peavey Linemix 8 Bedienungsanleitung

Peavey

Peavey FX 2 16 Bedienungsanleitung

Peavey

Peavey S-32 Sanctuary Series Bedienungsanleitung

Peavey

Peavey XR 8300 Bedienungsanleitung

Peavey

Peavey PV 10AT Bedienungsanleitung

Peavey

Peavey R6M 6*4 Bedienungsanleitung

Peavey

Peavey RSM 1662 Bedienungsanleitung

Peavey

Peavey MP-4 Plus Bedienungsanleitung

Peavey

Peavey PVi 8 Bedienungsanleitung

Peavey

Peavey SMR 6 Bedienungsanleitung

Peavey

Peavey Automix 4 Bedienungsanleitung

Peavey

Peavey SMR 821a Bedienungsanleitung

Peavey

Peavey XR 400 Bedienungsanleitung

Peavey

Peavey PV 20 Bedienungsanleitung

Peavey

Peavey ESCORT 2000 Bedienungsanleitung

Peavey

Peavey UMA 1502 Bedienungsanleitung

Peavey

Peavey AMD 1220 Bedienungsanleitung

Peavey

Peavey CD Mix 7032A Service-Handbuch

Peavey

Peavey MP 400 Bedienungsanleitung

Peavey

Peavey PA 1000S Bedienungsanleitung

Beliebte Musikmixer Handbücher anderer Marken

Neve

Neve 8816 Bedienungsanleitung

Mackie

Mackie Onyx Analogue Mixer Bedienungsanleitung

Behringer

Behringer EUROPOWER PMP518M Bedienungsanleitung

Rane

Rane MP 4 Bedienungsanleitung

True

True T9 Touchscreen Console Bedienungsanleitung

Studiomaster

Studiomaster Air Pro 24 Bedienungsanleitung

Pioneer

Pioneer SVM 1000 - Audio/Video Mixer Bedienungsanleitung

Roland

Roland M-160 Bedienungsanleitung

Yamaha

Yamaha MR1642 Bedienungsanleitung

Ecler

Ecler MAC40v Bedienungsanleitung

Pioneer

Pioneer DJM 909 - Battle Mixer W/Effects Bedienungsanleitung

Veeder-Root

Veeder-Root TLS-350 Series Bedienungsanleitung

Alto

Alto APM80.QUAD Bedienungsanleitung

Omnitronic

Omnitronic PM-211 Bedienungsanleitung

SoundCraft

SoundCraft B400 Bedienungsanleitung

Roland

Roland SoundCanvas SC-8820 Bedienungsanleitung

CARVIN

CARVIN RX 1200 Bedienungsanleitung

Roland

Roland M-16E Bedienungsanleitung

XR-700

Operating

Guide

WARNING:

TO

PREVENT

ELECTRICAL

SHOCK

OR

FIRE

HAZARD,

DO

NOT

EXPOSE

THIS

APPLIANCE

TO

RAIN

OR

MOISTURE.

BEFORE

USING

THIS

APPLIANCE,

READ

BACK

COVER

FOR

FURTHER

WARNINGS.

GENERAL

DESCRIPTION

The

XR-700

dual

powered

mixer

is

the

only

mixer/amplifier

presently

available

with

built-in

mixing,

EQ,

and

power

amp

facilities

•peclflcally

designed

for

the

monitor

function.

Our

extensive

field

research

Indicates

that

most

users

of

powered

"stereo”

mixers

generally

use

one

of

the

internal

power

amps

for

the

monitor

function.

Most

users

have

found

that

"full

stereo”

capability

with

the

resulting

pan

pots,

etc.,

is

not

necessary

when

stereo

powered

mixers

are

used

to

provloe

monitor

power.

Peavey

has

always

endeavored

to

avoid

“gingerbread"

features

and

provide

equipment

that

will

“get

the

job

done"

as

well

as

provide

adequate

flexibility,

performance,

valueanc,

most

of

all,

reliability.

The

XR-700

isaprimeexampleofthisphiiosophy.

In

this

versatile

unit,

we

have

eliminated

the

ofton

useless

storeo

functions,

but

have

instead

provided

duel

functions

for

main

and

monitor.

The

XR-700's

channels

have

totally

independent

preamps

for

both

main

and

monitor,

allowing

change

of

either

level

as

required

without

affecting

the

other's

setting.

Each

channel

has

a

full

three-band

act

ve

equalization

circuit

featuring

“shelving

type”

low

and

high

EQwith

a

"peak/notch

type”

middle

EQ.

The

effects

send

provides

a

mix

for

the

internal

reverberation

system

or

anexternaleffectsunit.

Channel

in/out

patch

points

are

provided

for

maximum

performance

and

interface

flexibility.

Tho

XR-700

master

section

provides

several

unique

functions

in

addition

tolevel

controls

for

the

threeprimary

mixing

busses,

reverb

and

effects

returns.

An

effects/reverb

return

to

monitor

system

allows

blending

reverb

and

external

effects

into

the

monitor

mix.

A

contour

control

adjusts

tho

timbre

of

the

reverb

signal,

allowing

superb

reverb

effects

for

widely

varying

program

sources.

Two

sevenband

graphic

equalizers

allow

precise

incremental

frequency

compensation

for

both

the

main

and

the

monitor

functions.

The

XR-7O0’s

dual

100

watt

(4

ohm)

power

amplifiers

feature

our

exclusive

DDT

compression

(patent

applied

for)

which

allows

absolute

maximum

performance

from

the

output

stage

and

virtually

eliminates

output

"clipping"

and

the

associated

distortion

and

speaker

problems.

Each

power

amp

is

monitored

by

a

ten-segment

LED

level

display

while

compression

in

the

two

respective

power

amps

is

indicated

by

dual

LED's

The

internal

headphone

system

features

an

independent

sublevel

control

off

of

each

power

amp

and

provides

incremental

adjustment

for

both

main

and

monitor

headphone

jacks.

The

master

patch

bay

contains

input

and

output

jacks

for

the

various

mixing

busses,

graphic

EQ’s

and

power

amplifiers

to

allow

interface

of

the

XR-700

to

virtually

any

other

professional

audio

system.

Overall,

the

XR-700

represents

one

of

the

most

sophisticated

powered

mixers

available,

while

providing

functional

simplicity

adequate

to

allow

superlative

performance

even

wnen

used

by

relatively

inexperienced

operators.

Design,

power,

versatility,

interface

capability,

and

overall

performance

set

the

XR-700

apart

from

all

other

powered

mixers

and

is

unmatched

in

design

and

value

by

any

other

powered

mixer

on

today's

market.

