Peavey 601R User manual

OUI MIKER
OPERATING GUIDE
CAUTION
TO PREVENT ELECTRICAL SHOCK OR FIRE HAZARD, DO NOT EXPOSE THIS INSTRUMENT TO RAIN OR MOISTURE.
BEFORE USING THIS INSTRUMENT READ BACK COVER FOR FURTHER WARNINGS.
4562 EE 6C1R. .
? 3
'|».-
TRODUCTION
The system you have purchased is a very portable package with the flexibility of mixers
twice
the
size
at
twice
the
price.
The
601R™
features
six
channels,
excellent
3-band
equalization and rack mount versatility.
...
:Rack
mountable
mixers
have
a
special
place
in
sound
reinforcement
applications,
and
many
times
no
other
type
product
will
suffice.
The
601R™
requires
a
very
low
profile,
vertical
mounting
space,
and
is
exceptionally
thin,
front
to
back.
These
dimensions
are
critical
as
rack
space
is
usually
a
premium
consideration.
The
input
circuitry
has
tremendous
dynamic
range
and
will
handle
sound
reinforcement
applications
with
ease.
As
you
read
the
enclosed
literature,
please
try
to
learn
as
much
as
possible
about
the
product
so
your
job
of
sound
reproduction
will
be
easier
and
the
results
will
be
an
overall
improved
performance.
The
person
doing
sound
or
installing
sound
systems
is
actually
an
extension
of
the
performance
and
should
master
the
sound
equipment,
just
as
a
musician
masters
his/her
instrument.
|

INPUT GAIN CONTROL
The
input
gain
control
determines
the
sensitivity
of
each
individual
channel.
It
should
be
adjusted
accordingly
to
each instrument
or vocal
that
is
being
patched
into
this system. The
operator
must
adjust
the
input
gain
so
that overload
“clipping”
is
avoided
at
the
input. A
very
strong
signal
coming
into
the
mixer
would require
a fairly
low setting
of the
input
gain:control,
and
obviously,
a very weak
signal
will
require
a
fairly high
setting
of
this
control.
Proper
adjustment
of
the
input gain
control
may
be
easily
E
by
setting
up the
highest
expected
input
signal level
and
adjusting
the
input
gain
so
that
o
"clipping"
or
distortion
is
heard
from
the'amp/speaker
system.
After
this
mixer
has
been
used
several
tipica:
the
operator
will
have
a very good idea
of
the
signal
levels
encountered
and will
be
able
to
set
up
the
input
sensitivity
with
no
difficulty.
Please
be
aware
that
different types
of
microphones
will have
different
output
levels
and
different
performers
will
get
widely
varying
signals
from microphones
depending
on
the
strength of.their
voices
and/or
their
basic microphone
technique.
MONITOR SEND CONTROL
The
monitor
send
control
is
the
channel
mixing
element
for
determining
the
all
important
monitor
mix.
The
signal
for
the
monitor
send
is
obtained
right
after
the
input
preamp
and
before
the
channel
EQ.
This
type
control
is
referred
to
as
a
pre-monitor
send,
i.e.
it
is
before
or
pre
to
the
channel
equalization
and
channel
level
control.
This makes
the
control independent
of
all
equalization
and
channel level
adjustments.
Alterations
to
channel
EQ
will not
affect the
equalization
of the
monitor
system.
Having
the
monitor send
with
pre-capability
is
absolutely
vital
to
avoid
feedback
of the monitor
system when
various
channel
adjustments
are made
to
the
outfront
system.
HIGH FREQUENCY EQ CONTROL
The
high
frequency
control
is
capable
of
15
dB
boost
or
cut
at
8
KHz
with
a
shelving
characteristic
a S 2 sloping down to the crossover point. High frequency boost is obtained with a clockwise rotation of this
2 © 8 control and counter clockwise rotation results in a cutting of the high frequencies. Flat response is
: à A . obtained in the center (12:00) position. This flat “12:00” position is an excellent placeto begin tuning the
system.so that with different rooms and concert halls you will be able to determine what degree of
373 equalization is needed and then adjust accordingly.
