Peavey 600 - Page 5

The MASTER HIGH FREQUENCY EQUAL¬
IZER (9) is capablo of 15 dB boost or cut ^ 10
KHz and is designed to exhibit a "sheivlng" charac¬
teristic. The operation of this EQ control is simi¬
lar to the low EQ with the exception of the fact
that it controls the high frequency portion of
the audio spectrum. Care should be taken not to
over-boost the high frequencies to avoid undue
amplification of residual system noise (hiss) as
well as creating a ^'strident'^ or screachy sounding
system. High frequency over* boo si also tends to
create undue acoustic feedback. When balancing
ANY of the equalizers for proper tonality, you al¬
ways start with ALL equalizers in their flat (12
o'clock) positions and work from there. After you
have spent several hours workmg with any parti¬
cular setup of mics, performers, etc., you will ac¬
quire a good working equalization setup and be
able to achieve the desired tonality.
The important thing to keep in mind about
the equalization on the 600 Mixer is that each
channel is provided with Its own set of EQ con¬
trols to correct problems in that particular chan¬
nel. while Master EQ is provided to allow for over¬
all tonal balarKe and feedback control. We have
not included this equalization system to allow
tremendous boost or cut but rather to allow in¬
cremental EQ where it is needed. You must use
common sense in the use of these controls in order
to achieve satisfactory tonal balance and intelli¬
gibility.
The EFFECTS LEVEL {12} is the control
that determines the overall signal output level for
the effects send buss. This effects buss has two
output connectors associated with it, one is a high
level output that can be used to drive a power amp¬
lifier for an additional monitor system and the
other is a low level output designed to drive the in¬
put of an effects device such as an echo unit,
phasor, digital delay line, etc. In addition to
driving the high and low level effects outputs, the
effects level control also determines the drive to
the internal reverb delay lines. This effects level
control must be adjusted so that the output level
from the jack on the rear panel does not overload
the input circuitry of the effects unit you are
driving, thus causing clipping or other forms of
distortion. This is especially critical on some of
the special effects units that are designed to work
with guitars or other instruments with relatively
low output levels.
The REVERB RETURN (13) is the gain
control element for ihe reverb system. The signal
coming from the reverb delay lines is amplified and
the gain or amount of signal sent to the main sum¬
ming buss Is controlled by the reverb return.
The REVERB CONTOUR (11) is the con¬
trol used to vary the tor^allty of the reverb signal
and is a low cut type equalizer. This contour con¬
trol is very useful in tailoring the reverb sound and
in controlling reverb induced feedback. Balancing
these reverb controls will yeild many combinations
of reverb delay, tonality, and sustain.
The AUXILIARY INPUT LEVEL (15) control
is provided for varying the input levels mixed Into
the main mixing buss from the main auxiliary
input jack provided on the rear panel. The auxi¬
liary input jack allows signals from other mixers
or effects units to be patched directly into the
main mixing buss. This control may be considered
a separate channel whose output is blended into
the main mix just as the individual channels are.
The MONITOR MASTER FADER (14) is
the output level control for the main monitor sys¬
tem. The same operating practices should be ob¬
served when using this control as when using the
main channel controls. The individual channel
monitor send controls should be set in such a man¬
ner that will allow the monitor master slider (fa¬
der) to be operated somewhere in the middle of its
travel to allow yourself adequate control margins,
up or down, as might be required on the job. The
monitor output signal is flat, that is, we did not
include equalization for the monitor in the 600
Mixer since this equalization is usually external
to the mixer and is best performed on the stage
itself, which Is generally at some considerable
distance from the mixer. It is because the mixer
is usually located remotely from the performing
area that it is sometimes difficult for the monitor
equalization to be performed at the mixer.
The METER SET CONTROL enables the
VU meter to be adjusted for proper indication with
any power amplifier, tape recorder, or other equip¬
ment driven by the mixer. If your power amp,
tape recorder, etc... has VU meten, the level set
control can be adjusted to track the 600's VU
meter with a constant input signal, le., set the
600's meter to read "0" VU at the same level as
the external equipment's VU does, With equip¬
ment that has LEO overload indicators, the 600's
meter should be set to zero VU at the point where
the LED peak indicator initially lights up.
If the equipment being fed by the 600 has
no maximum level indicator you should refer any
adjustment of VU meters to a properly equipped
sound technician to avoid problems In matching
VU readings with maximum output and/or modu¬
lation.
You should be aware that we have designed
the 600 Mixer to be able to drive power amplifiers
with VERY low Input sensitivities of 2 volts or
higher. Because of the high output capability of
the 600, it may appear that the 600 is excessively
noisy when plugged into power amplifiers with
high input sensitivity such as the Peavey 260 or
800 Boosters which require only V* volt for FULL
output. The extra gain designed into the 600 to
allow use with the less sensitive power amps should
NOT be Interpreted as poor design txit as additIon-
el gain capebility. It is possible to use "high gain"
power amps with very good results by generally