Peavey XR-500 User manual

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 Ml. SLOW RESPONSE
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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