©
12
MID FREQUENCY EQ CONTROL
The mid control is capable of 15 dB boost or cut at 600 Hz with a peak/notch type filter response. This
middle EQ circuit enables control over the vital mid-range frequencies. The action of this middle filter is
-. somewhat different than the high and low EQ since 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 mid-range. Experience has proven that for
most applications, a very slight mid-range cut tends to produce a tight and well defined sound.
Generally, larger amounts of mid-range boost are extremely unpleasant and will probably never be used
except for special effects or to correct extremely marginal microphones or unusual voice timbre. Most
systems tend to get "muddy" and lose a certain amount of presence when excessive arnounts of mid-
range are used. More feedback problems aré usually encountered when too much mid-range boost is
used with sound reinforcement systems.
LOW FREQUENCY EQ CONTROL
This
control
is
capable
of
15
dB
boost
or
cut
at
60
Hz
and
demonstrates
a
shelving
characteristic
so.
that
excessive
lows
are
not
boosted
below
the
usable
range
of
sound
reinforcement
speaker
systems.
The
shelving
action
of
this
circuit
has
proven
to
yield
much
more
satisfying
and
effective
equalization
characteristics
than
some
of
the
wide
open
EQ
circuits
claiming
20
to
25
dB
boost
and
cut.
Care
should
be
taken
with
the
low
frequency
control
to
not
overboost
lows
on
any
particular
instrument
or
vocal
due
to
the
fact
that
tremendous
amounts
of
power
amp
"headroom"
will
be
used
up
and
a
general
"muddiness"
will
be
apparent
in
the
speaker
system.
Woofers
may
also
be
blown
much
more
easily
with
excessive
low
frequency
boost.
EFFECTS SEND CONTROL
The
effects
send
control
is
the
channel
control
for
determining
the
amount
of
signal-from
each
respective channel to be sent to the effects output on the rear panel and simultaneously provides the
- drive signal for the internal reverb system. The effects send has been designed to provide multiple
functions which will be explained further in the master control section. Please note: When. reverb and
external effects are to be used, the send control must function as the level regulating device for both
internal reverb and the effects.
CHANNEL LEVEL CONTROL
The
channel
level
control
determines
the
overall
mix
from
all
six
channels
that
apppears
in
the
main
master
summing
bus.
This
control
should be
operated nearthezero
dB
indication
(unity
gain)
whenever
possible
for
optimum
headroom
and signal to
noise.
Operation
of
this
control
above
the
zero
point
increases
system
gain
(and
noise),
and
below
the
zero
point
sacrifices
headroom.
Please
notice
that
this
control
is capable
of
14
dB
of
gain above
the
(0)
unity
gain
position.
Proper
adjustment
of
the input
gain
control
will,
in
most
cases,
allow
this
level
control
to
be
operated
very
near
the
unity
gain
position.

MASTER SECTION
MASTER (MAIN) LEVEL CONTROL
This control is the element that determines the overall level of the main
COIR.
outfront system. It is a master function and controls the level of the overall’ መሃ
mix which has been established by the channel level controls. This function. MIXER dá :
should be operated near the zero unity gain position for optimum SPI CEEL INDICATOR MN
performance. Above the zero position will yield increased noise and below ——— — g— —e— .
the zero position will sacrifice headroom. The action of this control is very —— — 3 OA
similar to the channel level controls and should present no problem in DI EE DN
operation. Please notice that this control is capable of 14 dB of gain above » 3 E
the zero position. ጃ
MASTER MONITOR CONTROL .
Operation of this control is similar to that of the main level control and
should be set in conjunction with the respective individual channel monitor
send controls to achieve operation somewhere within the middle rotation of
———— ር] መ===-ብ፦--
መ-----12=--ድ--
— — ——48———e—
——— —18———e—
OFF
A PRODUCT OF
PEAVEY ELECTRONICS CORP.
the master control. The action of this control is conventional and should
present no operational difficulties.. The output signal from the monitor MAG e ovata
master is available from the output connectors on the rear panel. Again, '
under normal usage, these controls should also be operated near the center ,
of their range to allow optimum performance. Please notice this control is 5 5 5
capable of 14 dB of gain above the zero position. i e AE UN S.
