Peavey XR-700 User Manual

II should bo remembered that the 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 high and low equalizer controls I n the deep cut (counterclockwise) 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:
cutting overall gain should be done by the channel level controls.
LOW FREQUENCY CONTROLS (C)
The low frequency control is capable of better than 15 dB boost or cut @ 60 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 '\vide 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 with a right hand (clockwise) rotation from center position, while cut is obtained with a left hand
(counterclockwise) rotation from center position. Flat response is obtained when theequalization control is in the vertical (12:00o’clock)
position.
MID FREQUENCY CONTROLS (D)
The mid frequency control is capable of 15 dB boost or cut @ 600 Hz with a peak/notch type of filter response. This middle EQ circuit
enables control over the vital midrange frequencies. The action of this middlefilter is somewhat different than the high and low EQsince it
is of the peaking and notching type. This type of filter response is necessary to avoid undue interaction with the high and low equalizers.
Caution must be exercised in order to avoid overboosting or overcutting the midrange. Experience has proven that, for most
applications, a very slight midrange cut tends to produce a "tight" and well-defined sound. Generally, large amounts of midrange boost
are extremely unpleasant and will probably never be used except for special effects or to correct for extremely marginal microphones or
unusual voice timbres.
Boost is obtained with a right hand (clockwise) rotation from center position, while cut is obtained with a left hand
(counterclockwise) rotation from center position. Flat response is obtained when theequalization control is in the vertical (12:00 o’clock)
position.
HIGH FREQUENCY CONTROL (E)
The high frequency control is capable of 15 dB boost or cut @ 8 KHz with a shelving characteristic sloping down to the crossover
point. The action of this control is very similar to that of the low equalizer with the exception of its high frequency effect.
Boost is obtained with a right hand (clockwise) rotation from center position, while cut is obtained with a loft hand
(counterclockwise) rotation from center position. Flat response is obtained when theequalization control is in the vertical (12:00 o'clock)
position.
CHANNEL EFFECTS CONTROL (F)
The channel effects send control adjusts the signal level applied to the effects mix buss which feeds the internal reverberation
system, as well as the effects output on the patch panel. The overall settings of the channel effects send controls determine the amount of
reverb drive as well as the signal output level available from the effects output jack. It is important to note that the effects send control is a
■ post" type adjustment whicn is located in the circuit after the channel level and equalizationcontrols. The user should be aware thatuse
of the internal reverberation system can only occur when the channel level, the channel effects send, the master effects level, the master
reverb return, and the master gain controls are all properly adjusted.
MASTER SECTION
The master section of the XR-700 contains all of the master controls for the respective mixing busses and additional supplementary
controls to allow other special functions to be achieved.
The master level controls should be set near the center of their range to take advantage of maximum control action. This setting offers
the best compromise between signal-to-noise ratio and headroom limits. Remember that while mixing, it is important to allow yourself
adequate "margins" within which to operate. By using any of the controls in their extreme (close-to-stop) positions, you have effectively
reduced your operational latitude.
As with any reasonably complex system, experience and operator knowledge of tho 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 lo alow proper responses underthestress of demanding and sometimes
sudden situations.
MAIN MASTER LEVEL CONTROL (G)
The main level control adjusts the gain of the main mixing buss and determines the level at the main line output jack (10). as well as
determining the signal level applied to the input of the graphic equalizer/power amplifier. This control is the master level control and
generally should be operated in the center of its range for best performance.
MONITOR MASTER LEVEL CONTROL (H)
The monitor master control adjusts the gain of the monitor mixing buss and determines the level of the signal to the monitor
graphic/power amp as well as the signal available from the monitor output jack (10). The operation of this control and its independent
channel sends is identical to that of the main with the exception that its output is applied to the monitor line output jack and to the monitor
EQ/power amp. Like the main, it should be operated in the center of its range.
EFFECTS MASTER LEVEL CONTROL (I)
The effects master control sets the signal level applied to the internal reverberation system and the effects output jack (6). It is
important to note that no reverb effect or effects signal will result unless su itable settings of the master effects control are used. The action
of ths control is similar to both the main and monitor master controlsand may be used accordingly todetermine the overall output level of
the effects mix buss.
REVERB RETURN CONTROL (J)
The reverb return control determines the amount of delayed signal (reverberation) that is mixed back into the main mix buss. The
action of this control (J) is defeated by use of a remote switch being plugged into the footswitch jack (4) located on the rear panel. It is
important to note that no reverberation will occur unless the internal delay line is being fed signal from the channel effects send and
effects master controls. The reverb return control does not affect the level available from the effects output jack (6) located on the patch
panel.
REVERB CONTOUR (K)
This control Is used to vary the 'timbre’' of the reverb drive circuitry to facilitate precise matching of the reverb circuitry to various
program material. Experimentation will illustrate the many advantages of this unique feature.
EFFECTS/REVERB TO MONITOR (L)
This control allows blending of the internal reverberation signal and signals from the effects return circuit back into the monitor
mixing buss for those who do not prefer a "dry" monitor signal.This unique feature provides greatly enhanced monitoring capability
since it allows the performer to hear the same effects in his monitor as being utilized in the main output signal.
EFFECTS RETURN (M)
The effects return control determines the gain of the effects return preamplifier. This high impedance auxiliary input preamp feeds
the main mixing buss and is applied to Ihe monitor buss through the effects/reverb to monitor control. This unequalized auxiliary input
channel is primarily intended for receiving signal from external effects units but also works extremely well with tape recorders, phono
preamps, etc., etc. When a tape is used. It is possible to blend the tape signal back into the monitor mix. thus allowing the performer to
prerecord various voices or instruments and then utilize this signal in both main and monitor systems during a performance.

Peavey XR-700 Specifications

General

Brand	Peavey
Model	XR-700
Category	Amplifier
Language	English