Peavey XR-500 Manuel utilisateur

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GENERAL

DESCRIPTION

The

new

XR-500

represents

our

latest

effort

to

combine

professional

features

previously

found

only

in

separate

mixer/equalizer/power

amp

components

into

a

single

compact

ar,o

’ugaea

package.

The

design

of

the

XR-500

utilizes

ihe

latest

advances

n

semiconductor

technology

and

the

overall

circuitry

has

been

designee:

and

optimized

by

use

of

the

latest

computer

aided

design

techniques

Tms

unit’s

Improved

specifications

nave

been

made

posable

by

a

thorough

and

complete

cesicn

effort

resulting

in

ail

new

circuitry

from

the

input

jack

through

lo

the

speaker

output.

The

XR-500

features

five

mdependenl

input

channels

and

includes

a

separate

pfe”

monitor

ser\J

acbve

shelving

type

high

and

tow

equalization,

and

a

"posl‘

effects

sand

on

each

chance!

Master

level

contrc.’s

arc

provided

for

'ho

mao.

rrcoilo’

and

reverb

return

\

lull

seven-bare

graphic

equalizer

has

been

built

into

the

system

and

utilizes

Ihe

most

contemporary

active

filter

circuitry

available

Additional

flexibility

is

provided

by

the

XR-500‘s

patch

panel,

enabling

this

versalile

unit

lo

be

usee

in

cxxiiunclian

with

an

exlremey

v/idu

range

o'

auxiliary

equipment

The

newly

engineered

130-Walt

power

amplifier

features

our

exclusive

DD~^

{'

Distortion

Dotociion

Techniquca")

compression

Circuitry

that

electronically

senses

tne

onset

of

clipping

and

automa?

cany

activates

the

comrressicn

circuit

10

maximize

headroom,

and

prevent

clipp

nc

and

distortion

m

the

power

amp

The

use

of

this

DOT*

compression

circuit

efleciiveiy

increases

the

apparent

headrcom

available.

Ihus

maximizing

every

precious

Watt

of

power

available

This

compresscn

feature

alicv/s

the

XR-500

to

quite

eheclively

compete

with

un

ts

having

conscerably

more

RMS

power

The

power

amp

of

ihe

XR-500

utilizes

lour

high-voltage,

high-speed

TO-3

powpr

devices

bolted

to

a

massive

heatsink

The

internal

power

supply

consists

ol

a

very

large

pov/er

(mains)

transformer

featuring

a

grain

oriented

silicon

steel

core

and

a

high

degree

of

magnetic

shielding

to

mmmizo

extraneous

hum

fields

Siiicor

rectifiers

cornectec

in

3

ful

wave

pudge

feed

powe*

to

large

elect'olytic

Mter

banks

and

provide

considerably

more

music

pov/er

than

the

130-Watt

RMS

power

rating

would

indicate

■

Overall,

ihe

XR-500

brings

protessima

performance

together

m

an

exiremesy

versatile

and

compact

package,

ofiering

features

and

specifications

formerly

available

only

with

separate

componerts

in

a

single

pccable

package.

WARNING:

To

prevent

electrical

shock

or

lire

hazard,

do

not

expose

this

appliance

to

rain

or

moisture.

FRONT

PANEL

INPUT

JACKS

(A)

and

(B)

Each

channel

ol

ihe

XR-500

is

equipped

with

iwo

input

jacks

which

are

connected

in

a

unique

circuit

that

allows

a

wde

range

of

inputs

to

be

handled.

When

only

one

microphone

is

used,

the

"A"

input

jack

is

more

sensitive

than

the

"8"

input

tack

Tnishigh

and

low

gain

featuie

enables

optimum

microphone

matching.

If

a

hgh

output

microphone

is

overloading

the

sensitive

"A'

r-put,

simply

reconnect

this

mike

into

the

low

ga

n

"

B"

jack.

When

two

inputs

are

used

in

oachchannd.

t&e

input

circuit

automatically

baancos

to

equalize

the

gam

m

bolh

A

and

B

jacks

This

simple

out

elective

switching

system

gives

-he

user

much

greater

flexibility

in

choice

of

inpul

sensitivities

and

overload

protection.

