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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.
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