FRONT

PANEL

CHANNEL

LEVEL

CONTROL

(A)

The

input

circuitry

of

the

XR-700

is

of

the

latest

variable

negative

feedback

type

and

the

level

control

setting

determines

the

operating

gain

of

the

input

preamp.

Care

should

be

taken

to

achieve

proper

setting

so

as

to

allow

adequate

control

range

in

both

she

channel

level

and

the

master

level.

Generally,

the

channel

controls

should

be

operated

so

as

to

allow

the

master

level

to

operate

in

the

center

of

its

range.

Thesesettings

allow

maximum

gam

to

be

utilized

at

the

input

preamp

where

it

is

most

efficiently

obtained.

Lower

gain

control

settings

require

higher

settings

of

the

master,

thus

yielding

a

less-than-optimum

signal-to-noise

ratio;

high

channel

level

settings

could

produce

clipping.

It

is

important

to

realize

that

not

all

"breakup"

is

caused

by

the

mic

signal

overloading

the

inputstage

of

the

mixer.

If

the

performer’s

mic

technique

includes

very

close

and/or

very

loud

situations,

the

internal

elements

of

the

mic

can

"bottom

out"

or

distort

just

as

a

loudspeaker

can

when

it

is

overdriven.

Quite

a

few

of

the

mics

now

used

by

performers

lack

the

dynamic

range

required

to

adequately

handle

the

tremendoussound

pressure

levels

encountered

in

very

loud

‘rock

and

roll"

situations.

It

is

vital

for

the

professional

soundman

and

the

musicians

to

be

aware

of

the

limitations

of

the

various

links

in

the

audio

system

in

order

to

correctly

diagnose

and

solve

problems

encountered

in

a

sound

reinforcement

situation.

The

channel

level

is

the

first

control

in

the

circuit

and

must

be

set

properly

in

order

for

the

remaining

circuits

to

function

properly.

"Common

sense"

and

"on

the

job"

experience

will

allow

the

operator

to

achieve

superb

results

in

virtually

any

mixing

situation

MONITOR

SEND

CONTROLS

(B)

The

monitor

send

control

settings

determine

the

all-important

monitor

mix.

The

signals

for

the

monitor

sends

are

obtained

at

the

channel

input.

These

are

referred

to

as

independent

"pre"

monitor

sends;

i.e

.they

are

before

the

channel

equalization

and

level

controls.

With

this

type

of

send,

any

changes

made

to

the

EQ

or

channel

level

will

not

affect

the

monitor

system.

Having

the

monitor

sends

with

this

capability

is

absolutely

vital

to

avoid

feedback

of

the

monitor

system

when

EQ

and

normal

incremental

setting

variations

are

made

in

the

channel

levels

during

the

course

of

the

performance.

EQUALIZATION

CONTROLS

The

three-band

equalization

circuitry

is

of

the

latest

active

type

featuring

a

"shelving

type"

filter

response

for

thelowand

high

EQ

and

a

"peak/notch

type”

response

for

the

middle

filter.

This

EQ

circuitry’s

"hinge

points"

and

filter

slopes

have

been

prec

sely

matched

to

produce

optimum

combining

capabilities

and

superb

interaction

characteristics.

Because

of

the

pronounced

action

of

these

controls,

extreme

care

should

be

given

to

the

setting

of

each

EQ

control

and

all

setup

should

begin

in

the

vertical

(12:00

o’clock)

position.

II

should

bo

remembered

that

the

active

equalization

circuits

are

a

form

of

“electronic

crossover"

in

which

the

equalization

controls

are

similar

to

level

controls

for

their

respective

frequency

bands.

Generally,

it

is

poor

operating

practice

to

use

both

high

and

low

equalizer

controls

I

n

the

deep

cut

(counterclockwise)

positions

since

this

results

in

substantially

lower

gain

from

the

channel.

It

should

be

remembered

that

the

balance

of

highs

and

lows

is

a

relative

situation:

cutting

overall

gain

should

be

done

by

the

channel

level

controls.

LOW

FREQUENCY

CONTROLS

(C)

The

low

frequency

control

is

capable

of

better

than

15

dB

boost

or

cut

@

60

Hz

with

a

sloping

characteristic

exhibited

up

to

the

crossover

point.

The

Shelving

action

of

this

control

has

proven

to

yield

a

much

more

satisfying

and

effective

equalization

characteristic

than

some

of

the

'\vide

open"

equalization

circuits

claiming

20

-

25

dB

boost

and

cut.

The

action

of

this

equalization

control

is

conventional

and

should

present

no

problem

in

operation.

Boost

is

obtained

with

a

right

hand

(clockwise)

rotation

from

center

position,

while

cut

is

obtained

with

a

left

hand

(counterclockwise)

rotation

from

center

position.

Flat

response

is

obtained

when

theequalization

control

is

in

the

vertical

(12:00o’clock)

position.

MID

FREQUENCY

CONTROLS

(D)

The

mid

frequency

control

is

capable

of

15

dB

boost

or

cut

@

600

Hz

with

a

peak/notch

type

of

filter

response.

This

middle

EQ

circuit

enables

control

over

the

vital

midrange

frequencies.

The

action

of

this

middlefilter

is

somewhat

different

than

the

high

and

low

EQsince

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

midrange.

Experience

has

proven

that,

for

most

applications,

a

very

slight

midrange

cut

tends

to

produce

a

"tight"

and

well-defined

sound.

Generally,

large

amounts

of

midrange

boost

are

extremely

unpleasant

and

will

probably

never

be

used

except

for

special

effects

or

to

correct

for

extremely

marginal

microphones

or

unusual

voice

timbres.

Boost

is

obtained

with

a

right

hand

(clockwise)

rotation

from

center

position,

while

cut

is

obtained

with

a

left

hand

(counterclockwise)

rotation

from

center

position.

Flat

response

is

obtained

when

theequalization

control

is

in

the

vertical

(12:00

o’clock)

position.

HIGH

FREQUENCY

CONTROL

(E)

The

high

frequency

control

is

capable

of

15

dB

boost

or

cut

@

8

KHz

with

a

shelving

characteristic

sloping

down

to

the

crossover

point.

The

action

of

this

control

is

very

similar

to

that

of

the

low

equalizer

with

the

exception

of

its

high

frequency

effect.

Boost

is

obtained

with

a

right

hand

(clockwise)

rotation

from

center

position,

while

cut

is

obtained

with

a

loft

hand

(counterclockwise)

rotation

from

center

position.

Flat

response

is

obtained

when

theequalization

control

is

in

the

vertical

(12:00

o'clock)

position.

CHANNEL

EFFECTS

CONTROL

(F)

The

channel

effects

send

control

adjusts

the

signal

level

applied

to

the

effects

mix

buss

which

feeds

the

internal

reverberation

system,

as

well

as

the

effects

output

on

the

patch

panel.