EFFECTS MASTER CONTROL l 2 Q: 2 ©: p S
The effects master control is the final control element determining the ው ዐ 10 o 10
output level from the effects send jack on the rear panel, as well as the S TEREN: REVTO MON. EINE. TO/MAIN
amount of reverb drive delivered to the internal reverberation system. 5 È E
Please note that no reverberation effect may be achieved uniess the Epo Ad uS
individual channel effects send controls and the effects level control are 2 OQ 8 2 © 8 2 8
adjusted properly. ተም s E as sa
EFFECTS RETURN CONTROL EFF. RET. EFF. TO MON. LINE TÓ MON.
The effects return control may be considered an auxiliary. input » 9 3.
channel with a high impedance input and has been designed to accept a s 6+ "e. +
wide range of audio signals. This effects control adjusts the level of the 10+ ; 10+
“return” signal back into the main mix. OON um
-0 14+ -0 14+
REVERB RETURN CONTROL
MAIN MONITOR EFFECTS
The reverb return control determines the amount of delay (reverb)
signal blended back into the main: mix.
EFFECTS TO MONITOR CONTROL
The effects to monitor control enables signals from the effects return input to be routed back into the monitor mix.
This unique feature enables external effects such as echo units, flangers, delay lines, etc. to be blended back into the
monitor output signal if desired.
REVERB TO MONITOR CONTROL ;
This unique circuit of the 601R™ Mixer allows mixing of the reverberation 8192] back into the monitor mix for those :
who do not prefer a "dry" monitor sound. (Note: Feedback may be more pronounced with reverb on the monitors.)
LINE
TO
MAIN
l
This control functions with the phono line inputs provided at the rear panel to allow a signal patched in at this point to
be mixed with the main signal! from the other six channels of this mixer. (See rear panel description of line inputs.)
LINE TO MONITOR
This control functions exactly like the line to main control and allows a signal which is patched into the phono line
inputs at the rear panel to be mixed in with the monitor signal. (See rear panel description for line inputs.)
POWER SWITCH/PILOT LED
The power switch is of the simple 2-position “rocker” type with the pilot LED immediately above it. Operation of this
switch is conventional and should present no problems in operation. The “on” position will be indicated when the LED
pilot light glows, signifying power is being delivered to the mixer circuitry.
OUTPUT LEVEL INDICATION
Two 10-segment multicolored LED arrays have been provided to visually indicate the output level of the main and
monitor
mixes.
The
LED
ladders
indicate
output
levels
from
-21
dBV
to
+6
dBV.
Each
output
section
is
capable
of
+18dBV
so there is 12 dB of headroom left when the top LED flashes for the mains and the monitors.
REAR PANEL
REAR PANEL INPUT SECTION
The rear panel of the 601R™ Mixer contains all the interface connection to and from the electronic circuitry. The
versatility offered by these connections is unmatched by any competing unit and a thorough understanding of the various
features is essential in order to fully realize the performance and versatility of this unit.
Each channel features both balanced (symmetrical) low impedeance (600 ohms) as well as high impedance (50 K
-ohms) unbalanced inputs. Each of these inputs feature extremely wide dynamic range andare fully transient protected to
ensure durability under road conditions. While these inputs are intended primarily for low or high impedance
microphones, they wil! also work well for many other types of program sources.

OUT/IN JACK
The
601R™
features
a
“stereo”
out/in
jack
on
each
channel
to
facilitate
the
use
of
direct
outputs/inputs
from
the
preamps
for
“patching”
various
auxiliary
units
(chorus,
flanging,
tape/digital/analog
delays,
equalizers,
etc.)
"inline."
To
utilize
this
unique
system,
a
stereo
plug
(ring/tip/sleeve)
to
a
"Y"
cord
must
be
used.
