Peavey PA 700S - Page 4

Proper setting of the input attenuator (pad) should produce adequate gain within the input preamp
to allow slider settings approximately in the center (approximately -40 to -20 dB). You should remember
that the input attentuator is a kind of pre gain control and its settings will most definitiely influence the
settings for the output slider with any given input signal. The input attenuator should be adjusted for the
maximum gain that will allow distortion free performance, then the output slider level should be adjusted
for proper mix.
It is very poor operating practice to use the input pads in the extreme cut positions and then have to
set the output sliders in their close to maximum positions to obtain adequate channel output. This type
of
operation
results
in
less
than
optimum
signal-to-noise
ratios
as
well
as
contributing
to
headroom
preb-
lems. As with any system, "common sense” must be combined with operating knowledge to produce
satisfactory
results.
Overall,
the
channel
controls
should
be
set
to
provide
a
reasonable
amount
of
“ad-
justment”, i.e., none of the gain controlling elements (input attenuator/output slider) should be operated
near their extreme 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.
The
master
area
of
the
PA
700S
contains
all
the
master
or
final
output
controls
for
the
mixing
busses.
The
main
mixing
buss
equalization
features
shelving
type
high
and
low
EQ.
The
Effects
level
is
the
master
control
for
the
effects
mixing
buss.
The master level controls (8) (9) (10) of the PA 700S should be set in 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 near maximum and then run the main faders near the low end to achieve the desired
output levels. Operation in this manner will cause the operator to loose his “range” in control action with
all the gain located in one element while the other is near its stop position. Best practice calls for most
controls to be operated in their middle or slightly higher positions to allow maximum mixing control
margins (travel). Remember, when mixing, you MUST allow yourself adequate margins within which to
operate and by using any of the faders in their extreme (close to 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 of functions and should allow almost
any mixing situation to be handled by the PA 700S. As with any reasonably complex system, experience
and operator knowledge 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 per-
formance requires thorough knowledge and trained reflexes to allow proper responses under the stress of
demanding and sometimes 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 performance...a professional must work at it!
The MASTER OUTPUT FADERS (8) (9) are the controls that determine the main output level for the
output
connectors
located
on
the
rear
panel
and
to
the
internal
power
amplifiers.
The
main
summing
amps,
as well as the other summing busses, are of the very latest “zero null” type using negative feedback to
achieve maximum dynamic range, lowest noise, and crosstalk. The master faders should be operated in ac-
cord with the proper operating practices as outlined above. Experimentation and experience on several
jobs will allow the operator to achieve a ‘‘feel’’ for the right settings for his requirements.
The EFFECTS RETURN (13) is the gain control for the effects return jack located on the rear panel.
This effects return input enables the signal from an external source to be mixed back into the main (A
and B) mixing busses. This Effects return is similar to an auxiliary input and actually may be used as such.
This feature is intended to be used with effects or other devices that are used in conjunction with the
effects output, and the signal return from the external unit should be brought into the effects return whose
level is controlled by the Effects Return Control.
The EFFECTS PAN (14) is the control that enables the operator to place the signal from the effects
level return control on either, both, or any combination in between the A and B main channels. This
panning capability MUST be present to retain true stereo capability for the PA 7008. The action of this pan
control is similar to those on the individual channels and should present no problem in operation.
The EFFECTS LEVEL (15) 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 amplifier for an additional monitor system and the other is a low level output
designed to drive the input of an effects device such as an echo unit, phasor, digital delay line, etc. In ad-
dition 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.