The

overall

settings

of

the

channel

effects

send

controls

determine

the

amount

of

reverb

drive

as

well

as

the

signal

output

level

available

from

the

effects

output

jack.

It

is

important

to

note

that

the

effects

send

control

is

a

■

post"

type

adjustment

whicn

is

located

in

the

circuit

after

the

channel

level

and

equalizationcontrols.

The

user

should

be

aware

thatuse

of

the

internal

reverberation

system

can

only

occur

when

the

channel

level,

the

channel

effects

send,

the

master

effects

level,

the

master

reverb

return,

and

the

master

gain

controls

are

all

properly

adjusted.

MASTER

SECTION

The

master

section

of

the

XR-700

contains

all

of

the

master

controls

for

the

respective

mixing

busses

and

additional

supplementary

controls

to

allow

other

special

functions

to

be

achieved.

The

master

level

controls

should

be

set

near

the

center

of

their

range

to

take

advantage

of

maximum

control

action.

This

setting

offers

the

best

compromise

between

signal-to-noise

ratio

and

headroom

limits.

Remember

that

while

mixing,

it

is

important

to

allow

yourself

adequate

"margins"

within

which

to

operate.

By

using

any

of

the

controls

in

their

extreme

(close-to-stop)

positions,

you

have

effectively

reduced

your

operational

latitude.

As

with

any

reasonably

complex

system,

experience

and

operator

knowledge

of

tho

equipment

are

essential

for

satisfactory

performance.

The

mixer,

like

the

musician’s

instrument,

should

be

practiced

on

and

learned

To

properly

operate

a

mixer

during

a

performance

requires

thorough

Knowledge

and

trained

reflexes

lo

alow

proper

responses

underthestress

of

demanding

and

sometimes

sudden

situations.

MAIN

MASTER

LEVEL

CONTROL

(G)

The

main

level

control

adjusts

the

gain

of

the

main

mixing

buss

and

determines

the

level

at

the

main

line

output

jack

(10).

as

well

as

determining

the

signal

level

applied

to

the

input

of

the

graphic

equalizer/power

amplifier.

This

control

is

the

master

level

control

and

generally

should

be

operated

in

the

center

of

its

range

for

best

performance.

MONITOR

MASTER

LEVEL

CONTROL

(H)

The

monitor

master

control

adjusts

the

gain

of

the

monitor

mixing

buss

and

determines

the

level

of

the

signal

to

the

monitor

graphic/power

amp

as

well

as

the

signal

available

from

the

monitor

output

jack

(10).

The

operation

of

this

control

and

its

independent

channel

sends

is

identical

to

that

of

the

main

with

the

exception

that

its

output

is

applied

to

the

monitor

line

output

jack

and

to

the

monitor

EQ/power

amp.

Like

the

main,

it

should

be

operated

in

the

center

of

its

range.

EFFECTS

MASTER

LEVEL

CONTROL

(I)

The

effects

master

control

sets

the

signal

level

applied

to

the

internal

reverberation

system

and

the

effects

output

jack

(6).

It

is

important

to

note

that no

reverb

effect

or

effects

signal

will

result

unless

su

itable

settings

of

the

master

effects

control

are

used.

The

action

of

ths

control

is

similar

to

both

the

main

and

monitor

master

controlsand

may

be

used

accordingly

todetermine

the

overall

output

level

of

the

effects

mix

buss.

REVERB

RETURN

CONTROL

(J)

The

reverb

return

control

determines

the

amount

of

delayed

signal

(reverberation)

that

is

mixed

back

into

the

main

mix

buss.

The

action

of

this

control

(J)

is

defeated

by

use

of

a

remote

switch

being

plugged

into

the

footswitch

jack

(4)

located

on

the

rear

panel.

It

is

important

to

note

that

no

reverberation

will

occur

unless

the

internal

delay

line

is

being

fed

signal

from

the

channel

effects

send

and

effects

master

controls.

The

reverb

return

control

does

not

affect

the

level

available

from

the

effects

output

jack

(6)

located

on

the

patch

panel.

REVERB

CONTOUR

(K)

This

control

Is

used

to

vary

the

'timbre’'

of

the

reverb

drive

circuitry

to

facilitate

precise

matching

of

the

reverb

circuitry

to

various

program

material.

Experimentation

will

illustrate

the

many

advantages

of

this

unique

feature.

EFFECTS/REVERB

TO

MONITOR

(L)

This

control

allows

blending

of

the

internal

reverberation

signal

and

signals

from

the

effects

return

circuit

back

into

the

monitor

mixing

buss

for

those

who

do

not

prefer

a

"dry"

monitor

signal.This

unique

feature

provides

greatly

enhanced

monitoring

capability

since

it

allows

the

performer

to

hear

the

same

effects

in

his

monitor

as

being

utilized

in

the

main

output

signal.

EFFECTS

RETURN

(M)

The

effects

return

control

determines

the

gain

of

the

effects

return

preamplifier.

This

high

impedance

auxiliary

input

preamp

feeds

the

main

mixing

buss

and

is

applied

to

Ihe

monitor

buss

through

the

effects/reverb

to

monitor

control.

This

unequalized

auxiliary

input

channel

is

primarily

intended

for

receiving

signal

from

external

effects

units

but

also

works

extremely

well

with

tape

recorders,

phono

preamps,

etc.,

etc.

When

a

tape

is

used.

It

is

possible

to

blend

the

tape

signal

back

into

the

monitor

mix.

thus

allowing

the

performer

to

prerecord

various

voices

or

instruments

and

then

utilize

this

signal

in

both

main

and

monitor

systems

during

a

performance.

GRAPHIC

EQUALIZERS

(N)

The

two

seven-band

equalizers

are

of

the

latest

active

type

and

exhibit

performance

comparable

to

that

found

in

the

finest

professional

equipment.

The

graphic

equalizers

are

ocated

in

the

circuit

just

before

the

internal

100

watt

RMS

(@

4

ohms)

power

amplifiers

and

provide

a

very

versatile

and

professional

equalization

of

the

overall

system.

Because

of

the

flexibility

built

into

the

XR-700,

several

different

modes

of

operation

are

possible.

NORMAL

MODE

Under

normal

operating

conditions

(no

paten

connections),

the

graphic

equallzers'power

amplifiers

are

connected

through

the

graphic

input

switching

jacks

to

the

main

outputs.

These

signals

are

derived

from

the

main

mixing

busses

and

are

controlled

Dy

the

master

level

controls.