The
tip
portion
of
the
1/4"
stereo
jack
serves
as
the
channel
send
(output)
while
the
ring
portion
will
return
the
processed
signal
to
the
channel.
The
"sleeve"
portion
serves
as
the
ground.
Since
this
is
a
stereo
jack
configuration,
the
first
“click”
on
thejack
may
be
used
as
a"pre-EQ"
output
with
a
mono
1/4"
plug
if
desired.
This
first
"click"
will
not
disturb
the
signal
flow
to
the
remainder
of
the
channel
as
it
is
fed
into
the
master
section.
NOTE:
IF
THE
SECOND
"CLICK"
OF
THE
OUT/IN
JACK
IS
UTILIZED
WITHOUT
RETURNING
ANY
SIGNAL
TO
THE
CHANNEL
FROM AN
EFFECTS
DEVICE THE
REMAINING
PREAMP
FUNCTIONS
WILL
BE
DISABLED.
AUXILIARY
INPUTS
| ]
The auxiliary inputs are line level access points to the three internal mixing busses. They are the medium impedance
type (33K ohms) and are provided to allow parallel mixers or for any other purpose that requires direct signal injection into
the internal mixing busses of the 6018”.
LINE CORD
For your safety, we have incorporated a 3-wire line (mains) cable with proper grounding facilities.
REVERB FOOTSWITCH
To facilitate remote control of the reverberation function, we have included a remote control footswitch jack. Any
standard single pole footswitch may be used to remotely defeat the reverb function. Please note that this switch disables
the reverb system only and has no effect whatsoever on the effects system.
LINE INPUTS
The line input features phono jacks and allows a signal to be patched directly into the "line to main" and "line to
monitor" controls in the master section. These line inputs are extremely useful when a tape deck needs to be patched into
the system without tying up a desperately needed channel input. Please note that RIAA equalization is not built into this
input. Also note that the dual phono jacks are “bridged” (parallel) allowing a "stereo" signal to be.patched in. Naturally, the
"bridging" reduces this signal to mono.
EFFECTS RETURN
The effects return input on the rear panel may be considered an auxiliary channel featuring its own set of level
controls located on the front panel. This effects return is capable of handling a wide range of input signals and is a very
high impedance type (220K ohms). The effects return system feeds into both main and monitor mixing busses through the
respective controls and is intended for use when returning signals. from external devices to.be mixed into the main or
monitor outputs.
MAIN AND MONITOR OUTPUTS
The main and monitor outputs are located on the rear panel and are low Z unbalanced. The jacks are 1/4" phone and
each output is capable of 8 volts (18 dBV) out. For sound reinforcement situations, the main output should patch to the
power amp/speaker system for the main PA. The monitor output should patch to the power amp/speaker systeni that is
used for monitors. (See patch diagram.)
REAR PANEL
120 VAC
60 Hz
20 WATTS
OUTPUTS AUXILIARY
INI NPUTS HIGH Z
MAIN MAIN LOW Z
MONITOR MONITOR
BAL. BAL. |
EFFECTS EFFECTS
OUT/IN QUT/IN QUT/IN OUT/IN
O INPUTS
EFFECTS REVERB 6 5 4
RETURN FT. SW.
A PRODUCT OF PEAVEY VENT THERIS RISK OF Fie AND SHOCK HAZARD, DONOT
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REFER SERVICING TO QUALIFIED SERVICE PERSONN
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MAX BV(^18 8ሃ) MON. LEVEL MON. BUS
ልህ. IN
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EFFECTS (0 anv)
ዘዘ 1(9 SBV}
LO .26󰌂(-12 48ነ)
EFF. US
RECOVERY
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REVERS umr PEV- DRIVE AMP
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MAIN BUS.
MON. BUS
REV. TO MON,
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MAX 30ሃ(+30 ሀ8ሃ)
MIN BOMV(-26 በ8)
EFF, RET. Gain AMP LINE TO MAIN Guy amp
MAIN BUS: MAIN BUS
RETURN. mon.
