Peavey PA 700S - Page 3

operator to achieve superb results in virtually any mixing situation. Our variable input attenuator allows
for much more flexibility than some other manufacturer's mixers that only have switchable fixed attenua-
tion of maybe 10 to 20 dB, where sometimes 10 dB may not be enough and 20 dB may be too much
attenuation. The PA 7008's input attenuator is continuously variable from O dB to -40 dB.
The MONITOR SEND CONTROL (2) is the channel mixing element for determining the impor-
tant monitor mix. The signal for the monitor send is obtained right after the input preamp and before the
channel EQ. This is referred to as a Monitor Pre-send Control, i.e., it is before or pre to the channel equali-
zation and slider level control. This makes it independent of these controls, meaning that any changes
made to the EQ or channel level will not affect the monitor system. Having the monitor send with the pre
capability is absolutely vital to avoid feedback of the monitor system when EQ and normal incremental
output variations are made in the channel fader during the course of the performance.
The equalization circuitry of the PA 700S is the latest active type, utilizing negative feedback tech-
nology. We selected circuitry that produces a “shelving” type of action because the conventional type
circuitry used by some manufacturers tends to create erratic or sometimes harsh sounding results when
in the near-maximum boost positions. These two equalization controls will produce extremely smooth
action as well as giving effective tone control. Experience will show their utility in achieving professional
channel equalization on the job.
It should be remembered that these 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 equalizer controls in the deep cut (counter-clock-
wise) 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, and cutting overall channel gain should properly
be done by the output slide attenuator or input attenuator.
The LOW FREQUENCY EQUALIZER (4) is capable of better than 15 dB boost or cut @ 100 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 “wide
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 in the righthand (clock-
wise) position while cut is obtained in the lefthand (counter-clockwise) position. The vertical (12 o’clock)
position yields a flat (no boost or cut) response and is the position from which all tonal balancing should
be started.
The HIGH FREQUENCY EQUALIZER (3) is capable of 15 dB boost or cut @ 5 kHz with a shelving
characteristic sloping down to the crossover point. The boost or cut action of this control is very similar
to that of the low equalizer with the exception of its high frequency effect. Boost is obtained to the right
of center position while cut is obtained to the left of the center position. Flat response is obtained in the
center (12 o'clock) position.
Caution should be exercised in using extreme low-frequency boost to avoid emphasizing objectionable
wind noises or rumble from the microphone as well as any hum that might enter the mixer from external
sources. Excessive treble boost should be avoided to keep residual noise from the amplification circuitry
to reasonable level as well as to avoid a strident or screeching tonality in the output program material.
The EFFECTS SEND CONTROL (5) is the channel level for determining the amount of signal from
each respective channel to be sent to the effects output or to be mixed into the reverb summing buss.
The effects send circuit has been designed to provide multiple functions which will be explained further
in the master control section.
The STEREO PAN (6) is the control used to achieve the desired balance from each individual channel
into the A and B main output mixing busses. The Pan control may be thought of as a kind of balance
control determining the signal sent to either of the stereo outputs of the PA 700S. This Pan control is
present on all professional multi-channel mixers, and is useful in achieving many special effects in sound
reinforcement as well as being absolutely necessary in stereo tape recording. Again, experimentation and
“hands on” experience with the PA 700S are key factors in the use of the Pan control. The Pan is capable
of assigning the channel output to either A or B main channels or any combination in between. It is impor-
tant to remember that the Pan control follows (post) the channel output fader.
The CHANNEL ATTENUATOR SLIDER (7) is the output level contro! that determines the mix
into the main summing buss. Its calibration is in decibels of attenuation and this is why the numbering
sequence goes from off (infinity = © ), or maximum attenuation to zero (0), or no attenuation. Remember
that attenuation is the cutting or reduction of the signal level, i.e., the more attenuation, the more you have
cut down the signal level. The output fader is calibrated in accordance with standard practice for profes-
sional audio equipment.