MONITOR

OPERATION

The

graphic

equalizers

and

internal

power

amps

may

be

used

to

power

external

systems

This

is

done

by

simply

patching

from

the

external

device’s

outputs

to

the

graphic

inputs

using

shielded

patch

cables

When

these

patches

are

accomplished,

the

signals

from

the

internal

mixing

busses

are

available

only

at

the

output

jacks

on

the

patch

panel

and

can

then

be

used

in

conjunction

with

external

power

amps,

equalizers,

or

other

accessories

MASTER

EQUALIZATION

The

master

graphic

equalizers

are

designed

to

provide

room

equalization,

effective

feedback

control,

and

overall

system

frequency

balance.

It

is

important

to

note

that

there

are

no

firm

operating

instructions

that

will

result

in

the

deal

EO

for

each

and

every

set

of

operating

conditions.

Experimentation

with

adequate

understanding

of

the

graphic

equalizer

is

necessary

to

achieve

optimum

results.

No

amount

of

equalization

will

totally

correct

an

acoustically

bad

room/mic/speaker

arrangement

or

completely

correct

the

response

curve

of

a

poor

loudspeaker.

Please

make

sure

that

the

power

amplifier

has

adequate

headroom

to

handleany

boost

that

may

be

incurred.

Ifyou

boost

100

Hz

by

3

dB.

your

power

requirement

will

double.

As

an

example:

If

your

normal

performing

level

requires

100

watts,

the

power

required

after

only

a

3

dB

equalization

boost

will

be

200

watts.

You

should

always

begin

operation

with

the

equalizers

in

the

”0"

or

center

position.

It

Is

wise

to

avoid

excessive

cutting

of

large

segments

of

the

audio

passband

since

this

tends

to

reduce

the

dynamic

range

of

the

system

Also,

it

is

better

to

raise

the

master

level

control

rather

than

to

use

the

majority

of

the

equalizers

in

the

boost

position

since

better

overall

signai-to-roise

ratio

will

result.

As

with

any

equalizer,

caretul

experimentation

and

a

little

common

sense

will

yield

the

best

results.

FEEDBACK

CONTROL

Graphic

equalizers

can

be

used

to

great

advantage

tor

feedback

suppression

The

whole

point

of

feedback

equalization

is

to

obtain

the

highest

system

gain

before

feedback.

In

essence,

this

requires

the

total

system

response

to

be

as

flat

as

possible

The

following

procedure

is

given

as

a

guide

only'

Use

common

sense

andtake

your

time

when

attempting

theequalization

process

and

your

chances

of

obtaining

the

desired

results

will

be

very

good

Adjust

all

channel

equalization

and

graphic

equalizer

controls

for

an

indicated

flat

response,

and

slowly

bring

up

the

level

by

use

of

the

channel

or

master

lovol

controls

until

ihe

system

starts

to

go

into

feedback.

Then

very

slowly

adjust

each

section

ot

the

graphic

equalizer

until

you

find

the

one

that

has

the

most

effect

on

the

feedback.

Return

all

other

sections

to

the

flat

position

and

bring

up

the

gain

until

the

system

again

goes

into

feedback

Repeat

the

procedure

and

equalize

out

the

second

and

third

feedback

modes

and

more

if

necessary

WARNING!

You

should

never

have

to

cut

more

than

6

to

9dB

under

normal

conditions.

If

more

cut

is

necessary,

check

for

proper

phasing

of

the

speaker

system

and

microphone

positioning

One

improperly

phased

speaker

can

cause

unending

feedback

problems.

Do

not

expect

to

obtain

a

system

that

is

completely

free

of

feedback.

Even

the

finest

1

octave

graphic

equalizers

can

only

do

so

much.

In

short,

don’t

expect

miracles

..

“DDT

"

COMPRESSION

(O)

The

XR-700

is

acompact

and

powerful

system

which

features

100

watts

RMS

output

per

channel

power

amplifiers

(@4ohms)

with

a

n8w

type

of

dynamic

compression.

The

compression

effect

enables

us

to

maximize

theperformanceof

the

amp/speaker

combination.

We

have

determined

through

much

research

that

the

compression

circuitry

should

prevent

the

power

amps

from

running

out

of

headroom

(clipping)

and

should

be

as

simple

to

operate

as

possible

to

avoid

undue

complication

for

the

user.

The

compression

system

is

activated

by

our

exclusive

“Distortion

Detection

Technique”

(DDT»)

circuit

(patent

applied

for)

that

senses

overload

conditions

and

activates

compression

when

clipping

is

imminent.

In

other

words,

compression

takes

place

whenever

signal

conditions

exist

which

prevent

the

amplifiers

from

faithfully

reproducing

the

input

signal.

The

threshold

is

the

clipping

level

itself

and

no

specific

threshold

control

is

provided.

This

technique

effectively

utilizes

every

precious

watt

available

from

the

power

amps.

Because

of

the

dynamics

of

music

and

vocal

program

material,

it

is

quite

common

to

activate

the

compression

circuitry

virtually

constantly

during

a

performance

sincothis

is

what

it

is

designed

to

do;

i

e..

operate

to

maximize

the

dynamics

available

from

the

amplifiers

within

their

power

output

capabilities

regardless

of

power

supply/line

mains

voltage

variations

and

load

impedance

selection.

COMPRESSION

LED

INDICATORS

(P)

The

compression

LED

(light

emitting

diode)

indicators

show

when

compression

takes

place.

As

long

as

gain

reduction

isoccurrmg,

the

LED’s

will

continue

to

illuminate,

thereby

giving

a

valuable

indication

of

this

unique

compression

function.

PILOT

LED

(O)

The

pilot

LED

indicates

when

the

electrical

supply

is

switched

on

and

is

actually

delivering

power

to

the

amplifier.

LED

LEVEL

DISPLAYS

(R)

The

XR-700

features

dual

ten-segment

LED

(light

emitting

diode)

level

Indicators.

These

all

electronic

displays

have

no

moving

parts

with

resulting

inertia

as

do

conventional

VU

meters,

and

provide

instantaneous

indication

of

output

signal

conditions

instead

of

the

“delayed''

average

type

response

of

older

VU

level

indicators.

HEADPHONE

LEVEL

(S)

This

control

determines

the

drive

available

from

either

headphone

jack.

It

is

important

to

note

that

this

control

sets

the

level

of

both

main

and

monitor

headphone

jacks

and

operates

as

a

sublevel

off

the

two

internal

power

amplifiers.

NOTE:

Both

headphone

jacks

are

of

the

stereo

(two-circuit)

type

but

have

been

bridged

to

provide

a

mono

signal

to

stereo

phones.

Those

jacks

will

accommodate

any

known

headphones

with

impedances

of

4

ohms

or

greater.

(Mono

phones

will

also

work

with

this

system.)