MON. aus. MOM vio ጩህ) "BUS
EFF. TO MON. SAX 2v(«6 48%) LIME TO MON.
LINE INPUT
NOM 1V(O dBV)

PATCHING DIAGRAM
AUXILIARY
TO MAIN AMP/SPEAKER SYSTEM
INPUTS
' (MAIN OUT MAY ALSO BE USED
FOR TAPE RECORDING)
TO MONITOR AMP/SPEAKER SYSTEM
INPUT
EFFECTS
EFFECTS REVERB
RETURN FT. SW.
OUTPUT
/
EFFECTS
DEVICE
AUX. INPUTS MAY BE USED TO
PATCH ANOTHER MIXER
INTO THE 601R™ WHEN REMOTE REVERB FOOT SWITCH
MORE CHANNELS ARE TO DEFEAT INTERNAL REVERB.
DESIRED.
LINE OUTPUTS
PATCH TAPE DECK LINE OUTPUTS
INTO THE LINE INPUTS AT REAR
PANEL FOR PLAYING TAPE
THROUGH SYSTEM.

SPECIFICATIONS
SUMMARY OF FUNCTIONS:
6 ch in, main Gut, pre monitor, post effects
(hi/low level) out; 3 band eq. each channel;
master effects and reverb return to main and
monitor; dual LED ladders; line input to main
and monitor
INPUTS, EACH CHANNEL:
1 low Z balanced microphone; 1 high Z
unbalanced line; 1 high Z unbalanced (stereo
ring) pre return
INPUTS, MASTER:
1 high Z unbalanced auxiliary each for main,
monitor, and effects, 1 high Z unbalanced
effects return; dual (bridged) phono high Z line
inputs (No RIAA)
OUTPUTS, EACH CHANNEL:
1 low Z unbalanced (stereo tip) pre send
OUTPUTS, MASTER:
1 tow Z unbalanced line each for main, monitor,
and (high/low level) effects; reverb footswitch
CHANNEL MICROPHONE INPUTS:
Mic Impedance: Low Z 600 ohms balanced
Nominal input Level: -18 dBM, 100 mV RMS
Minimum Input Level: -44 dBM, 5 mV RMS
Maximum input Level: *22 dBM, 10 Volts RMS
CHANNEL LINE (HIGH Z MIC) INPUTS:
. Read all safety and operating instructions before using this
product.
. Alt safety and operating instructions should be retained for
` future reference.
. Obey all cautions in the operating instructions and on the
back of the unit.
. All operating instructions should be followed.
91983 Printed in U.S.A.
. This product should not be used near water, i.e. a bathtub.
sink, swimming pool. wet basement, etc.
. This product should be located so that its position does not
interfere with its proper ventilation. it should not be placed
flat against a wal! or placed in a built-in enclosure that will
impede the flow of cooling air.
- This product should not be placed near a source of heatsuch
as a stove, heater, radiator or another heat producing
amplifier.
Line impedance: Hi Z 10K ohms unbalanced
Nominal input Level: 0 dBV, 1 V RMS
Minimum Input Level: -20 dBV, 0.1 V RMS
Maximum Input Level: *30 dBV, 30 Volts RMS
CHANNEL RETURNS AND AUXILIARY
INPUTS:
Line Impedance: Hi Z 20K ohms unbalanced
Designed Input Level: 0 ፀ8ሃ, 1 Volt RMS
LINE & EFFECTS RETURN INPUTS:
Line Impedance: Hi Z 100K ohms unbalanced
Nominal Input Level: 0 dBV, 1 VRMS
Minimum Input Level: -14 dBV, 0.2 VRMS
Maximum Input Level: *6 dBV, 2 VRMS
MAIN, MONITOR & EFFECTS (HIGH LEVEL)
UNBALANCED OUTPUTS:
Load Impedance: 600 ohms or greater
Nominal Output: 0 dBV, 1 V. RMS
Maximum Output: *18 dBV, 8 VRMS into 50K
ohms load; *16 dBM, 5 VRMS into 600 ohms load
EFFECTS (LOW. LEVEL) UNBALANCED
OUTPUT:
Load Impedance: 10K ohms or greater
Nominal Output: -12 dBV, 0.25 VRMS
Maximum Output: +6 dBV, 2 VRMS
The following specs measured with a nominal
input gain setting of 14 dB all channels, ali levels
g DANGER :
EXPOSURE TO EXTREMELY HIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS. INDIVIDUALS VARY CONSIDERABLY IN SUSCEPTIBILITY TO NOISE INDUCED HEARING LOSS. BUT
NEARLY EVERYONE WILL LOSE SOME HEARING IF EXPOSED TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT TIME.