CHANNEL

CONTROLS

Each

of

Ihe

XR-500's

five

independent

channels

contain

live

controls

Gain.

Monitor.

Effects

and

High

and

Low

Equalization

CHANNEL

GAIN

CONTROL

(C)

This

control

varies

the

gain

of

the

mput

preamplifier.

This

input

preamp

is

designed

around

a

variable

negative

feedback

approach

and

provides

optimum

dynamic

range

as

well

asextromely

low

noise

operation

This

control

is

used

to

set

the

level

ottherespectivechannels

to

achieve

the

main

ml*.

CHANNEL

MONITOR

CONTROL

(D)

The

channel

monitor

control

is

a

totally

independent

lovel

aejustmen;

used

tor

deriving

the

proper

monitor

mv

It

is

important

that

the

user

be

aware

that

this

channel

monitor

send

is

tot

any

independent

from

ali

other

cnannel

controls

and

feeds

directly

into

Ihe

monitor

buss

whose

output

is

determined

by

the

master

monitor

control

(I).

CHANNEL

EQUALIZATION

CONTROLS

The

channel

equalization

conlrols

are

of

the

active

'shelving"

type

and

provide

15

dE

of

boost

or

cut

in

their

respective

frequency

ranges

These

equalization

controls

are

exfremely

effective

and

will

allow

the

user

tc

achieve

almost

any

Wend

of

high

s

and

low's

with

proper

adjustment

Since

these

EQ

ccrtrois

are

capable

of

a

30

CB

range,

care

should

be

taken

lo

properly

utilize

thei'

capabilities

Excessive

boosting

of

low's

can

cause

"muffled"

or

'boemy"

sounds,

as

well

as

tending

toprematuroly

overload

the

power

amp

becausect

excessivo

low

frequency

power

requirements.

Overbocstng

the

high’s

will

tend

to

cause

a

'strident'

or

"screechy

tonality,

as

well

as

tend

ng

to

emphasize

residual

preamp

noise

and

susceptibility

to

acouslic

feedback.

Care

should

be

observed

when

using

excessive

cutin

either

frequency

range

since

excessive

cutting

may

degrade

the

dynamic

rango

capabilities

of

tho

input

preamp

and

create

poor

tonality

These

channel

equalization

controls

have

been

provided

to

achieve

tonal

balance,

as

wel

as

feedback

control

m

the

individual

channels

''or

Ihe

main

mix

only.

At'

experimentation

should

begin

with

these

controls

set

in

the

flat'

0"

(straight

up

or

t

?:00)

position

Use

of

the

individual

channel

controls

in

conjunction

with

the

ma&er

graphic

equalizer

is

vita

to

provide

the

user

with

optimum

equalization

CHANNEL

LOW

EQUALIZATION

CONTROL

(E)

The

low

equalization

conirol

determines

whether

the

low

frequencies

wil

be

boosted

or

cut

Boost

occurs

in

the

clockwise

settings,

while

cut

occurs

in

the

counterclockwise

settings.

Pat

response

is

obtained

in

the

"0"

or

vertical

position

CHANNEL

HIGH

EQUALIZATION

CONTROL

(F)

The

high

equal

zation

control

determines

whether

the

hgh

frequencies

will

be

boosted

or

cut

Boost

occurs

n

the

clockwise

sellings,

wnie

cur

occurs

In

the

counterclockwise

sellings

Fiat

response

is

obtained

in

the

''O'

1

or

vertical

position.

CHANNEL

EFFECTS

CONTROL

(G)

The

channel

ef

teas

send

control

adiusts

the

signal

level

appled

to

the

effects

mix

buss

which

Iceds

the

internal

reverberation

system,

as

wen

as

the

effects

output

on

the

patch

pone:.