Both

headphone

jacks

may

be

used

simultaneously.

MONITOR

HEADPHONE

JACK

(T)

This

jack

provides

headphone

level

signal

from

tne

monitor

amplifier

whose

level

may

be

set

with

the

headphone

level

control.

MAIN

HEADPHONE

JACK

(U)

This

jack

provides

headphone

level

signal

from

the

main

amplifier

whose

level

may

be

se;

with

the

headphone

level

control

REAR

PANEL

The

rear

panel

of

the

XR-700

contains

all

the

interface

connections

toand

from

the

electronic

circuitry.

All

Peavey

consoles

feature

inputs

and

outputs

on

the

rear

of

the

console

chassis.

From

the

manufacturing

standpoint,

*t

is

far

easier

and

considerably

less

expensive

to

position

mic

inputs

on

the

front

of

the

chassis

as

many

of

our

competitors

havechosen

to

do.

By

having

inputson

the

front

of

a

console

type

mixer,

the

operator

(when

seated)

must

contend

with

a

"lap

full”

of

cables

and

wires,

etc.,

which

does

not

lend

itself

to

professionalism

nor

operator

convenience.

Tne

versatility

offered

by

the

XR-700

is

unmatched

Dy

any

competing

unit

ana

a

thorough

understanding

of

the

various

features

is

essential

in

order

to

fully

utilize

the

performance

and

versatility

of

this

unit.

INPUT

SECTION

(1)

Each

channel

of

the

XR-700

features

both

balanced

(symmetrical)

low

impedance

(600

ohms)

as

well

as

high

impedance

(5CK

ohms)

unbalanced

inputs.

Each

of

these

inputs

feature

extremely

wide

dynamic

range

and

are

fully

transient

protected

to

insure

durability

under

road

conditions.

While

these

inputs

are

intended

primarily

for

microphones,

they

will

also

work

nicely

for

many

other

types

of

program

sources

NOTE

DO

NOT

ATTEMPT

TO

CONNECT

THE

OUTPUT

OF

MAGNETIC

PHONO

CARTRIDGES

DIRECT

TO

EITHER

INPUT

SINCE

THESE

CARTRIDGES

REQUIRE

RIAA

EQUALIZATION

PRIOR

TO

INSERTION

INTO

UNITS

SUCH

AS

THIS

THE

PREAMP

CIRCUITRY

OF

THIS

UNIT

FEATURES

SUFFICIENT

GAIN

TO

OPERATE

WITH

MAGNETIC

PHONO

CARTRIDGES

BUT

DOES

NOT

HAVE

THE

SPECIAL

RIAA

EQUALIZATION

SO

NECESSARY

TO

REALIZE

MAXIMUM

PERFORMANCE.

SMALL

"PREAMP/EQUALIZERS"

ARE

AVAILABLE

FROM

MOSTELECTRONIC

SUPPLY

HOUSES

THAT

PERFORM

THIS

RIAA

EQUALIZATION

FUNCTION

VERY

INEXPENSIVELY.(SUGGEST

SHURE

MODEL

M-64,

RADIO

SHACK

PHONO

PREAMP

MODEL

NO.

422101,

OR

EQUIVALENT.)

CHANNEL

PATCHING

(OUT/IN)

JACKS

(2)

Each

input

channel

of

the

XR-700

has

been

provided

with

a

dual

circuit

(stereoswitching

type)

jack

that

provides

a

channel

send

and

return

to

allow

in

line

patching

ol

auxiliary

effects,

equalizers,

etc.

These

jacks

accept

the

standard

"ring-tip-sleeve

'type

stereo

plugs.

When

a

stereo

plug

is

inserted

into

the

out/in

jack,

the‘tip”

of

the

plug

is

connected

to

the

channel

send

and

the

"ring"

is

connected

to

the

channel

return,

while

the

“sleeve"

is

the

common

ground

for

both

send

and

return

If

a

channel

output

is

desired

for

an

additional

monitor

serdor

a

direct

output

without

breakingthe

internal

link,

thiscan

be

accomplished

by

plugging

a

standard

phone

plug

into

the

first

detent

(click)

of

the

jack.

This

unique

send/receive

system

enables

interface

ol

the

XR-700

individual

channels

with

a

wide

variety

of

auxiliary

effects

and

equipment.

The

effect've

output

impeCanc9

is

approximately.

600ohms

at

a

level

of

1

volt

while

the

input

is

approximately

50K

ohms

with

a

1

volt

sensitivity.

AUXILIARY

INPUTS

(3)

The

auxiliary

inputs

are

line

level

access

points

to

the

three

internal

mixing

busses.

They

arethe

medium

impedance

type

(33K

ohms)

and

are

provided

to

allow

paralleling

mixers

or

for

any

other

purpose

that

requires

direct

signal

injection

to

the

internal

mixing

busses.

REVERB

FOOTSWITCH

(4)

To

facilitate

remote

control

of

the

reverberation

function

we

have

included

a

remote

control

footswitch

jack.

Any

standard

singlepole

footswitch

may

be

used

to

remotely

defeat

the

reverb

function.

Please

note

that

this

switch

disables

the

reverb

system

only

and

has

no

effect

whatever

on

the

effects

system.

EFFECTS

RETURN

(5)

The

effects

return

on

the

rear

panel

is

the

input

to

the

effects

return

preamp

which

has

its

own

level

control

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

(22DK

ohms).

The

effects

return

system

connects

to

the

main

mixing

buss

and

is

intended

for

use

when

returni

ng

signals

from

external

devices

to

the

main

mix.

Effects

return

signal

may

also

be

mixed

into

the

monitor

system

via

the

effects/reverb

to

monitor

control

(H).

EFFECTS

OUTPUT

(SEND)

JACKS

(6)

Two

output

jacks

from

the

effects

buss

are

provided

to

enable

matching

to

professional

line

level

as

well

as

instrument

level

effects

devices.

The

high

level

iack

is

a

relatively

low

impedance

(600

ohms)

and

is

capable

of

more

than

2

volts

RMS.

while

the

low

level

output

jack

provides

approximately

0.5

volts

RMS

at

10K

ohms

impedance.

SUM

OUTPUT

JACK

(7)

For

added

convenience,

the

XR-700

features

a

main/monitor

sum

output

tc

provide

a

mix

of

both

main

and

monitor

systems

for

feed

to

various

external

devices

This

feature

allows

a

high

level

signal

to

be

fed

tc

remote

locations

to

enable

remote

listening

to

the

total

program

material

being

mixed

through

the

XR-7Q0.

In

addition,

this

sum

feature

allows

tape

recording,

etc,

while

the

normal

main

and

monitor

master

outputs

are

being

used

for

other

purposes.