THE U.S. GOVERNMENT'S OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION (OSHA) HAS SPECIFIED THE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES:
DURATION PER DAY IN HOURS
THE PAIN
E FACEPL
í 50) 1)ክ PAINTED SURFACES NOR ANY OTHER TAPE THAT IS B
MEDIUM
OR
LIGHT
ADHESIVE
MASKING
OR
MIXER LABEL
TAPE
IS
RECOMMENDED
IF
TAPE
IS
USED.
ANY
TAPE
LEFT
ON
PAINTED
SURFACE
FOR
EXTENDED
PERIODS
WILL
BE
DIFFICULT
TO
REMOVE. NEVER USE CLEAR OR SCOTCH TAPE FOR THESE APPLICATIONS.
8. Connect only to a power supply of the type marked on the unit
adjacent to the power supply cord.
9. Never break off the ground pin on the'power supply cord. For
more information on grounding write for our free booklet
"Shock Hazard and Grounding.”
10. Power supply cords should. always be handled carefully.
Never walk or place equipment on power suppty cords.
Periodically check cords for cuts or signs of stress, especially
at the plug and the point where the cord exits the unit.
. The power supply cord should be unplugged when the unitis
to be unused for long periods of time.
. Metal parts can be cleaned with a damp: rag. The vinyl
Covering used on some units can be cleaned with a damp rag.
or an ammonia based household cleaner if necessary.
13.
set at 0 dB, all EQ. set flat, alt Lo 2 inputs
terminated with 600 ohms, all Hi 2 inputs and all
outputs terminated with 47K ohms.
FREQUENCY RESPONSE:
(Any in/out combination with 1 VRMS output) 0,
-2 dB, 20 Hz to 30 KHz
SYSTEM HUM & NOISE:
(All channels on) d
-84 dBV (Hi Z line inputs)
-80 dBV (Lo Z mic inputs)
EQUIVALENT INPUT NOISE:
(20 Hz - 20.KHz, 150 ohms) -126 dBV
OVER-ALL DISTORTION:
(Any in/out combination, 20 Hz - 20 KHz
VRMS) Less than .05% THD, TYP below .01%
EQUALIZATION:
*-15 dB 60 Hz & 8 KHz, shelving
*-15 dB 600 Hz, peak/notch
MAX. AVAILABLE GAIN:
+14 dB main control |
+14 dB channel control
*46 dB mic input control
*74 dB total
LED READOUT RANGE:
-21 to *-6 dBV
POWER REQUIREMENTS:
120 VAC, 60 Hz, 20 Watts (Domestic)
SOUND LEVEL dBA, SLOW RESPONSE
90
92
95
97
100
102
PECIALLY DESIGN OR SUCH APPLICATIONS.
Care should be taken so that objects do not falt and liquids are
not spilled into the unit through the ventilation holes or any
other openings.
. This unit should be checked by a qualified service technician
if:
A: The power supply cord or piug has been damaged.
B. Anything has fallen or been spilled into the unit.
C. Theunit does not operate correctly.
D. The unit has been dropped or the enciosure damaged.
. The user should not attempt to service this equipment. ልዘ
_ Service work should be done by a qualified service technician.
Due to our efforts for constant improvement, features and specifications are subject to change without notice.
(WG
PEAVEY ELECTRONICS CORPORATION
711 A Street / Meridian, MS 39301 / U.S.A.
480300049. 11/83