The

overall

settings

of

tho

channel

effects

send

controls

determine

the

amount

of

reverb

drive,

as

wel

as

the

signal

output

level

ava

labte

from

the

effects

output

jack

it

is

important

to

note

that

the

effects

send

control

is

a'

post

type

adjustment

which

is

located

in

the

circuit

after

the

charnel

gain

and

equalization

controls.

The

Lser

should

be

aware

that

use

of

tho

interna

reverberation

system

can

only

occur

when

tho

channel

gam.

the

channel

effects

send,

the

master

revero

relurn

and

the

master

ga

in

controls

are

ail

properly

adjusted

MASTER

SECTION

The

XR-500

master

section

contains

overal

master

level

control

Ihe

master

montcr

conirol

and

the

reverb

return

(tc

master)

centre,

as

wen

as

a

seven-band

graphic

equalizer

and

patch

panel.

As

the

name

mplies.

the

master

controls

operate

os

the

tmal

control

element

-or

ihoir

respective

mixing

busses

and

Ihe

master

graphic

EO

determines

the

final

overall

equalization

AUXILIARY

INPUT

(M)

The

auxiliary

input

provides

access

to

iho

main

nixing

buss

for

patching

in

signals

from

external

devices

such

as

celay

lines

or

extra

mixing

channels

Its

input

impedance

is

22K

Ohms

and

Is

designed

lor

signal

evels

of

approximately

1

Volt

RMS

EFFECTS

OUTPUT

(N)

The

effects

output

has

been

designed

to

deliver

output

signal

from

the

effects

buss

for

driving

various

line

level

devices.

Caution

should

be

observed

when

using

accessory

devices

designed

for

guitar

level

(100

mV)

lo

evoid

overloading

these

devices

with

the

relatively

high

output

signal

eve

available

Irom

the

effects

cut.

Overall

signal

level

is

determined

by

the

selling

of

the

various

chccts

send

controls

of

iho

respective

channels.

This

output

is

of

relatively

low

impedance

2

nd

is

capable

of

approximaiely

4

volts

into

500

Ohms

or

8

Volts

into

higher

lose

impedsnees.

MONITOR

OUTPUT

(O)

The

monitor

output

provides

a

signet

fer

an

external

nonitersystem

anc

isa

relatively

low

outou!

impedance

capable

of

over4

Voitsinto

6CX)Ohms

or

over

8

Volts

inio

higoer

load

impedances

The

level

Is

controlled

by

settings

01

toe

individual

channe

monitor

sends

as

well

as

the

master

monitor

level

control.

MAIN

OUTPUT

(P)

The

mam

output

provides

cutput

from

the

main

mixing

buss.

This

oulput

is

of

relatively

low

impedance

and

is

capable

of

over

4

Veits

RMS

into

300

Ohms

or

over

8

Volts

into

higher

load

impedances

The

output

level

is

determined

by

the

gain

and

equalization

settings

of

the

individual

channels,

as

wen

as

the

master

gain

comrol

GRAPHIC

INPUT

(Q)

The

grapfvc

inpu!

ack

provides

a

means

to

allow

patching

nto

ihe

internal

graphic

equalizer

.'power

smp.

This

|ack

is

of

fhe

switch

ng

type

lha!

normally

picks

up

the

signal

ftem

the

nain

oulput

jack

(P).

When

a

plug

is

insertec

into

ne

graphic

input,

the

circuit

path

is

broken

and

tbs

input

may

now

be

plugged

into

ether

devices

or

any

of

tie

output

jacks

of

the

XR-500

The

graphic

input

provides

much

greater

flexibility

m

allowing

the

internal

graphic/power

amp

to

be

utilized

as

a

monitor

smp

or

ter

any

other

purpose

the

usermay

deem

necessary.

Its

input

impedance

is

approximately

50K

Ohrosal

approximately

I

Volt

signal

level

for

full

power

output

at

the

speaker

jacks

REAR

PANEL

FUSE

(U)

T

he

fuse

Is

crated

within

the

cap

of

the

fuseholder

it

is

necessary

that

the

luse

be

replaced

with

the

proper

type

and

value

if

1

should

far.

m

order

lo

avoid

damage

to

Ihe

equipment

and

to

prevent

voiding

the

warranty.