POWER

AMP

INPUTS

(8)

Each

power

amp

in

the

XR-700

features

an

input

jack

to

facilitate

patching

in

other

signals.

The

power

amp

input

jacks

are

of

the

switching

type

that

are

normally

internally

connected

to

the

graphic

outputs.

Whenever

plugs

a*e

inserted

into

the

power

amp

inputs,

these

connections

are

broken

and

the

power

amp

input

jacks

feed

directly

to

the

internal

power

amplifiers.

This

unique

feature

enables

either

of

the

power

amps

to

be

patched

separately

as

needed

within

the

system.

GRAPHIC

INPUTS

AND

OUTPUTS

(9)

Each

graphic

of

the

XR-700

has

been

equipped

with

patching

jacks

both

at

the

input

and

the

output

to

allow

patching

either

graphic

elsewhere

within

the

system.

The

graphic

inputs

are

of

relatively

high

impedance

type

(50K

ohms)

and

requi

re

approximately

a

1

volt

RMS

nominal

level.

The

graphic

outputs

are

low

impedance

type

(600

ohms).

The

graphic

inputs

are

of

the

switching

type

that

are

normally

internally

connected

to

the

main

end

monitor

outputs

Insertion

of

a

plug

into

a

graphic

in

jack

disconnects

the

graphic

from

the

preceding

circuitry

making

the

graphic

independent

of

the

mixer

section.

MASTER

OUTPUTS

(10)

The

master

outputs

deliver

signal

from

the

main

and

monitor

mixing

amplifiers

and

may

be

considered

the

primary

signal

outputs

from

each

respective

buss.

The

output

level

is

relatively

low

impedance

(6X)0ohms)

and

is

capable

of

better

than

4

volts

into

a

600

ohm

load,

with

considerably

higher

levels

available

into

higher

load

impedances.

Signal

from

these

outputs

is

normal

ly

patched

to

the

graphic

in

switching

jacks

to

complete

the

signal

flow

to

the

graphic

equalizer/power

amp

combination

Connection

of

external

devices

such

as

tap©

decks,

etc.,

to

these

outputs

will

in

no

way

aftect

the

normal

operation

of

the

XR-70O’s

other

systems.

POWER

AMP

OUTPUTS

(11)

The

power

amp

output

tacks

are

provided

as

a

means

of

connecting

speaker

systems

to

the

two

internal

100

watt

power

amps.

Each

power

amp

has

two

output

jacks

which

are

wired

in

parallel.

The

internal

amplifiers

are

designed

tor

4ohm

total

ioads

and

each

amplifier

will

supply

maximum

power

into

this

impedance.

afferent

impedances

may

be

used

with

the

internal

amplifiers

with

some

sacrifice

in

output

power.

Caution

should

be

observed

in

using

lower

than

4

ohm

tota

;

loads

since

this

tends

to

increase

the

heat

dissipation

as

well

as

enhancing

the

possibility

of

energizing

the

power

amplifiers’

internal

short

circuit

and/or

thermal

overload

protection

systems.

It

is

vital

that

the

wire

gauge

of

the

speaker

connection

cables

be

as

large

as

practical

and

that

thelength

of

the

connecting

cables

be

reasonably

short.

Significant

sacrifices

in

performance

will

result

with

smaller

wires

and/or

long

speaker

cable

runs.

CAUTION

TO

INSURE

MAXIMUM

POWER,

INTERFACE

SPEAKER

CABLING

SHOULD

BE

KEPT

AS

SHORT

AS

POSSIBLE

AND

THE

LARGEST

PRACTICAL

WIRE

SIZE

SHOULD

ALWAYS

BE

USED

HIGH

LEVEL

AMPLIFIERS

GENERATE

EXTREMELY

HIGH

CURRENTS

WHICH

ARE

GREATLY

AFFECTED

BY

THE

RESISTANCE

OF

THE

SPEAKER

CONNECTION

WIRING.

CAUTION

UNDER

NO

CIRCUMSTANCES

IS

IT

RECOMMENDED

THAT

THE

POWER

AMPLIFIERS

IN

THIS

POWERED

MIXING

SYSTEM

BE

USED

WITH

EXTREMELY

LONG

SPEAKER

CABLES

OR

WITH

“‘SNAKE’’

INPUT/OUTPUT

MULTICABLES.

FUSE

(12)

The

fuse

is

located

w<thin

the

cap

of

the

fuseholder.

It

is

necessa'y

that

the

luse

be

replaced

with

theproper

type

and

value

if

It

should

fail

in

order

to

avoid

damage

to

the

equipment

and

to

prevent

voiding

the

warranty.

If

your

unit

repeatedly

blows

fuses,

it

should

be

taken

to

a

qualified

service

center

for

repair

POWER

SWITCH

(13)

On

domestic

units,

the

power

switch

is

of

the

three-position

type

with

the

center

position

being

"OFF

."

This

switch

has

two

"ON"

positions,

one

of

which

is

used

to

ground

the

amplifierproperly.

Oneof

the

"ON"

positions

will

yield

the

lowest

amount

of

residual

hum

or

•

pepping”

when

the

mic

or

mixer

is

touched

and

this

is

the

position

that

should

be

used.

On

export

models,

we

utilize

a

simple

ON/OFF

switch

that

does

not

have

multiple

"ON"

positions

since

the

grounding

(earthing)

conditions

in

most

countries

are

made

positively

through

standard

tamper-proof

plug-m

systems.

LINE

CORD

(14)

For

your

safety,

we

have

incorporated

a

three-wire

line

(main)

cable

with

proper

grounding

facilities.

It

is

nol

advisable

to

removethe

ground

pin

under

any

circumstances.

If

it

is

necessary

to

use

the

amp

in

a

two-pin

plug

system

without

proper

grounding

facilities,

suitable

grounding

adaptors

should

be

used.

Much

less

noise

and

greatly

reduced

shock

hazard

exist

when

the

unit

is

operated

with

the

proper

grounded

receptacles.

DANGER

EXPOSURE

TO

EXTREMELY

HIGH

NOISE

LEVELS

MAY

CAUSE

A

PERMANENT

HEARING

LOSS

INDIVIDUALS

VARY

CONSIDERABLY

IN

SUSCEPTIBILITY

TO

NOISE

INDUCEO

HEARING

LOSS.

BUT

NEARLY

EVERYONE

WILL

LOSE

SOME

HEARING

IE

EXPOSED

TO

SUFEICIENTlY

INTENSE

NOISE

FORA

SUFFICIENT

TIME

THE

U

3

GOVERNS/ENT’S

OCCUPATIONAL

SAFETY

A

NO

HEALTH

AOMi

WSTAATlON

lOSHAJ

HAS

SPECIFIED

THE

FOLLOWING

PERMISSIBLE

NOISE

LEVEL

EXPOSURES.

