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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.
WARNING1
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.
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