II

your

unit

repeatedly

blows

fuses,

it

should

betaken

10

a

aja’itied

servee

center

‘cr

repair.

MASTER

LEVEL

CONTROL

(H)

The

master

level

centre*

ad/js'.s

Ihe

gain

of

the

mam

mixing

Olss

arcl

determines

ihe

level

ai

the

mam

line

output

:3CK

(P|.

as

well

as

determining

the

signal

lave!

applied

to

:ho

input

of

the

graphic

equalizer/power

amplifier.

It

is

generally

good

practice

to

operate

Ihe

master

level

control

somewhere

in

the

middle

of

its

operating

range

to

allow

maximum

flexibility

in

adjusting

overall

levels

ie

.it

spaw

oracticetorur

the

individual

channel

gains

way

up

and

the

master

contra

way

down

since

this

effectively

negates

flexibility

afforded

by

themaster

control

MASTER

MONITOR

LEVEL

CONTROL

(I)

The

master

monitor

conirol

adjusts

the

gain

of

the

monitor

mixing

buss

and

determines

the

level

of

Ihe

signal

available

from

the

monitor

output

lack

(O;

The

operat

or

of

this

control

and

its

independan!

channel

sends

is

identical

to

that

of

the

main

with

Ihe

exception

Inr

its

ouiput

is

applied

to

the

monitor

line

oulput

jack

instead

of

the

main

output

jack

MASTER

REVERB

RETURN

CONTROL

(J)

The

master

revere

control

determines

ihe

amount

o'

delayed

signal

(reverberaiion)

nal

is

mixed

back

into

the

mam

mx

buss

"he

action

of

this

conirol

{J)

is

defeated

by

use

ot

3

remote

switch

being

plugged

into

the

footswitch

jack

(L)

located

on

tne

patch

panel.

It

is

important

to

note

lhal

no

reverberation

wii

occur

unless

tne

infernal

delay

line

is

being

fed

signal

'rom

me

channel

effects

send

controls

The

master

reverb

return

control

does

not

affect

Ihe

level

available

'rom

Hie

effects

output

ack

totaled

on

the

patch

panel

(N<

GRAPHIC

EQUALIZER

(K)

~hc

so/en-band

equalizer

is

of

the

latest

active

type

and

exhibits

performance

ccmparaoie

to

that

lobncJ

in

the

finest

commercial

equipment

Tne

graphic

equal

zer

is

located

m

the

circuit

just

before

the

internal

130-Watt

power

amplifier

and

provides

a

very

versatileand

professional

equalization

of

Ihe

overall

system

Because

of

the

flexibility

bu»l

into

the

XR-500

several

difler'em

modes

of

operation

are

possible

NORMAL

MODE

Undor

normal

operating

ccnd:

ons

(no

paich

connections),

the

oquslizor

is

connected

through

the

graphic

input

switching

jack

to

the

main

output

which

is

the

signal

derived

from

the

main

mixing

puss

and

controlled

oy

the

master

gain

contro

MONITOR

OPERATION

The

graphic

equalizer

and

internal

pov/er

amp

maybeusedtc

power

a

mon

tor

system

by

simply

patching

hom

the

montorcutputto

the

graphic

input

using's

short

shielded

patch

cable.

When

this

patch

is

acomplished.

the

signal

from

the

main

mixing

buss

is

available

only

at

Ihe

oulput

jack

on

the

patch

panel

(P)

to

be

used

in

coniuoction

with

external

power

amps,

equalizers,

cr

ether

accessories.

MASTER

EQUALIZATION

The

master

graphic

equal'ze*

a

designed

to

provide

room

equalization,

effective

Ieedback

control,

and

overall

system

tone

conirol

It

is

important

to

note

that

there

are

ro

firm

operating

instructions

that

win

result

in

the

ideal

FQ

fereaon

and

every

set

of

operating

conditions

Experimentation

with

adequate

understanding

of

Ihe

graphic

equalizer

is

necessary

to

achieve

optimum

resuits

No

amount

of

equalization

will

correct

an

acoustically

bad

rcom/mike/speaker

a-rangemont

or

completely

correct

the

response

curve

o‘

a

poor

loudspeaker

Ploase

make

sure

the!

the

power

amplifier

has

adequate

headroom

to

handle

any

boost

that

may

be

incurred.