DURATION

PER

DAY

IN

HOURS

SOUND

LEVEL

CIBA.

SLOW

RESPONSE

a:

92

93

9

r

®I>IE*CE33

IMPOSED

TOl

OPERATION

»y

EXPOSURE

ipj[

)»IS

IN

THE

EAR;©

l#T|ELIMa3A»*

M»PMEN~

C«W

«OF

THE

Ai

(OR

OVER

TF

3RTH

A

DOVE

■

PR0DUCIN<

;;pERMissieg

RSUUST

BG-tt

SSuREAGA*

H

SOUND

Pltf

JNSTRUCT^

lNA«.‘UXTEf

3UA.I2AT|<J

ft

THE

QAIfi

PLAYING

L

AND

POSS"

FORE

NOT

mystronj

•"

<•

■

'"'i^/'

rec^^^d

Thai

L

ainteo^slirfa^^^or

any

oth'^^TXpe^thdcsig^^^r

such

aLpl'i^ations

MEDIUM

OR

LIGHT

ADHESIVE

MASKING

CW

MUER

LABEL

TAPE

IS

REC0MMEN06O

IF

TAPE

S

USED

ANY

TAPE

LEFT

ON

PAINTED

SURFACE

FOR

EXT

ENDED

PERI

OOS

WILL

PEOlFFlCULT

TO

REMOVE

NEVER

USE

CLEAR

OR

SCOTCH

TAPE

FOR

THESE

APPLICATIONS

IG

CONSOLE.PREAMP

1

t)ATE

S

GNA|

a^e

clippin:

|.MAXIMUM

«i

POLS

IF

THE

:

(no

iv

idual

e;

jfiT

THE

PAINT

JARE^^to

:

SIGNAt-M#

ilELS

Wn'H’M

BE

FACSPLAT

?ND

THAT

SCOTCH

TARE

NO'

,

HOR

ANY

OTHER

TAPE

THAT

IS

NC

■

CIALLY

DESIGNED

FOR

SUCH

APPLICATIONS

Rr*0

*1

M’eiv

*nO

cpe'Al'ig

my;rucili>-S

Iwlixe

uiino

Ihis

piOOJCI

Obey

/ill

cauilo~a

in

Ihe

cperal

ng

jnslr

jcliora

end

on

(He

oacx

«i

me

unn.

All

oreratirxj

inMiucliona

ihoi>4

be

'ollovrwi

Tivs

procuci

jhoukJ

not

Be

osod

near

wots-.

i

o

a

bathtub.

a*“K.

awln»"ing

pool

wCI

»a»«ieiit

clc.

tn«

produel

sfouId

be

ocalcc

a«

ifa«

-ts

poaitondonanoi

Y'leHerc

wit

a

I«a

pops'

verblat

e"

u

shsuld

hot

bo

placed

lid!

doers:

d

■

<•!

CM

p

OCCO

in

*

buil1--n

enolcaurc

thy

w

ll

irnawie

the

lion

c

I

coJro

aii

Thu

proavicl

should

not

Doplsoed

"oaro

5<X.roo

o'

hoats_ch

i!

a

slGvt.

heeler

adelor

O*

erolher

he*

c<03u<ir*>

anc*Hei

6.

Conneci

on*

lo

t

power

sup

o'v

>»

ihe

ivaemarxerso

ache

unit

adlacent

lo

me

power

supply

com

9.

hevei

b'esloll

the

giajnbpincr

1

:ne

power

supply

com

c

o<

•nixe

information

0

n

grounding

wrhe

lot

out

'ree

OCOEBI

9noc»

Ha/am

and

Grounding

<0.

Power

uopi/

cr»r»

jhouw

always

Da

nar«*o

<ere4uity

Navai

.at

or

cuace

eauipmeni

an

power

».ppiy

coros

Period

Oily

Chet*

come

lorcmor&gneorilro:;

aspacully

m

CRO

plug

ano

•"«

point

were

me

CO'C

P*in

|i>0

unit

ii

The

avwer

supply

com

shoud

oeunpiupgMi

whehinoLnuu

to

oe

unused

KM

long

oerae*

or

iiin

'

2.

Metal

pvtru

c.in

be

cieanod

«.iin

a

Damp

tao

tte

vinyl

cCNflnng

used

cm

some

u«Ht

tar.eec

loaned

wilh

a

damp

rag.

or

an

airtmo*’>a

Oaten

no-ecOolo

c'aanor

if

nereatery

•

i

Care

<t»>ou

a

1*1

MXPII

Htnai

ooiecli

do

noi

la

II

arid

I

CUIUS

are

rm

snniod

rmihe

unit

through

the

rantiaion

nclee

or

a-y

eiTer

oc<*i»igt

a

'me

unit

sitoixd

no

checked

by

a

cm

iraeacd

tervtrc

tec

tin.can

il

A

t

r>a

power

supply

oord

or

plug

has

Boon

damaged

3

Anylh

ng

has

Wien

Or

Boon

apillod

<-to

Ihe

unit

C

Tnr

unit

does

-ot

opsrale

correclty.

0

The

unii

hes

Been

dropped

or

ihe

enewsure

Cdmoged.

IS

~h#

jso'

shov'd

not

»iie«*pi

io

eerv.ee

this

equipment

aii

serycewor*

s~ouldbedoneby

aquoliliea

corvice

lech

_

<c

an

SUMMARY

OF

FUNCTIONS

7

in

1

main

OUI.

'

pr?

rncnilnr

l>ul.

I

poll

oTECIS

GUI

3-0anc

EO

cocn

chanrol.

main

noaophoro.

monitor

heacphcnc.

roverb

2

palchaDlo

F-cond

graphc

equalno's.

100A’

par

channel

alc’co

po*mr

omp

wAh

DDT*

INPUTS.

EACH

OF

7

CHANNELS:

1

low

2

solaoccd

mic.

1

high

2

uhfcalanceo

lino,

srd

l

mgh

2

un.’wldnoer)

rrlum

me

INPUTS.

MASTER:

1

i

ntiBlarceP

auxiliary

lor

main

moritpr

&

e'lects:

I

unoalanced

high

7.

rllrdn

return.

I

high

2

unbalanced

line

lor

eicn

graphic

ary)

each

power

amp

OUTPUTS.

EACH

OF

7

CHANNELS:

i

low

Z

unbalanced

send

i

nn

OUTPUTS.

