Peavey XR-700 User Manual

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.

Peavey XR-700 Specifications

General

Type	Powered Mixer
Channels	7
Equalization	3-Band EQ per channel
Power Output	700W
Effects	Digital Reverb, Delay, Chorus
EQ	3-band EQ per channel
Frequency Response	20Hz - 20kHz

Summary

General Description

General Description

Overview of the XR-700 dual powered mixer, highlighting its monitor function focus and versatile features.

Front Panel Controls

Channel Level Control (A)

Adjusts input preamp gain for optimal signal-to-noise ratio and headroom for channel and master levels.

Monitor Send Controls (B)

Sets monitor mix levels using independent 'pre' monitor sends before channel EQ and level controls.

Equalization Controls

Features three-band active EQ with shelving low/high and peak/notch mid filters for precise tone shaping.

Low Frequency Controls (C)

Provides 15 dB boost/cut at 60 Hz with a sloping characteristic for low-end shaping.

Mid Frequency Controls (D)

Offers 15 dB boost/cut at 600 Hz with a peak/notch filter for midrange control.

High Frequency Control (E)

Features 15 dB boost/cut at 8 KHz with a shelving characteristic for high-end shaping.

Channel Effects Control (F)

Adjusts signal level to the effects mix buss for internal reverb or external effects units.

Master Section

Main Master Level Control (G)

Sets the overall gain for the main mixing buss and output to the main line out.

Monitor Master Level Control (H)

Adjusts the gain of the monitor mixing buss and output to the monitor line out.

Effects Master Level Control (I)

Controls signal level sent to the internal reverberation system and effects output.

Reverb Return Control (J)

Determines the amount of delayed signal (reverberation) mixed back into the main mix buss.

Reverb Contour (K)

Varies the 'timbre' of the reverb drive circuitry for precise matching to program material.

Effects/Reverb To Monitor (L)

Blends internal reverb and effects signals into the monitor mixing buss for enhanced monitoring.

Effects Return (M)

Controls gain of the effects return preamp, feeding the main and monitor mixing busses.

Graphic Equalizers

Normal Mode

Describes graphic equalizer connection through input switching jacks to main outputs under normal use.

Monitor Operation

Explains using graphic equalizers and power amps for external systems via patching.

Master Equalization

Details using master graphic equalizers for room equalization, feedback control, and system balance.

Feedback Control

Provides guidance on using graphic equalizers for effective feedback suppression.

Amplifier Features and Indicators

DDT Compression (O)

Utilizes 'Distortion Detection Technique' to maximize amp performance and prevent clipping.

Compression LED Indicators (P)

LEDs indicate when DDT compression is active, showing gain reduction during operation.

Pilot LED (Q)

Indicates when the electrical supply is switched on and power is being delivered.

LED Level Displays (R)

Dual ten-segment LED displays provide instantaneous output signal level indication.

Headphone Level (S)

Controls headphone output level for both main and monitor jacks, acting as a sublevel.

Monitor Headphone Jack (T)

Provides headphone signal from the monitor amplifier, controlled by the headphone level control.

Main Headphone Jack (U)

Provides headphone signal from the main amplifier, controlled by the headphone level control.

Rear Panel Connections

Input Section (1)

Features balanced (low Z) and unbalanced (high Z) inputs for microphones and program sources.

Channel Patching (Out/In) Jacks (2)

Allows in-line patching of auxiliary effects or equalizers via stereo send/receive jacks.

Auxiliary Inputs (3)

Line level access points to mixing busses for paralleling mixers or direct signal injection.

Reverb Footswitch (4)

Jack for remote control of the reverberation function using a standard footswitch.

Effects Return (5)

Input for effects return preamp, handling various signal levels and connecting to the main mix.

Effects Output (Send) Jacks (6)

Outputs for matching to professional line or instrument level effects devices.

Sum Output Jack (7)

Provides a mix of main and monitor systems for external devices or tape recording.

Power Amp Inputs (8)

Input jacks to facilitate patching signals directly to the internal power amplifiers.

Graphic Inputs and Outputs (9)

Patching jacks for graphics, allowing external patching or disconnection from mixer.

Master Outputs (10)

Primary signal outputs from main and monitor mixing amplifiers for patching to other systems.

Power Amp Outputs (11)

Connects speaker systems to the two internal 100 watt power amplifiers.

Fuse (12)

Protective fuse for the unit, requiring replacement with the proper type and value if it fails.

Power Switch (13)

Three-position switch for power control, including an 'off' position and optimized 'on' positions.

Line Cord (14)

Three-wire line cord with grounding for safety, advising against removing the ground pin.

Summary of Functions