If

you

bcoa;

100

Hz

by

3

dB.

your

power

requirement

will

double.

As

an

example,

if

your

no-mal

performing

level

requires

100

Watts

the

power

requirement

alter

a

3

dB

equalization

boos!

will

be

200

Walls.

You

should

always

begin

operation

with

tne

equalizers

in

the

“0"

or

center

position

it

is

wise

io

avoid

excessive

cutting

of

la'ge

segments

of

the

audio

psssband

since

this

tends

to

reduce

tho

dynamic

range

of

the

system

Also,

it

is

better

ic

raise

the

level

conrcl

rstner

than

to

use

ihe

majority

of

ihe

equalizers

m

the

ooost

position

since

a

lower

overall

signa-to-noise

ratio

will

result

As

with

any

equalizer

dev.ee,

careful

experimentation

and

a

little

common

sense

will

yield

Ihe

desired

result.

NOTE

IF

AN

EXTREME

AMOUNT

OF

BOOST

IS

REQUIRED

AT

A

CERTAIN

BAND

OF

FREQUENCIES.

CHECK

FOR

PROPER

PHASING

OF

YOUR

SPEAKER

OR

POWER

AMPLIFIERS.

IN

MOST

SPEAKER

SYSTEMS,

THE

CROSSOVER

LEVEL

IS

ADJUSTABLE.

IF

YOU

SEE

A

NOTICEABLE

LEVEL

CHANGE

AT

THE

CROSSOVER

POINT,

TRY

TO

COMPENSATE

FOR

THE

LEVEL

DIFFERENCE

WITH

THE

CROSSOVER

CONTROL.

FEEDBACK

CONTROL

A

graphic

equalizer

can

be

used

togreai

advantage

for

feedback

suppression

The

whole

point

ot

equalization

is

to

obtain

the

Highest

system

gain

before

feedback.

In

essence,

this

requites

a

speaker

system

lo

be

as

flat

as

possible

The

following

procedure

is

given

as

a

guide

only!

Use

common

sense

and

take

your

time

when

attempting

the

equal

zalion

process

end

ycur

chances

of

obta-ning

the

desired

results

w

H

be

Very

good

Adjust

all

ehanne

equalization

and

the

graphic

equalizer

controls

for

an

indicated

flat

response,

and

slowly

bring

up

Ihe

level

by

use

of

ihe

channel

o-

master

level

controls

uniil

ihe

system

stans

logo

into

feedback.

Then

very

slowly

adjust

each

section

of

the

graphic

equalizer

unn

you

'md

tho

one

:rot

has

Ihe

moot

effect

or

the

feedback.

Return

all

other

sections

to

the

Mat

position

and

oring

up

the

gam

until

:he

system

apain

goes

into

feedback

Repeat

the

procedure

and

equalize

out

the

second

and

third

'eedoack

modes

and

mo'e

it

necessary.

WARNING

1

You

should

never

have

lo

cul

more

than

6

la

9dB

or

der

normal

conditions.

If

mcrecui

is

necessary,

check

(or

p<oper

phasing

of

the

speaker

system

sndmicrophorepositionirg.

One

improperly

phased

speaker

can

cause

unordingrcodoack

problems.

Do

not

cxocct

to

obtain

a

system

that

is

completely

tree

of

feedback

A

simple

I

-octave

graphic

equalizer

can

only

do

so

much

in

short.

don't

expect

miracles...

PILOT

LED

(R)

The

pilot

LEO

indicates

when

the

electrical

supply

is

switched

on

and

is

actually

delivering

power

to

the

amplifier

“DDT®”

COMPRESSION

WITH

LED

INDICATOR

(S)

The

XR-500

is

a

compact

ard

powerful

system

which

features

a

130-Watt

RMS

power

amplifier

with

a

new

type

of

dynamic

compression.

