Peavey 600 - Page 4

knowledge to produce satisfactory results. Over*
all, the channel cof>trols should beset to provide
a reasonable amount of "adjustment" i.e., none of
the gain controlling elements (input attenua¬
tor/output slider) should be operated near their ex¬
treme up or down positions. After several hours
usage, the operator will have acquired a good
"feel" for the characteristics of the controls and
should be able to suitably handle any mixdown
situation encountered in the field with satisfactory
results.
MASTER AREA - The master area of the
600 Mixer contains all the master or final output
controls for the mixing busses. The main mixing
buss equalization features shelving type high (9),
and low (10) EQ, The Effects level (12) is the mas¬
ter control for the effects mixing buss.
The master level controls (7) (14) of the 600
Mixer should be set Ir such a manner that they are
close to the center of their travel to take advantage
of maximum control action. It is poor practice to
run the channel faders up hear maximum and then
run the main faders near the low end to achieve the
desired output levels. Operation in ^is manner
will cause the operator to loose his "range" in con¬
trol action with ail the gain located in one element
while the o^er is near its stop position. Best prac¬
tice calls for most controls to be operated in their
middle or slightly higher positions to allow maxi¬
mum mixing control margins (travel). Remember,
when mixing, you MUST allow your^ft adequate
margins within which to operate and by using any
of the faders in their extreme (close to the stop)
positions, you have effectively reduced your range
of control. This manner of operation also tends to
create "headroom" problems.
These master controls allow the operator
complete flexibility for functions and should allow
almost any mixing situation to be handled by the
600, As with any reasonably complex system, ex¬
perience and operator knov/ledge of the 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 to a)low proper res¬
ponses under the stress of demanding and some¬
times sudden situations. The musician should
know his mixer almost as well as he knows his
instrument, so that his reactions will be both
smooth and proper to correct whatever problem
or requirement that should arise during a per¬
formance. .. a professional must work at it!
The MASTER OUTPUT FADER (7) is
the control that determines the main output level
for the output connectors located on the rear pa¬
nel. The main summing amp, as well as the other
two summing busses, are of the very latest "zero
null" type using negative feedback to achieve maxi¬
mum dynamic range, lowest noise, and crosstalk.
The master fader should be operated in accord
with the proper operating practices as outlined a-
bove. Experimentation and experience on several
jobs will allow the operator to achieve a "feel"
for the right settings for his requirements.
The MASTER LOW FREQUENCY EQUAL¬
IZER (10) is capable of 15dB boost or cut @ 50
Hz. This equalizer is similar to those used in
the individual channels and are designed to ex¬
hibit a "shelving" characteristic which has proven
to yeild the best results in this type application.
The controls are "flat" with no boost or cut in the
straight up (12 o'clock) position with boost being
obtained in the righthand (clockwise) position.
Care should be taken NOT to over-boost with the
master EQ controls. Since each channel Is equip¬
ped with equalization, it is poor practice to use too
much additional boost In this master section.
Over-boosting on low frequencies will impart a
boomy and muffled tonality to the program ma¬
terial and will substantially decrease the intelli¬
gibility of voices being mixed through the console,