MASTER:

t

low

7

unbalanced

line

each

lor

rrair

monitor,

sum.

mam

i

moniicu

m

«

eflecls

ihigh

level’,

ellecls

<low

level),

mam

grapRin

S

rvamtor

graphic

•

mono

headDhono

line

each

lex

mam

&.

monnor;

'overs

IpoKuatCh

OUTPUTS.

POWER

AMP

Two

para

«i

each

channm

a

ohm

minimum

parallel

load

MIXER

SECTION:

CHANNEL

MICROPHONE

INPUTS:

Mir.

Impede

nor

..w

Z

iSGOohmsi

baancod

Nominal

input

Level

-28d5M.

30

mV

RMS

Minimum

input

Level

-aftdBM.

A

mV

RMS

Maiimuin

Inpui

Level

-4

IBM

0.5V

RMS

CHANNEL

LINE

(HIGH

Z

MIC)

INPUTS

I

ihe

Impedance

H

gh

2

(?20K

ol.iv

imbalanced

Nominal

input

Level

-i4ilBV

?00

mV

RMS

Minimum

input

Lever

-32<18V

75

mV

RMS

Maximum

Input

Lovol

-lOdBV

3V

RMS

CHANNEL

RETURNS

&

AUXILIARY

INPUTS:

lire

Impedance

Medium

Z

|22<

ohm?]

unbalanced

Nominal

input

Level;

0

d8v.

'V

RMS

MAIN

GRAPHIC

&

MONITOR

GRAPHIC

INPUTS

Lire

Impedance

High

2

{22

OK

sa-mi:

unbalanced

Ncminol

Input

Level:

0

dDV.

IV

RMS

EFFECTS

RETURN

INPUT:

Lire

Impedance

High

2

;220K

ohm

si

untmiancod

Nominal

Input

lcvc

:

0

dBV

IV

RMS

Minimum

inp.il

Level:

-‘4

dBV

C

2V

RMS

Maximum

Inpui

level

-E

dBV.

2V

RMS

MAIN.

MONITOR.

CHANNEL

SEND.

MAIN

GRAPHIC,

MONITOR

GRAPHIC

A

EFFECTS

<HIOH

LEVEL)

UNBALANCED

OUTPUTS:

_oao

impedarce

eoo

orims

or

greaier

Nominal

Output

OdBV.

IV

RMS

Maomui

Output

•

13

cBV

8V

RMS

m:p

5CK

onms

load

Uaximui

Output

-14

C0M.

*V

RMS

inlfl

CDD

0Hm3

oad

EFFECTS

(LOW

LEVEL)

UNBALANCED

OUTPUT

Load

impedance

'OK

ohms

O’

croaior

Nominal

Output

-12dBV

0.25V

RMS

Uaorrui

Output

-6

dBV

?V

RMS

HEADPHONES:

(Mono

output

lor

mein

and

momlorl

Load

Impedance

4

ohms

lo

50

ohms

Uaxtinuir

Output

Power

100

mW

THE

FOLLOWING

SPECS

ARE

MEASURED

WITH

A

NOMINAL

INPUT

GAIN

SETTING

OF

-II

dd

ALL

CHANNELS;

ALL

MASTERS

SET

@

12

CO

AIL

EO

SET

FLAT:

LOW

Z

INPUTS

TERMINATED

(O

SOD

OHMS:

HIGH

Z

INPUTS

AMO

All

OUTPUTS

TERMINATED

@

47K

OHMS

FREQUENCY

RFSPONSE:

(Any

in/oui

eomb

nalion

with

IV

RMS

outpull

•0,

2

dB.

30

H2

to

20

KHr

PREAMP

HUM

a

NOISE:

(All

channels

on)

-82

dSV

High

2

lino

npule

80

d8V

Low

2

mx;

inputs

OVERALL

DISTORTION

(Any

in'cut

combination,

20

He

-

20

KHi

@

IV

RMS)

Lms

ihan

0

1%

T

HD

ivpcahy

Odow

,K<5»

POuali/ation:

(Each

chonnel)

-

’

>

dB

(«•

60

H:

i

8

KM?.

Shelvinc

•

'5

dB

(£

500

Ur

Pcah/NotCh

EQUALIZATION:

IGrpphlc.i

-

-5

dB

$

■

>

’CO

Hr.

?Mh/.

5C0

Hr

1

KHr

?

KHr

5

K"/

A

'0

KHi.

Rcok/NotCh.

Axerngc

O’

o«

1

5

MAXIMUM

AVAILABLE

GAIN

-

’4

r5B

Masiei

control

♦

32

r*l

Channel

control

High

Z

•

16

dB

Balanced

input

amp

*62

dB

Tolal

LEO

READOUT

RANGE:

•21

lo

*6

dBV

main

&

monitor

POWER

AMP

SECTION’

(240SC

Module

with

DOT*

Comprctiion)

FREQUENCY

RESPONSE:

•0

CB.

20

H?

to

30

KHr

(<i>

1

W

mlo

4

ohms

RATED

POWER

S

LOAO:

lODlW

per

cnannel

mlo

4

ohms

POWER

@

CLIPPING

(-%THD

1

Kh/.

120

VAC

linO|

Typical

sireie

rhannei

75V7

RMS

mto

8

ornns

126W

RMS

mlo

4

ohma

2

ohms

nol

rccommondco

TOTAL

HARMONIC

DISTORTION:

loaaihanG’^.

100

rV/b

100W

RMS.

20

H?

to

20

K

Hr

4

ohms

Typically

below

05tb

INTERMODULATION

DISTORTION

Less

lhan

0,1%.

ICC’

mW

to

ICC'*/

RMS.

60

-lr

fi

5

KHr

4

ohms

Typically

below

OWO

DDT-

DYNAMIC

RANGE:

Groalor

than

26

CB

DDT-

MAXIMUM

THD

II

KHa)

be

ow

0.5*6

THD

lor

SdB

overload

Bo

ow

•%

THD

lor

20

dB

overload

HUM

&

NOISE:

90

dB

below

1C0W.

20

H?

2C

KH?

SLEW

RATE-

Greater

than

15

V^uScc

DAMPING

FACTOR

Oreaier

wan

10

D

<v»

i

kh?.

4

onma

INPUT

SENSITIVITY:

IV

RMS

lor

ittAV

nio

4

onms

INPUT

IMPEDANCE:

22K

ohms

overiaad

protecied

POWER

REQUIREMENTS.

(Domeslic)

BMW

12CVAC

50-60

II?

Due

io

our

etlorts

lor

consiant

improvemeoi.

tea

lures

and

specilications

are

sunject

io

change

witooul

notice.

PEAVEY

ELECTRONICS

CORP.

711

A

Street/Meridian,

MS

39301

Telephone;

(601)

483-5365

/

Telex;

504115

•

198d

Printed

in

U.S

A

«80361035

5/84