The

compression

effect

enables

us

to

maximze

the

performance

of

the

amp/speaker

combination.

We

have

determined

ihrough

research

Tat

me

compression

circuitry

sheutd

prevent

ihe

emp/speaker

comb

naiion

from

runningcutot

headroom

(c

apping)and

should

be

as

simple

to

operate

as

possible

to

avoid

undue

complication

for

the

user.

Because

of

the

dynamos

of

a

typical

sound

system,

il

is

q.nte

common

io

activate

the

compression

as

indicated

by

ihe

limit

LED

(light

emitting

diode)

(S|

virtually

constantly

durina

a

performance

since

this

is

what

it

was

designed

toco;

i.e.

to

maximize

the

dynamics

available

Iron',

tne

amp

within

its

powei

oulpu:

capabi

ikes.

We

have

not

irtc.uced

ether

compression

controls

since

wa

have

designed

an

exclusive

“Distort

bn

Detection

~echniquc

1

(DDT*)

circuit

that

senses

conditions

mat

might

cause

overload,

and

compression

;s

activated

only

when

clipping

is

imminent

This

technique

effectively

utilizes

every

precious

watt

available

f'om

the

power

amplifier.

XR-500

PATCH

PANEL

The

patch

pane!

of

the

XR-500

has

been

designed

to

allow

use

of

auxiliary

accessories,

mixers

power

amps.

etc.

in

can;unction

with

this

unt

FOOTSWITCH

(L)

The

footswitch

jack

provides

sc

input

to

accommodate

Ihe

optional

remote

reverb

cuto'f

pedal.

This

foots

witch

iack

is

conventional

and

should

preseni

nc

operational

problems.

POWER

SWITCH

(V)

On

domestic

units,

the

pcMer

switch

is

of

the

three

position

type

with

’.he

cente'

position

being

“OFF

"

This

switch

has

two

ON'

positions,

one

ot

which

is

used

to

ground

the

amplifier

properly

One

cf

the

ON”

positions

wi

i

yield

the

lowest

amount

of

residual

hum

or

''popping"

when

the

instrument

is

touched

and

this

is

the

position

that

should

be

used

On

export

models,

we

utilize

a

simple

on/ot'f

switch

that

does

not

have

multiple

'ON'

positcn3

since

the

grounding

(earthing)

condilions

m

most

foreign

countries

are

positively

made

through

staroard

tanper-prenf

plug-m

systems

LINE

CORD

(T)

For

your

sa-Gtv.

we

have

ncorporatec

a

three-wire

lire

(mams)

cable

with

proper

grounding

facilities

It

is

not

advisable

to

remove

the

Qround

pin

under

any

circumstances.

1

it

is

necessary

lo

use

the

amp

n

a

tv/o-pm

plug

system

wihout

proper

grounding

facilities,

suitable

grounding

adaptors

should

be

used.

Much

less

nose

anc

greatly

reduced

shock

hazard

exists

when

-he

unit

is

operated

with

the

proper

grounded

receptacles

SPEAKER

OUTPUTS

(W)

The

speaker

output

jacks

are

ot

the

s'andard

'/•'

type

Both

the

output

jacks

are

wirec

in

parallel

and

either

or

belli

may

be

used

when

connecting

your

speaker

system.

The

260C

module

has

been

optimized

fora

4-Ohm

lead

but

has

adequate

performance

to

drivo

loads

both,

above

an3

below

the

-ecommendod

>1-Ohm

impectence.

bxtreme

care

should

be

used

when

operating

s

unit

ai

below

4

Ohms

since

lower

load

impedances

lend

to

overload

the

power

amplilier

and

may

cause

premature

activation

of

the

power

amp's

short

circuit

protection

system

and/or

thermal

fault

protection

circuitry.

Because

of

the

unique

design

of

the

compressor,

the

circuit

will

still

minimize

clipping

regardless

of

load

values

LINE

(MAINS)

CORD

RETAINER

(X)

We

have

provided

two

srge

molded

line

cord

retainers

on

the

rear

panel

to

allow

storage

Of

the

mams

cable

for

navel.

In

operation,

the

cable

should

be

completely

unwrapped

to

allow

maximum

heat

dissipation

from

the

rear

pane:/heatsink.

MONITOR

REVERB

UNIT

V

HIGH

MOISf

LEVELS

MAY

CAUSE

A

PERMANENT

HEARING

LOSS

INO>VIOUAIS

VARY

CONSIDERABLY

IN

SUSCEPTIBILITY

TO

NGISE

INDUCED

HEARING

LOSS.BUT

LOSE

SOME

HEARING

If

E»POSEO

TO

SUfFICIENTlY

INT6N36

NOSE

FOR

A

SUFFICIENT

TIW6

OCCUPATIONAL

SAFETY

ANO

HEALTH

ADMINISTRATION

<OSHA>

HAS

SPECIFIED

THE

FOLLOWING

PERMISSIBLE

NOISE

LEVEL

EXPOSURES

DURATION

PER

OAY

IN

HOURS

SOUNO

LEVEL

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RESPONSE

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1

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ptcduclng

CHANNELS:

5

INPUTS:

10

High

Z.

5

being

high

gam,

5

being

padeed

(-6

dB);

Graphic

inpul;

Auxiliary

input

SENSITIVITY:

Waster.

Channel

Gain

@

Vertical

(12.001

settings.

All

EQ

flat.

100

mV

mlo

High

Gam

tor

130

W

RMS

@

speaker

oufpul

into

A

Ohms

MAXIMUM

DYNAMIC

RANGE:

3

V

RMS

@

Jack

A

6

V

RMS

@

Jack

B

MAXIMUM

GAIN:

66

c!B

with

channel

Gain

lull

CW

80

CB

with

channel

Gam

and

Master

Level

full

CW

INPUT

IMPEDANCE:

220

K

Ohms

(Jack

A)

44K

Ohms

(Jack

B)

SIGNAL-TO-NOISE

RATIO:

Master

@

12:00.

Ail

EO

flat.

20

Hz

-

20

kHz

unweighted;

1

channel

Gain

@

12

00

22K

Ohm

source.

78

dB

All

channel

Gams

@

12

00.

22K

Ohm

source.

74

dB

CHANNEL

EQUALIZAION:

-

-15

dB

@

80

Hz

&

8

kHz.

Shelving

Characteristic

MASTER

GRAPHIC

EQUALIZER:

*-15

dB

@

100

Hz.

200

Hz.

500

Hz.

1

kHz.

2

kHz

5

kHz

and

10

kHz,

Peak/Notch

Characteristic,

Average

"Q”

of

1

8

TOTAL

SYSTEM

FREQUENCY

RESPONSE:

*-2

dB.

40

Hz

-

20

kHz.

All

EO

flat

LINE

OUTPUTS:

Main.

Monitor

and

Effects

MAXIMUM

OUTPUT:

8

V

RMS

into

I

OK

Ohms

(+18

dBV)

or

4

V

RMS

mto

600

Ohms

(->

14

dBM)

POWER

AMP

SPECIFICATIONS

RATED

POWER:

130

W

RMS

into

4

Ohms

load

POWER

@

CLIPPING:

(1%

THD

@

I

kHz.

120

V

VAC

line)

Typically

85

W

RMS

into

8

Ohms

140

W

RMS

mto

4

Ohms

90

W

RMS

into

2

Ohms

FREQUENCY

RESPONSE:

»0

-1

dB.

10

Hz

-

30

kHz.

100

W

RMS

into

4

Ohms

TOTAL

HARMONIC

DISTORTION:

Less

lhan

0.1%,

10

mW

to

100

W

RMS.

20

Hz

10

kHz

4

Ohms.

Typically

below

.05%

INTER

MODULATION

DISTORTION:

Less

than

0.1%.

10

mW

to

100

W

RMS.

60

Hz

&

5

kHz

4

Ohms.

Typically

below

04%

eo»?an

Ci

479